Choral Gems

of the
Romantic Era
San Francisco Lyric Chorus
Robert Gurney, Music Director
David Hatt, Organ

Saturday, August 24, 2002, 8pm Sunday August 25, 2002, 5pm
St. Paul’s Episcopal Church Trinity Episcopal Church
Oakland, California San Francisco, California
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 San Francisco Lyric Chorus

San Francisco Lyric Chorus

Summer 2002

Robert Gurney, Music Director

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 San Francisco Lyric Chorus

The San Francisco Lyric Chorus

Robert Gurney, Music Director
Board of Directors
Helene Whitson, President
Alana D’Attilio, Vice President
Andrea Obana, Secretary
Bill Whitson, Treasurer
Cassandra Forth, Director
Lynn Sagramoso, Director

Welcome to the Summer 2002 Concert of the San Francisco Lyric Chorus. Since its
formation in 1995, the Chorus has offered diverse and innovative music to the
community through a gathering of singers who believe in a commonality of spirit and
sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The
Chorus has been involved in several premieres, including Bay Area composer Brad
Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin
Mary (West Coast premiere) and San Francisco composer Kirke Mechem’s Christmas the
Morn, Blessed Are They, and To Music (San Francisco premieres).

We are excited about the wide variety of music we have shared with you during our
2001-2002 season. In Fall 2001 we presented beautiful music in The French Choral
Tradition, performing Marc-Antoine Charpentier’s 17th century Messe de minuit pour
Noël, and 20th century composers Francis Poulenc’s Hodie, Maurice Duruflé’s Ubi
Caritas, Olivier Messiaen’s O Sacrum Convivium, and Jean Langlais’ Messe Solennelle.
For our Spring 2002 program, entitled Grant Us Peace, we presented two powerful
works which expressed their composer’s thoughtful musical interpretations of war and
peace, Joseph Haydn’s stirring Mass in Time of War and Ralph Vaughan Williams’
profound Dona Nobis Pacem. Our season concludes with wonderfully passionate sacred
music from the Romantic era.

Please sign our mailing list, located in the foyer.

The San Francisco Lyric Chorus is a member of Chorus America.

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 Progr a m
Deutsche Messe Franz Schubert
Zum Eingang
Zum Gloria
Zum Evangelium und Credo
Zum Offertorium
Zum Sanctus
Nach der Wandlung Transubstantiation
Zum Agnus Dei
Schlussgesang

Ave Maria Felix Mendelssohn

Ted Rigney, Tenor 
Ave Maria Anton Bruckner
from Ein Deutsches Requiem: Johannes Brahms
Part 2: Denn alles Fleisch es ist wie Gras

Intermission, 15 minutes

Cherubic Hymn No. 7 Dmitri Bortniansky

Bogoroditse Devo, Raduisya Sergei Rachmaninoff
Cherubic Hymn No. 8 Sergei Rachmaninoff
from Quatro Pezzi Sacri: Giuseppe Verdi
Laudi alla Vergine Maria
Te Deum

Kathryn Singh, Soprano 
from the Requiem: Giuseppe Verdi
Sanctus

David Hatt, Organist 

We are recording this concert for archival purposes.

Please turn off all cell phones, pagers, and other electronic devices before the concert.
Please, no photography or audio/video taping during the performance.
Please, no children under 5.

Help us to maintain a distraction-free environment.

Thank you.

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 Program Notes
We present today music of the Romantic era, music that had its root in the late 18 th century
and spilled over into the 20th. Romanticism was a movement of many facets, an antithesis to
the artistic forms and structures of the Classical age. It emphasized individual expression,
emotion and virtuosity, as well as freedom from constraining forms. It took inspiration from
nature, as writers, artists and musicians sought to express that which they saw around them.
And, it emphasized the artistic and cultural differences among nations as artists turned
towards their own heritage to share folk tales, images and music. Music turned from being
supported by the aristocracy to being supported by the middle class. The most prominent
“classical” music developments were the rise in popularity of the art song and opera. The
program that we present today demonstrates a variety of Romantic elements, from the folk
simplicity of the Schubert Mass to the operatic fire of the Verdi Te Deum, from the emotional
depth of the Brahms Requiem to the rich Slavic tonality of Rachmaninoff.

Franz Schubert (1797-1828)

A native of Vienna, Franz Schubert was born in 1797, the son of a schoolteacher. Young
Franz received his general education in his father’s school. He came from a musical family,
beginning violin lessons at age eight with his father and piano with an older brother. He
also studied music theory, piano, organ and singing with the choirmaster of his parish
church. He began composing at age seven or eight, creating songs, string quartets, and
piano works. At age seven, he auditioned for Antonio Salieri, the music director of the
imperial court chapel, who was impressed with the young boy’s talents and recommended
him as a singer when a position opened. In 1808, he passed the competitive audition for
imperial court chapel, and at the same time was admitted as a scholar to the Imperial and
Royal City College. Interestingly, his examiners upon entrance to this school were Joseph
Eybler, a student of Mozart’s and Antonio Salieri, Mozart’s supposed rival. Salieri also was
one of his main tutors. When his voice changed at the age of 16, Schubert resigned and
went to a teacher-training school, later obtaining a position as an assistant teacher in the
school where his father taught. Salieri was impressed enough with his abilities to continue
giving him private instruction twice a week. Music was a natural element of his life, and he
spent time in playing music and composing while he was teaching full-time. Before he was
20, this young man composed a phenomenal number of works, including five symphonies,
over 300 solo songs, part songs, masses, string quartets, operas. In 1815 alone, the eighteen-
year-old Schubert composed 140 songs, eight in one day! Two of his most famous and
profound songs, Gretchen at the Spinning Wheel and Die Erlkönig (The Elf-King) were
composed when he was 17 and 18. His short-lived career as a teacher came to a halt when
he discovered that he did not like teaching and was not good at it. Quitting his teaching
position at some time around 1822, he became a full-time composer, supported by friends
who admired his ability. Many of those friends would gather with Schubert for evening
concerts of his vocal and chamber music. These gatherings, which became known as
Schubertiade were indicative of “classical” music becoming available to the educated middle
class. Sadly, very little of Schubert’s music was published during his lifetime. His creative
life was tragically cut short by illness and he died in 1828 at age 31.

Critic and scholar Albert Einstein comments “as a musician, Schubert came into the world at
exactly the right time. He was able to enter into a rich and still active inheritance, and he
was great enough to use it in the creation of a new world. This fact lies at the basis of his
lonely position as the Romantic Classic.” Franz Schubert was a gifted, lyrical composer with
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an exquisite sense of melody and drama. Although not the originator of the German lieder,
he was the consummate creator of the art song. He created tone poems, artistic works where
music and text are partners. He wrote in almost every musical genre: his lifetime musical
oeuvre comprised choral works, over 600 songs, chamber music, keyboard music, especially
for solo piano, symphonies, operas, sacred works, including seven masses, as well as other
sacred compositions. In terms of his impact on sacred music, one only needs to think of
how often his beautiful Ave Maria is performed. Schubert embodied the Romantic spirit
with his lyrical, passionate, expressive music.

Deutsche Messe
Written in 1826 or 1827, the Deutsche or German Mass is a departure from Schubert’s other
masses. It is a collection of eight hymns and an epilogue (which we will not perform) set to
a text by Professor Johann Philipp Neumann, who had worked with Schubert as an opera
librettist. It was commissioned by the Polytechnic School of Vienna expressly for
performance by an amateur choir. The sections of the mass correspond to the traditional
Latin mass sections: Kyrie, Gloria, Gospel and Credo, Offertory, Sanctus, Benedictus,
Agnus Dei, and Amen. The work is strophic in nature, with each section having from two to
four verses. The music may sound simple, but it displays Schubert’s genius for expressive,
lyrical melody and beautiful blend. We will perform Numbers 4 and 6 with chamber
chorus, which come close to the wonderful marriage of music and text in Schubert’s art
songs.

1. Zum Eingang 1. Introit

Wohin soll ich mich wenden, Where shall I turn,
Wenn Gram und Schmerz mich drücken? When grief and pain oppress me?
Wem künd’ ich mein Entzükken, To whom shall I announce my delight
Wenn freudig pocht mein Herz? When my heart beats joyfully?
Zu Dir, zu Dir, o Vater, To you, to you, O Father,
Komm’ ich in Freud’ und Leiden; I come in times of joy and suffering.
Du sendest ja die Freuden, You are the one who sends the joy;
Du heilest jeden Schmerz. You heal every pain.

Ach, wenn ich Dich nich hätte, Alas, what would heaven and earth
Was wär’ mir Erd’ und Himmel? Be without You?
Ein Bannort jede Stätte, Everywhere would be exile,
Ich selbst in Zufalls Hand. I myself would be a prey to fortune.
Du bist’s, der meinen Wegen It is You who give my steps
Ein sich’res Ziel verleihet, A sure goal,
und Erd’ und Himmel weihet And make heaven and earth
Zu Süssem Heimatland. A sweet homeland.

II. Zum Gloria 2. Gloria

Ehre, Ehre sei Gott in der Höhe! “Glory be to God in the highest!”
Singet der Himmlischen selige Schar. The heavenly host are singing,
Ehre, Ehre sei Gott in der Höhe! “Glory be to God in the highest!”
Stammeln auch wir, die die Erde gebar. We too, the earthborn, sing falteringly.
Staunen nur kann ich und staunend mich freu’n; I can only marvel, and in marveling, rejoice;
Vater der Welten! doch stimm’ ich mit ein: Father of the universe! I join in singing also:
Ehre sei Gott in der Höhe! “Glory be to God in the highest!”

Ehre, Ehre sei Gott in der Höhe! “Glory be to God in the highest!”
Kündet der Sterne strahlendes Heer. The stars announce the radiant host.
Ehre, Ehre sei Gott in der Höhe! “Glory be to God in the highest!”
Säuseln die Lüfte brauset das Meer. The breeze whispers, the sea rages.

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Feiernder Wesen unendlicher Chor The infinite chorus celebrates the supreme being,
Jubelt in ewigen Danklied empor: rejoicing in eternal songs of gratitude.
Ehre sei Gott in der Höhe! “Glory be to God in the highest!”

III. Zum Evangelium Und Credo 3. Evangelium and Credo

Noch lag die Schöpfung formlos da, Creation lay without form
Nach heiligem Bericht; According to the Holy Scriptures.
Da sprach der Herr: “Es werde Licht!” Then the Lord spoke: “Let there be light!”
Er sprach’s und es ward Licht. He spoke, and there was light.
Und Leben regt, und reget sich, Life stirs and moves,
Und Ordnung tritt hervor. And order appears.
Und überall, allüberall And everywhere praise
Tönt Preis und Dank empor. And thanks soar heavenwards.

IV. Zum Offertorium 4. Offertory

Du gabst, o Herr, mir Sein und Leben, O Lord, You gave me life and being,
Und Deiner Lehre himmlisch Licht. And the heavenly light of Your teaching.
Was kann dafür ich Staub Dir geben? What can I, who am as dust, give You in return?
Nur danken kann ich, mehr doch nicht. I can do no more than thank You.

Wohl mir! Du willst für Deine Liebe I’m blessed, for Thou want’st for Thy love
Ja nichts, als wieder Lieb’ allein: Nothing but love again from me.
Und Liebe, dankerfüllte Liebe And love, this grateful love abiding,
Soll meines Lebens Wonne sien. Will here I offer unto Thee.

V. Zum Sanctus 5. Sanctus

Heilig, Heilig, Heilig. Holy, holy, holy.
Heilig ist der Herr, Holy is the Lord!
Heilig, Heilig, Heilig. Holy, holy, holy.
Heilig ist nur Er. Holy is He alone!
Er, der nie begonnen, He, who had no beginning.
Er, der immer war. He, who always was,
Ewig ist und waltet, Eternally is, and reigns,
Sein wird immer dar. And will be evermore.

Heilig, Heilig, Heilig. Holy, holy, holy.

Heilig ist der Herr, Holy is the Lord!
Heilig, Heilig, Heilig. Holy, holy, holy.
Heilig ist nur Er. Holy is He alone!
Allmacht, Wunder, Liebe, Almighty wonder,
Alles rings umher! Omnipresent love!
Heilig, Heilig, Heilig. Holy, holy, holy.
Heilig ist der Herr. Holy is the Lord!

VI. Nach der Wandlung 6. After the Transubstantiation

Betrachend Deine Huld und Güte, Beholding Your grace and goodness
O mein Erlöser, gegen mich, Towards me, O my Saviour,
Seh’ ich beim letzten Abendmahle I see you at the last supper,
Im Kreise Deiner Teuren Dich. surrounded by Your loved ones.
Du brichst das Brot, Du reichst den Becher. You break the bread, You give the chalice.
Du sprichst: “Es ist mein Leib, mein Blut, You speak: “This is my body and my blood.”
Nehmt hin und denket meiner Liebe. Take it and think of my love
Wenn opfernd ihr ein Gleiches tut. When you perform the same sacrifice.”

Wir opfern hier nach Deinem Worte, We sacrifice here, according to your word
Auf Deinem heiligen Altar; On Your holy altar.
Und Du, mein Heiland, bist zugegen, And you, my Saviour, are present.
Des Geistes Aug’ wird Dich gewahr: The spirit’s eye becomes aware of You.

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Herr, der Du Schmerz und Tod getragen, Lord, who bore suffering and death
Um uns das Leben zu verleih’n So that we might live,
Lass dieses Himmelsbrot uns Labung Let this heavenly bread be our comfort
Im Leben und im Tode sein. in life and death.

VII. Zum Agnus Dei 7. Agnus Dei

Mein Heiland, Herr und Meister! My Saviour, Lord and Master!
Dein Mund, so segensreich, Your blessed lips
Sprach einst das Wort des Heiles: Once spoke the words of salvation:
“Der Friede sei mit Euch!” “Peace be with you.”
O Lamm, das opfernd tilgte O Lamb of God, who suffered
Der Menschheit schwere Schuld, To redeem the weight of Man’s guilt,
Send’ uns auch Deinen Frieden Grant us Your peace,
Durch Deine Gnad’ und Huld. Through Your grace and mercy.

In dieses Friedens Palmen In these palms of peace,

Erstirbt der Erdenschmerz, Vanishes the pain of the earth,
Sie wehen Heil und Labung Welfare and comfort
In’s sturmbewebte Herz; to the storm-tossed heart;
Und auch die Erdenfreude, And also the joyful earth,
Durch ihn geheiligt, blüht Is consecrated through them.
Entzükkender und reiner Blooms enraptured and pure
Dem seligen Gemüt. The blessed spirit.

VIII. Schlussgesang 8. Finale

Herr, Du hast mein Fleh’n vernommen: Lord, You have heard my entreaties.
Selig pocht’s in meiner Brust; My heart beats blissfully.
In die Welt hinaus, ins Leben The joy of Heaven now follows me
Folgt mir nun des Himmels Lust. Out into the world, into life.
Dort auch bist ja Du mir nahe, There too You are near me,
Überall und jederzeit; Everywhere and always.
Aller Orten is Dein Tempel, Your temple is wherever
Wo das Herz sich fromm Dir weiht. The heart is piously devoted to You.
Segne, Herr, mich und die Meinen! O Lord, bless me and my loved ones,
Segne unsern Lebensgang! Bless our life’s course.
Alles unser Tun und Wirken May all our works and actions
Sei ein frommer Lobgesang! Be a pious hymn of praise.

Felix Mendelssohn (1809-1847)

One of the most brilliant of the early Romantic composers, Felix Mendelssohn was born in
1809 in Hamburg, Germany. He came from a wealthy, distinguished, Jewish, intellectual,
artistic and banking family, which converted to Christianity in 1816, his father adding the
name Bartholdy. His grandfather was the famous philosopher, Moses Mendelssohn. When
Felix Mendelssohn was a child, the family moved to Berlin, and he spent his childhood in
contact with famous writers, artists and others influential in the cultural life of the city. An
extraordinarily gifted child, young Felix was matched by his equally talented older sister,
Fanny, also a musician and composer. Felix and Fanny were very close as children, and often
performed together. He began studying piano with his mother at an early age, later studying
piano with Ludwig Berger in Berlin and composition with Carl Zelter. He began composing
at the age of nine, as well as giving public performances on the piano. In addition to the
piano, he studied violin, organ, composition and music theory, as well as the general subjects
of history, classics, Greek, Latin, geography, arithmetic and drawing, creating over 50
watercolor landscapes. In 1820, at the age of 11, he composed his first work, a Singspiel, or
ballad opera. He began to explore other forms of composition, including sonatas, concertos,

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symphonies for string orchestra, and various works for piano. At the age of 17, he composed
one of his most well known works, the Overture to Shakespeare’s A Midsummer Night’s
Dream. In 1823, he received an important gift from his grandmother—a score of Johann
Sebastian Bach’s St. Matthew Passion. He became fascinated by the work of Bach, and was
responsible for the 19 th century rediscovery of this great master, beginning with a celebrated
1829 performance of the St. Matthew Passion, the first performance of this work since Bach’s
death 80 years before. Between 1829 and 1832, Mendelssohn began a series of travels in
Europe, visiting England, Scotland, Wales, Switzerland, Italy, and France. During these
travels, he composed, as well as performing and conducting his own music and the music of
others. His travels inspired various compositions, such as the Fingal’s Cave Overture, the
Scottish and Italian Symphonies. This characteristic of Romantic composition—influence by
nature, by one’s surroundings—is evident in these and others of Mendelssohn’s
programmatic works, works which express the moods and emotions inspired by what he saw
and experienced.

Mendelssohn was not only a gifted composer and performer, but an outstanding conductor.
In 1833, he became Music Director for the musical activities of the town of Düsseldorf,
responsible for conducting the choral and orchestral societies, as well as sacred music for the
Catholic services. For church services, he often brought back the works of the old masters,
performing masses by Mozart, Haydn, Cherubini and Beethoven, cantatas by Bach, and
earlier sacred music by Palestrina, Lotti, and Durante. As the city’s choral conductor, he
revived the oratorio, presenting such works as Haydn’s Seasons and Creation, Handel’s
Alexander’s Feast, Messiah, Judas Maccabeus, and his own works, including his oratorio, St.
Paul. For the orchestra, he directed many of his own works, including the Italian Symphony
and Calm Seas and Prosperous Voyage Overture. In 1835, Mendelssohn became the Music
Director of Leipzig’s famous Gewandhaus Orchestra, a position he held until his death. He
also founded the Leipzig Conservatory of Music. During his years in Leipzig, he performed
many of his own works, as well as works by contemporaries, such as Schumann, Berlioz,
Weber, and the “old masters”—Mozart, Bach, Handel, Haydn. He also rediscovered the
work of Schubert, including his Ninth Symphony. In addition to his work in Leipzig, he
conducted in Berlin, and abroad, always returning to Leipzig after a sabbatical elsewhere.
He often conducted in England, where he was a favorite of Queen Victoria and Prince
Albert. In addition to his conducting skills, he was in demand as a music festival organizer,
especially in Germany and Birmingham, England. His sister died in Spring, 1847, and
Mendelssohn, grief-stricken at her death, exhausted from touring and from the hectic pace
of his life, died in Fall, 1847.

Mendelssohn was a composer of lyricism, melody and passion. He contributed much to that
which we consider “Romantic.” He composed in many different genres, and in each one,
there are works considered as standard. His concert overtures include such familiar titles as
the Overture to A Midsummer Night’s Dream, Fingal’s Cave Overture, and the overture to
Victor Hugo’s play Ruy Blas. His Violin Concerto in E minor is one of the jewels of the
Romantic repertoire, as are his two piano concertos. His wonderful symphonies are full of
melody and expression. He was a gifted composer of chamber music, including his
delightful Octet for double string quartet, and his piano trios. His works for solo piano,
including the Songs without Words, are standard works in the piano repertoire. His music for
the stage includes the music for A Midsummer Night’s Dream with its familiar Wedding
March. His oratorios, St. Paul and especially Elijah, are popular choral favorites. He was a
prolific composer of smaller choral works, both secular and sacred, as well as solo songs.
The Christmas carol, Hark the Herald Angels Sing, was adapted by W. H. Cummings from a
chorus in one of Mendelssohn’s secular cantatas.
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Ave Maria
Mendelssohn began setting his beautiful Ave Maria in the fall of 1829, completing it in 1830
while he was in Rome. The motet is in an ABA structure. The first part begins with a tenor
soloist, soon joined by the chorus. Soloist and chorus share the melody back and forth.
The second section, all choral, reflects Mendelssohn’s interest in Bach and the Baroque
period in its use of counterpoint. It begins with interplay between the lower and upper
voices, supported by a driving organ obbligato. Each line then enters in succession,
reminiscent of Baroque fugal passages. The work returns to the calmness of the first section
as the tenor once again sings “Ave Maria.” This time, he is joined by seven solo voices in
addition to the chorus. The motet ends as the tenor soloist joins the chorus in a final, quiet
“Ave.”

Ave Maria, gratia plena! Dominus tecum, Hail, Mary, full of grace! The Lord is with you;
benedicta tu in mulieribus. Blessed are you among women.
Sancta Maria, ora pro nobis, pro nobis peccatoribus. Blessed Mary, pray for us, for us poor sinners.
Maria, ora nunc et in hora mortis nostrae. Mary, pray for us, now and in the hour of our death.
Amen. Amen.

Anton Bruckner (1824-1896)

Contemporary of Brahms, Liszt, Wagner and other composers of the Romantic period in
Western Europe, Anton Bruckner was born in Ansfelden, Austria in 1824. The eldest of 11
children, only five of whom survived infancy, he was born into a schoolmaster’s family.
Teaching school was a respected profession, although difficult and poorly paid even in those
days. To supplement the family’s income, his father was the church organist, and his mother
sang in the choir with a reputedly “fine” singing voice. Little Anton grew up sitting on the
organ bench next to his organist teacher-father throughout Mass, becoming the substitute
organist at age ten. During this time, he also accompanied his father on a visit to a
magnificent organ in an Augustinian monastery in St. Florian. This visit made such a lasting
impression on the young Bruckner that he returned to this monastery throughout his
lifetime, and eventually was buried there in a sarcophagus under the organ.

Bruckner’s first apprenticeships, unsurprisingly, were as schoolmaster and organist in various

villages near his home. Eventually a teaching opportunity opened at St. Florian where he
could once again study organ in his spare time. Recognizing Bruckner’s potential greatness
as a performer, a friend advised him to leave for Vienna to study with a renowned teacher,
Simon Sechter. In 1856, as a farewell to St. Florian, Bruckner wrote a first Ave Maria for
soloists, mixed chorus, and organ. As a last sacred composition before his formal study with
Sechter, this Ave Maria contained some fine chromatic detail which has carried over into the
version being sung today.The years of organ study launched Bruckner’s career as a
professional musician, earning enough money to give up his teaching duties, and winning
the post of cathedral organist at Linz. It was here that he composed the seven-part chorus of
Ave Maria which we are singing today. Its premiere performance on May 12, 1861, was his
first concert appearance as composer.

Struggles with depression, fear of the future, and overwork took their toll on young
Bruckner and he spent several months in a sanitarium. He eventually won a lectureship at
the Conservatorium and entered the home of Brahms, of operettas and of the waltzes of
Johann Strauss: Vienna. City life never suited him. His simple beginnings and dress were
in sharp contrast to the elegant style of Vienna at the time. At the time, Vienna was divided
into two hostile camps of musicians: Johann Strauss and Brahms, who were the antipodes of
Wagner and Liszt. Bruckner’s first encounter with Wagner during the latter’s writing of the
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Ring cycle, was that of a servant to a master. Having asked Wagner to read through his Third
(D minor) Symphony, Bruckner was so encouraged by his remarks that he dedicated it to
Wagner and used quotations from Tristan and Die Walkure to accompany the score.

However, composing symphonies has its drawbacks if no one can be convinced to perform
them. Bruckner began to conduct them himself, although his conducting skills were not as
good as his teaching, organist, or composing skills. In 1876, he conducted his Second
Symphony to mixed reviews—half the audience applauded vigorously, and one critic called
him “a fool and a half.” He also conducted the premiere of the Third Symphony, but the
audience left in droves. By 1881, his Fourth Symphony was performed by the Vienna
Philharmonic, a victory for Bruckner, and his Seventh Symphony premiered in Leipzig,
establishing his international reputation. A Leipzig critic remarked, “Having heard his
music, how is it possible that he could remain so long unknown to us?”

Although friendships with Wagner and Liszt blossomed (Bruckner even played organ at
Lizst’s funeral in Budapest), Brahms remained cool and distant. In private, Brahms was
heard to remark that Bruckner’s symphonies were “symphonic boa constrictors,” and
Bruckner, in turn, made known his preference for a Strauss waltz rather than a Brahms
symphony. Bruckner completed nine symphonies, seven masses (including his own
Requiem), numerous large and small scale sacred works for choruses, as well as chamber,
organ, and piano works.

Ave Maria
In the Ave Maria being performed today, Bruckner’s period of study with Sechter in Vienna is
quite evident. This Ave Maria, first performed at the Cathedral in Linz, Austria in 1861, is
considered his first masterpiece among the motets, demonstrating his Palestrinian ancestry, and
allowing free reign to chromatic richness. The lovely and unusual harmonies, which got him into
so much trouble with the establishment in Vienna, are the very things which predicted the
modern era of music, and have made him beloved among choral and symphony performers alike.
The three part female chorus enters alone, followed by the four part male chorus, and then all
parts join in a solemn climax.

Ave Maria, gratia plena, Dominus tecum, Hail, Mary, full of grace, the Lord is with you;
Benedicta tu in mulieribus, Blessed are you among women,
Et benedictus fructus ventris tui Jesus. And blessed is the fruit of your womb, Jesus.

Sancta Maria, Mater Dei, Holy Mary, Mother of God,

Ora pro nobis peccatoribus Pray for us sinners
Nunc et in hora mortis nostrae. Now and in the hour of our death.
Amen. Amen.

Johannes Brahms (1833-1897)

Johannes Brahms, the second child of Johann Jakob, a street musician, and Christianne, a
seamstress, was born in Hamburg, Germany. Although the family lived in poverty, the
parents worked hard to make the environment loving and safe for the children. Recognizing
the importance of schooling, they sent Johannes to private schools from the age of six
onward. However, Johannes’ inclination quite early was to learn the piano. The chosen
teacher recognized Brahms’ giftedness and devoted so much time to his tutelage that he
finally moved households to be closer to his protege. ‘Hannes,’ as his father called him, had
made such progress with this teacher that at age ten he gave his first concert of Mozart and
Beethoven pieces. This proved to be the first turning point in the life of the young Brahms,
who was subsequently encouraged to study with master pianist, Eduard Marxsen.
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Specializing in left-hand virtuoso and difficult rhythms, he also gave him composition
lessons. Throughout the rest of his career, Brahms sent Marxsen every new work, sometimes
(as in the case of the Requiem), with a request for corrections.

A series of events occurred when Brahms was twenty, which changed his life. First, while
touring Germany in concert with a Hungarian violinist, he was introduced to Joseph
Joachim, Konzertmeister to the King of Hanover. They recognized almost immediately true
congeniality of musicianship and ideas, and their intimate friendship is recorded for us in
letters as well as in compositions which consist of probably dual authorship. Joachim also
encouraged Brahms to meet Robert and Clara Schumann, who not only became dear friends
but provided publicity for this young man’s genius and helped him make contacts to get his
first works published. Supporting Clara through Robert’s illness and subsequent death,
Brahms has often been romantically linked with Clara. However, at some point in their
relationship, as in all his future love interests with women, he decided that his passion for
music would demand so much of him that he could not permit himself to marry.

Brahms’ move from his German home to Vienna was a gradual one, as his fame was growing.
During his first full-time directorship at the Wiener Singakademie, he began to expose
Vienna to some of the great German masters: to Bach cantatas, Beethoven lieder and a
Schumann Requiem, as well as to some of his own compositions. However wide his acclaim
as director, he resigned after his first year to pursue his composing. It was during this year
that he met Wagner, and while being greatly impressed by the older man’s compositional
style, Brahms had coauthored a manifesto with Joachim and several others to protest the
influence of the new German school of music. Although this criticism was originally aimed
at Liszt, it offended Wagner, and thus began their lifelong antipathy, often recorded in the
press.

Brahms’ mature period of music, during which he wrote the major choral works and
symphonies, began with his composition of the German Requiem. Although several of the
first performances of the first three movements, were met with audience disapproval, Brahms
was not to be discouraged, believing that it was the performance and not the music which
suffered. Brahms traveled to Bremen to work with the conductor for the Requiem’s first full
performance, which was met by an appreciative audience. It must have been gratifying to
Brahms, only 35, to have in the audience his father, Clara Schumann, Joachim and many
other friends, all bearing witness to his success and to his memorial to his mother and to
Robert Schumann.

In the ensuing years, many offers from German universities and from major orchestras came
his way, but with few exceptions, Brahms declined their generosity, preferring to compose in
Germany in the summers and to tour as a conductor around Vienna and most of Europe
during the winter months. The world of music owes him a considerable debt in his exposure
of audiences at the time to Bach and Handel and to the grandness of the Baroque period of
music. During the summit of his career, he introduced more and more of his own music
into the repertoire, including his symphonies. Enjoying immense popularity during his
lifetime in Vienna and elsewhere, Brahms, although unwed, childless, and often very lonely,
gave the world the riches of his artistry and genius.

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Requiem, Movement 2: Denn alles Fleisch es ist wie Gras (Behold, all flesh is as grass)
This composition is considered Brahms’ greatest choral work and occupied, at intervals,
almost ten years of his life. It is suggested that he got the idea for the title from one of
Robert Schumann’s sketchbooks. The second movement, which the chorus is singing
tonight—Denn alles Fleisch es ist wie Gras (Behold, all Flesh is as Grass)—was composed
between 1857-1859, but the rest of the work remained in preparation until after his mother’s
death in 1865. Even the text breaks new ground, compared with other Requiem masses.
Most Requiems, using Latin text, are prayers for the peace of the dead. Brahms’ Requiem is
from text in the German Bible and is designed to reconcile the living with words of
consolation. Each of the seven sections closes in a mood of loving promise, rather than one
of dark menace as in the other Requiems. The orchestration suggests both the youth of the
composer, and his budding maturity. The art of contrapuntal writing, which Brahms studied
from old masters, is witnessed by massive fugue buildup. What is uniquely Brahms is
sometimes the delicate way he sinks from fortissimo into piano and then to pianissimo, as if
to say that the climax of joy is in silence.

Denn alles Fleisch es ist wie Gras Behold, all flesh is as the grass,
und alle Herrlichkeit des Menschen and all the goodliness of man
wie des Grases Blumen. is as the flower of grass.
Das Gras ist verdorret For lo, the Grass with’reth,
und die Blume abgefallen. and the flower thereof decayeth.
So seid nun geduldig, lieben Brüder, Now, therefore, be patient, O my brethren,
bis auf die Zukunft des Herrn. unto the coming of Christ.
Siehe ein Ackermann wartet See how the husbandman waiteth
auf die köstliche Frucht der Erde for the precious fruit of the earth,
und ist geduldig darüber, and hath long patience for it,
bis er empfahe den Morgenregen und Abendregen. until he receive the early and latter rain.
So seid geduldig. So be ye patient.
Aber des Herrn Wort bleibet in Ewigkeit. Albeit the Lord’s word endureth for evermore.

Die Erlöseten des Herrn werden wiederkommen, The redeemed of the Lord shall return again,
und gen Zion kommen mit Jauchzen; and come rejoicing unto Zion;
Freude, ewige Freude, gladness, joy everlasting,
wird über ihrem Haupte sein; joy upon their heads shall be;
Freude und Wonne werden sie ergreifen, joy and gladness, these shall be their portion,
und Schmerz und Seufzen wird weg müssen. and sighing shall flee from them.

(1 Peter 1:24; James 5:7; 1 Peter 1:25, Isaiah 35:10)

Dmitri Bortniansky (1751-1825)

Bortniansky was a Ukranian composer, singer and music director. He was born in Hlukhiv,
Ukraine in 1751 and began his musical training early. In 1758, he sang for Empress
Elizabeth in the Russian imperial court and soon became one of her favorite choristers.
Because of his unusual talent, he was trained in opera. Eventually he performed major roles
in court productions. It was also during this period that he studied composition.
From 1769 through 1779, he composed in Venice and Modena, Italy, studying with the
Italian composer Galuppi. He was then recalled to the Russian court as a staff composer and
assistant director for the chapel. It was not until 1783 that he was awarded the post of
Kapellmeister to Catherine the Great’s son, Paul. For Paul, he composed secular music, and
for Catherine, he composed sacred music until her death in 1796. Paul then assumed the
throne, appointing Bortniansky Director of the Imperial Court Chapel. During this period,
he set his sights on improving musical standards, rather than composing. He also wanted to
better the living conditions of the court singers. He eventually increased the membership of
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court singers to one hundred eight. His choral rehearsals were open to the public. In St.
Petersburg, his concerts and rehearsals became the center of cultural life.

By 1815, he compiled and published a liturgical cycle in the style of plainchant. This music
was distributed throughout all of Russia. In 1816, Bortniansky, along with the Imperial
Court Chapel, won the exclusive right to print sacred music in the Russian Empire. He
continued to standardize musical practice throughout the Russian Orthodox Church until
his death in 1825. His favorite choral concerto,Vskuyu priskorbna yesi, dusha moya (Why are
you mournful, O my soul?) was said to have been sung at his deathbed. He was regarded as a
central figure in both Ukranian and Russian music history.

Cherubic Hymn No. 7

One of Bortniansky’s most famous sacred compositions, is the Cherubic Hymn No. 7 (Izhe
heruvímï), the “song of the angels.” It is an offertory chant in the Byzantine Divine Liturgy,
and occurs in the section of the service when Christ enters the Holy Altar to offer Himself
for the people. After the singing of the hymn, the priests take bread and wine from the
Table of Preparation and place them upon the Holy Table. Bortniansky sets the first part of
the hymn in quiet, soft harmonies as the choir represents the Cherubim honoring the Lord.
The second part of the hymn is set with exuberant joy as the angels bear the King aloft,
finishing with a passionate “Alliluya.” This work had a wide appeal to Western audiences,
and was translated into Latin, German, English and other languages. It still appears today in
many Western hymnals. We sing the next three pieces in Church Slavonic.

Izhe heru˜vímï, táyno obrazúyushche, Let us who mystically represent the Cherubim
I zhïvotvo˜riáshchey Tróytse and who sing the thrice-holy hymn
t˜ris˜viatúyu ˜pesñ p˜ri˜peváyushche, to the life-creating Trinity,
f˜siákoye nïñe zhïtéyskoye otlozhïm po˜pechéñiye, now lay aside all cares of this life,
(A˜míñ.) (Amen.)
yáko da Tsa˜ríá f˜seh podï˜mem that we may receive the King of All,
Ange˜lski˜mi ñe˜vídimo do˜rino˜síma chín˜mi. who comes invisibly upborne by the angelic host.
Al˜lilúya, al˜lilúya, al˜lilúya. Alleluia, alleluia, alleluia.

Sergei Rachmaninoff (1873-1943)

Sergei Vassilievich Rachmaninoff was born in 1873 at Oneg in the Novgorod region of
Russia. His mother was the daughter of an Army General and his father was an Army
officer. Due to a large inheritance from his mother’s family, Sergei’s parents were quite
wealthy, owning several different estates. His father, however, squandered the family
fortune, and all of the estates were sold, except the one at Oneg. It was here that
Rachmaninoff ’s mother gave him his first piano lessons. By the time he was nine, the Oneg
estate was sold to settle debts and the family moved to St. Petersburg, where Rachmaninoff
continued his piano lessons and general education classes at the conservatory. His parents’
relationship was strained, and they separated. Rachmaninoff failed all of his general subjects
at the end of the year, and was sent to the Moscow Conservatory to study and live with
Nikolay Zverev, a disciplinarian.

From 1885 through 1892, Rachmaninoff studied at the Moscow Conservatory. Although he
originally studied under Zverev, he eventually started taking piano lessons from his own
cousin, Aleksandr Ziloti. Zverev was more concerned with Rachmaninoff ’s piano technique
and did not even consider Rachmaninoff ’s ability to compose music. Under Ziloti,
Rachmaninoff began to compose and had a falling out with Zverev due to creative
differences and a need for privacy. He moved out of Zverev’s flat, and the two did not speak
for three years.

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In summer 1890, he visited a family at Ivanovka, a Russian country estate. A peaceful and
quiet spot, it was just the place Rachmaninoff needed to compose. In fact, he composed
around 85% of his works at Ivanovka, the place where he met his wife.

In 1892, Rachmaninoff graduated from the Moscow Conservatory with the highest mark,
and received the Great Gold Medal. At that time, he composed his piano Prelude in C#
Minor, probably his most famous work. He found composing easy, and had many successes.
In March 1897, one of his symphonies received a poor review (possibly due to an inept
conductor), causing in him such a great depression that he did not compose a major work
for three more years. During that time, however, he began conducting operas at home and
other works abroad. He made his London debut at Queen’s Hall in 1899, conducting his
own orchestral piece, The Rock and playing the Prelude in C# minor. In 1903, he agreed to
conduct two seasons at the Bol’shoy Theater, and composed his own music when he was not
preparing for Bol’shoy concerts.

In 1909, Rachmaninoff began his first year long American tour. He was received with great
praise and was offered the position of permanent conductor of the Boston Symphony, which
he declined. He did not return to the United States until November 1918, and gave nearly
40 concerts within four months. In 1921, he and his wife bought a house in New York and
tried to recreate the quiet atmosphere of Ivanovka. He rarely involved himself in politics,
although in 1931 he and two friends sent a letter to the New York Times criticizing various
policies of the Soviet Union. Moscow newspapers retaliated, and a two-year ban was placed
on the performance and study of his works. For the next ten years, he toured Europe and
North America, and built a villa in Switzerland. He never performed in Russia again. He
wanted to retire, and decided that his 1942 tour would be his last. The tour took a
tremendous toll on his health, and he died in March, 1943, at his home in Beverly Hills. He
wanted to be buried at his Swiss villa, but World War II prohibited his wish. He was buried
at the Kensico Cemetery outside New York.

During his lifetime, Rachmaninoff composed over 85 pieces, including symphonies, operas
and choral works.

Bogoroditse Devo, Raduisya

This composition is the sixth of fifteen sections of Rachmaninoff ’s All-Night Vigil (Op. 37),
composed in 1915. This tender prayer strays from specific chant melodies into a freely
composed style in which each voice follows its own individual line.

Bogoró˜ditse ˜Dévo, rádui˜sya, Rejoice, O Virgin Theotokos,

Blagodátnaya Ma˜rie, Mary full of grace
Gospó˜d’s Tobóyu. The Lord is with Thee.
Blagoslo˜vénna Ty v zhenákh, Blessed art Thou among women,
I blagoslo˜vén plod ch˜réva Tvoyegó And blessed is the fruit of Thy womb,
Yáko Spása ro˜dilá ye˜si dush náshikh. For Thou has borne the Saviour of our souls.

Cherubic Hymn No. 8

This hymn is part of Rachmaninoff ’s Liturgy of St. John Chrysostom (Op. 31), first published
in 1910. It is the same text set by Bortniansky many years earlier. Because of Communist
rule in the Soviet Union, the work was banned for seven decades, only being performed after
“Glasnost” opened the country to performance of sacred music. An American choir was the
first to perform the work in Russia.

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IIzhe heru˜vímï, táyno obrazúyushche, Let us who mystically represent the Cherubim
I zhïvotvo˜riáshchey Tróytse and who sing the thrice-holy hymn
t˜ris˜viatúyu ˜pesñ p˜ri˜peváyushche, to the life-creating Trinity,
f˜siákoye nïñe zhïtéyskoye otlozhïm po˜pechéñiye, now lay aside all cares of this life,
yáko da Tsa˜ríá f˜seh podï˜mem that we may receive the King of All,
Ange˜lski˜mi ñe˜vídimo do˜rino˜síma chín˜mi. who comes invisibly upborne by the angelic host.
Al˜lilúya, al˜lilúya, al˜lilúya. Alleluia, alleluia, alleluia.

Giuseppe Verdi (1813-1901)

One of the 19th century’s major opera composers, Giuseppe Verdi was born in 1813 to a
family of small landowners in Roncale, Italy. At age three he began keyboard studies with
the local organist and several years later was sent to the nearby town of Busseto for his basic
education, including music. A local merchant/music patron recognized Verdi’s talent and
would have supported his studies at the Milan Conservatory, but Verdi was not admitted and
instead studied privately with a Milan composer. In 1835, he returned to Busseto as the
town music master, where he gave music lessons, taught music, conducted concerts of the
philharmonic society, and composed. In 1839, he resigned his position in Busseto and
moved to Milan, where his first opera, Oberto, was produced successfully at La Scala. His
third opera, the Biblical drama, Nabucco, produced in 1842, was an outstanding success and
its famous Slaves’ Chorus resonated well with the Italian public in a time of political turmoil.
Verdi himself was an independent, patriotic individual and many passages from his early
operas were taken by the Italian public as support for Italian liberation. In fact, “Viva
Verdi,” became a popular exclamation at the time, with the double meaning of “Viva Victor
Emmanuel, Re D’Italia.” He was honored by being elected variously to the Italian Chamber
of Deputies and the Italian Senate, although he rarely participated in either. For the next 29
years, Verdi’s international reputation grew as he composed opera after opera—Macbeth,
Rigoletto, La Traviata, Il Trovatore, Simon Boccanegra, Don Carlos, La Forza del Destino,
AÔda. Verdi’s use of dramatic settings, and his ability to bring his characters to life through
powerful music, won him a world-wide following. In 1872, he composed his magnificent
Requiem in memory of Alessandro Manzoni, composer and librettist, a man he revered. The
Requiem contains all the fire, passion and melody of his operas, and some accused him of
creating a work which was too theatrical and not sufficiently spiritual. Verdi, a non-believer,
felt that there are some who need to believe in a supreme being and others who can be
perfectly happy not believing in anything. Verdi created his last great musical works, Otello,
1887, Falstaff, 1893, and the Quattro Pezzi Sacri, 1898, near the end of his life. He also
created and endowed a home for aged musicians in Milan, a project he considered his last
great work. He died in 1901 and was mourned nationally.

Quattro Pezzi Sacri (Four Sacred Pieces)

The Four Sacred Pieces were published together in 1898, but were written separately over a
number of years. We sing today two selections from that work: the gentle Laudi alla Vergine
Maria and the great Te Deum. Verdi composed the Ave Maria in 1889 for his own
amusement, based on an enigmatic scale found in an article in an Italian music magazine.
He did not want the piece to be performed, although it ultimately was performed in spite of
his consideration of the Ave Maria as an exercise. Verdi believed the other three sacred
pieces worthy compositions. The Stabat Mater was composed in 1896-1897. The Laudi alla
Vergine Maria, written in 1890, is the only one of the sacred pieces set in Italian, rather than
in Latin. Verdi chose verses from the final canto of Dante’s Paradiso, a lovely paean to the
Virgin Mary. His gentle and melodic setting for unaccompanied treble voices emphasizes
the tender, comforting and maternal qualities of the Queen of Heaven. The double chorus
Te Deum, a hymn of praise published in 1895-1896, begins with a subdued plainchant by

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tenors and basses, which then opens into the full force of a double chorus exulting “Holy,
Holy, Holy!” The composition is an array of textures including the soft and lyrical, strident
and powerful, unaccompanied and accompanied, vocal and instrumental. Verdi was
insistent that the entire composition be conducted in one tempo, all the more to show the
contrast in mood and passion. The Te Deum was one of Verdi’s favorites among his own
compositions, and he wished to have the score of the Te Deum buried with him.

Quattro Pezzi Sacri

Laudi alla Vergine Maria

Vergine madre, figlia del tuo Figlio, Virgin Mother, daughter of thy son,
Umile ed alta più che creatura, The most humble and sublime of all creations,
Termine fiso d’eterno consiglio, Determined goal by divine decree,
Tu se’ colei che l’umana natura Thou art she, who ennobled mankind,
Nobilitasti si, che’l suo Fattore That the creator did not disdain,
Non disdegnò di farsi sua fattura. To become his creation.

Nel ventre tuo si raccese l’amore, In thy womb love gathers,

Per lo cui caldo nell’eterna pace By warmth in eternal peace,
Cosi è germinato questo fiore. As this flower has bloomed in.

Qui se’ a noi meridiana face Here, thou art with the blessed
Di caritate, e giuso, intra i mortali, The burning torch of charity,
Se’ di speranza fontana vivace. On earth among the mortals,
Thou art an inexhaustible source of hope.

Donna, se’ tanto grande, e tanto vali, Lady, thou art so great and prevailing,
Che qual vuol grazia, ed a te non ricorre, That whomever would have grace
Sua disianza vuol volar senz’ali. And does not turn to thee,
Their desire is as wanting to fly without wings.
La tua benignita non pur soccorre
A chi dimanda, ma molte fiate Your benevolence not only to succor who asks,
Liberamente al dimandar precorre. But many times freely precedes the asking.
In te misericordia, in te pietate, In thee mercy, in thee pity, in thee magnificence,
In te magnificenza, in te s’aduna In thee is gathered all the virtue of any creation.
Quantunque in creatura è di bontate.
Hail. Hail.
Ave. Ave.
Translated by Kelly Kinoshita

Te Deum
Te Deum laudamus, We praise thee, O God:
Te Dominum confitemur, We acknowledge thee to be the Lord.
Te aeternum Patrem omnis terra veneratur. All the earth doth worship thee:
The Father everlasting.
Tibi omnes Angeli, To thee all angels cry aloud:
Tibi coeli et universae Potestates, The Heavens, and all the powers therein.
Tibi cherubim et seraphim incessabili voce proclamant: To thee Cherubin and Seraphin continually do cry,
Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Holy, Holy, Holy. Lord God of Sabaoth; Heaven
Pleni sunt coeli et terra majestatis gloriae tuae. and earth are full of the Majesty of thy glory.

Te gloriosus Apostolorum chorus, The glorious company of the Apostles praise thee.
Te Prophetarum laudabilis numerus, The goodly fellowship of the Prophets praise thee.
Te Martyrum candidatus laudat exercitus. The noble army of Martyrs praise thee.
Te per orbem terrarum sancta confitetur Ecclesia: The holy Church throughout all the world doth
acknowledge thee;

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Patrem immensae majestatis, The Father of an infinite Majesty;
Venerandum tuum verum et unicum Filium, thine honorable, true, and only Son;
Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost: the Comforter.

Tu Rex gloriae, Christe. Thou art the King of Glory: O Christ.

Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father.
Tu ad liberandum suscepturus hominem When thou took’st upon thee to deliver man:
non horruisti Virginis uterum. Thou didst not abhor the Virgin’s womb.
Tu, devicto mortis aculeo, When thou hadst overcome the sharpness of death:
aperuisti credentibus regna coelorum. Thou didst open the Kingdom of Heaven to all
believers.
Tu ad dexteram Dei sedes in gloria Patris. Thou sittest at the right hand of God:
Judex crederis esse venturus. In the Glory of the Father.
We believe that thou shalt come to be our Judge.
Te ergo quaesumus tuis famulis subveni, We therefore pray thee, help thy servants:
quos pretioso Sanguine redemisti. Whom thou hast redeemed with thy precious blood.
Aeterna fac cum Sanctis tuis in gloria numerari. Make them to be numbered with thy Saints:
In glory everlasting.

Salvum fac populum tuum, Domine, O Lord, save Thy people:

et benedic haereditate tuae. And bless thine heritage.
Et rege eos, et extolle illos in aeternum. Govern them: and lift them up forever.
Per singulos dies benedicimus te, Day by day we magnify thee;
Et laudamus nomen tuum in saeculum seculi. And we worship thy Name, ever world without end.

Dignare, Domine, die isto, Vouchsafe, O Lord:

sine peccatos nos custodire. To keep us this day without sin.
Miserere, miserere nostri, Domine. O Lord, have mercy upon us.
Fiat misericordia tua, Domine, super nos, O Lord, let thy mercy lighten upon us:
quemadmodum speravimus in te; As our trust is in thee.
non confundar in aeternum. O Lord, in thee have I trusted:
Let me never be confounded.

Requiem
Verdi’s Requiem is one of the monuments of 19th century choral literature, both sacred and
secular. Dedicated to the beloved Italian writer Alessandro Manzoni, this 1872 composition
calls forth all the drama and passion of Verdi’s operas, from the thunder and majesty of the
Dies Irae to the gentleness of the Agnus Dei. In fact, some critics felt that Verdi’s sacred
music was much too operatic to be acceptable music for worship. We sing today the Sanctus,
the double chorus exultant acknowledgement of the holiness and glory of God. Verdi begins
the section with the full chorus announcement of that holiness. One by one the voices enter
with exuberance until all eight parts join in the rejoicing. The chorus then divides in
acclamation, with the first chorus singing of God’s glory, while the second responds with
highest praise.

Sanctus Sanctus
Sanctus, Sanctus, Sanctus, Holy, Holy, Holy,
Dominus Deus Sabaoth. Lord God of Hosts.
Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory.
Hosanna in excelsis. Hosanna in the highest.

Program notes by Paige Merrett, Helene Whitson, Lou Ann Wieand

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 The Artists
Robert Gurney, Music Director
Founder and Music Director Robert Gurney is Organist-Choirmaster at San Francisco’s historic
Trinity Episcopal Church, Organist at Marin County’s Temple Rodef Sholom, and one of the Museum
Organists at the California Palace of the Legion of Honor.

A resident of San Francisco since 1978, he has been an active church musician, organ recitalist, vocal
coach, and has served as Assistant Conductor-Accompanist for the San Francisco Choral Society, the
Sonoma City Opera and the Contra Costa Chorale.

A native of Ohio, he received his education at Youngstown State University and the Cleveland Institute
of Music, studying conducting with William Slocum. At Youngstown, he served as Student Assistant
Conductor of the Concert Choir which won first place in a college choir competition sponsored by
the BBC. In Summer 1997, he was invited to participate in an international choral music festival
Music Of Our Time, held in Parthenay, France, and directed by John Poole, Conductor Emeritus, BBC
Singers.

Robert Gurney has directed the San Francisco Lyric Chorus in innovative performances of little-
known works by composers of exceptional interest. The Chorus’ Discovery Series has introduced an
eight-part Ave Maria by Tom·s Luis de Victoria, the West Coast premiere of Four Motets To The Blessed
Virgin Mary, by Robert Witt, music of Amy Beach, including her monumental Grand Mass in E Flat
and the Panama Hymn, written for San Francisco’s 1915 Panama-Pacific Exposition, and premieres of
works by San Francisco composer Kirke Mechem.

David Hatt, Organ

David Hatt is the Assistant Cathedral Organist at St. Mary’s Cathedral in San Francisco and Organist
of Hillcrest Congregational Church in Pleasant Hill, California. Born and educated in the West, he
seeks to continue the independent musical tradition of his mentor, polymath composer Barney Childs.

He obtained a Master of Arts in Music Degree from the University of California, Riverside, following
organ study with Raymond Boese and Anthony Newman and composition study with Childs. In
1976 he became briefly famous for two events, a solo piano performance of Eric Satie’s Vexations,
followed a few months later by a Master’s Recital of 20th-century music on five keyboard instruments
which was over 5 1/2 hours long.

Wayne Leupold Editions has just published his Apollo 13 for organ and narrator, a virtuosic treatment
of spaceflight as well as an instructional piece intended to acquaint youth with the organ. Other
publications have included carillon pieces and Organbooks, selections of which have been presented at
conventions of the Society of Composers, Inc., of which he is a member.

David has also been involved in the recent Augsburg publication of more of David N. Johnson’s
Trumpet Tunes, having arranged the Trumpet Tune in B-flat for organ from the original for trumpet and
organ. He was a member of the Redlands Improviser’s Orchestra and the Anything Goes Orchestra,
and with clarinetist Martin Walker he formed the Walker/Hatt Duo, which made tours of West-coast
colleges, churches and art galleries. He can be heard on recorded releases with each of these groups.
With percussionist Gino Robair, he has presented programs which include virtuoso duo
improvisations. He is also a regular participant in the recital series of St. Mary’s Cathedral, the Shrine
of St. Francis, and Trinity Episcopal Church, Reno, and is a former Dean of the San Jose Chapter of
the AGO.

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Mr. Hatt has served as organ accompanist in the San Francisco Lyric Chorus’ performances of the
Brahms Requiem, Fauré Messe Basse, Vaughan Williams Five Mystical Songs, Verdi Four Sacred Pieces
and Vierne Messe Solennelle . He also has served as rehearsal accompanist for the San Francisco Lyric
Chorus.

Ted Rigney, Tenor

Ted Rigney studied voice at the University of Arizona and theatre arts at the University of Southern
California. From there Ted has performed in many different contexts over the course of his career. His
stage work hails from many well known theatre roles and productions: Simon the Zealot (Jesus Christ
Superstar) with the Arizona Theatre Company, Cornelius Hackl (Hello Dolly); Curly (Oklahoma); Bill
(Kiss Me Kate); Gaylord Ravenal (Showboat); Freddy (My Fair Lady) with the Southern Arizona Light
Opera Company, Pippin (Pippin) with the University of Arizona Experimental Theatre, and also
Giuseppe (Gondoliers) with the Gilbert and Sullivan Company in Arizona. Ted has also performed in
many nightclub acts such as Studio One-Backlot, the Rose Tattoo, American Celebration, and at the
Hyatt Hotel in LA. His choral work includes being a featured soloist with Tucson Symphony Chorus,
the Mission Dolores Basilica Choir, and the San Francisco Gay Men’s Chorus. As well, he has been on
tour in Austria, Germany, and Italy with several choral groups. Currently, Ted is a Nurse Practitioner
with the Trauma Service at San Francisco General Hospital.

Kathryn Singh, Soprano

Ms. Singh studied voice with Marvin Hayes and Roberta Thornburg at the California Institute of the
Arts, and studies presently with Miriam Abramovitsch. She also studied at the Ali Akbar College of
Music. She sings with the Oakland Symphony Chorus, Bella Musica, the Berkeley Bach Cantata
Group and The Arch Street Irregulars. She also is a soprano soloist for Berkeley’s Trinity Methodist
Church. She recently gave a solo voice recital in which she performed (among other works) the world
premiere of Bay Area composer Ann Callaway’s Speak to me, my love from her musical cycle, The
Gardener, No. 29, with text by Rabindranath Tagore. Ms. Singh plays violin with the Berkeley
Community Orchestra and has played violin professionally with the Ventura County Symphony, as
well as other Southern California symphonies.

Stacy Cullison, Rehearsal Accompanist

This season in addition to singing first soprano, Stacy Cullison has served as the San Francisco Lyric
Chorus’ rehearsal accompanist. Hailing originally from Iowa, she has been an active accompanist and
vocalist since junior high and high school. During those years she served as an accompanist and
vocalist for her school chorus, jazz band, and musicals, as well as singing in the musicals and the State
Chorus. She also was a church organist, accompanying the weekly services. She received a Bachelor of
Science degree in Distributive Studies from Iowa State University, with an emphasis on business,
journalism, and speech communication, as well as a minor in music. She also received her Master of
Education degree from Iowa State University, with an emphasis in higher education, educational
leadership and policy studies. While at the University, she also was involved in a number of musical
activities, including scholarship accompanist for the Music Department, accompanist for the
University Chorus, Oratorio Choir, Iowa State Singers (the premiere a cappella group), and Opera,
and musical theater performances. As a singer, she performed in and accompanied a jazz and pop
ensemble, sang in the Oratorio Chorus and ISU Singers (the premiere a cappella group), and sang the
role of Zerlina in the Opera Studio production of Don Giovanni. In addition, from 1987-2001, she
was the organist and pianist for several churches, where she accompanied the choir, and sang when not
accompanying. She also was a freelance musician in Iowa, including pianist/organist/vocalist for
weddings and parties, contract pianist at the Holiday Inn Gateway Center, Ames, Iowa, accompanist
and singer in the Des Moines Choral Society, and the Ames Chamber Artists. Ms. Cullison came to
San Francisco in 2001, where she is employed as the Associate Director, Individual Giving, for the San
Francisco Opera. She joined the San Francisco Lyric Chorus as a first soprano in Spring 2002 and
became our rehearsal accompanist in Summer 2002.
page 20
 San Francisco Lyric Chorus

Sopranos Tenors
Stacy Cullison+ Jason Bernstein
Cassandra Forth# Nanette Duffy
Cristina Gerber Jim Losee*
Sophie Henry+ Robert Newbold+
Haeji Hong Robert Outis
Vanessa Izar Ted Rigney+
Anna Lee
Lynn Mason Basses
Jme McLean
Paige Merrett+ Albert Alden
Andrea Obana*#+ Tom Baynes
Lynn Sagramoso# Peter Butcher
Anne Shaack John Grout
Kathryn Singh+ Steven Krefting+
Helene Whitson# Robert N. Rogers
Lou Ann Wieand+ Bill Whitson#+
Hannah Wolf
#Board of Directors
Altos *Section Representative
+Chamber Chorus
Mauna Amzen
Kris Ashley
Alana D’Attilio#
Elizabeth Gallagher+
Barbara Greeno+
Susan Hendrickson
Kimberly Knigge
Clara Levers
Karen McCahill
Carol Mersey
Rosemarie Picone
Annette Simpson

page 21
 Acknowledgments
The San Francisco Lyric Chorus sends a warm, special thanks to:
Trinity Episcopal Church, San Francisco
Richard Turley, Administrator, Trinity Episcopal Church
Roger LaClear and Paul Zangaro, Sextons, Trinity Episcopal Church
Reverend John Eastwood, Rector, St. Paul’s Episcopal Church
Mark Bruce, Organist and Choirmaster, St. Paul’s Episcopal Church
Linda LeGere and Michael Page, Administrative Staff, St. Paul’s Episcopal Church
for their generous support in facilitating our use of their churches
Chorus Member Volunteers
Tom Baynes Susan Hendrickson Paige Merritt
Peter Butcher Sophie Henry Robert Newbold
Stacy Cullison Haeji Hong Robert Outis
Nanette Duffy Vanessa Izar Robert Rogers
Elizabeth Gallagher Anna Lee Anne Schaack
Cristina K. Gerber Jim Losee Kathryn Singh
Barbara Greeno Lynn Mason Lou Ann Wieand
John Grout Jme McClean
Concert Day Volunteer Staff
Christine Adams Daniel Graf Bonnie Robbins
Megan Cauzillo Valerie Howard Peter Simpson
Tim Dewey-Mattia Ezra Mersey Amrit Singh
David Forth Sabine Thebault

Concert Day Manager Publicity Coordinator Language Assistance

Teal Johnson Andrea Obana Colomba Ghigliotti &
Kelly Kinoshita (Italian)
Chorus Management Postcard Design Anne Schaack (Slavonic)
Coordinator Anna Lee Annette Simpson
Cassandra Forth Beverly Schmidt (German)
Bill Whitson
Rehearsal Accompanist Chorus Website Design &
Stacy Cullison Flyer Design Maintenance Donated by
Sophie Henry Andrea Obana & Fine
Program Preparation Bill Whitson Brand Media, Inc.
Cristina Gerber
Paige Merritt Program Design & Layout Chorus Photograph Taken
Helene Whitson Bill Whitson by Bill Whitson
Lou Ann Wieand
Mailing List Database & Photograph of Robert
Lyric Notes Editor Box Office Gurney by
Tom Baynes Bill Whitson Helene Whitson
page 22
 Contributors
(September 2001-August 2002)

Sforzando ($1000+) Forte (continued)

Anonymous Chorister Andrea Obana
Hartley D. Cravens, Martin & Maria Quinn
Malcolm Cravens Foundation Robert N. Rogers
Helene Whitson Ann P. Sagramoso
Bill Whitson Annette Simpson
Peggy & Lee Zeigler
Fortissimo ($500-$999)
Mezzoforte ($20-$99)
Caroline Crawford
Anthony LaFetra Mauna Amzen
Lynn Sagramoso Kris Ashley
Suzanne Taylor David G. Baker
Tishman Speyer Properties, Thomas J. Baynes
Ezra N. Mersey, Managing Director Carol P. Chamberland
Sarah Costanzo
Forte ($100-$499) Kenneth & Janice Craik
Steven & Robin Crawford
Tom & Ellen Abels Meehan Crist
Julie & Albert Alden Carol Farley
Alana D’Attilio Jack Fong
Alice D’Attilio George Gemignani
Didi Boring Cristina K. Gerber
Peter R. Butcher Polly Glyer
Reverend Robert Warren Cromey & Florence Haimes
Mrs. Anne Cromey Laurie B. Harris
James M. Campbell Mila & Wendell Jewell
Cassandra & David Forth Lois A. Kelley
Barbara & Bob Greeno Bonnie Gratch Lindauer
John Grout Karen McCahill
Sophie Henry Dr. Dale McKenna
Sidonia Diaz-Hubbard & Carol A. Mersey
Douglas Hubbard Ruth K. Nash
Kathleen Keller Sarah Peterson
Carol Knoll Marge Poore
Jim & Carolyn Losee Kristine Poplawski
Carolynn Mason Glenn H. Reid
Karen McCahill Mr. & Mrs. H. Roscoe Ritchie
Carol & Ezra Mersey Mr. & Mrs. G. Craig Sullivan
Mr. & Mrs. Joseph A. Moore Bess Touma
Robert Newbold Kristan Verveniotis
Jeanne E. Newman Elizabeth Zurlinden

page 23
 Donations
The San Francisco Lyric Chorus has been chartered by the State of California as a non-
profit corporation and approved by the U.S. Internal Revenue Service as a 501c(3)
organization. This status means that the Chorus may accept charitable donations, and
donors may claim those donations as tax-deductible.
The San Francisco Lyric Chorus is a young chorus, and we have grown tremendously in
musical ability and in numbers during our few short years. We will continue to provide
beautiful and exciting music for our audiences, and look forward to becoming one of
San Francisco’s premiere choral ensembles. We would like to perform more often with
chamber orchestra and other combinations of instruments, continue to hire professional
singers as soloists, and regularly perform in the East Bay and Marin, as well as in San
Francisco. Continued growth and development, however, will require us to find
increased financial support from friends, audiences and other agencies.
Monetary gifts of any amount are most welcome. All contributors will be acknowledged
in our concert programs. For further information, e-mail rgurney@sflc.org or call (415)
775-5111. Donations also may be mailed to the following address: San Francisco Lyric
Chorus, 950 Franklin Street, #49, San Francisco, California 94109.

Adopt-A-Singer
For as little as $20, you can support the San Francisco Lyric Chorus by adopting your
favorite singer. For $100, you can sponsor an entire section (soprano, alto, tenor, or
bass!) For $150, you can adopt our esteemed Music Director, Robert Gurney. All
contributors will be acknowledged in our concert programs. Donations to this program
are tax-deductible.
Adopt-A-Singer Contributions
(Summer 2002)

Julie & Albert Alden, Dennis Luther,

sponsors of the Bass Section sponsor of Susan Hendrickson and
Anonymous Chorister, the Alto Section
sponsor of Robert Gurney Martin Thelonius Mercy,
Peter Butcher, sponsor of Annette Simpson
sponsor of the Bass Section Andrea Obana,
Gale Frances, sponsor of the Soprano Section
sponsor of Andrea Obana Bob Rogers,
Cristina K. Gerber, sponsor of Karen McCahill
sponsor of Cassandra Forth Chris Sadlak & Mee Lang Kwong,
Sophie Henry, sponsors of Jason Bernstein
sponsor of the Soprano II section Annette Simpson,
Jim Losee, sponsor of Helene & Bill Whitson
sponsor of the Tenor Section and the Alto Section
page 24
 John Poole Workshop

Thanks to all those who contributed funds so that the San Francisco Lyric Chorus could
bring internationally recognized choral conductor and teacher John Poole to work with
the chorus on the compositions we presented during our spring trimester. Chorus
members found our two days with Maestro Poole to be both delightful and wonderfully
inspiring. John Poole was Conductor of England’s B.B.C. Symphony Chorus, 1968-
1971 and Director of the B.B.C. Singers, Britain’s only full-time professional chamber
choir, 1972-1989. Mr. Poole conducted the Singers in hundreds of broadcasts of music
of all periods, including many first performances and British premières. He still
maintains a link with the BBC as Guest Conductor of the Singers. From 1990-1995 he
was Music Director of the Groupe Vocal de France, a chorus that specializes in
contemporary repertoire. In 1996 he founded the Académie Internationale in
Parthenay, France, a workshop designed for singers and professional conductors. Those
workshops include commissioned works from such composers as Giles Swayne and
Olivier Greif. Maestro Poole continues to appear as a guest conductor of major choirs
and orchestras world-wide. At present, he is a member of the Choral Faculty of the
Indiana University School of Music.

The John Poole Workshop was part of the San Francisco Lyric Chorus continuing
choral education program for members of the chorus. In addition, we have worked
with voice teachers/coaches Ruth Rainero, Tim Krol, Kristen Womack and Kaaren Ray.
Continuing choral education helps chorus members to develop individually, and helps
the chorus to create ensemble and blend.

The San Francisco Lyric Chorus is exploring the possibility of bringing Maestro Poole
back next year in a June choral workshop that we will open to experienced Bay Area
singers. Working with John Poole is an experience not to be missed. The workshop will
include rehearsals and preparation of works chosen and conducted by Maestro Poole,
culminating in a concert. In addition, Maestro Poole will give a separate workshop for
choral conductors. If you are interested in participating in such a festival, please e-mail
Helene Whitson at hwhitson@choralarchive.org or call 510-849-4689.

page 25
 Trinity Episcopal Church, San Francisco

Trinity Episcopal Church, founded in 1849,

was the first Episcopal congregation west of
the Rocky Mountains. Some of the parish
pioneers were among the most prominent San
Franciscans of their day: McAllister, Turk,
Eddy, Austin, Taylor, and many others.

The parish’s significant role in the history of

San Francisco continues today in the vision of
its recently retired rector, the Rev. Robert
Warren Cromey. Notable among Trinity’s many community and social programs is
the founding of Project Open Hand by Ruth Brinker in 1985.

The present church structure, built in 1892, was designed by Arthur Page Brown, who
was also the architect of San Francisco City Hall and the Ferry Building. Inspired by
the Norman-Romanesque architecture of Durham Cathedral, it is built of roughhewn
Colusa sandstone and features a massive castle-like central tower.

The Trinity organ was built in 1924 by Ernest M. Skinner and is one of the finest
remaining examples of his artistry. Built after his second trip to Europe, it reflects the
influence of his long, creative association with the great English builder Henry Willis,
III. The instrument’s four manuals and pedal contain many of the numerous orchestral
imitative voices perfected by Skinner. Among them, the Trinity organ contains the
French Horn, Orchestral Oboe, Clarinet, Tuba Mirabilis, and eight ranks of strings.
This wealth of orchestral color provides a range of expressiveness evocative of a
symphony orchestra.

The newly restored historic 1896 Sohmer nine foot concert grand piano is used
occasionally in Lyric Chorus performances. This fine instrument, built during an era of
experimentation in piano building, boasts some unique features, suggesting that this
instrument was a showpiece for the Sohmer Company. The entire piano is built on a
larger scale than modern instruments. There are extra braces in the frame for increased
strength. Each note has an additional length of string beyond the bridge to develop
more harmonics in the tone. The treble strings are of a heavier gauge and thus stretched
under higher tension than modern pianos, and there are additional strings at the top
that do not play—added solely to increase the high harmonic resonance in the treble
(producing that delightful “sparkle”).

Due to its superb acoustics, magnificent organ, and the commitment of a long
succession of musicians, Trinity has presented a wealth of great music to the City. The
San Francisco Lyric Chorus has become a part of this tradition, thanks to the generous
encouragement and nurturing of this vibrant congregation.

page 26
 St. Paul’s Episcopal Church, Oakland

Organized in 1871, St. Paul’s Episcopal Church has

occupied four different sites in Oakland, beginning
construction on its present site in 1912. In addition to
working with its own community, St. Paul’s has assisted
in support of or in the founding of parishes in ethnic and
other communities of San Francisco and Oakland.

Under both the clergy and lay leadership, the parish

serves a wide variety of needs in the community,
including services to refugees and immigrants, the
sponsorship of the creation of St. Paul’s Towers, a
retirement community and life-care facility, and the
sponsorship of the development of Clausen House, a
residential treatment center for developmentally disabled adults. Under the current
leadership of the Rev. Dr. John H. Eastwood, the parish ministers in the community
through Senior Resources, a Food Coop, and supports St. Paul’s Episcopal School, a
private school with a public purpose.

Built in 1912, the English Gothic Revival Church, a Victorian adaptation of the
Norman Church style, is listed on the Oakland Heritage Register as an historic building.
Heavily damaged in the Loma Prieta earthquake, St. Paul’s reopened in 1998 with a
beautifully restored building. The church has established itself as a popular East Bay site
for concert performances and recitals.

The great organ of St. Paul’s was built by the Austin Organ Company in 1934, one of
the most creative periods in that company’s history. The organ’s warm, expressive tone
and its supportive presence in the room make it an especially effective accompanying
instrument for a chorus.

page 27
 Advertisements

Chorister Thank-you’s
The listed choristers wish to thank those individuals who have inspired
our efforts and have supported our singing commitment to the Lyric
Chorus. They have shown patience, have shared their expertise and have
given motivation and encouragement to us as we come together to make
music.

Andrea Obana: Rian Schmidt; Gale Frances

Lou Ann Wieand: Sheila Marks

Helene Whitson: My heartfelt thanks to all who have made my musical

life blessed, especially Bill, Robert, John Poole, and the San Francisco
Lyric Chorus

Lynn Sagramoso: To my wonderful, supportive husband – all my love –

Lynn

Kathryn Singh: Thank you to my nice singing friends Alana, Cristina,

Cassandra nad guru and gaurauga. A special thank you to Bill and
Helene for all their hard work and for their expertise.

Cristina K. Gerber: Thank you to the First Church of Religious

Science, Oakland for godly guidance.

A Chorister: Thanks to Cassandra Forth for her leadership. Many

thanks to Bill and Helene Whitson for all they do for the chorus.

Jim Losee: Thank you Carolyn, Dylan, Sue Tuskes, and Colleen Casey.

Annette Simpson: Ted Rigney – thanks for filling the Mendelssohn with
a truly romantic spirit. Anne Schaack – thanks for her Russian coaching
done with skill and charm.

Karen McCahill: Annette Simpson – thanks for her mellifluous tones

on the diction learning tapes which got us through the German
language selections. Annette should go into professional book taping!

page 28
 Advertisements

The
San Francisco
Bay Area
Chorus
Directory The
Fourth Edition
1999 San Francisco
Compiled by Bay Area
Helene Whitson Chorus Directory
and Valerie Howard

• The indispensable guide to Northern California choral groups

• Lists and describes nearly 500 choruses which perform for the general public
and/or are open to singers from the general public
• Community choruses, college and university groups, professional ensembles,
some church choirs, opera & theater companies, children’s choruses, choruses for seniors,
singalongs, specialty ensembles
• All genres: general, classical, opera, early music, contemporary, ethnic, folk, popular,
church/sacred, gospel, barbershop, jazz, rock
• Appendixes list orchestras that play with choruses, stores that sell choral scores, libraries,
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• Indexes by conductor, type of chorus, rehearsal location, rehearsal day
• 744 pp. 8 1/2”x11” commercially printed, perfect binding, laminated cover
• Produced and sold below cost by the compilers as a community service

Mail Order Price: $18.50

Add $1.48 sales tax & $5.02 postage and shipping=$25 total

To order by mail, send name & address For further information, call
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Whitson Professional Services, to hwhitson@choralarchive.org
Whitson Professional Services Also see our website for updates,
1824 Arch St. corrections, additions:
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page 29
 Saturday, November 30

Robert Gurney and

Sunday, December 1
Organist
4 pm:
Music of Karg Elert,
plays the
J.S. Bach and
Louis Vierne
Magnificent
E.M. Skinner Saturday, December 28

Organ and
Sunday, December 29
4 pm:
at the
(with the San Francisco Lyric
California
Chorus):
Palace
Highlights from
of the
Johann Strauss, Jr.’s Die
Legion of Honor
Fledermaus, and holiday
favorites
Lincoln Park
San Francisco

page 30
 Sing With Us in Fall 2002!

Robert Gurney, Music Director

Music of Thanksgiving and Harvest

Johann Sebastian Bach  Nun Danket Alle Gott (Cantata 192)

Leonard Bernstein  Choral Suite from Candide

Aaron Copland  The Promise of Living from The Tender Land

Alice Parker  Wondrous Love  God is Seen  Invocation: Peace

Kirke Mechem  Give Thanks Unto the Lord

Lukas Foss  Cool Prayers from The Prairie

Srul Irving Glick  The Hour Has Come

  
REHEARSALS BEGIN MONDAY, SEPTEMBER 9, 2002

REHEARSALS: PERFORMANCES:
Mondays, 7:15-9:45 pm Saturday, November 23, 2002, 8 PM
Trinity Episcopal Church Sunday, November 24, 2002, 5 PM
Bush & Gough Streets, San Francisco
FOR FURTHER INFORMATION: call 415-775-5111
AUDITIONS: By appointment Email: rgurney@sflc.org
Website: http://www.sflc.org
page 31
page 32