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The DeKalb Choral Guild, Inc.
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Psalms and Songs of Celebration

Mary Evelyn Root, Director
Toni Jove, Associate Director
Leanne Elmer Herrmann, Accompanist

In conjunction with Arts & Ideas at Oglethorpe University

Saturday, May 13, 2000
Conant Center for the Arts
Oglethorpe University
Atlanta, Georgia

This Is My Song, music from "Finlandia" by Jean Sibelius (1865-1957)

Psalm Settings from the Renaissance to the Contemporary

Psalm 118 - This Is the Day, Anonymous (c. 1600)

Three Settings of Psalm 96:
Cantate Domino by Giuseppe Ottavio Pitoni (1657-1743)
Cantate Domino by Hans Leo Hassler (1564-1612)
Cantate Domino by Z. Randall Stroope (b. 1953)
   Paula Keinert, soprano Anna Lange, tambourine

Psalm 117 - Motet VI: Lobet den Herrn, alle Heiden by J. S. Bach (1685-1750)

Psalm 100 - Jauchzet dem Herrn by Felix Mendelssohn-Bartholdy (1809-1847)
Paula Keinert, Faye Goolrick, Malie Umbach, Hilary Copp, Judy Thompson, Al Yates, Bill Henderson, Stephen Hall, Cliff Norris, ensemble

Psalm 84 - How Lovely Is Thy Dwelling Place by Johannes Brahms
  from Ein deutsches Requiem, Op. 45 (1833-1897)

Psalm 47 - O Clap Your Hands by John Rutter (b. 1945)

Songs of Celebration

From Five Flower Songs, Op. 47 by Benjamin Britten (1913-1976)
   The Succession of the Four Sweet Months
   The Evening Primrose Ballad of Green Broom
   Toni Jove, conducting

A Feast of Lanterns by Carolyn Jennings

To Saint Cecilia by Norman Dello Joio (b. 1913)

Program Notes

by Michalene Gorney

"This Is My Song" is a harmonization of the well-known melody from the orchestral tone poem Finlandia by Jean Sibelius (1865-1957). The DeKalb Choral Guild proudly adopted this piece as its theme during the 1997-98 season. This particular harmonization is a composite of versions found in The Church Hymnary (Revised, 1927), The Hymnal (Presbyterian, 1933), and Sibelius' own piano score for Finlandia.

The 150 poems contained in the Book of Psalms have often been used as texts for musical composition, first as chant melodies within the context of the early Christian church, then as the basis for polyphonic settings (with separate melodies sung simultaneously) beginning in the 15th century. Inscriptions indicate that the Psalms were to be sung according to specific melodies and perhaps with instrumental accompaniment. Would that we could hear them in their original form! As evidenced in tonight's concert, the Book of Psalms has inspired, and continues to inspire, works which span the history of musical style from the Middle Ages to the present day.

The Italian Giuseppe Ottavio Pitoni (1657-1743), was by the age of seventeen in charge of the choir at the Cathedral of Assisi. In the course of his career, he was also director of St. John Lateran Church and choirmaster at St. Peter's Cathedral, where he stayed for twenty-four years. He was noted for his compositional facility and reportedly wrote all parts separately.

The Cantate Domino of Hans Leo Hassler (1564-1612) is a masterwork of the late German Renaissance which shows the influence of the polychoral style. In this style two or more choral groups alternate in performance but sometimes sing together as well. On the words "Et benedicite nomine," the music is in triple meter with a strong harmonic movement typical of German style. Hassler began a fusion of Italian and German styles, helping to establish the character of German music, including that of J. S. Bach, during the Baroque era which followed.

Z. Randall Stroope (b. 1953) is Kayser Professor at the University of Nebraska at Omaha where he directs the Concert Choir and the University Chorus. In addition to directing choral activities at the University, he conducts the Nebraska Choral Arts Society and the Nebraska Children's Chorus. He is widely known as a conductor, lecturer and composer, having concertized with choruses throughout the United States, Canada, and Europe.

Johann Sebastian Bach (1685-1750) enjoyed an uneventful but successful career, similar to that of musical functionaries of his time in Lutheran Germany. He served, in order, as organist at Arnstadt, as court organist at Muhlhausen, and as music director at the court of a Prince of Cothen. His last position was as Cantor of the St. Thomas School in Leipzig, a respected and important position in the Lutheran world. Bach's musical output was usually dictated by the requirements of whatever position he held at any given time. Thus, his six motets were probably written for particular occasions, such as a funeral or special church service. The occasion which inspired Lobet den Herrn, alle Heiden is unknown.

At Leipzig in Bach's time, the word "motet" meant a choral composition, usually contrapuntal, without obligatory instrumental parts and with a biblical or choral text. Lobet den Herrn, alle Heiden differs from Bach's other motets in four ways: it is not based on an existing chorale; it consists of only one movement; it has a written continuo obbligato, a unique part for the organ which does not double the vocal lines; and it consistently employs four voice parts from beginning to end. For Lobet den Herrn, alle Heiden, Bach chose the text of Psalm 117, the shortest Psalm text in the Bible. The three sections of the motet are easily distinguished by text and texture. The first section is a fugal (imitative) setting of the first verse, exhorting all nations to praise the Lord. The words "Denn seine Gnade" begin the second section in a relatively homophonic (chordal) style, but the spirit of the opening soon dominates with a return to faster-moving note values. The "Alleluja," is a joyous and fitting end to a composition written, as were all of Bach's works, "to the glory of God."

Felix Mendelssohn-Bartholdy (1809-1847) was blessed with wealth and position, as well as artistic talent. Though Mendelssohn's family was Jewish, he was baptized and raised in the Lutheran Church in order to fully partake of the German culture in which he lived and in order to gain social acceptance. Though devoted to the Lutheran Church throughout his life, Mendelssohn was never fully accepted as a Christian by his contemporaries, nor was he separated from his Judaic heritage. To his credit are three oratorios - major religious works performed in concert by voices, chorus, and orchestra - as well as over a hundred sacred works for varying combinations of voice and instruments. In 1842, when Jauchzet dem Herrn was written, Mendelssohn lived in Berlin, having accepted in 1841 an invitation from King Friedrich Wilhelm IV to take charge of music in his court and in the Cathedral.

Ein deutsches Requiem (A German Requiem), Op. 45, is by far Brahms' best-known choral composition. Johannes Brahms (1833-1897) was first compelled to work on the Requiem upon the death of his close friend and mentor, Robert Schumann, in 1856. With his mother's death in 1865, Brahms returned to the work, completing six movements in 1866; a fifth movement was added in 1869. Clara Schumann wrote, "We all think he wrote in her [his mother's] memory, though he never expressly said so." "How Lovely Is Thy Dwelling Place" is the centerpiece of Brahms' masterwork. The text of the Requiem, compiled from Martin Luther's German translation of the Bible, conveys feelings of hope and consolation - a comfort for the living rather than a prayer for the departed. After completing this, the largest work he had ever composed, Brahms was deeply satisfied. "Now I am consoled," he said, "I have surmounted obstacles that I thought I could never overcome and I feel like an eagle, soaring ever higher and higher."

John Rutter (b. 1945) was born in London and educated at Clare College of Cambridge University. He is known as the founder of the Cambridge Singers, as a choral conductor, and as a masterful arranger of songs, anthems and carols. His own compositions, written in a traditional style, are almost exclusively choral, but he has also written large orchestral works, opera, pop and light music, and music for BBC television. O Clap Your Hands, a bright and rhythmic setting of Psalm 47, was written for Lionel Dakers and the Incorporated Association of Organists.

Benjamin Britten (1913-1976) began composing at the age of five and never stopped, despite additional interests in cricket, tennis, math and science. He spent only a brief time outside of England and never strayed far from his roots. Childhood associations pervade his music in the form of English poetry, plainsong, church music, choirboys' voices and church bells. Britten was born on November 22nd, the feast day of St. Cecilia, who is considered the Patron Saint of Music.

Britten's music is dominated by the voice - in operas, songs, cantatas, choruses, and other works which cannot be categorized. The Five Flower Songs are sensitive, carefully crafted works which pay homage to the English part-song tradition. But they are distinctly contemporary, as evidenced by the rhythmic distortion of the 4/4 time signature in "The Evening Primrose" and melodic lines which create pungent, but beautiful, dissonances. "The Succession of the Four Sweet Months" takes as its text the poetry of Robert Herrick, an English country clergyman who lived from 1591 to 1674. "The Evening Primrose" was written by John Clare, a farm laborer and gardener who enjoyed celebrity as a "peasant poet" in the 1820s. These songs were written for the 25th Wedding Anniversary of Leonard and Dorothy Elmhirst of Darlington in April, 1950.

Carolyn Jennings, Associate Dean for Fine Arts and Professor of Music, Piano, at St. Olaf College in Northfield, Minnesota, is active as a composer, pianist, teacher, conductor and workshop leader. Her choral compositions and arrangements are widely sung by church, community, school, and college choirs. The "Feast of Lanterns," or "Lantern Festival," is the last in a series of Chinese springtime celebrations. Often referred to as a "Second New Year," this holiday originated with the ancient belief that celestial spirits could be seen flying about in the light of the first full moon of the lunar calendar. To aid in the search for spirits, celebrants used torches, which soon gave way to lanterns of every conceivable shape, size and color. Brilliant displays of fireworks combine with these glowing works of art to illuminate the night sky. The DCG first performed this work on the most recent Feast of Lanterns, February 19, 2000.

Norman Dello Joio (b. 1913) writes simple, directly expressive music, influenced by a variety of musical styles. As a child, he was immersed in Italian opera and Roman Catholic liturgical chant. (His father was organist and Choir Director at the church of Our Lady of Mount Carmel in New York.) Jazz held a strong attraction for him and, before the age of 20, he had his own jazz band. Under teacher Paul Hindemith, Dello Joio learned discipline and structure but was also encouraged to give free rein to his own unique talents. Among his works are a large number of choral compositions containing (not surprisingly) elements of Gregorian Chant, Italian opera, and jazz.

To Saint Cecilia, with text adapted from the poem "A Song for St. Cecilia's Day" by John Dryden, was commissioned by the University of Kansas and dedicated to the Concert Choir, University of Kansas, Clayton Krebiel, Conductor. The main purpose of this work is the musical expression of text. Tone-painting is obvious with words like "thunder," trumpets," "violins," and "organ," to name just a few - no doubt you will discover more! On the words "Through all the compass of notes he ran," Dello Joio indeed uses within his melody all twelve notes of the octave. In spite of the expressive use of dissonance, the harmony remains basically diatonic, always ending on a familiar-sounding chord.

Words of Thanks and Farewell

by Mary Evelyn Root, Music Director

I have avoided writing this "farewell" for several weeks, and now a deadline is upon me . . . I know writing this is quite necessary for me as I process this milestone in my life, and I know it will be cathartic for me. This procrastination is, indeed, the avoidance of the process that will bring me face to face with the reality of the very difficult decision I made nearly nine months ago to resign my position with the DeKalb Choral Guild.

I feel no strong need to revisit and recapitulate these eight seasons of rehearsals and concerts - I hope that the repertoire and performances speak for themselves, for certainly we have created some amazing, even life-changing moments as a chorus and audience. I suppose that I want to monopolize this soapbox one more time to address relationships that are vital to creating good choral sound and my philosophical premise that art is a necessity for humanity. I know you will indulge me a bit of sentimentality and sermonizing!

My mentor, the late Clayton Krehbiel, often said to his students, "Good music is right notes at the right time," and I am definitely his disciple on this front. The founder of the DeKalb Choral Guild, my predecessor, William O. Baker, set a standard of musical excellence that was a pleasure to inherit. I hope he would agree that the tradition of good musical skills and accuracy has continued during these eight years of my tenure. Periodically, the Board of Trustees of this fine chorus has discussed our "mission," and a few years ago we realized that, unlike many choruses, our primary focus was not turned entirely outward to an audience - that the greatest service we provide is to our membership as we grow and expand in the process of study and internalizing the music we perform.

In the course of achieving those "right notes at the right time," we built a wonderful partnership, and as a chorus, we know undoubtedly that, along with "right notes at the right time," trust is also vital to good music making. There is that trust among singers that comes from a willingness to be vulnerable and known to those with whom we sing as we put our unique voices "out there;" there is the bonding of a unified purpose, and the individual singer's reconciliation between the self and the choral sound. And, yes, there is the trust and intimacy that must happen between podium and singers as well. That trust is built upon the chorus embracing the conductor's concept of the desired choral sound, and the DeKalb Choral Guild has embraced me in a musical love affair that has blossomed into deep intimacy. Among musicians, the conductor's role is entirely unique in that conductors do not actually produce the sound, and thus, the conductor depends entirely upon the musicians before her or him to "flesh out" the concept and interpretation. Trust me, when the chorus actually makes real a conductor's mental concept of the sound, it is entirely magical, and that sheer ecstasy is unarguably delivered to the audience's ears. With any trust there is risk, and, perhaps, that is what makes it so exhilarating. Thank you, DCG, for trusting me, and for creating an atmosphere that felt safe enough to trust you! The great conductor Toscanini said, "Make every rehearsal a performance and every performance a debut." In eight years we have consistently done just that!

At last, our society is awakening to the truth that as humans we are more than machines and that life must be about more than work and sleep. I would never use my position in this "secular" setting to address matters of faith and religion, but personally I have a hope that all humankind will recognize that personal spirituality is an inseparable part of who we are. As members of this Creation, I firmly hold that we are "programmed" to be creative. Beauty is not a bonus, and life without beauty becomes rote and meaningless. The repercussions of public arts funding are immeasurable, yet we know from hard evidence that society produces healthier, happier, more balanced people when participation in creative endeavors becomes a part of our lives. What we do as musicians brings such profound meaning to our lives. The support of organizations like the DeKalb Choral Guild is an important part of what we say collectively about meaning and beauty in our lives. I thank those of you who have continued to support us through contributions and by attending our performances. You have enabled us in so many ways.

To end tonight's performance we offer Dello Joio's amazing musical setting of Dryden's monumental poem "To Saint Cecilia" as celebration of music - may we all recognize the eternal reverberations of our music making. To quote Dryden, " So when the last and dreadful hour This crumbling pageant shall devour, The trumpet shall be heard on high, The dead shall live, the living die, And Music shall untune the sky!" DCG, my gratitude is inexpressible and my sorrow is immense. I am forever indebted to you for the education and beauty I have gleaned as I have stood before you these eight years. Keep doing what you do so well!

With Love, Mary