REQUIEM FOR SOLACE
Norwegian composer Kim André Arnesen’s Requiem for Solace blends the text from the traditional Requiem Mass, poetry by Emily Dickinson, and an anonymous English poem into a deeply moving fifty-minute composition. In the words of the composer, the work is meant to offer “solace to those in pain and grieving, or to provide comfort in moments of remembrance and honor.” In alignment with our theme this year—Crossings: A Choral Celebration of 200 Years of Scandinavian Immigration to the United States—it is a fitting tribute to the enduring legacy of immigrants who overcame immense struggles to make this land their home and contribute to its flourishing.
– Emerson Eads
Program note from the composer
My first experience with a Requiem was as a boy soprano at the age of 12 singing Mozart’s Requiem. It was my favorite work in the choir, and I remember sitting at the piano many times at home, playing the whole work myself. Later I discovered the Requiems by Fauré, Duruflé, LloydWebber, Schnittke, and many others and had some great experiences with them. In fact, I started to buy recordings of every Requiem I could find. With my fascination of Requiems, I have wanted to write on myself for many years, and when I was commissioned to write a big work for the boys’ choir, I had performed Mozart’s Requiem with as a child, I was certain I wanted to write a Requiem dedicated to them. Although I knew it was going to be challenging, I had overcome the fear of writing a work with a text that so many great composers had used before me. I felt ready to make a Requiem that could be different and in my own idioms and reflections. To make room for a couple of new texts I didn’t use the complete text of the Requiem Mass. I wanted a text that could be inspiring for people who can’t find a meaning to their life. I found Emily Dickinson’s Not in Vain and decided to make it a part of my Requiem. It’s a text that tells us that in helping others, we can give our life meaning. We too often measure success in recognition, achievements, social status etc, and I think this poem is showing us instead how to feel successful by what we do for others. My Requiem is not dedicated ot the memory of any particular person or group. I wanted to write a Requiem that could provide some solace to people who are in pain and grieving, or to assist in a moment of remembrance and honoring the loved ones who we are missing.
– Kim André Arnesen
1. Requiem Aeternam
The opening movement begins with the solemn tolling of bells, accompanied by a sustained pedal tone in the low strings. Rising two-measure gestures in the higher strings evoke the ascent of prayers from the gathered assembly. Departing from the chant-based requiem masses of earlier traditions, this setting of Eternal rest, grant unto them, O Lord ascends in four similar phrases, culminating in fervent repetitions of Let perpetual light shine upon them, O Lord. A solo trumpet enters, punctuated by brief interjections from the choir. The opening pedal tone returns a minor third higher, leading into a male choir’s setting of A hymn of praise is due to You in Zion, O God. The movement ends as it began, with the reverberating sound of church bells and the rising prayers of the faithful.
Requiem aeternam, dona eis,
Domine:
Et lux perpetua luceat eis.
Te decet hymnus Deus in Sion, Et tibi redetur votum in Jerusalem:
Exaudi orationem meam, Ad te monis caro veniet.
2. Dies Irae
Rest eternal grant to them, O Lord, And Let perpetual light shine upon them. A hymn befits thee, O God in Zion, And to thee a vow shall be fulfilled in Jerusalem.
Hear my prayer, For unto thee all flesh shall come.
As the name suggests, the Day of Wrath is portrayed through a relentless, driving force in the strings and percussion, evoking a world spiraling toward chaos. The choir fearfully stammers Di-di-di-es-I-rae, their voices marked by moments of pleading. The trumpet alternates between military fanfares and alarm-like sirens. With fierce intensity, the choir delivers the centuries-old text in a single sustained note, triggering apocalyptic howls that embody a people on the brink of extinction.
Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla.
Quantus tremor est futurus, Quando judex est venturus.
Liber scriptus proferetur, In quo totum continetur
Day of wrath, that day, Shall dissolve the world into embers, As David prophesied with the Sybil. How great the trembling will be, When the judge shall come.
A written book will come forth in which all will be contained
Judex ergo cum sedebit, Quid-quid latet apparebit.
Tuba mirum spargens sonum,
Per sepulcra regionum, Coget omnes ante thronum.
Mors stupebit et natura, Cum resurget creatura,
Judicant responsura.
Quid sum miser tunc dicturus?
Quem patronum rogaturus?
3. Not in Vain
When therefore the judge is seated, Whatever lies concealed will be revealed.
The trumpet spreading its wondrous sound
Through the tombs of every land, Will summon all before the throne. Death and nature will be astounded, When all creation rises again, To answer the judgement.
What am I a poor wretch to say?
What protector shall I ask for?
Emily Dickinson’s poignant poem is set in the same Aeolian mode that opened the Requiem. The mezzo-soprano introduces the famous text, soon joined by the choir’s repeated cries of Lord, have mercy, Christ, have mercy. The merging of Dickinson’s words with the Kyrie creates a poignant interplay: a life spent extending mercy toward living things, paired with the upward-reaching desire for personal redemption. It is as though these two forces— giving mercy and receiving personal redemption—are inseparably intertwined.
If I can stop one heart from breaking I shall not live in vain:
If I can ease one life the aching, Or cool one pain, Or help one fainting robin
Unto his next again, I shall not live in vain.
Kyrie eleison, Christe eleison.
Kyrie eleison.
Lord have mercy. Christ have mercy. Lord have mercy.
4. Lacrimosa
This poignant section of the Dies Irae sequence has been powerfully set to music by composers such as Mozart, Berlioz, and Verdi, and Arnesen’s interpretation is no less 2 of 4 moving. His setting of the text, laden with emotion, unfolds in five variations, each one drawing the listener further into its sorrow. The opening variation evokes a tearful lament, with sighs and downward gestures, before the text shifts to describe the resurrection of the dead and the judgment of mankind. In this moment, the music surges upward with strength, only to return to its initial sorrowful descent, all sung by the treble voices of the choir. The solo trumpet then introduces a variation, followed by a contemplative pause. As the choir reenters, they begin quietly at the upper range of their voices for the third variation. The fourth variation brings a dramatic moment, as the choir sings in powerful unison, expressing unabashed, thunderous grief. The final variation closes with delicate, mournful modulations, leaving the listener in a quiet, almost resigned reflection.
Lacrimosa dies illa,
O how fearful that day, Qua resurget ex favilla
On which the guilty shall rise Judicandus homo reus. From the embers to be judged Huic ergo parce, Deus. Spare them then, O God.
Free-will Offering
Give me Jesus traditional, arr. by Emerson Eads
Hannah Penn, mezzo-soprano
Briana Schwan, piano
5. Rex Tremendae
A relentless, staccato ostinato in the strings and percussion drives the tension of this dramatic movement, accompanying the evocative text sung by the tenors and basses. Their pleading is interrupted by the shrill, ominous call of the trumpet, signaling the impending danger. The full mixed choir then enters, their voices rising in a desperate plea for mercy from the wrath of judgment. A mezzo-soprano soloist joins briefly, offering her own supplication, before the trumpet again sounds its warning. The music comes to a sudden, quiet halt as the choir delivers a poignant, a cappella C major section on the words, “When
evil men are confounded, and doomed to flames of woe, call me among the blessed.” The ostinato then returns with renewed intensity, building in daring modulations, and concludes in a breathless, unresolved finish.
Rext tremenday majestatis
Qui salvandos salvas gratis, Salva me, fons pietatis. Recordare, Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Gere curam mei finis.
Querens me, sedisti, lassus, Redemisti crucem passus; Tantus labor non sit cassus. Juste Judex ultionis, Donum fac remissionis. Ante diem rationis.
Igemisco, tamquam reus, Culpa rubet vultus meus; Supplicanti parce, Deus, Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Preces meae non sunt dignae, Sed tu, bonus, fac benigne, Ne prenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.
Confutatis maledictis
Flammis acribus addictis, Voca me cum benedictis. Ono suppliex et acclinis, Cor contritum quasi cinis. Gere curam mei finis.
King of tremendous majesty, Who freely saves the saved, Save me, fount of pity. Remember, merciful Jesus, That I am the cause of your sojourn: Do not cast me out on that day. Protect me in my final hour.
Seeking me, you sat down weary, Having suffered the cross, you redeemed me, May such great labor note be in vain. Just judge of remission, Grant the gift of grace, Before the day of reckoning.
I groan, like one who is guilty, My face blushes with guilt. Spare thy supplicant, O God. You who absolved Mary Magdalene, Have also given hope to me.
My prayers are not worthy, But Thou, good one, kindly grant That I not burn in the everlasting fires, Grant me a favored place among thy sheep, And separate me from the goats, Placing me at thy right hand.
When the cursed are confounded, Considgned to the fierce flames, Call me to be with the blessed.
I pray, supplicant and kneeling, My heart contrite as if it were ashes, Protect me in my final hour.
6. Pie Jesu
In contrast to the dramatic, bombastic sections of the Requiem Mass, this Pie Jesu emerges as a serene and reflective moment. The muted strings gently accompany the mezzo-soprano, followed by the pure voice of the child soprano, creating an intimate and peaceful dialogue. This duet-like passage may draw inspiration from Andrew Lloyd Webber’s renowned setting, known for its tender simplicity. The choir then enters, initially humming, gradually building in volume before unfolding into an a cappella passage that reaffirms the melody introduced by the soloists. The piece culminates as the soloists join for the final few bars, blending their voices in a moment of quiet unity and shared prayer.
Pie Jesu Domine, Merciful Lord Jesus, Dona eis requiem sempiternam. Grant them everlasting rest.
7. Sanctus
Arnesen’s setting of the Sanctus (Holy, Holy Lord) is a vibrant, galloping moto perpetuo that glistens with gratitude. A true showcase for the choir, this piece demands remarkable vocal stamina as the mixed chorus navigates an unrelenting high tessitura and bold dynamics. The trumpet once again takes center stage, punctuating the music with martial fanfares. The sense of fear that pervades earlier movements has transformed into an exuberant outpouring of joyous relief, as the choir celebrates the mercy that has been granted.
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth, Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!
Benedictus qui venit in nomine Domini.
Hosanna in excelsis!
Holy, Holy, Holy Lord God of Hosts, Heaven and earth are full of thy glory. Hosanna in the highest!
Blessed is he who comes in the name of the Lord.
Hosanna in the highest!
8. We Remember Them
This anonymous twentieth-century text is often recited at funerals, offering a solemn reflection on life and remembrance. The piece begins with strings and glockenspiel introducing the theme, which is then beautifully sung by the mezzo-soprano soloist, followed by the choir. After a profound pause, a threefold Amen is sung, with poignant silences between each iteration, heightening the sense of reverence. Following the Amen, the opening Aeolian sonority returns, now accompanied by the solemn tolling of bells. This time, however, the music is raised a whole step, perhaps symbolizing a shift toward renewed life and a deeper awareness of the connection between death and life—two forces on the same tether.
In the rising of the sun, In the blowing of the wind, In the blueness of the skies, In the rustling of the leaves. In the beginning of the year, And when it ends, When we are weary and lost, And in need of strength, We remember them.
So long as we live, they too shall live. We remember them. Amen.
– Hebrew Union Prayer Book
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BIOGRAPHIES
Kim André Arnesen (b. 1980) grew up in Trondheim, Norway, and began his career at the music school at the age of six playing the piano. At age ten he started singing in the Nidaros Cathedral Boys’ Choir. He was later educated at the Music Conservatory in Trondheim. As a composer he had his first performance in 1999 with the Boys’ Choir. Since then, he has written music that has been performed by choirs all around the world. Arnesen is an elected member of the Norwegian Society of Composers. In 20210, his first large scale work, the Magnficat, was commissioned and premiered by the Nidaros Cathedral Girls’ Choir. The premiere got overwhelming feedback leading to several new commissions. The Magnificat was released on CD in 2014 on the record label 2L. In 2011 his choral piece Even when He is silent had its premiere during the St. Olav Festival in Trondheim. The piece was commissioned by the festival and has since its premiere has been performed numerous times around the world. In 2013 Even when He is Silent and Cradle Hymn were released on CD, DVD and Blu-ray on the Christmas in Norway with St. Olaf Choir and Nidaros Cathedral Girls’ Choir. The show aired on TV in the US and Norway. Cradle Hymn was the best-seller among Santa Barbara Music Publishing’s Christmas music in 2014. In April 2014 his Requiem was premiered by the Nidaros Cathedral Boys’ Choir, and the work had its U.S. premiere in April 2015 in West Virginia. The Denver-based choral ensemble Kantorei and their Artistic Director Joel Rinsema have invited Arnesen to be Composer-in-Residence for their 2015/2016 season.
For more information visit www.kimarnesen.com
Hannah Penn, mezzo-soprano, enjoys a diverse career as a performer of opera, oratorio, and recital literature. Frequently praised for her musicality and the timbre of her voice, Ms. Penn has recently been called “…a major talent”, and “…an intelligent and wonderfully musical singer” by Portland’s Willamette Week, and was praised for having “…intriguing colors at both ends of her range” by The Oregonian. She has sung more than twenty operatic roles with Glimmerglass Opera, Florida Grand Opera, Portland Opera, Tacoma Opera, and other companies.
As a past member of Portland Opera’s studio artist program, Ms. Penn sang the roles of Diana (La Calisto), Thisbe (La Cenerentola), Mercedes (Carmen), Flora (La Traviata), and Nancy (Albert Herring). She also sang her first Carmen with Portland Opera, which garnered critical acclaim and resulted in a chance to reprise the role following season with the Teatro National Sucre in Quito, Ecuador. Ms. Penn has since returned to Portland Opera many times as a guest artist, most notably as Julie in Show Boat and L’enfant in Ravel’s L’enfant et les sortileges. A strong proponent of new works, Ms. Penn has performed in the American premiere tours of John Adam’s El Nino and Sven-David Sandstrom’s High Mass, and has been involved in the American premiers of several operas, including Anthony Davis’ Wakonda’s Dream, Richard Rodney Bennett’s The Mines of Sulphur, and David Carlson’s Anna Karenina.
Ms. Penn also enjoys a full concert schedule, having been featured with orchestras around the country, including several appearances with the Oregon Symphony, the Portland Baroque Orchestra, the Sunriver Music Festival, the Florida Philharmonic, and the Seattle Baroque. Upcoming season highlights include a concert of Bach Cantatas with the Leipzig Bach Festival, concerts with Third Angle and Fear no Music, and “The Messenger/ Speranaza” in Monteverdi’s Orfeo, with OrpheusPDX.
Declan Bourquin is a 5th grader from Minot. He keeps himself busy with sports, video games and music. He loves football, basketball and baseball and he sings in the Western Plains Children’s Choir, Edison Do-Re-Mi’s, and his church choir. When he’s not running around to all of his activities, he is busy at home with his two younger brothers and golden retriever, Cleo.
Dr. Emerson Eads currently serves as Director of Choral Activities at Minot State University. As a composer and conductor, Emerson has devoted himself to music of social concern. His Mass for the Oppressed, a setting of the Ordinary of the Mass featuring textual interpolations by his brother Evan Eads and a Credo adapted from the diary of Pope Francis, reflects on some of the most poignant social issues of our time. The Mass was written to muster public support for the Fairbanks Four, Native Alaskans from the composer’s hometown who were wrongfully imprisoned for eighteen years.
Eads’ cantata “…from which your laughter rises” was written for the mothers of the Fairbanks Four. It was conducted to acclaim, paired in a concert featuring Haydn’s Stabat Mater. His newest opera, The Princess Sophia, is about the sinking of the SS Princess Sophia. It was premiered in Juneau, Alaska, on October 25, 2018 — the disaster’s centennial — to rave review in Opera Magazine. His most recent large-scale project, A Prairie Cantata, recovers lyrics from North Dakota poet Huldah Lucile Winsted and was premiered with the Minot State University Choir.
Dr. Eads studied choral conducting with Carmen-Helena Tellez at the University of Notre Dame, working with eminent choral conductors including Joseph Flummerfelt, Stephen Cleobury, Anne Howard Jones, and Peter Phillips. Prior to his graduate work, he studied composition with Alaskan composer John Luther Adams.
MINOT CHAMBER CHORALE PERSONNEL
Emerson Eads, artistic director
Briana Schwan, piano
Soprano
Arnikka Schreier
Brittany Armstrong
Christina Larsen
Christine Cherry
Hannah Pederson
Jacque Younger
Jane Cardwell
Jenna Johnson
Kamryn Morrison
Karen Sims
Maddy Sem
Martha Fix
Megan Klebe
Monica Padgett
Nicole Biwer
Nicole Swain
Sarah Campbell
Tenor
Daniel Ringrose
Greg Carpenter
John Young
Lars Callahan
Norman Paskowsky
Sam Super
Alto
Bethany Andreasen
Bethany Jensen
Carlyn Thomas
Cheryl Nilsen
Heidi Super
Janet Mathistad
Jeannie Sovak
Jennifer Brenna
Jennifer Shirley
Joanna Davis
Joanna Miller
Kaylee Capp
Lana Simons
Nadine Holmly
Pam Hopkins
Rayna Falcon
Shelly Weppler
Bass
Ben Eder
Blake Caldwell
Eric Furuseth
Erik Anderson
Joe Skurzewski
Joe Super
Justin Anderson
Ken Starr
Rich Jensen
Stan Hirst
Todd Mathistad
ORCHESTRA
Violin I
Maureen Murchie, concertmaster
Emily Knutson
Aashur Olson
Hailey Syrie
Violin II
Paula Bick
Rachel Voth
Ashlie Drummelsmith
Dansu Oluwatosin
Viola
John Jermiason
Christine Baumann
Cello
Abbie Eads
Julianne Boren
Bass
Rachel Maxfield
Nathan Sagsveen
Trumpet
Kennedy Cowart
Percussion
Mariah Taller
Katie Sundbakken
Suzie Stevick
Have a wonderful season, Chamber Chorale.
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Without an audience ... it’s just a rehearsal
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