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F O R YO U R I N F O R M AT I O N JORGENSEN BOX OFFICE (860) 486-4226 jorgensen.uconn.edu Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain. CRT BOX OFFICE (860) 486-2113 crt.uconn.edu Hours Mon-Fri, 11-1 pm, and 60 minutes before curtain.
SPECIAL SERVICE Accessible rest rooms located in the lower Jorgensen & Katter lobbies. Elevator service from the main Jorgensen lobby down to the lower lobby only. ASSISTIVE LISTENING SYSTEM Free from the front office for Jorgensen and Katter Theatre productions.
LATE ARRIVALS Latecomers will be seated at the discretion of the artists’ management.
TOO LOUD? Free hearing protection is available upon request from the front office.
CAMERAS AND RECORDING DEVICES Strictly prohibited.
LOST AND FOUND ARTICLES Can be reported or picked up at each box office.
SMOKING Not permitted within 25 feet of the building. CHILDREN AND INFANTS Tickets are required for everyone, no matter how young. Minimum 4 years old recommended for Jorgensen Center events and CRT productions. BAG POLICY For the safety of all, bags and backpacks larger than 10” x 10” are prohibited in the theater. Small bags and purses are permitted. An exception will be made for medically necessary items and diaper bags after proper inspection. All bags are subject to search.
REFRESHMENT BARS Enjoy refreshments at your seat. Bars located in the upper Jorgensen and main lobbies of each theater. GROUP TICKETS Call the respective box office for more information. REST ROOMS Located in the upper and lower Jorgensen lobbies and the Katter Theatre lobby.
PARKING & TRAVEL Parking is available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu PLEASE NOTE: The parking fee for Jorgensen events is now included as part of your ticket price. Patrons will no longer have to pay upon entry or exit in the North Garage. All gates have been removed and gateless parking begins one hour prior to showtime through the conclusion of each performance. Please note: this applies to North Garage only. IMPORTANT UPDATE: Hillside Road on the UConn Storrs campus is closed to vehicular traffic between Glenbrook Road and Jim Calhoun Way. Motorists who park in North Garage should access the garage by taking Discovery Drive or Glenbrook Road to the garage entrance on north Hillside Road.
CoSt ★rs Jorgensen Center for the Performing Arts
2023 - 2024 Co-Chairs: Jane Moskowitz & Ruth Buczynski $750 per person, $1,500 per couple
Elena Sevilla & Paul Aho Patricia Hempel Margarethe & Mona & Greg Anderson Shareen Hertel & Matthew Mashikian Marianne Barton Donald Swinton Antonia Moran Deborah Walsh Bellingham Jan Huber Jane & Robert Moskowitz In Memory of Lynn & Harry Johnson Constance & Rodney Rock Dr. Bruce A. Bellingham Nancy & John Silander Blair T. Johnson & Honey & Harry Birkenruth Beverly Sims & Blanche Şerban Ruth Buczynski William Okeson Janet & George Jones Carol Colombo Winthrop Smith Lin & Waldo Klein In Memory of In Memory of James Knox Maurice Thompson Anne K. Smith Ann Kouatly Susan & John DeWolf Michael & Susan Zito Becky & Scott Lehmann Stan & Sandy Hale Jean & John Lenard Judy & Peter Halvorson Gene Likens & Leola Spilbor
Join the CoStars, Jorgensen’s Active Volunteers!
The CoStars is a special group of volunteers who generously donate not only $750 per person, but also their talent and time. The invaluable CoStars support Jorgensen through community advocacy by creative fund-raising activities, and by hosting pre- and post-concert receptions that often feature world-class luminaries. The CoStars have been instrumental in the purchase of the new portable chamber stage and acoustical shell, a new Steinway Model D Concert Grand Piano, funding the JOY! Conservatory Program, the installation of the exterior Jorgensen message center, the renovation of the Jorgensen Gallery, and continued support of Jorgensen programming. By becoming a CoStar, you’ll join with other vibrant, thoughtful and devoted arts lovers who have made Jorgensen’s success a priority. CoStars receive an honorary membership in the Jorgensen Circle of Friends at the Producers Circle level. Benefits include early ticket ordering privileges for one full year from the date of enrollment; reserved lower-level parking in the North Garage, providing a speedier exit after each Jorgensen event; and recognition in the Jorgensen playbill.
As a Special Thank You... An Invitation to the CoStars CoStar members receive an exclusive invitation to attend the Annual Sneak Peek hosted by Jorgensen Director Rodney Rock. This party offers attendees an exciting preview of the coming season – prior to the public announcement. Join the CoStars and be the first to know what’s new! If you are interested in becoming a CoStar, please contact Rodney Rock at 860-486-1983, or by e-mail at rodney.rock@uconn.edu.
Jorgensen
Circle of Friends 2023-2024 Become a Friend of Jorgensen!
We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend. Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.
Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends. Producers Circle $500/person $1,000 & above/couple Elena Sevilla & Paul Aho* Mona & Greg Anderson* Marianne Barton* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. Bellingham* Honey & Harry Birkenruth* Lynn Brown Ruth Buczynski* Carol Colombo* In Memory of Maurice Thompson* Michael Cucka Susan & John DeWolf* Ms. Joan N. Gionfriddo Stan & Sandy Hale* Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & Donald Swinton* Jan Huber* Lynn & Harry Johnson*
Blair T. Johnson & Blanche Şerban* Janet & George Jones* Lin & Waldo Klein* James Knox* Ann Kouatly* Becky & Scott Lehmann* Jean & John Lenard* Gene Likens & Leola Spilbor* Margarethe & Matthew Mashikian* Antonia Moran* Jane & Robert Moskowitz* Craig & Karen Nass Barbara Rhein & Stan Shaw Constance & Rodney Rock* Stella Ross & Eric Schultz Cheryl A. & Mark J. Roy Nancy & John Silander* Beverly Sims & William Okeson* Winthrop Smith* In Memory of Anne K. Smith*
Dana Wilder Keith Wilson & Marjorie Hayes Karen Zimmer & Roger Ingraham Michael & Susan Zito* *Members of the Jorgensen CoStars
Directors Circle $250/person, $500/couple Anonymous Keith & Paula Enderle Mr. David Johnson David & Carol Jordan Tom Martin & Susan Spiggle Steven & Barbara Rogers Ms. Joanne Sousa Ms. Nancy A. Swiacki In honor of Janina W. Swiacki & Nancy A. Swiacki
Artists Circle $125/person, $250/couple Pat Anderson Dorothy Blocker Bennett & Linda Brockman Dr. & Mrs. Steven & Elaine Cohen M. Kevin & Jeanne Fahey Betty Hale Betty & Ken Hanson Ms. Cathy Jameson & Ms. Renee Fournier Mary Lacek & Neil Aldin Gerald & Zoe Leibowitz Carl Nawrocki Len Oberg Bonnie Ryan Harriet Walker Patrons Circle $50/person, $100/couple Anonymous Roger & Cynthia Adams Ms. Sandra Albom Susan & John Boland Irene & Richard Brown Anne-Marie Campbell Kevin Conklin Paul D’Italia Mary & Michael Donnelly
Dr. & Mrs. Ed & Critics Circle $25/person, Susan Grace $50/couple Peter Jacques Joyce Armstrong Richard & Karin James Ms. Joyce Donohoo Col. & Dr. Leonard & Howard & Carol Drescher Judith Kaplan Drs. Rebecaa & Jacob Earp Art Kirschenbaum & Mrs. Joy Favretti Cheryl Pomerantz Margaret & Peter Files Yves & Carol Kraus Mrs. Audrey Gough Donald Kray Wendy Leclair Mr. & Mrs. Joseph Linonis Shoshana Levinson & Mr. & Mrs. Wesley & Mary Lord Chris Crossgrove Julia J. & Carl W. Lindquist, MD Mr. & Mrs. Joseph Madar Donna Matulis Robin Lubatkin John H. Mayer & Kelly Olander Irwin M. Krieger Susan Phillips Mr. & Mrs. Alan Miller Edith Posselt Robert G. Paris Yvonne & Joseph Prudente Sari & James Rosokoff Mrs. Laura T. Raccagni Mrs. Pamela Sutkaitis Mr. & Mrs. Eric A. Santini Patricia Tanaka Jacqueline Seide Denise Winland Director’s Fund Paul & Annette Shapiro Honey & Harry Birkenruth Dr. Jay S. Shivers Diane & Joseph Briody Susan Stoppelman Jo & George Fox Jamie Summers Mr. Thomas French & Jeremy Teitelbaum Dr. Carol Norris Adeline Theis Marsha Hilsenrad Ms. Susanna Thomas Lin & Waldo Klein Fund Shirley Waldron Ann Kouatly NICABM Jennifer Person
Endowed Sponsorship Program The Endowed Sponsorship Program provides individuals and families with the opportunity to support Jorgensen by sponsoring any concert or other program. Benefits to Endowed Sponsors will include name recognition in the Jorgensen playbill, additional recognition in the community through press releases provided by the University, and an opportunity to visit with the guest artist. Sponsorship could be a means of celebrating a special holiday or anniversary, or of dedicating an event to a loved one. Most importantly, by contributing to the cost of current programs, sponsors would help ensure that the Jorgensen Center for the Performing Arts will continue to present wonderful music and other programs in the future. Your gift would benefit not only Jorgensen, but also the community at large. Patrons interested in sponsoring an event should contact Rodney Rock at 860-486-1983 or rodney.rock@uconn.edu for further information.
Jorgensen Outreach for Youth Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 16th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.
Corporate / Foundation Sponsors SBM Charitable Foundation Diamond / $1000+ Honey & Harry Birkenruth Harry & Lynn Johnson James Knox Jean & John Lenard Nancy & John Silander Mrs. Nora Stevens
Ruby / $300+ Becky & Scott Lehmann The University of Connecticut League, Inc. Sapphire / $100+ Ms. Margaret Dillon & Dr. Larry Bowman Maryellen Donnelly & James Krall Jan Huber Carol & David Jordan
Craig Knox In memory of Jane L. Knox The McChesney Family In honor of James Knox Pearl / up to $99 Sabrina & Daniel Bowersett Paul D’Italia Karen Jason Robin Lubatkin Bonnie Ryan
Lenard Chamber Music Endowment Fund The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment. Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, non-UConn students, and area youth are invited to attend all chamber music events for free. Please join this giving community and make your contribution today. To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983, or visit jorgensen.uconn.edu/online/article/lenard-endowment. Jane & Robert Moskowitz George & Janet Jones Jean & John Lenard Lauren & Eric Prause Carol & David Jordan Elena Sevilla & Paul Aho Donald Shankweiler & Lin & Waldo Klein Greg & Mona Anderson Ruth Garrett Millikan James Knox Deborah Walsh Bellingham John & Nancy Silander June & Henry Krisch Ruth Buczynski Beverly Sims & Becky & Scott Lehmann Carol Colombo William Okeson Shoshana Levinson & Anne D’Alleva Kenneth & Janet Slavett Chris Crossgrove Kenneth Doeg Judy & Peter Halvorson Julia J. & Carl W. Lindquist, MD Marilyn & Arthur Wright Joan & Austin McGuigan Patricia Hempel
Thursday, February 22, 2024, 7:30 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents
THE KING'S SINGERS: LEGACIES
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IMG Artists 7 West 54th Street, New York, NY 10019 https://imgartists.com/
PROGRAM Finding Harmony Harry Dixon Loes, arr. Stacey V. Gibbs Urmas Sisask Traditional Georgian Traditional Georgian
This little light of mine † Heliseb väljadel † Tsintskaro † Gaxsovs turpav
Tom and Will Thomas Weelkes Thomas Morley William Byrd Thomas Tallis William Byrd
Hark, all ye lovely saints above † Nolo mortem peccatoris Though Amaryllis dance in green † If ye love me † Laudibus in sanctis † Northern Lights
Anders Edenroth Words Evert Taube, arr. Anders Edenroth Så skimrande var aldrig havet Traditional, arr. Hugo Alfvén Uti vår hage Waldemar Åhlén Sommarpsalm Anders Edenroth Pass me the jazz — INTERVAL— Songbirds Paul McCartney & John Lennon, arr. Daryl Runswick Blackbird † Jacques Arcadelt Il bianco e dolce cigno † Pierre Passereau Il est bel et bon † Clément Jannequin Le chant des oiseaux Close Harmony A selection of pop, jazz and folk songs, taken from The King’s Singers’ famous library of much-loved close-harmony arrangements. † Recorded in The King’s Singers discography
THE KING'S SINGERS
Patrick Dunachie, countertenor Edward Button, countertenor Julian Gregory, tenor Christopher Bruerton, baritone Nick Ashby, baritone* Jonathan Howard, bass The King's Singers have represented the gold standard in a cappella singing on the world’s greatest stages for over fifty years. They are renowned for their unrivalled technique, musicianship and versatility, which draws on both the group’s rich heritage and its drive to bring an extraordinary range of new and unique works, collaborations and recordings to life. The King’s Singers’ extensive discography has led to numerous awards, including two Grammy Awards, an Emmy Award, and a place in Gramophone magazine’s inaugural Hall of Fame. Growing the global canon of choral music has always been one of the group's key aims, and they have now commissioned more than 200 works by many of the most prominent composers of the 20th and 21st centuries. These composers include John Tavener, Joe Hisaishi, Judith Bingham, Eric Whitacre, György Ligeti, Luciano Berio, Krzysztof Penderecki and Toru Takemitsu. All of this new music joins their unique body of close-harmony and a cappella arrangements, including those by individual King’s Singers past and present. Many of their early arrangements helped to develop the distinct ‘King’s Singers sound’ and a large number of them, as well as their more-recent commissioned works and arrangements, are now available to buy as sheet music in their own signature series with Hal Leonard. Over two million copies of these works have now been sold worldwide. Alongside their demanding performing and recording schedule, the group also leads educational workshops and residential courses across the world, working with both ensembles and individuals on their approaches to group singing. To mark their 50th anniversary in 2018, they founded The King’s Singers Global Foundation in the USA to provide a platform to support the creation of new music across multiple disciplines, to coach a new generation of performers, and to provide musical opportunities to people of all backgrounds. The King’s Singers were officially formed in 1968 when six recent choral scholars from King’s College, Cambridge gave a concert at London’s Queen Elizabeth Hall. By chance, the group was made up of two countertenors, a tenor, two baritones and a bass, and the group has stuck to this singular formation ever since that debut. *Nick Ashby will be absent from this performance due to paternity leave
Thursday, February 22, 2024, 7:30 pm
Jorgensen Center for the Performing Arts
The Lenard Chamber Music Series
The King’s Singers: Legacies PROGRAM NOTES
“This little Light of Mine” . . . Harry Dixon Loes, arr. Stacey V. Gibbs (Born October 20, 1892 in Kalamazoo, Michigan; died Feb. 9, 1965 in Chicago, Il.) This arrangement of “This little Light of Mine” is a modern, high-energy rendition of the traditional spiritual. It takes the Georgian style of gospel singing as its inspiration, which means the melody is incorporated into an improvisatory-style vocal line that appears in the different voice parts. Stacey V Gibbs, who was born in 1962, grew up when the civil rights movement was at its height in the 1960’s and 1970’s. “This little light of mine” shares a peaceful and positive message which was synonymous with Martin Luther King’s nonviolent campaign for equal rights for black Americans in civil society at a time of segregation and oppression. “Heliseb väljadel” . . . Urmas Sisask (Born in Rapla, Estonia on Sept. 9, 1960; died December 17, 2022) In Estonia, a non-violent, mostly musical revolution, now referred to as the Singing Revolution, occurred in the late 1980’s. The music is credited with aiding in the ousting of the occupying Soviet communist forces in the early 1990s, when the Soviet Union was collapsing. The public singing of nationally-known songs came to symbolize the growing power of the citizens, who sang in large public forums and could not be silenced, even though the Soviet authorities tried to censor them.
Urmas Sisask was an inspirational figure in Estonian choral music. He was educated at the Tallinn Conservatoire in Estonia from which he graduated in 1985. A versatile composer, he was very interested in early music and Gregorian chant and researched the theory of astrologically governed sound. Astronomy was a major inspiration for his music. Based on the planets’ paths, he created a “planetal scale,” which he later discovered was exactly the same as the Japanese pentatonic scale. Much of what Sisask, a Roman Catholic, composed was sacred music with an idiom closer to the old authentic church modes than to the major-minor system. His prayer for the Virgin Mary is exemplary of his music. “Tsintskaro”. . . Traditional Georgian There are only a few countries that have developed a choral culture like that of Georgia. In 2001, UNESCO protected and recognized Georgian song as a ‘masterpiece of intangible heritage of humanity.’ The Georgian people’s national originality is reflected in their harmonious singing. Originally, Georgian music existed only on a folk level, but with the coming of Christianity in the 5th century A.D., it evolved into polyphonic church chanting. Tsintskaro is a Georgian folk song from the Kakhetian region of Georgia. Its title, which translates as “at the spring water,” comes from the name of a village. The song is usually performed by a male vocalist with chorus. Its haunting melody is not familiar to most Westerners, but in the last thirty years, it has been incorporated into such works as Werner Herzog’s 1979 film, Nosferatu, the Vampyre; György Fehér’s film Szürkület, and the 1985 Kate Bush song, “Hello Earth.” “Gaxsovs turpav”. . . Traditional Georgian Georgian folklore has preserved the ritual songs and dances of both pagan and Christian epochs. Georgian harmonies characteristically include special three-voiced vocal techniques. All Georgian songs can be categorized as labor, ceremonial, around-the-table, or dance. According to Greek historian Xenophon (the 3rd century B.C.), the
Georgian tribes used secular music, military music, and dancing melodies, and Georgian men even went to war singing and dancing. The west-Georgian polyphonic style involves three musical parts, one of which is a drone; another is a particularly florid line often sung by a soloist. The latter is most evident in “Gaxsovs turpav,” a Gurian (Guria is a region of Georgia) love song. “Hark all ye lovely saints above” . . . Thomas Weelkes (Born mid-1570’s near Chichester, England; died in London on November 30, 1623) Thomas Weelkes is one of the most respected and admired madrigal composers of Elizabethan England. Madrigals were originally a genre of songs written in 14th century Italy, but the term now usually refers to English or Italian songs of the late 16th and early 17th centuries. These are songs for several voices unaccompanied by instruments and typically arranged in elaborate counterpoint and in a free style strongly influenced by the text. After being educated at New College at Oxford University, Thomas Weelkes was appointed organist at Chichester Cathedral. A student and good friend of the composer Thomas Morley, Weelkes also was an integral part of the ‘English Madrigal School.’ Although he held his position at the cathedral until his death in 1623, his recurring drunkenness, swearing, and blaspheming caused the bishop to reprimand him and temporarily remove him from his duties. Weelkes’s often exuberant madrigals frequently demonstrate his interest in word painting. They are also very chromatic and use varied counterpoint and unconventional rhythm. The madrigal “Hark All Ye Lovely Saints Above,” written in 1619, treats its text playfully with a dance-like style; the music features fast alterations in dynamics and texture and quite complex rhythms in the “fa la” sections. “Nolo mortem peccatoris” . . . Thomas Morley (Born in 1557; died early October 1602) Thomas Morley was a Renaissance English composer, theorist, singer, and organist and was the most famous composer of secular music in
Elizabethan England. He also initiated the brief but brilliant flowering of the madrigal. Although he is more associated with the composing of madrigals and other secular forms than he is with church music, he did compose some sacred pieces. “Nolo mortem peccatoris,” first published in 1616 and not again until more than 300 years later in 1933, was part of a collection called Tristitiae Remedium (A Remedy for Sadness). Technically the piece is a carol; its text was in the carol form which had the vernacular alternating with a Latin refrain. The Latin of the title for this sacred anthem, “Nolo mortem peccatoris” is based upon the Rule of St. Benedict, which he quotes in Ezekiel 33:11: “As I live, saith the Lord God, I desire not the death of the wicked, but that the wicked turn from his way, and live.” The anthem’s text is attributed to John Redford, who was a poet, dramatist, and organist of St. Paul’s Cathedral in London in the 16th century; he died in 1547. The words of the anthem comprise the first two verses of a much longer poem; they seem to be the words of Jesus. They may have been a part of His fearful prayer in the garden of Gethsemane before his arrest. The first two lines in Latin translate: I do not want the death of the wicked;/These are the words of the Savior. “Though Amaryllis dance in Green” . . . William Byrd (Born 1540 in Lincoln, England; died July 4, 1623 in Stondon Massey, England) Byrd was the actual founder of the English Madrigal School, and he is often regarded not only as the greatest of all the Tudor musicians, but as the greatest English composer of all time. His finest work was undoubtedly that which he wrote for the Church, but his secular vocal works are also worthy of notice. Byrd probably received his early musical training in the Chapel Royal, where he studied with Thomas Tallis, who became his very close friend. Byrd became a Gentleman of the Chapel Royal in 1572 and was named Joint Organist of the Chapel, a title he shared with Tallis. In 1575, Queen Elizabeth I granted Byrd and Tallis a patent
and monopoly on the printing and marketing of part-music and lined music paper; consequently, they dedicated their first publication to her. Having the support and favor of the Queen was most important for Byrd because his personal beliefs put him in direct opposition to the crown. He was a Catholic in a very Protestant nation, but fortunately for him Queen Elizabeth tolerated his beliefs even though others were executed for sharing them. He composed Latin motets, three mass settings, and polyphonic settings of all the propers for an entire church year. The latter were intended for secret celebrations of the mass in private homes. He intended the texts of his motets as messages to Catholics and gave them themes from scriptural texts that could be understood to have a double meaning. Byrd is known now primarily for his sacred music. He wrote a prodigious amount of music in all of the genres of his day. He wrote the lively part-song “Though Amaryllis dance in green” in the light style of the pastoral. It is a song for five very independent voice parts and appears to celebrate romantic rejection with syncopations and leaps, like five dancers improvising, individually yet in relation to each other. There are frequent voice-crossings, alternations of quick and slower notes, and a sense of perpetual motion. Poetically, the set to which this song belongs can be traced to Byrd’s involvement with the literary circle surrounding Sir Philip Sidney, whose influence at Court was at its height in the early 1580s. “If you love me”. . . Thomas Tallis (Born c. 1505; died November 23,1585) Thomas Tallis was an English composer of the High Renaissance, and he is often considered one of England’s greatest composers. His compositions are primarily vocal. No records about his birth, family, or childhood exist, and almost nothing is known about his early life or origins. He served in the Chapel Royal for about 40 years, composing under four monarchs who had widely differing religious practices: Henry VIII, Richard VI, Mary 1, and Elizabeth 1. Tallis, who wrote in a great variety of styles, was one of the first to set English words to music for the rites of the Church of England,
although he composed most of his vocal music in Latin. He had much contrapuntal expertise, and his works are very expressive and are cast in a bewildering variety of styles. Syllabic, simple chorale style was introduced to England with the Protestant faith in the mid-1500s. During King Edward VI’s (15471553) reign, it was required that services be sung in English, and that the choral music be short and succinct, giving “to each syllable a plain and distinct note.” In 1567, In English Protestant musical style. “If ye love me” is the classic example of the new English anthems: mainly homophonic, but with short moments of imitation “Laudibus in sanctis” . . . William Byrd Byrd set the short, final psalm in the Book of Psalms, Psalm 150, as “Laudibus in sanctis” (“Praise the Lord most high with praises in his sanctuary”). It comes from his Liber secundus sacrarum cantionum of 1591. It was written to be sung and like many psalms, was intended as an exhortation to praise, in particular through music. “Words”. . . Anders Edenroth (Born in 1963 in Stockholm, Sweden) The composer, lyricist, arranger, producer, pianist, and singer Anders Edenroth has written: “I am a music person. Melody and harmony together with words have been my close friends through life. Their obvious purpose is to entertain but on a deeper level they can change the world. Art is more than a pretty painting. It is a mirror that reflects what is happening around us, and it is the toolbox we need to reconstruct the world.” Anders started playing piano and singing in choirs at an early age. In his second decade, he studied at Adolf Fredrik’s School of Music in Stockholm and then continued his studies at The Royal Academy of Music in Stockholm, where he and his fellow-students formed an a cappella quintet – The Real Group. For The Real Group, Edenroth has written and published many original songs and arrangements of wellknown standards, constantly exploring the development of new vocal textures and the integration of vocal percussion and rhythmic effects.
Since 1989 he has been a full-time singer, performing with The Real Group in more than 40 countries. One of his favorite influences is Stevie Wonder, although he listens to all kinds of music. In “Words,” composed in 2005, Edenroth has written a song that is a witty, sophisticated examination of the nature of ‘words,’ their sense, their social role, and the varied ways they can be sung and spoken. He explains “Words derives from my fascination for words and speech and the influence it has had on mankind. It is truly democratic and completely free of charge, but still immensely important and powerful as a tool. In my composition, I have used words also as rhythmic elements, reminding the listener of a drum pattern.” “Sa skimrande var aldrig havet”. . .Axel Evert Taube, arr. Anders Edenroth (Born March 12, 1890 in Gothenburg, Sweden; died January 31, 1976 in Stockholm) Axel Evert Taube was a Swedish author, artist, composer, troubadour, lute player, screenwriter, and singer, who was widely regarded as one of Sweden’s most respected musicians and the foremost troubadour of the Swedish ballad tradition in the 20th century. He attempted to study art in Stockholm against his father’s wishes, then sailed around the world, living in Argentina for five years (1910-1915), where he learned to play guitar and speak Spanish and Italian. When he returned to Sweden, he published his first ballad in 1917 and his first book, the collection of novellas Inte precis om kvinnorna, in 1918 which launched his career as an author, especially of ballads that drew on his travels. In particular, he began with sailors’ ballads. Throughout his career, he focused on the recurrent themes of love, nature, and the sea. Taube composed “Sa skimrande var aldrig havet” (“The Sea Was Never So Shimmering”), in 1948. It is love ballad about summer, a sunset, and the memory of a pair of lovers’ very first kiss. The lovely song is peaceful and soothing. “Uti vår hage” . . . Traditional arr. Hugo Alfvén “Uti vår hage” (“Out in our meadow” or “In our meadow”) is a traditional Swedish folk song first published in Gotland sometime
during the 1880s by Hugo Lutteman, although it is thought to have early origins as far back as the 1600s. The piece became widely published in the 1890s and is associated with a rising interest in folk traditions in Sweden during this decade. It is still well known by the Swedish populace and has been described as a “national song treasure,” which is why it is typically taught to schoolchildren. Its popularity also grew due to this 1923 arrangement by composer Hugo Alfvén. The piece is often performed, along with other Swedish traditional songs, during Walpurgis Night. It is a song about the ocean, stillness, peacefulness, and love. It also gives voice to a nostalgia for summer. “Sommarpsalm” . . . Gustav Waldemar Åhlén (Born on July 21, 1894 in Helgesta, Sweden; died December 18, 1982 in Stockholm) The Swedish composer Waldemar Åhlén is not very well known today. He was still almost a child when he was appointed organist to substitute for his father when his father was on vacation. Åhlén received piano, organ, and theory lessons from his brother David before studying at the Royal Academy of Music in Stockholm, where he officially trained as an organist, music teacher, and church singer. He became known as one of the leading organists of his generation and gave concerts in Sweden and abroad. In 1923, he was appointed organist at the Hogalydskyrkan, where Sweden’s largest church organ with 94 stops was located. Upon retirement after 43 years as organist at the St. James Church, a concert was held in his honor, concluding with his Sommarspsalm, sung by the congregation and led by the composer from the choir organ. Today there are few singers in Swedish choirs who cannot sing Åhlén’s composition by heart, and most Swedes have at least some familiarity with its melody. Carl David af Wirsén’s text paints the Swedish summer. The song reflects on Creation’s song of praise from birds, flowers, and trees, and offers an opportunity, at the song’s end, to acknowledge the Word of God as primal, since everything else will eventually disappear.
Sommarpsalm was written in 1933 for a school summer feast in the church of Hjorthagen. Since 1986, Sommarpsalm has been an official Swedish Hymn melody and was printed in the Swedish Chorale book. It also has been included in non-Church related song collections. “Pass me the Jazz” . . . Anders Edenroth Written for the famous Swedish vocal quintet The Real Group, “Pass me the Jazz” is a showcase for vocal jazz ensembles. It features clever lyrics, ensemble scat singing, and a remarkable walking bass line. Lyrics from the song allow both jazz and food to play leading roles: “Let’s spice it up, let’s amplify it. I didn’t come for peace and quiet. Heat it up, it’s time to fry it. Put me on a jazzy diet.” The original recording was released by The Real Group, Edenroth’s a cappella group, on their recording The Real Album in 2009. The work was intentionally not given dynamic markings, as it was intended for the performers to give it its color. “Blackbird”. . . Paul McCartney and John Lennon, arr. Daryl Runswick “Blackbird” is a song by the Beatles, but was performed as a solo by Paul McCartney on the eponymous 1968 album The Beatles, also known as the “White Album.” McCartney composed the song, although it is credited to Lennon-McCartney. McCartney was not actually singing about the blackbird, but rather the broken wings of the bird were a symbol. McCartney stated that the lyrics of the song were inspired by the unfortunate state of race relations in the United States in the 1960s. He wrote Blackbird in Scotland as a response to the Little Rock Nine incident and the overall Civil Rights movement. He dedicated it to people who had been affected by discrimination, especially in the American south. He later said, “This was really a song from me to a black woman, experiencing these problems in the States: ‘Let me encourage you to keep trying, to keep your faith; there is hope.’” He said it was also Inspired by the hearing of a blackbird song when the Beatles were studying Transcendental Meditation in Rishikesh, India. McCartney also explained that the guitar accompaniment for “Blackbird” was inspired by J.S. Bach’s Bourrêe in E minor, a wellknown lute piece, often played on the classical guitar. He recalled that as teenagers, he and George Harrison tried to learn Bach’s Bourrée
as a “show off” piece. The Bourrée is distinguished by melody and bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of the Bourrée for the opening of “Blackbird,” and carried the musical idea throughout the song. “Il bianco e dolce cigno”. . . Jacques Arcadelt (Born August 10, 1507 probably in Liège, in what is modern-day Belgium or perhaps in Namur, formerly part of Burgundy, currently part of the Netherlands; died on October 14, 1568 in Paris) Arcadelt is recognized for his secular music, although he also composed sacred music. In the 1530s, in Florence, he composed many madrigals, and by 1539, he had published four books of them. He served in Rome in the papal chapel in the 1540s before moving to France in the service of the Cardinal of Lorraine. By 1557, he was associated with the royal chapel under Henry II and Charles IX. “Il bianco e dolce cigno” (“The white and sweet swan”) composed in 1539, appeared in Arcadelt’s first book of madrigals. It is captivating and expressive. Its lyrics were by the poet and Bishop Giovanni Guidiccioni, born in 1500. “Il bianco e dolce cigno” may have been the most popular madrigal of the 16th century: its text relies on the old adage that swans, who are generally silent, sing before they die. The white swan dies as it is singing sweetly. Musically, word painting replicates a fluttering of the swan’s wings; word painting was quite commonly used as a technique in the Renaissance madrigal. The white and sweet swan singing dies, and I weeping, reach the end of my life. Strange and different fate, that he dies inconsolable and I die blessed. Many contend that the underlying reference to the poet’s death is sexual and meant to be erotic because, at the time of the work’s composition, death was often used as a metaphor for orgasm. “Il est bel et bon”. . . Pierre Passereau (Born in 1509; died in Paris in 1547) Pierre Passereau a 16th century French Renaissance composer, specialized in light-hearted chansons. (A chanson is a polyphonic
French song of the late Middle Ages and Renaissance.) Passereau was celebrated for his music, but very little is known about his life. He was a priest at the church of Saint-Jacques de la Boucherie in Paris, and by 1509, he was known to be in the employ of the Duke of Angoulême, who later became Francois I. Along with Clément Janequin (see below), he was one of the most popular composers of “Parisian” chansons in France in the 1530s. He chose to write in the style of the time, utilizing onomatopoeia and the various sounds animals make. His music was enjoyed not only in Paris, but also in London and Venice, and Rabelais apparently approved of his work. He frequently declined to contribute to the more serious and lyrical genre of the “Parisian” chanson; his preference was the popular rustic style, which often included bawdy, texts. The popularity of his songs may have been due to their characteristic lively rhythms, subjects, and use of ribald language. His best-known chanson today is the four-voiced “Il est bel et bon” which is a good example of the pacing, the prurience, and the patter found in the best of his music, as well as that of his contemporaries. One of his favorite techniques was using nonsense language to imitate animals. “Il est bel et bon” includes a staccato quasi-round that is patterned on the sound of clucking chickens. The frivolous text refers to two gossiping women who praise their husbands’ diligence in doing the chores and feed the chickens. The chanson poets of the early 16th century developed a sophisticated use of sensual allegory and imagery in which they presented their natural proclivity toward the unrestrained pleasures of sex by analogizing it to the activities of birds. This song, rendered in light musical style, echoing the patter of two young peasants’ desires in rustic dialogue while the husbands care for their clucking chickens. Passereau allows the voices to repeat the first syllable of the word coquette, presenting onomatopoeia for the birdsong, but also letting the birds present their commentary on rustic morality. “Le chant des oiseaux” . . . Clément Janequin (Born ca. 1485 near Poitiers, France; died in Paris in January 1558) Clément Janequin was a significant and popular French composer during the Renaissance, who was important especially in the
development of the Parisian chanson. He is rare among great composers of that time in that he never held an important and regular position as musician or composer to a nobleman, bishop, or archbishop. The programmatic chansons for which Janequin is famous were long, sectional pieces, in which he usually cleverly imitated natural or manmade sounds. He was one of the first composers to introduce musical imagery as onomatopoeia. He composed “Le chant des oiseaux” (“The Song of the Birds”) in 1527; in it, he used several programmatic elements such as “word painting,” imitation of nature, and bird sounds in place of words. He focused on telling the story of four different birds: the royal sound thrush, the blackbird, the nightingale, and the cuckoo, and how they sounded. The lyrical lines as well as the fast, rhythmic figures are meant to tell a story of the birds’ song and how it awakens sleeping hearts at the end of a long winter. The whimsical piece, in which Janequin uses onomatopoeia to convey the sounds of the different birds, is separated into several sections, each a little bit longer than the preceding.
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Mnozil Brass Lenard Chamber Music Series
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Wed, Feb 28, 7:30 pm
Known as the Monty Python of the music world, an evening with this ensemble is an over-the-top fun, virtuosic, and laugh-out-loud experience! Media Sponsors: NEPM, Seasons Magazines, The Chronicle, 91.7 WHUS
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Takács Quartet with Marc André Hamelin, piano Lenard Chamber Music Series
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Saturday, February 24, 2024, 8 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents
PURPLE xPeRIeNCE
Co-Sponsored by the H. Fred Simons African American Cultural Center Media Sponsors
Fuzion Artists 87-46 Van Wyck Expy, Richmond Hill NY 11418 www.fuzion.com
ABOUT THE PRODUCTION Marshall Charloff & Purple xPeRIeNCE is the most celebrated tribute to Prince in the world. The group was co-founded by Marshall and Matt “Doctor” Fink (keyboardist from Prince & The Revolution) in 2011, an era where Prince closely monitored the use of his art. Their vision was to deliver Prince’s music on the highest level, played live and untracked by skilled musicians, while paying respectful visual homage through costuming and likeness. Immediately met with success and adoration from discerning Prince devotees, the band has now been touring for over a decade, nationwide and internationally, and has performed for over 500,000 fans. In 2019, they were officially licensed by the Prince Estate, and in 2021, Marshall Charloff & The Purple xPeRIeNCE were selected by the US Department of State to be featured in the USA Pavilion of the World Expo in Dubai. The band continues to hold the unique distinction of playing the show 100% live, completely untracked–paying true homage to the greatest musician of our time–Prince–with real musicianship.
MARSHALL CHARLOFF AS PRINCE Minneapolis-native Marshall was raised in the epicenter of 1980’s music production, and cut his musical teeth working with Superproducers John Fields and Steven “Funkytown” Greenberg. At age 19, Marshall, like Prince, was discovered and signed by producer Pepe Willie. Marshall is featured on 94 East albums with Prince, where he plays guitar and Prince is on vocals. A multi-instrumentalist, composer, and producer in his own right, Marshall has written for, produced, and recorded for the multiPlatinum and Grammy award-winning Commodores and for Rock & Roll Hall of Fame’s Little Anthony & The Imperials. Marshall’s second original album, “Unperfect” achieved the distinction of “Top 100 Albums of 2020” on global smooth jazz charts. Marshall has also played keys for the Atlanta Rhythm Section, and has played bass guitar with Bobby “Z”, Matt “Dr. Fink”, and Andre Cymone (all Prince alumni players).
In addition to his work with The Purple xPeRIeNCE, Marshall has had the honor of fronting 25 of the finest symphonies in North America, performing the music of Prince to great acclaim. He has been the feature of two full length PBS Broadcasts; fronting the Detroit Symphony Orchestra, and fronting The Purple xPeRIeNCE in the iconic Red Rocks Amphitheater in Morrison, Colorado. Marshall completed a Las Vegas residency, where he headlined starring in “Purple Piano: The World’s Only One-Man Tribute to Prince”--a highly-engaging show in the style of Prince’s final tour, “Piano and a Microphone”. This production continues to tour nationwide, interspersed with full band performances. In all of his avenues of honoring Prince, Marshall’s vocals are uncannily accurate, his guitar and piano skills are masterful, and his endearing stage presence is irresistible in its paradox of finesse and reverence.
ABOUT THE PLAYERS Marshall Charloff's all-star band, Purple Xperience, hosts a number of world class players, including Tracey Blake on lead guitar (played with New Power generation, Sons of Almighty featuring members of NPG, Tracey Blake Project, Westside: inducted in the Midwest hall of fame); Ron Long on bass guitar (played with Christina Aguilera, The Backstreet Boys, 98°, Also recorded with John L., Larry Blackman of Cameo, and Spike Lee); Ron Caron on drums (played with the Rembrandts, Tina and the B sides, The Melismatics); Cory Eischen on keys (played with New Power Generation, Prince's protégé group: Mazarati, Soul Asylum's Dave Pirner and Dan Wilson from Semisonic).
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Serving the best pizza in Tolland County for 46 years 860-429-7433 Rt. 32, Willington Trading Center www.willingtonpizza.com
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Willington Pizza Rte 32, Willington Center • 860.429.7433 Italian Cuisine served in a 200-year-old home with lovely antique decor. Seating for 200. National award-winning pizza featured on CBS This Morning and ABC Good Morning America. Desserts. Open Mon-Thurs 11am–11pm; Fri & Sat 11am– 12am; Sun 11am–10pm. Casual attire. Entrées $6–$13. No reservations. (MC, V, D, AE) Best Pizza, Tolland County by Connecticut Magazine.
Willimantic Brewing Co. Main Street Café Willimantic Brewing Company 967 Main Street Willimantic 860.423.6777 Willibrew.com
967 Main Street, Willimantic • 860.423.6777 The Willimantic Brewing Co./Main Street Café is a living landmark restaurant & pub brewery located in Willimantic, in the heart of rural northeastern Connecticut. We offer an extensive menu from fun appetizers, daily specials, gluten free, vegetarian and so much more. Fresh craft beers brewed on site, ciders, cocktails, and guest beers we have something to please everyone. Visit us at www. willibrew.com for more information.
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50 Higgins Hwy Mansfield, CT 860-423-4414
50 Higgins Highway, Mansfield • 860.423.4414 Coyote Flaco is a family owned & operated restaurant. We invite you to try some of our favorite dishes such as our churrasco or one of our home-made tamales. Please try our many “Fresh-Lime Juice” margaritas, our full menu can be found at www.coyoteflacoct.com
Stix ‘n Stones 1029 Storrs Rd, Storrs • 860.477.0975 Enjoy An Exceptional Journey of Taste Stix n Stones Marketplace offers fresh high quality food and baked goods, whether you are dining in or picking up to enjoy at home all prepared by Executive Chef, Sal Urso. Catering is available for all of your special occasions. Visit the Marketplace and find thoughtfully selected packaged foods, gifts and visit our floral shop. We see our customers as invited guests to a party, and we are the hosts.
Hilltop 39 Adamec Rd., Willington• 860.477.1054 Come and visit Hilltop Restaurant, Bar & Banquet to experience a delicious meal, live entertainment, full bar with flat screen TVs, and more, stop in today. If you’re looking for a place to hold a party or event, call and talk to us about our banquet rooms, Make sure that you call ahead to find out what our Chef’s Specials are. They change daily. hilltopct.net
39 Adamec Rd, Willington 860-477-1054 Our menu offers Traditional Italian, Prime Rib, Seafood Wraps, Salads, Apps, Brick oven pizzas and Sandwiches.
Fenton River Grill 135A Storrs Road, Mansfield• 860.786.7870 A dynamic and friendly bar and restaurant located near the University of Connecticut and Eastern Connecticut University offering an enticing selection of craft beer, carefully crafted cocktails and an approachable menu including lighter shareable plates, salads, flatbreads, sandwiches, and full dinners. Lively Bar, Cozy Atmosphere, Shareable Food, Outdoor Patio, Craft Cocktails.
Delicious food prepared from seasonal, fresh ingredients. Well-crafted cocktails and 20 beers on tap. Just 5 Miles from UConn 135A Storrs Road, Mansfield, CT 860.786.7870 fentonrivergrill.com
Dog Lane Cafe One Dog Lane, Storrs • 860.429.4900 Northeastern Connecticut’s European/American cafe, offering something for everyone from early morning to late at night. Our menu and our daily specials emphasize seasonal, local and freshly-prepared food, all made to order. Offering a wide variety of sandwiches, grilled items and freshly tossed salads or help yourself to coffee at our self-service coffee bar. Offering indoor and outdoor seating. Whether you are in a hurry or want to take some time and relax with friends, our style of service lets you set your own pace. Serving beer & wine. doglanecafe.com
Breakfast, Lunch & Dinner Daily Specials & Wine One Dog Lane, Storrs, CT doglanecafe.com
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Beni’s American Bar and Grill 1280 Hartford Turnpike, Vernon Rockville 860.875.4443 Family and Locally Owned American bar & grill featuring fresh seafood, premium steaks, upscale pasta dishes, salads and sandwiches. Indoor, Outdoor, & Lounge Seating. Live Entertainment! Let Us Cater Your Next Event or Party. We have two banquet rooms available, accommodating 25 and 50 people each (or more!). Full and half trays are available for catering orders! Please allow us at least 24 hours of notice for large orders. Seasonal items, special requests, and some entrees require additional time. www.benisct.com
American Bar and Grill 1280 Hartford Tpke, Vernon CT - Exit 67 off 1-84 860-875-4443 • www.benisct.com Open Monday Saturday 11am-10:00pm Sunday 11:30am-9:30pm
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39 Adamec Rd, Willington, CT Rte 32 Exit 69 off I-84.
860-477-1054 • www.hilltopct.net
Monday-Friday 11am-10pm • Saturday and Sunday 8am-10pm • Serving Breakfast Sat and Sun 8-noon
Enjoy a Fantastic Meal with Your Friends and Loved Ones Steaks, Seafood, Pasta Dishes, Salads, Burgers, Wraps, Brick Oven Pizzas and more. Open for dining indoor or on our beautiful patio Chefs Specials • Take Out Trays Banquet Facilities up to 85 guests Live Entertainment Fri and Sat Night Happy Hour Daily 3:30-6:30. Extended Lounge Hours
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Enjoy the Flavor of the Neighorhood Local cuisine expertly prepared by people who appreciate good food and honest value as much as you do.
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1280 Hartford Tpke, Vernon, CT • Exit 67 off I-84. 860-875-4443 • www.benisct.com Open Monday-Saturday 11am-10:00pm Sunday 11:30am-9:30pm
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