Eternity

Connecting communities with the power of performance.

Welcome back. This weekend the Musica Sacra Chamber Orchestra is pleased to be back at the lovely Bethany Lutheran Church for one of our performances and to be joined by the acclaimed chorale, Kantorei to explore the concept of Eternity, through the Lux Aeterna and other exceptional selections. David Rutherford is pleased to be sharing the podium duties with Kantorei's Interim Artistic Director, Sarah Harrison. We're also happy to welcome to the program the Cherry Creek High School Choralaires which Ms. Harrison directs.

Next up for MSCO will be a collaboration entitled, Captured in Film, featuring the fiercely intelligent actors of Buntport Theatre along with the orchestra playing accompaniment to classic silent films. We'll be appropriately pre­ senting this special concert in an historic movie theater, now the beautifully refurbished Holiday Event Center. It's located at 32nd and Clay in the Highlands neighborhood of west Denver, with easy nearby free parking. There won't be much talking, but the music, laughter and overall experience will fill your senses. Please join us there on April 25 or 26th!

John Richardson President

Donna Smith Executive Director

Augustana Arts Board of Directors John Richardson, President & Treasurer Jerry Sanders, Vice President Thomas Virtue, Secretary Richard Larson Cindy Lindeen-Martin John Pederson Annmary K. Roberts Donna E. Smith, Executive Director

Augustana Arts Staff

Musica Sacra Chamber Orchestra

David Rutherford, Music Director & Conductor

Colorado Women's Chorale

Jennifer Ferguson,Music Director & Conductor

City Strings

Robyn Sosa, Director

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The Unanswered Question

Charles Ives (1874-1954) Bruce Hulej, trumpet Musica Sacra Chamber Orchestra

Snow (The King's Trumpeter)

John Muehleisen (b.1955) Bruce Hulej, trumpet Kantorei

I'm Goin' Up a-Yonder

Walter Hawkins (1949-2010) Cherry Creek High School Choralaires

Springtime in Funen

Carl Nielsen (1865-1931)

Lyrisk Humoreske De Gamle Ungkarle Den Blinde Spillemand De Gamle Dansevisen Musica Sacra Chamber Orchestra Kantorei Wendi Sue Grover, soprano Justin Kerr, tenor Andrew Halladay, bass Cherry Creek High School Choralaires Morgan Jenney, Maddie Harding, soloists INTERMISSION LuxAeterna

Edward Elgar (1857-1934) Kantorei

LuxAeterna

Morten Lauridsen (b. 1943)

Introitus In Te Domine, Speravi 0 Nata Lux Veni Sancte Spiritus Agnus Dei - Lux Aeterna Musica Sacra Chamber Orchestra Kantorei

The Musi a a ra hamb r Orch stra i a proud m mb r of the League of American Orchestras and i ompris d of play rs who shar their vision f attaining the highest pos ible standard of excellence in mu i ianship. Musi a Sa ra is parti ularly well known for its engaging repertoire, encompassing chamber or h stra musi from the Baroqu to th avant-garde.

Th or hestra presents many regional premier s of the works of living composers. The musicians of the Mu ica Sacra Chamb r Orch ·tra bring a rich diversity f training and performing experience to the ensemble, gained through their solo performances and membership and leadership positions in a variety of ensembles. The orchestra has a tradition of collaboration with many regional arts organizations.

MSCO ETE�NITY MUSICIANS Violin I Kathy Langston, concertmaster Carrie Beeder Paula Menten Miwako Yamanaka William Hinkie Jean Inaba Violin II Giga Romero, principal Michelle Thayer-Holmes Traciann Heisler Cynthia Schauer Ellen Persiko Adelaide Naughton Viola Heidi Snyder, principal Michiko Nakajima Gail Shimmin Karl Reque

Cello Kevin Johnson, principal Ruth Brooks Blythe Karstadt Kent Mueller

Bassoon John Richardson, principal David Schwartz

Bass Rodney Farrar, principal Maria Brotherston

French Horn Jill Schroeder-Dorn, principal Noelle Limbird Katie O'Toole Amanda Montgomery

Flute Tamara Maddaford, principal Ginger Hedrick

Trumpet Bruce Hulej, principal Mark Dorn

Oboe Dale Jones, principal Andrea Copland

Trombone Bryan Gannon, principal

Clarinet Ted Homan, principal Howard Van Dam

Timpani Sandra L. Van Dam, principal

David Rutherford is Music Director and Conductor of Musica Sacra Chamber Orchestra (MSCO) and an award winning broadcaster and educator. He has taught music from elementar y through college levels; was honored as a National Teacher Fellow by the National Symphony Orchestra and has performed extensively throughout the West. David also co-directs the Valor Symphonies youth orchestra and is in demand as a guest conductor. He can be heard almost daily on KVOD, Colorado Public Radio's classical music service. Read David's blog at

www.mscodenver.org.

Sarah Harrison is Interim Director of Kantorei for the 2013-2014 season. She is also in her eighth year of teaching choir and AP Music T heory at Cherry Creek High School. Ms. Harrison obtained her Bachelor of Music Education degree from St. Olaf College and her Master of Music in conduct­ ing and music education from Colorado State University.

Kantorei, formed in 1997 under Richard Larson's leadership, has expanded into a highly audi­ tioned, 49-voice ensemble. Its members come from schools with strong choral music programs such as Augustana, Brigham Young, Concordia, Luther, St. Olaf, University of Denver, Wartburg and the University of Northern Colorado. Often featured at regional/national conferences, Kantorei most recently performed at the 2011 American Choral Director's Association conference and in 2012 completed its second European tour.

KANTOR..EI Sarah Harrison, Interim Artistic Director Dr. Michael Pohlenz, Assistant Conductor

Sopranos Mary Christ Melissa Clouzet Juliane Dowell Kim Dunninger Beryl Fanslow Wendi Sue Grover Heather Gunnerson Stacie Hanson Shannon Lemmon­ Elrod Sara Michael Alicia Rigsby Brenda Rolling Pearl Rutherford Annie Sullins

Altos

Tenors

Basses

Emily Alexander Jan Ankele Lizabeth Barnett Lyn Berry-Helmlinger Jordan Bickel Hillary Foster Melissa Menter Erin Meyerhoff Jennifer Moore Andrea Ware Lindsey Whitaker

Kai Berry-Helmlinger Michael Bizzaro Keith Ferguson Kevin Gunnerson Keith Harrison Justin Kerr Brad Larson Alex Menter Jonathan Von Stroh David Weaver Ryan Wright

Michael Boender Garth Criswell Tony Domenick Andrew Halladay Stephen Hooper Brad Jackson Karl Johnson Michael Lewis John Ludwig Larry Meerdink John Schaak Mark Wagstrom Matt Weissenbuehler

CH ER..R..Y CR..E EK H I � H SCH o o L CH o R..A LA I R..E S Brenna Allison Madison Barber Quinn Baur Claire Becker Emma Black Natalie Block Lena Bloszies Madeleine Budd Gabbie Clarey Cece Cranberry

Lauridsen: Lux Aeterna

Erica De La Garza Rachel Finger Ruby Flatt Datt Gibbons Lauren Hannaway Madeline Harding Caitlin Holt Morgan Jenney Mary Alice Juenglin g Nora Julander

Morten Lauridsen's Lux Aeterna, written in 1997 for the Los Angeles Master Chorale, is a 25-minute work in five movements set to various Latin texts about light. It is a poignant, modern requiem rich in unashamed consonant harmo­ nies and lush haunting melodies.

Delia Kail Jordan Kalle Brianna Kearns Kalie Kleinman Karter Knox Julia Kremer Rachel Ojera Taylor Planchon Alyssa Radtke Natalie Ramirez

Lauridsen writes, ((I composed Lux Aeterna in respons'e to my Mother's final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels-spiritual, artistic, and intellectual:' T he piece is

Arielle Scena-Shifrin Emily Schmahl Hannah Schwayder Claire Stevens Sydney Stevens Meaghan Stille Sara Turken Nichole Wedow Margeaux Woellner Jenny Zheng

often compared to Brahms' Requiem, also written after the passing of the composer's mother, but ((without the 19th century guilt"-no Day of Judgment or gloom here, just generosity and radiance throughout. Lauridsen uses the chant-like melodies and sophisticated counterpoint of the

high Ren lissanc especially the musi of Josquin, for his inspira­ ti n in this composition.

The work opens with the begin­ ning of the Requiem Mass and introduce several themes that oc ur throughout the work. The second movement, In Te Domine, Speravi, speaks to the hope and trust the composer has for life eternal after death, and includes the most angular melodies of the entire work and an inverted canon between sopranos/altos and ten­ ors/basses at its center. The central movement, 0 Nata Lux, is an a cappella motet that asks the «Light of Light" to accept the speaker's praises and prayers. It is paired with the fourth movement, Veni, Sancte Spiritus, which begins with praise and moves into supplication ,, ("grant us everlasting joy! ). The final movement is a quiet setting of Agnus Dei, followed by a reitera­ tion of the opening Lux Aeterna.

The work closes with a glorious ,, 'i\lleluia -the angels joyfully summoning the soul to heaven.

Nielsen: Springtime in Funen (Fynsk Forar)

Fynsk Forar (Springtime in Funen), for soloists, chorus and orchestra, Opus 42, is Carl Nielsen's last major choral work. Written to accompany a prizewinning text by Aage Bernsten, it was first performed in Odense's Kvceghal (Cattle Hall) on 8 July 1922 where it was conducted by Georg H0eberg.

Fynsk Forar is often considered Nielsen's most popular choral work, especially in Denmark.

Nielsen gave it the subtitle «lyric ,, humoresque , aptly describing its simple, folk-like idiom and its compact form. Scored for a four-part chorus, soprano, tenor, and baritone soloists, a children's chorus and a small chamber orchestra, the 18-minute cantata consists of several independent sections tied together with orches­ tral transitions. The choral writing

is largely diatonic and homopho­ nic. The solo melodies contain frequent alternations between major and minor tonalities.

This work is often cited as the most Danish of all Nielsen's compositions; this seems borne out as the chorus and soloists extol a countryside replete with grass, water lilies, and gnarled apple trees blooming.

Ives: The Unanswered Question

The Unanswered Question is scored for three groups: a string ensemble, a solo trumpet, and a woodwind quartet. The groups' play in independent tempos and are placed in such a way that they might not be able to see each other.

Ives suggests staging where the strings sometimes play offstage.

Ives provided a short text by which to interpret the work, giving it a narrative as in program music.

Throughout the piece the strings sustain slow tonal triads that, according to Ives, represent «The Silence of the Druids-who Know, See and Hear Nothing».

Against this background, the trumpet poses a nontonal phrase seven times-"The Perennial ,, Question of Existence -to which ,, the woodwinds «answer the first six times in an increasingly erratic way. Ives wrote that the woodwinds' answers represented «Fighting Answerers" who, after a time, «realize a futility and begin ,,, to mock 'The Question before finally disappearing, leaving «The Question" to be asked once more before «The Silences" are left to their «undisturbed Solitude:' The strings twice repeat a pianis­ simo thirteen-bar progression, so slowly it has a static feel. It uses voice leading, passing tones, and ornamental notes in a manner reminiscent of a hymn or chorale.

After the repetition, the strings' part varies in subtle ways that are difficult for the listener to detect.

In contrast to this ever-changing but seemingly regular «Silence:'

the trumpet repeats the same "Question;' the first six times each louder than the last; it is the wood­ winds' atonal answers that change in obvious ways, growing increas­ ingly agitated and dissonant. After the woodwinds finally give up, the trumpet poses the question quietly one last time.

Elgar: Lux Aeterna

Elgar's Lux Aeterna is his ar­ rangement for voices of the ninth of his Enigma Variations, the well-known "Nimrod:' It is dedicated to Augustus J. Jaeger, Elgar's best friend. It is said that this variation, as well as an at­ tempt to capture what Elgar saw as Jaeger's noble character, depicts a night-time walk the two of them had, during which they discussed the slow movements of Ludwig van Beethoven (the first eight bars represent the beginning of Beethoven's Pathetique Sonata).

The name of the variation pun­ ningly refers to an Old Testament patriarch described as a mighty hunter, the name Jaeger being German for hunter. The text is the Communion antiphon from the Mass for the Dead.

Walter Hawkins: rm Goin' Up a-Yonder

Walter Hawkins had popular suc­ cess at the age of 20 as part of his brother's Edwin Hawkins Singers when the gospel song "Oh Happy Day" became a mainstream pop hit in the early ?Os. But Walter soon left his brother's group to start the Love Center Church in Oakland, California. He and his Love Center Choir had consider­ able success with their «Love Alive" series of recordings, which sold well over a million copies from the 1970s through the 1990s.

«Love Alive IV ", released in 1990, was No. l on the Billboard Gospel Album charts, where it stayed for 33 weeks. In all, Walter Hawkins produced and/or collaborated on 116 hit songs which were listed on the Billboard Gospel Music charts.

TEXT&. T�ANSLATIONS John Muehleisen: Snow (The King's Trumpeter)

And love now stirs, as well it might As lads and lasses come in sight.

Snow (The King's Trumpeter) Thaw every breast, melt every eye with woe, Here's dissolution by the hand of death!

To dirt, to water, turned the fairest Snow.

O! The King's Trumpeter has lost his breath.

A cat in garden straying With balls of wool is playing He sleeps with one eye open wide, His mistress' patience sorely tried While uncle in his rocking chair Reads from his Bible old and rare.

Walter Hawkins: I'm Goin' Up a-Yonder If anybody asks you Where I'm going Where I'm going soon If you want to know Where I'm going?

Where I'm going, soon I'm goin' up yonder I'm goin' up yonder I'm goin' up yonder To be with my Lord I can take the pain The heartaches they bring The comfort in knowing I'll soon be gone As God gives me grace I'll run this race Until I see my Savior Face to face I'm goin' up yonder I'm goin, up yonder I'm goin, up yonder To be with my Lord Carl Nielsen: Springtime in Funen Chorus Like the green that follows white winter cold, Or a lily that floats on a limpid pool Funen lies calm on a silver sea.

The oldest of trees now burst in flower, The hills smooth and soft as a maid, s caress, Now share their beauty with all mankind.

Where winter's cold fingers turned green to brown, Is suddenly warmed by the sun again; And crops now can flourish and life returns.

And now once more man can rejoice and sing, As winter gives way to the power of spring.

And they wonder at nature now come alive.

Soprano The sun with all its brightness Brings all its joy and lightness.

The air is warm and breezes blow,

The sun with all its brightness Brings all its joy and lightness In cottages so small and trim Are hearts which glow and glasses brim And souls are set a-burning.

Is it some kind of yearning?

Tenor The skies are clear; the air is warm, A day that sun and joy would charm, Would be perfection if I could (When as sweet Gerda, smiling fair Is taking now the evening air) I take her gently in my arms 0 Gerda, sweet and fair.

0 how I love that bonny lass Whose pretty face I cannot pass without the thought That I might kiss her tender cheek.

Her love I 'll ever strive to seek.

A love so rich and rare 0 Gerda, sweet and fair.

Her cherry lips invite me now And young and fair she loves me, too: I lock her in my heart' s deep thrall, And now I love my Gerda best of all, And yearning evermore I shall, For tender cheek and rosy lips: 0 Gerda, sweet and fair.

Baritone The sun comes a-streaming within the door.

Dear friend, may I bid you a welcome here: You come on the wind; you come on the breeze, You breathe, and the buds now will turn into leaves.

You bless all of us with your heavenly light, And all our despair will be put to flight.

In winter our blood runs still and cold, But spring-time brings warmth and light for all.

Chorus Tra-la-la, tra-la-la The girls now arrive and dance two by two, Their dresses so bright in their pink and their blue The lasses are laughing with careless glee,

Their elders tut-tut at the sight they see.

Tenor

I puff on my pipe in the eveing still As the sun sinks over the western hills Baritone

I look at the moon through the dregs of my wine For wine and the pipe share this heart of mine.

Chorus

Tra-la-la, tra-la-la The Blind Minstrel Baritone

Today the sunshine my eyelids warm, The blackbird sings on, safe from harm.

Now high above blue and cloudless skies Makes us all nature's beauties prize.

I feel my way with every care And sense the path that I know is there: I hear from over field, from field and wood The lowing cattle in restless mood.

I always carry my clarinet, It comforts me when my eyes are wet: And now if sorrow is turned to joy, My trusty reed I will now employ.

And while I play, children follow on And bid me join their cheerful game: When one of them guides me with his hand, I feel that spring has an old man found Children

0 let's go out and play, And not stay home and mope.

It's sunny out today; rve got my spinning top.

Let's take the flowers red and bind them in a ring; Or maybe dance instead and teach the boys to sing!

Solo

1

Dear Hans, hear what I say; Will you now play with me?

And I have two, three sherbets in my bag.

Would you like one now?

Solo

2

Yes, Hans, hear what I say; If playing with a girl, a girl like that, Whdll kiss you and dance; You1re just a silly wimp!

Children

Let's all go out and play, Not stay at home and mope.

Let's all go out and play!

The Old Folk

In winter old people remain at home, They read by the fire and they do not roam:

In spring they lose some of their aches and pains, And then they go out in the country lanes.

They wander together in wind and sun And watch the young rams as they frisk and run.

Their twisted old fingers enjoy the heat: The winter is over; the sun is sweet.

And when they come in, they take off their shoes, And settle themselves for little snooze: And then they forget their infirmity: And feel the peace of eternity.

Dance Chorus

Come here, and play once more, Your clarinet is ready, come here and play once more.

Come here and play the fiddle, too!

Where happy folk are dancing: Play on, play on as loud you may, And Funen will resound once more.

Ira-la-la, tra-la-la 0 spring, sweet spring you master us, With sun and warmth enthral us.

Ira-la-la, tra-la-la With song and dance we celebrate: Away with gloom and sorrow.

Come here and play once more!

Tenor

And if you have your sweetheart found, Young Sophie will be true.

Though she may measure four foot 'round ...

Baritone

She'll aye be true to you!

Chorus

With flowery garlands on their heads, The village girls are dancing: 0 let me kiss your pretty lips, Your smile is so entrancing.

And dance we will from morn to night, As winter's gloom is put flight; Come here and play once more!

Soprano, Tenor ft Baritone

See, apple blossoms falling on the lane!

Chorus

Come here, and play once more, Your clarinet is ready, come here and play once more.

Come here and play the fiddle, too, Where happy folk are dancing: Play on, play on as loud as you may And Funen will resound once more.

Come here, and play once more.

Edward Elgar: Lux Aeterna Lux aeterna luceat eis Domine

Let perpetual light shine upon them, 0 Lord,

cum sanctis tuis In aeternum:

With your saints forever,

Quia pius es.

For You are merciful.

Requiem aeternam dona eis, Domine;

Grant them eternal rest, 0 Lord,

et lux perpetua luceat eis. And let perpetual light shine upon them.

Cum sanctis tuis in aeternum

With your saints forever,

Quia pius es.

For You are merciful.

Morten Lauridsen: Lux Aeterna I. INTROITUS

Requiem aeternam dona eis, Domine:

Rest eternal grant them, 0 Lord:

et lux perpetua luceat eis,

and let perpetual light shine on them.

Miserere nostri, Domine,

Have mercy on us, 0 Lord,

miserere nostri.

have mercy on us.

Fiat misericordia tua, Domine, super nos

Let thy mercy be upon us, 0 Lord,

quemadmodum speravimus in te.

for we have hoped in thee.

In te Domine, speravi:

0 Lord, in Thee have I hoped:

non confundar in aeternum.

let me never be confounded.

Ill. 0 NATA LUX

0 nata luxde lumine,

0 born light of light,

Jesu redemptor saeculi

Jesu redeemer of the world,

dignare demens supplicurn

mercifully deem worthy and accept

laudes preces que sumere.

praises and prayers from your supplicants.

Qui carne quondam contegi

Who once was clothed in the flesh

dignatus es pro perditis.

for those who are lost.

Te decet hymnus Deus in Zion,

To thee praise is due, 0 God, in Zion,

Nos membra confer effici,

et tibi redetur votum

and to thee vows are recited

Allow us to become members of

tui beati corporis.

your holy body.

in Jerusalem:

in Jerusalem:

exaudi orationem meam,

hear my prayer,

ad te omnis caro veniet. unto thee shall all flesh come.

Requiem aeterman dona eis, Domine:

Rest eternal grant them, 0 Lord:

et lux perpetua luceat eis.

and let perpetual light shine on them.

IV. VENI, SANCTE SPIRITUS

Veni, Sancte Spiritus

Come, Holy Spirit,

Et ernitte coelitus

And send from heaven

Lucis tuae radium.

Your ray of light.

Veni, pater pauperum,

Come, Father of the poor,

Veni, dator munerum,

Come, giver of gifts,

Veni, lumen cordium

Come, light of hearts.

Consolator optime,

The best of Consolers,

Dulcis hospes animae,

Sweet guest of the soul,

Dulce refrigerium.

Sweet refreshment.

II. IN TE, DOMINE, SPERAVI

Tu ad liberandum suscepturas hominem

Thou, having delivered mankind,

non horruisti Virginis uterum.

did not disdain the V irgin's womb.

Tu devicto mortis aruleo,

Thou overcame the sting of death,

In labore requies,

In labor, thou art rest,

In aestu temperies,

aperuisti credentibus regna coelorum.

and opened to believers the kingdom of heaven.

In heat, thou art the tempering,

In fletu solatium

Exortum est in tenebris lumen rectis.

To the righteous a light is risen up in darkness.

In grief, thou art the consolation.

0 lux bcati · ·ima,

V. AGNUS DEi · LUX AETERNA

Ii rht most blc 'S cl,

Reple cordis intima

Fill the inmost h(;nrt

Agnus U 'i,

Lamb of od,

1l1onun fidelium.

Of nil thy foithful.

qui tollis p cutu mundi

who tak s away the. i111i of the world,

dona eis requiem.

grant them rest.

Agnus Dei,

Lamb of God,

qui tolli · peccata mundi

who takes away the sins of the world,

dona eis requiem.

grant them rest.

Agnus Dei,

Lamb of God,

qui tollis peccata mundi

who takes away the sins of the world,

dona ei requiem sempitemam.

grant them rest everlasting.

May eternal light shine on them, 0 Lord:

i11 tuo nomine, Nil1il est innoxiwn.

Nothin that i · not � harmfu.

Lava quod est sordidum,

Cleanse what is dirty,

Riga quad est aridwn,

Moisten what is dry,

Sana quod est saucium.

Heal what is hurt.

Flecte quod est rigidum,

Flex what is rigid,

Fove quod est frigidum,

Heat what is frigid,

Rege quod est devium

Correct what goes astray.

Da tuis fidelibus,

Grant to thy faithful,

In te confidentibus,

Those that trust in thee,

Lux aeterna luceat eis, Domine:

Sacrum septenarium.

Thy sacred seven-fold gifts.

cum sanctis tuis in aeternum:

Da virtutis meritum,

Grant the reward of virtue,

with the company of thy saints for ever and ever:

quta pms es.

for thou art merciful.

Da salutis exitum,

Grant the deliverance of salvation,

Requiem aeternum done eis, Domine,

Rest eternal grant them, 0 Lord,

Da perenne gaudium.

Grant joy everlasting.

et lux perpetua luceat eis. And let perpetual light shine on them.

Alleluia. Amen.

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Alleluia. Amen.