Senior Recital Michael Asmus, Organist & Conductor with
LE GRANDE BANDE & CHORUS Christ Chapel 21 April 2013, 7:30 PM
LE GRANDE BANDE & CHORUS MICHAEL THOMAS ASMUS, Music & Artistic Director
Senior Recital Christ Chapel, Gustavus Adolphus College, Saint Peter, MN 21 April 2013 | 7:30 PM
Michael Asmus, Organ and Conductor with
LE GRANDE BANDE & CHORUS Programme Organ Sonata No. 2, Op. 151 (1917) I. Rheims: Allegro moderato
CHARLES VILLIERS STANFORD (1852-1924)
Rubrics (1988) IV. The peace may be exchanged
DAN LOCKLAIR (b. 1945)
Ye Choirs of New Jerusalem, Op. 123 (1910)
C. V. STANFORD
O Mensch, bewein' dein Sünde groß, BWV 622 (1713-5)
JOHANN SEBASTIAN BACH (1685-1750)
INTERVAL
Organ Concerto Op. 4, No. 4, HWV 292 (1733) I. Allegro Sinfonia in d minor, W I/3 (1768) I. Allegro II. Andante amoroso III. Allegro assai The King Shall Rejoice, HWV 260 (1727) I. The King shall rejoice II. Exceeding glad shall he be III. Glory and great worship IV. Thou hast prevented him V. Alleluia
GEORGE FREDRIC HÄNDEL (1685-1759)
JOHANN CHRISTOPH FRIEDRICH BACH (1732-1795)
G. F. HÄNDEL
DEPARTMENT OF MUSIC | 1
Programme Notes
F
or George Fredric Händel, the year 1727 Music suite for the King‟s trip on the River began like many of the previous years: with Thames in July 1717. It is likely that Händel‟s Italian opera. Händel had almost singlehandedly connection with the Hanoverian court, and introduced the genre of Italian opera to England subsequently the English court, provided him with his first arrival in London during the winter with the opportunity to compose the four of 1710. (He began his permanent residency of Coronation Anthems for the 1727 Coronation of England by mid-October 1712.) Indeed, much of George II. his compositional output through the late 1710s THE ENGLISH CORONATION and the entire 1720s would prove to be Coronations as a whole are steeped in age-old numerous operas for either the Queen‟s (later tradition—their forms having been shaped and King‟s) Theatre or the Royal Academy of Music, moulded throughout the centuries with each an Italian opera company which was established ceremony taking on its own unique shape and by Letters Patent in late July 1719. Händel form, depending on the needs of each King or would have some success in Italian opera until its Queen. And in this respect, the English eventual decline in popularity and afterwards in Coronation ceremony is no different. the oratorio genre with such works as Messiah The earliest written form of and Esther. the English coronation is in a Though not every one In Short: set of manuscripts dating back of his operas was a major Born: 23 February 1685, Halle, Germany to ca. 900 A.D. The major success, Händel‟s name Died: 14 April 1759, London, England structures of the coronations undoubtedly became wellWork composed: The King shall rejoice are quite straight forward: 1. known throughout Engalong with the remaining three Biblical readings and a full Mass land and the rest of Coronation Anthems Zadok the priest, My Europe. His connection heart is inditing, and Let thy hand be connecting the reign of the with the English Court strengthened between September 1727 to King to the approval of God; 2. The King swears a three part likely helped him gain October 1727. some popularity in the World premiere: 22 October 1727 in oath—the tria praecepta—to his people; 3. The king is invested ranks of English nobility. Westminster Abbey during the with the regalia of the previous Händel had been Coronation of King George II. Kings; and 4. The anointing of employed as Kapellmeis- Text: Psalm 21: 1-2, 5 ter by George, Elector of Instrumentation: 2 Oboes, 2 Bassoons, the King‟s head and heart with Hanover (the future 3 Trumpets, Timpani, SAATBB Chorus, holy oil following the tradition established by Salomon and George I), from 16 June Strings, Continuo Zadok the priest in I Kings 1710 to June 1713 and 1:39. By 1727 only one aspect also composed intermitof the original ceremonial had become irrelevant: tently for Queen Anne from February 1713 until the King‟s swearing of the tria praecepta. her death in August 1714. During the reign of George I, Händel composed his famous Water 2 | GUSTAVUS ADOLPHUS COLLEGE
Of the remaining aspects listed above, each one has its own reason for inclusion, though it is too lengthy to discuss here. Furthermore, the 1727 Coronation ceremony includes several parts which were used only in more recent Coronations—these parts are not even mentioned in the Eighth Century manuscript discussed above. Nevertheless, the purpose of the Coronation service remained the same in 1727 as it did 850 years prior: the anointing with holy oil and installation of the monarch by the Church. A REGAL OCCASION After the sudden death of King George I, preparations for the Coronation of King George II started somewhat haphazardly in August, two months after the former King‟s death. Traditionally, the music for the Coronation was to be provided by the Organist and Composer of the Chapel Royal; and after the death of his successor, Maurice Greene was apBalthasar Denner, George Fredrich pointed to the Handel, oil on canvas, ca. 1726-1728, position on 4 74.9 cm. x 62.6 cm., National September 1727. Portrait Gallery, London, UK. Händel had previously been appointed on 25 February 1723 as “Composer of Musick for his Majesty‟s Chappel Royal,” a post which was mostly nominal (as a non-citizen was not able to hold an official post). Händel‟s non-citizen status was erased on 20 February 1727 when he became a “naturalized Englishman” by the customary Act
of Parliament. Through this act, the commissioning of Händel to write the four Anthems was not as taboo as it might have been months earlier. The commissioning of Händel to write these Anthems is not surprising: not only because Greene had hardly been in office for a few weeks before the official order of service was printed in mid-September, but also because of Händel‟s almost twenty year connection with the Hanoverians. Whatever the reason, the commission proved to be yet another stamp of approval for Händel‟s compositional talents by the Crown and the public. A printed order of the Coronation was delivered to Händel on 20 September, 1727. By this time, Händel surely had already begun composing the four Anthems. (The original date chosen for the Coronation, 4 October, had to be moved to 22 October because of a forecast threat of flooding.) The late arrival of the printed service, combined with Händel‟s early start, likely explains the vast difference between Händel‟s and the „approved‟ text. For The King shall rejoice, in particular, the major differences appear to be in the chosen translation and the complete deletion of the sixth verse of Psalm 21 from Händel‟s version. With the Anthems completed, and the Coronation date approaching, Parker’s Penny Post printed a notice on 4 October 1727 about a rehearsal that was to take place on 6 October (there was an additional rehearsal, but the date for this is not known): Mr Hendle [sic.] has composed the Musick for the Abbey at the Coronation, and the Italian Voices, with above a Hundred of the best Musicians will perform; and the Whole is allowed by those Judges in Musick who have already heard it, to exceed any Thing heretofore of the same Kind; It will be DEPARTMENT OF MUSIC | 3
rehearsed this Week, but the Time will be kept private, lest the Crowd of People should be an Obstruction to the Performers. Westminster Abbey was transformed for the occasion, with two specially built platforms erected for the musicians along with an organ that was specifically built for the Coronation. In all, the ceremony proved to be a grand spectacle, at least on paper. In June 1727, five of the ten boys from the Chapel Royal were excused from their posts. Their voices broke and they were no longer able to sing as trebles. This event likely caused quite a dilemma as the Coronation approached. On the autograph score of The King shall rejoice Händel indicates the number of singers which was preferred for each voice part—12 trebles, 7 first and 7 second altos, 7 tenors, 7 first and 7 second basses. These numbers likely represented the expected size of the combined forces of both the Chapel Royal and Westminster Abbey choirs. Thankfully, the boys who left the Chapel Royal “arranged for deputies to take their places with the [Westminster Abbey] choir.” The “Italian Voices” which are mentioned in the Parker Penny Post notice were members of the Royal Academy of Music, the Italian opera company for which Händel was a composer-in-residence. The addition of these singers likely helped to bolster the withering forces, though it is doubtful that the Italian sopranos were used to help support the trebles. To make matters worse, the altar which was situated between the two platforms, blocked the view of the opposite platforms. The Archbishop of Canterbury, William Wake, notes about Händel‟s first Anthem: “The Anthem in Confusion: All irregular in the Music.” Whether this account is true, is not known; nevertheless, one can hardly blame the musicians for such a 4 | GUSTAVUS ADOLPHUS COLLEGE
result. Even Händel himself is said to have “lamented his not having that part of the Altar taken away, as He, and all the Musicians concerned, experienced the bad effect it had by that obstruction.” A CENTURIES-LONG LEGACY Even though the premiere performance of the Anthems may not have gone as planned, the four pieces have retained a lasting legacy in England. Zadok the priest (HWV 258) became the most popular of the four Anthems just a few years after its initial performance. In fact, every subsequent coronation has included Zadok the priest and it has even been used for some royal occasions outside of the Studio of Charles Jervas, King Coronation. Wil- George II, oil on canvas, ca. 1727, 219.7 cm. x 128.3 cm., National liam Boyce (1711- Portrait Gallery, London, UK. 1779), who composed the Coronation music for George III in 1761 did not even attempt to outdo Händel‟s Zadok and he even remarked, “the First Grand Musical performance in the Abbey, was at the Coronation of King George the Second ….” While these four Anthems are not as wildly popular in the United States as they are in England, it is my hope that I might introduce you tonight to yet another genre of Händel‟s compositional prowess that does not include his oratorios or operas.
Texts
Ye Choirs of New Jerusalem Charles Villiers Stanford Fulbert of Chartres (952/70-1028) | Translation: Robert Campbell (1814-1868) Ye choirs of new Jerusalem, Your sweetest notes employ, The Paschal victory to hymn In strains of holy joy. For Judah's Lion bursts His chains, Crushing the serpent's head; And cries aloud through death‟s domains To wake th'imprison'd dead. Devouring depths of hell Their prey at His command restore; His ransom'd hosts pursue their way Where Jesus goes before.
Triumphant in His glory now To Him all power is given; To Him in one communion bow All saints in earth and heaven. While we, His soldiers, praise our King, His mercy we implore, Within His palace bright to bring And keep us evermore. All glory to the Father be, All glory to the Son, All glory, Holy Ghost, to Thee, While endless ages run. Alleluia! Amen.
O Mensch, bewein' dein Sünde groß Johann Sebastian Bach Sebald Heyden (1499-1561) | Translation: Catherine Winkworth (1827-78)
O Mensch, bewein dein Sünde groß darum Christus seins Vaters Schoß äußert und kam auf Erden; von einer Jungfrau rein und zart für uns er hie geboren ward, er wollt der Mittler warden. Den Toten er das Leben gab und legt dabei al Krankheit ab, bis sich die Zeit herdrange, daß er für uns gekreutzget würd, trüg unser Sünd und schwere Bürd wohl an dem Kreuze lange.
O Man, thy grievous sin bemoan, For which Christ left his Father’s throne, from hightest heaven descending. Of Virgin pure and undefiled He here was born, our Saviour mild, for sin to make atonement. The dead He raised to life again. The sick He freed from grief and pain. Until the time appointed that He for us should give His blood, should bear our sins’ o’erwhelming load, the shameful cross enduring.
(Continued on the next page.) DEPARTMENT OF MUSIC | 5
Copyright © Bärenreiter 1984.
The King Shall Rejoice George Fredric Händel Psalm 21:1-3, 5
The King shall rejoice in thy strength, O Lord. Exceeding glad shall he be of thy salvation. Glory and great worship hast thou laid upon him. Thou hast prevented him with the blessings of goodness and hast set a crown of pure gold upon his head. Allelujah.
6 | GUSTAVUS ADOLPHUS COLLEGE
The Musicians of
LE GRANDE BANDE & CHORUS
Choristers Soprano Madeline Cacciatore* Heather Kok Anna Morton Ariana Olson Emily Paul Elisabeth Pederson Olivia Reininger Briana Titus
Alto Grace Clough Jessie Erickson Amber Evenson Anna Giles Hanna Mahan Christina Mantey Camille Jarvis Leah Rodmyre*
Dr. Chad Winterfeldt, Organ
Tenor Cameron Jarvis Sean Kehren Andrew Kendall Riley Lass Dan Marino David Roland Joseph Stagg Joe Thomas*
Bass Robert Brown Joe Claflin Lucas Krogmann Karl Grant Cory Lau Daniel Olson* Sam Knutson Danny Pavek David Porth
*section leader
Orchestra Violin Taylor Frey Elizabeth Frรถden Meghan Peterson Kendra Frey Nick Ulen Dan Ly
Oboe Becca Ihnen Anthony Afful Bassoon Katie Landreville
Viola Karin Dye Dempsey Schroeder
Trumpet Tim Grev Nick Mason Dan Leifermann
Cello Helen Wauck
Timpani Tia Thompson
Bass Michael Eastwood
Continuo David Lim Tony Ouradnik DEPARTMENT OF MUSIC | 7
Organ Specifications Hillgreen-Lane, 1961 | Hendrickson, 1989, 1999 GREAT (II) 16‟ Geigen Principal 8‟ Principal 8‟ Geigen Principal 8‟ Gedeckt 4‟ Octave 4‟ Spitzflöte 2 2/3‟ Twelfth 2‟ Super Octave 1 1/3‟ Mixture IV 8‟ Kornett V (prep.) 8‟ Trumpet Unison Off CHOIR (I) 8‟ Diapason 8‟ Gedeckt 8‟ Dulciana 4‟ Principal 4‟ Nachthorn 2 2/3‟ Nazard 2‟ Octave 1 3/5‟ Tierce 1 1/3‟ Larigot 1‟ Super Octave ½‟ Twenty-Ninth 8‟ Cornet V 8‟ Clarinet Tremolo Choir 16‟ Unison Off
8 | GUSTAVUS ADOLPHUS COLLEGE
SOLO (IV) 16‟ Erzähler 8‟ Doppelflöte 8‟ Erzähler 4‟ Principal 4‟ Harmonic Flute 4‟ Erzähler ½‟ Cymbel III 8‟ Major Trumpet Zimbelstern Solo 4‟ SWELL (III) 16‟ Bourdon 8‟ Gedeckt 8‟ Viol 8‟ Celeste 4‟ Principal 4‟ Koppelflöte 2‟ Piccolo 1‟ Sifflöte 1‟ Mixture IV 16‟ Posaune 8‟ Trumpet 8‟ Oboe 8‟ Vox Humana 4‟ Clarion Tremolo Unison Off Swell 4‟
PEDAL 32‟ 16‟ 16‟ 16‟ 16‟ 16‟ 16‟ 8‟ 8‟ 8‟ 8‟ 8‟ 4‟ 4‟ 2‟ 32‟ 16‟ 16‟ 8‟ 8‟ 4‟ 4‟
Contra Bourdon Open Wood Principal Geigen Principal Bourdon Subbass Erzähler Octave Geigen Principal Bourdon Gedeckt Erzähler Super Octave Bourdon Mixture VI Contra Posaune Bombarde Posaune Bombarde Trumpet Clarion Rohr Schalmei
Portativ Organ Hendrickson, 1999 8‟ Gedeckt 4‟ Rohrflöte 2‟ Principal
Michael Asmus is a senior organ performance major at Gustavus Adolphus College. He has studied piano with Eunice Asmus, Dr. Paul Baumgartner, and Dr. Yumiko Oshima-Ryan, organ with Eunice Asmus, Mr. Chad Fothergill, and Dr. Chad Winterfeldt, voice with Mr. Tim Oâ€&#x;Brien and Dr. Jeffrey Hess, conducting with Dr. Ruth Lin and Dr. Gregory Aune, and composition with Dr. Rick Orpen. He will graduate in June magna cum laude and as a member of the Gustavus chapter of Eta Sigma Phi, a national honor society open to undergraduate students who have studied Latin or Ancient Greek. He is currently the tenor section leader for The Gustavus Choir and is an active accompanist of students and The Lucia Singers. After graduation, he intends to pursue graduate studies in conducting with an emphasis in historical performance practice.
*
*
*
*
*
Le Grande Bande & Chorus was founded in June 2011 by Michael Asmus as a 501(c)(3) non-profit organization. The intention of the ensemble is to bring great musical works to audiences throughout this region. It has become an additional goal of the organization to utilize primarily undergraduate student musicians, allowing these young instrumentalists and singers an opportunity for collaboration which is not easily found at the undergraduate level. We would like to thank tonightâ€&#x;s wonderful musicians who have donated their time to prepare and perform this program; we hope we are as lucky in the future to have such a talented group of individuals. Thank you!
DEPARTMENT OF MUSIC | 9