UGA REPERTORY SINGERS
RAYVON LOVE, conductor
MONDAY, MARCH 24, 2025 at 3:30 p.m.
RAMSEY CONCERT HALL
UGA REPERTORY SINGERS
Monday, March 24, 2025 at 3:30 p.m.
Ramsey Concert Hall UGA Performing Arts Center
Rayvon Love, Conductor
Greg Hankins, rehearsal pianist
PROGRAM
Der 115 Psalm, Op. 31
I. Nicht unserm Namen, Herr
II. Israel hofft auf dich
Felix Mendelssohn (1809-1847)
Shelby Laird, soprano and Henry Heydinger, tenor
III. Er segne euch je mehr und mehr
Thomas Dixon, baritone
IV. Die Todten werden dich nicht loben
Tshotsholoza Traditional South African Freedom Song
Jeffery L. Ames (b. 1969)
Henry Heydinger, soloist
Prelude
Cantique de Jean Racine
Ola Gjielo (b. 1978)
Gabriel Fauré (1845-1924)
PROGRAM NOTES
Prelude by Ola Gjeilo (b. 1978)
SATB a cappella chorus, Premiered 2005 (Duration: 3:15)
Ola Gjeilo was born in Norway and currently enjoys an international career as a composer and pianist living in the United States. Gjelo studied at the Norwegian Academy of music and the Royal College of Music before earning his Master’s degree in composition from The Juilliard School. His compositions explore musical language influenced by classical, jazz, and folk music throughout both instrumental and choral music. His choral works are published by Walton Music Corporation.
Latin
Exultate, Jubilate
O vos animae beatae
Exsultate, Jubilate
Summa Trinitas revelatur
Et ubique adoratur, Date gloriam, Date illi gloriam
Summa Trias adoratur, Date illi gloriam.
Tu virginum corona
Tu nobis pacem dona.
Tu consolare affectus, Unde suspirat cor. Alleluia.
English
Rejoice, resound with joy.
O you blessed souls, Rejoice, resound with joy, The Great Trinity is revealed And everywhere adored; Give glory, Give It glory, The Great Triad is adored, Give It glory. You, o crown of virgins, Grant us peace, Console our feelings, From which our hearts sigh. Alleluia.
Prelude was conceived as a celebratory concert opener. Written in ABA form, the music begins and ends with the same exuberant chorus sung by soprano and tenor parts at the octave, while the B section is more serene and has chant-like homophonic melody lines written in mixed meter. The modal nature of this section is also akin to that of plain-chant. The harmonic language of both sections is prone to cadence on open fifths which is also sustained in the alto and bass parts throughout the entire A section. It is not until the very last chord that the melody lines will walk up to create a major triad, giving completion to “The Great Trinity” referenced in the text of the A section.
Der 115 Psalm, Op. 31 by Felix Mendelssohn (1809-1847)
SATB chorus, tenor, soprano, bass soloists, and orchestra, 1835 (Duration: 17:00)
Felix Mendelssohn Bartoly is the grandson of famous Jewish philosopher Moses Mendelssohn who strongly encouraged his family to assimilate into German culture, converting the family to the Lutheran faith when Felix was young. Mendelssohn was a great admirer of Bach, famously reviving Bach’s St. Matthew Passion in Berlin in 1829 at 20 years old. His love for Bach and Martin Luther’s hymns would greatly influence this work. Psalm 115 is the first of five large-scale psalm settings for chorus, soloists and orchestra that Mendelssohn wrote- the other Psalm settings are 42, 95, 98, and 114. Mendelssohn wrote the first edition of Psalm 115 in Rome in 1829, the year following his Bach revival, with its final version completed in 1835. The premiere did not take place until 1838 at the Leipzig Gewandhaus. “Non nobis Domine” was the initial title of the piece, since Mendelssohn took Latin as the principal text source. However, his latter version comes from a translation of Psalm 115 in the vernacular German from the Luther Bible of that time. Commonly, the work is performed in German, but much of the instrumental writing complements the vocal writing and the Latin text stress can still be heard within the string writing.
Movement 1 Chorus “Nicht unserm Namen, Herr”, Verses 1-2
German
Nicht unserm Namen, Herr, nur deinem geheiligten Namen sei Ehre gebracht. Laß deine Gnad und Herrlichkeit und Warheit uns umleuchten, laß nicht die Heiden sprechen, wo ist die Macht ihres Gottes? Im Himmel wohnet unser Gott, er schaffet alles, was er will.
Latin
Non nobis, Domine, sed nomini tuo da gloriam. Super misericordia et veritate tua nequando dicant gentes: ubi est Deus eorum?
English
Not unto us, O Lord, but to thy name give glory, for the sake of thy steadfast love and thy faithfulness! Why should the nations say, “Where is their God?”
Movement 1 begins fast and with fire, as indicated by the tempo marking, with the orchestra boasting stark dynamic contrast until the chorus enters with “not our name, oh Lord, but only to your hallowed name be glory”- in German, of course. This melody is shared in fragments throughout all voices in polyphonic vocal writing, similar to that of Bach’s writing style. In measure 45, following a brief orchestral interlude containing similar opening material, we finally hear the choir sing in homophony (all the same syllables at the same time) as they ask God’s light to shine on them. A different fugue
subject is presented in an almost chaotic manner resembling the chatter of enemies doubting, “where is the power of your God?” However, Mendelssohn presents first the basses and then sopranos with a ringing chorale melody proclaiming “in Heaven lives our God, He creates everything!” This section ends with the choir singing a recapitulation of “Nicht Unserm Namen, Herr”. Finally, Movement 1 ends with the chorale phrase. This combination of fugues and chorales is a precursor to Mendelssohn’s St. Paul overture (1836).
Movement 2 Duet and Chorus “Israel hofft auf dich”, Verses 9-13
German
Israel hofft auf dich, du wirst sie beschützen in Not, denn du bist ihr Helfer, ihr Erretter bist du allein, ihr Helfer bist du allein. Aaron hofft auf dich, du wirst sie beschützen in Not, denn du bist ihr Helfer, ihr Erretter bist du allein, ihr Helfen bist du allein. Alles Volk hofft auf dich. Wahrlich der Herr gedenket unser, und segnet seine Kinder, denn er segnet das Haus Israel, und er segnet das Haus Aaron, une er segnet alles Volk, die seinen Namen fürchten, beide, klein und große, er segnet alles Volk.
Latin
Domus Israel spervit in Domino: adjutor eorum et protector eorum est. Domus Aaron speravit in Domino: adjutor eorum et protector eorum est. Qui timent Dominum speraverunt in Domino, adjutor eorum et protector eorum est. Dominus memor fuit nostri et benedixit nobis, benedixit domui Israel, benedixit domui Aaron, benedixit omnibus qui timent Dominum pusillis cum majoribus.
English
O Israel, trust in the Lord! He is their help and their shield. O house of Aaron, put your trust in the Lord! He is their help and their shield. The Lord has been mindful to us; he will bless us; he will bless thee house of Aaron; he will bless the house of Israel; he will bless those who fear the Lord, both small and great.
Movement 2 is the most dolce movement in the work, written in Bb major. This dancelike section features a tenor/soprano duet as they reference biblical figures Israel and Aaron who trusted in God as help in their time of despair. Tenors and basses join as choral accompaniment along with the orchestra, resembling a broader chorus of all individuals as they add, “all people hope in You. You will protect them in trouble.” This builds until measure 74 where the strings have cascading 16th-arpeggios and sopranos join with a tempo marking più animato. This animated chorus serves as comfort that all people, great and small, are to be blessed by this powerful figure. The tenors and basses echo as the movement ends in stillness concluding only with wind instruments.
Movement 3 Aria “Er segne euch je mehr und mehr”, Verse 14
German
Er segne euch je mehr und mehr, euer Haus und alle eure Kinder.
Latin
Adjiciat Dominus super vos et super filios vestros.
English
May the Lord give you increase, you and your children!
The movement 3 is a blessing given by way of a baritone, symbolic high priest. Mendelssohn uses a four-note motif in Eb major, heard in the first bar and imitated in bars 2 in cello and again throughout the movement, that is associated with the sacred polyphony of Palestrina understood by the 19th century musicians of his time.
Movement 4 Chorus “Die Todten werden dich nicht loben”, Verses 17-18; verse 1
German
Die Toten werden dich nicht loben, o Herr, alle, die hinunter fahren in die Stille; doch wir, die leben heut, loben dich, den Herrn, vom Anbeginn bis in Ewigkeit, Halleluja.
Verse 1
Nicht unserm Namen, Herr, sei Ehre, nur deinem geheiligten Namen sei Ehre gebracht, laß deine Herrlichkeit und Gnade und Wahrheit uns umleuchten.
Latin
Non mortui laudabunt te Domine neque omnes qui descendunt in infernum sed nos qui vivimus benedicimus Domino ex hoc et usque in saeculum.
Verse 1
Non nobis Domine, sed nomini tuo da gloriam, super misericordia tua et veritate tua.
English
The dead do not praise the Lord,nor do any that go down into silence. But we will bless the Lord from this time forth and for evermore.
Verse 1
Not to us, O Lord, but to thy name give glory, for the sake of thy steadfast love and thy faithfulness!
The finale begins with an exposed 8-part chorus in Eb major. The chorale-like phrases meander through C minor, painting the darkness that the text refers to when mentioning the dead and those who are silent. These 32 bars end with an exuberant declaration that the Lord will be praised for evermore, firmly in Bb major before the final cadence in G minor. The orchestra enters with haunting, broken 16th notes in the string parts and contrasting legato lines within the winds. The choir enters quietly with the same text from movement one, but this time in 3/4 time instead of 4/4 time which provides a type of metric instability that is exaggerated in the soprano melody. The chorus ends in unison on the text “not our name”, but Herr, meaning ‘Lord’, sung in a G major chord- ending the piece with a sense of assured peace.
PROGRAM NOTES
Cantique de Jean Racine by Gabriel Fauré (1845-1924)
SATB chorus, orchestra (original version written for piano or organ), (Duration: 5:00)
Gabriel Fauré was a 19-year old student at the École Niedermeyer de Paris when he composed the Cantique de Jean Racine which won him first prize in the school’s composition competition in 1865; he dedicated the composition to César Franck, French composer of the generation proceeding Fauré. The following year, this work was performed with an accompaniment of strings and organ. The Cantique is a French paraphrase of a Latin hymn, translated by Jean Racine.
Cantique de Jean Racine is described as calm. In the orchestra, a triple figure persists throughout the work, namely the violas and later the violins in this arrangement, that is accompanied by a simple bass line, all supporting the melody that is introduced in the violin. The piece is divided into three verses where verses one and three have similar melodic material. Verse one and three passes the melody between the voices as they enter from low to high. The harmony language is convincingly Romantic in nature— speaking of both the musical era and the deeply moving progressions carrying long, sweeping melodies. Verse 2 is the most lush as the writer pleads with ‘the Highest One’ to pour the fire of their grace on them so that all sorrows may flee and they may be filled with immortal gifts.
French Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, De la paisible nuit nous rompons le silence:
Divin Sauveur, jette sur nous les yeux.
Répands sur nous le feu de Ta grâce puissante; Que tout l’enfer fuie au son de Ta voix; Dissipe le sommeil d’une âme languissante Qui la conduit à l’oubli de Tes lois!
Ô Christ! sois favorable à ce peuple fidèle, Pour Te bénir maintenant rassemblé; Reçois les chants qu’il offre à Ta gloire immortelle, Et de Tes dons qu’il retourne comblé.
English
Word, equal to (one with) the Highest, Our only Hope, Eternal day of the earth and heavens, We break the silence of the peaceful night; Divine Savior, cast your eyes upon us!
Spread over us the fire of your powerful grace, That all hell may flee at the sound of your voice; Dispel the slumber of a languishing soul, That drives us to forget your laws.
O Christ, show favor to this faithful people now assembled In order to bless (thank) you now.
Accept the songs they offer to your immortal glory; And may they go forth filled (overjoyed) with your gifts.
Tshotsholoza “Traditional South African Freedom Song” adapted by Jeffery L. Ames (b. 1969)
Tenor Solo, SATB chorus, Congas & Djembe, Premiered 2011, (Duration: 2:00)
Dr. Jeffery L. Ames serves as Director of Choral Activities at Belmont University in Tennessee. With degrees in Choral Conducting and Choral Music Education from The Florida State University and Piano and V oice from James Madison University, Ames enjoys a career as a conductor, composer and arranger. His choral works are recognized and performed internationally and published by Walton Music Corporation.
Tshotsholoza has been performed for many generations and is considered the ‘unofficial’ anthem of South Africa. This freedom song was sung by miners who toiled in the South African diamond and gold mines and by those celebrating Nelson Mandela’s release from prison. This song has been included in movies and was South Africa’s ‘battle-call’ at the 2010 FIFA World Cup. The text is a mixture of Zulu and Ndebele dialects which translates to, “Go forward on those mountains; the train is coming from South Africa.” This arrangement by Dr. Ames is filled with choral harmonies that uplift and invigorate.
Text (Zulu & Ndebele dialects)
Tshotsholoza
Ku lezontaba
Stimela siphum’e South Afrika
Wen’ uyabalekah
Ku lezontaba
Stimela siphum’e South Afrika
English
Go forward on those mountains
The train is coming from South Africa
You are running away on those mountains; The train is coming from South Africa
Soprano
Lizzie Gesner
Paige Hall
Sarah Hickman
Shelby Laird
Grace Ann Miller
Chloe Floyd
Ange Sanches Fuentes
Mikayla Schuster
Lauren Smith
Emily Taylor
Hope Unger
UGA REPERTORY SINGERS
Rayvon Love, Conductor
Greg Hankins, rehearsal pianist
Alto
Rylee Aguire
Anna Bossert
Ellie Dignam
Olivia Durrence
Megan Ferro
Kathryn McWhorter
Brenna Pursley
Audrey Raynor
Ava Rogers
Elle Winings
Violin 1
Jhonni Da Cruz Campos*
Brian Roach
Zeyu Yuan
Jenny Edwards
Violin 2
Ori Kang (Hyejung)
Chelsea Afful
Sarah Ling
Rea Aiyer
Viola
Rogelio Bonilla-Piedra
Kailey Ford
Cello
Tristan Dempsey
William Slater
Tenor
Daniel Bara
Trey Heaton
Henry Heydinger
Will Pollard
Daniel Shafer
Victor Tirino
INSTRUMENTALISTS
Bass
Wueliton Zanelatto Dal Pont
Flute
Shana Stone
Emily Elmore
Oboe
Gracee Myers
Ashley Na
Clarinet
Claudia Reve Romero
Sarah Christie Frois
Bassoon
Jazmyn Barajas-Trujillo
Caleb Jackson
* denotes concertmaster
Bass
Dylan Bazzell
Thomas Dixon
Peter Dixon
Justin Herrin
Liam Mueller
Braden Rymer
Sam Son
Joel Unger
Horn
Joseph Johnson
Marianna Grace Schwark
Congas
Abigail Popwell
Djembe
Meme Walton
SUPPORT INDIVIDUAL AREAS OF THE SCHOOL OF MUSIC SUPPORT THE THURSDAY SCHOLARSHIP FUND
Scholarships and Graduate assistantships funded by donations to the Thursday Scholarship Fund make it possible for students to learn and pursue their passions at the Hugh Hodgson School of Music. Please consider a taxdeductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible. Scan the QR code now or reach out to Melissa Roberts at roberts@uga.edu or 706-254-2111.
In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our orchestra and choral programs, have support and scholarship funds you can contribute to directly. You can now learn more about all the ways and areas you can support the Hugh Hodgson School of Music. Scan the QR code or visit music.uga.edu/giving-and-alumni to the support the Hugh Hodgson School of Music area of your choice.
JOIN THE DIRECTOR’S CIRCLE
Gifts of all amounts are greatly appreciated. However, annual giving at the $1,500 level and higher provides membership in the Director’s Circle, our Hugh Hodgson School of Music Honor Roll. Director’s Circle members are invited to exclusive events and performances throughout the academic year.
For large gifts, please contact Melissa Roberts at roberts@uga.edu or 706-254-2111.
THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.
OPEN HOUSE HUGH HODGSON SCHOOL OF MUSIC
Friday, March 28 Noon - 7 p.m.
If you are (or have) pre-college students, are a regular audience member or donor, or have interest in private music lessons at any age, this is a fantastic and free event for you!
Faculty and students are already preparing special performances and presentations during this afternoon. Rehearsals and classes will be open for you to step inside and experience our work.
PLUS:
Lamar Dodd Student Market
Guest Artist: João Pedro Oliveira composer lecture at 6 p.m.in the Dancz Center for New Music
Learn about the Community Music School and Summer Camps
Visit music.uga.edu for more details later this month!
ImaginePossibilities the
MON 3/24
7:30 p.m.
Hodgson Concert Hall
$15 - Adult
$3 - Child/Student
FACULTY CHAMBER ENSEMBLE: WELCOME HOME
This is a unique opportunity to hear the three newest faculty at the Hugh Hodgson School of Music offer a shared concert. Featuring new assistant professor of cello James Kim, newly appointed assistant professor of saxophone Brandon Quarles, and newly appointed assistant professor of piano Alan Woo, this concert will include a wide range of music that highlights each of their talents and demonstrates their drive for collaboration.
WED 3/26
7:00 p.m.
Ramsey Concert Hall
FREE CONCERT
UGA HORN CHOIR
The University of Georgia Horn Choir is an active performance opportunity for both horn majors and nonmajors at the Hugh Hodgson School of Music. Directed by Dr. Jean Martin-Williams and Dr. James Naigus, the Horn Choir explores traditional horn choir repertoire in addition to newer music and transcriptions.
FRI 3/28
7:30 p.m.
Hodgson Concert Hall
$15 - Adult
$3 - Child/Student
“SYMPHONIE FANTASTIQUE”UGA SYMPHONY ORCHESTRA W/ GUEST CONDUCTOR MICHAEL STERN
Hector Berlioz wrote semi-autobiographical program notes for this piece that allude to the romantic sufferings of a gifted artist who has poisoned himself with opium because of his unrequited love for a beautiful and fascinating woman. The artist’s reveries take him to a ball and to a pastoral scene in a field, which is interrupted by a hallucinatory march to the scaffold, leading to a fantastic dance. This is certain to be an audience favorite.
MON 3/31
5:30 p.m.
UNIVERSITY OF GEORGIA JAZZ ENSEMBLES I & II
Ramsey Concert Hall
FREE CONCERT
Jazz Ensemble I is the Hodgson School’s advanced level big band, and as such is made up of advanced students. Jazz Ensemble II, an introductory level ensemble at the Hodgson School, introduces students to the experience of performing in a traditional big band. Both ensembles play music of various styles both on campus and in the community.
