Michael Lukin, choral conducting, May 3, 2022

Robert Blocker, Dean

Michael Lukin choral conducting Institute of Sacred Music Master of Music Degree Recital May 3, 2022 | 8:00 p.m. | Marquand Chapel

Wolfgang Amadeus Mozart 1756–1791

Regina coeli, K. 276

Frank Martin 1890–1974

Mass for double choir (1922–26) I. Kyrie II. Gloria III. Credo IV. Sanctus V. Angus Dei intermission

Igor Stravinsky 1882–1971

Pulcinella Suite, K034b I. Sinfonia II. Serenata III. Scherzino – Allegro – Andantino IV. Tarantella V. Toccata VI. Gavotta (con due variazioni) VII. Vivo VIII. Minuetto – Finale

This performance is in partial fulfillment of the requirements for the Master of Music degree.

As a courtesy to others, please silence all devices. Photography and recording of any kind are strictly prohibited.

Please do not leave the hall during musical selections. Thank you.

Regina Coeli, K. 276 – W.A. Mozart (1756-91) Text

Trans.

Regina coeli laetare, Alleluia.

Quia quem meruisti portare, Alleluia.

[Iam] Resurrexit sicut dixit, Alleluia.

Ora pro nobis Deum. Alleluia.

Queen of Heaven, rejoice, alleluia.

For He whom you were worthy to bear, alleluia [Now] has risen, as He said, alleluia.

Pray for us to God, alleluia.

Programme Note On January 11th 1779, Mozart returned to Salzburg to take up positions as concert master and organist at the Court of Salzburg. K. 276 was composed sometime during the months after his return for performance at the Cathedral. Being a Marian Antiphon, this would have been performed at the end of Vespers or Compline from Easter Sunday until Friday in the octave of Pentecost. Consequently, in the year 1779, the work would have been ready at the earliest by the end of March and at the latest by the end of May. One may notice in this work some parallels to the “Coronation Mass” which Mozart composed at least within a month of K. 276 that same year. K. 276 differs in several ways from the earlier two settings of the Regina Coeli text by Mozart – rather than scoring for soprano solo and chorus, K. 276 employs the use of a soli quartet, which, as in the case of many of the Salzburg masses, often engages in passages of dialogue with the choir. Unlike the first two settings, K. 276 appears as one continuous movement with the text set in full twice. Like his other Regina Coeli, Mozart takes great care in setting the text ‘ora pro nobis’ in K. 276, achieving contrast by giving the material to the solo quartet, frequent changes of harmony and passages interspersed with rests. The powerful opening triadic motive, sparkling coloratura passages, syncopated rhythms and interjections from the trumpets all make for a delightful soundscape conveying a sense of joyous festivity.

CHOIR SOPRANO

ALTO

TENOR

BASS

Carolyn Craig Cora Hagen C Han* Charlotte Lucke Maura Tuffy Andrea Walker Yiran Zhao

Elana Bell* Julia Cavallaro Jane Meditz Bridget Nixon Fi Schroth-Douma Meghan Stoll Gloria Yin

Sydney Mukasa Patrick Maisch Patrick McGill Matthew Newhouse* Ryan Rogers Nate Widelitz

Ben Beckman Samuel Brock Benjamin Ferriby* Mattias Lundberg Louis Sokolow Jared Swope Joel Thompson

ORCHESTRA VIOLIN

CELLO

OBOE

Kate Arndt* Concertmaster Jeremy Hao* Principal 2nd Violin Eunsae Lee Yan Li

Allen Liang* Hans Emil Sollesnes

Jillian Honn Will Stevens

DOUBLE BASS

TRUMPET

Dylan Reckner

Connor Holland Joshua Bialkin

Freya Liu

ORGAN

Satoka Abo

Manuel Piazza

TIMPANI Michael Yeung

KEY * Soloist

Mass for double choir – Frank Martin (1890-1974) Text

Trans.

I. Kyrie Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord, have mercy.

Christ, have mercy Lord, have mercy.

II. Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te, Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris.

Amen.

Glory be to God on high, and on earth peace, good will towards men.

We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory, O Lord God, heavenly King, God the Father Almighty.

O Lord, the only-begotten son, Jesus Christ; O Lord God, Lamb of God, son of the Father, that takest away the sins of the world, have mercy upon us.

Thou that takest away the sins of the world, receive our prayer.

Thou that sittest at the right hand of the Father, have mercy upon us.

For thou only art Holy; thou only art the Lord, Thou only, O Christ, with the Holy Ghost, Art most high in the glory of God the Father.

Amen.

III. Credo Credo in unum Deum.

Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium.

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula.

Deum de Deo, lumen de lumine, Deum verum de Deo vero.

Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem descendit de caelis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est.

I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible.

And in one Lord, Jesus Christ, Only begotten Son of God, Begotten of his Father before all worlds.

God of God, light of light, Very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made.

Who for us men and for our salvation came down from heaven.

And was incarnate by the Holy Ghost of the Virgin Mary: And was made man.

And was crucified also for us under Pontius Pilate: suffered, and was buried.

Et resurrexit tertia die, secundum scripturas.

Et ascendit in caelum: sedet ad dexteram Patris.

Et iterum venturus est cum gloria judicare vivos et mortuos: Cujus regni non erit finis.

And the third day He rose again according to the scriptures.

And ascended into heaven, and sitteth at the right hand of the Father And He shall come again with glory to judge the living and the dead: His kingdom shall have no end.

Et in Spiritum sanctum Dominum, et vivificantem: Qui ex Patre, Filioque procedit.

Qui cum Patre, et Filio simul adoratur, et conglorificatur: Qui locutus est per Prophetas.

And (I believe in) the Holy Ghost, Lord and giver of life: Who proceedeth from the Father and Son. Who with the Father and Son together is worshipped and glorified: Who spake by the Prophets.

Et unam, sanctam, catholicam et apostolicam Ecclesiam.

Confiteor unum baptisma in remissionem peccatorum.

Et expecto resurrectionem mortuorum Et vitam venturi saeculi.

Amen.

And in one holy catholic and apostolic church.

I acknowledge one baptism for the remission of sins.

And I look for the resurrection of the dead And the life of the world to come.

Amen.

V. Sanctus Holy, Holy, Holy, Lord God of hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth, pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

Blessed is He Who cometh in the name of the Lord.

Hosanna in the highest.

Benedictus, qui venit in nomine Domini.

Hosanna in excelsis.

V. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, dona nobis pacem

Lamb of God, that takest away the sins of the world, have mercy on us.

Lamb of God, that takest away the sins of the world, have mercy on us.

Lamb of God, that takest away the sins of the world, grant us peace.

Programme Note Martin’s Mass for double choir looms a towering figure in the realm of twentieth century choral music, cementing itself as one of the most beloved works for singers and audiences alike – and for good reason. The dynamic, textural and expressive scope of the work is immense, ranging from dense walls of sound to the barest, most intimate passages of vocal writing. It seems almost incomprehensible that a work of such conception could have remained unperformed for over forty years after its composition – yet that is exactly the story of this work. Martin completed the first four movements of the work in 1922, the Agnus Dei added in 1926. It was not until German conductor Franz Brunnert persuaded the composer to let him peruse a handwritten score of the work did it get its first public airing in 1963. Martin was brought up a devout Calvinist for whom faith formed a central pillar throughout his life. He wrote in 1963, “I did not want [the Mass] to be performed … I considered it … as being a matter between God and myself. I felt then that an expression of religious feelings should remain secret and removed from public opinion.” Whatever his reasons, it is plain to see that the work was written as a profoundly personal offering to God and a fitting expression of faith. Though there is no plainchant in the work, its influence is never far away and can be first heard in the sinuous alto melody at the start of the Kyrie. Martin achieves such variety of affect in the work in no small part due to his fastidious text setting, ranging from the intimacy of “et incarnatus est” to the ecstasy of “et resurrexit”. The work comes to a final conclusion with a single presentation of “dona nobis pacem”, both choirs joining as one in a moment of unreserved beauty.

CHOIR SOPRANO

ALTO

TENOR

BASS

Carolyn Craig Cora Hagen C Han Charlotte Lucke Maura Tuffy Andrea Walker Yiran Zhao

Elana Bell Julia Cavallaro Jane Meditz Bridget Nixon Fi Schroth-Douma Meghan Stoll Gloria Yin

Sydney Mukasa Patrick Maisch Patrick McGill Matthew Newhouse Ryan Rogers Nate Widelitz

Ben Beckman Samuel Brock Benjamin Ferriby Mattias Lundberg Louis Sokolow Jared Swope Joel Thompson

Pulcinella Suite – Igor Stravinsky (1882-1971) Programme Note After the disaster of The Rite of Spring and his personal relationship with Sergei Diaghilev at an all-time low, Stravinsky was on the verge of parting ways with Les Ballet Russes in 1919.

Diaghilev was earnest in his attempts to patch things up with the composer and commissioned him to arrange and orchestrate some fragmented material attributed to Giovanni Pergolesi for a ballet involving characters from the Commedia dell'arte. Conceptually, Stravinsky was highly sceptical of the idea, but promised Diaghilev the courtesy of looking over the fragments and thinking it over. Within a year, Pulcinella was premiered on May 15th 1920 in Paris, received enthusiastically by critics and audiences alike. The ballet, with choreography by Massine and décor by Picasso, was to represent Stravinsky’s first foray into Neo-Classicism and a composition that was to have a lasting effect on both the composer and 20th century music more broadly.

Stravinsky commented, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course—the first of many love affairs in that direction—but it was a look in the mirror, too.”

In spite of the contemporary success of the ballet, it is the Suite that Stravinsky extracted in 1922 that has found long-lasting popularity. While the ballet is scored for three vocal soloists, Stravinsky reallocates the material to instruments of the orchestra in the suite, heard in the Serenata and Minuetto movements. The orchestra is 18th century in constitution – double woodwind without clarinets, two horns, trumpet, trombone, and ‘concertino’ and ‘ripieno’ strings. While Pergolesi’s melodies and bass lines are generally left unaltered, Stravinsky creates immense variety in the suite through the use of rhythmic elaboration, instrumentation, polyphonic writing and juxtaposing key relationships. Traversing bursts of energy, moments of beauty, playfulness, impudence, wistful nostalgia, and grandeur, Pulcinella is not only – as Stravinsky once suggested – “Pergolesi’s best work”, but one of his own most endearing works, an astutely constructed epitaph of the Neapolitan spirit.

ORCHESTRA VIOLIN Kate Arndt* Concertmaster Jeremy Hao* Principal 2nd Violin Satoka Abo Herdís Guðmundsdóttir Eunsae Lee Boyu Li Yan Li Freya Liu Tristan Siegel

CELLO Allen Liang* Spencer Adler Hans Emil Sollesnes

VIOLA Emily Rekrut-Pressey* Laura Clapp Jackie Liu Andy Park

OBOE Jillian Honn Will Stevens

KEY * Soloist

DOUBLE BASS Dylan Reckner* Ryan Sujdak FLUTE Elvin Schlanger Cameron Cullen

BASSOON Matthew Matheny Katia Osorio HORN Jaimee Reynolds Ava Conway TRUMPET Connor Holland TROMBONE Addison Maye-Saxon

CONDUCTOR – MICHAEL LUKIN Heralding from Perth, Western Australia, Michael is currently in the second year of his Master of Music in Choral Conducting at Yale University where his studies are supported by the 2020 Western Australian Postgraduate Fulbright Scholarship. An accomplished keyboardist, Michael holds an AMusA in piano performance, and an AMusA and LMusA in organ performance from the Australian Music Examinations Board, having won the A. J. Leckie Memorial Award for the best diploma candidate in Western Australia in 2015. Michael attended the University of Western Australia where he received a Bachelor of Arts with a double major in Music and Political Science as well as the Western Australian Academy of Performing Arts from which he received a Bachelor of Music with first-class honours specialising in conducting and historical keyboard performance.

Whilst in Perth, Michael served as Senior Organ Scholar at St George’s College, Assistant Organist of St George’s Cathedral, and later Director of Music at Christ Church, Claremont. At Yale, Michael has served as a chorus preparer for Yale Opera, sings with the Schola Cantorum, and Co-Directs at the University Church at Yale. Later this month, Michael will travel to Copenhagen to conduct the Danish National Vocal Ensemble.

Michael would like to extend his sincere thanks to Yale University, his teachers Jeffrey Douma, David Hill and Andre Thomas, and to all of the performers who made this recital possible.