Robert Blocker, Dean May 14, 2021
master of music degree recital
James Davis Jr. choral conducting
Igor Stravinsky 1882–1971
Concerto in D, “Basle” (1946) I. Vivace II. Arioso. Andantino III. Rondo. Allegro
William Byrd c. 1540–1623
Mass for four voices (1593) I. Kyrie II. Gloria V. Agnus Dei
Antonín Dvořák 1841–1904
Nocturne in B major for string orchestra, Op. 40
Josef Gabriel Rheinberger 1839–1901
Stabat Mater, Op. 138 I. Stabat mater dolorosa II. Quis est homo, qui non fleret III. Eja mater, fons amoris IV. Virgo virginum præclara
Pyotr Ilyich Tchaikovsky 1840–1893
Serenade for Strings in C major, Op. 48 IV. Finale (Tema Russo). Andante – Allegro con spirito
This performance is in partial fulfillment of the requirements for the master of music degree.
Igor Stravinsky, Concerto in D “Basel” Composed shortly after becoming a naturalized American citizen, Stravinsky’s Concerto in D was commissioned by Paul Sacher, founder and director of the Basler Kammerorchester (Basel Chamber Orchestra) to celebrate its twentieth anniversary. It is for this reason the piece is sometimes referred to as the “Basel” concerto. Written for string orchestra, it is the first of Stravinsky’s works to be published under the contract with his new publisher Boosey & Hawkes. The concerto was composed in Hollywood, his home since 1941, and comes toward the end of his Neoclassical period. As such, the piece is in three movements: Vivace, Arioso and Rondo—the fast-slow-fast order of the Baroque concerto grosso—and is one of Stravinsky’s last tonal works. The opening Vivace is as long as the other two movements combined and is roughly in sonata form, as the opening section functions as a quasi-exposition whose themes are repeated in approximately the same order at the end of the movement but the middle section is in a slower Moderato tempo. The central Arioso is the shortest movement and features one of Stravinsky’s few long, lyrical melodies for violins and cellos, punctuated twice by perfect authentic cadences in completely unrelated keys, an obvious derision of tonality. The concluding Rondo is typical of his mid-1940s spiky rhythm and is the only movement that seems to firmly center itself in D major. All three movements feature the contrast of concertino and ripieno typical of the concerto grosso. Not to be confused with his Violin Concerto in D Major of 1931, this is Stravinsky’s first work for string orchestra since Apollon Musagète of 1927-28. William Byrd, Mass for Four Voices Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have mercy
Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam Domine Deus, Rex caelestis, Deus Pater omnipotens.
Glory to God in the highest and on earth peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee, we give thanks to thee for Thy great glory, Lord God, heavenly King, God almighty Father.
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.
Lord Jesus Christ, only begotten Son, Lord God, Lamb of God, Son of the Father You take away the sins of the world, have mercy on us, You take away the sins of the world, receive our prayer. You are seated at the right hand of the Father, have mercy on us.
Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu: in gloria Dei Patris. Amen.
For You alone are the Holy One, You alone are the Lord, You alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, grant us peace.
Likely the first of three unaccompanied polyphonic mass settings composed in the early 1590s, the Mass for Four Voices was written for clandestine meetings of devout Catholics in late 16th century England, or recusants as they were called. The other two settings are for three and five voices respectively. The English Reformation had led to the prohibition of the celebration of the Catholic Mass. As a result, these scores would have been considered highly sensitive documents, and if caught with them, one would be subject to harsh penalties including arrest. Consequently, Byrd chose to the publish the masses not as a set but individually, making them easier to conceal. Further, the partbooks are not dated, include no title pages or prefatory material, and Byrd’s printer Thomas East is not named. These conditions reveal themselves even in the actual composition itself, as Byrd avoids the kind of exuberance and florid writing typical of earlier Tudor settings of the mass. Instead, the polyphonic writing is largely syllabic, with the vocal lines relegated to clean, clear, imitative counterpoint. Byrd compensates for this with a rich, expressive treatment of the text, atypical of 16th century mass cycles. However, in other respects, this setting is much indebted to pre-Reformation English practice, In fact, it is modeled on the Mean Mass of John Taverner (c. 1490-1545), a highly regarded setting that Byrd probably sang as a choirboy in the 1550s. The Gloria and Agnus Dei both begin with a two-part semichoir section—a head motive—which was a standard compositional device of early Tudor Mass settings. Subsequent clauses of are set in three and four parts. Homophony is rare and thus reserved for special, climactic moments. The Kyrie has no reduced scoring and employs more dense imitation in Continental style, as it is least indebted to English models. Antonín Dvořák, Nocturne in B major Op. 40 Much like the famous Romance for Violin, Op. 11, the Nocturne in B major has an interesting past. Its genesis is the String Quartet in E minor from 1870, one long extended movement. The quartet did not meet Dvořák’s expectations but the middle section—Andante religioso—was too good to throw away. He first re-used it in 1875 as the original slow movement of his G major String Quintet, Op. 77, which he replaced shortly after the premiere. He re-worked it into a nocturne and the work was finally published by Bote & Bock of Berlin in 1883 in versions for string orchestra, violin and piano and for piano duet. The Nocturne is a slow movement, Molto adagio, in 12/8 time. The atmosphere is calm throughout. The long, singing, arch-shaped melody is first given to the cellos and basses in pianissimo octaves and features a hemiola-like cross rhythm in the second bar. After this four-bar introduction, the first violins take over the theme and the second violins and violas accompany with lush parallel thirds. The entire first half of the piece is
played over a fixed dominant drone, which gives a sense of anticipation and longing. When finally resolution is made to B major, the music becomes much more urgent and dramatic, before falling away to a smooth, relaxed coda that features low pizzicato figures for cello and double bass. Josef Gabriel Rheinberger, Stabat Mater, Op. 138 Stabat mater dolorosa The grieving Mother stood juxta crucem lacrimosa beside the cross weeping dum pendebat Filius. where her Son was hanging. Cujus animam gementem contristatam et dolentem pertransivit gladius.
Through her weeping soul, compassionate and grieving, a sword passed.
O quam tristis et afflicta fuit illa benedicta Mater unigeniti!
O how sad and afflicted was that blessed Mother of the Only-begotten!
Quae maerebat et dolebat, pia Mater, dum videbat Nati poenas incliti.
Who mourned and grieved, the pious Mother, with seeing the torment of her glorious Son.
Quis est homo qui non fleret Christi Matrem si videret in tanto supplicio?
Who is the man who would not weep if seeing the Mother of Christ in such agony?
Quis non posset contristari, piam Matrem contemplari dolentem cum Filio?
Who would not have compassion on beholding the devout Mother suffering with her Son?
Pro peccatis suae gentis vidit Jesum in tormentis, et flagellis subditum.
For the sins of His people, she saw Jesus in torment and subjected to the scourge.
Vidit suum dulcem natum moriendo desolatum dum emisit spiritum.
She saw her sweet Son dying, forsaken, while He gave up His spirit.
Eja mater, fons amoris me sentire vim doloris fac, ut tecum lugeam.
O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.
Fac, ut ardeat cor meum in amando Christum Deum ut sibi complaceam
Grant that my heart may burn in the love of the Lord Christ that I may greatly please Him.
Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide.
Holy Mother, grant this of yours, that the wounds of the Crucified be well-formed in my heart.
Tui nati vulnerati, tam dignati pro me pati, poenas mecum divide.
Grant that the punishment of your wounded Son so worthily suffered for me, may be shared with me.
Fac me tecum pie flere, crucifixo condolere donec ego vixero.
Let me sincerely weep with you, bemoan the Crucified, for as long as I live.
Juxta crucem tecum stare, et me tibi sociare in plactu desidero.
To stand beside the cross with you, and for me freely to join you in mourning, this I desire.
Virgo virginum praeclara, mihi jam non sis amara fac me tecum plangere.
Chosen Virgin of virgins, to me, now, be not bitter; let me mourn with you.
Fac, ut portem Christi mortem passionis fac consortem, et plagas recolere.
Grant that I may bear the death of Christ, grant me the fate of His passion and the remembrance of His wounds.
Fac me plagis vulnerari, fac me cruce inebriari, et cruore Filii.
Let me be wounded with distress, inebriated in this way by the cross because of love of your Son.
Inflammatus et accensus per te, Virgo, sim defensus in die judicii.
Lest I be destroyed by fire, set alight, then through you, Virgin, may I be defended on the day of judgment.
Fac me cruce custodiri morte Christi praemunire confoveri gratia.
Let me be guarded by the cross, fortified by the death of Christ, and cherished by grace.
Quando corpus morietur, fac, ut animae donetur paradisi gloria. Amen.
When my body dies, grant that my soul is given the glory of paradise. Amen.
Rheinberger composed two settings of the Stabat Mater, twenty years apart. Clearly intended as a concert work, the earlier setting—Op. 16—was written in 1864 and set in C minor for soprano, tenor and bass soloists, chorus and orchestra. The setting for this program—Op. 138 from 1884—was written purely for liturgical use, set in G minor for chorus, organ and optional strings. Rheinberger suffered from poor health most of his life and for many years was unable to make full use of his right hand. According to his wife Fanny, he started visiting and receiving therapy at Wildbad Kreuth in Upper Bavaria on summer holiday. There were sulfur springs there said to have healing powers. He made a vow to the Mother of God that if his health was restored, he would compose a new Stabat Mater setting. Very different from its older sister, Op. 138 is much more introspective and contemplative, almost minimalist in a way. It is not nearly as harmonically adventuresome as Op. 16. Clearly Rheinberger is going for a more restrained, timeless, even intentionally archaic, sacred style. He shies away from blending modern and earlier musical styles. The piece does not draw undue attention to itself by being excessively long. There are no highly decorative features, compositionally speaking. It is largely homophonic and there are few repetitions of text. It is a piece of sacred music in the purest sense, with a dignified beauty rooted in its inherent simplicity. Divided into four movements, its duration is about fifteen minutes. Pyotr Ilyich Tchaikovsky, Serenade for Strings in C Major, Op. 48 Written during the same time as his famous 1812 Overture and just after the third and final revision of his Romeo and Juliet, the Serenade for Strings is an homage to his compositional idol Mozart. Tchaikovsky wrote the following to his publisher in the fall of 1880: “I happened to write a Serenade for string orchestra in four movements, and am sending it to you the day after tomorrow in the form of a full score and four-hand arrangement…I love this Serenade terribly, and fervently hope that it might soon see the light of day.” The Serenade was first given a private performance on December 3, 1880, at the Moscow Conservatory. The first public performance was in October of the following year in St. Petersburg under the direction of Czech conductor/composer Eduard Nápravnik. The fourth movement, selected for this program, is composed in sonata form with a slow introduction and is based on two Russian folk songs: “On the green meadow” and “Under the green apple tree”. The coda section brings back the opening theme from the first movement, perfectly tying the entire piece together. Scored for violins I & II, violas, cellos and double basses, the piece showcases Tchaikovsky’s penchant for graceful, ingratiating melodies and his ability to aptly mix instrumental virtuosity and formal restraint.