Viva la Musica!Choir • Orchestra

Shulamit Hoffmann, Conductor Anna Khaydarova, Pianist

Soloists

Lauren Haber & Jacqueline Goldgorin, sopranos

Corey Head & John Mansfield, tenors

Karl Jenkins AdiemusVivaldi Dixit Dominus

Respighi Ancient Airs and DancesKarl Jenkins Armed Man Suite (multi-media)

Sunday, May 20, 2018, 4:00 p.m.Pre-concert talk 3:30 p.m.

225 Tilton Avenue, San Mateo, California

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ProgramAdiemus Karl Jenkins

(b. 1944)Scored for choir, soloist, and strings

Elyse Belanger, soprano5 minutes

Dixit Dominus, RV 807 Antonio Vivaldi(1678-1741)

Scored for choir, soloists, strings, trumpet, and continuoLauren Haber, Jacqueline Goldgorin, sopranos

Corey Head & John Mansfield,tenors11 movements

24 minutes

IntermissionAncient Airs and Dances Suite III Ottorino Respighi

(1879-1936)Scored for strings

ItalianaArie di corte

SicilianaPassacaglia

4 movements15 minutes

The Armed Man—Suite from the Mass Karl Jenkins

Scored for choir, soloists, strings, organ, pianoLauren Haber, soprano, & Lucinda Breed Lenicheck, cello

Visual imagery selected by Ann Keiffer6 movements20 minutes

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Notes, Texts, TranslationsProgram notes © Shulamit Hoffmann 2018.

Adiemus Jenkins

Contemporary Welsh composer, Karl Jenkins, was classically trained at Cardiff University, Wales, and at the Royal Academy of Music, London.Jenkins has written music for commercials and worked as a jazz musician. In 2005 he was awarded an OBE by Her Majesty The Queen “for services to music.” His Adiemus–Songs of Sanctuary albums and projects have won 15 gold and platinum awards since their premier in 1995.

The text of Adiemus, in a language of the composer’s own making, is Latin-like, overlaid with tribal calls. The song has been featured in the movie, Avatar, and in a Delta Airlines commercial.

Ariadiamus la-te ariadiamus daAri a natus la-te adua

A-ra-va-re-tu-e-va-teA-ra-va-re-tu-e-va-te la-te-a

A-na-ma-na-coo-le-ra-we-a-ka-laAh-ya-doo-way-ye

A-ya-doo-a-ye

Dixit Dominus Vivaldi

Vivaldi’s Dixit Dominus RV 807 is his third known setting of this text from Psalm 109 (110). The work had been wrongly attributed to Vivaldi’s contemporary, Galuppi,and the manuscript went unnoticed for more than 200 years. It was re-discovered in 2005 at the Sächsische Landesbibliothek Dresden, Germany. In the opinion of Vivaldi expert, Michael Talbot, “in terms of sheer musical quality, the piece is the most important Vivaldi discovery for about 75 years.”

Certainly one of Vivaldi’s finest choral works, the Dixit is comparable in

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scope and impression to Vivaldi’s popular Gloria, a work Viva la Musica has sung several times at home and also at Carnegie Hall. The Dixit we sing today is filled with both the spry, effervescent music that characterizes Vivaldi’s fast-moving pieces, and with the drama and poignancy typical of his slow movements.

Textual depictions are readily heard in the colorful way the music tone paints, vividly capturing the imagery of the text in sound: the forceful “conquassabit (crushed);” the burbling accompaniment for “De torrente (of the torrent),” and the contrapuntal overlays for “in saecula saeculorum (ages of ages).”

Dixit Dominus

1. Choir Dixit Dominus Domino meo The Lord said to my Lord sede a dextris meis. Sit thou at my right hand.

2. Choir & Soprano Solo Donec ponam inimicos tuos Until I make thy enemies scabellum pedum tuorum. a footstool for thy feet.

3. Soprano Solo Virgam virtutis tuae The rod of thy strength emittet Dominus ex Sion The Lord will send forth out of Zion. dominare in medio inimicorum tuorum. rule in the midst of thy enemies.

4. Tenor Duet Tecum principium in die virtutis tuae With thee is the beginning in the day of thy strength: in splendoribus sanctorum in the brightness of the saints: ex utero ante luciferum genui te. from the womb before the day star I begot thee.

5. Choir Juravit Dominus, The Lord hath sworn, et non paenitebit eum. and he will not repent.

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Soprano Duet & Choir Tu es sacerdos in aeternum Thou art a priest for ever secundum ordinem Melchisedech according to the order of Melchisedech.

6. Tenor Solo Dominus a dextris tuis The Lord at thy right hand confregit in die irae suae reges. hath broken kings in the day of his wrath.

7. Choir, Soprano Duet, Tenor Duet Judicabit in nationibus He shall judge among nations, implebit ruinas: he shall pile up dead bodies: conquassabit capita in terra multorum. He shall crush the heads in many lands.

8. Soprano Solo De torrente in via bibet, He shall drink of the torrent in the way, propterea exaltabit caput. therefore shall he lift up his head.

9. Soprano Duet Gloria Patri, et Filio, et Spiritui Sancto. Glory to the Father, and to the Son, and to the Holy Spirit.

10. Choir Sicut erat in principio, et nunc, et semper, As it was in the beginning, both now and always,

11. Choir Et in saecula saeculorum. Amen And to the ages of ages. Amen.

Ancient Airs and Dances, Suite III Respighi

Ottorino Respighi (1879-1936) was an Italian composer, conductor, and musicologist, and an enthusiastic scholar and editor of Italian music of the 16th—18th centuries. This interest was ignited when Respighi was a student at the Liceo Musicale in Bologna. Respighi also spent time in St. Petersburg, Russia, playing principal viola in the Imperial Opera orchestra. While there, he studied composition and orchestration with Nicolai Rimsky-Korsakov. Respighi returned to Italy, continuing to work as a violinist and violist, and teaching, for a time, at the Conservatorio di

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Santa Cecilia in Rome, where he also became director. After a few years he relinquished his position to devote himself to composition.

Perhaps his most charming and easily appealing music is contained in three suites of “Ancient Airs and Dances” (1917, 1923, and 1932), arrangements of lute and guitar pieces from previous centuries, for various modern orchestral forces. Respighi’s are modern interpretations of earlier composers’ works; they exude the charm of having a foot in each of two different musical style periods.

The third and last set of four (1932) is based on pieces dating from the sixteenth and seventeenth centuries, by known and anonymous composers. Respighi scores this set for string orchestra. He preserves the archaic charm of the original music by retaining the modal basis of the music; modes being the precursors to major and minor scales; they have a remote, folk-like quality. This is elegant and enchanting music, easy on the ear, tuneful, emotive, and colorfully hued.

The Armed Man: A Mass For Peace Karl Jenkins

The Armed Man Mass was written on commission from the Royal Armouries Museum in Leeds, England, for their Millennium celebrations. The Royal Armouries is home to the United Kingdom’s national collection of arms, armor, and artillery. It is one of the largest collections of guns and knives in the world and offers special insight into how and why people use weapons. The Armouries is involved in community work on knife and gun crime prevention, and has launched various campaigns, including No to Knifes, to raise awareness about resolving or avoiding conflict.

Guy Wilson, Master of the Royal Armouries, selected the texts used in Jenkins’ Mass. He says, “The theme that ‘the armed man must be feared,’ which is the message of the song, seemed to me painfully relevant to the 20th century, and so the idea was born to commission a modern Armed Man Mass. What better way both to look back and reflect as we leave behind the most war-torn and destructive century in human history, and to look ahead with hope and commit ourselves to a new and more peaceful millennium.”

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Jenkins’ Mass draws on a diverse array of cultural and historical sources both for text and for music, and, in so doing, gives it cross-cultural global relevance and appeal. Jenkins wrote, “As I started composing The Armed Man the tragedy of Kosovo unfolded. I was reminded daily of the horror of such conflict.” Jenkins dedicated the Mass to the victims of the Kosovo crisis.

The work was premiéred in 2000, at The Royal Albert Hall, London, and featured Julian Lloyd Webber (brother of Andrew) as cello soloist, with the National Musicians Symphony Orchestra and National Youth Choir of Great Britain conducted by Grant Llewellyn. The CD of Jenkins’ Mass for Peace was first released on September 10, 2001, one day before the 9/11 tragedy. A concert performance of Jenkins’ Mass for Peace, in which the composer conducted the National Youth Choir of Great Britain and the London Philharmonic Orchestra, featured a video montage of scenes of war. This performance can be seen on a commercially available DVD and movements from it can be found on You-Tube.

What we perform today is a suite of six movements derived from the larger Mass. Like much of Jenkins, this music is readily accessible, yet it can make a profound impact, being, by turns, visceral and ethereal. The texts are based on the Roman Catholic Mass and other sources.

The Suite takes its moniker from the fifteenth century anonymous song L’homme armé. Jenkins’ Mass is part of a six-century-old tradition of Armed Man masses that take the L’homme armé tune as their starting point. The opening movement, L’homme armé, is a marching song, sung in medieval French. Although its origins are unknown, it seems like a call to arms, and evokes armies rallying for battle, the tune and text mysterious and compelling.

Several movements of the Suite use traditional sacred Greek and Latin Mass texts. The first of these, the Kyrie, opens with a hauntingly beautiful tune, sung first by soprano soloist, and then by choir, each next phrase spun out with intensity. In the middle of the Kyrie, is a pastiche of restrained counterpoint in the style of Palestrina, the epitome of Renaissance restraint.

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The Sanctus quotes the text of the service of Holy Communion. yet it is set, with some irony, to the most martial music.

The highly dramatic movement, “Hymn Before Action,” is based on a poem by the English author, Rudyard Kipling (1865-1936).

The Agnus Dei and Benedictus movements are both reflective, and the Benedictus showcases a lyrical and passionate cello solo.

We trust that the visual images we have chosen for our performance enhance the music’s compelling telling of the descent into the hell of war, and of prayerful responses to terrible suffering.

L’Homme Armé The Armed Man

l’homme arme doit on douter? The armed man must we doubt? On a fait partout crier, They have shouted everywhere, Que chacun se viegne armer They have shouted arm himself D’un haubregon de fer. With an iron coat of mail.

Kyrie

Kyrie eleison, Lord have mercy Christe eleison Christ have mercy Kyrie eleison Lord have mercy

Sanctus

Sanctus, Sanctus, Sanctus Holy, Holy, Holy, Dominus, Deus Sabaoth Lord, God of Hosts Pleni sunt caeli et terra Gloria tua Heaven and earth are full of Thy Glory Hosanna in excelsis. Hosanna in the highest.

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Hymn Before ActionText by Rudyard Kipling

The earth is full of anger,The seas are dark with wrath,The Nations in their harness

Go up against our path:

Ere yet we loose the legionsEre yet we draw the blade, Jehova of the Thunders,Lord God of Battles, aid!

High lust and froward bearing,Proud heart rebellious browDeaf ear and soul uncaring,

We seek Thy mercy now!

The sinner that forswore Thee,The fool that passed Thee by,

Our times are known before Thee,Lord grant us strength to die!

Agnus Dei

Agnus Dei, Lamb of God, Qui tollis peccata mundi Who takes away the sins of the world Misere nobis. Have mercy on us. Dona nobis pacem Give us peace.

Benedictus

Benedictus qui veni Blessed is He who comes in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

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Soprano I

Danni CarterLauren Haber *Elena KozakSara McNinch

Soprano II

Elyse Belanger *Jacqueline GoldgorinJan GradyPamela Nissley

Alto I

Christine HuntCarol Meyer *Lisa ReicheAnn Ritter

Alto II

Betsy Daly-CaffellJane Goold-CaulfieldBarbara KelseyJoyce Wright

Tenor I

Alison Yuen Nyberg *James Pintner

Tenor II

William BettsKarl Stanczak

Bass

Michel ConradElliot Franks Robert KozakMatthew Reeve*Howard Roberts

* Section Leader

Violin I

Virginia Smedberg, concertmaster

Sofia FojasKate Lammers

Violin II

Oleksander MakarenkoJennifer HoKay Wang

Viola

Galina AndréStephen Moore

Violoncello

Lucinda Breed LenichekAmi Nashimoto

Bass

David André

Flute

Vivian Boudreaux-Mikasa

Trumpet

Michael GalisatusRichard Roper

Piano, organ, harpsichord

Anna Khaydarova

Percussion

Tim Whipple

Choir & Orchestra

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Viva la Musica Artistic DirectorShulamit Hoffmann founded Viva la Musica, and she serves as the organization’s artistic and executive director and conductor.

Dr. Hoffmann has taught at the College of San Mateo since 2002, and previously at Idaho State University, Brigham Young University Extension, Idaho, and University of Cape Town and University of Witwatersrand, South Africa. Several of her former students are now college professors of music. She

serves as an adjudicator for California Musica Educators Association, and she has served as program chair and president for local chapters of the National Federation of Music Clubs and the California Music Teachers’ Association.

She earned her doctorate in music education from Teachers College, Columbia University; her dissertation titled Expression in Live Choral Performance: Meanings, Modalities, Processes, Synergies. She holds degrees in choral conducting, piano performance, general music and English literature, and licentiate diplomas from the Royal Schools of Music, London, and the University of South Africa.

She has received Congressional Recognition Awards for service to her community (2002 and 2013), and her biography is entered into the Congressional Record of the United States. She was the Foster City honoree for the San Mateo County Mayors’ Diversity Award in 2013. Named Outstanding Graduate Student in the School of Music and Dance at San José State University, she is the recipient of scholarships from Columbia University, San José State University, University of South Africa, and national scholarships from her native South Africa.

This summer, she looks forward to her third guest conducting appearance on Schola Cantorum’s Summer Sing series, leading Handel Messiah. Having made her Carnegie Hall conducting debut in 2009, she returns there in June 2019, to conduct a massed choir and orchestra performance of Dan Forrest’s Requiem for the Living.

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Anna Khaydarova has served as Viva la Musica’s collaborative pianist since 2005. She is a beloved and valued member of the ensemble. Ms. Khaydarova received her bachelor’s degree with honors from Tashkent University, Uzbekistan, and her master’s degree from Notre Dame de Namur University, California. She was a prizewinner in the Bartok-Prokofiev-Kabalevsky International Competition in Redford, Virginia, and in an NDNU

Concert Competition, soloing with the Redwood Symphony. She is music director at Island United Church in Foster City, teaches in San Mateo, and accompanies at the Mozart School in Palo Alto. Ms. Khaydarova was the featured soloist in Beethoven’s Choral Fantasy in Viva la Musica’s December 2013 performances.

Lauren Haber, soprano, made her international debut as the title role of Suor Angelica with the Sienna Music Festival. Performances include Madame Lidoine from Dialogues des Carmélites with the Aaron Copland Opera Studio, Mimì from La Bohème with The CoOPERAtive Program, Ottavia from L’incoronazione di Poppea with the Aaron Copland Opera Studio, La Ciesca from Gianni Schicchi with the Queens Symphony Orchestra, and Suor Angelica with the New

York Lyric Opera Theatre. As Artist in Residence with the New York Lyric Opera Theatre, Ms. Haber made her Weill Hall debut as Il Paggio in Rigoletto. She has performed Mimì from La Bohème with the International Vocal Arts Institute in Canada, Donna Anna from Don Giovanni at the Westchester Summer Vocal Institute, Fiordiligi from Così Fan Tutte with the New York Opera Exchange, and Woglinde from Das Rheingold with the Hellenic Music Foundation; Elijah with the Queens College Symphony Orchestra, and Mozart’s Requiem and Carmina Burana with the Long Island Youth Symphony. She holds Master’s Degree in Vocal Performance from Manhattan School of Music, and was a participant in the Martina Arroyo Foundation Role Performance Seminar.

Soloists

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Jacqueline Goldgorin, soprano, began her career in Los Angeles. Ms. Goldgorin has performed with Gateway Classical Orchestra, Chelsea Opera, Opera of the Hamptons, Opera on the Hudson, Connecticut Grand Opera, New York Metro Vocal Arts Ensemble, West Bay Opera and Opera San Jose. In concert, she has performed the Mozart Requiem as Soloist in Argentina, Uruguay and Brazil with Pacific Chorale and soloist in the

Verdi Requiem with Gateway Classical Music Society. She made her San Francisco debut singing Paula in a concert of highlights from Rio de Mujeres by Hector Armienta, and has enjoyed singing roles with Golden Gate Opera, Opera San Jose, West Bay Opera and Verismo Opera in the bay area. Recent engagements include Fiora in L’amore dei tre Re with Empire Opera, the premiere of a new work by Brent Miller with Magik*Magik Orchestra, a recital series of Spanish and Argentinian music in NYC and California, and soloist in Mozart Requiem.

Corey Head, tenor, Corey has sung a wide variety of oratorio and opera roles throughout the US, including Ferrando in Cosí fan tutte, Don Curzio and Don Basilio in Le Nozze di Figaro, Goro in Madama Butterfly, and Frantz in Les Contes D’Hoffmann. Corey specializes in Early Music with a special affinity to J.S. Bach. His solo concert performances include The Evangelist in Bach’s St. John Passion, and tenor soloist in Bach’s Magnificat, Christmas Oratorio and many of his cantatas. Other oratorio roles

include Ahasuereus in Handel’s Esther, “The Evening” in Telemann’s Die Tageszeiten, tenor soloist in Handel’s Messiah, and Vivaldi’s Dixit Dominus (RV. 807). Newly discovered and neglected works are a special treat for Corey. He recently performed the role of Mordocai in Cristiano Lidarti’s Esther in Hebrew as well as the role of The Chamberlain in Gibbons and Locke’s Cupid and Death, both with San Francisco Renaissance Voices.

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Other appearances include: Tenor Soloist for Mozart’s Requiem and Orff’s Carmina Burana with Marin Symphony; The Moor in Rimsky-Korsakov’s Mlada and Charles Edward in Bernstein’s Candide both with the San Francisco Symphony; Tenor Soloist for San Francisco Concert Chorale in Carmina Burana, Britten’s Rejoice in the Lamb, and Mozart’s Requiem; Tenor Soloist in Jean Gilles’ Requiem and the role of “He” in William Boyce’s Solomon: A Serenata, both with San Francisco Renaissance Voices; the role of Damon in Handel’s Acis and Galatea with both Marin Baroque and Marin Oratorio; Tenor Soloist in Beethoven’s Mass in C Major with both Master Sinfonia Chamber Orchestra and Viva La Musica; Tenor Soloist in Bach’s B-Minor Mass, Uriel in Haydn’s Creation, and Mozart’s C Minor Mass, all at Stanford University.

John Mansfield, a San Francisco native, entered the early music scene as a founding member of the ensemble Ut Re Mi. Since then, he has enjoyed regular performances with the San Francisco Renaissance Voices. Upon receiving his Bachelor of Music Education and teaching credential from San Francisco State University, Mr. Mansfield was hired by the San Francisco Unified School District. He currently teaches recorder, band, orchestra, Kodaly-based general music, and ukulele to students

ranging in age from pre-kindergarten to eighth grade. When he isn’t teaching or performing classically, Mr. Mansfield enjoys playing in his ukulele duo, The Letterboxers.

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Viva la Musica! Viva la Musica was founded in the San Francisco Bay Area in 2001 as a non-profit, public benefit, performing arts organization.

Viva gives two concert seasons annually, spring and Christmas, performing major works and miniatures, classical and contemporary repertoire, in performances that include multi-cultural and multi-media components.

Viva’s mission is to provide enriching artistic experiences for performers and audiences, by inspiring, educating, and entertaining with quality performances of noteworthy music from diverse eras and cultures.

Viva has collaborated with Master Sinfonia Chamber Orchestra in performances of Beethoven’s Mass in C (2010), Brahms Requiem (2012) and Mendelssohn’s Die erste Walpurgisnacht (2018), and with Symphony Parnassus in a performance of Karl Jenkins In These Stones Horizons Sing (2008).

Performance tours include Vilnius, Riga, Tallinn, St Petersburg, Helsinki (2017), Prague and Dresden (2011), Carnegie Hall, New York (2008 & 2009), Vienna and Salzburg (2006), and Vermont International Choral Festival (2005).

Viva is looking forward to their third performance at Carnegie Hall, slated for June 16, 2019, and invites singers and friends to join them. Contact Viva at music@vivalamusic.org or call 650-346-5084 for tour information.

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