Fauré Requiem Haydn In London - Saint Odilo
Fauré RequiemHaydn in LondonJanuary 30, 2011Saint Odilo Church, Berwyn, IllinoisWith the Sinfonietta Bel CantoAnd Saint Odilo Festival Choir
Sinfonietta Bel CantoDan Pasquale D’Andrea– ConductorHaydn Symphony #93 in D Major (1791)1. Adagio-Allegro assai2. Largo cantabile3. Menuetto & Trio– Allegro4. Finale– Presto ma non troppo15 Minute IntermissionFaure Requiem (1893)St. Odilo Festival ChoirRobert Wilson– OrganistI. Introït et KyrieII. OffertoireIII. SanctusIV. Pie JesuV. Agnus Dei et Lux AeternaVI. Libera meVII. In ParadisumKara Chandler- Soprano SoloDominic Frigo, Henry Odum- Baritone SolosHoly God We Praise Thy NameOrchestration– Thomas Zeman and Robert WilsonSt. Odilo Festival Choir
RequiemI. Introït et KyrieEternal rest grant to them, O Lord,and let perpetual light shine upon them.To thee we owe our hymn of praise, O Godin Zion,To Thee must vows be fulfilled in Jerusalem.Hear my prayer, for unto you all flesh shallcome.Lord, have mercy on us.Christ, have mercy on us.Lord, have mercy on us.Lamb of God, who removes the sins of theworld, grant them rest.Lamb of God, who removes the sins of theworld, grant them rest.Lamb of God, who removes the sins of theworld, grant them eternal rest.May eternal light shine on them, Lord,with your saints, for eternity,for you are merciful.Grant eternal rest to them, Lord,and let perpetual light shine on them.VI. Libera MeII. OffertoireFree me, Lord,from eternal death,O Lord Jesus Christ, King of Glory,on that day of dread,deliver the souls of the deadwhen the heavens and earth shall move,from infernal punishment, and from the deepwhen you shall come to judge the world byabyss.fire.Free them from the mouth of the lion,I am made to tremble, and to fear,do not let Hell swallow them up,when destruction shall come,do not let them fall into the darkness.and also your coming wrath.Sacrifices and prayers of praiseO that day, that day of wrath,we offer to you, O Lord.of calamity and misery,Receive them for the souls of thosethe great and exceedingly bitter day.whom we commemorate today.Grant eternal rest to them, Lord,Lord, make them pass from death to life,and let perpetual light shine on them.as you once promised to Abraham, and to hisseed.VII. In ParadisumIII. SanctusHoly, Holy, Holy,Lord God of Hosts,the heavens and earth are filled with yourglory.Hosanna in the highest!IV. Pie JesuMerciful Lord Jesus,grant them rest,eternal rest.V. Agnus Dei et Lux AeternaMay angels lead you into Paradise.At your comingmay martyrs receive you,and may they lead youinto the Holy City, Jerusalem.May the chorus of angels receive you,and with Lazarus, who once was a pauper,may you have eternal rest.
Dan Pasquale D’Andrea- DirectorViolin 1Barbara Sterba*, concertmistressAlex BrownBetty HillFlorence Naprstek*Steven Sterba*Cynthia Toika*FluteLettie JankaNancy KandlViolin 2Jacob Johnson, principalCarol BowersCarolyn BreidenbaughRegina BudrysSara Desjardins*Paula Johannesen*BassoonAlice BrownColleen Monahan-Sarns*viola on Faure’ RequiemViolaDavid Jackson, principalDan OppenheimCelloCarolyn Wright, principalMarion SarkarDon SmithSandra WiedemeierDouble BassChris GriffithNathan WheatleyOboeChristi AllisonWayne RyersonHornChris ScottelaroDale WardTrumpetCarol DickensonPeter RalphTimpaniAnthony ScandoraHarpKaren BanaszewskiMusicians listed alphabetically withinsection except for principals.Section positions are rotated whenpossible.
About the Sinfonietta Bel CantoThe Sinfonietta Bel Canto (SBC), a brand new chamber orchestra and opera group, is one of Chicagoland's newest gems and is based in DownersGrove, IL. Combining both chamber orchestra and opera performances,the SBC--conducted by Dan Pasquale D'Andrea--presents a concert seriesthat includes at least 1-2 operas (with “sub-titles” if needed) each season;additionally the SBC often performs collaborative concerts outside of itsconcert series. With its home at an acoustic treasure, Immanuel LutheranChurch in Downers Grove, the SBC offers its community members andaudience high quality, affordable orchestral and opera performances withopen seating; a handsome, convenient location; and recording qualityacoustics. Concerts are handicapped accessible and have plenty of freeparking. The 2010-11 season has the following remaining concerts (allSundays at 3 pm) March 13 and May 15. For more information:www.SinfoniettaBelCanto.org or please call 630-384-5007.St. Odilo Festival ChoirPaul Rau- DirectorRobert Wilson– OrganistSopranosLinda AndrejekJoyce BenjaminKara ChandlerClare DalyMagaly Cordero DietzKaryn MillerBarb MockKaryn O’ConnorCathleen T. WhiteAltosBrigida ArreolaMary JeansDoris LucasDebra RyanTenorsBalthazzar AguirrePhil FrigoWilliam WhitePaul RauPaul WierzbowskiBassesDominic FrigoJoseph DalyRobert GraciaHenry OdumEd SzottFrank Zidek
Meet the Conductor: Dan Pasquale D’AndreaPraised by the Illinois Council of Orchestras for Outstanding Programming (2000-01), Chamber Orchestraof the Year (2003-04 ), and Community Relations ofthe Year (2006), conductor Dan Pasquale D’Andrea isMusic Director of several ensembles, including theSinfonietta Bel Canto, Senior Suburban Orchestra,College of DuPage Chamber Orchestra, and the Combined Church Choir of Itasca. He served as MusicDirector/Conductor of the Salt Creek Sinfonieeta for14 years, and has guest conducted several area ensembles, including, most recently, the Wheaton SymphonyOrchestra.An in demand adjudicator, Mr. D’Andrea has judgedarea solo competitions, and for 3 consecutive yearsserved on the peer review board of the Hinsdale Center for the Arts. Also a harpsichordist and an award winning bassoonist, he has appeared as soloist with several orchestras including the New England Conservatory Symphony Orchestra, and his solohonors include co-winner of the 1990 National Association of Composers/USAYoung Performers’ Competition, semi-finalist in the 1987 Fernand Gillet Young ArtistCompetition, and winner of the Double-Reed award at the 1989 Kingsville International Young Performers’ Competition.A Chicago area native, he has received music degrees from DePaul University, NewEngland Conservatory, and Northern Illinois University, and is presently PrincipalBassoon with the Northwest Indiana Symphony Orchestra.Program NotesJosef Haydn Symphony #93 in D MajorIn the fall of 1790, the London based concert promoter, Johann Peter Solomon,found out about the death of Prince Nikolaus Esterhazy I of Austria. He immediatelywent to Vienna to arrange for the famed Austrian composer, Josef Haydn, to come toLondon for a series of concerts. He had unsuccessfully tried to convince Haydn tocome to England in the past but was unable to due to Haydn’s commitment to hisduties to Prince Esterhazy. Now free of his duties to the royal house for the first timein thirty years, he was quick to seize upon this lucrative opportunity and exciting opportunity.Haydn arrived in London in December, 1790, and stayed until 1792. During this firstvisit to London, he wrote six symphonies, #93-98. He would return a few years laterfor a second engagement, during which time he wrote an additional six symphonies.These are commonly referred to as “The London Symphonies.” Sypmphony #93 wascompleted in the fall and winter of 1790 and first performed on February 17, 1792,with Johann Solomon himself playing first violin with the forty piece orchestra, andMr. Haydn conducting from the harpsichord, from time to time playing chords to
keep the ensemble together. It was received with great critical acclaim, as were all twelveof his London Symphonies, which most scholars agree represent Haydn’s greatest orchestral works.Gabriel Fauré Requiem Op. 48Gabriel Fauré composed his Requiem Mass between 1887 and 1888. During this timehe was choirmaster at the Madeleine Church in Paris and spent much of his time givingprivate lessons. Although he claimed no specific reason for writing it, the death of hisFather in 1885 and Mother in 1887 may have given him impetus. The first performancewas given on January 16, 1888 at the Madeleine for the occasion of a funeral. The fivemovements performed that day were as follows: 1. Introit/Kyrie, 2. Sanctus, 3. Pie Jesu,4. Agnus Dei, and 5. In Paradisum. Fauré chose only certain texts from the liturgy thatemphasized rest and peace, and did not compose any music for the Dies Irae, whichemphasizes the Day of Judgement. The orchestration was modest, and included a smallchamber orchestra (no brass or violins) with harp and organ.The Requiem in this form continued to be performed until the end of the century, butFauré also prepared an expanded version for use on grander occasions. The extra pieceshe added were the Offertory and the Libera Me, and he also added trumpets and hornsto the score.The third and most familiar version of the Requiem was published in 1900, as was premiered at the Paris World Exhibition. This version was scored for a full orchestra at thebehest of his publisher. In effect the Requiem was turned into a concert work, probablyto secure more performances. Fauré was assisted to some degree or other by his favoritepupil, as his time was still largely occupied by his teaching and administrative duties.summarized from preface to1984 Edition by John RutterFauré on the Fauré RequiemThis section collects some comments that Gabriel Fauré made in his lifetime about theRequiem in d, Op. 48.Fauré was interviewed by Louis Aguettant on July 12, 1902. The following excerpt onthe Requiem was originally published in Comoedia (1954, p. 6). The English translation istaken from Robert Orledge's biography:"It has been said that my Requiem does not express the fear of death andsomeone has called it a lullaby of death. But it is thus that I see death: asa happy deliverance, an aspiration towards happiness above, rather thanas a painful experience. The music of Gounod has been criticized for itsoverinclination towards human tenderness. But his nature predisposedhim to feel this way: religious emotion took this form inside him. Is it notnecessary to accept the artist's nature? As to my Requiem, perhaps I havealso instinctively sought to escape from what is thought right and proper,after all the years of accompanying burial services on the organ! I know itall by heart. I wanted to write something different."
The Requiem is also mentioned in a few of Fauré's letters. These English translations aretaken from a collection edited by Jean-Michel Nectoux in French and translated by J.A.Underwood into English:In this book, Nectoux makes the interesting observation that Marcel Proust had thoroughlydocumented the cultural life of Paris in Fauré's time, and Proust's writing has many mentions of Fauré's music. The fact that Proust does not mention the Requiem once suggestshow relatively unknown it must have been, outside of church services. Fauré to Maurice Emmanuel, March 1910. Emmanuel was preparing a set of program notes to a performance of Fauré's Requiem, and wrote to the composer asking anumber of questions. When asked about his motivation for writing it, Fauré responded: "My Requiem was composed for nothing . for fun, if I may be permittedto say so!" Fauré to Eugène Ysaÿe, August 4 1900. Ysaÿe was a celebrated virtuoso violinist,who was making preparations to give a concert performance of the Requiem. Fauréprovides insights into vocal forces and performance style in this excerpt: "I shall be delighted, delighted, delighted to hear my Requiem conductedby yourself with your musicians. An organ would be necessary because it accompanies the whole way through, but a loud harmonium would do instead. As for the number of voices in the choir, that will naturally depend on thesize of the hall where you give your concerts. The work lasts about 30 minutesor 35 at most; altogether it is as GENTLE as I am myself!! and it calls for onequiet bass-baritone, the cantor type, and one soprano. Little Torrès was encored at the Trocadéro for the piece she had to sing,the Pie Jesu. She has an engagement in Liège for next season, as it happens,and I'm sure you will get her without difficulty. The man who sang the basspart, Vallier, is booked at La Monnaie, but he was execrable - a real operasinger who did not begin to understand the composure and gravity of his partin this Requiem. ."-notes from this section by James C.S. LiuSpecial ThanksGail Kunce, Connie O’Dette and the Rectory StaffMary JeansThe Knights of ColumbusDr. Frank ZidekSpecial thanks to all of the volunteers who made this event possible
Dr. Frank O. Zidek, Ret.Wishing everyone good health,happiness, and success in all yourendeavors2010 St. OdiloOrchestra Concertavailable on CD for 5 at the Rectory.Available digitally at cdbaby.com oriTunes.
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The OrganThe organ for today’s concert was provided at no charge bythe Berent Organ Company of Justice, IL. It is a ViscountConcerto III Digital Sampling Organ, manufactured in Italy. Each Note of each stop has been digitally sampledfrom "world class" pipe organs and faithfully reproducesthem with an amazingly crisp, clear, and distinct sound.Berent Organ Company is providing this organ in exchange for our consideration of a future purchase from theircompany. Our Allen Organ has served us well, but is original to the church and nearing 50 years old. Many parts arebeginning to fail, and we have now established an “organfund” so that we can begin the process of saving for the purchase of a new organ in the next year or two.The organ we are using for this concert would cost 45,000installed, so by establishing an organ fund now, we hope tobe able to save enough to be able to buy an organ beforethe present one becomes a black hole of expensive repairsWe would like to sincerely thank Mr. Zbignew Machoviakand the Berent Organ Company for the use of their organfor this concert.
V. Agnus Dei et Lux Aeterna Lamb of God, who removes the sins of the world, grant them rest. Lamb of God, who removes the sins of the world, grant them rest. Lamb of God, who removes the sins of the wor
WAR REQUIEM, OP. 66 Benjamin Britten (1913-1976) Words from the Missa pro Defuntis and the poems of Wilfred Owen I Requiem aeternam CHORUS Requiem aeternam dona eis Domine, Rest eternal grant them, Lord; et lux perpetua luceat ei
1. The Manuscript of Mozart's Requiem in the Court Library of Vienna 28 2. Freystadtler's, Eybler's, Stadler's, and Sussmayr's Contributions to the Requiem 30 3. Modern Editions of Mozart's Requiem based on his Autograph Score and/or Sussmayr's version 33 4. Errors in the First Edition of Mozart's Requiem as compared to
Classical Music Magazine Herbert Howells (1892-1983) Requiem (1936) 1. Salvator mundi 2. Psalm 23 3. Requiem aeternam I 4. Psalm 121 5. Requiem aeternam II 6. I heard a voice from heaven Ralph Vaughan Williams (1872-1958) 7. Valiant-for-truth Maurice Duruflé (1902-1986) Requiem, Op. 9 8
TEXT AND TRANSLATION I. Requiem and Kyrie Requiem aeternam dona eis,Domine, et luxperpetua luceat eis. Tedecet hymnus, Deus, in Sion, ettibi redetur votum inJerusalem. Exaudi orationem rneam, ad teomnis caro venier, Requiem aeternam dona eis,Domine, et lux perpetua lucear eis. Eternal rest g
Moz-Art à la Haydn JANUARY 19, 2019 Anja Bihlmaier, conductor Kirk Toth and Téa Prokes, violin hayDn symphony no. 85 in B-flat major "La reine" sChnittkE moz-art à la haydn for two violins and orchestra mozart symphony no. 36 in C major "Linz" Witty and inviting, Moz-Art à la Haydn connects two of the greatest composers of the classical
There’s also an extract from The Creation and proof of Haydn’s nickname ‘Father of the String Quartet’. Joseph Haydn Trumpet Concerto in E-flat major Trumpet: Maurice André Jesus Lopez Cobos conducts the London Philharmonic Orchestra Joseph Haydn Symphony No.101 in D major (
Mar 17, 2017 · IV. Pie Jesu Pie Jesu, Domine, Merciful Jesus, Lord, dona eis requiem grant them rest dona eis requiem grant them rest, sempiternam requiem eternal rest. V. Agnus Dei Agnus Dei, O Lamb of God, qui tollis peccata that takest away the
Walsegg to composer a Requiem for the anniversary of Walsegg’s wife. However, Mozart’s Requiem in D-minor was left unfinished at his death in 1791. To fulfill the commission, Mozart’s wife Constanze turned to Mozart’s friend and copyist, Franz Xaver Süssmayr (1766-1803), a student of Antonio Salieri, to complete the work.
