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Spring Term Concert
Tuesday 22 September 1970
University House

SCUNA history » Concerts » 1970 - 3

Programme

Cover

Cover of concert programme. Transcription follows.

Transcription of cover

The Australian National University
* * * Choral Society * * *
Director: Ayis Ioannides

Spring Term Concert

On Tuesday * 22nd.September.1970
University House * Dining Room
By kind permission of the Master

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Page 1 of concert programme. Transcription follows.

THE A.N.U. CHORAL SOCIETY

SPRING TERM CONCERT

UNIVERSITY HOUSE DINING HALL
(By Kind Permission of the Master)

8.15 p.m., 22nd September, 1970

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Page 2 of concert programme. Transcription follows.
PROGRAMME
Gaudeamus Igitur
1. Christe, Adoramus Te Claudio Monteverdi
(1567-1643)
2. Gloria in Excelsis Thomas Weelkes
(1576-1623)
3. Dum Ergo Essent Tomas Luis de Victoria
(1548-1611)
4. Salvator Mundi John Blow
(1649-1708)
5. O Clap Your Hands Orlando Gibbons
(1583-1625)
INTERVAL
MADRIGAL GROUP
6. In Every Place Thomas Morley
(1557-1602)
7. Dieu! Qu'il l'a fait bon regarder} Claude Debussy
(1862-1918)
8. Yver, vous n'estes qu'un vilain}
9. Draw On, Sweet Night John Wilbye
(1574-1638)
FULL CHOIR
10. Cantata No. 79 (God, the Lord, is Sun and Shield) J.S. Bach
(1685-1750)
Soprano: Janet Allan
Baritone: Geoffrey Brennan
 
ORGAN LOANED BY PALINGS

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Page 3 of concert programme. Transcription follows.

NOTES

1. Christe, Adoramus Te: Claudio Monteverdi (1567-1643)

Motet for SSATB and organ continuo, probably composed for St. Mark's, Venice, where Monteverdi became maestro di capella in 1613. Although Monteverdi often used the older polyphonic style in many of his sacred works, this motet is in the more declamatory and chromatic idiom of his later madrigals.

2. Gloria in Excelsis: Thomas Weelkes (1576-1623)

Anthem for SSATB. Although best known as one of the finest English madrigalists, Weelkes wrote a considerable amount of church music, of which much is unfortunately incomplete. In his church music we find a greater reserve than in his madrigals with their greater display of inventiveness and effect. Nonetheless, the present anthem is a brilliant work for a festival with a splendidly solid opening (in Latin) which is recapitulated before the final 'Amen'.

3. Dum Ergo Essent: T. L. de Victoria (c.1548-1611)

Motet for SSATB, for the feast of Pentecost. Although a Spaniard by birth, Victoria became one of the most important figures in the Roman School, a contemporary and pupil of Palestrina. His compositions were exclusively sacred, and his style possessed a greater mystical intensity and dramatic quality than that of Palestrina. "Dum ergo essent" is especially notable for its clarity of texture and the subtle rhythmic interplay of the various voices.

4. Salvator Mundi: John Blow (1649-1708)

Anthem for SSATB and organ continuo. The life of Blow spans that of his more famous contemporary and pupil Henry Purcell (1659-1695), with whom he has, musically, much in common though perhaps lacking the sheer originality and genius of his pupil. "Salvator Mundi", one of his few works in Latin, is dramatic in conception. The second section 'Auxiliare' creates an atmosphere of calm and tranquil trust after the more anxious and troubled first section. The work ends on a crescendo of strength and confidence.

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Page 4 of concert programme. Transcription follows.

5. O Clap Your Hands: Orlando Gibbons (1583-1625)

Full anthem for SSAATTBB structured as a double choir. This is probably one of Gibbons' greatest works and a magnificent hymn of praise. Particularly impressive is the antiphonal effect created by the use of divided choirs in such sections as "O sing praises. . ."

6. In Every Place: Thomas Morley (1557-1602)

Madrigal for SATB. Morley is perhaps the best known of all English madrigalists. Versatility is perhaps his greatest virtue, for apart from his numerous compositions, both secular and sacred, he was a music editor as well as a music theorist. "In Every Place" is one of his more subdued and meditative works.

7,8 Deux Chansons: Claude Achille Debussy (1862-1918)

These are two of a set of unaccompanied settings of poems of Charles d'Orleans (1394-1465), written by Debussy in 1908. Debussy's 'impressionism' had by 1908 been tempered by a more austere, almost neo-classical style, and these Chansons, in this respect, foreshadow the more austere styles of the subsequent sonatas. These settings of the chansons of Charles d'Orleans are amongst the very few examples of unaccompanied choral music written by Debussy.

9. Draw on Sweet Night: John Wilbye (1574-1638)

Madrigal for SSAATB. Wilbye was one of the few composers of his period to write virtually nothing for liturgical or church use, yet he ranks as perhaps the greatest of the English madrigalists. His inspiration is secular and his work exhibits a profoundly personal and sensitive genius. "Draw on Sweet Night" represents his madrigal writing at its most delicate.

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Page 5 of concert programme. Transcription follows.

1. Christe, Adoramus Te Claudio Monteverdi

Christe, adoramus te et benedicimus tibi,
quia per sanctam crucem tuam redemisti mundum.

We adore you, O Christ, and we bless you,
because by your holy cross you have redeemed the world.

2. Gloria in Excelsis Thomas Weelkes

Gloria in excelsis Deo. (Glory be to God on high.) Sing my soul to God the Lord, all in glory's highest key. Lay the Angels' choir abroad in their highest holy day. Crave thy God to tune thy heart unto praise's highest part. Gloria in excelsis Deo. Amen.

3. Dum Ergo Essent Tomas Luis de Victoria

Dum ergo essent in unum discipuli congregati propter metum Judaeorum, sonus repente de caelo, venit super eos; alleluia; tamquam spiritus vehementis, et replevit totam domum; alleluia.

(Text based on Acts of the Apostles Chapter 2- as used at Matins of the Feast of Pentecost.)

When, therefore, the disciples were gathered together on account of their fear of the Jews, a sound suddenly came down from heaven upon them; alleluia; like a violent wind; and it filled the whole house; alleluia.

4. Salvator Mundi John Blow

Salvator mundi salva nos, qui per crucem et sanguinem redimisti nos. Auxiliare nobis, te deprecamur Deus noster.

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Page 6 of concert programme. Transcription follows.

Save us, Saviour of the World, who through your cross and blood has redeemed us. Help us, we beseech you, our God.

5. O Clap Your Hands Orlando Gibbons

O clap your hands together, all ye people. O sing unto God with the voice of melody. For the Lord is high and to be feared. He is the great king upon all the earth. He shall subdue the people under us, and the nations under our feet. He shall choose out an heritage for us, ev'n the worship of Jacob, whom he loved.

God is gone up with a merry noise and the Lord with the sound of the trumpet. O sing praises unto our God; sing praises unto the Lord our King. For God is the King of all the earth; sing ye praises with the understanding. God reigneth over the heathen: God sitteth upon His holy seat. For God which is highly exalted doth defend the earth as it were with a shield. Glory be to the Father and to the Son, and to the Holy Ghost; as it was in the beginning, is now and ever shall be, world without end, Amen.

6. In Every Place Thomas Morley

In every place, fierce love alas assails me, and grief doth so torment me, that how can Joy content me? when hope and faith and all no hope and wit avail me. O gentle love, o grant me less to grieve me, or grieve me more and grief will soon relieve me.

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Page 7 of concert programme. Transcription follows.

7. Dieu! qu'il la fait bon regarder Claude Debussy

Dieu! qu'il la fait bon regarder
La gracieuse bonne et belle;
Pour les grans biens que sont en elle
Chascun est prest de la louer.

Qui se pourroit d'elle lasser?
Tousjours sa beaute renouvelle.
Dieu! qu'il la fait bon regarder
La gracieuse bonne et belle!

Par de ca ne de la, la mer,
Ne scay dame ne damoiselle
Qui soit en tous bien parfais telle.
C'est ung songe que d'i penser.
Dieu! qu'il la fait bon regarder!

How lovely to behold God has made her, beautiful and gracious; all are eager to praise her for the great virtues that are hers.

Who could tire of her? For her beauty is ever fresh. How lovely to behold God has made her.

Far or near, no maiden can be found who is so perfect in all things. Thinking of her is like a dream. How lovely to behold God has made her.

7. Yver, vous n'estes qu'un vilain Claude Debussy

Yver, vous n'estes qu'un vilain,
Este est plaisant et gentil,
En temoing de may et d'avril
Qui l'accompaignent soir et main.

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Page 8 of concert programme. Transcription follows.

Este revet champs, bois et fleurs,
De sa livree de verdure
Et de maintes autres couleurs,
Par l'ordonnance de nature.

Mais vous, Yver, trop estes plein
De nege, vent, pluye et grezil;
On vous deust banir en exil.
Sans point flater, je parle plein:
Yver, vous n'estes qu'un vilain.

Winter, you are nothing but a wretch. Summer is kind and pleasant, as April and May, which accompany it morning and evening.

Summer clothes the fields, woods and flowers in its raiment of green and many other colours according to nature's pattern.

But you, Winter, are too full of snow, wind, rain, and hail. You should be banished to exile. Speaking plainly and without flattery: Winter, you are nothing but a wretch.

9. Draw on Sweet Night John Wilbye

Draw on, sweet night,
best friend unto those cares,
that do arise from painful melancholy;
my life so ill through want of comfort fares,
that unto thee I consecrate it wholly.
Sweet night, draw on.

My griefs, when they be told
to shades and darkness, find some ease from paining;
and while thou all in silence dost enfold,
I then shall have best time for my complaining.

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Page 9 of concert programme. Transcription follows.

10. Cantata No. 79: "Gott, der Herr, ist Sonn' und Schild." J.S. Bach

This Cantata, for soprano, alto and bass soli, chorus and orchestra, was written by Bach for the Leipzig Reformation Festival of 1735. The opening chorus, the alto aria, and the duet for soprano and bass, were used later (in 1737-8) for the A major and G major masses.

  1. CHORUS: God, the Lord, is a Sun and Shield.
  2. AIR (alto): God is ever Sun and Shield.
  3. CHORALE: Now thank we all our God.
  4. RECITATIVE (bass): O God! the straightest way.
  5. DUET (soprano & bass): O my God, forsake Thy people nevermore.
  6. CHORALE: Firm in Thy truth retain us.

NOTE: In this version, the Alto Solo will be sung at the octave, as was often done in Bach's day, by the bass soloist.

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Page 10 of concert programme. Transcription follows.

THE A.N.U. CHORAL SOCIETY

Sopranos Tenors
Janet Allan
Anne Brennan
Jill Brigden
Alison Currie
Gillian Hoare
Gwyneth Ioannides
Anne Jones
Ann May
Jeanette Pankhurst
Edla Peisley
Val Thomson
Ian Bollen
Julian Brown
Richard Dixon
Ewen Hutchinson
Philip Thomas
Charles Topp
Altos Basses
John Aitchison
Sue Baldwin
Mary Carse
Maureen Corbett
Elizabeth Erskine
Kerith Fowles
Margot Haenke
Vivienne Muller
Jill Newman
Dorelle Pinch
Linda Reid
Patricia Tandy
Annabel Wheeler
Michael Bleby
Richard Cook
David Dixon
Andrew Fraser
George Garnsey
Richard Hartley
Ken Healey
Brian Hingerty
Gary Hovey
Mark Hyman
Gary Linnane
John Pender
Ian Simpson
Chris Vine
Michael Worthington

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Page 11 of concert programme. Transcription follows.

THE MADRIGAL GROUP

Sopranos Altos
Jill Brigden
Gwyneth Ioannides
Ann May
Val Thomson
Elizabeth Erskine
Kerith Fowles
Dorelle Pinch
Annabel Wheeler
Tenors Basses
Julian Brown
Richard Dixon
Philip Thomas
Charles Topp
Andrew Fraser
George Garnsey
Brian Hingerty
Mark Hyman
ORCHESTRA
Violins
Rosemary Kerr
Genevieve Bignall
Ian Simpson
Alison Richards
Violas
Lyn Dalgarno
David Dixon
Celli
Anna Rojicek
Frances Fleming
Oboes
Patrina Nuske
Jenny Turnbull
Bassoon
Rosemary Richards
Trumpets
Ian Muir
Michael Hauptmann
Timpani
Penny Trenerry
Organ Continuo: Chris Burrell