Spring Term Concert, Tuesday 22 September 1970
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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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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PROGRAMME
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
8. Yver, vous n'estes qu'un vilain ) (1862-1918)
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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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 Monte-
verdi 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 recap-
itulated 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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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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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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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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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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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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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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THE A.N.U. CHORAL SOCIETY
Sopranos Tenors
Janet Allan Ian Bollen
Anne Brennan Julian Brown
Jill Brigden Richard Dixon
Alison Currie Ewen Hutchinson
Gillian Hoare Philip Thomas
Gwyneth Ioannides Charles Topp
Anne Jones
Ann May Basses
Jeanette Pankhurst
Edla Peisley Michael Bleby
Val Thomson Richard Cook
David Dixon
Altos Andrew Fraser
George Garnsey
John Aitchison Richard Hartley
Sue Baldwin Ken Healey
Mary Carse Brian Hingerty
Maureen Corbett Gary Hovey
Elizabeth Erskine Mark Hyman
Kerith Fowles Gary Linnane
Margot Haenke John Pender
Vivienne Muller Ian Simpson
Jill Newman Chris Vine
Dorelle Pinch Michael Worthington
Linda Reid
Patricia Tandy
Annabel Wheeler
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THE MADRIGAL GROUP
Sopranos Altos
Jill Brigden Elizabeth Erskine
Gwyneth Ioannides Kerith Fowles
Ann May Dorelle Pinch
Val Thomson Annabel Wheeler
Tenors Basses
Julian Brown Andrew Fraser
Richard Dixon George Garnsey
Philip Thomas Brian Hingerty
Charles Topp Mark Hyman
ORCHESTRA
Violins Oboes
Rosemary Kerr Patrina Nuske
Genevieve Bignall Jenny Turnbull
Ian Simpson
Alison Richards Bassoon
Violas Rosemary Richards
Lyn Dalgarno Trumpets
David Dixon
Ian Muir
Celli Michael Hauptmann
Anna Rojicek Timpani
Frances Fleming
Penny Trenerry
Organ Continuo: Chris Burrell
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Since this programme went to print there have been changes in the
order of Individual Items. They are as follows:
Page 4.
The Mass in F will now be the third item
The Cantata "Now shall the grace" will follow the first
item.
Page 5.
The TZIQANE will not be performed. Instead there will be, [sic]
Selected Movements from E Major Partito
Preludio
Loure
Gavotte en Rondeau
Gigue
Bogdan Kazimierczak - Violin
Last Page.
The name of our publicity manager, [sic] was inadvertently
left off the list of Committee members. She is
Miss Sylvia Piddington.
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