Portrait
of Chorus
in Trinity Episcopal Church
|
Portrait
of Chorus |
|
|
|
|
In March, 1995, six experienced choristers gathered together to form a new chorus which would realize their vision of a community of singers who care about each other, the music they studyand perform, and the audiences with whom they will share the emotional and spiritual qualities of that music. Robert Shaw defines a chorus as a “community of utterance“ In the following months, sixty singers began creating this new chorus dedicated to the nurturing of singers and to excellence and expressiveness in the performance of music.
The San Francisco Lyric Chorus has grown into a dynamic presence among Bay Area choruses, participating in a variety of choral activities. In August 1995 they took part in an ecumenical service of remembrance for the victims of Hiroshima, held at Trinity Cathedral (Episcopal) in San Jose, joining the Cathedral Choir in the premiere of Lamentations by Brad Osness. In October 1995 they presented their triumphant dÈbut concert, performing Gabriel FaurÈÌs Requiem and Cantique de Jean Racine, and Louis VierneÌs Solemn Mass, which were received with a thunderous ovation from the enthusiastic audience. In December 1995, they joined with the San Francisco Choral Society and San Francisco Brass in a Festival of Carols, conducted by Robert Gurney, in a joyous program of holiday music and carol singing. Portions of that concert were televised on Christmas Day by local cable television. On Easter Sunday 1996 members of the Chamber Chorus joined the Trinity Choir in a performance of Wayne LoveÌs Choral Introit for Easter and William HarrisÌ masterpiece Faire Is The Heaven. In April 1996 the chorus presented their second concert, Songs of Love and Spring, featuring Johannes BrahmsÌ Liebeslieder Waltzes, Maurice DuruflÈÌs Ubi Caritas, AaronCoplandÌs The Promise of Living, Leonard BernsteinÌs Make Our Garden Grow, and P.D.Q.BachÌs wild and wacky Liebeslieder Polkas.
Welcome to our third concert, Sacred Music of the 20th Century. We invite you to join us Sunday, December 8, 1996 at 5 pm for our winter concert, which will include Francis PoulencÌs Gloria and Arvo P‰rtÌs Magnificat.
Gloucester-born British composer Herbert Howells (1892-1983) studied on a scholarship at the Royal College of Music with Charles Villiers Stanford, Charles Wood, and Sir Arthur Bliss. Kept out of World War I by ill health, he composed prolifically, and was reknowned for his musicÌs often whimsical youthfulness.
By 1925 he had become sensitive to criticism and withdrew some compositions from publication, which were not performed again until after his death. Between 1934 and 1935, the deaths of Sir Edward Elgar and HowellÌs only son Michael hastened his refuge into the solace of composition. Much of his later work, including the pieces we perform today, was religious, and scored for solo voice and chorus. Although criticized for being too traditional, HowellÌs music is also considered direct, visionary and beautiful in its simplicity.
Howells wrote many settings of the Magnificat and Te Deum, often writing them for the acoustics of a particular building. The Magnificat and Te Deum from theCollegium Regale Canticles are two of a set of four written specifically for the sonorous acoustics of Kings College, Cambridge. We perform them here in Trinity Episcopal Church, which provides a similar acoustical experience to that of Kings College.
My soul doth magnify the
Lord:
And my spirit hath rejoiced in God my Saviour.
For he hath regarded the lowliness of his handmaiden.
For behold, from henceforth all generations shall call me blessed.
For he that is mighty hath
magnified me:
And holy is his Name.
And his mercy is on them that fear him throughout all generations.
He hath shewn strength with
his arm:
He hath scattered the proud in the imagination of their hearts.
He hath put down the mighty
from their seat:
And hath exalted the humble and meek.
He hath filled the hungry with good things:
And the rich he hath sent empty away.
He remembÌring his mercy hath holpen his servant Israel:
As he promised to our forefathers, Abraham and his seed, forever.
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.
Charles Villiers Stanford (1852-1924), born and raised in Dublin, attended Queens College, Cambridge, before being appointed organist at Trinity College in 1873. Finishing his degree in 1874, he studied composition and piano in Leipzig and travelled widely, meeting Brahms and others. From 1875 to 1887 (when he was 35), he published extensively, became a Professor of Composition and Orchestra Playing, acted as conductor of the London Bach Choir, and taught music at Cambridge. Exercising more influence on the teaching of composition than any other musician in Britain, Stanford composed and conducted for every British music festival for many years. Underneath his European music training lay a heritage of Irish folklore, folk music and mysticism, which brought a fresh vision to English church music. The melodic invention of his choral music set a new standard for composition, and his influence is seen clearly in the works of Ralph Vaughan Williams, Gustav Holst, and Herbert Howells, among others.
| Beati quorum via integra est: | Blessed are the undefiled in the way, |
| Qui ambulant in lege Domini. | Who walk in the law of the Lord. |
Henryk Górecki (b. 1933 ) studied at the Polish Conservatory and then in Paris, winning many Polish prizes and First Prize in the Paris 1973 UNESCO competition. Committed to Polish folk culture, and virtually unheard and unknown outside of Poland until 1973, Góre´cki's work focuses on Polish melodies and texts. Totus Tuus, written in 1987 for the Polish Pope's visit to his homeland, features slow repeated phrases, a structure which underscores Górécki's deep religious faith. This piece showcases Górécki's excellence in composition, infusing choral minimalism with deep emotion.
| Maria! | Mary! |
| Totus tuus sum, Maria, | I am completely yours, Mary, |
| Mater nostri Redemptoris. | Mother of our Redeemer. |
| Virgo Dei, virgo pia | Virgin Mother of God, blessed virgin, |
| Mater mundi Salvatoris | Mother of the world's Savior. |
| Totus tuus sum, Maria! | I am completely yours, Mary! |
|
We praise thee, O
God: |
When thou hadst overcome
the sharpness of death: Thou didst open the Kingdom of Heaven to all believers. |
| Lord God of Sabaoth;
Heaven and earth are full Of the Majesty of thy glory. |
Thou sittest at the
right hand of God: In the Glory of the Father. |
| The glorious company
of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; |
We believe that thou
shalt come to be our Judge. We therefore pray thee, help thy servants: Whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints: In glory everlasting. |
| The Father of an infinite
Majesty; thine honorable, true, and only Son; Also the Holy Ghost: the Comforter. Thou art the King of Glory: O Christ. |
O Lord, save thy people: And bless thine heritage. Govern them: And lift them up forever. Day by day we magnify thee; And we worship thy Name ever world without end. |
| Thou art the everlasting
Son of the Father. When thou tookest upon thee to deliver man: Thou didst not abhor the Virgin's womb. |
Vouchsafe, O Lord: To keep us this day without sin. O Lord, have mercy upon us. O Lord, let thy mercy lighten upon us: As our trust is in thee. O Lord, in thee have I trusted: Let me never be confounded. |
| Requiem | Maurice Duruflé |
As a student at Rouen Cathedral,
Maurice Duruflé (1903-1986) developed an affection for Gregorian chant
and modal harmonies. He studied organ in Paris with Charles Tournemire and Louis
Vierne, entering the Paris Conservatoire in 1920, where he won numerous prizes,
and was appointed Professor of Harmony in 1943. Duruflé once explained
that it was his own crippling criticism from years of teaching which limited
his compositions to a total of ten over his lifetime. The Requiem, based
on his suite of Gregorian-style organ pieces, was heavily influenced by his
study of Ravel, Debussy, Dukas and especially the Fauré Requiem.
Originally performed in 1947, it was first scored for chorus with orchestra
and organ, then with orchestra alone, then with organ alone, which is the version
we are performing today.
Introit
| Requiem aeternam dona eis, Domine, | Eternal rest grant unto them, O Lord, |
| et lux perpetua luceat eis. | and may perpetual light shine upon them. |
| Te decet hymnus, Deus in Sion, | A hymn becometh Thee, O God, in Sion, |
| et tibi reddetur votum in Jerusalem. | shall a vow be paid in Jerusalem and unto Thee |
| Exaudi orationem mean, | Listen to my prayer, |
| ad te omnis caro veniet. | unto Thee all flesh shall come. |
Kyrie
| Kyrie eleison, | Lord, have mercy upon us. |
| Christe eleison, | Christ have mercy upon us. |
| Kyrie eleison. | Lord, have mercy upon us |
Domine Jesu Christe
| O Domine Jesu Christe, Rex gloriae, | Lord, Jesus Christ, King of Glory, |
| libera animas omnium fidelium | deliver the souls of all the faithful departed |
| de poenis inferni, et de profundo lacu; | from infernal suffering and from the bottomless abyss; |
| libera eas de ore leonis, | deliver them from the lionÌs mouth, |
| ne absorbeat eas tartarus, | that hell engulf them not, |
| ne cadant in obscurum. | that they sink not into darkness. |
| Sed signifer sanctus Michael | But let the standard-bearer Saint Michael |
| repraesentet eas in lucem sanctam. | lead them quickly into the holy light, |
| Quam olim Abrahae promisisti et semini ejus. | as of old Thou didst promise to Abraham and his seed. |
| Hostias et preces tibi, Domine, laudis offerimus; | Sacrifices and prayers of praise we offer to Thee, O Lord; |
| tu suscipe pro animabus illis, | accept them for those souls |
| quarum hodie memoriam facimus; | of whom we this day commemorate; |
| fac eas, Domine, de morte transire ad vitam. | cause them, O Lord, to pass from death to life |
Sanctus
| Sanctus, Sanctus, Sanctus | Holy, Holy, Holy |
| Dominus Deus Sabaoth, | Lord God of Hosts. |
| Pleni sunt coeli et terra gloria tua. | Heaven and earth are full of Thy glory |
| Hosanna in excelsis. | |
| Benedictus qui venit | Blessed is he that cometh |
| in nomine Domine. | in the name of the Lord. |
| Hosanna in excelsis. | Hosanna in the highest. |
Pie Jesu
| Pie Jesu Domine, | Dona Blessed Jesus, |
| dona eis requiem. | O Lord, grant them rest. |
| eis requiem sempiternam. | Grant them rest everlasting. |
Agnus Dei
| Agnus Dei, qui tollis peccata mundi, | Lamb of God, who takest away the sins of the world, |
| dona eis requiem sempiternam. | grant them rest everlasting. |
Lux Aeterna
| Lux aeterna lucceat eis, Domine, | May light eternal shine upon them, O Lord, |
| cum sanctis tuis in aeternum, quia pius es. | with Thy saints in eternity, because Thou art merciful. |
| Requiem aeternam dona eis, Domine; | Eternal rest grant unto them, O Lord; |
| et lux perpetua luceat eis. | and may perpetual light shine upon them. |
Libera Me
| Libera me, Domine, de morte aeterna, | Deliver me, O lord, from eternal death |
| in die illa tremenda; | upon that terrible day: |
| Quando coeli movendi sunt et terra: | When the heavens and earth shall be moved: |
| Dum veneris judicare saeculum per ignem. | When Thou shalt come to judge the world by fire. |
| Tremens factus sum ego, | Trembling has laid hold of me, |
| et timeo, dum discussio venerit, atque ventura ira. | and I will fear until the judgment shall have come |
| Dies illa, dies irae, | That day, day of wrath, |
| calamitatis et miseriae, | of disaster and misery, |
| dies magna et amara valde. | a great and exceedingly bitter day. |
| Dum veneris judicare saeculum per ignem. | When Thou shalt come to judge the world by fire. |
| Requiem aeternam dona eis, Domine, | Eternal rest grant unto them, O Lord, |
| et lux perpetua luceat eis. | and may perpetual light shine upon them. |
In Paradisum
| In paradisum deducant te Angeli; | May the angels lead thee into Paradise; |
| in tuo adventu suscipiant te martyres, | may the martyrs receive thee at thy coming |
| et perducant te in civitatem sanctam Jerusalem. | and lead thee into the holy city of Jerusalem. |
| Chorus Angelorum te suscipiat, | May the choir of angels receive thee, |
| et cum Lazaro | and with Lazarus, |
| quondam paupere aeternam habeas requiem. | who once was poor, mayest thou have eternal rest. |
About the Artists
ROBERT GURNEY, Music Director
Founder and Music Director Robert Gurney is Organist-Choirmaster at San FranciscoÌs
historic Trinity Episcopal Church and Assistant Conductor-Accompanist for the
San Francisco Choral Society.
A native of Ohio, he received his education at Youngstown State University and
the Cleveland Institute of Music, studying conducting with William Slocum. At
Youngstown, he served as Student Assistant Conductor of the Concert Choir which
won first place in a college choir competition sponsored by the BBC.
A resident of San Francisco since 1978, he has been an active church musician,
organ recitalist, vocal coach, and has served as Assistant Conductor-Accompanist
for the Sonoma City Opera and the Contra Costa Chorale.
MARK BRUCE, Organist
Mark Bruce is Organist-Choirmaster at Trinity Cathedral (Episcopal) in San Jose.
He was born and raised in Michigan, where at the age of ten he began playing
for services in his parish church. He studied piano and music theory with Katherine
Heafield of Olivet College and organ with Corliss Arnold of Michigan State University.
In the early seventies Mr. Bruce escaped westward to play rock and roll and
enjoy the climate in Hawaii. There he taught music at St. AndrewÌs Priory
School on the grounds of the Episcopal Cathedral in Honolulu.
In 1975 he moved to the Bay Area where he has been playing and directing music
in various churches. In addition to his active teaching career in the Bay Area,
he also has served as music director for several theatrical productions.
Special thanks
to the Rev. Robert Warren Cromey
Trinity Episcopal Church
Robert Geary
Richard Turley
Anonymous
Program
Design And Preparation
Mimi Wong
Beverly Schmidt
San Francisco
Lyric Chorus Logo Designer
Bobbi Alexander
Chorus Photograph
Taken By
Rudolf F. Koch
Trinity Episcopal Church,
founded in 1849, was the first Episcopal congregation west of the Rocky Mountains.
Some of the parish pioneers were among the most prominent San Franciscans of
their day: McAllister, Turk, Eddy, Austin, Taylor, and many others.
The parishÌs significant
role in the history of San Francisco continues today in the vision of its current
rector, the Rev. Robert Warren Cromey. Notable among TrinityÌs many community
and social programs was the founding of Project Open Hand by Ruth Brinker in
1985.
The present church structure,
built in 1892, was designed by Arthur Page Brown who was also the architect
of San Francsco City Hall and the Ferry Building. Inspired by the Norman-Romanesque
architecture of Durham Cathedral, it is built of roughhewn Colusa sandstone
and features a massive castle-like central tower.
The Trinity organ was built
in 1924 by Ernest M. Skinner and is one of the finest remaining examples of
his artistry. Built after his second trip to Europe, it reflects the influence
of his long creative association with the great English builder Henry Willis,
III. The instrumentÌs four manuals and pedal contain many of the numerous
orchestral imitative voices perfected by Skinner. Among them, the Trinity organ
contains the French Horn, Orchestral Oboe, Clarinet, Tuba Mirabilis, and eight
ranks of strings. This wealth of orchestral color provides a range of expressiveness
evocative of a symphony orchestra.
Due to its superb acoustics, magnificent organ, and the commitment of a long succession of musicians, Trinity has presented a wealth of great music to the city. The San Francisco Lyric Chorus has become a part of this tradition, thanks to the generous encouragement and nurturing of this vibrant congregation.
| SOPRANO | ALTO |
|
|
| TENOR | BASS |
|
|
|
| #Board
of Directors *Section Representative %Chamber Chorus |