Know Before You Go!

Bach Magnificat and Other Songs of the Soul Concert Notes

October 27, 2024 at 4:00 pm

Griffin Concert Hall, Colorado State University, Fort Collins

Michael Todd Krueger, conductor

Larimer Chorale Orchestra

Please turn off all cell phones and electronic devices during the concert.

Copyright laws prohibit video and audio recording of any kind by audience members.

- Texts, Translations and Notes -

Magnificat [The Canticle of Mary], sung in Latin .................................... J. S. Bach (1685-1750)

Nicole Hallenbeck, soprano 1 / Katie Rothstein, soprano 2 / Jean Johnson, alto

Jonathan Henreckson, tenor / Colin Williamson, baritone

1. Magnificat [chorus]

My soul magnifies the Lord.

2. Et exsultavit spiritus meus [soprano 2]

And my spirit has rejoiced in God my savior.

3. Quia respexit humilitatem [soprano 1]

For he has regarded the low estate of his handmaiden: for behold, henceforth all generations shall call me blessed.

4. Omnes generationes [chorus]

All generations.

5. Quia fecit mihi magna [bass]

For he who is mighty has done great things to me; and holy is his name.

6. Et misericordia [alto/tenor duo]

And his mercy is on them who fear him from generation to generation.

7. Fecit potentiam [chorus]

He has shown strength with his arm; he has scattered the proud, even the arrogant of heart.

8. Deposuit potentes [tenor]

He has deposed the mighty from their seats and exalted the humble.

9. Esurientes implevit bonis [alto]

The hungry he has filled with good things, and the rich he has sent empty away.

10. Suscepit Israel [chorus]

He has helped his servant Israel, in remembrance of his mercy.

11. Sicut locutus est [chorus]

As it was spoken to our fathers, to Abraham and his seed forever.

12. Glori Patri [chorus]

Glory to the Father, and to the Son and to the Holy Spirit. As it was in the beginning, is now and ever shall be, world without end, Amen.

The Magnificat is the first large choral work that Bach composed after his appointment at St. Thomas in Leipzig in the spring of 1723. It is a delightful work with Latin text, just like the other rarity among Bach’s works, the B Minor Mass. The text comes from the Gospel of Luke. An angel has visited Mary to tell her that she has been chosen to be the mother of the savior of the world. The angel informs Mary that her cousin, Elizabeth, who has been unable to conceive, is also with child. Mary sets off to visit Elizabeth and upon her arrival, Elizabeth welcomes Mary with the words: ‘Blessed are you among women and blessed is the fruit of your womb!’ Mary answers: ‘My soul magnifies the Lord (Magnificat anima mea Dominum), and my spirit has rejoiced in God my savior, for he has regarded the low estate of his handmaiden’. After some delay in its completion Bach’s Magnificat was heard for the first time at Christmas Vespers, 1723.

The Magnificat is conceived on a grand scale, requiring five soloists, a five-part choir and, for its time, a large orchestra consisting of three trumpets, timpani, two flutes, two oboes, strings and continuo. It begins with a brilliant orchestral introduction in which the trumpets feature prominently. This leads directly into an equally impressive chorus, ‘Magnificat anima mea Dominum’ (My soul magnifies the Lord). The expressive power of this song of praise about God’s justice is incredible. He punishes ruthless rulers while the humble are elevated, and he feeds the hungry and poor while sending away the haughty rich. The ten verses and Gloria that comprise the piece form a continuous and homogenous whole. For this reason, there are no recitatives and each movement is no longer than three minutes. Each of the verses of the Magnificat receive extended contrapuntal treatment with the chorus, trumpets and timpani supplying appropriate emphasis to sections such as ‘Fecit potentiam in brachio suo’ (He has shown strength with his arm). The more reflective verses are assigned to the vocal soloists and instrumentalists. In No. 10, ‘Suscepit Israel’ (He has helped his servant Israel), Bach gives the oboe a plainchant melody historically associated with the Magnificat. It appears as an augmented cantus firmus, i.e., a melody in long notes against which the three upper choral parts weave decorative vocal lines. For the final verse, ‘Sicut erat in principio ...’ (As it was in the beginning ...), Bach appropriately reprises the music of the first movement causing the piece to conclude as exuberantly and dramatically as it began.

Luminous Night of the Soul............................................................................ Ola Gjeilo (b.1978)

text by Charles A. Silvestri (b.1965)

and St. John of the Cross (1542-1591)

Long before music was sung by a choir;O Guiding night!

Long before silver was shaped in the fire,O night more lovely than the dawn!

Long before poets inspired the heart,O night that has united

You were the Spirit of all that is art.the Lover with his beloved,

transforming the beloved in her Lover.

You give the potter the feel of the clay;

You give the actor the right part to play;(St John of the Cross)

You give the author a story to tell;

You are the prayer in the sound of a bell.

Praise to all lovers who feel your desire!

Praise to all music which soars to inspire!

Praise to the wonders of Thy artistry

Our Divine Spirit, all glory to Thee.

(Charles Anthony Silvestri)

Led by the inspiration of the words ‘soul’ and ‘spirit’, I opted to reprise a beautiful composition that the Chorale performed in 2015 – first in Fort Collins and then on a concert tour of Poland and eastern Germany – “Luminous Night of the Soul” by Norwegian composer, Ola Gjeilo (pronounced Yay-lo). The piece is composed for choir, piano and string quartet, but we’ve opted for a slightly bigger sound, using the full string sections of the orchestra and adding a bass part (so he wouldn’t feel left out!). The result is simply stunning and an incredible contrast to the dance-like counterpoint of Bach’s Magnificat.

Before me, then, without even knowing it, appeared the theme for this concert: Bach’s Magnificat and Other Songs of the Soul. Every piece on the program would reference the ‘soul’ or ‘soulfulness’ – or both. You gotta love it when a concert program comes together like that! – mtk

By the way, Ola Gjeilo was born in Norway in 1978 and moved to New York in 2001 to begin composition studies at the Julliard School, from which he graduated with a Master’s Degree in 2006. His compositions are hugely popular and have been performed around the world. For more information, please visit < olagjeilo.com >

Mata del Anima Sola....................................................................... Antonio Estévez (1916-1988)

text by Alberto Arvelo Torrealba (1905-1971)

Jonathan Henreckson, tenor

Tree of the lonely soul, wide opening of the riverside –

now you will be able to say: here slept Cantaclaro.

With the whistle and the sting of the twisting wind,

the dappled and violet dusk quietly entered the corral.

The night, tired mare, shakes her mane and black tail above the riverside;

and, in its silence, your ghostly heart is filled with awe.

Inspired by a poem by Alberto Arvelo Torrealba, the piece has two distinct sections: one very quick and rhythmic based on a combined 3/4 and 6/8 meter which is characteristic of a dance called a joropo, and the other slow and meditative. The music depicts the solitude and mystery of the llanos, the high plains of Venezuela, while the tenor soloist represents the llanero, or “man of the plains” whose songs are improvised. In the joropo section, the choir imitates the instruments that are traditionally used to play the dance.

The composer, Antonio Estevez was one of the second generation of important Venezuelan composers in the 20th century. His compositions rank among the leading nationalistic works in Latin America. – Maria Guinand, editor

The Soul of a Tree.................................................. words and music by Amy F. Bernon (b.1967)

I sing of the soul, of the soul of a tree,

as cool and forgiving as night after sun,

when the notes of the sparrow are secret, unsung.

The soul of a tree sings an ancient song.

The soul of a tree is the deepest place,

where the seedling takes hold, where the rootwater waits,

where the sky sleeps for the night, in a branch-bend,

in the shade of a leaf-tip, seeking wisdom in bark.

“My songs often feature trees because I love and admire them. In my colonial Connecticut town, the old trees represent longevity, wisdom and steadfastness in our ever-changing world. To me, trees are soulful and full of personality, especially when the wind sings through them.” – Amy F. Bernon

Amy F. Bernon grew up in New York. During the long winters, she would pass the time by playing piano, singing with friends and writing songs. She earned degrees from The Hartt School and the Yale University School of Music. She studied composition with Martin Bresnick, Jacob Druckman and Libby Larsen, among others. < sbmp.com >

Bright Morning Stars....................................... trad. Appalachian, arr. Shawn Kirchner (b.1970)

Colin Williamson, baritone

Bright morning stars are rising, day’s a-breaking in my soul.

Oh, where are our dear fathers, they are down in the valley praying.

Oh, where are our dear mothers, they have gone to heaven shouting.

Oh, where are our dear children, they’re upon the earth a-dancing.

Bright morning stars are rising, day’s a-breaking in my soul.

From arranger, Shawn Kirchner: ““Bright Morning Stars” is among my very favorite of American folksongs. I especially like the way the song links the beautiful, universal and ‘external’ imagery of dawn and morning stars to the ‘internal’ types of renewal that we all also experience – ‘day a-breaking in my soul’. I did make one addition to the original lyrics. I added a final verse in which the long-departed ‘fathers’ and ‘mothers’ have a chance to ask, “O where are our dear children?” The response: “They’re upon the earth a-dancing.” I like the image of those who have passed on and those who are yet present upon the earth calling to each other “across eternity.”< shawnkirchner.com >

Set Down, Servant!.................................................. trad. spiritual, arr. Robert Shaw (1916-1999)

Kayli King, alto / Dave Watson, bass

The spiritual “Set Down, Servant” is a conversation between a servant (low alto) and her Lord. Instead of being told to get up and get to work, she is told by the Lord to “set down” and rest. She is so ecstatic that she simply can’t. She’s eager and has the audacity to push the point and ask for the promised heavenly goods – a white robe, shoes, a golden waistband. The Lord (as a low bass) obliges, commanding an angel to fetch said items. The servant then arrives in heaven and is told to rest, but she answers “My soul is so happy that I can’t set down!” – mtk

The Trumpet Sounds Within-a My Soul......... trad. spiritual, arr. Ian David Coleman (b. 1968)

Dr. Stanley Curtis, trumpet

[Sixty-plus] years have passed since Dr. Martin Luther King, Jr. delivered his “I Have a Dream” speech from the steps of the Lincoln Memorial in Washington, D.C., as the African-American community was locked in a difficult struggle trying to secure true equality and freedom. For more than 300 years, slavery was a way of life for so many Africans who were brought against their will to what would evolve as the United States of America – and to other parts of the world. And even when emancipation was finally declared in 1863, it would take another century before America would ‘rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.”’ This piece is my attempt to encourage each one of us to continue to ask the hard questions regarding the legacy of slavery and racism. Indeed, in this piece you will hear the hauntingly beautiful spiritual “Steal Away,” but you will also hear the trumpet sounding, as it were, within the singer’s soul. It is the instrument’s role to reflect the inner turmoil of the African-American, on the surface singing, but internally struggling with oppression and the experience of being told that he or she was less than human. – Ian David Coleman

< iandavidcoleman.org >

Rock-a My Soul........................................................ trad. spiritual, arr. Stacey V. Gibbs (b.1964)

“Rock-a My Soul,” also known as “Rock O’ My Soul,” “Rock My Soul” or “Bosom of Abraham,” is a traditional African-American spiritual, first documented in the 1867 collection, “Slave Songs of the United States.”

Biblically, the “bosom of Abraham” referred to the place of rest in Sheol, where the righteous dead awaited the Messiah and Judgment Day. It is mentioned only once in the parable of Divies and Lazarus. In the parable, Lazarus is said to rest and abide in the bosom of Abraham, awaiting the Messiah’s full redemption, whereas the rich man, Divies, is in Gehenna, a place of torment. More generally, though, the image of resting in the bosom of Abraham is rooted in the image of a sick, frightened, or wounded child resting safely in the arms of his parents (in this case those of his father). Most children remember awakening from a bad dream and running into their parents’ bedroom for refuge, to a place where they could rest in security. This setting by Stacey V. Gibbs is one of the most exciting arrangements of a spiritual in all of the choral repertoire. – mtk< sbmp.com >

What to Expect at a Larimer Chorale Concert

Is this your first concert or have you attended Larimer Chorale concerts on a regular basis? We provide these Frequently Asked Questions to help make you entire concert experience more gratifying and pleasant.

Will I understand and like the music?

Yes! You might be surprised to hear snippets of classical music that you recognize -- many “tunes” have been used in movie scores or in commercials that sell everything from razors to cars to your favorite beer! Sit back and enjoy the music. It might evoke memories or cause you to feel happy or sad. Listen for the music to repeat patterns or for the singers to echo each other. Watch the conductor. Watch the singers watching the conductor! See how they respond to his baton. Pick out how all the parts (soprano, alto, tenor, and bass) interact with each other and with the orchestra and soloists.

Do I need to prepare before the concert?

No. You can come and listen to the music for the first time. If you want to prepare, read the program notes on our website, look for recordings of the pieces featured in the concert, or come to one of the open rehearsals. For most concerts, our conductor gives a talk 45 minutes before the concert starts so come listen to that; or come early enough to read the notes in the program.

What should I wear?

Most of our concert-goers dress casually or in business or business-casual attire.

Are there any no-nos?

Yes-yes! Please go easy on wearing scented products. Many singers are particularly sensitive to perfumes – those seated near you may also have allergies.

Keep your colds and coughs at home – or ask the usher to seat you in an unoccupied area of the performance hall.

Don’t be late! It’s fun to come 20-30 minutes early, find your seat, and get comfortable. Talk to your neighbors, look at the venue, read the program, or listen to the warm-ups. Latecomers will be asked to wait in the lobby until there is a break in the program. Then you’ll get to be THAT person – the one who has to climb over everyone in a dark theater. If you have to leave a concert early, please do so between program sections if possible.

Can I go beep, Tweet, or crinkle in the night?

You can but you shouldn’t! If it has a battery, turn it off or set it on vibrate. Remember to check your watches, pagers, and cell phones before the program begins. If you are an on-call emergency worker, set your phone to silently vibrate and then quietly exit to the lobby to take the call. Please do not distract those seated around you by texting or Tweeting. Unwrap candy or anything else encased in noisy cellophane prior to the concert.

Will I be able to take pictures or record the concert?

No. Taking pictures or making audio or video recordings of the concert are violations of copyright and distracting to other concert-goers. Only professionals with prior permission from the Larimer Chorale are allowed to record concerts.

How long will I have to sit there?

We hope that you won’t notice the passage of time! But, for planning purposes, figure on 90 minutes to two hours. Some programs are shorter and may not have an intermission – longer programs will have a break. Remember the chorale members are standing so they want a break too! Intermissions are usually about 15 minutes long.

May I applaud whenever the spirit moves me?

Technically, yes, but most people don’t want to be the one person clapping. It is traditional to show your appreciation to the conductor, concertmaster, and soloists as they come on stage. Then, so that the music can proceed in the way written by the composer and interpreted by the conductor, hold your applause until the end of the entire piece. Some works are divided into movements so follow along in the program – there will be a pause between movements but try not to interrupt the flow of the music by clapping during these brief breaks. Still confused? Watch the conductor. He will keep his arms raised between movements and will have the full attention of all the musicians. Your cue to applaud like crazy is when the conductor completely relaxes his arms.

What happens after the concert?

Chorale members love to meet their audience. Just go to the lobby and the conductor and chorale members will be there to chat with you and answer your questions. Linger, socialize, and talk to others about the experience.

Are the concerts kid-oriented?

Our concerts are not programmed to appeal specifically to small children but they are welcome to attend. Children under 8 can receive a complimentary ticket and sit with adults who supervise them throughout the performance. On rare occasions, if a piece is more for adult ears or has particularly emotional or evocative movements, the chorale will make sure this information is on its website and shared with the ticket agents.

Why do you keep changing venues?

There are many reasons for not using a single venue. There is considerable competition for appropriate concert space and we may not be able to get the space we want on the days we want. For some concerts we may need an organ or the ability to project slides or a movie. We may want an informal venue that encourages interaction among the guests. Perhaps for a chamber concert or an a cappella concert we’ll need a smaller hall or a certain acoustic or different lighting. It’s not always easy to secure the best possible venue for each of our concerts but we make every possible effort to find suitable space for members of both the chorale and the audience.

Do the venues accommodate disabled patrons?

Yes. Handicapped parking and wheel-chair accessible seating are available at all venues. Devices to assist the hearing-impaired are available at most venues. If you have a special need, please contact us well before the concert so that we can do our best to accommodate you. Call 970-236-6410.