Choral Series

REQUIEM University Chorale Thursday, April 21, 2016, at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center

Pacific Lutheran University School of Arts and Communication and The Department of Music present Choral Series

REQUIEM Maurice Duruflé University Chorale Brian Galante, conductor and Paul Tegels, organ Thursday, April 21, 2016, at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the performance. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. Thank you for your cooperation.

PROGRAM Requiem, Op. 9 (1947) ................................................................................................................ Maurice Duruflé (1902-1986) I. Introit II. Kyrie eleison III. Domine Jesu Christe — Brennan Brichoux, baritone IV. Sanctus V. Pie Jesu — Tora Hedges, mezzo soprano VI. Agnus Dei VII. Lux Aeterna VIII. Libera me — Stephen Zorn, baritone IX. In Paradisum Duruflé’s early education in music was as a student in the choir school of the Rouen Cathedral. At the age of 17 he moved to Paris when he studied organ with Charles Tournemire, Alexandre Guilmant, and Louis Vierne. After studies at the Paris Conservatory and an appointment as assistant organist at St. Clothide in Paris (19191929), Duruflé was appointed organist at St. Etienne-du-Mont in 1930, a post he held until his death in 1986. His remarkably short list of completed works is a body of highly refined compositions which combine melodic elements of traditional Roman Catholic chant with the harmonic palette of the French impressionist to create a highly individual repertoire. At the time that the publisher Durand approached Duruflé to commission the Requiem, he was working on a suite for organ based upon themes of the Gregorian setting of the Mass for the Dead. Duruflé used the material he had completed towards the suite as the foundation of the Requiem. This work, which appears to owe much of its organization to the model of Gabriel Fauré’s settting, is arranged in nine movements. The vocal material is at times copied from, and otherwise based upon, the traditional Roman chant settings of these texts. —Jonathan D. Green

NOTES FROM THE COMPOSER This work, completed in 1947, was written in its original version for solo, choir, orchestra and organ. A transcription of the orchestra part was realized for organ alone, as well as for reduced orchestra. This Requiem is composed entirely on the Gregorian themes of the Mass for the Dead. Sometimes the musical text has been respected in full, the organ intervening only to sustain or to comment on it; sometimes I was simply inspired by it or sometimes removed myself from it all together—for example, in certain developments suggested by the Latin text, namely in the Domine Jesu Christe, the Sanctus and the Libera me. Generally speaking, I tried to get the particular style of the Gregorian themes firmly set in my mind. I also endeavored to reconcile as much as possible the Gregorian rhythm, as has been established by the Benedictines of Solesmes, with the demands of modern metrical notation. The rigidness of the latter, with its strong beats and weak beats recurring at regular intervals, is hardly compatible with the variety and fluidity of the Gregorian line, which is only a succession of rises and falls. The strong beats had to lose their dominant character in order to take on the same intensity as the weak beats in such a way that the rhythmic Gregorian accent of the tonic Latin accent could be placed freely on any beat of our modern tempo. As for the musical form of each of the pieces composing this Requiem, it is generally inspired by the form proposed by the liturgy. The organ…represents the idea of Peace, of Faith, and of Hope. This Requiem is not an ethereal work which sings of detachment from earthly worries. It reflects, in the immutable form of Christian prayer, the agony of man faced with the mystery of his ultimate end. It is often dramatic, or filled with resignation, or hope or terror, just as the words of the Scripture themselves which are used in the liturgy. It tends to translate human feelings before their terrifying, unexplainable or consoling destiny. This Mass includes the nine parts of the Mass of the Dead: the Introit, Kyrie, Domine Jesu Christe, Sanctus, Pie Jesu, Agnus Dei, Lux Aeterna, Libera me, and finally In Paradisum, the ultimate answer of Faith to all the questions, by the flight of the soul to Paradise. —Maurice Duruflé, 1980 TRANSLATION Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus Deus in Zion, et tibi redetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Rest eternal grant to them, Lord: and let light perpetual shine upon them. A hymn befits you, O God in Zion, and to you a vow shall be fulfilled in Jerusalem: hear my prayer, for unto you all flesh shall come. Rest eternal grant to them, Lord: and let light perpetual shine upon them.

Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy. Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu, libera eas de ore leonis, ne absorbeat eas tartarus ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisiti, et semini ejus. Hostias et preces tibi,

Lord, Jesus Christ, King of glory, liberate the souls of all the faithful departed from the pains of hell and the deep pit: deliver them from the mouth of the lion, let not hell swallow them up, Let them not fall into darkness. But let Michael, the holy standard-bearer, bring them into the holy light, which once you promised to Abraham, and to his seed. Sacrifices and prayers of praise to thee,

Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus. Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Lord, we offer: Receive them on behalf of those souls we commemorate this day. Grant to them, Lord, to pass from death to life, which once you promised to Abraham and to his seed. Holy, Holy, Holy Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Pie Jesu Domine, dona eis requiem, Merciful Jesus Lord, grant to them rest, sempiternam requiem. eternal rest. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. Lux aeterna luceat eis, Domine: Cum sanctis tuis in aeternum: quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna, et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them rest everlasting. May eternal light shine on them, Lord: With your saints for eternity: for you are merciful. Rest eternal grant to them, Lord, and let light perpetual shine upon them. Deliver me, Lord, from eternal death on that dreadful day, when the heavens and the earth shall be moved, and you shall come to judge the world by fire. I quake with fear and I tremble awaiting the day of account and the wrath to come, when the heavens and the earth shall be moved. Day of mourning, day of wrath, of calamity, of misery, the great day, and most bitter. Eternal rest grant to them, Lord, and let perpetual light shine upon them. Deliver me, Lord, from eternal death on that dreadful day, when the heavens and the earth shall be moved, and you shall come to judge the world by fire. May the angels lead you into paradise: may the martyrs welcome you when you arrive, and lead you into the city, holy Jerusalem. May a choir of angels welcome you, and with Lazarus once poor, have eternal rest.

SOPRANO

ALTO

Katie Beck, ’17, Puyallup, WA vocal performance Natalie Breshears, ’19, Edgewood, WA vocal performance Elissa Brown, ’18, Puyallup, WA communications: PR & advertising Sonja Carlson, ’18, Pendleton, OR Hispanic studies/women’s and gender studies Meghan Gould, ’18, Colorado Springs, CO math education Julie Landes, ’19, DuPont WA music education Kaitlynn Mann, ’16, Federal Way, WA english literature Sierra Marsh, ’19, University Place, WA nursing Rebekah Oglesby, ’17, Shoreline, WA english Claire Pahlmeyer, ’18, Portland, OR accounting/economics Emily Shane, ’19, Poulsbo, WA computer science Alexandra Steves, ’16, Puyallup, WA music education

Kristin Bender, ’17, Puyallup, WA music education Alexandra Dreher, ’17, Snohomish, WA vocal performance/german Tora Øye Hedges, ’17, Asker, Norway vocal performance Alicia Hoag, ’18, Normandy Park, WA vocal performance Haley Hurtt, ’18, Poulsbo, WA biology Morgan Myers, ’19, Fall City, WA music education Annika Pederson, ’18, Port Angeles, WA business/political science Annalise Sansburn, ’16, North Bend, WA music education Nina Schultz, ‘19, University Place, WA hispanic studies Carly Stauffer, ’18, Shelton, WA physics Renee Tapia, ’18, Puyallup, WA communications studies

BASS TENOR Daniel Beal, ’19, Keizer, OR computer science Andrew Corse, ’18, Dallas, TX theatre acting and directing Darryin Cunningham, ’19, Spanaway, WA theatre acting and directing Blayne Fujita, ’19, Tacoma, WA music/theatre acting and directing Nick Hager, ’19, Northfield, MN biology and theatre Levi Hawkes, ’18, Kent, WA audio engineering Tomas Jack, ’18, Hilo, HI vocal performance Raj Kumar, ’18, Würzburg, Germany computer science Brian Loughridge, ’19, Tacoma, WA music education Ryan McNamara, ’18, Puyallup, WA music education

Jordan Bowles, ’18, Gig Harbor, WA vocal performance Brennan Brichoux, ’19, Seattle, WA vocal performance Christian Hinrichsen, ’19, Seattle, WA vocal performance Alex Justice, ’18, McMinnville, OR music education Robert O’Quinn, ’19, Beaverton, OR music education Justin Pennington, ’17, Poulsbo, WA mathematics Kyle Rapacz, ’19, Olympia, WA undecided David Ries, ’18, Arlington, VA computer science Manuel Tirado, ’17, Auburn, WA music composition Eric West, ’19, Kalispell, MT business Stephen Zorn, ’19, Kalispell, MT music education

BRIAN GALANTE, conductor, is Associate Director of Choral Activities at PLU. He conducts the University Chorale, University Singers, and Chamber Singers, and teaches undergraduate courses in vocal pedagogy for the choral music educator, secondary choral methods, and choral literature. Dr. Galante received the Doctor of Musical Arts degree in Choral Conducting, with a related field in Voice Science and Pedagogy, from the University of North Texas. He holds Master of Music and Bachelor of Music Education degrees from Louisiana State University. Choirs under Dr. Galante’s direction have offered invitational performances in Carnegie Hall and Avery Fisher Hall, Lincoln Center, New York; the Meyerson Symphony Center, Dallas; Notre Dame Cathedral and Sacre Coeur, Paris; the 2010 Washington Music Educators Association conference; the 2011 Northwest MENC Conference; and the 2012 Northwest Division ACDA Conference. In addition, Dr. Galante has enjoyed success and acclaim as a composer and arranger: his compositions are published by GalanteMusic, Walton Music and Colla Voce Music, have been performed by professional, collegiate, and advanced high school choirs throughout the United States and Europe, and recorded for commercial release by Centaur Records and MSR Classic. Dr. Galante remains an active member of the American Choral Directors Association (ACDA), National Collegiate Choral Organization (NCCO), the American Society for Composers, Authors and Publishers (ASCAP), Washington ACDA, and the Washington Music Educators Association. He served as President of Louisiana ACDA from 2001-2003, Program Chair of the 2010 Northwest ACDA Division Conference, on the National Technology Committee (2007-2011), and Associate Conference Chair of the 2013 National ACDA Conference. He was recently elected President-elect of the ACDA Northwest Division. PAUL TEGELS, organ, a native of the Netherlands, is Associate Professor of Music, and serves as University Organist at Pacific Lutheran University in Tacoma, WA. He received his Doctor of Musical Arts Degree in Organ Performance and Pedagogy and his Master of Arts Degree in Choral Conducting from the University of Iowa, where he studied organ with Delores Bruch, and choral conducting with William Hatcher. Other degrees and awards include the Artist Diploma and the Master of Music Degree in organ performance from the New England Conservatory in Boston where he studied with Yuko Hayashi and William Porter. Dr. Tegels is the recipient of a Fulbright Scholarship from the Netherlands-America Commission for Educational Exchange. He holds teaching and performance degrees from the Stedelijk Conservatorium in Arnhem, The Netherlands, where he studied organ with Bert Matter and harpsichord with Cees Rosenhart. Dr. Tegels is past president of the Westfield Center for the Advancement of Early Keyboard Studies, active in the American Guild of Organists, and has performed at national conventions of the Organ Historical Society in addition to playing recitals in Europe, Japan, New Zealand, and the US.

UPCOMING CHORAL PERFORMANCES BACH CANTATA WORKSHOP Monday, April 25, 2016 Christ Episcopal Church, 310 North K Street • 7:30pm The Tacoma Chapter of the American Guild of Organists and the PLU Music Department will present Carlton Monroe in a workshop exploring the performance of Bach cantatas in the context of worship. Dr. Monroe is Director of Music at St. Thomas Episcopal Church, Terrace Park (Cincinnati), Ohio where, in addition to leading an active music program for children and adults, he established and conducts the Bach Ensemble of St. Thomas, a professional ensemble of instrumentalists and vocalists who perform services, concerts and educational retreats centered on the music of J. S. Bach. The PLU Chamber Singers and student instrumentalists will help illustrate his presentation.

MEN’S CHORUS, CHAMBER SINGERS AND UNIVERSITY SINGERS SPRING CONCERT Tuesday, April 26, 2016 Lagerquist Concert Hall • 8:00pm CHOIR OF THE WEST SPRING CONCERT Tuesday, May 3, 2016 Lagerquist Concert Hall • 8:00pm