2003-10-26 University Symphont Orchestra and Choruses [recital program]

              The UNCG School of Music has been recognized for years as one of the elite
music institutions in the United States. Fully accredited by the National
Association of Schools of Music since 1938, the School offers the only
comprehensive music program from undergraduate through doctoral study in
both performance and music education in North Carolina. From a total
population of approximately 14,000 university students, the UNCG School of
Music serves nearly 600 music majors with a full-time faculty and staff of more
than sixty. As such, the UNCG School of Music ranks among the largest Schools
of Music in the South.
The UNCG School of Music now occupies a new 26 million dollar music building
which is among the finest music facilities in the nation. In fact, the new music
building is the largest academic building on the UNCG Campus. A large music
library with state-of-the-art playback, study and research facilities houses all
music reference materials. Greatly expanded classroom, studio, practice room,
and rehearsal hall spaces are key components of the new structure. Two new
recital halls, a large computer lab, a psychoacoustics lab, electronic music labs,
and recording studio space are additional features of the new facility. In addition,
an enclosed multi-level parking deck is adjacent to the new music building to
serve students, faculty and concert patrons.
Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad”
area, students enjoy regular opportunities to attend and perform in concerts
sponsored by such organizations as the Greensboro Symphony Orchestra, the
Greensboro Opera Company, and the Eastern Music Festival. In addition,
UNCG students interact first-hand with some of the world’s major artists who
frequently schedule informal discussions, open rehearsals, and master classes at
UNCG.
Costs of attending public universities in North Carolina, both for in-state and out-of-
state students, represent a truly exceptional value in higher education.
For information regarding music as a major or minor field of study, please write:
Dr. John J. Deal, Dean
UNCG School of Music
P.O. Box 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/
University Symphony Orchestra
and Choruses
Robert Gutter, conductor
William Carroll, conductor
Jaemi Loeb, guest conductor
Robert Bracey, tenor
Levone Tobin Scott, mezzo-soprano
Jim Bumgardner, baritone
Robert Wells, baritone
Sunday, October 26, 2003
3:30 pm
Aycock Auditorium
Program
The Hebrides Overture, Op. 26 Felix Mendelssohn
(1809-1847)
Jaemi Loeb, guest conductor
In partial fulfillment of the degree requirements for the
Master of Music in Orchestral Conducting
Symphony, “Mathis der Maler“ Paul Hindemith
Engelkonzert: Ruhig bewegt — Ziemlich lebhafte (1895-1963)
Grablegung: Sehr langsam
Versuchung des Heiligen Antonius: Sehr langsam — Sehr lebhaft
Robert Gutter, conductor
Intermission
Die erste Walpurgisnacht, Op. 60 Felix Mendelssohn
Ouverture: Das schlechte Wetter
No. 1 Es lacht der Mai
No. 2 Konnt ihr so verwegen handeln
No. 3 Opfer heut zu bringen scheut
No. 4 Vertheilt euch hier
No. 5 Kommt! Kommt!
No. 6 Kommt mit Zacken und mit Gabeln
No. 7 So weit gebracht
No. 8 Hilf, ach hilf mir
No. 9 Die Flamme reinigt sich vom Rauch
William P. Carroll, conductor
Robert Bracey, tenor
Levone Tobin Scott, mezzo-soprano
Jim Bumgardner, baritone
Robert Wells, baritone
Chamber Singers (Welborn E. Young, director)
University Chorale (William P. Carroll, director)
___________
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
UNCG Symphony Orchestra
Violin I
†Ewa Gondek, Greensboro, NC
‡Katie Costello, Greensboro, NC
Emily Arnold, Aberdeen, NC
Rebecca Averill, Greensboro, NC
Fabrice Dharamraj, Winston-Salem, NC
Laura Doyle, Wilmington, NC
Ingrid Hobbs, Greensboro, NC
Chris Jusell, Chesapeake, VA
Timothy Kim, High Point, NC
Elisabeth Malcolm, Garner, NC
Kwanghee Park, Hendersonville, NC
Wayne Reich, Greensboro, NC
Violin II
*Frédéric St.-Pierre, Trois-Rivières, Québec
**Melissa Ellis, Apex, NC
Debra Anders, Balsam Grove, NC
Joshua Barbour, Fayetteville, NC
Amy Blackwood, High Point, NC
Shelley Blalock, Rocky Point, NC
Ashley Brown, Wilmington, NC
William Freeman, Hickory, NC
Rachel Godwin, Lillington, NC
Nicole Phillips, Winston-Salem, NC
Holly Sitton, Horse Shoe, NC
Brian Turner, Burlington, NC
Viola
*Noah Hock, Eugene, OR
**Alvoy Bryan, Greensboro, NC
Sara Bursey, Chapel Hill, NC
Morgan Caffey, Moncure, NC
Jaime DeLong, Clemmons, NC
Katherine Hayden, Raleigh, NC
Caitie Leming, Raleigh, NC
Susannah Plaster, Simpsonville, SC
Frances Schaeffer, Greensboro, NC
Patrick Scully, Pinehurst, NC
John Ward, Greensboro, NC
Violoncello
* Meaghan Skogen, Whitsett, NC
**Joel Wenger, Raleigh, NC
Jon Benson, Winston-Salem, NC
Fucheng Chuang, Greensboro, NC
Sarah Dorsey, Greensboro, NC
Michael Hickman, Greensboro, NC
Gina Pezzoli, Greensboro, NC
Deborah Shields, Mebane, NC
Paul Stern, Tuckasegee, NC
Double Bass
*Rebecca Marland, Greensboro, NC
**Suzanne Luberecki, Greensboro, NC
Patrick Byrd, Greenville, NC
Andrew Hawks, Raleigh, NC
Emily Manansala, Greensboro, NC
Double Bass, continued
Paul Quast, Jacksonville, NC
Brent Rawls, Hickory, NC
Benjamin Wolf, Greensboro, NC
Di Wong, Greensboro, NC
Flute
*Laura Meyers, East Aurora, NY
Katherine Anderson, Cornelius, NC
Elizabeth Yackley, Frederick, MD
Oboe
*Connie Ignatiou, Greensboro, NC
Marcia Sternlieb, Greensboro, NC
Matt Ward, Greensboro, NC
Amanda Woolman, Greensboro, NC
B Clarinet and Bass Clarinet
*Shawn Copeland, Greensboro, NC
Nathan Olawsky, Greensboro, NC
Kenny Tysor, Greensboro, NC
Bassoon
*Elaine Peterson, Greensboro, NC
Heather Kelly, Cincinnati, OH
Molly Roberts, Greensboro, NC
Horn
*Michael Hrivnak, Greensboro, NC
Tara Cates, Greensboro, NC
Kelly Dunn, Wake Forest, NC
Jaemi Loeb, New Haven, CT
Mary Pritchett, Vilas, NC
Trumpet
*Scott Toth, Greensboro, NC
*Mark Hibshman, Greensboro, NC
Luke Boudreault, Raleigh, NC
Trombone
*Sean Devlin, Gastonia, NC
Chris Cline, Greensboro, NC
Glenn McIntyre, Greensboro, NC
Tuba
*Sam Nettleton, Greensboro, NC
Harp
*Bonnie Bach, Greensboro, NC
Percussion
*Robert Rocha, Greensboro, NC
David Fox, Weaverville, NC
Mary Schmitz, Swansboro, NC
Julia Thompson, Rutherfordton, NC
† denotes Concertmaster
‡ denotes Assistant Concertmaster
* denotes Principal or Co-Principal
** denotes Assistant Principal
b
Levone Tobin Scott mezzo soprano, has been a member of the faculty at the University of North
Carolina at Greensboro since 1992. She holds degrees from Benedict College and the University of
South Carolina and has done further study for the Doctor of Musical Arts degree at Florida State
University in Tallahassee. Tobin-Scott has been recognized for her excellence in performance of
American Art Songs by Pi Kappa Lambda, the South Carolina Musical Arts Guild, the Nassau, Bahamas,
Cultural Arts Series and the Nederland Amerika Institut Limburg. Tobin-Scott's extensive performances
in recital and oratorio have included appearances with the Greensboro Symphony, the Winston-Salem
Piedmont Triad Symphony, the Pensacola Symphony, the Columbia Philharmonic and the Florence
Symphony. Her performances have taken her to Paris, Bruges, Brussels, Maastricht, Luxembourg, and
Frankfurt.
Robert Wells received the BM in Voice from the State University of New York College at Fredonia. He
received the MM in Voice and is currently completing the DMA degree program at the University of
Cincinnati College-Conservatory of Music. A frequent recitalist and collaborative artist, Mr. Wells has
also enjoyed an active performance career in both oratorio and opera in New York State and the
Midwest, and his performances have taken him to England and the former Yugoslavia. He has sung
leading roles in Le Nozze di Figaro, Così fan tutte, and Albert Herring and has appeared as baritone
soloist in such works as Benjamin Britten’s War Requiem, Mendelssohn’s Elijah, and the St. John
Passion of J. S. Bach. An active choral conductor, Mr. Wells served as Director of the Fredonia College
Choir and was recognized for his work with numerous professional and community choral organizations
in Western New York. Mr. Wells formerly served on the faculty at the State University of New York
College at Fredonia, where he was Co-Chair of the Voice Faculty and was a sought-after clinician and
adjudicator.
Chamber Singers
Welborn E. Young, conductor
Laura Moore and Harlan Zackery, accompanists
Assisted by:
Laura Moore and Ben Hutchens
Kim Carper
Sandra Cotton
Katie Dickey
Wade Elikns
Marc Foster
Jamie Gamroth
Ben Hutchens
Nate Kling
Steven Martin
Laura Moore
Sidney Outlaw
Heather Potter
Kenny Potter
Shana Riley
Ariya Sawadivong
Hannah Schlotterer
David Trudgen
Meghann Vaughn
Harlan Zackery
University Chorale
William P. Carroll, conductor
Anne Lewis, accompanist
Assisted by:
Danny Buckner, Melodie Galloway, Jason Gottschalk,
Carolyn Hall, Jason Wright
Josh Alexander
John Bennett
Mary Anne Bolick
Courtney Bowden
Melissa Brobeck
Danny Buckner
Mary Lauren Burrell
Jack Callaham
Jessica Capak
Stephanie Carter
John Christian
Meredith Covington
Nathan Crocker
Nathan Dellinger
Matthew DiCamillo
Sara Dougherty
Stephen Durr
Marian Elliott
Jolene Flory
Stephanie Foley
Daphne Franklin
Melodie Galloway
Jason Gottschalk
Hank Griffin
Anne Haataja
Carolyn Hall
Christy Hall
Summer Karagiozov
Lauren Keefe
Kelly Krepelka
Matthew Lawing
Kimiko Laws
Anne Lewis
Ashley Lewis
Stephanie Lilly
Michael Lindsay
Dustin Lucas
Amanda McLaughlin
Mark Milberger
Yajaira Morales
Louisa Muller
Dustin Ousley
Aaron Phillips
Marva Pittman
Eric Poole
Daniel Presgrave
Allison Ring
Sarah Roche
Rosemary Rohrman
Jeff Rutledge
Jennifer Simpkins
Amy Smith
Joshua Smith
Morgan Smith
Dan Stein
Matthew Stein
Brent Stephens
Jessica Tarter
Johnny Thompson
Jayme Updike
Jenny Watson
Jason Wright
Felix Mendelssohn:
The Hebrides Overture, Op. 26
Like many young men of his era and social position, Felix Mendelssohn traveled about
Europe for some time in his early twenties. His travels lasted four years, during which he
wrote many letters home and much beautiful music (including the beginnings of Die Erste
Walpurgisnacht, as he kept a copy of the Goethe text with him throughout the trip). One of
these pieces is the Hebrides Overture, also known as Fingal’s Cave. In August of his first
year abroad (1829) the German-born composer visited the Hebrides islands off the coast of
Scotland. The beautiful islands, especially the large cave known as Fingal’s Cave on the
island of Staffa, made a deep impression on the young man, who almost immediately
began sketching the main theme of what became the Hebrides Overture. After completion,
the piece was almost entirely re-written in 1832 following its first performance in May of that
year. The piece underwent two more drastic revisions (with totally new scores being
produced each time) before Mendelssohn felt it was finished.
Though the piece follows the sonata form typical of a symphonic movement, its most
striking element is that of tone painting. Imagery of ocean waves, towering cliffs, and
subterranean caverns swirl around each other on a canvas of almost primitive pastoral
authenticity. Mendelssohn’s brilliance at orchestration is evident as woodwinds and brass
call to each other as shepherds from one island to the next and the strings float on a
sometimes calm, sometimes stormy ocean. Ominous clouds appear only to dissipate as
darkness shrouds the tentatively entered, awe-inspiring cave. The use of imagery in the
overture looks forward to the tone poem form (created by his contemporary, Liszt, and
honed famously by Richard Strauss) even as the elegant counterpoint and sonata form
position the piece firmly on the side of tradition. Mendelssohn’s use of form and harmony
create a unity for the overture that lends a sense of safety and joy to the narrative of
adventure created by his imagery.
Paul Hindemith:
Symphony “Mathis der Maler”
In 1524 German peasants rose up against their feudal lords, demanding the individual
freedom preached by Martin Luther. The late Gothic painter Mathias Grünewald, born
Mathis Gothart, gave up his thriving public career to take part in the uprising. Four hundred
years later (in 1932) Paul Hindemith chose the story of the “Peasant Uprising” and
Grünewald’s involvement therein as the basis for his symphony (and later opera) Matthis
der Maler . Hindemith focused on Grünewald’s famous Isenheim altarpiece as the basis for
the tryptich structure of the, titling each movement after a segment of the altarpiece:
“Engelkonzert,” (Choir of Angles) “Grablegung,” (Entombment) and “Versuchung des
heiligen Antonius” (The Temptation of St. Anthony). The program, or symbolic narrative
content, of each movement is reflected in and by each of the namesake images. Especially
poignant is the final movement in which Mathis (in some ways an autobiographical symbol
for Hindemith), representing St. Anthony in the desert, is visited by spirits and tempted by
worldly pleasures. Surely the path of isolation, cut off from the struggles of political unrest,
would be more comfortable. But Mathis chooses to stay involved and fight, giving up his life
in the process. The symphony ends with a section entitled “Lauda Sion Salvatorem.”
Though there is a very prominent chorale-like tune, it is unlikely that it comes directly from a
liturgical source. One of the few parts of the Catholic sequences to remain part of the liturgy
after the Council of Trent, the text is an incitement to sing the praises of the Savior of Zion.
This is perhaps the key to its relevance, the command that praises be sung rather than
simply offered, as the orchestra certainly does seem to sing in the final section. Perhaps
Hindemith is labeling his Mathis a Christ-like martyr, or perhaps art itself is the savior
whose praises should be sung. In any event, the symphony is anything but simple and
peaceful.
Fiercely interested in the social role and responsibilities of the artist, Hindemith found a
model and a personal foil in the story of Grünewald. Perhaps it is the political content of the
symphony that provoked the political establishment’s anger, or perhaps it is the sometimes
angular melodies and expanded version of tonality that Hindemith used. For whatever
reason, Mathis der Maler was banned by the Nazi government in Hindemith’s native
Germany for its “subversive” and “dege-nerate” aesthetic, despite its popular success. In
the ensuing power struggle, the preeminent conductor of the time, Wilhelm Furtwängler,
resigned his post as head of the Berlin State Opera and Philharmonic in a gesture of
support for his friend and colleague and opposition to Nazi censorship and politics.
— Jaemi Loeb
Felix Mendelssohn:
Die erste Walpurgisnacht, Op. 60
Felix Mendelssohn suffers from his place at the head of the wave of Romantic-era trends that
culminate in the saccharine “serious” efforts of composers such as Arthur Sullivan. Seated between
Beethoven and Brahms and often oriented backward towards Bach, Mendelssohn’s music represents
an attempt to reconcile the formal procedures of his classical training with the new search of the
Romantics. Lawrence Kramer notes that Mendelssohn has been “damned with faint praise as the
most classical” of the romantics, termed a “prig of genius” and a composer of “fairy music.”
Mendelssohn’s genteel compositions in some cases may warrant such critical remarks; but, as
Kramer goes on to show, Die erste Walpurgisnacht is not a composition that supports
Mendelssohn’s reputation as backward or entirely classically minded. A portion of Opus 60 and
largely a product of Mendelssohn’s Grand Tour, the work represents a decade-long struggle for the
composer, a departure from his usual caution, and a firmly Romantic musical effort.
The text is by Johann Wolfgang Von Goethe and describes the origin of the German mythology of
the witches’ Sabbath before the feast of St. Walpurga, possibly the German version of Halloween. It
pits the ancient druids of Germany against the ancient Christians. Beginning with what
Mendelssohn interprets as a light-hearted greeting to spring, Goethe’s poem goes on to describe the
proceedings of the druids as they attempt to carry out their Sabbath rituals unbeknownst to their
oppressors, the Christians. The druids devise a plan whereby they will use the superstition of the
Christians against them. Taking up stakes, pitchforks, torches, and sticks, the druids create a fearful
noise that the Christian guards and watchmen mistake for goblins, werewolves, witches, and
dragons. The watchmen flee the spectacle of the druids, who conclude the poem with a hymn to
light. Thus the myth of the witches’ Sabbath is given a poetic origin, though Goethe’s intent was
more satirical than historical.
–Troy Robertson
OVERTURE
I. DRUID (Dr. Bracey)
May smiles at us!
The woods are free of ice and hoar-frost.
CHORUS OF THE HEATHEN
May smiles at us!
The woods are free of ice and hoar-frost.
The snow has gone; every green place resounds with songs of pleasure.
DRUID (Dr. Bracey)
A pure snow lies on the peaks;
we hasten upwards, to celebrate the ancient sacred rites,
to praise there the Father of All.
Let the flame blaze through the smoke!
Upward! Upward! Our hearts will be uplifted.
William P. Carroll, Director of Choral Activities and Chair of the Vocal Studies Division, holds
degrees from Millsaps College, Southern Methodist University, and the University of Cincinnati
College-Conservatory of Music. He has served as guest conductor for numerous workshops,
honor choirs, and clinics, including the North Carolina High School Honors Chorus and All-State
Chorus, the North Carolina Junior High All-State Chorus, the Virginia Music Camp, Lake
Junaluska Music Week, Eastern Division ACDA Convention, the Fellowship of United Methodist
Musicians National Conference, and the Intercollegiate Men's Choruses Association National
Convocation. He was awarded the Lara Hoggard Award presented by ACDA for distinguished
service to choral music in North Carolina. In addition to his University responsibilities he serves
as Editor for Hinshaw Music, Inc.
Jaemi Loeb is a first year M.M. student in instrumental conducting under the guidance of Robert
Gutter. She comes to UNCG from Brown University, where she graduated magna cum laude in
May of ‘03 with honors in Music and a second major Modern Culture and Media. While at Brown,
Jaemi served as assistant conductor to Matthew McGarrell with the University Wind Symphony
for 7 semesters and to Paul Phillips with the University Symphony Orchestra for 3 semesters.
She also served as a member and principal player of the French Horn sections of both
ensembles, and studied French Horn privately with David Ohanian. During her time at Brown
Jaemi conducted several university musicals including: Leonard Bernstein’s Candide and Emma,
an original musical by Stephen Karam. Jaemi received awards from Brown’s Music Department
(the Margery McColl award, the Buxtehude Premium, and the Faculty Premium) and the
university at large (Timory Hyde Memorabubble Intern Award and Faculty Scholar) for both
scholarship and performance. Other studies have included conducting workshops and seminars
with Gunther Schuller, David Effron, Donald Portnoy, Paul Vermel, Peter Perret, Gustav Meier,
Marin Alsop, and Frederick Fennell as well as French Horn studies with R. Allen Spanjer and
John Ericson.
Robert Bracey, tenor, joined the UNCG School of Music faculty as Assistant Professor in 2003.
He holds a BM in Music Education from Michigan State University, a MM and a DMA in Voice
Performance from the University of Michigan. He previously served on the faculties at Bowling
Green State University and Michigan State University. He has also taught on the voice faculty of
the Michigan All-State program at the Interlochen Arts Camp each summer. Dr. Bracey was
awarded first place in the 2002 Oratorio Society of New York’s International Solo Competition at
Carnegie Hall. In 1999, he made his Detroit Symphony debut at Orchestra Hall and in 1994, his
Kennedy Center debut in Washington, DC with the Choral Arts Society of Washington. Highlights
of 2002-2003 include performances with the Oratorio Society of New York at Carnegie Hall,
Pacific Symphony (CA), ProMusica Chamber Orchestra of Columbus, Orlando Philharmonic,
Choral Arts Society of Washington, Wichita Symphony, and the Wisconsin Chamber Orchestra.
He has been heard several times on National Public Radio stations across the country. A
Regional Finalist in the New York Metropolitan Opera Auditions, he also won first place in the
National Association of Teachers of Singing Regional Competition.
James Bumgardner holds the Master of Music degree in voice from the University of North
Carolina at Greensboro, where he is presently completing the DMA. Prior to joining the UNCG
faculty, he served on the voice faculties at both the University of North Carolina at Chapel Hill and
Guilford College. Mr. Bumgardner’s vocal credits span both opera and oratorio, most recently
including the roles of Raphael in Haydn’s Creation and The Courtier in the world premier of
James Carlson’s Motets and Marginalia. Mr. Bumgardner also enjoys the song recital venue, be
it as singer or as pianist. In addition to teaching voice, Mr. Bumgardner is an active
coach/accompanist. He has been the visiting coach for the National Opera Company, as well as
music director for opera and music theatre in various venues. A sought-after collaborative artist,
he was recently honored to play a recital with Metropolitan Opera soprano Marilyn Mims. Mr.
Bumgardner also maintains an avid interest in choral music, and has worked with such respected
conductors as Cambridge University’s Stephen Cleobury, Timothy Brown, and Geoffrey Webber.
He is resident conductor for the chamber series "SummerMusic" in Blowing Rock, NC, where he
also directs the music at St. Mary of the Hills Episcopal Church. His choir has received numerous
honors in both the US and England, including residencies at the Church of St. Mary the Virgin in
New York City and Durham Cathedral in England, and has concertized extensively throughout
Great Britain and the eastern US.
CHORUS OF HEATHEN
Let the flame blaze through the smoke!
Perform the old, sacred custom, praising there the Father of All.
Upward! Upward! Our hearts will be uplifted.
II. AN OLD WOMAN OF THE HEATHEN (Ms. Scott)
Can you act so rashly? Do you want to go to your death?
Do you not know the laws of our stern conquerors?
Their nets are set all around for the heathen, the “sinners.”
On the battlements they’ll slay our fathers, our children.
And we are all nearing this sure trap.
CHORUS OF WOMEN
On the camp’s high battlements they’ll slaughter our children.
Ah, the stern conquerors! And we are all nearing this sure trap.
III. THE PRIEST (Mr. Wells)
Whoever this day fears to bring a sacrifice, deserves his chains.
The forest is free! The wood is ready, prepare it for the burning!
CHORUS OF MEN
The forest is free! The wood is ready, prepare it for the burning!
THE PRIEST (Mr. Wells)
But we’ll remain in our wooded hideout silently during the day,
and keep men on their guard for the sake of your concerns.
But then, with fresh courage, let us fulfill our duty.
CHORUS OF MEN
Then with fresh courage let us fulfill our duty.
THE PRIEST (Mr. Wells)
Spread out up here, brave men.
IV. CHORUS OF DRUID GUARDS
Spread out here, brave men, through the entire forest,
and watch here silently as they perform their duty.
V. ONE DRUID GUARD (Mr. Bumgardner)
These stupid Christians—let us boldly outsmart them!
With the very devil they invent we’ll terrify them.
Come! With stakes and pitchforks and with flames and rattling sticks,
we’ll make noise through the night in these empty rocky gorges.
CHORUS OF DRUID GUARDS
Come with stakes and pitchforks; and with flames and rattling sticks,
we’ll make noise through the night in these empty rocky gorges.
The owls will howl at our racket!
ONE DRUID GUARD (Mr. Bumgardner)
Come! Come! Come!
VI. CHORUS OF DRUID GUARDS AND HEATHEN
Come with stakes and pitchforks; like the devil they invent,
and with wild rattling sticks through the empty rocky gorges.
The owls will howl at our racket!
Come! Come! Come!
THE PRIEST (Mr. Wells)
We’ve been brought so far, that by night we sing in secret to the Father of All!
Yet when it is day, as soon as we may, we bring you a pure heart.
VII. CHORUS OF DRUIDS AND HEATHEN
Yet when it is day, as soon as we may, we bring you a pure heart.
Today indeed, and many times, you’ve granted the foe success.
As the flame is purified in smoke, so purify our faith!
And even if they rob us of our ancient ritual, who can take your light from us?
VIII. A CHRISTIAN GUARD (Dr. Bracey)
Help, oh help me, fellow soldier!
Alas, all hell is coming!
See, how the bewitched bodies glow with flames through and through!
Werewolves and dragon-women, passing by in flight!
CHORUS OF CHRISTIAN WATCHMEN
Frightening bewitched bodies, werewolves and dragon-women,
let us flee, let us flee!
A CHRISTIAN GUARD (Dr. Bracey)
What a fearful scramble! Let us, let us all flee!
Above flames and sparkles the evil one, out of the ground steams a hellish brew.
CHORUS OF CHRISTIAN WATCHMEN
What a fearful scramble! Behold, there flames and sparkles the evil one,
out of the ground steams a hellish brew.
CHRISTIAN GUARD AND CHRISTIAN WATCHMEN
Let us flee, let us flee!
CHORUS OF DRUIDS AND HEATHEN
As the flame is purified in smoke, so purify our faith!
IX. THE PRIEST (Mr. Wells)
As the flame is purified in smoke, so purify our faith!
And even if they rob us of our ancient ritual, who can take your light from us?
CHORUS
Who can take your light from us?
_____
Robert Gutter is currently Director of Orchestral Activities at the University of North Carolina at
Greensboro and also serves as Music Director of the Philharmonia of Greensboro. In 1996 he
received an appointment as Principal Guest Conductor of the National Symphony Orchestra of
the Ukraine in Kiev. He is founder and artistic director for the International Institute for Conductors
in Kiev as well as the 2003 Catania Conductors Institute. In his 35 years as a professional
conductor, he has devoted himself to both professional and non-professional orchestras in over
twenty seven countries and in the major cities of New York, Washington D.C., Paris, London,
Vienna, Milano, Stuttgart, and St. Petersburg. In addition to his symphonic engagements, he has
appeared with opera companies both in the United States and in Europe. Prior to accepting his
orchestral posts in North Carolina in 1988, he served as Music Director and Conductor of the
Springfield, Massachusetts Symphony. In 1986 he was named "Conductor Emeritus" of that
orchestra. Gutter served as principal trombonist with the Washington National Symphony. He
holds the bachelor and Master degrees from Yale University.
CHORUS OF HEATHEN
Let the flame blaze through the smoke!
Perform the old, sacred custom, praising there the Father of All.
Upward! Upward! Our hearts will be uplifted.
II. AN OLD WOMAN OF THE HEATHEN (Ms. Scott)
Can you act so rashly? Do you want to go to your death?
Do you not know the laws of our stern conquerors?
Their nets are set all around for the heathen, the “sinners.”
On the battlements they’ll slay our fathers, our children.
And we are all nearing this sure trap.
CHORUS OF WOMEN
On the camp’s high battlements they’ll slaughter our children.
Ah, the stern conquerors! And we are all nearing this sure trap.
III. THE PRIEST (Mr. Wells)
Whoever this day fears to bring a sacrifice, deserves his chains.
The forest is free! The wood is ready, prepare it for the burning!
CHORUS OF MEN
The forest is free! The wood is ready, prepare it for the burning!
THE PRIEST (Mr. Wells)
But we’ll remain in our wooded hideout silently during the day,
and keep men on their guard for the sake of your concerns.
But then, with fresh courage, let us fulfill our duty.
CHORUS OF MEN
Then with fresh courage let us fulfill our duty.
THE PRIEST (Mr. Wells)
Spread out up here, brave men.
IV. CHORUS OF DRUID GUARDS
Spread out here, brave men, through the entire forest,
and watch here silently as they perform their duty.
V. ONE DRUID GUARD (Mr. Bumgardner)
These stupid Christians—let us boldly outsmart them!
With the very devil they invent we’ll terrify them.
Come! With stakes and pitchforks and with flames and rattling sticks,
we’ll make noise through the night in these empty rocky gorges.
CHORUS OF DRUID GUARDS
Come with stakes and pitchforks; and with flames and rattling sticks,
we’ll make noise through the night in these empty rocky gorges.
The owls will howl at our racket!
ONE DRUID GUARD (Mr. Bumgardner)
Come! Come! Come!
VI. CHORUS OF DRUID GUARDS AND HEATHEN
Come with stakes and pitchforks; like the devil they invent,
and with wild rattling sticks through the empty rocky gorges.
The owls will howl at our racket!
Come! Come! Come!
THE PRIEST (Mr. Wells)
We’ve been brought so far, that by night we sing in secret to the Father of All!
Yet when it is day, as soon as we may, we bring you a pure heart.
VII. CHORUS OF DRUIDS AND HEATHEN
Yet when it is day, as soon as we may, we bring you a pure heart.
Today indeed, and many times, you’ve granted the foe success.
As the flame is purified in smoke, so purify our faith!
And even if they rob us of our ancient ritual, who can take your light from us?
VIII. A CHRISTIAN GUARD (Dr. Bracey)
Help, oh help me, fellow soldier!
Alas, all hell is coming!
See, how the bewitched bodies glow with flames through and through!
Werewolves and dragon-women, passing by in flight!
CHORUS OF CHRISTIAN WATCHMEN
Frightening bewitched bodies, werewolves and dragon-women,
let us flee, let us flee!
A CHRISTIAN GUARD (Dr. Bracey)
What a fearful scramble! Let us, let us all flee!
Above flames and sparkles the evil one, out of the ground steams a hellish brew.
CHORUS OF CHRISTIAN WATCHMEN
What a fearful scramble! Behold, there flames and sparkles the evil one,
out of the ground steams a hellish brew.
CHRISTIAN GUARD AND CHRISTIAN WATCHMEN
Let us flee, let us flee!
CHORUS OF DRUIDS AND HEATHEN
As the flame is purified in smoke, so purify our faith!
IX. THE PRIEST (Mr. Wells)
As the flame is purified in smoke, so purify our faith!
And even if they rob us of our ancient ritual, who can take your light from us?
CHORUS
Who can take your light from us?
_____
Robert Gutter is currently Director of Orchestral Activities at the University of North Carolina at
Greensboro and also serves as Music Director of the Philharmonia of Greensboro. In 1996 he
received an appointment as Principal Guest Conductor of the National Symphony Orchestra of
the Ukraine in Kiev. He is founder and artistic director for the International Institute for Conductors
in Kiev as well as the 2003 Catania Conductors Institute. In his 35 years as a professional
conductor, he has devoted himself to both professional and non-professional orchestras in over
twenty seven countries and in the major cities of New York, Washington D.C., Paris, London,
Vienna, Milano, Stuttgart, and St. Petersburg. In addition to his symphonic engagements, he has
appeared with opera companies both in the United States and in Europe. Prior to accepting his
orchestral posts in North Carolina in 1988, he served as Music Director and Conductor of the
Springfield, Massachusetts Symphony. In 1986 he was named "Conductor Emeritus" of that
orchestra. Gutter served as principal trombonist with the Washington National Symphony. He
holds the bachelor and Master degrees from Yale University.
University Symphony Orchestra
and Choruses
Robert Gutter, conductor
William Carroll, conductor
Jaemi Loeb, guest conductor
Sunday, October 26, 2003
3:30 pm
Aycock Auditorium
Program
The Hebrides Overture, Op. 26 Felix Mendelssohn
(1809-1847)
Jaemi Loeb, guest conductor
In partial fulfillment of the degree requirements for the
Master of Music in Orchestral Conducting
Symphony, “Mathis der Maler“ Paul Hindemith
Engelkonzert: Ruhig bewegt — Ziemlich lebhafte (1895-1963)
Grablegung: Sehr langsam
Versuchung des Heiligen Antonius: Sehr langsam — Sehr lebhaft
Robert Gutter, conductor
Intermission
Die erste Walpurgisnacht, Op. 60 Felix Mendelssohn
Ouverture: Das schlechte Wetter
No. 1 Es lacht der Mai
No. 2 Konnt ihr so verwegen handeln
No. 3 Opfer heut zu bringen scheut
No. 4 Vertheilt euch hier
No. 5 Kommt! Kommt!
No. 6 Kommt mit Zacken und mit Gabeln
No. 7 So weit gebracht
No. 8 Hilf, ach hilf mir
No. 9 Die Flamme reinigt sich vom Rauch
William P. Carroll, conductor
Robert Bracey, tenor
Levone Tobin Scott, mezzo-soprano
Jim Bumgardner, baritone
Robert Wells, baritone
Chamber Singers (Welborn E. Young, director)
University Chorale (William P. Carroll, director)
___________
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Patrons needing such assistance should please see one of the ushers in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.