School of Music
U N C G
School of Music
U N C G
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 second-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/
Fall Choral Concert
featuring
University Chorale, Men’s Glee Club,
Women’s Glee Club, Women’s Choir,
and Chamber Singers
Sunday, October 31, 2004
3:30 pm
Aycock Auditorium
Program
De los Alamos vengo, madre Joaquín Rodrigo
arr. Michael J. Wilson
Amanda Judd, violin
Miserere mei Antonio Lotti
(1667-1740)
ed. Walter Ehret
Wade in the Jordan River arr. Clifton J. Noble, Jr.
The Earth Sings Stephen Paulus
Sea and Sky
Day Break
Women’s Glee Club
Abraham and Isaac: A Parable of 9.11.01 Roger Ames
(b. 1944)
Text by Wilfred Owen
Stephanie Lilly, soprano
Kyrie eleison (1829) Felix Mendelssohn Bartholdy
(1809-1847)
When He Shall Die (2000) Steven Sametz
Text by William Shakespeare
Laura Moore, conductor
Signs of the Judgment (2004) arr. Mark Butler
University Chorale
If Ye Love Me Thomas Tallis
(1510-1585)
La Vergine Degli Angeli Giuseppe Verdi
(1813-1901)
Text by Francesco Maria Piave
Summer Karagiozov, soprano
Songs of a Young Man Richard Nance
When I was one-and-twenty
Loveliest of trees, the cherry now
In that great gettin’ up mornin’ arr. Fenno Heath
Whistle, Maggie, Whistle arr. David Stocker
Men’s Glee Club
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Patrons are encouraged to take note of the exits located throughout the hall.
In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
WOMEN’S GLEE CLUB
Melodie Galloway, conductor
Laura Moore, assistant conductor
Megan Vaughan and Sarah Blizzard, accompanists
Megan Allen
Amanda Badgett
Erica Honeycutt
Beverly Johnson
Meagan Stallworth
Rae Summers
Juliet Band
Gini Benson
Katie Beshel
Sarah Blizzard
Meredith Budlong
Connie Chandler
Erica Coogan
Sarabeth Culver
Meghan Dunham
Melita Etienne
Katherine Fetner
Vanessa Fontana
Cassandra Giunta
Jessica Glime
Heather Grigg
Donya Hafshejani
Sarah Hendricks
Meghan Joyce
Jessie Labell
Megan Latta
Alyson Lordahl
Andrea Lowman
Becky Marsh
Lindsey McConville
Emily McKeever
Allison Mitchell
Dristen Pallotta
Rebeka Reiff
Meredith Roberts
Anna Rozzo
Caitlin Ryan
Sarah Salanik
Lacy Siva
Ellen Swanson
Sara Taylor
Salima Thomas
Alex Tibbitts
Brandy Toler
Brittany Tollerton
Mae Trimble
Amy Van Schagen
Maria Vaughn
Alison Wann
Robin Weldon
Tiffany Williams
Johanna Wolf
Bethany Wood
Carol Yang
Lila Yasin
Megan Yohmans
UNIVERSITY CHORALE
William P. Carroll, conductor
Laura Moore, accompanist
Assisted by Jonathan Blalock, Melanie Crump,
Michael Dougherty, Stephen Durr,
Christina Elkins, Ella Elias, Laura Moore
Jonathan Blalock
Mary Anne Bolick
Katie Brotherton
Mary Lauren Burrell
Jack Callaham
Stephanie Carter
Kellee Church
Tim Cook
Melanie Crump
Jeffrey Danielson
Hayden Dawes
Gwen Degentesh
Nathan Dellinger
Marina DeRatmiroff
Michael Dougherty
Sara Dougherty
Jon Douglas
Stephen Durr
Ella Elias
Christy Elkins
Brandon Ellis
Jolene Flory
Drury Fulcher
Jennifer Glymph
Jaclyn Grossano
Logan Haggard
Elizabeth Harvey
Matthew Hayden
Amy Jerva
Chris Juengel
Crystal Kitchens
Matt Lawing
Ashley Lewis
Stephanie Lilly
Michael Lindsay
Sarah Lloyd
Dusty Lucas
Jeremy Lyall
Nicci Mann
James McClure
Caroline Miller
Geoff Montross
Laura Moore
Kathryn Munger
Andrew Oliver
Rebecca Perkinson
Aaron Phillips
Marva Pittman
Heidi Richard
Sarah Roche
Rosemary Rohrman
Angel Rudd
Jeff Rutledge
Neal Sharpe
Jennifer Simpkins
Elaine Smith
Kate Smith
Jason Snipes
Brent Stephens
Rebecca Stevens
Jessica Tarter
Jayme Updike
WOMEN’S CHOIR
Welborn Young, conductor
Laura Moore, accompanist
Assisted by Ella Elias, Christina Elkins, Carolyn Hall, Summer Karagiozov
Lauren Alderman
Robin Allison
Allison Bailey
Emily Laurel Boone
Winnona Borawski
Cathy Crotty
Amber Davies
Ella I. Elias
Christy Elkins
Dena Fauske
Summer Karagiozov
Joan Kleinmann
Sarah Lloyd
Gretchen Marsden
Erin Martin
Katie Brotherton
Arloa Butler
Meg Buzzard
Jessica B. Cates
Emily Caudle
Meredith Crenshaw
Laura Gaillard
Carolyn F. Hall
Kelly E. Higgs
Sarah Hotchkiss
Amy Jerva
Ginger Jones
Rebecca Anne McNair
Caroline Miller
Rachel Roberts
Stephanie Rosenthal
Stephanie Sanders
Meagan M. Sprang
MEN’S GLEE CLUB
Eric Poole, conductor
Jayson Snipes, accompanist
Assisted by Michael Dougherty, Stephen Durr, Dustin Ousley, Jason Wright
Michael Alligood
Alex Beard
Jonathan Blalock
Daniel Bryan
Jack Callahan
Timothy Cook
Christopher Critcher
Jesse Darden
John Davis
Hayden Dawes
Michael Dougherty
Stephen Durr
James Easteppe
Brian Fox
Drury Fulcher
Gordon Gantt
Ben Garcia
Charles Gibson
Logan Haggard
Eric Hope
Paul Ijames
Christopher Jenkins
Jeffrey Jones
Christopher Juengel
Jonathan Kuuskoski
Alex Lieberman
Matt Lovett
Andrew Oliver
Dustin Ousley
Donny Owens
Nicholas Phillips
Timothy Rauscher
Lucas Ray
Daniel Seriff
Neal Sharpe
Scott Sheffield
Jayson Snipes
Brent Stephens
Gregory Stout
Adam Thomas
Nathaniel Todd
Nicolas Vaccaro
Shawn Weisner
Eric Worthington
Jason Wright
CHAMBER SINGERS
Welborn Young, conductor
Anne Lewis, accompanist
Assisted by Anne Lewis, Dustin Ousley, Danny Buckner, Jason Wright
John Bennett
Daniel Buckner
Jessica B. Cates
Meredith Crenshaw
Daphne Franklin
Melodie Galloway
Carolyn F. Hall
Summer Karagiozov
Anne Lewis
Steven Martin
Dustin Ousley
Eric Poole
Neal Sharpe
Jane Smith
Meghann Vaughn
Jason Wright
Regina coeli Wolfgang Amadeus Mozart
(1756-1791)
Daphne Franklin, soprano · Meghann Vaughn, alto
Dustin Ousley, tenor · Stephen Martin, baritone
Chamber Singers
Sanctus from Missa Nona György Orbán
O Pastorelle, Addio from Andrea Chenier Umberto Giordano
arr. W.E. Young
Gamelan R. Murray Schafer
Women’s Choir
_____
Program Notes
De los Alamos vengo, madre
From Cuatro madrigals amatorios/16th Century text by Carmen Perez Durias
I have been by the poplars, mother
I’ve seen how their branches swayed in the breezes
By the poplar trees of Seville,
I have seen my beautiful lover.
Miserere mei
Grand us mercy, O Lord
Now in Thy goodness and loving kindness
Pour forth compassion upon us
And according to the multitude and according to Thy mercies
Forgive our iniquities, we pray Thee.
Wade in the Jordan River
Based on the following African-American spirituals:
Wade in the Water
Deep River
Roll, Jordan, Roll
The Earth Sings (celebrating the earth)
Sea and Sky (Uvavnuk, Iglulik eskimo woman)
The great sea stirs me, the great sea sets me adrift,
It sways me like the weed on a river-stone.
The sky’s height stirs me, the strong wind blows through my mind.
It carries me with it, so I shake with joy.
Day Break (anonymous/Mudbara, a tribe of Wave Hill, Northern Australia)
The day breaks — the first rays of the rising Sun, stretching her arms.
Daylight breaking, as the Sun rises to her feet,
Sun rising, scattering the darkness, lighting up the land
With disk shining, bringing daylight, lighting up the land…
Burning through the gorge she rises, walking westwards,
Wearing her waistband of human hair
She shines on the blossoming coolibah tree, with its sprawling roots,
Its branches spreading, she shines.
Abraham and Isaac: A Parable of 9.11.01
So Abraham rose and clave the wood,
And went and took the fire with him, and a knife.
And as they sojourned both of them together, Isaac the first born spake and said:
My father, behold the preparations: Fire and iron.
But where is the lamb for this Burnt offering?
Then Abraham bound the youth with belts and straps, and builded parapets and
Trenches there, and stretched forth the knife to slay his son.
When lo an angel called him out of heaven, saying lay not thy hand upon the lad,
Neither do anything to him.
Behold a ram, caught in the thicket by its horns;
Offer the ram of pride instead of him.
But the old man would not so, and slew his son.
And half the seed of Europe, one by one!
Kyrie eleison. Requiem aeternam.
Kyrie eleison
Lord, have mercy. Christ, have mercy. Lord, have mercy.
When He Shall Die
This harmonically lush work sets a text from Act III of Shakespeare’s
“Romeo and Juliet.” In this soliloquy, Juliet looks forward to an evening
visit by Romeo.
When he shall die
Take him and cut him out in little stars
And he will make the face of heav’n so fine.
That all the world will be in love with night
And pay no worship to the garish sun.
Signs of the Judgment
Judgment, oh Judgment! Judgment’s a-coming.
I see the sign of the judgment coming, Hallelujah!
Better be ready for that great day when the Lord come
And take His children away.
Boatman, boatman row one side,
You can’s get to heaven ‘gainst the wind and the tide.
Run to the mountain, the mountain moved. I run to the hills and they did too.
Went to the rocks to hide my face, the rocks cried out there’s no hiding place.
One of these mornings, bright and fair, I will meet my Jesus in the air.
He’ll say, “well done my child,” then I’ll shout Hallelujah, my race has been won.
See the signs of the judgment, the time is drawing nigh.
Judgment’s coming, Lord. If Ye Love Me
Though most of his career spanned a time of great religious and political unrest
in England, Thomas Tallis transcends this troublesome era and profoundly
affects English church music. Influenced by new liturgical doctrine and
compositional trends, Tallis’ choral writing also adjusts, moving away from the
highly ornamented and complex polyphonic style to one of more discipline,
geared to ease of audibility and clarity of design. This work, an unaccompanied
short anthem, is an example in which clarity and textual comprehension are key.
Its beginning is chordal and the repeated second part is imitative.
La Vergine degli Angeli
Verdi’s debut as an opera composer, at La Scala in 1839, was an immediate
success. And for the remainder of his career, opera would dominate his
compositional output. “La Forza Del Destino,” an opera in four acts, received its
premiere at the Imperial Opera, St. Petersburg on November 10, 1862. The
opera is set in Spain and Italy in the middle of the eighteenth century. “La
Vergine Degli Angeli” closes act II with Leonora taking refuge in a cave to live out
her remaining days, all because her father disapproves
of her lover, Don Alvaro.
Studio Voice Recital
Tuesday, November 9 · 5:30 pm
Recital Hall
Jason Wright, conductor
Graduate Recital featuring the Market Street Singers in music of
Mozart, Ireland, Fauré, Britten, and Dawson
Sunday, November 14 · 3:30 pm
Organ Hall
UNCG Opera Theatre presents Gian-Carlo Menotti’s
2004 Holiday Choral Concert
University Chorale, Chamber Singers,
Women’s Choir, Men’s Glee Club,
Women’s Glee Club, and the audience!
Sunday, December 5, 2004
3:30 pm, Aycock Auditorium
performance
forthcomi
May our Lady of the Angels shield me beneath Her mantle
and may the Holy Angel of God keep vigil to protect me.
Songs of A Young Man
This work recalls the advice given a young man. But in his youthfulness, he
disregards the advice only to regret it later. Now as an old man, he reflects on
times gone by, longing For the days of his youth. The poems in this setting are
by A.E. Housman. The composer, Richard Nance, is a member of the faculty at
Pacific Lutheran University.
In That Great Getting’ Up Mornin’
This call and response arrangement, like so many other spirituals, is dual in its
meaning. On the one hand, it speaks of the reward awaiting the slaves in
heaven when they die. On the other hand, its coded messages provide clues for
the slave regarding specific events leading to a time and place for secret
meetings, church meetings, or an attempt to escape.
Fenno Heath, composer and arranger, was conductor of the Yale Glee Club from
1953-1992.
Whistle, Maggie, Whistle
This is an American folk song about a gentleman’s attempt to woo Maggie.
The things we do for love!
Regina coeli, K. 108/74D
W.A. Mozart and his father made three trips to Italy between December, 1769
and March, 1773. While in Salzburg before his second trip, Mozart composed the
Regina Coeli, K. 108/74D. The florid vocal writing present in every line reflects
the secular Italian influence. Regina coeli is a relatively early work and shows
Mozart honing his craft—plain block harmonies, exciting rhythms, with
interspersions of dramatic ensemble writing are all set in the standard styles and
forms of the day. The text is the Marian antiphon for Paschal tide, or the time
between Easter and Pentecost. Legend has it that Pope Gregory heard the first
three lines sung by angels during an Easter morning procession, upon which he
added the fourth line.
Queen of Heaven, rejoice, alleluia.
For He whom you were worthy to bear, alleluia,
has risen, as He said, alleluia.
Pray for us to God, alleluia.
Sanctus
Commissioned by the Ladies Choir, Angelica of Tokyo in the year 2000, Missa
Nona by György Orbán is a tour-de-force for a mature women’s ensemble.
Orbán intensifies the compositional elements that typify his style, i.e. rhythmic
intricacy, driving rhythms, sequential harmonic and melodic motives, and lyric
melodic writing, by extending the vocal ranges. The Sanctus is in two parts: the
first part is slow and lush with three melodic themes speaking simultaneously
through the four-voice texture. The second part begins with a “Bach-ian”
invention in the piano that is developed through imitation in the vocal writing.
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.
O Pastorelle, Addio
The premiere of Andre Chenier took place on March 28, 1896 at the Teatro alla
Scala, Milano. Historically, Chenier was a private secretary for the French
Ambassador to Great Britain, a Journalist, and a poet of some renown. Indignant
at the extremist ambitions of the French Revolutionists, Chenier returned to Paris
as a moderate voice through his political writings and poetry. He was guillotined
on July 25, 1794. There appeared to be no tolerance for political moderation.
Umberto Menotti Maria Giordano (1867-1948) composed the opera Andrea
Chenier based on a libretto by Luigi Illica. Other libretti contributions by Illica
include Tosca, Madama Butterfly, and La Bohème. This opera, while also full of
political and romantic intrigue, is a fictitious account and only slightly parallels the
life of the man who inspired writers such as Victor Hugo and Alfred de Musset.
“O Pastorelle, Addio” is an ensemble number that closes the first act. Chenier,
outraged by the callous indifference of the aristocrats toward the impoverished,
sulks at a party as a troop of poor peasants provide entertainment.
O shepherdesses, farewell, farewell, farewell!
We are bound for strange and curious shores!
Alas! Alas! Tomorrow we shall be far away!
These regions we must leave! Alas! Alas!
Our hearts shall be joyless until we return.
If Ye Love Me
Though most of his career spanned a time of great religious and political unrest
in England, Thomas Tallis transcends this troublesome era and profoundly
affects English church music. Influenced by new liturgical doctrine and
compositional trends, Tallis’ choral writing also adjusts, moving away from the
highly ornamented and complex polyphonic style to one of more discipline,
geared to ease of audibility and clarity of design. This work, an unaccompanied
short anthem, is an example in which clarity and textual comprehension are key.
Its beginning is chordal and the repeated second part is imitative.
La Vergine degli Angeli
Verdi’s debut as an opera composer, at La Scala in 1839, was an immediate
success. And for the remainder of his career, opera would dominate his
compositional output. “La Forza Del Destino,” an opera in four acts, received its
premiere at the Imperial Opera, St. Petersburg on November 10, 1862. The
opera is set in Spain and Italy in the middle of the eighteenth century. “La
Vergine Degli Angeli” closes act II with Leonora taking refuge in a cave to live out
her remaining days, all because her father disapproves
of her lover, Don Alvaro.
May our Lady of the Angels shield me beneath Her mantle
and may the Holy Angel of God keep vigil to protect me.
Songs of A Young Man
This work recalls the advice given a young man. But in his youthfulness, he
disregards the advice only to regret it later. Now as an old man, he reflects on
times gone by, longing For the days of his youth. The poems in this setting are
by A.E. Housman. The composer, Richard Nance, is a member of the faculty at
Pacific Lutheran University.
In That Great Getting’ Up Mornin’
This call and response arrangement, like so many other spirituals, is dual in its
meaning. On the one hand, it speaks of the reward awaiting the slaves in
heaven when they die. On the other hand, its coded messages provide clues for
the slave regarding specific events leading to a time and place for secret
meetings, church meetings, or an attempt to escape.
Fenno Heath, composer and arranger, was conductor of the Yale Glee Club from
1953-1992.
Whistle, Maggie, Whistle
This is an American folk song about a gentleman’s attempt to woo Maggie.
The things we do for love!
Regina coeli, K. 108/74D
W.A. Mozart and his father made three trips to Italy between December, 1769
and March, 1773. While in Salzburg before his second trip, Mozart composed the
Regina Coeli, K. 108/74D. The florid vocal writing present in every line reflects
the secular Italian influence. Regina coeli is a relatively early work and shows
Mozart honing his craft—plain block harmonies, exciting rhythms, with
interspersions of dramatic ensemble writing are all set in the standard styles and
forms of the day. The text is the Marian antiphon for Paschal tide, or the time
between Easter and Pentecost. Legend has it that Pope Gregory heard the first
three lines sung by angels during an Easter morning procession, upon which he
added the fourth line.
Queen of Heaven, rejoice, alleluia.
For He whom you were worthy to bear, alleluia,
has risen, as He said, alleluia.
Pray for us to God, alleluia.
Sanctus
Commissioned by the Ladies Choir, Angelica of Tokyo in the year 2000, Missa
Nona by György Orbán is a tour-de-force for a mature women’s ensemble.
Orbán intensifies the compositional elements that typify his style, i.e. rhythmic
intricacy, driving rhythms, sequential harmonic and melodic motives, and lyric
melodic writing, by extending the vocal ranges. The Sanctus is in two parts: the
first part is slow and lush with three melodic themes speaking simultaneously
through the four-voice texture. The second part begins with a “Bach-ian”
invention in the piano that is developed through imitation in the vocal writing.
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.
O Pastorelle, Addio
The premiere of Andre Chenier took place on March 28, 1896 at the Teatro alla
Scala, Milano. Historically, Chenier was a private secretary for the French
Ambassador to Great Britain, a Journalist, and a poet of some renown. Indignant
at the extremist ambitions of the French Revolutionists, Chenier returned to Paris
as a moderate voice through his political writings and poetry. He was guillotined
on July 25, 1794. There appeared to be no tolerance for political moderation.
Umberto Menotti Maria Giordano (1867-1948) composed the opera Andrea
Chenier based on a libretto by Luigi Illica. Other libretti contributions by Illica
include Tosca, Madama Butterfly, and La Bohème. This opera, while also full of
political and romantic intrigue, is a fictitious account and only slightly parallels the
life of the man who inspired writers such as Victor Hugo and Alfred de Musset.
“O Pastorelle, Addio” is an ensemble number that closes the first act. Chenier,
outraged by the callous indifference of the aristocrats toward the impoverished,
sulks at a party as a troop of poor peasants provide entertainment.
O shepherdesses, farewell, farewell, farewell!
We are bound for strange and curious shores!
Alas! Alas! Tomorrow we shall be far away!
These regions we must leave! Alas! Alas!
Our hearts shall be joyless until we return.
