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/
Women’s Choir
Chamber Singers
Welborn E. Young, conductor
University Chorale
William P. Carroll, conductor
Laura Moore, guest conductor
Sunday, February 20, 2005
3:30 pm
Recital Hall, School of Music
Program
Women’s Choir
Come again! Sweet love doth now invite John Dowland
(1563-1626)
from Stabat Mater Giovanni Battista Pergolesi
(1710-1736)
5. Quis est homo qui non fleret
Meg Buzzard and Sarah Hotchkiss, soloists
6. Vidit suum dulcem natum
Katie Brotherton, soloist
Laura Moore, piano
There is Sweet Music Daniel E. Gawthrop
from Stabat Mater Giovanni Battista Pergolesi
2. Cujus animam gementem
Sarah Roche, soloist
12. Quando corpus morietur
Winnona Borowski and Rachel Roberts, soloists
10. Fac ut portem Christi mortem
Jane Smith, soloist
Laura Moore, piano
Fülemüle, Fülemüle György Orbán
(b. 1947)
Chamber Singers
Mid-Winter Songs Morten Lauridsen
On Poems by Robert Graves (b. 1943)
I. Lament for Pasiphaë
II. Like Snow
III. She Tells Her Love While Half Asleep
IV. Mid-Winter Waking
V. Intercession in Late October
University Chorale
To Saint Cecilia Norman Dello Joio
(b. 1913)
Laura Moore, conductor
Ms. Moore’s appearance is in partial fulfillment of the degree requirements for the
Doctor of Musical Arts in Choral Conducting
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Women’s Choir
Welborn Young, conductor
Assisted by Carolyn Hall, Ella Elias, Christina Elkins
Christina Elkins, accompanist
Lauren Alderman
Robin Allison
Allison Bailey
Juliet Band
Emily Laurel Boone
Winnona Borawski
Katie Brotherton
Arloa Butler
Meg Buzzard
Cathy Crotty
Ella I. Elias
Christina Elkins
Dena Fauske
Laura Gaillard
Jackie Grossano
Carolyn Hall
Sarah Hotchkiss
Ginger Jones
Summer Karagiozov
Joan Kleinmann
Jennifer MacLeod
Trinity Martin
Rebecca Myers
Rachel Roberts
Sarah Roche
Stephanie Rosenthal
Stephanie Sanders
Jane Smith
Meagan Sprang
Salima Thomas
Bethany Wood
Chamber Singers
Welborn Young, conductor
Assisted by: Anne Lewis, Melodie Galloway, Eric Poole
Anne Lewis, accompanist
John Bennett
Danny Buckner
Meredith Crenshaw
Daphne Franklin
Melody Galloway
Carolyn Hall
Summer Karagiozov
Anne Lewis
Steven Martin
James McClure
Dustin Ousley
Eric Poole
Jane Smith
Meghann Vaughn
University Chorale
William P. Carroll, conductor
Laura Moore, accompanist
Jolene Flory, accompanist
Assisted by Jonathan Blalock, Melanie Crump, Michael Dougherty, Stephen Durr,
Christina Elkins, Ella Elias, Laura Moore
Jonathan Blalock
Mary Anne Bolick
Rachel Bowman
Katie Brotherton
Jack Callaham
Emily Caudle
Timothy Cook
Jeffrey Danielson
Jesse Darden
Amber Davies
Hayden Dawes
Ryan Deal
Gwen Degentesh
Nathan Dellinger
Marina De Ratmiroff
Michael Dougherty
Sara Dougherty
Jon Douglas
Stephen Durr
Ella Elias
Christina Elkins
Brandon Ellis
Jolene Flory
Drury Fulcher
Jennifer Glymph
Logan Haggard
Elizabeth Harvey
Amy Jerva
Jeffrey Jones
Chris Juengel
Miriam Kirk
Matthew Lawing
Ashley Lewis
Stephanie Lilly
Michael Lindsay
Sarah Lloyd
Dusty Lucas
Jeremy Lyall
Niccolina Mann
Gretchen Marsden
Erin Martin
Caroline Miller
Geoff Montross
Laura Moore
Samuel Morris
Kathryn Munger
Andrew Oliver
Rebecca Perkinson
Aaron Phillips
Sarah Roche
Rosemary Rohrman
Stephanie Rosenthal
Angel Rudd
Jeff Rutledge
Neal Sharpe
Jayson Snipes
Katherine Smith
Brent Stephens
Rebecca Stevens
Jessica Tarter
Bruce Thompson
Mae Trimble
Jayme Updike
Robin Weldon
Eric Worthington
Trumpet
Virginia Keast
Mark Hibshman
Zac Lee
Horn
Kathleen Hopper
Tiffany Woods
Phillip Kassel
Trombone
Andrew Judd
Jonathan Alvis
Brian Thacker
Tuba
Mark Norman
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Less than a god they thought there could not dwell
Within the hollow of that shell,
That spoke so sweetly and so well.
What passion cannot Music raise or quell!
The Trumpet’s loud clangor
Excites us to arms,
With shrill notes of anger
And mortal alarms.
Trumpets proclaim from the depths of pain
In desperation, in indignation:
The Violins proclaim their jealous pangs
For the fair, disdainful dame.
But, oh! What art can teach,
What human voice can reach,
The sacred Organ’s praise?
Its sacred praise inspiring holy love,
Notes that wing their heavenly ways
To mend the choirs above.
Orpheus could lead the savage race,
And trees uprooted left their place,
But bright Cecilia raised the wonder higher:
When to her Organ vocal breath was given,
An angel heard, and straight appeared,
Mistaking earth for heaven.
As from the power of sacred lays,
The spheres began to move,
And sung the great Creator’s praise
To all the blest above;
So, when the last and dreadful hour
This crumbling pageant shall devour,
The Trumpet shall be heard on high,
The dead shall live, the living die,
And Music shall untune the sky.
Program Notes
Giovanni Battista Pergolesi:
Stabat Mater (selections)
The Stabat Mater is a hymn from the Middle Ages. The language is vivid, evoking pathos. It
represents the grief of Mary the mother of Christ beneath the Cross at his crucifixion. The nature
of the stanzas is reflective, invoking affection, petition, and resolution. The singers chose the
stanzas they wished to perform. Although we have not maintained the correct stanza order, the
highly evocative language transcends stanza placement in this concert setting.
Quis est homo qui not fleret
Quis est homo, qui non fleret,
Christi matrem si videret
In tanto supplicio?
Quis non posset contristari,
Piam matrem contemplari
Dolentem cum filio?
Pro peccatis suae gentis
Vidit Jesum in tormentis
Et flagellis subditum.
Who is the man who would not weep
If he should see the Mother of Christ
In such great distress?
Who could not be saddened
If he should behold the Mother of Christ
Suffering with her only Son?
For the sins of his people,
She saw Jesus in torments
And subjected to stripes.
Vidit suum dulcem natum
Vidit suum dulcem natum
Moriendo desolatum,
Dum emisit spiritum.
She saw her own sweet Son,
Whose dying caused his desolation,
While he yielded up his Spirit.
Cujus animam gementem
Cujus animam gementem
Contristantem et dolentem
Pertransivit gladius.
Whose [Jesus] saddened soul,
Sighing and suffering,
A sword pierced through.
Quando corpus morietur
Quando corpus morietur,
Fac, ut animae donetur
Paradisi gloria.
When my body perishes,
Grant that my soul be given
the glory of Paradise.
Fac ut portem Christi mortem
Fac, ut portem Christi mortem,
Passionis fac consortem
Et plagas recolere.
Grant that I may bear the death of Christ;
Make me a sharer in His Passion
And ever mindful of his wounds.
Morten Lauridsen:
Mid-Winter Songs
I. Lament for Pasiphaë
Dying sun, shine warm a little longer!
My eye, dazzled with tears, shall dazzle yours,
Conjuring you to shine and not to move.
You, sun, and I all afternoon have laboured
Beneath a dewless and oppressive cloud – —continued
The Greenhouse Celebration · March 4 – 6, 2005
Brooks Whitehouse, director
UNCG, home of the Greenhouse Cello Music Collection, honors distinguished cellist
Bernard Greenhouse in his 90th year. Tickets to Greenhouse Celebration concerts are
available to the general public through the UNCG box office at (336) 334-4849.
Opening Gala and Reception, Friday March 4th at 7:30 pm
West Market Street United Methodist Church
Celebration Cello Matinee, Saturday March 5th at 2 pm
UNCG School of Music Recital Hall
Evening Extravaganza and Reception, Saturday March 5th at 7:30 pm
UNCG School of Music Recital Hall
Grand Finale, Sunday March 6th at 1:30 pm
UNCG School of Music Recital Hall
a fleece now gilded with our common grief
That this must be a night without a moon.
Dying sun, shine warm a little longer!
Faithless she was not: she was very woman,
Smiling with dire impartiality,
Sovereign, with heart unmatched, adored of men,
Until Spring’s cuckoo with bedraggled plumes
Tempted her pity and her truth betrayed.
Then she who shone for all resigned her being,
And this must be a night without a moon.
Dying sun, shine warm a little longer!
II. Like Snow
She, then, like snow in a dark night,
Fell secretly. And the world waked
With dazzling of the drowsy eye,
So that some muttered ‘Too much, light,’
And drew the curtains close.
Like snow, warmer than fingers feared,
And to soil friendly;
Holding the histories of the night
In yet unmelted tracks.
III. She Tells Her Love While Half Asleep
She tells her love while half asleep,
In the dark hours,
With half-words whispered low:
As Earth stirs in her winter sleep
And puts out grass and flowers
Despite the snow,
Despite the falling snow.
IV. Mid-Winter Waking
Stirring suddenly from long hibernation
I knew myself once more a poet
Guarded by timeless principalities
Against the worm of death, this hillside haunting;
And presently dared open both my eyes.
O gracious, lofty, shone against from under,
Back-of-the-mind-far clouds like towers;
And you, sudden warm airs that blow
Before the expected season of new blossom,
While sheep still gnaw at roots and lambless go –
Be witness that on waking, this mid-winter,
I found her hand in mine laid closely
Who shall watch out the Spring with me.
We stared in silence all around us
But found no winter anywhere to see.
V. Intercession in Late October
How hard the year dies: no frost yet.
On drifts of yellow sand Midas reclines,
Fearless of moaning reed or sullen wave.
Firm and fragrant still the brambleberries.
On ivy-bloom butterflies wag.
Spare him a little longer, Crone,
For his clean hand and love-submissive heart.
Norman Dello Joio:
To Saint Cecilia
Adapted from the poem “A Song for St. Cecilia’s Day” by John Dryden (1631-1700)
During the Renaissance in England, it was customary for poets to write odes in celebration of
Saint Cecilia, the patron saint of music. These poems would be set to music by contemporary
composers and performed on November 22, Saint Cecilia’s Day. John Dryden (1631-1700) wrote
such an ode, celebrating music as an integral part of nature and mankind’s history. References
are made in the poem to earlier musicians such as Jubal (from the book of Genesis) and Orpheus
(found in Greek mythology). But the highest praise is reserved for Saint Cecilia, and the symbol
with which she is often pictured, the Organ. Composers who have set Cecilian odes include
Henry Purcell and Benjamin Britten.
Norman Dello Joio chose the poem by Dryden as the text for his cantata for voices and brass,
composed in 1958. The music is rather sectionalized as it reflects the different stanzas of text.
After an opening brass fanfare, choral chords bloom from a single note, as creation is described.
Other marvelous text-setting devices abound in the piece: martial rhythms and the timbre of brass
set the verse which illustrates the passions aroused by trumpets; long lyrical lines compare the
music of the organ to that of the heavenly choirs; an a capella section for women’s voices
presents the all-surpassing musicianship of Cecilia. And finally, when all of creation has passed
away, Music remains.
From harmony this universal frame began:
When Nature underneath a heap
Of jarring atoms lay,
And could not heave her head.
The Voice of Thunder was heard on high,
“Arise, arise ye more than dead.”
Then cold, and hot, and moist, and dry,
The elements, they heard from high:
And to their stations leap,
And Music’s power obey.
From heavenly harmony this universal frame began:
From harmony to harmony.
Through all the compass of notes it ran,
The diapason closing full in Man.
What passion cannot Music raise or quell!
When Jubal struck the corded shell,
His list’ning brethren stood around,
And, wond’ring, on their faces fell
To worship that celestial sound.
—continued
School of Music
U N C G
Women’s Choir
Chamber Singers
Welborn E. Young, conductor
University Chorale
William P. Carroll, conductor
Sunday, February 20, 2005
3:30 pm
Recital Hall, School of Music
Program
Women’s Choir
Come again! Sweet love doth now invite John Dowland
(1563-1626)
from Stabat Mater Giovanni Battista Pergolesi
(1710-1736)
5. Quis est homo qui not fleret
Meg Buzzard and Sarah Hotchkiss, soloists
6. Vidit suum dulcem natum
Katie Brotherton, soloist
Laura Moore, piano
There is Sweet Music Daniel E. Gawthrop
from Stabat Mater Giovanni Battista Pergolesi
2. Cujus animam gementem
Sarah Roche, soloist
12. Quando corpus morietur
Winnona Borowski and Rachel Roberts, soloists
10. Fac ut portem Christi mortem
Jane Smith, soloist
Laura Moore, piano
Fülemüle, Fülemüle György Orbán
(b. 1947)
Chamber Singers
Mid-Winter Songs Morten Lauridsen
On Poems by Robert Graves (b. 1943)
I. Lament for Pasiphaë
II. Like Snow
III. She Tells Her Love While Half Asleep
IV. Mid-Winter Waking
V. Intercession in Late October
University Chorale
To Saint Cecilia Norman Dello Joio
(b. 1913)
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
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