The AD HOC Singers

Louise Lee, Director


Roads from Rome

Guest artist Randa Rouweyha, Soprano

Sunday, January 13, 2002, 7:30 p.m.
Capitol Hill Presbyterian Church
4th Street & Independence Avenue SE
Washington, DC

Videntes Stellam (3:06, 3.4 mb)Orlandus Lassus (c. 1530-1594)
Videntes stellam magi,
gavisi sunt, gaudio magno:
et intrantes domum,
invenerunt puerum cum Maria,
Matre eius,
et procidentes adoraverunt eum.
Et apertis thesauris suis,
obtulerunt ei munera,
aurum, thus et myrrham.
Seeing the star,
the Magi rejoiced with a great joy
and entering the house,
they came upon the Child with Mary
His Mother,
and went forward to adore Him.
And their treasures being opened,
they offered Him the gifts:
gold, frankincense, and myrrh.

Missa Paschalis (excerpts)Orlandus Lassus
Kyrie (4:55, 5.3 mb)
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Gloria (2:12, 2.4 mb)
Gloria in excelsis Deo
Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te,
Adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite,
Jesu Christe.
Glory to God in the highest
And on earth peace to men of good will
We praise Thee, we bless Thee,
We adore Thee, we glorify Thee,
We give thanks to Thee for Thy great glory.
Lord God, heavenly King,
God the Father almighty.
Lord God, the only begotten Son,
Jesus Christ.
Sanctus (2:41, 2.9 mb)
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Osanna in excelsis.
Holy, Holy, Holy
Lord God of Hosts,
The heavens and the earth are full of thy glory.
Hosanna in the highest.
Benedictus (2:06, 2.3 mb)
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Blessed is He who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei (4:06, 4.4 mb)
Agnus Dei, qui tollis peccata mundi:
Miserere nobis; dona nobis pacem.
Lamb of God, who takest away the sins of the world:
have mercy upon us; grant unto us peace.

Haleluyah (Psalm 145) (2:49, 3 mb)Salamone Rossi (c1570-c. 1630)
Halelúyá. Halelí nafshí et Adonái,
ahalelá Adonái bechayái,
azamerá lelohái beodí.
Al tivtechú vindivím,
bevén adám sheéyn lo teshuá.
Teytséy ruchó yashúv leadmató,
bayóm hahú avedú eshtonotáv.
Ashréy sheéyl Yaakóv beezró,
sivró al Adonái Eloháv.
Osé shamáyim vaárets,
et hayam veet kol ashér bam,
hashomér emét leolám.
Osé mishpát laashukím,
notén léchem lareeyvím,
Adonái matír asurím.
Adonái pokéach ivrím,
Adonái zokéf kefufím,
Adonái ohév tsadikím.
Adonái shomér et geyrím,
yatóm vealmaná yeodéd,
vedérech reshaím yeavét.
Yimlóch Adonái leolám
eloháyich Tsiyón ledór vadór,
Haleluyah! I will praise the Lord
as long as I live,
as long as I have breath.
Put not your trust in those
who are highly placed;
such a one returns to the earth
when his breath departs.
Happy is he
who trusts in God,
who made all things,

who guards the truth,
who gives justice to the oppressed
and food to the hungry.
The Lord sets prisoners free,
opens the eyes of the blind
and lifts those who are bowed down.
God loves the righteous,
watches over the sojourner,
helps the widowed and the fatherless.
The way of the wicked shall be cut off.
The Lord will reign forever.


The Ad Hoc Singers

Canzona (3:10, 3.4 mb)Girolamo Frescobaldi (1583-1643)
Sinfonia Prima (2:49, 3 mb)Salamone Rossi
Toccata in D (5:52, 6.7 mb)Johann Jacob Froberger (1616-1667)

Brent Chivers, Laura Schneider, Jane Takeuchi – recorders
Louise Lee – organ


Missa BrevisDietrich Buxtehude (c. 1637-1707)
Kyrie (3:56, 4.3 mb)
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Gloria (7:12, 8 mb)
Gloria in excelsis Deo
Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te,
Adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite,
Jesu Christe,
Domine Deus, Agnus Dei,
Filius Patris.
Qui tollis peccata mundi,
miserere nobis,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam to solus sanctus,
tu solus Dominus,
tu solus altissimus,
Jesu Christe.
Cum sancto Spiritu
in gloria Dei Patris. Amen.
Glory to God in the highest
And on earth peace to men of good will
We praise Thee, we bless Thee,
We adore Thee, we glorify Thee,
We give thanks to Thee for Thy great glory.
Lord God, heavenly King,
God the Father almighty.
Lord God, the only begotten Son,
Jesus Christ,
Lord God, Lamb of God,
Son of the Father,
Thou that takest away the sins of the world,
have mercy upon us,
receive our prayer.
Thou that sittist at the right hand of the Father,
have mercy on us.
For thou only art holy,
thou only art the Lord,
thou only art the most high,
Jesus Christ.
With the Holy Spirit
in the glory of God the Father. Amen.

Kantate (In Te Domine Speravi) (2:37, 2.9 mb)Dietrich Buxtehude
In te Domine speravi.
Non confundar in aeternum.
In Thee, Lord, have I put my trust.
Let me never be confounded.

The Ad Hoc Singers

Laudate Pueri Dominum (Psalm 112)George Frideric Handel (1685-1759)
Soprano Solo and Chorus (3:55, 4.7 mb)
Laudate pueri Dominum,
laudate nomen Domini.

Praise, O ye servants of the Lord,
praise the name of the Lord.
Soprano Solo (3:22, 4.4 mb)
Sit nomen Domini Benedictum
ex hoc nunc et usque in saeculum.

Blessed be the name of the Lord
from this time forth and for evermore.
Chorus (1:59, 3 mb)
A solis ortu usque ad occasum,
laudabile nomen Domini.

From the rising of the sun unto the going down of the same
the Lord's name is to be praised.
Soprano Solo (3:29, 5.3 mb)
Excelsus super omnes gentes Dominus,
et super caelos gloria eius.

The Lord is high above all nations,
and his glory above The Heavens.
Chorus (1:39, 2.7 mb)
Quis sicut Dominus Deus noster,
qui in altis habitat et humilia
respicit in caelo et in terra?

Who is like unto the Lord our God,
who dwelleth on high, Who humbleth himself
to behold the things that are in heaven, and in the earth?
Soprano Solo (3:29, 6.2 mb)
Suscitans a terra inopem,
et de stercore erigens pauperem,
ut collocet eum cum principibus
populi sui.

He raiseth up the poor out of the dust
and lifteth the needy out of the dunghill;
That He may set him with princes,
even with the princes of His people.
Soprano Solo (1:39, 3 mb)
Qui habitare facit sterilem in domo,
matrem filiorum laetantem.
[CD has Quis sicut Dominus Deus noster again.]
He maketh the barren woman to keep house,
and to be a joyful mother of children.
Soprano Solo and Chorus (4:38, 9.2 mb)
Gloria Patri, gloria Filio,
et Spiritui Sancto,
Sicut erat in principio
et nunc et semper
et in saecula saeculorum. Amen.
[Last CD track is unplayable (2011).]
Glory be to the Father and to the Son
and to the Holy Ghost;
as it was in the beginning,
is now and ever shall be,
world without end. Amen.

Randa Wouweyha, Soprano, with The Ad Hoc Singers
Eric Wagner and Susan Vought-Findley – oboes

Randa Wouweyha, soprano solist, most recently performed Bach's Christmas Oratorio with the New Dominion Chorale, and was last seen with The Washington Opera as Barbarina in Le Nozze di Figaro, and The Foreign Woman in The Consul under the direction of Gian Carlo Menotti. Ms. Rouweyha has sung with various Opera and Oratorio groups throught the Washington, DC metropolitan area, including The Washington Opera, The Washington Concert Opera, The Washington Savoyards, Opera Americana, Opera Theater of Northern Virginia, the IN series at Mount Vernon College, The New Dominion Chorale, Masterworks Chorus and VOCE. Randa is also a performing member of the Friday Morning Music Club where she will be singing Clérambault's Orphée in April.

The AD HOC Singers
Louise Lee, Director
Bess Ballentine
Alyn Beauchamp    
Lisa Berger
Karen Bernard
Hellen Gelband
Karen Lee
Julie Mack
Norma Meyer
Nancy Mulenex
Jane Takeuchi
Jenny Bland
Laura Schneider
Stephanie Stauffer

Margaret Broughall
Brent Chivers
Barbara Hermanson

Tim Burr
John Moore

Klaus Alt
    Michael Niebling
Jon Westergaard
Peter Wolfe

The Ad Hoc Singers, an amateur chamber chorus devoted to traditional choral literature from the fifteenth through the twentieth centuries, has been in existence under the direction of Louise Lee since 1975. They perform regularly at churches and other locations throughout the area. Good sight readers interested in joining the group should call 703-538-2557 to set up an audition, or speak with Ms. Lee after the concert.

Louise Lee is a graduate of Smith College and Indiana University, where she received a Master of Music degree in organ performance, studying with Oswald Ragatz. Ms. Lee performs frequently as a piano accompanist. She is organist at Arlington Forest United Methodist Church, and assistant organist at St. Mary's Episcopal Church in Foggy Bottom. Ms. Lee has directed the Ad Hoc Singers since she founded the group in 1975.

Thanks to Alyn Beauchamp for the program, and Marilyn Lucas for typing the program notes.

We'd like to heartily thank Capitol Hill Presbyterian Church for the use of their sanctuary and facilities for this concert.

Notes on the Program

The periods of music history spanned in tonight's program saw many developments of great significance. One was the emergence and refinement of multiple styles of writing for musical instruments, as distinct from vocal writing. Another was the rise of opera and its influence on music for church services, both Catholic and Protestant.

Perhaps most important of all for the subsequent course of Western music was the transition from polyphony, in which all "voices," whether instrumental or sung, were of equal importance in a musical texture, to homophony. In homophony one voice, usually the highest in pitch, carries a melody and the others supply necessary but subordinate harmony.

While innovations took place throught Europe, there is no question that Italy was a primary fount of musical culture, and the city of Rome in particular held fascination for musicians from every country. Because of the Papal establishment, Rome had long drawn accomplished singers, instrumentalists and composers. While their principal occupation for centuries was musical support for the Roman Catholic liturgy, music for entertainment was also cultivated, including solo and madrigal settings for poetry, dramatic productions, "dinner music" and compositions highlighting the skill of an individual singer or instrumentalist.

All but one of the composers on the program sojourned in Rome at one time or another; Buxtehude did not actually go there but incorporated features of keyboard writing (from Frescobaldi via Froberger), and both old and new vocal styles that circulated from Rome to elsewhere in Italy to his North Germain town of Lubeck.

The incredible productivity and diverse output of the two late Baroque giants, Bach and Handel, depended to a large degree on these influences. Handel based his operas and oratorios on Italian music he heard first at the opera in Hamburg, Germany where he lived as a very young man and then in Rome, where he stayed from 1701 to 1709. (Handel made an immediate impact on Rome, too; a contemporary diary states that "on January 14, 1707, a Saxon played the organ at St. John Lateran to universal admiration.") His Laudate Pueri, last on the program, was written in 1701. It foreshadows the great works of his maturity for soloists and chorus.

1707 also marks the death of the great North German organist and composer Buxtehude, whose lengthy impassioned toccatas inspired Bach. Buxtehude also wrote many choral works for the church, some employing Lutheran chorale tunes, others using newer, Italian models of text declamation. The title, Kantate, which he often gave to thise works, covers a multitude of styles. The short "cantata" In te Domine speravi is an example of his Italian-influenced works. So, in a different way, is the Missa Brevis, but it harks all the way back to the smooth, flowing polyphony of Palestrina in the 16th century, where our program begins.

Well-traveled Lassus, frequently known as de Lasso, was Franco-Flemish, but spent considerable time in Italy. In Rome he was maestro di cappella at the church of St. John Lateran from 1553 - 1555. At this time the great Italian composer Palestrina was chapelmaster at the Cappella Giulia there, and succeeded Lassus at St. John Lateran upon Lassus' departure for Mons, Antwerp, and finally, Munich. Lassus' music does not appear to be much influenced by Palestrina's, however; it is particulary sensitive to the text being set, especially in his motets. The opening motif of Videntes Stellam portrays the startled upward gaze of the Magi at the Star of Bethlehem, and the music continues on to convey their wonder and reverance.

Lassus joined the court chapel of the Duke of Bavaria in Munich as a singer in 1556, and became master of the chapel in 1563, remaining there until his death. There is more extant published music from the 16th century by Lassus than by any other composer. It includes, in addition to motets and masses in Latin, Italian madrigals, French chansons, and German lieder.

Although Rossi lived briefly in Rome, his main activity was at Mantua, where he knew Monteverdi. He wrote Italian madrigals and choral music for the synagogue (collected in Songs of Solomon, a whimsical reference to his own first name, not the Biblical poetry). These works are late Renaissance in style, but his instrumental compositions point to the trio-sonata writing of the Baroque, which became a staple of the 17th and 18th centuries. This texture – two melodic intsruments playing against each other over a keyboard or plucked harmonic part, often with the bass line reinforced by a cello or other bass instrument – became a foundation of much later Baroque writing (for example, the duet between oboe and voice in the second movement of the Handel Laudate).

The organist Frescobaldi was born in Ferrara but spent most of his life in Rome. He became organist at St. Peter's in 1608, and was also employed by various patrons there. He bacame organist at the Medici court in Florence in 1628, but returned to Rome in 1634. Frescobaldi wrote prolifically, mainly for the keyboard. Some of this output was for liturgical use. His toccatas, canzonas, ricercares, and dances and variations expanded the expressive power and virtuosity of the keyboardist's art. He also wrote over 50 canzonas for instrumental ensambles.

Frescobaldi's pupil, Froberger, came to Rome from Vienna in 1637 to study with him. Froberger subsequently travelled througout Europe, performing his own compositions, which owed much to Frescobaldi. He wrote toccatas, ricercares, fantasias, canzonas and capriccios for organ or harpsichord, and dance suites in the French style for harpsichord.

His toccatas (like the Frescobaldi recorder canzona) are sectional, containing contrasting passages of duple and triple meter, imitative and chordal texture, and rapidly running notes. They strongly influenced Buxtehude and other North German composers, and led ultimately to the great extended works in that genre by Bach.

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