The AD HOC Singers

Louise Lee, Director

Cathedral and Countryside

with special guest Randa Rouweyha, Soprano

Sunday, November 6, 2005
7:30 p.m.
Calvary United Methodist Church
Arlington, Virginia, USA

Laudate Dominum Thomas Tallis (c. 1505-1585)
Laudate Dominum omnes gentes;
Laudate eum, omnes populi.
Quoniam confirmata est
Super nos misericordia ejus,
Et veritas Domini manet in aeternum.
Gloria Patri et Filio et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper.
Et in saecula saeculorum. Amen.
Praise the Lord, all nations;
Praise Him, all people.
For His loving kindness has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son and to the Holy Spirit:
As it was in the beginning, is now, and shall be always,
Forever and ever. Amen.
Miserere mei, Deus William Byrd (1543-1623)
Miserere mei, Deus,
secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum,
dele iniquitatem meam.
Have mercy upon me, O God,
after thy great goodness.
According to the multitude of thy mercies
blot out my transgressions.
The Lamentations of Jeremiah Thomas Tallis
I. Incipit lamentatio Ieremiae prophetae: Here beginneth the lament of Jeremiah the prophet:
ALEPH. Quomodo sedet sola civitas plena populo:
facta est quasi vidua domina gentium,
princeps provinciarum facta est sub tributo.
A: How doth the city sit solitary, that was full of people!
How is she become as a widow!
She that was great among the nations, and princess among
the provinces, how is she become tributary!
BETH. Plorans ploravit in nocte,
et lacrimae eius in maxillis ejus:
non est qui consoletur eam ex omnibus caris eius:
omnes amici eius spreverunt eam,
et facti sunt ei inimici.
Ierusalem, Ierusalem, convertere ad Dominum Deum tuum.
B: She weepeth sore in the night,
and her tears are on her cheeks:
among all her lovers she hath none to comfort her:
all her friends have dealt treacherously with her,
they are become her enemies.
Jerusalem, Jerusalem, return unto the Lord thy God.
II. De lamentatione Ieremiae prophetae: From the lament of Jeremiah the prophet:
GHIMEL. Migravit Iuda propter afflictionem
ac multitudinem servitutis,
habitavit inter gentes, nec invenit requiem.
C: Judah is gone into captivity because of affliction,
and because of great servitude;
she dwelleth among the heathen, she findeth no rest.
DALETH. Omnes persecutores eius apprehenderunt eam inter angustias.
[Viae Sion] Lugent,
eo quod non sint qui veniant ad solemnitatem.
Omnes portae ejus destructae, sacerdotes eius gementes,
virgines eius squalidae, et ipsa oppressa amaritudine.
D: All her persecutors overtook her within the straits.
[The ways of Zion] do mourn,
because none comes to the solemn assembly.
All her gates are desolate, her priests sigh,
her virgins are afflicted, and she herself is in bitterness.
HE. Facti sunt hostes eius in capite, inimici illius locupletati sunt;
quia Dominus locutus est super eam
propter multitudinem iniquitatum eius:
parvuli eius ducti sunt captivi ante faciem tribulantis.
Ierusalem, Ierusalem, convertere ad Dominum Deum tuum.
E: Her adversaries are become the head, her enemies prosper;
for the Lord hath afflicted her
for the multitude of her transgressions;
her children are gone into captivity before the adversary.
Jerusalem, Jerusalem, return unto the Lord thy God.
If ye love me Thomas Tallis
If ye love me, keep my commandments,
and I will pray the Father,
and he will give you another comforter,
that he may bide with you forever,
evn the spirit of truth, the spirit of truth.
O Lord, arise Thomas Weelkes (1576-1623)
O Lord, arise into thy resting place;
Thou and the ark of Thy strength.
Save Thy people, good Lord,
and bless Thine inheritance.
Let Thy priests be clothed with righteousness
and Thy saints sing with joyfulness: Alleluia!
The Ad Hoc Singers
(from Six Elizabethan Songs)
Dominick Argento (1927-)
Poem by Thomas Nash
Spring, the sweet spring, is the years pleasant king;
Then blooms each thing, then maids dance in a ring,
Cold does not sting, the pretty birds do sing,
Cuckoo, jug, jug, puwe, to witta woo!

The palm and may make country houses gay,
Lambs frisk and play, the shepherds pipe all day,
And we hear aye birds tune this merry lay,
Cuckoo, jug, jug, puwe, to witta woo!

The fields breathe sweet, the daisies kiss our feet,
Young lovers meet, old wives a sunning sit.
In evry street, these tunes our ears do greet,
Cuckoo, jug, jug, puwe, to witta woo!

Spring, the sweet spring!
La Pastorella delle Alpi Gioachino Rossini (1792-1868)
Son bella pastorella, che scende ogni mattino
Ed offre un cestellino di fresche frutta e fior.
I am a pretty shepherdess, who comes down every morn
Offering a little basketful of fresh fruit and flowers.
Chi viene al primo albore avrà vezzose rose
E poma rugiadose, venite al mio giardin.
One who will come at dawn will have pretty roses
And dewy apples — come to my garden.
Ahu ahu ahu … Ahu ahu ahu …
Chi nel notturno orrore smarrì la buona via,
Alla capanna mia ritroverà il cammin.
One who has lost his way in the horrors of night
Will find his way again at my little hut.
Venite, o passaggiero, la pastorella è qua,
Ma il fior del suo pensiero ad uno sol darà!
Come, traveler, the shepherdess is here,
But the flower of her heart she will give to one alone!
Ahu ahu ahu … Ahu Ahu Ahu …
The Afternoon Bell Enrique Granados (1867-1916)
Les Chimins de L'Amour Francis Poulenc (1899-1963)
text by Jean Anouilh (1910-1987)
Les chemins qui vont à la mer
Ont gardé de notre passage
Des fleurs effeuillées et lécho sous leurs arbres
De nos deux rires clairs
Hélas des jours de bonheur
Radieuses joies envolées
Je vais sans retrouver traces dans mon coeur.
On the roads that lead to the sea
the flowers still bear the imprint of our passage
and the echo of our clear laughter
still rings under the trees.
Alas! Those days of happiness,
those radiant joys now gone —
no traces of them can I find in my heart.
Chemins de mon amour
Je vous cherche toujours.
Chemins perdus vous nêtes plus
Et vos échos sont sourds.
Chemins du désespoir
Chemins du souvenir
Chemins du premier jour
Divins chemins damour.
Byways of my love,
still I seek you.
Lost roads, you are no more,
and your echoes are silenced.
Roads of despair,
roads of memory,
roads of the first day,
divine byways of love.
Si je dois vous oublier un jour
La vie effaçant toute chose
Je veux dans mon coeur quun souvenir repose
Plus fort que lautre amour.
Le souvenir du chemin où tremblante et toute éperdue
Un jour jai senti sur moi brûler tes mains.
If one day I should forget you,
since life effaces all things,
I pray that one memory will remain
stronger than love itself,
the memory of the road where one day, trembling and delirious,
I felt the burning touch of your hands upon me.
Chemins de mon amour … Byways of my love …
Randa Rouweyha, Soprano
Louise Lee, Piano
Les Fleurs et Les Arbres
Op 68, no. 2
Camille Saint-Saëns (1835-1921)
Les fleurs et les arbres
Les bronzes, les marbres,
Les ors, les émaux
La mer, les fontaines,
Les monts et les plaines
Consolent nos maux.
Nature éternelle
Tu sembles plus belle
Au sein des douleurs,
Et lart nous domine,
Sa flame illumine
Le rire et les pleurs.
Flowers and trees
Bronzes and marbles,
Gold, enamels,
The sea, fountains,
Hills and plains
Console our ills.
Eternal nature,
You seem more beautiful
To one engulfed in sorrow.
And art reigns over us,
Its flame illumines
Laughter and tears.
Im Grünen Felix Mendelssohn (1809-1847)
Im Grün erwacht der frische Mut, wenn blau der Himmel blickt.
Im Grünnen da geht alles gut, was je das Herz bedrückt.
In the countryside the spirit awakens refreshed under the blue sky.
In the countryside the heart rejoices, shedding all its burdens.
Was suchst der Mauern engen Raum, du töricht Menschenkind?
Komm fühlhier unterm grünen Baum, wie süß die Lüfte sind.
You foolish human, why do you seek the narrow confines of city walls?
Come here, under the green tree, and feel how sweet the breezes are,
Wie holde Kindlein spielt um dich ihr Odem wunderlieb,
und nimmt alldeinen Gram mit sich, du weißt nicht woer blieb.
Their lovely breath, like pretty children, plays around you,
And takes all your grief away, as if it had never been.
Lob des Frühlingslied Felix Mendelssohn
Berg und Tal will ich durchstreifen in der Frühlingstage Pracht,
wo auf Wiesen und in Wäldern die verjüngte Schöpfung lacht.
Through mountain and valley will I roam in the spring days splendor
Where creation, young again, laughs in the meadows and woods.
In das Wonnemeer der Düfte, das aus allen Blüten quillt,
will ich ganz mich untertauchen bis der Seele Durst gestillt.
In the blissful sea of fragrance pouring from every bloom
Full immersion will I seek, till my souls thirst is quenched
Bis ich selber untergehe in der Blüten Balsamduft,
und aus dir verjüngt erstehe du geliebte Frühlingsluft.
Till I drown in the balmy scent of flowers
And rise again, renewed in you, you darling air of spring.
In Walde Felix Mendelssohn
Ihr Vögel in den Zweigen schwank,
wie seid ihr froh und frisch und frank, un trillert Morgenchöre.
Ich fühle mich im Herzen frank, wenn ichs ven unten höre.
Ye birds in the branches swaying,
How happy and fresh and carefree you are,
Warbling your morning choruses.
I feel sick at heart when I hear you from below …
Ein Stündchen schleichich bloß heraus
in euer lustig Sommerhaus, und muß mich dess beklagen.
Ihr lebet stets in Saus und Brau, sehts nechten hier und tagen.
For a little while I'll steal out
into your joyful summer house And yet it makes me sad
To know you always live out here like kings,
Watching the night fall and the day break …
Ihr sucht der Baume grünes Dach,
der Wiese Schmelz, den Kieselbach, ihr flieht ver Stadt und Mauer,
und laßt die Menschen seufzen, ach! in ihrem Vogelbauer.
You seek the trees green roof,
the meadows glow, the pebbly stream, you flee from city and walls,
Leaving us humans to sigh, full of woe, in our bird cage.
Ruhetal Felix Mendelssohn
Wenn im letzten Abendstrahl
goldne Wolkenberge steigen
und wie Alpen sich erzeigen,
frag ich oft mit Tränen:
Liegt wohl zwischen jenen
mein ersehntes Ruhetal?
As the evening sun sheds its last rays,
golden clouds rise like mountains in the sky
and I often ask through my tears
is it up there
that my longed-for valley of rest awaits me?
Vesper Bells Ring
(from Songs of Nature)
Antonín Dvořák (1841-1904)
Vesper bells ring, evening is falling, the birds of day are hushed and silent.
Only one cuckoo still is calling, and deep in shadows nightingales sing.
Stirred by the westwinds gentle caressing, the trembling leaves with dewdrops glimmer,
while through the trees moonlight is pouring to fill the woods with silver shimmer.
Nodding in sleep, flowers are dreaming, song birds are dreaming in the treetops.
Only the timid doe still lingers to drink of the crystaline dew drops.
Now she is gone, and her departure leaves silence reigning her in the woods;
ah, let the distant nightingale sing, for such beauty can trouble no rest.
Now even she has ceased her warbling. Veiling the woodland, darkness has spread.
Thus slowly all the realm of Nature in quiet and peace is enfolded.
Golden Sunlight
(from Songs of Nature)
Antonín Dvořák
Golden sunlight, golden sunlight shines upon the ripning grain,
warm winds whisper in the corn fields, harvest time has come again.
Flax and barley, tossd by breezes, to and fro, tossd by breezes to and fro,
and the kernels of wheat and rye grow heavy in the sunshines ardent glow.
Yellow butterflies are dancing to the buzz of bumblebees,
whistling quail and chirping cricket fill the air with melodies.
Golden sunshine, golden harvest, wondrous world of golden hue,
this our song of harvest sun and summer joyously we sing to you.
The Ad Hoc Singers
Welche Labung für die Sinne
from Die Jahreszeiten (The Seasons)
Franz Joseph Haydn (1732-1809)
Willkommen jetzt, o dunkler Hain,
Wo der bejahrten Eiche Dach
Den kühlenden Schirm gewährt,
Und wo der schlanken Espe Laub
Mit leisem Gelispel rauscht!
Welcome now, a shady grove,
where the aged oak dome
which cooling shelter has been,
and where the slim Aspen leaves
with faint whisper rustle!
Am weichen Moose rieselt da
In heller Flut der Bach,
Und fröhlich summend irrt und wirrt
Die bunte Sonnenbrut.
Der Kräuter reinen Balsam-duft
Verbreitet Zephirs Hauch,
Und aus dem nahen Busche tönt
Des jungen Schäfers Rohr.
On the soft moss trickles here
in clear flood the brook,
and cheerful him, confused and jumbled,
the bright colored sun-brood.
The herbs clean balmy-scent
spread Zephyr's breath,
and from the nearby thicket sounds
the young shepherds reed-flute.
Welche Labung für die Sinne!
Welch Erholung für das Herz!
Jeden Aderzweig durchströmet,
Und in jeder Nerve bebt
Erquikkendes, erquikkendes Gefühl.
Die Seele wachet auf
Zum reizenden Genuß,
Und neue Kraft erhebt
Durch milden Drang die Brust.
What refreshment for the senses!
What recovery for the heart!
Through each vein streams,
and in each nerve shakes
revived, revived feeling.
The soul awakes
to the enticing pleasure,
and new strength uplifts
by gentle pressure, the breast.
Randa Rouweyha, Soprano
Louise Lee, Piano
Nun danket alle Gott Johann Pachelbel (1653-1706)
Nun danket alle Gott,
der große Dinge tut an allen Enden;
der uns von Mutter Leibe an lebendig erhält
und tut uns alles Guts.
Now thank we all our God
for all his boundless goodness.
who from our mothers womb has blessed us on our way
and showers us with His gifts.
Er gebe uns ein fröhlich Herz
und verleihe immerdar Friede,
Friede zu Unsern Zeiten in Israel,
und daß seine Gnade stets bei uns bleibe
und erlöse uns, solange wir leben.
God, make our hearts joyful
and give us peace forever.
peace in our times in Israel,
and let your grace be ever with us
and give us salvation so long as we live.
Nun danket alle Gott mit Herzen, Mund und Händen,
der große Dinge tut an uns und allen Enden,
der uns von Mutterleib und Kindesbeinen an
unzählig viel zu gut und noch jetzund getan.
Now thank we all our God with heart, mouth and hands,
for all His goodness to us and to all.
who from our mothers womb and from our childhood
has showered us without ceasing with the countless gifts
he still grants us today.
The Ad Hoc Singers


Randa Rouweyha earned her Master of Music degree at Peabody Conservatory of Music and Bachelor of Music degree from Youngstown State University's Dana School of Music. She has sung with numerous Opera and Oratorio groups throughout the Washington, DC metropolitan area, including Washington National Opera, the Washington Concert Opera, the Washington Savoyards, Opera Americana, Opera Theatre of Northern Virginia, the IN Series, the New Dominion Chorale, Masterworks Chorus, the Ad Hoc Singers, the Friday Morning Music Clube, and VOCE. Ms. Rouweyha has been singing with the Washington National Opera for several years where she has performed numerous supporting roles, including Barbarina in Mozart's Le Nozze di Figaro, The Foreign Woman in Menotti's The Consul under the direction of Gian Carlo Menotti, and Routh Putnam in Robert Ward's The Crucible. She received high praise for her rendition of Pamini with IN Series' Magic Flute this past January. The Washington Times described Ms. Rouweyha as "the evening's stand-out... Her Pamina was totally ready for prime time, her tone bell-clear, her ptich spot on." Opera critic Alan Savada commented in his on-line review: "One of the musical highlights of the afternoon... Ms. Rouweyha was easily the most talented singer in this cast!" Randa was recently chosen as one of two Art Song Discovery artists for 2005-06. She will perform four recitals on their Art Song Discover artists recital series this season.

The AD HOC Singers
Louise Lee, Director
Soprano IAltoBass
Alyn BeauchampJenny BlandMartin Bernstein
Hellen GelbandSandra RosenbergJim McElfish
Jennifer ItzkoffLaura SchneiderMichael Niebling
Karen LeeDavid Westergaard
Sang-Mi McHaleTenorJon Westergaard
Brent ChiversPeter Wolfe
Soprano IISteve Cordle
Mickey Fuson
Julie MackTenor II/Baritone
Norma MeyerTim Burr
Margaret Smith

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. Ms. Lee has directed the Ad Hoc Singers since she founded the group in 1975.

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.

We'd like to heartily thank Calvary United Methodist Church for the use of their sanctuary and facilities for this concert.

Thank you to Steve Cordle and Karen Lee for their work on the program, and to Jenny Bland for translating texts.

Our concert was recorded by Jerry Nedilsky, JNL Recording, 7408 Silent Willow Court, Manassas, VA, 20112, 703-791-0737,


The exact date of Thomas Tallis' birth is unknown but presumed to have been about 1505. He served as organist in several positions in England but became renowned primarily as a composer.

Tallis' long musical life was carried on through periods of political and religious upheaval in his country, where he continued to compose some works based on the Latin liturgy even after the Anglican form of service was instituted in 1547. The Lamentations setting, as well as "If Ye Love Me" and "Laudate Dominum" were written during the reign of Elizabeth I. Tallis had become a Gentleman of the Chapel Royal in 1543 and remained in the royal service until his death. It is documented that both Latin and English musical settings were used in the royal household at this time.

The English Protestant Reformation (and the brief conuter-reformation under Queen Mary Tudor — reigned 1553-58) had a great impact on musicians. Instruments and manuscripts perished in Henry VIII's dissolution of the monasteries between 1536 and 1540, and several gifted composers fled to the continent to continue as practicing Cathoics. Tallis himself, like many other trained musicians, lost his post at an abbey [Waltham]. He briefly found a place at Canterbury Cathedral before joining the court.

Both Tallis and Byrd, who was Tallis' pupil, were favored at court for the excellence of all their compositions. Elizabeth granted them a joint monopoly on the printing of music and music paper.

The intensith of Tallis' setting of the Lamentations of Jeremiah [a text set by many composers since the 15th century adn up until the 18th, for Roman Catholic use in the week before Easter] is thought by many to comment on the religious turmoil of its age. The work is restrained with respect to compositional devices but speaks in tones of anguish and pleading.

It was traditional to set not only the prophet's words to music, but the Hebrew letters heading each chapter as well.

If Tallis and Byrd set the gold standard for English sacred music in Elizabethan times, their successor Weelkes, at the end of the century and beginning of the 17th, produced many magnificent examples. He was particularly skilled at writing in many voice parts ("Oh Lord, Arise" has seven, instead of the more usual four or five) lending complexity to his madrigals and grandeur to his anthems. Weelkes' best known choral works may be "Hosanna to the Son of David" and "When David Heard that Abaslom was Slain".

On the lighter side, we hope that after intermission you enjoy our collection of choral and solo "landscapes" from various countries. You are invited to contemplate, with the poets, whether these vistas inspire tranquility or melancholy.

Louise Lee

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