|O nata lux de lumine (1:36, 2.3 mb)||Thomas Tallis (c. 1505-1585)|
|O nata lux de lumine,
Jesu redemptor saeculi,
Dignare clemens supplicum
Laudes precesque sumere.
Qui carne quondam contegi
Dignatus es pro perditis,
Nos membra confer effici
Tui beati corporis.
|O Light born of Light,
Jesus, redeemer of the world,
with loving-kindness deign to receive
suppliant praise and prayer.
Thou who once deigned to be clothed in flesh
for the sake of the lost,
grant us to be members
of thy blessed body.
|Ave Verum Corpus (3:36, 5 mb)||William Byrd (1543-1623)|
|Ave, verum corpus
natum de Maria Virgine:
vere passum, immolatum
in cruce pro homine:
cuius latus perforatum
unda fluxit et sanguine:
esto nobis praegustatum,
in mortis examine.
|Hail the true body, born
of the Virgin Mary:
You who truly suffered and were sacrificed
on the cross for the sake of man.
From whose pierced flank
flowed water and blood:
Be a foretaste for us
in the trial of death.
|Words: hymn by either Pope Innocent III (1198-1216) or Innocent IV (1243-1254) for the feast of Corpus Christi.|
|A Hymn to the Virgin (2:58, 4.1 mb)||Benjamin Britten (1913-1976)|
|Of one that is so fair and bright
Velut maris Stella
Brighter than the day is light,
Parens et puella:
I cry to thee, thou see to me,
Lady, pray thy Son for me,
That I may come to thee.
like a star of the sea
mother and maiden
|All this world was forlorn
Till our Lord was y-born
De te genetrice.
With Ave it went away,
Darkest night, and comes the day
The well springeth out of thee
through Eve the sinner
of thee, the mother
|Lady, flower of everything
Rosa sine spina
Thou bare Jesu, heaven's King,
Of all thou bear'st the prize,
Lady queen of paradise
Maid mild, mother
rose without a thorn
by divine grace
you are proved
|Words anonymous, c. 1300.|
|Semi-chorus: Alyn Beauchamp, Karen Lee, Laura Schneider,
Tim Burr, Jim McElfish, Jon Westergaard
|Out of the Deep (2:09, 3 mb)||John Alcock (1715-1806)|
|Out of the deep have I called unto Thee,
O Lord, hear my voice.
|De Profundis (7:55, 10.9 mb)||Josquin des Prés (c. 1445-1521)|
De profundis clamavi ad te, Domine:
Domine, exaudi vocem meam.
Fiant aures tuae intendentes:
in vocem deprecationis meae.
Si iniquitates observaveris, Domine: qui sustinebit?
Quia apud te propitiatio est:
et propter legem tuam sustinuite, Domine.
Sustinuit anima mea in verbo ejus,
speravit anima mea in Domino,
Out of the depths I have cried to thee, O Lord;
Lord, hear my voice.
Let thine ears be attentive
to the voice of my supplication.
If thou wilt mark iniquities, O Lord, Lord, who shall stand it?
For with thee there is mercy;
and for the sake of thy law, I have waited for thee, O Lord.
My soul has relied on his word;
my soul has hoped in the Lord.
A custodia matutina usque ad noctem.
Speret Israel in Domino.
Quia apud Dominum misericordia
et copiosa apud eum redemptio.
Et ipse redimet Israel ex omnibus iniquitatibus ejus.
Gloria Patri et Filio, et Spiritui Sancto.
Sicut erat in principio, et nunc et semper.
Et in saecula saeculorum. Amen.
From the morning watch until the night,
let Israel hope in the Lord;
because with the Lord there is mercy,
and with him plentiful redemption.
And he shall redeem Israel from all his iniquities.
Glory be to the Father, and to the Son, and to the Holy Spirit;
as it was in the beginning, now, and forever,
and unto the ages of ages. Amen.
|Hei mihi! Domine (3:27, 4.8 mb)||Francisco Guerrero (1528-1599)|
|Hei mihi, Domine
quia peccavi nimis in vita mea.
Quid faciam miser? Ubi fugiam?
Nisi ad te Deus meus.
Miserere mei, dum veneris in novissimo die.
|Woe is me, O Lord,
For I have sinned exceedingly in my life.
What will I, wretched, do? Where will I flee?
Only to you, my God.
Have pity on me when you come on the Last Day.
|Words from the funeral liturgy.|
|Echoes of the Danube, Opus 9, Sonata no. 6 (13:29, 18.6 mb)||Johann Schenck (c. 1656-1712)|
|Doug Wolters, viola da gamba|
|The Boatmen's Dance (3:15, 4.5 mb)||adapted by Aaron Copland (1900-1990)|
Choral arrangement by Irving Fine
|High row the boatmen row, floatin' down the river the Ohio....|
|The boatmen dance, the boatmen sing, the boatmen up to ev'ry thing.
And when the boatmen gets on shore, he spends his cash and works for more.
|(Chorus:) Then dance the boatmen dance! O dance the boatmen dance!
O dance all night till broad daylight, and go home with the gals in the morning.
|I went on board the other day to see what the boatmen had to say.
There I let my passion loose an' they cram me in the callaboose.
(Chorus:) Then dance the boatman dance....
|The boatman is a thrifty man, there's none can do as the boatmen can;
I never see a pretty girl in my life, but that she was a boatmen's wife.
(Chorus:) Then dance the boatmen dance....
High row the boatmen row, floatin' down the river the Ohio....
|Steve Cordle, Baritone solo
Jenny Bland, piano
|Ashokan Farewell (1:22, 1.9 mb)||Jay Ungar, 1982 (1946-)|
|Devil's Dream/Soldier's Joy (1:28, 2.1 mb)||traditional fiddle tunes|
|Judith Thompson, violin|
|At The River (2:55, 4.1 mb)||adapted by Aaron Copland|
Choral arrangement by R. Wilding White
Hymn tune and words by Robert Lowry, 1864
based on Revelations 22:1-5
|Shall we gather by the river, where bright angel feet have trod,
with its crystal tide forever flowing by the throne of God?
|Yes, we'll gather by the river, the beautiful, the beautiful river;
gather with the saints at the river that flows by the throne of God.
|Soon we'll reach the shining river, soon our pilgrimage will cease;
soon our happy hearts will quiver with the melody of peace.
|Yes, we'll gather by the river....|
|Jenny Bland, piano|
|Rondo in A minor, K 511 (10:16, 14.2 mb)||Wolfgang Amadeus Mozart (1756-1791)|
|Barbara Cackler, piano|
|Ave verum Corpus, K 618 (3:06, 4.3 mb)||W. A. Mozart|
|Text above (Byrd).|
|Missa brevis in B♭, K 275||W. A. Mozart|
|Kyrie (1:55, 2.7 mb)|
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
|Gloria (3:26, 4.8 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,
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,
|Credo (4:55, 6.8 mb)|
Credo in unum Deum, Patrem omnipotentem,
factorem coeli et terrae, visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum, Filium Dei unigenitum.
Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine, Deum verum de Deo vero.
Genitum, non factum, consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines, et propter nostram salutem
descendit de coelis.
Et incarnatus est de Spiritu Sancto ex Maria Virgine:
et homo factus est.
Crucifixus etiam pro nobis:
sub Pontio Pilato passus, et sepultus est.
Et resurrexit tertia die, secundum Scripturas.
Et ascendit in coelum: sedet ad dexteram Patris.
Et iterum venturus est cum gloria, judicare vivos et mortuos:
cujus regni non erit finis.
Et in Spiritum Sanctum, Dominum et vivificantem:
qui ex Patre Filioque procedit.
Qui cum Patre et Filio simul adoratur et conglorificatur:
qui locutus est per prophetas.
Et unam, sanctam, Catholicam et Apostolicam Ecclesiam.
Confiteor unum baptisma in remissionem peccatorum.
Et exspectio resurrectionem mortuorum.
Et vitam venturi saeculi. Amen.
I believe in one God, the Father almighty,
maker of heaven and earth, and of all things visible and invisible.
And in one Lord Jesus Christ, the only-begotten Son of God,
born of the Father before all ages;
God of God, light of light, true God of true God;
begotten, not made; consubstantial with the Father,
by Whom all things were made.
Who for us men, and for our salvation,
came down from heaven,
and was incarnate by the Holy Ghost of the Virgin Mary,
and was made man.
He was crucified also for us,
suffered under Pontius Pilate, and was buried.
And the third day He arose again, according to the Scriptures,
and ascended into heaven. He sitteth at the right hand of the Father:
and He shall come again with glory, to judge the living and the dead:
and His kingdom shall have no end.
And in the Holy Ghost, the Lord and Giver of life,
Who proceedeth from the Father and the Son,
Who, together with the Father and the Son, is adored and glorified:
Who spoke by the prophets.
And one holy, catholic, and apostolic Church.
I confess one baptism for the remission of sins.
And I expect the resurrection of the dead,
and the life of the world to come. Amen.
|Sanctus (1:08, 1.6 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 (2:54, 4 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 (7:02, 9.7 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.
|Julie Mack, soprano
Jenny Bland, alto
Steve Cordle, tenor
Tim Burr, bass
|Mayumi Pawel & Judith Thompson, violin
Doug Wolters, cello
Barbara Cackler, organ
DOUGLAS WOLTERS performs in metropolitan Washington on modern and baroque cello as well as on viola da gamba. The Washington Post recently praised Mr. Wolters as "one of the finest continuo cellists in the area." In addition to serving as principal cellist of The Bach Sinfonia and the Gettysburg Chamber Orchestra, Mr. Wolters collaborates in mixed media events with poets, dancers, and other artists.
Mr. Wolters has appeared in recitals at Alice Tully Hall in New York, and in Washington, D.C. at the Phillips Collection, the Corcoran Gallery, and the Smithsonian Institution with the Smithsonian Chamber Players. Mr. Wolters has recorded for Orion and Northeastern. A graduate of New England Conservatory, Mr. Wolters studied cello with Mihaly Virizlay and viola da gamba with Gian Lyman Silbiger. When not performing, he teaches stringed instruments in the Fairfax County school system and maintains a private studio.
BARBARA PETERSON CACKLER was born and raised in Kansas, where she began studying the piano at the age of four. She received her Bachelor of Music degree for Oberlin Conservatory of Music and her Master of Music degree from Yale School of Music. Ms. Cackler has done extensive private teaching, accompanying, and performing of chamber music, and has served as music director and organist for several churches. She has given solo recitals throughout the United States and the Indian Sub-Continent. Ms. Cackler was a featured guest artist on WGMS Radio's "Spotlight" program. She has also performed with the Delhi Symphony as a piano soloist. her teachers have included Miles Mauney, Olga Barabini, Donald Currier, Claud Frank, and Béla Böszörmenyi-Nagy.
|The AD HOC Singers|
|Louise Lee, Director|
|Soprano I||Alto||Tenor II/Baritone|
|Alyn Beauchamp||Jenny Bland||Tim Burr|
|Hellen Gelband||Sandra Rosenberg||Bass|
|Emilia Guevara||Laura Schneider||Martin Bernstein|
|Karen Lee||Tenor||Jim McElfish|
|Soprano II||Brent Chivers||Jon Westergaard|
|Julie Mack||Steve Cordle||Peter Wolfe|
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 thank St. Peter's Episcopal Church for the use of their sanctuary and facilities for this concert.
Thank you to Emilia Guevara and Karen Lee for their work on the program and the flyers.
Our concert was recorded by Jerry Nedilsky, JNL Recording, 7408 Silent Willow Court, Manassas, VA, 20112, 703-791-0737, firstname.lastname@example.org.
Among the composers' names is one which may be unfamilar.
Johannes Schneck is said to have been the greatest viola virtuoso in northern Europe in his time.
He was born in Amsterdam.
He was playing viola da gamba at the electoral court in Düsseldorf, Germany around 1690 and later returned to Amsterdam, where his instrument was
Schenck composed suites and sonatas for viol alone and in combination with other instruments, as well as some vocal music, including an opera.
Opus 9, Echoes of the Danube, is Schenck's most important work.
From 1774 to mid-1777, Mozart was employed in Salzburg, Austria, where he was born. He served as Konzertmeister and then as organist for the Prinz-Archbishop's court chapel. Here he also wrote music to be performed at Salzberg Cathedral.
The archbishop preferred that the celebration of Mass last no longer than three quarters of an hour, so Mozart's contributions were necessarily limited. Some have dismissed Mozart's sacred music from this period as relatively unimportant. But the musicologist Paul Henry Long said "Mozart's little Masses represent the highest in churchly chamber music."
The Mass in B♭ seems to have been composed in 1777 before the composer and his mother left Salzburg in September to travel to various German cities and to Paris. He was hoping to find a position and milieu more stimulating and appreciative of his gifts. This mass is thought to have been written as a sort of prayer-offering for a good outcome to the journey. It was performed in December of that year at St. Peter's Abbey in Salzburg according to a letter from Leopold Mozart to his son.
Another musicologist and biographer of Mozart, Alfred Einstein pronounced this B♭ Mass "so intimate, the orchestral apparatus so modest, so lyric, that it has an almost private character, in which the distinction between sacred and secular vanishes." He and many others have also commented on this Mass's bold chromaticism, a feature found most often in Mozart's later works, of which the Rondo in A minor (Vienna, 1787) is a beautiful example.