UMD SYMPHONY ORCHESTRA
UMD CONCERT CHOIR
Brahms German Requiem
Edward Maclary, conductor
Craig Kier, conductor
Michael Patterson, conductor
Katie Baughman, soprano
Kellie Motter, soprano
Anthony Duke Eversole, baritone
STEVEN STUCKY (b. 1949)
Funeral Music for Queen Mary (based on Purcell’s
Music for the Funeral of Queen Mary)
UMD School of Music presents
UMD Symphony Orchestra
UMD Concert Choir
Brahms German Requiem
Edward Maclary, conductor
Craig Kier, conductor
Michael Patterson, conductor
Katie Baughman, soprano
Kellie Motter, soprano
Anthony Duke Eversole, baritone
Michael Patterson, conductor
JOHANNES BRAHMS (1833–1897)
Warum ist das Licht gegeben, Op. 74, No. 1
UMD Chamber Singers
Edward Maclary, conductor
EARL KIM (1920–1998)
Where Grief Slumbers
Listen to it rain
from Drunken Boat
It’s raining
Ophelia
The Farewell
The Departure
The Girl with Orange Lips
Craig Kier, conductor
FRIDAY, NOVEMBER 14, 2014 . 8PM
Katie Baughman, soprano
ELSIE & MARVIN DEKELBOUM CONCERT HALL
INTERMISSION
4 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
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ABOUT THE ARTISTS
JOHANNES BRAHMS
Ein deutsches Requiem
Selig sind, die da Leid tragen
Denn alles Fleisch es ist wie Gras
Herr, lehre doch mich
Wie lieblich sind deine Wohnungen
Ihr habt nun Traurigkeit
Denn wir haben hie
Selig sind die Toten
Edward Maclary, conductor
Kellie Motter, soprano
Anthony Duke Eversole, baritone
Program is approximately two hours, which includes
a 15-minute intermission.
In consideration of all patrons, please ensure all cell phones remain off.
We appreciate your cooperation and understanding.
6 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Edward Maclary became the Director of Choral
Activities at the University of Maryland School of
Music in 2000 and was named Professor of Music
in 2006. Under his direction, the UMD Choirs
have toured throughout Europe and North America and have performed
on multiple occasions by invitation for the American Choral Directors
Association (ACDA), the National Collegiate Choral Organization and
the National Association for Music Education. In 2014 he began his
appointment as the Director of the Master Class in Choral and Orchestral
Conducting at the Oregon Bach Festival.
Maclary is the conductor of the UMD Chamber Singers, the most elite
of the School of Music’s six choral ensembles. The UMD Chamber Singers
have won prizes in top international competitions and are now regarded as
one of the leading choral ensembles in the United States. In 2011 the group
was awarded the Premier Prix for Mixed Choirs and the Prix Ronsard for
Renaissance performance at the 40th Florilège Vocal de Tours and Maclary
was honored as the competition’s “Chef de Choeur.” In August 2014, he led
the UMD Chamber Singers in performances at the World Symposium on
Choral Music in Seoul, South Korea.
Since 2003, the UMD Choirs have maintained an annual collaborative
relationship with the National Symphony Orchestra at the John F. Kennedy
Center for the Performing Arts, receiving praise from critics and audiences
alike in works such as Handel’s Messiah, Bach’s Mass in B Minor and
St. Matthew Passion, Mendelssohn’s Elijah and Haydn’s Creation. In 2013 the
UMD Concert Choir joined with the NSO and their Music Director Christoph
Eschenbach for performances of the Mozart Requiem. Also in 2013 the
UMD Concert Choir sang for the first time with the Baltimore Symphony
Orchestra in acclaimed performances of the Britten War Requiem, led by
Music Director Marin Alsop. In December 2014 the UMD Concert Choir
will return to the NSO for Bach Cantatas with Helmuth Rilling and in
2015 to the BSO for the Mozart C Minor Mass with Masaaki Suzuki.
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Maclary has also served as the chorus master for conductors such as Robert
Shaw, Iván Fischer, Robert Spano, Matthew Halls and Bobby McFerrin.
Regarded as an outstanding clinician and educator, Maclary maintains an
active schedule as guest conductor for choral festivals and honors choirs
throughout the United States and around the world. In 2013 he served as
the artist-in-residence for the Eastman School of Music Summer Choral
Institute, and he will be a Visiting Artist this year at the Jacobs School of
Music at Indiana University. As the director of the graduate conducting
program at the University of Maryland, he has built a nationally recognized
course of study, and graduates from the program are now in leadership
positions at colleges and universities throughout the country.
Maclary received his doctoral degree in conducting with honors from the
Indiana University School of Music after having been awarded a graduate
degree in musicology from Boston University. In the following years he
worked closely on many projects with Robert Shaw and also studied and
collaborated with Helmuth Rilling, Margaret Hillis and Robert Page.
In the 2014–15 season, Craig Kier makes his
conducting debuts with Opera Birmingham
leading Hamlet and Opera Santa Barbara leading
L’Italiana in Algeri. He also begins his appointment
as Director of the Maryland Opera Studio where he will conduct Così fan
tutte, L’enfant et les sortilèges and L’occasione fa il ladro. In addition, Kier
continues his relationship with Houston Grand Opera as guest cover
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conductor and joins Houston Ballet for his fourth season as guest conductor
leading The Nutcracker. In the 2013–14 season, Kier made his conducting
debuts with Lyric Opera of Kansas City leading La bohème, Central City
Opera leading The Sound of Music and Maryland Opera Studio leading
Albert Herring. At Houston Grand Opera (HGO), he led performances of
Die Fledermaus, the world premiere of the East + West chamber opera Bound
and returned to the Atlanta Opera to conduct Il barbiere di Siviglia. Kier’s
2012–13 season highlights include his conducting debut with Glimmerglass
Opera leading Weill’s Lost in the Stars and his Royal Opera House debut in
Muscat, Oman, leading The Music Man. Kier made his HGO conducting
debut leading Madama Butterfly in 2011 and returned to conduct Il barbiere
di Siviglia the following season. He made his conducting debut leading
Gianni Schicchi in a joint project between Seattle Opera and the Yakima
Symphony Orchestra and subsequently conducted Orfeo and Euridice,
The Magic Flute and Porgy and Bess for Atlanta Opera.
Michael Patterson is a musician of wide
versatility. His musical career ranges in different
directions that include conducting, teaching,
composing and piano performance.
Originally from Southern California, Patterson began his career as
a pianist, where he won the Southern California Steinway Concerto
Competition, resulting in a performance with the Redlands Youth
Symphony. He has been featured internationally as a piano soloist with the
New England Youth Ensemble based in the Greater Washington area,
performing in South Africa, Germany, Iceland, England and other countries.
Patterson received his bachelor’s degree from Washington Adventist
University in Takoma Park, Maryland where he studied piano with
Dr. Daniel Lau and conducting with Dr. James Bingham, Preston Hawes
and the late Dr. Virginia Gene Rittenhouse. Upon graduating, he accepted a
position as director of bands at Spencerville Adventist Academy where he
teaches six ensembles. Patterson also now serves as music director for the
PianoForte Symphony Orchestra based in Southern California.
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The orchestra participates annually in the Summer Music Festival held at
Loma Linda University Church of Seventh-day Adventists.
Patterson is a student at the University of Maryland-College Park
pursuing a master’s degree in instrumental conducting under James Ross.
Katie Baughman, DMA, is a versatile soprano
with a love of opera, concert music and
contemporary chamber music. This season,
Baughman will be performing as soprano soloist
with The Advent Project performing Bach’s Wachet! betet! betet! wachet! as well as
professional chorister with The Washington Chorus. Last season, she sang
the roles of Adele in Die Fledermaus and Miss Wordsworth in Albert Herring and
the soprano solos in Brahms’ Ein deutsches Requiem and Lucas Foss’ The
Prairie. Additional recent performances include solo roles in Mozart’s
Requiem; Bach’s Kaffee-Kantate, Magnificat and Cantata 140; Roy Harris’
“Abraham Lincoln Walks at Midnight”; and Beethoven’s Mass in C Major.
Baughman has performed with the Johns Creek Symphony, Atlanta
Community Symphony Orchestra, Young Audiences of Atlanta and Capitol
City Opera (Atlanta). She was winner of the Encouragement Award at the
Georgia District Met Auditions, was a semi-finalist in the Orpheus National
Vocal Competition and won the Gail Robinson Musicianship Award at the
University of Kentucky’s Alltech Competition.
10 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Anthony Duke Eversole has been acclaimed
by critics as having “a powerful voice” and
a “dominating presence” on the operatic and
concert stage. Most recently Eversole was seen in
the role of Sharpless in Puccini’s Madama Butterfly at the Castleton Festival.
He was also recently featured as a baritone soloist in such concert works as
Beethoven’s Symphony No. 9, Mendelssohn’s Die erste Walpurgisnacht and
Haydn’s Nicolaimesse.
Other operatic roles include Papageno in Die Zauberflöte, Vidal
Hernando in Luisa Fernanda, Plunkett in Martha, Belcore in L’elisir
d’amore, Top in The Tender Land and the title roles in Verdi’s Falstaff,
Puccini’s Gianni Schicchi and Sondheim’s Sweeney Todd: The Demon Barber
of Fleet Street. Eversole holds a Master of Music degree in voice from
The University of Oklahoma as well as dual Bachelor of Music degrees from
Utah State University in voice performance and choral music education.
Eversole is a doctoral candidate in opera performance and a member of the
Maryland Opera Studio at the University of Maryland.
Originally hailing from Atlanta, Georgia, soprano
Kellie Motter is a recent graduate of the
University of Maryland School of Music, where
she studied voice with Delores Ziegler. During her
time at Maryland, Motter performed as a member of the UMD Chamber
Singers and was a frequent soloist with the school’s Bach Cantata Series.
A promoter of new music, Motter enjoys premiering works by local
composers and performing with the Indiana-based contemporary vocal
ensemble NOTUS. Recently, she appeared with the UMD Wind Orchestra
as a vocal soloist in Steve Reich’s contemporary work Tehillim. On the
operatic stage, Motter has performed the roles of La Fée/Cendrillon with the
Siena Music Festival and Pamina/Die Zauberflöte with Harrower Summer
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Opera. Currently, she is pursuing her master’s degree in voice and opera
studies at Indiana University’s Jacobs School of Music, where she is a student
of Carol Vaness.
ABOUT THE PROGRAM
Funeral Music for Queen Mary, for Wind Orchestra
(After Purcell)
STEVEN STUCKY
Born November 7, 1949, Hutchinson, Kansas
Now living in Ithaca, New York
Steven Stucky composed this elaboration on music of Henry Purcell under a
commission from the Los Angeles Philharmonic Orchestra, which gave the work’s
premiere on February 2, 1992, under the direction of Esa-Pekka Salonen.
The score, inscribed “For Esa-Pekka Salonen and the Los Angeles Philharmonic,”
specifies 3 flutes and piccolo, 3 oboes and English horn, 3 clarinets, 3 bassoons
and contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum,
tam-tam, chimes, glockenspiel, vibraphone (motor off ), piano and harp.
Duration, 10 minutes.
The Queen Mary of this title was Mary II, the wife of King William III
of England, who was also her cousin. They were the “William and Mary”
for whom the famous college in Virginia was named, and they were an
unusual couple, in that they were not monarch and consort, in the
usual configuration, but were actually crowned as joint and equal
12 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
rulers, and so ruled until Mary’s death from hemorrhagic smallpox on
December 28, 1694, at age 32. The disconsolate William continued to reign
alone until his death in 1702, but Purcell himself, only three years older
than Mary, died less than a year after she did, and at least some part, or
parts, of the funeral music he put together for her funeral in January 1695
were performed at his own in November of the same year.
Just what those parts may have been, though, has remained more a
matter of conjecture than of certainty for more than 300 years. The set of
pieces known under the collective title Funeral Music for Queen Mary
contained at least one new item, a March and Canzona, but may otherwise
have comprised vocal and instrumental material composed a bit earlier.
Purcell’s polyphonic setting of “Man that is born of Woman,” dating from
1682, was recycled here under the heading “Funeral Sentences,” but with its
final section, “Man that is born of Woman,” replaced with new music in a
contrastingly simple, even austere style (and was performed again at Purcell’s
own funeral).
In any event, Steven Stucky retained the four-part layout assumed to
have been used by Purcell. The present work is one of the numerous direct
consequences of his long and productive connection with the Los Angeles
Philharmonic Orchestra, which began in 1988, when he was appointed the
orchestra’s composer in residence by its conductor at the time, André Previn,
and continued conspicuously, as Consulting Composer for New Music,
through the tenure of Previn’s successor Esa-Pekka Salonen. He still returns
frequently to conduct the Los Angeles Philharmonic New Music Group and
Ensemble X, which he founded in 1997. In a note for the premiere of the
present work, he wrote:
“It was at the suggestion of Esa-Pekka Salonen that I have made a
transcription of four sections of Purcell’s Music for the Funeral of Queen
Mary. In working on the project I did not try to achieve a pure
musicological reconstruction, but, on the contrary, to regard Purcell’s music,
which I love deeply, through the lens of 300 intervening years. Thus,
although most of this version is straightforward orchestration of the Purcell
originals (three sections for trumpets, trombones and drums; one for
chorus), there are moments when Purcell drifts out of focus.”
Stucky, just turned 65, has written so much substantial music, in so
many forms, that he has attained widespread recognition and admiration,
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Motet, “Warum ist das Licht gegeben,” Op. 74, No. 1
JOHANNES BRAHMS
Born May 7, 1833, Hamburg
Died April 3, 1897, Vienna
receiving many prizes, awards and major commissions. A selective list of
honors and premieres would barely hint at his achievements and impact on
his fellow musicians. Mention might be made, though, of a curious parallel
between his having two major premieres on the same day — September 18,
2008, when his full-evening “concert drama” August 4, 1964 had its world
premiere in Dallas and his Rhapsodies was given its American premiere by
the New York Philharmonic — and the subject of the former, whose title is a
date on which two striking events in recent U.S. history took place. It was
on August 4, 1964 that the bodies of three murdered civil rights workers
were found in Philadelphia, Mississippi, and on the same date an attack on
U.S. Navy ships in the Gulf of Tonkin was falsely reported. That concert
drama, with text by Gene Scheer, was commissioned and introduced by the
Dallas Symphony Orchestra; by its nature and its content it may be regarded
as a latter-day companion piece to the oratorio with which Michael Tippett
signaled his own similarly deep-felt response to a somewhat comparable
stimulus rather closer in time to the actual event some 70 years earlier under
the title A Child of Our Time.
For more on the very productive life of this composer, visit
http://www.presser.com/Composers/Info.cfm?Name=STEVENSTUCKY.
14 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Brahms composed this work in 1877 and had it published two years later
as the first part of a set of two motets for unaccompanied mixed chorus, its
companion piece, “O Heiland, reiss die Himmel auf,” having been composed in
the 1860s. The first performance was given in Vienna on December 8, 1878.
The text fashioned by Brahms was taken by him from two books of the
Old Testament, one from the New Testament and a hymn by Martin Luther.
Duration, 11 minutes.
As noted in the commentary on A German Requiem, Brahms not only
composed choral music but also was conspicuously active as a choral
conductor during his early years in Vienna. On May 6, 1863, the day before
his 30th birthday and less than a year after his arrival there from his native
Hamburg, he was voted (by the narrowest of margins, a single vote) director
of the Singakademie. By then he had more than a few works of his own to
add to that institution’s repertory, and over the years he continued to add to
that list. By the time he introduced the present work, however, he had
become a full-time composer and had in fact enjoyed the very successful
premieres of his first two symphonies. The opus number 74, therefore, is
quite accurate in identifying this motet as a work of his maturity, though the
piece published with it as Op. 74, No. 2, “O Heiland, reiss die Himmel
auf,” had been composed at about the time he arrived in Vienna. Op. 74
when published bore a dedication to Brahms’s friend Julius August Philipp
Spitta (1841–1894), son of the theologian Philipp Spitta, remembered for
his publication of Protestant hymns, and the younger Spitta himself
remembered now for his biography of Schumann and his remarkably
detailed study of the life and work of J.S. Bach, and still more as general
editor of the first Complete Bach Edition. Brahms admired him greatly, was
proud to claim him as a friend and was a subscriber to the publication of his
Bach Edition: it is hardly an exaggeration to say that he chose his dedication
of this work with the same thoughtfulness applied to his selection of texts.
Brahms thoroughly understood music for unaccompanied chorus, and
his mastery in composing for this medium is as clear as what he continued
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Where Grief Slumbers
EARL KIM
Born January 6, 1920, Dinuba, California
Died November 19, 1998, Cambridge, Massachusetts
to demonstrate in the realms of orchestral and chamber music. He had not
composed for this medium, however, for some 15 years when he undertook
this dramatic motet. It is dramatic indeed, and is the grandest of all his
unaccompanied choral works, as well as the most powerful.
It might in some respects be regarded as a sort of postscript to A German
Requiem, in that, although it involves no instruments, and is obviously far
more concise, Brahms once again chose his texts carefully from Biblical
sources, in Martin Luther’s translation, and in this case concluded with
a section from Luther’s own writings.
While this motet takes only 10 or 11 minutes to perform, this selection
of texts determined that it would fall into four sections, and it is hardly
an exaggeration to suggest that they conform, in miniature but with
undiminished emotional power, to the four movements of a symphony.
The text for the opening section, which alone accounts for about half the
work’s length, is from the Book of Job: Chapter 3, verses 20-23.
The second section, as condensed as the preceding one is expansive,
initiates a subtle but unmistakable rise in the emotional outlook of the
work. Its text is again from the Old Testament: verse 41 from Chapter 3 of
Lamentations. Following it is the “slow movement” of the sequence, and the
only part of it with a text from the New Testament, namely Chapter 5, verse
11 of the Epistle of James. The “darkness into light” transition is completed
in the final section, a warm-hearted, radiant conclusion using the words of
one of Martin Luther’s own most familiar hymns, “Mit Fried’ und Freud ich
fahr’ dahin.”
16 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Although this work, comprising settings of seven brief French poems — four by
Guillaume Apollinaire, three by Arthur Rimbaud, in English translations by
Samuel Beckett, Louise Varèse (Rimbaud) and by Anne Hyde Greet and Wallace
Fowlie (Apollinaire) — was completed in 1982, its premiere was not given until
1986, when the soprano Benita Valente, a conspicuous champion of Kim’s music,
sang it with the Cincinnati Symphony Orchestra under the direction of Michael
Gielen. The original version, performed this evening, calls for soprano with string
orchestra and harp. The composer subsequently prepared an alternative version
for soprano with string octet and harp, which was introduced by Dawn Upshaw
and was recorded by her in a Nonesuch collection whose heading is that of the
final section of the work, “The Girl with Orange Lips.” Duration, 16½ minutes.
Earl Kim, born to Korean immigrant parents, was a hands-on musician who
distinguished himself not only as a composer but also as a pianist, vocal
coach, conductor, teacher and lecturer. He studied with Arnold Schoenberg
at UCLA, and subsequently at UC Berkeley with Ernest Bloch and,
following wartime military duty (Army Intelligence Service), Roger Sessions.
Kim became an effective teacher himself, on the faculty at Princeton from
1952 to 1967, and at Harvard from the latter year until 1990. He was
composer-in-residence at the Princeton Seminar in Advanced Musical
Studies, and subsequently at Marlboro, Dartmouth, Tanglewood, Aspen and
other major music festivals, while receiving an impressive chain of
commissions, grants and awards from respected foundations and performing
institutions. (A grant from the National Foundation for the Arts supported
the composition of the present work.)
By no means a reclusive type, Kim was active in political movements, and
sometimes outspoken on public issues. He was one of the founders of the
organization Musicians Against Nuclear Arms, and served as its first
president. In 1990 he resigned as co-chairman of the music panel of the
National Endowment for the Arts, by way of protesting certain restrictions
applied in responding to grant applications.
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composer Edgard Varèse.) The English texts actually sung are printed on a
separate insert with this booklet.
Kim’s fascination with literature and drama is reflected in the sort of
music he composed, most of which involves a voice or voices. His interest
in literature is reflected in his instinctive feeling for the broad category
classified as “music theater.” He was particularly interested in the works of
the playwright Samuel Beckett, whom he came to know; he set Beckett texts
in the television melodrama Eh Joe and the one-act opera Footfalls, among
other works, and he lectured on “Setting Beckett” in the course of a session
on “Beckett and Music” at a Samuel Beckett Festival in The Hague. It was
a Beckett translation that gave rise to the work we hear this evening, as he
explained in a brief, straightforward statement:
“Apollinaire’s poem ‘It’s raining,’ in which the words form delicate
chains of raindrops, and a verse from Rimbaud’s ‘Le bateau ivre,’ translated
by Beckett — “I have dreamt the green nights drifts of dazzled snow” —
were the two initial sources of inspiration which resulted in the song cycle
Where Grief Slumbers. Images of rain, snow, sea, and the calm black waters
of the river that cradles Ophelia are coupled with reflections on departure
and farewells.”
Martin Brody, in writing on the composer for the American Grove,
observed that “Kim’s music is economic in means, delicate, and subtle in its
inflections.” It might be added that one of its prominent, though generally
understated, elements is compassion, and this is nowhere more evident than
in the present work. The reference to Ophelia is actually to the Rimbaud
poem that is the centerpiece of this cycle. Rimbaud wrote the poem in 1870,
at age 16, and sent it in a letter to Théodore de Banville. The complete
layout of the work, with the respective translators identified, is shown here.
(It may be noted that Louise Varèse, whose translations are used in two of
the Rimbaud settings, was the writer Louise Norton, who married the
18 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
1. LISTEN TO IT RAIN — Apollinaire (from Calligrammes), translated by
Anne Hyde Greet
2. From DRUNKEN BOAT — Arthur Rimbaud (from “Le bateau ivre,” in
Illuminations, Verse 1 translated by Louise Varèse, Verse 2 translated by
Samuel Beckett)
3. IT’S RAINING — Apollinaire, again from Calligrammes), translated by Anne
Hyde Greet
4. OPHELIA — Rimbaud, translated by Wallace Fowlie
5. THE FAREWELL — Apollinaire (from Alcools), translated by Anne Hyde Greet
6. THE DEPARTURE — Apollinaire (from Calligrammes), translated by Anne
Hyde Greet
7. THE GIRL WITH ORANGE LIPS — Rimbaud (from “Childhood,” in
Illuminations), translated by Louise Varése
A German Requiem, Op. 45
JOHANNES BRAHMS
Brahms composed his grandest choral work, Ein deutsches Requiem, between
1857, when he was only 24 years old, and 1868, taking his texts from
Martin Luther’s translation of the Bible. He conducted the public premiere
of the six-movement version in the Bremen Cathedral on April 10, 1868, and
the premiere of the work in its final version was given in Leipzig on February
18 of the following year. The score calls for solo soprano and baritone, four-part
mixed chorus and an orchestra of piccolo, 2 flutes, 2 oboes, 2 clarinets,
2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani,
2 harps, strings and organ. Duration, 68 minutes.
Brahms was significantly involved in choral music as a performer as well as
a composer. He organized a women’s chorus in Hamburg in 1859, and in
Vienna four years later he became the conductor of the Singakademie. The
title he chose for the ambitious choral work he began before taking on either
of these conducting assignments does not refer to any national feeling, but
simply to his choosing texts in his own vernacular rather than the liturgical
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Latin. A precedent in this respect was provided by Heinrich Schütz in his
own “German Requiem,” the Musikalische Exequien of 1636, though Schütz
did not use the same texts. (In another work, however, one of the Psalms of
David that he composed in 1619, Schütz set the same text Brahms was to
use for the fourth section of his Requiem.)
What Brahms produced in his twenties and thirties is not a liturgical
work, but a personal one: it is concerned neither with lamentation nor
glorification, but is pre-eminently a consolatory gesture. Such earlier
composers as Mozart, Berlioz and Verdi managed to write requiems that are
no less personal while conforming to liturgical outlines, but that sort of
concept would have been out of character for Brahms, a declared agnostic
who made not the slightest nod in the direction of religious convention,
despite his settings of sacred texts. Like more than a few other non-believers,
he did find much that is noble and exalted in the verses of both the Old and
New Testaments, but it is significant that none of the texts he selected for
this work mentions Christ; nor is there anything resembling a prayer for
the dead.
In the latter respect, A German Requiem evokes a certain parallel with the
Jewish Kaddish, a ritual for mourners, in which there is no reference at all to
death, but there is praise for God as the author of life. Closer parallels with
this work were to emerge in other requiems, no less personal in nature,
composed well after Brahms’ death. Frederick Delius, in his World War I
Requiem, followed Brahms’ example directly by selecting his own Biblical
sources and yet pointedly avoiding any religious gestures. After the Second
World War, in 1946, Paul Hindemith, who became a U.S. citizen that year,
completed his Requiem for Those We Love, whose text is not from the Bible,
but from the poetry of Walt Whitman. Indeed, the Hindemith work (better
known by Whitman’s title, When Lilacs Last in the Dooryard Bloom’d) so
successfully reflects an American character that it might well be called “An
20 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
American Requiem,” and the Delius may be said to be similarly colored in
specifically English hues. What is surely more to the point is that each of
these non-liturgical requiems is designed strictly for the living: each is
primarily consolatory in nature.
The distinguished British critic William Mann wrote that nowhere in the
Brahms Requiem “is there a suggestion of abject entreaty, nor any prayer for
the souls of the dead. On the contrary, this is an act of consolation for the
living, a hope that all may be well with us when we pass hence. The focal
point of the Catholic Requiem Mass is the Dies irae, the vision of Divine
judgment [a section conspicuously omitted in the radiant and otherwise
conventionally liturgical Requiem of Gabriel Fauré]. It does not fall within
the purview of Ein deutsches Requiem; the Last Trump … is invoked, but the
separation of sheep and goats, the weeping and gnashing of teeth, formed no
part of Brahms’s message. The fact of bodily death was sufficiently real and
sad to merit Brahms’s whole attention — and, while we listen to his
Requiem, ours.”
“The fact of bodily death” was something that occupied Brahms’
thoughts a great deal during his twenties and early thirties. His beloved
friend and mentor Robert Schumann died in July 1856, and his mother
died nine years later; while both of these events affected him deeply,
however, he advised that A German Requiem was not intended as a memorial
to any individual, but that in composing this work he had “the whole of
humanity in mind.” Indeed, by the time of his mother’s death the Requiem
had been virtually completed, but it may be noted that the work’s 11-year
gestation period did began with Schumann’s death.
The slow movement of Brahms’ First Piano Concerto is regarded, at least
in part, as a sort of requiem for Schumann. Brahms had originally tried out
a different slow movement for the Concerto, and when that work was
completed, in 1857, he drew upon the rejected slow movement to construct
a choral setting of that part of the First Epistle of Peter that begins, “For all
flesh is as grass.” Four years later this chorus had become the core of a fourmovement cantata on the theme of death and consolation; four years after
that (the year of his mother’s death) Brahms decided to add two more
sections, and in this format the score was completed during a holiday in
Switzerland in the summer of 1866.
The public premiere of this six-part work, under the direction of Brahms
himself, was given in Bremen on Good Friday of 1868, having been
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3. HERR, LEHRE DOCH MICH, DASS EIN ENDE (“Lord, make me to know
mine end”). Andante moderato, D minor — D major. In the words of
Psalm XXXIX the solo baritone pleads for a sign; confidence builds
through the piece, and following the words “My hope is in Thee,” brass
and drums usher in an ecstatic double fugue on lines from Proverbs:
“But the souls of the righteous are in the hand of God, and there shall be
no torment touch them.”
preceded by a Viennese performance of three of its movements, under the
famous choral conductor Johann Herbeck, some four months earlier. The
Bremen audience received the work enthusiastically, with many listeners
actually moved to tears — but not the composer’s father, who only admired
and approved. A month later Brahms, feeling the work was a bit too stern,
added one more section, which he did identify as a memorial to his mother:
this is the lovely Andante, which stands fifth in the revised sequence of seven
sections (“Ihr habt nun Traurigkeit”) and which contains the lines, from
Isaiah, “As one whom his mother comforteth,/So will I comfort you.”
In keeping with the straightforward nature of the work, the scoring
avoids any suggestion of grandiosity in either the vocal writing or the
orchestral. The seven sections are as follows:
1. SELIG SIND, DIE DA LEID TRAGEN (“Blessed are they that mourn”). Poco
andante, e con espressione, F major. This brief section serves as both
prelude to and summation of the entire work — beginning in the darker
regions of the orchestra for the setting of the two lines from Matthew,
gradually building to a gesture of affirmation in the lines from Psalm
CXXVI that follow.
2. DENN ALLES FLEISCH ES IST WIE GRAS (“For all flesh is as grass”).
Moderato, in moto di marcia, B-flat minor; Poco sostenuto — Allegro non
troppo, B-flat major. While the first part of this section is headed “in the
manner of a march,” it is written in 3/4 and is more in the nature of a
Valse triste. In this movement, more elaborately and dramatically than in
the preceding one, lamentation gives way to affirmation — in this case,
a conclusion not only affirmative but jubilant, celebrating the return of
“the ransomed of the Lord … with songs and everlasting joy upon
their heads.”
22 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
4. WIE LIEBLICH SIND DEINE WOHNUNGEN (“How lovely are Thy
dwellings”). Con moto moderato, E-flat major. A choral intermezzo,
a song of praise from Psalm LXXXIV.
5. ICH HABT NUN TRAURIGKEIT (“And ye now therefore have sorrows”).
Andante, C major. The movement added after the Bremen premiere, for
solo soprano and chorus, begins with four lines from John 16:22, which
are followed by the lines from Isaiah 66:13 already quoted, and then by a
serene message from Ecclesiastes 51:27: “Behold with your eyes, how that
I labored but a little and found for myself much rest.”
6. DENN WIR HABEN HIE KEINE BLEIBENDE STATT (“For here have we no
continuing city”). Andante — Vivace, C minor; Allegro, C major. An
expansive and dramatic movement, similar to No. 3, and again calling on
the solo baritone. Following prefatory lines from Hebrews 13:14, the
mystery of the Last Day is described in the same lines from I Corinthians
set by Handel in his Messiah (“Behold, I tell you a mystery”), following
which is another majestic and jubilant double fugue, this time on lines
from Revelation 4:11 (“Thou art worthy, O Lord, to receive glory and
honor and power …”).
7. SELIG SIND DIE TOTEN (“Blessed are the dead”). Maestoso, F major —
A major — F major. Completing the circle begun with a benediction,
Brahms ends the Requiem with another, quoting the theme of “They shall
be comforted,” from No. 1. Here affirmation, expressed in vigorous and
jubilant terms in earlier parts of the work, takes the form of an all but
weightless serenity.
— Notes by Richard Freed ©2014
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3.
James 5:11
Siehe, wir preisen selig,
die erduldet haben.
Die Geduld Hiob habt ihr gehöret,
und das Ende des Herrn habt ihr gesehen;
denn der Herr ist barmherzig
und ein Erbarmer!
TRANSLATIONS
4.
Martin Luther
Warum ist das Licht gegeben, Op. 74, No. 1
Why is Light Given?
1.
Job 3:20-23
Warum ist das Licht gegeben dem Mühseligen,
und das Leben den betrübten Herzen?
(die des Todes warten und kommt nicht,
und gruben ihn wohl aus dem Verborgenen;
die sich fast freuen und sind fröhlich,
daß sie das Grab bekommen),
Und dem Manne, des Weg verborgen ist,
und Gott vor ihm denselben bedecket?
Why is light given to those in misery,
and life to afflicted souls?
(to those who wait for death, and it comes not;
who dig for it secretly,
who nearly rejoice and are glad
that they have found the grave),
and to the one whose way is hidden
and from whom God has hidden himself?
2.
Lamentations 3:41
Lasset uns unser Herz samt den Händen
aufheben zu Gott im Himmel.
Let us lift up our hearts and our hands
to God in heaven.
24 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Behold, we call them blessed,
Those who have endured.
You have heard of the patience of Job
And you have seen the purpose of the Lord;
For the Lord is compassionate,
And a merciful God.
Mit Fried und Freud ich fahr dahin
in Gottes Willen,
Getrost ist mir mein Herz und Sinn,
Sanft und stille.
Wie Gott mir verheißen hat,
Der Tod ist mir Schlaf worden.
In peace and joy I now depart
According to God’s will;
my heart and mind are comforted,
calm, and still;
as God has promised me,
death has become my sleep.
Ein deutsches Requiem, Op. 45
A German Requiem
1. Chorus
Matthew 5:4; Psalm 126:5-6
Selig sind, die da Leid tragen,
denn sie sollen getröstet werden.
Blessed are they that mourn,
for they shall be comforted.
Die mit Tränen säen,
werden mit Freuden ernten.
Sie gehen ihn und weinen,
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.
Those who sow with tears
will reap in joy.
They go forth and weep,
bearing precious seed,
and return rejoicing,
bearing their sheaves.
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3. Baritone Solo and Chorus
Psalm 39:4-7; Wisdom of Solomon 3:1
2. Chorus
I Peter 1:24; James 5:7, 8a; I Peter 1:25; Isaiah 35:10
Denn alles Fleisch es ist wie Gras,
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
For all flesh is like the grass,
and the magnificence of mortals
is like the flowers of the grass.
The grass has withered
and the flower has fallen away.
So seid nun geduldig, lieben Brüder,
bis auf die Zukunft des Herrn.
Siehe, ein Ackermann wartet
auf die köstliche Frucht der Erde
und ist geduldig darüber, bis er empfahe
den Morgenregen und Abendregen.
So now be patient, dear friends,
until the life hereafter.
Behold, the husbandman waits
for the delicious fruit of the earth
and is patient for it, until he receives
the early and later rain.
Aber des Herrn Wort bleibet in Ewigkeit.
But the word of the Lord endures forever.
Die Erlöseten des Herrn werden wieder kommen,
und gen Zion kommen mit Jauchzen;
ewige Freude wird über ihrem Haupte sein;
Freude und Wonne werden sie ergreifen
und Schmerz und Seufzen wird weg müssen.
The redeemed of the Lord will return,
and come to Zion with shouts of joy;
eternal joy shall be upon their heads;
joy and delight will overcome them
and sorrow and sighing will have to depart.
26 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Herr, lehre doch mich,
daß ein Ende mit mir haben muß,
und mein Leben ein Ziel hat,
und ich davon muß.
Lord, teach me,
That I must have an end,
And my life has an end,
and I must pass away.
Siehe, meine Tage sind
einer Hand breit vor dir,
und mein Leben ist wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen,
die doch so sicher leben.
Behold, my days here
are but a handbreadth before you,
and my life is as nothing before you.
Ah, how insignificant all mortals are,
and yet they live so confidently.
Sie gehen daher wie ein Schemen,
und machen ihnen viel vergebliche Unruhe;
sie sammeln und wissen nicht
wer es kriegen wird.
Nun Herr, wess soll ich mich trösten?
Ich hoffe auf dich.
They go about like a phantom,
and create so much vain disquiet;
they gather things and know not
who will receive them.
Now, Lord, in whom shall I find consolation?
I trust in you.
Der Gerechten Seelen sind in Gottes Hand,
und keine Qual rühret sie an.
The souls of the righteous are in God's hands,
and no torment touches them.
4. Chorus
Psalm 84:1, 2, 4
Wie lieblich sind deine Wohnungen,
Herr Zebaoth!
Meine Seele verlanget und sehnet sich
nach den Vorhöfen des Herrn;
mein Leib und Seele freuen sich
in dem lebendigen Gott.
How lovely are your dwellings,
O Lord of hosts!
My soul yearns and longs
for the courts of the Lord;
my body and soul rejoice
in the living God.
Wohl denen die in deinem Hause wohnen;
die loben dich immerdar.
Blessed are those who dwell in your house;
Those who praise you forever more.
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6. Chorus and Baritone Solo
Hebrews 13:14; 1 Corinthians 15:51, 52, 54, 55; Revelation 4:11
5. Soprano Solo and Chorus
John 16:22; Isaiah 66:13; Ecclesiasticus 51:35
Ihr habt nun Traurigkeit;
aber ich will euch wieder sehen
und euer Herz soll sich freuen
und eure Freude soll niemand von euch
nehmen.
You now have sorrow;
but I want to see you again
and your heart shall rejoice
and no one shall take your joy from you.
Sehet mich an:
Ich habe eine kleine Zeit Mühe und
Arbeit gehabt,
und habe großen Trost funden.
Look upon me:
I have toiled and labored a brief time,
and now have found great comfort.
Ich will euch trösten,
wie einen seine Mutter tröstet.
I want to comfort you,
as one is comforted by his mother.
Denn wir haben hie keine bleibende Statt,
sondern die zukünftige suchen wir.
For we have here no permanent place,
but we seek the one to come.
Siehe, ich sage euch ein Geheimnis:
Wir werden nicht alle entschlafen,
wir werden aber alle verwandelt werden;
und dasselbige plötzlich in einem Augenblick,
zu der Zeit der letzten Posaune.
Denn es wird die Posaune schallen,
und die Toten werden auferstehen
unverweslich,
und wir werden verwandelt werden.
Dann wird erfüllet werden
das Wort, das geschrieben steht:
Der Tod ist verschlungen in den Sieg.
Tod, wo ist dein Stachel?
Hölle, wo ist dein Sieg?
Behold, I tell you a mystery:
we will not all die,
but we will all be transformed,
and transformed suddenly, in an instant,
at the time of the last trumpet.
For the trumpet will sound,
and the dead will rise up incorruptible,
and we will be transformed.
Then will be fulfilled
The word that is written:
Death is swallowed up in victory.
O Death, where is your sting?
Hell, where is your victory?
Herr, du bist würdig zu nehmen
Preis und Ehre und Kraft,
denn du hast alle Dinge geschaffen,
und durch deinen Willen haben sie
das Wesen und sind geschaffen.
Lord, you are worthy to receive
praise and honor and might,
for you have created all things,
and by you will they have
their being and are created.
7. Chorus
Revelation 14:13
Selig sind die Toten,
die in dem Herrn sterben,
von nun an.
Ja, der Geist spricht,
daß sie ruhen von ihrer Arbeit,
denn ihre Werke folgen ihnen nach.
28 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Blessed are the dead
that die in the Lord
from now on.
Yea, the Spirit says
that they rest from their labor,
and their works follow after them.
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ABOUT THE UMD CONCERT CHOIR
The UMD Concert Choir is chosen by audition from among students
throughout the University. The ensemble maintains a rigorous schedule of
concerts both on and off campus and has established a reputation as one of
the finest symphonic choruses in the DC Metro region. At The Clarice
Smith Performing Arts Center the UMD Concert Choir has performed
masterworks as diverse as the Bach Christmas Oratorio, the Mahler Symphony
#2 and the Verdi Requiem, as well as repertoire by Boulanger, Brahms,
Bruckner, Haydn, Ives, Mozart, Ravel and Stravinsky. In 2010 the ensemble
was featured in a gala performance led by Paul Goodwin of the oratorio Das
Paradies und die Peri, for the School of Music’s Robert Schumann Festival in
honor of that composer’s 200th anniversary.
In addition to its performances on campus, the UMD Concert Choir
has, over the past decade, become a regular artistic partner of the major
professional symphonies in the region. Since 2003 the UMD Concert Choir
has collaborated annually with the National Symphony Orchestra in works
such as the Bach St. Matthew Passion and Mass in B Minor, the Haydn
Creation and Mendelssohn’s Elijah, and has served as the chorus for the
NSO’s annual Messiah performances on five separate occasions. With the
NSO the UMD Concert Choir has appeared under the direction of
maestros such as Christoph Eschenbach, Helmuth Rilling and Iván Fischer.
In November 2013 the ensemble had its first opportunity to collaborate
with the Baltimore Symphony Orchestra, in highly acclaimed performances
of Benjamin Britten’s War Requiem led by BSO Music Director Marin Alsop.
The UMD Concert Choir will perform Bach Cantatas 63 and 110 with the
30 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
NSO in December 2014 and the Mozart Mass in C Minor with the
Baltimore Symphony Orchestra in March 2015.
The six full-time choral ensembles at the UMD School of Music perform
a wide range of the finest a cappella and concerted music, from Medieval
chant and Renaissance polyphony to masterworks of the 20th century,
major operas and premieres of contemporary compositions. The University’s
choral ensembles have appeared by invitation on multiple occasions at the
conventions of the National Association for Music Education, the American
Choral Directors Association and the National Collegiate Choral
Organization and have built a reputation for excellence in performance of
the most challenging and diverse choral repertoire. In August 2014 the
UMD Chamber Singers traveled to Seoul, Korea as one of only 20 choirs
from around the globe to perform by invitation at the 10th World
Symposium on Choral Music.
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UMD CONCERT CHOIR
Edward Maclary, conductor
Cindy Bauchspies, Allan Laino, Rachel Carlson and Steven Seigart, assistant conductors
Hsiang-Ling Hsiao and Milena Gligic, accompanists
Hayley Abramowitz
Bonnie Alger
Scott AuCoin
Katelyn Aungst
Cindy Bauchspies+
Elizabeth Beavers
Michael Biondi
DeMarcus Bolds
Michael Brisentine
Amy Broadbent
Christine
Browne-Munz
Aryssa Burrs
Noah Calderon
Rachel Carlson+
Michael Cohen
Jack Colver
Peter Cunningham
Missy Curl
Chelsea Davidson
Emily Dillon
Caroline Dong
Lisa Driscoll
Matt Eastman
Jovon Eborn
Samantha Enokian
Adia Evans
Alec Feiss
Todd Fleming
Charles Frederick
Andrew Gast
Joshua Gehres
Ann Gershunskiy
Greg Graf+
Ashley Heard
Carl Hengen
Matt Hill
Christian Hoff
Andrea Hopkins
Daniel Hopkins
Carlos HowardGomez*
Clara Huang
Thomas Hunter
Daren Jackson
Matthew Jacobson
Natasha Joyce
Katie Kelly*
William Kenlon
Julianne Kim
Steve Kim
Ashley Kitchelt
Jon Kittner
Ted Kuligowski
Amy Kurtz
Allan Laino+
Serena Lao
Caleb Lee*
Sarah Lee
Nicole Ann Levesque
Nicholas Levy
Jeff Magill
Ianthe Marini+
Claire Martinez
Sukanya Maulik
Jasmine Mays
32 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Christen McWithey
TJ Moeng
Erin Moody
Brian Novotny
Blossom Ojukwu
Ameerat Olatunde
Dan O’Neill
Carianne Powers
Joseph Regan
Jourdan Richard
Diana Saez
Samantha Scheff
Emily Schweich
Steven Seigart+
Zachary Sener
Amanda Staub*
Brady Stevens
Celia Studt
Viktoria Taroudaki
Laura Tenbus
Hayley Tevelow
David Travis
Bryan Vanek
Rebecca Vanover
Andrew Waldburger
Tiffany Wang
Emily Weiser
Ava Wing
Christopher Wong
Laynee Woodward
Jonah Yeh
Doug Yocum
Erica Younkin
+graduate assistant
*student assistant
PROFESSOR OF MUSIC AND
DIRECTOR OF CHORAL ACTIVITIES
GRADUATE STUDENT
CONDUCTORS
Edward Maclary
Cindy Bauchspies
Rachel Carlson
Greg Graf
Allan Laino
Ianthe Marini
Steven Seigart
ASSISTANT PROFESSOR OF
CHORAL MUSIC EDUCATION
Kenneth Elpus
CHORAL ADMINISTRATOR
Lauri Johnson
CHORAL ASSISTANTS
Spencer Goldberg
Carlos Howard-Gomez
Caleb Lee
Amanda Staub
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BASS
HORN
OPERATIONS
Patrick Fowler,
principal
Ben Anderson
Adam Celli
Ian Saunders
Erika Binsley
David Locke
Avery Pettigrew
Alex Rogers
Sam Weich
ASSISTANT
Justin Drew
ORCHESTRAL
LIBRARIAN
Michael Patterson
UMD SYMPHONY ORCHESTRA
James Ross, music director
Mark Wakefield, orchestra manager
FLUTE
TRUMPET
Ceylon Mitchell
Caroline Rohm
Yaeji Shin
Craig Basarich
Tess Coffey
Samantha Laulis
Andrew Shebest
PICCOLO
VIOLIN
Laura Colgate,
concertmaster
(Brahms)
Kaitlin Moreno,
concertmaster (Kim)
Zachariah Matteson,
principal 2nd (Kim)
Audrey Wright,
principal 2nd
(Brahms)
Livia Amoruso
Victoria Bergeron
Emmanuel Borowsky
Claire Cannon
Alexa Cantalupo
Lydia Chernicoff
Jamie Chimchirian
Gray Dickerson
Haley Dietz
Jack Hayden
Dana Judy
Celaya Kirchner
Priya Krishnan
Melanie Kuperstein
Antranik Meliksitian
Hannah Moock
Jesse Munoz
Sharon Oh
Allison Reisinger
Katherine Smolen
Judith Tsoi
Aurora Wheeland
James Worley
VIOLA
Eva Mondragon,
principal (Kim)
Valentina Shohdy,
principal (Brahms)
Rebecca Barnett
Carolyn Cunningham
Susanna Johnson
Mike Kim
Emily Kurlinski
Nora Lee
Ted McAllister
Bill Neri
Troy Pryor
Shabria Ray
Dana Rokosny
CELLO
Kacy Clopton,
principal (Brahms)
Geoffrey Manyin,
principal (Kim)
Jessica Albrecht
Alex Boatright
Carol Anne Bosco
Katy Chiang
Andrew Hesse
Molly Jones
Joshua Kim
Kathleen Monroe
Erin Snedecor
34 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
Caroline Rohm
Yaeji Shin
TROMBONE
Nicholas Hogg
Zenas Kim
OBOE
Lauren Arel
Kelly Klomparens
Santiago Vivas
Gonzalez
BASS TROMBONE
Bryan Woodward
TUBA
Craig Potter
CLARINET
Joseph Beverly
Matthew Dykeman
Austin Hogan
Adam Trinkoff
TIMPANI
Laurin Friedland
Robert Schroyer
PERCUSSION
BASSOON
Yuchi Ma
Nick Ober
Edward Rumzis
Jon Clancy
Robert Schroyer
HARP
Vivian Franks
CONTRABASSOON
Yuchi Ma
Edward Rumzis
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With a valid UMD Directory ID and password, users can access
streaming content from Alexander Street Press databases like Classical Music
Library, Opera in Video, Dance in Video and Contemporary World Music,
as well as streaming audio and video from Naxos Music and Video Libraries.
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Results for eMusic, eVideo and physical items in the collections will be
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UMD Symphony Orchestra and UMD Concert Choir: Brahms German
Requiem — in the UMD Libraries
The following items and materials related to this performance are available
in the collections of the University of Maryland Libraries. For materials held
in the Paged Collections Room, please ask at the circulation desk.
The Girl With Orange Lips, featuring Earl Kim’s Where Grief
Slumbers – Dawn Upshaw, soprano
Location: Michelle Smith Performing Arts Library —
Paged Collections Room
Call Number: MCD 461
Ein deutsches Requiem, Op. 45 — Johannes Brahms
Location: Michelle Smith Performing Arts Library — Online Resources,
Digital Collections:
Classical Scores Library
Accessible through WorldCat UMD:
http://umaryland.worldcat.org/oclc/640389528
In the liner notes for Dawn Upshaw’s recording of Earl Kim’s Where Grief
Slumbers, the composer writes, “Samuel Beckett’s translation of a verse from
Rimbaud’s Le Bateau Ivre — ‘I have dreamt the green night’s drifts of
dazzled snow’ — and a ‘visual-verse’ of Apollinaire — words which form
chains of raindrops — were the two initial sources of inspiration that
resulted in the song cycle Where Grief Slumbers, which deals with departures
and farewells.” This recording also features works by Manuel De Falla,
Maurice Ravel, Igor Stravinsky and Maurice Delage, and is available to be
checked out of MSPAL’s circulating CD collection for up to seven days with
a valid UMD ID.
Ever wish you could see what the orchestra sees while listening to them
bring life to notes on a page? Through the University Libraries, the UMD
community has access to the more than 1,800 scores in PDF format
currently held in the Classical Scores Library database. This Alexander Street
Press database is especially strong in 18th- and 19th-century music, but also
includes works from the 15th through the 21st centuries. Many items in the
Classical Scores Library have associated audio tracks in the Classical Music
Library (also available through the UMD Libraries), and the two resources
work in tandem to provide simultaneous access to printed and recorded
music for both desktop and mobile viewing and streaming.
36 UMD Symphony Orchestra and UMD Concert Choir Brahms German Requiem
For more information on these UMD Library materials
and other resources relating to the performers, pieces,
composers and themes of this program, please visit us at
www.lib.umd.edu/mspal/mspal-previews.
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