Dr. Sal Ferrantelli, Music Director
Salute to Sal!
Saturday & Sunday, May 6-7, 2017
with orchestra and soloists
Carmel Mission Basilica
David Dally, Concertmaster
Pauline Troia, Keyboard
Katherine Edison, soprano
Linda Purdy, mezzo-soprano
Arthur Wu, tenor
Reg Huston, baritone
DEDICATION
I wish to dedicate my final I Cantori di Carmel concert to
my wife, Carol, my children, Tiffani, Jonathan and Vanessa,
my grandson Emilio, my son-in-law Armando, my brother
Peter and sister-in-law Mary Ellen, my sister Mary Louise
and my brother-in-law Dennis.
Sal Ferrantelli
Our thanks to Elizabeth Sosic and family for their generous
sponsorship of selections from the Brahms German Requiem.
We perform them in honor of her late husband, Zvonimir Sosic.
I Cantori di Carmel
Board of Directors
Susan Mehra, President
Steven Yoo, Vice President Gayle Smith, Treasurer
Gisela Nobinger, Secretary Byron Chong, Operations
Tamara Sommerville, Publicity Elizabeth Behrens/Nagle, Development
Soprano
Donna Bartoli
Georgette Berry
Mary Bragado
Heather Chang
Gail Cooper
Pamela Cummings
Phyllis Edward
Guilie Garland
Jody Lee
Roxy Kennedy
Jennifer Paduan
Tracy Perkins
Sandy Pratt y
Sarah Saxby
Tamara Somerville
Mary Welschmeyer
Violin 1
David Dally
Arlyn Knapic
Vernon Brown
Nicola Reilly
Violin 2
Laura Burian
Gretchen Taylor
Mary Piggott
Chandra Allen Viola
Don Dally
Rebecca Stone
Chorus
Tenor
Kevin Call
David Canright
Alfred W. Cooper
Nico Eagleshadow
Justin Huang
Robert Kensler
Dennis Lucey
Jonathan Morgadinho
Arthur Wu
Wendel Yee y
Steven Yoo
Alto
Elizabeth Behrens/Nagle
Laura Frank
Christina Farnsworth
Jane Felton
Melanie Harris
Thelma Fredricksen
Melanie Harris
Astrid Holberg
Rachel Knowles
Cathy Lee
Christine Leoncio
Susannah McNamara
Susan Mehra y
Gisela Nobinger
Heather Odonnell
Claire Parrish
Gayle Smith
Jeannie Young
Angela Zepp
y
Orchestra
Cello
Margie Dally
Bass
Arnold Gregorian
Flute
Karen King
Marci Krause
Oboe
Peter Lemberg
Deborah Busch
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Bass
Jack Arnold
Seth Bates
John Castagna
Byron Chong
Bill Gee
Joe Maclivaine
Steve Moore y
Andrew Passell
Todd Perkins
Frank Raab
Section Leader
Clarinet
Justine Hamlin
Lisa Marie Baratta
Horn
Ruth Jordan
Emily Craparo
Trumpet
Kevin Jordan
Scott Seward
Timpani
Greg Bullock
Keyboard
Pauline Troia
Artists
Dr. Sal Ferrantelli, conductor, is professor of choral music at Monterey
Peninsula College and has led I Cantori di Carmel since its inception. He
is a conductor, composer, educator, arranger and singer. I Cantori and the
MPC Chorus have premiered a number of his compositions, some of
which are being prepared for publication. He is a member of the American
Choral Directors Association and has performed with the Robert Shaw
Carnegie Hall choral workshops. He received his Bachelor and Master of
Arts degrees from San Diego State University and his Doctorate in Music
from Indiana University. In 1997 he was honored by San Diego State
University as outstanding music alumnus of the year.
Pauline Troia, pianist, is a native of Chicago and studied piano, theory and
voice at the Conservatory of the Chicago Musical College and at Northwestern University. Longtime accompanist for I Cantori di Carmel, she also
accompanies Camerata Singers of Monterey County and has worked with the
adult and youth choruses of the Carmel Bach Festival. She serves as musician
for Congregation Beth Israel in Carmel Valley and is pianist for the annual
Sing-a-long Messiah at the Carmel Mission. Off "the bench,” she delights
in her role as a Point Lobos docent.
Susan Mehra, assistant conductor, has been a member of I Cantori since
1987. She is a graduate of U.C. Berkeley and The Fielding Institute. In
1991 she organized a small group of I Cantori singers who were interested
in performing chamber music. The group became known as VOCI a cappella
Chamber Ensemble and, under her leadership, has continued over the years
to perform sacred and secular music for Monterey Peninsula audiences.
Susan has been a member of the Carmel Bach Festival chorus for over 20
years. She is a retired Clinical Psychologist. Performing, conducting, and
listening to music has been her own best form of therapy.
David Dally is first violinist and founder of the Monterey String Quartet, Concertmaster of Ensemble Monterey and has performed as a concertmaster with I Cantori
di Carmel since its foundation. He has been Concertmaster of the Monterey Bay
Symphony, Hidden Valley Operas, Monterey Opera and played first violin with San
Jose and Monterey County Symphonies. Since 1989, David has been Director of
the Monterey Peninsula College String Ensemble and Symphony. He has guest
conducted the Monterey County Pops and various other orchestras in this area. He
graduated with honors from U.C. Berkeley in music where he studied conducting
with Michael Senturia and James Cunningham and violin with Felix Khuner and
Virginia Baker. David also plays violin and trumpet with Mike Marotta Jr. in the
Marotta Band and Monterey International. David has been a long-time coach for
the Humboldt Chamber Music Workshops and other chamber music workshops
around California and also enjoys private teaching at his home studio.
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Katherine Edison, soprano, is originally from Chicago and received her music training at Northwestern University School of Music, later receiving a Master of Fine Arts
in performance at the School of the Art Institute of Chicago while studying with Tom
Wikman, artistic director of Music of the Baroque. She taught voice in the Art Institute’s performance program from 1983-1989. In 1990 she moved with her family to
Sun Valley, Idaho, performing as a regional soprano soloist. From 2000-2006 Katherine was head of the voice department for the music school founded by the Sun Valley
Summer Symphony, preparing regional students for college music programs. Katherine
is a proud member of NATS (National Association of Teachers of Singing).
Linda Purdy, mezzo-soprano, has had the privilege of singing as alto soloist with Sal
Ferrantelli conducting I Cantori di Carmel for over 30 years, beginning with the premiere concert, culminating with this special “Salute to Sal” celebration! During the singing and touring years, Linda maintained a vocal studio in Monterey as well as teaching
young aspiring professional Broadway singers at “Steps on Broadway” in New York City.
A Metropolitan Opera auditions winner, she sang concerts, recitals, musical theater and
opera at the Dorothy Chandler Pavilion in Los Angeles, with the Roger Wagner Chorale
of Los Angeles, the Goldovsky Opera of New York, the Pocket Opera of San Francisco,
the Niscience Foundation of Glendale, and the Forest Theater of Carmel. For more than
two decades, she concertized with “The Mother Lode Musical Theater Company” of San
Francisco as touring artist under Zuckerman Concerts Arts Alaska, Overture Concerts
Vancouver, B.C., Bravo Artist Management Seattle, California Arts Council, Mobil
Foundation, and Community Concerts New York. She recorded with Musical Heritage
Society, Sonic Arts Corporation, Troubadour Records, and ARC Recordings.
Arthur Wu, tenor, has a bachelor’s degree in music from the University of California
at Santa Barbara. He first sang with I Cantori in 2009 and left Monterey to attend
UCSB in 2011. He has performed in L’incorinazione di Poppea by Monteverdi, Il
Barbiere di Siviglia by Rossini, and Luisa Fernanda by Torroba. In addition to these,
he has performed in numerous opera scenes from L’elisir d’amore, Die Zauberflote,
Edgar, and many others. Arthur also starred in an original musical written by students
of the college of creative studies at UCSB called "Even Greater Britain" in 2015 and
this summer of 2016 was in the chorus for the west bay opera production of Madame
Butterfly. He is honored to once again be singing with I Cantori di Carmel.
Reg Huston, bass, received his Bachelor and Masters of Music degrees from the
University of the Pacific Conservatory of Music. He was a member of the Music
Academy of the West in Santa Barbara and the Merola Opera program (San Francisco
Opera) before becoming a charter member of the Hidden Valley Opera in Carmel
Valley, CA. He also studied at the Conservatory of Vienna. After appearing in a
master class given by Elisabeth Schwarzkopf, she invited him to perform Figaro in
the Salzburg Mozarteum production of the Marriage of Figaro with Peter Ustinov as
director. This led to a two-year contract with the Hamburg State Opera. Since 1988,
Reg has lived and performed in Monterey County where he is particularly known
for his portrayal of Tevye in Fiddler on the Roof. Seven years ago he started S.T.A.R.
Foundation of Monterey County (Support the Arts Regionally), which has donated
over $1,000,000 to Monterey County schools and theaters in support of performing
arts programs for youth. He has performed over 60 roles in opera and musical theater.
5
Program
As this is my final concert as I Cantori’s Music Director, please allow a
personal reflection on some of the pieces I have chosen for our program
tonight.
Sal Ferrantelli Thomas Weelkes
(1576- 1623)
Hark, All Ye Lovely Saints Above by Thomas Weelkes is special to us as
it was the very first song in I Cantori’s first regular concert, held in the
Pacific Grove United Methodist Church in 1981.
Hark, All Ye Lovely Saints Above
Ave Maria
I discovered the wonderful romantic colors of Bruckner’s Ave Maria
while singing in my High School honor choir in 1956. I came to love
this brief work. It was to be 30 years before my first opportunity to
conduct this piece. I Cantori performed it in 1986.
Ein Deutsches Requiem
Mvt. I: Selig Sind Die Da Leid Tragen
Mvt. IV: Wie Lieblich Sind Deine Wohnungen
Mvt. V: Ihr Habt Nun Traurigkeit
Anton Bruckner
(1824 - 1896)
Johannes Brahms
(1833 - 1897)
Katherine Edison, Soprano
As a 17 year old, after singing this great work under the direction of
Robert Shaw in San Diego, it became my dream to someday perform
this masterwork as a conductor. This was realized in 1987 with I
Cantori, Monterey musicians and David Dally as our concertmaster.
Our soloists were Caterina Micieli and Peter Tuff. Tonight’s program
features movements I, IV and V.
Intermission
Coronation Anthems
Anthem No. 3: My Heart Is Inditing
Anthem No. 2:The King Shall Rejoice
George Frideric Handel
(1685 - 1756)
I have long been a fan of the history of English Royalty. Handel’s Coronation and Chandos Anthems delighted me when I first studied them in
preparation for I Cantori’s performance in the Mid 80’s. Their style was,
in my opinion, unique, and so very appropriate for the lavish pomp of
English ceremonial occasions.
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Selig Sind Die Da Leid Tragen
As a young singer in the performance of the Brahms Ein Deutsches Requiem (mentioned above) I was moved by the beauty of Brahms’ choral
writing. It is principally his choral music that has been my inspiration
for the compositions I have written for MPC choral ensembles. I wish to
dedicate Selig Sind Die Da Leid Tragen to I Cantori, with my deepest
gratitude for 36 years as their conductor.
Missa Solemnis, Op. 123
Kyrie Eleison
Sal Ferrantelli
(b. 1940)
Ludwig Van Beethoven
(1770- 1827)
Katherine Edison, Soprano
Linda Purdy, Mezzo
Arthur Wu, Tenor
Reg Huston, Baritone
I have long been awed by Beethoven’s Last great choral Mass. Because
of the critical need for large choral and orchestral forces for the majority
of the entire Mass, it was unlikely that I would ever have an opportunity to program this masterpiece. We feel fortunate, however, to be able to
perform the Kyrie Eleison, the solemn and profound first movement, as
it is possible to perform in spite of the restrictions (due to fire safety regulations) on the number of singers and musicians allowed in the Mission.
Mass in C, Op. 86
Ludwig Van Beethoven
Kyrie Eleison
Gloria in excelsis Deo
Katherine Edison, Soprano
Linda Purdy, Mezzo
Arthur Wu, Tenor
Reg Huston, Baritone
The Beethoven Mass in C was our very first complete Mass with a full
orchestra and soloists in the Mission Basilica in 1984. Two of our soloists from that performance, who became our featured singers in many
concerts thereafter, are with us again tonight: Linda Purdy and Reg
Huston. They are joined by two featured soloists of recent years: Katherine Edison and Arthur Wu. We have been fortunate to have these fine
performers!
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Conductor's Notes
Weelkes - Hark, all ye lovely saints above
Late 16th century English composer and organist Thomas Weelkes was principally a composer of Madrigals and
Anthems. He was appointed organist and choir master at Chichester Cathedral in 1601-02. By that time he had published
three volumes of Madrigals. A fourth volume followed in 1608. Weelkes’ Madrigals were often bright and joyful, with
unconventional rhythms. Hark, All Ye Lovely Saints Above, one of Weelkes’ best known works, begins immediately with
syncopated accents that are maintained throughout the first full passage. There follows a passage of “Fa-la-la”, a familiar
stylistic technique in English madrigals. After a somewhat somber sustained passage in which “text painting” is applied to
the words: “Ladies mourn, ladies mourn”, a second “fa-la-la”section brings the madrigal to a rather light hearted close . The
poem was written by the composer.
See, see, your mistress bids you cease,
And welcome Love, with love's increase;
Diana hath procured your peace. Fa la.
Cupid hath sworn
His bow forlorn
To break and burn, ere ladies mourn. Fa la.
Hark, all ye lovely saints above,
Diana hath agreed with Love,
His fiery weapon to remove. Fa la.
Do you not see
How they agree?
Then cease, fair ladies; why weep ye? Fa la.
Bruckner - Ave Maria
The sacred choral compositions and symphonies of Anton Bruckner have established him as a major figure among
composers of the 19th century. As a man of profound religious faith, it is not surprising that his sacred works comprise
a large part of his output. Bruckner’s a cappella motets offer both a dedication to time-honored musical form and the
composer’s own exceptional power and spirituality. The Ave Maria of 1861 is a fervent, soulful response to this much
beloved prayer to Mary. It begins in hushed, prayerful meditation, first in the women’s voices, then answered by the tenors
and basses. After two hushed statements of the name of Jesus, the third is proclaimed with great power. The chorus then
soars forth with the words “Sancta Maria, mater Dei” (Holy Mary, Mother of God). The final section is again meditative
on the final words: ”pray for us sinners now, and in the hour of our death. Amen.”
Ave Maria gratia plena, Dominus tecum
benedicta tu in mulieribus et
benedictus fructus ventris tui, Jesus.
Hail Mary, full of Grace, the Lord is with thee
Blessed art thou among women and
and blessed is the fruit of of thy womb, Jesus
Brahms - Ein Deutsches Requiem -: Mvts. I, IV, V
Ein Deutsches Requiem (A German Requiem), Opus 45, falls approximately in the middle of Brahms’
nearly 500 works in several genres. The Requiem is unique among Brahms’ works for several reasons: At age 35, it was the
first composition to make his name generally known; it is his only large scale multi-movement choral-orchestral work, and
most significantly, the Requiem ushered in a period in which personal, intellectual, and spiritual concentration became the
guiding principals of Brahms’ work. It is these creative priorities that give Ein Deutsches Requiem its great beauty and
power. This is profoundly felt in the internal text-music relationship emanating from Brahms’ deeply spiritual nature.
In the Roman Catholic liturgy the Requiem Mass text focuses upon intercessory prayers for the souls of the dead
and describes (in the “Dies Irae“ sequence) the everlasting horrors that await the damned. The music in the nineteenth
century requiems of Verdi and Berlioz mirrors these sorrowful and cataclysmic words. Brahms, however, was moved
to compose a Requiem which gives hope and comfort to the living. Therefore he carefully selected texts of love, hope,
reassurance and ultimate joy from the Old and New Testaments and the Apocrypha of the German Bible. The selection
of these texts and their order found inspiration in the composer’s own intuitive wisdom. These were personal choices,
unconstrained by church dogma. Both text and Brahms’ sublime music give us the ascending ideas of consolation and
comfort for those that mourn, the overcoming of doubt, victory over death, and everlasting bliss for the redeemed of the
Lord.
8
The first performance of the Requiem took place at the Bremen Cathedral on Good Friday, 1868, with Brahms
conducting.
Ein Deutsches Requiem has become a greatly loved work in this country through the early and mid twentieth
century inspired teaching, performances, and recordings of such great musicians as Julius Herford, Robert Shaw, Bruno
Walter and many performers and educators during those early years and the decades thereafter.
Whatever the external influences on Brahms may have been, it seems clear that the masterful and deeply spiritual
conception of Ein Deutsches Requiem emanated from the heart of a gentle and profoundly spiritual man who was clearly
ahead of his time in his enlightened understanding of Christ’s message and humanity’s hope for everlasting life in the
spiritual realm.
Mvt. I: Selig Sind Die Da Leid Tragen (Saint Matthew 5: 4)
Selig sind die da Leid tragen,
denn sie sollen getröstet warden.
Die mit Tranen saen werden Freuden ernten.
Sie gehen hin und weinen,
und tragen edlen Samen,
und kommen mit Freuden,
und bringen ihre Garben.
Blessed are they that mourn,
for they shall have comfort.
They that sow in tears shall reap in joy.
Who goeth forth and weepeth,
and beareth precious seed,
shall return with rejoicing,
and bring his sheaves with him.
Mvt. IV: Wie Lieblich sind deine Wohnungen (Psalm 84: 2)
Wie lieblich sind deine Wohnungen,
Herr Zebaoth.
Meine Zeele verlanget und sehnet
nach den Vorhöfen des Herrn.
Mein Leib und Seele freuen sich,
in dem lebendigen Gott.
(Wie lieblich sind sind deine ——)
Wohl denen, die in deinem
Hause wohnen.
Die loben dich immerdar.
Wie lieblich sind deine Wohnungen!
How lovely is Thy dwelling place,
O Lord of Hosts!
For my soul, it longeth, yea fainteth
for the courts of the Lord.
My soul and body crieth out,
yea, for the living God.
(How lovely is Thy——-)
O blest are they that dwell
within Thy house.
they praise Thy name for evermore!
How lovely is Thy dwelling place!
Mvt. V: Ihr habt nun Traurigkeit (Saint John 16: 22)
Soprano
Ihr habt nun Traurigkeit, Ye now are sorrowful,
aber ich will euch wiedersehen, howbeit ye shall again behold me,
und euer Herz soll sich freuen. and your heart shall be joyful.
Und eure Freude soll niemand And your joy no-one
von euch nehmen. taketh from you.
Chorus
Ich will euch trösten,
wie einen seine Mutter tröstet.
Yea, I will comfort you,
as one whom his own mother comforteth.
Soprano
Sehet mich an; ich habe eine
kleine Zeit Mühe und Arbeit gehabt,
und habe grossen Trost funden.
Look upon me; ye know that for a
little time labor and sorrow were mine,
but at the last I have found comfort.
Chorus
Ich will euch trösten Yea, I will comfort you
wie einen seine Mutter tröstet. as one whom his own mother comforteth.
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Handel - My Heart Is Inditing and The King Shall Rejoice
Handel was commissioned to write the music for the coronation of King George II of England and Queen
Caroline in October, 1727. The composer wrote four multi-movement coronation anthems. All four were performed at
the ceremony with the Chapel Royal choir of about 50 singers and, according to accounts, an enormous orchestra. The
various movements of these wonderful anthems were, at turns, bright and joyful, sometimes elegant, and always with a
grand ceremonial style. These qualities have ensured their popularity at concerts and festivals from Handel’s time to the
present day.
My Heart Is Inditing (first movement)
The first movement of My Heart Is Inditing (from Latin “Indictare” = to declare, reveal) gives us Handel’s elegant
writing in triple meter on the words: “My heart is inditing of a good matter”. After the orchestral introduction on the
main theme with brilliantly ornamented concluding lines in the violins, the voice sections—two at a time—announce
the opening words, “My heart is inditing”, and then join in an embellished duet for the end of the sentence: “of a good
matter”. The second theme is announced—one voice at a time with concluding embellished duet—with the final words:
“I speak of the things which I have made unto the King”. At the conclusion, the lilting refinement bursts forth into a
considerably heavier grand finale with the addition of trumpets and tympani.
My heart is inditing of a good matter:
I speak of the things which I have made unto the King.
Kings daughters were among thy honourable women
Upon thy right hand did stand the Queen in vesture of gold
and the King shall have pleasure in thy beauty.
Kings shall be thy nursing fathers
and queens thy nursing mothers.
The King Shall Rejoice (first movement)
The text of The King Shall Rejoice is that of Psalm 21, verses 1-3 and 5. The first movement, performed on tonight’s
program, speaks of the King’s joy and God’s power. This marvelous movement is charged with festive pomp, energy,
and stately trumpet fanfares. As the music will show, Handel took full advantage of the wide spatial reverberation in
Westminster Abbey, utilizing the full force of massed choir and orchestra.
The King shall rejoice in thy strength, O Lord!
Exceeding glad shall he be of thy salvation.
Glory and worship hast thou laid upon him.
Thou hast prevented him with the blessings of goodness,
and hast set a crown of pure gold upon his head.
Alleluia!
Ferrantelli - Selig die da Leid tragen
For this original composition, the words of consolation and compassion: “Blessed are they that mourn, for they
shall have comfort” (Mathew 5:4) were selected from the litany of blessings (the Beatitudes) spoken by Christ at the
sermon on the mount. In this piece (my 10th original composition written in 2008 for I Cantori and revised with added
wind instruments for this concert) I have endeavored to compose music that serves the message of the Biblical text, in
which those who grieve are promised the blessings of hope and comfort. My musical style is that of nineteenth century
Romanticism—in particular the music of Brahms and Bruckner. Originally, this work was orchestrated only for strings
and keyboard. I have revised it for the present concert, adding the varied colors of flutes, oboes, clarinets and horns. As
always, my violin solos have been written for our wonderful concert master for each of our 36 years, David Dally.
Selig sind die da Leid tragen,
denn sie sollen getrostet werden.
Die mit Tränen saen werden Freuden ernten.
Sie gehen hin und weinen,
und tragen edlen Samen,
und kommen mid Freuden,
und bringen ihre Garben.
Blessed are they that mourn,
for they shall have comfort.
They that sow in tears shall reap in joy.
Who goeth forth and weepeth,
and beareth precious seed,
shall return with rejoicing,
and bring his sheaves with him.
10
Beethoven - Kyrie Eleison from: Missa Solemnis, Op. 123
The extraordinary Missa Solemnis, a work composed toward the end of Beethoven’s life, when he was totally
deaf, owes its inception to the composer’s close relationship to Archduke Rudolf—the youngest son of the Austrian
Emperor. The Archduke, who had been a young student of Beethoven, devoted his energies to music and to the collection
of manuscripts of many of Beethoven’s works. The first surviving reference to his Missa Solemnis was in a letter from
Beethoven to the Archduke concerning the Archduke’s impending investiture as a Cardinal of the Roman Catholic
Church:
“The day on which a High Mass composed by me during the solemn ceremonies for your imperial Highness will
be the most splendid day of my life; may God enlighten me so that my humble talents may contribute to the
magnificence of that wonderful day”
Beethoven immersed himself in the serenity of Gregorian Chant, the lovely complexities of sixteenth- century
polyphony, the music of Bach and the Symphonic Masses of Joseph Haydn, with whom he had studied as a young man.
Unfortunately for the Archduke, the composition of the Missa took all of four years to compose, and the Investiture was
celebrated with music other than Beethoven’s great work. It is well documented that Beethoven considered the Missa
Solemnis to be his greatest masterpiece!
In the Kyrie Eleison, performed this evening, we are greeted in the very beginning of the Kyrie with cataclysmic
explosions and upward thrusts in the orchestra that will become the music for “Kyrie” (Lord). This is followed by gentle,
lyrical orchestral passages which will become the music for “Eleison” (have mercy). When the chorus enters with the
powerful cry of “Kyrie”, it is abruptly hushed, followed by a brief, tranquilÖ tenor solo. This opening choral cry of “Kyrie”
followed by contrasting lyrical solo is repeated by the chorus and the remaining three soloists. Then Beethoven writes the
gentle, lyrical “Eleison” music for the chorus.
As Robert Shaw has expressed, this unusual treatment of the “Kyrie”, and the continual surges and recessions of
sonorities and abrupt loud and sudden soft passages must have been for its time a “disturbing originality”. It was certainly
not the practice of the near contemporaries of Beethoven. On the other hand, the Christe Eleison flows more graciously
in 3/2 meter. The dynamics are less abrupt in their changes, and do not reach the extreme levels of the Kyrie. There is a
certain urgency, however, to the repeated calls of “Christe”, “Christe” in two note motives in the midst of flowing lines of
“Eleison”, first in the soloists then in the chorus. Beethoven’s Kyrie Eleison from the Missa Solemnis is in itself a work
of considerable depth and solemnity with musical language rather new to a musical setting of the Mass text . This music
may call forth—for those who look beyond the notes—serious questions as to its possible symbolic meaning. For this great
Mass as a whole, there are—as to Beethoven’s intent on how his music should honor the sacred liturgical Mass text—no
simple answers.
Kyrie eleison
Christe eleison
Kyrie eleison
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Lord, have mercy,
Christ, have mercy
Lord, have mercy
Beethoven - Mass in C, Op. 86 (Kyrie and Gloria)
Ludwig Van Beethoven has been described by one Historian as “A Colossus astride two centuries”. His formal
structures, carried forward from the eighteenth century practice of Haydn and Mozart, began to expand in his second style
period, notably with the “Eroica” Symphony. His works now brought forth great power and a growing sense of emotional
depth that emanated from Beethoven himself. Thus, he paved the way for nineteenth century Romanticism, when a
composer’s emotional connection with his or her music was an absolutely essential component.
From the very first a cappella unison note in the bass section, the Mass in C “Kyrie” establishes a continuously
lyrical vocal-orchestral line in which the chorus and soloists alternate with contrasting themes. After a modulating
passage by the soloists and chorus, the “Christe Eleison” is gently introduced by the soloists and continued in alternating
phrases with the chorus in the distant key of E Major. With a return to the original key of C the opening music is again
heard as chorus and soloists build through a crescendo to a marvelous pinnacle of lush harmonic beauty. The movement
ends as it began, with a choral unison, but now amid rich orchestral harmony.
The “Gloria” bursts forth with great power, leading through alternating quiet and powerful passages,(sometimes
only a measure or two in length) to the tenor solo: “Gratias agimus tibi” (We thank Thee for Thy great glory). The tenor
and chorus come to a close in F Major. Beethoven directly shifts to F Minor for the Alto solo on “Qjui tollis peccata
Mundi” (who takes away the sins of the world). After a lengthy passage through several liturgical sections of the “Gloria"
text, the orchestra and chorus boldly proclaim the theme for “Quoniam to solus sanctus” (Only thou art holy). The chorus
then takes this powerful theme and careens into an exciting fugue whose energy continues unabated until the soloists
join—again with contrasting dynamic levels—on the final “Amen”. Beethoven’s final two notes, again in a choral unison,
are so typical of the composer’s penchant for powerful endings, uniting all as one voice like the strokes of a hammer.
Kyrie eleison
Christe eleison
Kyrie eleison
Lord, have mercy,
Christ, have mercy
Lord, have mercy
Gloria in excelsis Deo
et in terra pax hominibus bonæ voluntatis.
Laudamus te,
benedicimus te,
adoramus te,
glorificamus te,
gratias agimus tibi propter magnam gloriam tuam,
Domine Deus, Rex cælestis,
Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe,
Domine Deus, Agnus Dei, Filius Patris,
Qui tollis peccata mundi,
miserere nobis;
qui tollis peccata mundi,
Súscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus Sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe,
vcum Sancto Spiritu:
in gloria Dei Patris.
Amen
12
Glory to God in the highest,
and on earth peace to men of good will.
We praise Thee,
we bless Thee,
we admire Thee
we glorify Thee,
we give thanks to Thee for Thy great glory.
Lord God, heavenly king,
God, the Father almighty,
Lord, Jesus Christ, the only begotten Son,
Lord God, Lamb of God, Son of the Father,
Thou, who takest away the sins of the world,
have mercy on us.
Thou that takest away the sins of the world,
receive our prayer.
Thou, who sittest at the right hand of the Father,
have mercy on us.
For Thou alone art holy,
Thou alone art the Lord,
Thou alone art the most high, Jesus Christ,
with the Holy Spirit,
in the glory of God the Father.
Amen
We gratefully acknowledge the following
donors for their financial support
Seraphim ($1000 or more)
Archangel ($500-$999)
Angel ($100 - $499)
Gail & Alfred Cooper
Eagleshadow Family
Christina Farnsworth
Jane & James Felton
Sara L. Harkins
Jane Heider
William & Katherine Knapp
*Catherine & Robert Lee
Joe MacIlvaine
Susannah & Thomas McNamara
Susan Mehra
Claire Parrish
*Andrew Passell
Todd & Tracey Perkins
Gail Piper de Mesa
Kathryn & Kendall Smith
Tamara & James Sommerville
Arts Council Of Monterey County
Salvatore & Carol Ferrantelli
*William Gee
Astrid Holberg
Roy Lorenz
Morgadinho Family
†Elizabeth Sosic
Carol & Salvatore Ferrantelli
Gisele Nobinger
Yellow Brick Road
Seth & Tania Bates
Gisela Nobinger
Jennifer & Jeffrey Paduan
*Gayle Smith
Cherub (up to $99)
Kelly Baker
Sarah Bishop
Jerel Crosland
Pamela Cummings
Patricia & Mark Kintz
Rachel Knowles
Nell & Grove Nooney
Heather O'Donnell
Marcia Stearns at Bookmark
Jack Arnold
Max & Mary Bragado-Darman
Donna Marie Bartoli
Elizabeth Behrens/Nagle
Jenifer Bovey
Mary & John Castagna
*Byron & Flora Chong
Thelma & Charles Clark
† soloist sponsorship
* musician sponsorship
I Cantori di Carmel thanks the following for
their special contributions to our concerts:
Monterey Peninsula College
Pilgrim’s Way, Carmel
Bookmark, Pacific Grove
Luminata, Monterey
KAZU
VOCI Chamber Ensemble
Cathy Gable, Nicki Pasculli
—Carmel Mission Basilica Coordinators
Bill Roden—Recording Engineer
John Castagna—Graphics
13
John Koza, Artistic Director & Conductor
A rts in
Harmony
Gala
amerata
C Singers
SUNDAY
C amerata
Singers
MAY 14
JOHN KOZA
Artistic Director
and
Conductor
3:00PM
Hidden Valley
BOARD OF
Music
Seminars
DIRECTORS
Carmel
Valley
PRESIDENT
Kellie D. Morgantini
FOOD WI NE
AUCTION CONCERT
$45/pp
Advance
VICE-PRESIDENT
Mary Forbord
$55/pp
Door
C amerata S ingers
PREVIEW
CONCERT
TREASURER
featuring the
TICKETS ON SALE NOW!
ONLINE
camerata-singers.org
BY PHONE
831-642-2701
OR FROM OUR SUPPORTERS
Bookmark: 307 Forest Ave., Pacific Grove
Pilgrim’s Way: Dolores St. & 6th Ave., Carmel
Zeph’s 1-Stop: 1366 S. Main, Salinas
SECRETARY
Nancy Miccoli
FRIDAY
Mark Stevens
MAY 12
DIRECTOR
John Heyl
7:30PM
FOUNDER
Vahé Aslanian
St. Paul’s
Episcopal Church
1071 Pajaro St.
Salinas
Adults $20
PO Box 428
Students
Free
Salinas, CA 93902
Information
831-642-2701
WIN DS OR
Website
camerata-singers.org
ME R RY W I V E S
of
S ha k espear e i n Musi c
20 16/20 17 S e a s o n
ˇ
D vorák’s
Piano Concerto
with
Michael Noble
MAY 19-21
TICKETS:
831-646-8511
montereysymphony.org
14
I Cantori di Carmel gratefully accepts donations
and acknowledges all donors in our concert
programs. Our categories are as follows:
Seraphim
$1000 and up
Archangel
$500-$999
Angel
$100-$499
Cherub
Up to $99
You may send your donation to
I Cantori di Carmel
P.O. Box 1733
Monterey, CA 93942
or donate online at our web site:
www.icantori.org
All donations are tax-deductible
8 PM FRIDAY, NOVEMBER 10, 2017
8 PM SATURDAY, OCTOBER 7, 2017
SUNSET CENTER CARMEL CALIFORNIA
SUNSET CENTER CARMEL, CALIFORNIA
MORGENSTERN TRIO
THE
MIRÓ
MAURICE RAVEL
QUARTET
Trio in A minor
DVOŘÁK
FRANK MARTIN
KEVIN PUTS
FRANZ SCHUBERT
Five Selections from “Cypresses”
“Credo”
10th anniversary of world premiere
commissioned by Chamber Music Monterey Bay
BEETHOVEN
String Quartet in B-flat Major, Op. 130, w/Grosse, Fugue Op. 133
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
OCT 7
8 PM SATURDAY, JANUARY 12, 2018
SUNSET CENTER CARMEL CALIFORNIA
GABRIELLA LENA FRANK
Folk Songs
BEDŘICH SMETANA
Trio in G minor
BEETHOVEN
Trio in B-flat Major, Op. 97, Archduke
Trio on Irish Folk Songs
2017
2018
TRIO
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
NOV 10
8 PM SATURDAY, APRIL 7, 2018
SUNSET CENTER CARMEL CALIFORNIA
8 PM SATURDAY, FEBRUARY 24, 2018
CENTER CARMEL
CALIFORNIA
8 PM SUNSET
SATURDAY,
FEBRUARY
24, 2018
SUNSET CENTER CARMEL CALIFORNIA
DECODA
THE AFFILIATE ENSEMBLE OF CARNEGIE HALL
PERFORMING
FRANZ SCHUBERT
String Quartet No. 12 in C minor, D 703, Quartetsatz
DAVID BRUCE
THE
CLAREMONT
Trio in B-flat Major, Op. 99, D 898
Gumboots
MENDELSSOHN
String Quartet No. 2 in A minor, Op. 13
MORAVEC
JOHANNES BRAHMS
Clarinet Quartet in B minor, Op. 115
Dialogue
BEETHOVEN
String Quartet in A minor, Op. 132
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
JAN 12
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
FEB 24
APR 7
TIX ON SALE AUG 1
831.625.2212
KIDS UP FRONT & FREE!
chambermusicmontereybay.org
15
LISTEN TO:
AND
KAZU’s HD-2
Classical Music Station
Broadcasts classical music 24 hours a day, 7 days a week
Both available at:
A COMMUNITY SERVICE OF CAL STATE, MONTEREY BAY