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SAN FRANCISCO
COMPOSERS CHAMBER ORCHESTRA |
PROGRAM
NOTES |
| Libera Me by Lisa Scola Prosek | ||||
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Lisa Scola Prosek's Libera Me For Chorus, Soloists and String Orchestra was commissioned by the American Composers Forum as a Community Engagement Grant. The purpose of the commission was to bring together two of San Francisco's musical ensembles, The Schola Cantorum San Francisco, and the San francisco Composers Chamber Orchestra, for a single concert of new music. Libera Me was written specifically for these two ensembles, with solos that showcase the singers of the Schola Cantorum.The text is from the Catholic Mass.
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| Selon l’Une by Jan Pusina | ||||
| In 1982 I received a set of post cards with poetry by women poets. I started setting them to music, but only finished one, She Was Beautiful and Wicked by Nina Cassian, who is a Romanian refugee living in New York. The piece was premiered by the San Francisco Civic Chorale, of which I was then a member. When it was announced recently that the SFCCO would be colaborating with Scola Cantorum to do a choral concert, I selected one of the other poems from the set, I’m Terribly Soft, by Sarah Kirsch, which became the third number of tonight’s piece. For the middle number I created a text using random fragments from Writing Is an Aid to Memory by Lyn Hejinian, who teaches at U.C. Berkeley. These three poems are set in contrasting musical styles stridently romantic, intellectual but with feeling, and lushly romantic. - Jan Pusina
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| Canticle of the Sun by Alexis Alrich | ||||
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Canticle of the Sun by Alexis Alrich is based up the poem by St. Francis of Assisi in praise of the creator and creation. St. Francis was born in 1181, the son of a wealthy merchant, and after a riotous youth he underwent a conversion and renounced money and possessions. The sun, moon, fire, earth and even death are personified as “brother sun,” “sister moon,” “mother earth,” and so on, and described in colorful detail. I was attracted by this vibrant imagery and by the lyrical language which is partway between classical Latin and modern Italian.
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| Sempervirens by John Beeman | ||||
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Sempervirens was written in my studio overlooking Sam MacDonald Park in La Honda. The studio offers a panoramic view of a majestic forest of California redwood trees, Sequoia sempervirens. Sempervirens literally means “always green.” The text was inspired by Mary Oliver’s poem,”Wild Geese.” Sempervirens Sempervirens, ancient tree,
great tree, |
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| Missa Beati Notkeri Balbuli Sancti Galli Monachi by Dr. Erling Wold |
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| Missa Beati Notkeri Balbuli Sancti Galli Monachi was commissioned by the Cathedral in St Gallen Switzerland and will be premiered in its entirety in the Fall, but we are here performing a few excerpts. The full piece is a setting of the Ordinary of the Catholic Mass accompanied by two Psalms and a virtuosic organ postlude. The Cathedral is a baroque building built in the mid-eighteenth century on the site of the original and quite famous Abbey of St. Gall, a major center of scholarship and learning in the middle ages in Europe, which is still represented today by an incredibly beautiful library containing one of the most comprehensive collections of early medieval books. The Mass is named for Notker of St. Gall (familiarly known as Notker Balbulus, or Notker the Stammerer; c.840 - c.912), who was one of the first people to identify themselves as a composer in the Western World. His book Liber hymnorum is an early collection of Sequences, which he called "hymns," mnemonic poems for remembering the series of pitches sung during a melisma in plainchant, especially in the Alleluia. In addition, he was a writer, known for a martyrology and a metrical biography of Saint Gall. He was beatified in 1512. | ||||
| Missa "Thé à deux" by Dr. Mark Alburger | ||||
| Missa
"Thé à deux" (1980) , Op. 21, for Voices
and Orchestra, is a cantus firmus mass ordinary based on the Vincent Youmans'
"Tea for Two." The opening Kyrie is a medieval organum in the
spirit of Leonin, Perotin, and the anonymous two-part Ductia in The Historical
Anthology of Music, Volume I. The scoring is open, and can be realized by
an early music mixed "pick-up" ensemble or a modern chorus and
orchestra of any size, or any admixture of the previous. Performers play
from score or parts, as they are comfortable. |
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| Music for Humans by Michael Cooke | ||||
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for Humans makes use of extended vocal sounds instead of the traditional
chorus sing text. Based on ideas Michael has for a choral symphony, the
chorus is asked to make sounds humans can make but choirs are rarely asked
to. Clapping, snapping and clicking of the tongues are some of the extra
sounds the chorus is asked to make. Since there is no text instead of the
traditional Ooos and Aaahs, Michael has used the rich sounds of the Chinese
Phonetic alphabet, Zhuyin Fuhao or BaPaMaFa. Not only are the sounds the
choir makes in Music for Humans unusual, but so is the
way the choir is used. Instead of being a soloist, they are used as just
another set of instruments like they way he used 4 vocalist in his first
symphony. As for the sound of work, one can hear hints of Witold Lutoslawski,
Paul Hindemith, and Meredith Monk. Michael also makes use of techniques
made famous by Giacinto Scelsi, where he improvises sections then transcribes
them into notation for the orchestra to replay. Over all the work maybe
a meditation of the human mind, with points of calm clarity, beauty and
intense confusion that is how we humans live our lives everyday. |
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