Douglas I. Smith, D.M.A., Artistic Director
Previous Programs: 1998 - 1999
November,
1999 - "Brahms On Life"
Four Songs for Women’s Chorus, Two Horns and Harp (Opus 17)
is the epitome of romantic music. The ringing of the harp evokes the joys
of love. But falling teardrops say eternal happiness is found only in the
grave. The second song says no flowers should be strewn on the coffin.
The third song has the gardner, a hero, as he weaves flowers into boughs
of warm thoughts and the forth song speaks of the mysteries of ghosts that
roam the hills. The Alto Rhapsodie (Opus 53) was composed to the
words from a poem by Goethe, describing a winter meeting with a solitary
stranger who had withdrawn from society. The Lovesong Waltzes (Opus
52) are "Brahms On Life", exploring all manner of attitudes
on the subject of love. They are light and ethereal pieces, influenced
by Brahms relationship with Robert Schumann. M. Ken Takasawa accompanied
on piano, Jan Holland, harpist; Brent Benfield and Larry Williams, french
horns; Michael Strauss, violist; and Melore Love, mezzo soprano. Michael
Rubin was the rehearsal accompanist.
April
1999 - Felix Mendelssohn's Elijah
This is considered one of the two Victorian choral repertoire giants
- the other being Handel's Messiah. While Messiah remained
a staple of 20th century choral music, Elijah fell from favor and
only recently has enjoyed a revival in popularity. In 1844 while in London,
Mendelssohn met the famed singer Jenny Lind, who had a profound influence
on him. Elijah was mostly composed at a time when Mendelssohn and
Lind were seeing each other daily and it was her voice that inspired most
of the soprano writing, including the main soprano aria "Hear Ye Israel".
endelssohn's major impact in Great Britain came as a result of the 1846
presentation of this oratorio (a sacred opera without the benefit of costumes,
scenery or acting). By his own account "no work of mine was ever met at
first performance with such enthusiasm . . . no fewer than four choruses
and four arias were encored." The piece spoke especially to Mendelssohn's
heart, drawing on the folklore of his forsaken Hebraic heritage.
December
1998 - A Centennial Celebration George Gershwin
George Gershwin was born in Brooklyn, N.Y. in 1898. He became
one of America's foremost and respected composers. Gershwin wrote his first
largely successful musical piece, Rhapsody in Blue (1924) in less
than three weeks. He had a deep desire to create an American opera which
he achieved in 1935 with Porgy and Bess. This concert, performed
at the lovely Avalon Theatre, begins with "A Gershwin Portrait" including
an opening of Strike Up the Band and
I Got Rhythm. The
"Swing Set" includes dance tunes, followed by "Fascinating Rhythm", "Gershwin
in Love" and "Showstoppers". The second half of the program features renowned
soprano, Kishna Davis and baritone, Gregory Gardner, presenting the most
stirring and unforgetable moments from Gershwin's Porgy and Bess.
Gershwin's music is marked by uncommon harmonic inventiveness with twists
of "fascinating rhythm" laced with jazz idioms. It is said that George
Gershwin made an "honest woman" out of jazz and brought her to the sacred
halls of classical art music.
May
1998 - Franz Joseph Haydn's
MASS
IN C MAJOR. A Mass in Time of War - 1796
The title of this Mass is self-evident; at this time, Austria was engaged
in a disastrous war with Napoleon, who was winning battle after battle
in Italy and invading other European strongholds. Though the Mass was designed
as a prayer for peace, years later as Haydn lay dying in Vienna in 1804,
the city was occupied by the French. Of all the charming movements, graced
with techniques of the classical composing, the Agnus Dei is without doubt
one of Haydn's most famous movements. The famous timpani solo (in Austria
they call this the "Paukenmesse" or "Kettledrum Mass") which enters
unexpectedly is a stroke of genius and the huge climax with trumpets blaring
is somewhat frightening in its intensity. The usually soft comtemplative
nature of a movement entitled "Lamb of God" seems more like a demand
for peace. Equally important is the beautiful cello obligato in the bass
aria "Qui tollis peccata mundi" and the quick concerted styles of
call and response lines with soloists. The four short a cappella motets
done at the beginning of this concert were only recently unearthed and
are very unusual in that they were written for all in unison instead of
the more traditional tenor and baritone divisi. But the original language
is English and their texts are very spiritual.
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Easton Choral Arts Society
P. O. Box 13
Easton, Maryland 21601