DePaul Chamber Choir 2017 Illinois Music Education ConferenceThursday, January 26, 2017, 7:30 pmThe Waterhouse Ballroom

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Dear Friends,

I’m delighted to welcome you to this evening’s performance of the DePaul University Chamber Choir. This group of 34 students, representing 13 different states and at various stages of their musical studies, has come together under the direction of Dr. Eric Esparza to form this stunning choral ensemble.

In my fi rst months as dean of the School of Music, I’ve been honored to work with a deeply dedicated faculty of music professionals in the heart of a world class city. Such a passionate group of educators has provided incomparable training for the next generation of music professionals

standing before you this evening. These accomplished student performers, educators, composers, arts managers, and audio engineers are all striving to sharpen their skills and begin establishing a career in music.

Soon, these very students and faculty members will be housed in an advanced facility to match their talents. In just over a year, the School of Music will cut the ribbon on our new 185,000-square-foot home in Chicago’s Lincoln Park neighborhood. Our student musicians will be given access to unparalleled teaching studios and rehearsal spaces and you, our community of friends and colleagues, are invited to come experience these budding professionals in four new performance venues. After hearing tonight’s concert, I think you’ll agree that these remarkable students deserve enhanced facilities in which to learn and grow.

I hope that the DePaul Chamber Choir inspires you, just as your work as music educators and lifelong music learners inspires me.

Sincerely,

Ronald Caltabiano, DeanDePaul University School of Music

progr a m

Thursday, January 26, 2017, 7:30 pmThe Waterhouse Ballroom

DePaul Chamber ChoirEric Esparza, conductorMichael McElvain, piano

Dear Friends,

Ich lasse dich nicht, du segnest mich denn BWV Anhang 159 (c. 1712)

Johann Sebastian Bach (1685-1750)

Libera nos, salva nos (c. 1545) John Sheppard (c. 1515-1558)

Selections from Spanisches Liederspiel (1849)

V. Es Ist Verraten IX. Ich Bin Geliebt

Robert Schumann (1810-1856)

Exultate Deo (1941) Francis Poulenc (1899-1963)

Halleluja, vår strid er endt (2014)

Laura Smalley, soprano

arranged by Ørjan Matre (b. 1979)

Ezekiel Saw the Wheel (2004) arranged by Mark Hayes (b. 1953)

DePaul Chamber Choir

Madeline Ehlinger, Junior, Vocal Performance, Spring Green, WIEmily Margevich, Senior, Vocal Performance, Hoopeston, ILEsther Rayo, Masters, Vocal Performance, Brawley, CAMargaret Schlofner, Senior, Vocal Performance, Crystal Lake, ILLaura Smalley, Senior, Vocal Performance, Johnston, IAElisabeth Sorensen, Junior, Sound Recording Technology, Minneapolis, MNSarah Szeszol, Junior, Vocal Performance, River Grove, ILAngela Zúñiga, Masters, Vocal Performance, Chicago, IL

Daniel Beatty, Sophomore, Music Education, Los Altos, CAJesse Bockwinkel, Freshman, Performing Arts Management, Shawnee, KSKris Hansen, Senior, Bachelor of Arts in Music, Glenview, ILChristopher O’Brien, Senior, Performing Arts Management, Island Lake, ILDaniel O’Hearn, Junior, Music Composition, Tinley Park, ILBrian O’Neill, Masters, Music Education, Kalamazoo, MIDaniel Rooney, Senior, Music Education, Arlington Heights, IL

Soprano Tenor

Alto

Ashley Eason, Masters, Vocal Performance, DeBary, FLDaina Fischer, Masters, Vocal Performance, Chicago, ILLauren Jacob, Masters, Vocal Performance, Detroit, MIOlivia Leone, Senior, Vocal Performance and Performing Arts Management, Hinsdale, ILMegan Magsarili, Senior, Vocal Performance, Portland, OR Kelby Roth, Sophomore, Vocal Performance, Birmingham, ALLiliana Schiller, Junior, Music Education, Crystal Lake, ILMary Kate vom Lehn, Masters, Vocal Performance, Albany, NY

Bass

Jonathon Fishman, Junior, Chemistry, Highland Park, ILAndrew Groble, Masters, Vocal Performance, Whitefish Bay, WI Andrew Hannau, Senior, Vocal Performance, Simsbury, CTIan Hosack, Masters, Vocal Performance, North Palm Beach, FLThomas P. Hughes, Senior, Vocal Performance, Charlotte, NCAlexander Mark, Junior, Performing Arts Management, Whitehall, MIJohn Micensky, Senior, Sound Recording Technology, Naperville, ILTyler Ricco, Junior, Music Education, Clayton, CAAndrew Saiz, Junior, Music Education, Onalaska, WIRyan Wolfe, Junior, Vocal Performance, Arlington Heights, IL Connor Zuber, Senior, Vocal Performance, Cedar Rapids, IA

Dr. Eric Esparza is the Director of Choral Studies and Vocal Area Coordinator at DePaul University in Chicago, Illinois, where

he conducts the DePaul Chamber Choir, Concert Choir, and teaches courses in choral music. Dr. Esparza is also the Artistic Director and conductor of Windy City Performing Arts. Before moving to Chicago, Dr. Esparza was the founder, Artistic Director, and conductor of International Voices Houston, and served on the music faculty of Sam Houston State University School as conductor of the Concert Choir, and teacher of voice, diction, and music theory. Dr. Esparza was also Artistic Director of the United Nations Association International Choir, and Director of Music Ministries at St. Mark’s United Methodist Church in Houston, Texas.

Originally from San Antonio, Texas, Dr. Esparza holds a Bachelor of Music in Vocal Performance and a Master of Music in Choral Conducting from the Shepherd School of Music at Rice University in Houston, Texas, where he studied with Dr. Joyce Farwell and Maestro Thomas Jaber. He also holds a Master of Arts degree in Arts Administration from Florida State University and earned the Doctor of Musical Arts degree in Choral Conducting from Boston University, where he studied with Dr. Ann Howard Jones. He remains active internationally as a singer, conductor, and music editor.

Pianist-conductor Michael McElvain has been heard on WFMT radio broadcasts, including a live cycle of the complete piano sonatas

of Beethoven, contemporary music program, Relevant Tones, and the annual WFMT Membership Drive. As a soloist and collaborative artist he has performed in masterclasses led by Leon Fleisher, Emanuel Ax, Martin Katz, and David Daniels. Beyond classical music, he has toured Europe as keyboardist for celebrated progressive rock group Pavlov’s Dog. His primary teachers include Daniel Schene and Annie Sherter, a student of Vlado Perlemuter and Alfred Cortot.

Recently, Mr. McElvain led The Metropolitan Orchestra of St. Louis in a performance of Schubert’s “Unfinished” Symphony, acclaimed by Tom Sudholt (KFUO) as “the finest reading I have ever heard.” He has served as chorus master for The Chicago Bach Ensemble, provided music direction for several stage productions including CUBE Ensemble’s first-ever opera, conducted musical theatre works by Stephen Sondheim such as Sunday in the Park with George, and recently, Mary Poppins at Stage 773. Presently, Mr. McElvain serves on the faculties of DePaul University School of Music, and Italian summer voice institute, Musica nelle Marche.

Eric Esparza

Conductor

Michael McElvain

Pianist

Program Notes

J.S. Bach

Baroque composer J.S. Bach of Germany is considered one of the greatest composers of all time. Among his more than 1,000 compositions there are eight motets, including, Ich lasse dich nicht, du segnest mich denn, long erroneously attributed to his ancestor Johann Christoph Bach. The motet is scored for double SATB choirs and basso continuo. Beginning with a text from Genesis, the piece proceeds antiphonally until both choirs join for a fughetto beneath a cantus firmus which is verse three of the chorale Warum betrübst du dich, mein Herz. It is unknown whether the closing chorale was intended by Bach or inserted in subsequent years.

John Sheppard

John Sheppard was an English singer and composer during the Tudor period and became Informator Christorum of Magdalen College in Oxford where it was mandated that the antiphon Liber Nos, Salva Nos was to be recited each night. Sheppard’s musical setting was written to accomplish this with probable performance at the end of the daily office of Compline. Many of Sheppard’s Latin settings involve polyphonic writing for many voices, such as this motet for seven parts.

Robert Schumann

Robert Schumann was a German Romantic composer remembered for experimenting with new forms of music drama, and his tumultuous personal life. He composed the Spanisches Liederspiel, Op. 74 in 1849, setting texts by Emanuel von Geibel (1815-1884) which were translations of the works of various Spanish poets. The work is a collection of 10 songs for between one and four voices and piano. The poems are organized to create a loose plot on the topic of love with different voices assume various “characters.” The two four-part choruses from this set are full of Schumann’s trademark lyricism, poetic mood, and intricate piano writing.

Francis Poulenc

Francis Poulenc was a French composer famous for his lyricism and creative chromaticism, both of which are evident in Exultate Deo. While the piece begins in a simple A-major tonality, Poulenc quickly adds interest with changing meters and touches of chromaticism. As the piece continues, polytonality and more intense chromatics are used to color the psalmist’s intensifying desire to “sing a song to the Lord.”

Norwegian Folk Melody

Halleluja, vår strid er endt is a Norwegian folk melody arranged by Ørjan Matre in an atmospheric setting full of cluster chords and words set in overlapping imitative rhythms that start unison and cascade up and down the scale, often employing a raised fourth scale degree. The text is by a Danish priest and hymn writer named Hans Adolf Brorson, and was published in 1739 in Troens Rare Klenodie (The Rare Jewel of Faith). Matre transcribed the tune from the folk singer Ola O. Fagerheim, who only sang the last verse, typically during funerals as the coffin was lowered into the ground. The text and tune are hopeful and comforting.

American Folksong

Ezekiel Saw the Wheel is an American folksong recounting the vision of the prophet Ezekiel from the Hebrew Scriptures. The wheels in the vision are described as follows: “They sparkled like topaz, and all four looked alike. Each appeared to be made like a wheel intersecting a wheel...Their rims were high and awesome, and all four rims were full of eyes all around. When the living creatures moved, the wheels beside them moved; and when the living creatures rose from the ground, the wheels also rose.” Ezekiel’s meaning has long confounded scholars, and various interpretations abound. The spiritual is perhaps most accessibly viewed through the lenses of teaching and revelation. Ezekiel was sent to inform the people how to lead a more godly life, and God revealed heavenly things to him. The text of the spiritual sets about discerning the difference between godly and ungodly behavior in the verses that are framed by the chorus about the wheels. Mark Hayes uses creative accompanimental rhythms and jazz harmonies in this a cappella setting.

Program notes by Dr. Eric Esparza

Texts and Translations

Ich lasse dich nicht, du segnest mich denn by J.S. Bach

Ich lasse dich nicht, du segnest mich denn, Mein Jesu ich lasse dich nicht, du segnest mich denn!

Weil du mein Gott und Vater bist, dein Kind wirst du verlassen nicht, du väterliches Herz! Ich bin ein armer Erdenkloß, auf Erden weiß ich keinen Trost.

Ich dank dir, Christe, Gottes Sohn, das du mich solchs erkennen lan durch dein göttliches Wort; verleih mir auch Beständigkeit zu meiner Seelen Seligkeit.

Lob, Ehr, und Preis sei dir gesagt für alle dein’ erzeigt Wohltat, und bitt demütiglich, laß mich nicht von dein’m Angesicht verstoßen warden ewiglich.

I will not let you go, until you bless me. My Jesus, I will not let you go, until you bless me!

Since you are my God and Father, you will not abandon your child, you fatherly heart! I am a wretched clod of earth, on earth I know no consolation.

I thank you, Christ, Son of God, That you may recognize me Through your divine Word; Give me stability, as well, To my soul’s bliss.

Praise and honor, For all your goodness, And humbly imploring, Do not leave me from your face, outcast forever.

Libera nos, salva nos by John Sheppard

Libera nos, salva nos, justifica nos, O beata Trinitas.

Free us, save us, defend us, O blessed Trinity.

Es Ist Verraten by Robert Schumann

Daß ihr steht in Liebesglut, Schlaue, laßt sich leicht gewahren; Denn die Wangen offenbaren, Was geheim im Herzen ruht. Stets an Seufzern sich zu weiden, Stets zu weinen statt zu singen, Wach die Nächte hinzubringen Und den süßen Schlaf zu meiden: Das sind Zeichen jener Glut, Die dein Antlitz läßt gewahren; Und die Wangen offenbaren, Was geheim im Herzen ruht.

Daß ihr steht in Liebesglut, Schlaue, laßt sich leicht gewahren; Denn die Wangen offenbaren, Was geheim im Herzen ruht. Liebe, Geld und Kummer halt’ ich Für am schwersten zu verhehlen; Denn auch bei den strengsten Seelen Drängen sie sich vor gewaltig. Jener unruhvolle Mut Läßt zu deutlich sie gewahren, Und die Wangen offenbaren, Was geheim im Herzen ruht.

That you stand ablaze with love, Clever ones, it is easy to discern; For your cheeks reveal What resides secretly within your heart. Always to wallow in sighs, Always to weep instead of singing, To spend the nights lying awake And to eschew sweet sleep: Those are the signs of that blazing That your face lets us discern; And your cheeks reveal What resides secretly within your heart.

That you stand ablaze with love, Clever ones, it is easy to discern; For your cheeks reveal What resides secretly within your heart. I consider [thoughts of] love, money and sorrow To be the most difficult to conceal; For even among souls that are the sternest with themselves These burst forth mightily. That tumultuous mood Lets them be discerned only too well, And your cheeks reveal What resides secretly within your heart.

Texts and Translations Continued

Ich Bin Geliebt by Robert Schumann

Mögen alle bösen Zungen Immer sprechen, was beliebt: Wer mich liebt, den lieb’ ich wieder, Und ich lieb’ und bin geliebt.

Schlimme, schlimme Reden flüstern eure Zungen schonungslos, doch ich weiß es, sie sind lüstern nach unschuld’gem Blute bloß. Nimmer soll es mich bekümmern, schwatzt so viel es euch beliebt; wer mich liebt, den lieb’ ich wieder, und ich lieb’ und bin geliebt.

Zur Verleumdung sich verstehet Nur, wem Lieb’ und Gunst gebrach, Weil’s ihm selber elend gehet, Und ihn niemand nimmt und mag. Darum denk’ ich, daß die Liebe, Drum sie schmähn, mir Ehre giebt; Wer mich liebt, den lieb’ ich wieder, Und ich lieb’ und bin geliebt.

Wenn ich wär’ aus Stein und Eisen, Möchtet ihr darauf bestehn, Daß ich sollte von mir weisen Liebesgruß und Liebesflehn. Doch mein Herzlein ist nun leider Weich, wie’s Gott uns Menschen giebt; Wer mich liebt, den lieb’ ich wieder, Und ich lieb’ und bin geliebt.

May all evil tongues Speak ever what they wish: Whoever loves me, I love in return, And I love and am loved.

Evil, evil gossip is mercilessly Whispered by your tongues, But I know that they are only Craving the blood of the guiltless. It shall never trouble me, Gossip as much as you please; Whoever loves me, I love in return, And I love and am loved.

Slander is understood (and practiced) Only by those who are lacking in love and favor, Because they themselves are miserable, And no one chooses or likes them. Therefore I think that the love For which they revile (me), gives me honor; Whoever loves me, I love in return, And I love and am loved.

If I were made of stone and iron, You could insist That I should spurn Love’s greetings and pleadings. But my heart is unfortunately

Soft, the way God gives them to us people; Whoever loves me, I love in return, And I love and am loved.

Exultate Deo by Francis Poulenc

Exultate Deo, adjutori nostro: jubilate Deo Jacob. Sumite psalmum et date tympanum: psalterium jucundum cum cithara. Buccinate in neomenia tuba: insigni die solemnitatis vestrae.

Rejoice in God our helper: sing aloud to the God of Jacob. Take the psalm and bring hither the timbrel: the merry harp with the lute. Blow the trumpet in the new moon, even on our solemn feast day.

Halleluja, vår strid er endt arranged by Ørjan Matre

En liten sønn av Davids rot, som og er Gud tillike. For våre synders skyld forlot sitt høie himmerike. Det var Ham svært at tenke på at jorden skulle under gå, det skar Ham i hans hjerte; I sådan hjertens kjærlighet Han kom til oss på jorden ned at lindre all vår smerte.

Som natten aldri er så sort den jo for solen svinner. Så farer all min kummer bort når jeg mig rett besinner at Gud så hjertens inderlig av evighet har elsket mig og er min broder vorden. Jeg aldri glemmer disse ord som klingede i englekor: Nu er det fred på jorden!

Halleluja, vår strid er endt! Hvo vilde mere klage? Hvo vilde mere gå bespendt i disse frydedage? Syng høit i sky, Guds kirkeflokk: Halleluja, nu har jeg nok, den lyst er uten like! Halleluja, Halleluja! Guds sønn er min, jeg går herfra med ham til himmerike!

Of David’s root a little Son, Who is also God forever, For Adam’s sin to make undone Came down from highest Heaven. It was too great a pain for Him That earth should perish in worldly sin, It tore His heart asunder. With a heart of love immensely great He thus came down, to share our fate, And heal the pain of sinners.

Just as the winter’s darkest night Must flee when morning rises; So shall my troubles all take flight If my mind well surmises That God in all sincerity Eternally has so loved me, That He became my brother now and ever. I shall remember these few words, That chimed once in angelic chords: Now Peace on Earth forever!

Hallelujah, our struggle ends, Who would still have bitter voice? Who would feel sad, who would lack friends, When earth and Heav’n rejoice? Sing in the skies, ye Christians, sing out, Hallelujah, I’m free of doubt, My happiness is beyond measure. Hallelujah, the Son divine, I go with Him, He is now mine, To Heaven, to my treasure!

Ezekiel Saw the Wheel arranged by Mark Hayes

Ezekiel! Ezekiel! Good old Ezekiel! Ezekiel saw the wheel way up in the middle of the air!

The big wheel run by faith and the little wheel run by the grace of God. It’s a wheel in a wheel, way in the middle of the air.

Some go to church for to sing and shout, Before six months they’re all turned out.

Let me tell you what a hypocrite ‘ll do, He’ll talk about me and he’ll talk about you.

One of these days ‘bout twelve o’clock, This old world’s gonna reel and rock. Hallelujah! Way in the middle of the air!

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