Sacred Music at Notre Dame presents

Repertory Choir Emorja Roberson, conductor

Way Over in Beulah Lan’

BWV 140, Wachet auf, ruft uns die Stimme

1. Chorale: Wachet auf, ruft uns die Stimme2. Recitative: Er kommt, der Bräutgam kommt

arr. Stacey V. Gibbs (b. 1964)

Johann Sebastian Bach (1685-1750)

Nolan Carter, tenor

3. Aria: Wann kommst du, mein HeilEmily Bird, soprano

Constantine Novotny, bass

4. Chorale: Zion hört die Wächter singenNolan Carter, tenor

5. Recitative: So geh herein zu mirConstantine Novotny, bass

6. Aria: Mein Freund ist meinEmily Bird, soprano

Constantine Novotny, bass

7. Chorale: Gloria sei dir gesungen

Rockin’ Jerusalem arr. André J. Thomas (b. 1952)

Program Notes Isaiah 62:4 (NIV) states, No longer will they call you Deserted, or name your land Desolate. But you will be called Hephzibah, and your land Beulah; for the Lord will take delight in you, and your land will be married. The word “Beulah,” in Hebrew, translates to “married.” Stacey Gibbs’s arrangement of the African American spiritual Way Over in Beulah Lan’ begins as a slow and measured declaration of salvation and concludes with uproarious peals for deliverance. This composition takes the listener on a journey from oppression to freedom. The second section begins in a fast and high-spirited duple meter where contrapuntal lines are interwoven into five and six-part harmonies. In addition to the energetic tempo, Gibbs implements a call-and-response between the soprano and lower voices; a common practice of the African American spiritual tradition. The purpose of the African American spiritual was to provide hope to the singer and to pass time during hours of labor in fields. In many cases, slaves were forbidden from speaking directly to their counterparts, however, they were permitted to sing. In these songs, slave owners would hear biblical imagery, but the workers would have coded messages speaking of freedom. Spirituals were passed down through an oral tradition, and in many cases, the original tune is lost with only the words remaining. Spirituals have been arranged for solo voices, orchestras, and choirs so that they may share their messages of salvation and freedom to new generations. To commemorate the twenty-seventh Sunday after Trinity Sunday, Johann Sebastian Bach composed the cantata Wachet auf, ruft uns die Stimme, which is adapted from Philipp Nicolai’s hymn, ‘Wachet auf!’ The text Bach used for the recitatives and arias is extracted from the Song of Songs and is assigned to the soprano and bass soloists. Movement one is based on the first verse of the chorale, which has a cantus firmus sung by the sopranos while the lower voices provide energetic counterpoint. Bach assigns dotted rhythms to the woodwinds and strings to create a regal effect for the processional of the bridegroom. In the middle of this movement’s ritornello form Bach inserts a jubilant theme using a melismatic “alleluia” fugato. The subsequent movement is a tenor recitative that calls for the daughters of Zion to embrace the bridegroom. Movement three is a duet between the soprano and bass, who represent the soul and Christ, and is a dialogue speaking of His expected arrival. In movement four, the violins open with a buoyant theme that imitates the bride’s leaping heart as she awaits Christ, while the tenor announces the Groom’s heavenly descent. The bass solo in the fifth movement is a plea for the bride to come to Christ. Bach uses the violins to create a soft halo effect to reinforce the tenderness of the text, which can be interpreted as Christ’s imperishable covenant to the church. ‘Mein Freund ist mein’ is an expression of love between Christ and the human soul. This joyful duet is coupled with a colorful oboe solo. The final movement, Gloria sei dir gesungen, the third verse of the hymn, is Bach’s harmonization of Nicolai’s chorale melody and depicts the couple departing from the church and entering Jerusalem. Rockin’ Jerusalem, arranged by André Thomas, is a toe-tapping, finger snapping composition that begins with the lower voices singing a unison sotto voce syncopated line that states “I hear rockin’ in the land and ringing dem bells.” The treble voices enter with contrasting lines that imitate the long tones of the bells, but quickly catch up to the lower voices and join their rhythmic phrase. Thomas’ setting shifts between fast, short lines and long melodies with rich harmonies. One of the most important messages of the African American spiritual relates to freedom, which in most cases is found in heaven. In the African American church, heaven is where the children of God receive their labor’s reward.

Translations

1. Choral Wachet auf, ruft uns die Stimme, der Wächter sehr hoch auf der Zinne, wach auf, du Stadt Jerusalem. Mitternacht heißt diese Stunde, sie rufen uns mit hellem Munde, wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut’gam kömmt, steht auf, die Lampen nehmt, Alleluia! Macht euch bereit zu der Hochzeit, ihr müsset ihm entgegen gehn.

1. Chorus Awake, calls the voice to us of the watchmen high up in the tower; awake, you city of Jerusalem. Midnight the hour is named; they call to us with bright voices; where are you, wise virgins? Indeed, the Bridegroom comes; rise up and take your lamps, Alleluia! Make yourselves ready for the wedding, you must go to meet Him.

2. Rezitativ Er kommt, er kommt, der Bräut’gam kommt, ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe in euer Mutter Haus. Der Bräut’gam kommt, der einen Rehe und jungen Hirschen gleich auf denen Hügeln springt und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch, den Bräut’gam zu empfangen; dort, sehet, kommt er hergegangen.

2. Recitative He comes, He comes, the Bridegroom comes, O Zion's daughters, come out, his course runs from the heights into your mother's house. The Bridegroom comes, who like a roe and young stag leaps upon the hills; to you He brings the wedding feast. Rise up, take heart, to embrace the bridegroom; there, look, He comes this way.

3. Arie- Duett (Dialog - Seele, Jesus) Wenn kömmst du, mein Heil? - Ich komme, dein Teil. - Ich warte mit brennenden Öle. Eröffne den Saal - Ich öffne den Saal - zum himmlischen Mahl. Komm, Jesu. - Ich komme, komm, liebliche Seele. -

3. Aria - Duet (Dialogue - Soul, Jesus) When will You come, my Savior? - I come, as Your portion. - I wait with burning oil. Now open the hall - I open the hall - for the heavenly meal. Come, Jesus! - I come, come, lovely soul! -

4. Choral Zion hört die Wächter singen, das Herz tut ihr vor Freuden springen, sie wachet und steht eilend auf. Ihr Freund kommt von Himmel prächtig, von Gnaden stark, von Wahrheit mächtig, ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron’, Herr Jesu, Gottes Sohn, Hosianna! Wir folgen all zum Freudensaal und halten mit das Abendmahl.

4. Chorale Zion hears the watchmen sing, her heart leaps for joy within her, she wakens and hastily arises. Her glorious Friend comes from heaven, strong in mercy, powerful in truth, her light becomes bright, her star rises. Now come, precious crown, Lord Jesus, the Son of God! Hosannah! We all follow to the hall of joy and hold the evening meal together.

5. Rezitativ So geh herein zu mir, du mir erwählte Braut! Ich habe mich mit dir von Ewigkeit vertraut. Dich will ich auf mein Herz, auf meinen Arm gleich wie ein Sigel setzen, und dein betrübtes Aug’ ergötzen. Vergiß, o Seele, nun die Angst, den Schmerz, den du erdulden müssen; auf meiner Linken sollst du ruhn, und meine Rechte soll dich küssen.

5. Recitative So come in to Me, you My chosen bride! I have to you eternally betrothed Myself. I will set you upon My heart, upon My arm as a seal, and delight your troubled eye. Forget, O soul, now the fear, the pain which you have had to suffer; upon My left hand you shall rest, and My right hand shall kiss you.

6. Arie - Duett (Dialog - Seele, Jesus) Mein Freund ist mein, -und ich bin dein,- die Liebe soll nichts scheiden. Ich will mit dir -du sollst mit mir- im Himmels Rosen weiden, da Freude die Fülle, da Wonne wird sein.

6. Aria - Duet (Dialogue - Soul, Jesus) My Friend is mine, - and I am yours, - love will never part us. I will with You - you will with Me - graze among heaven’s roses, where complete pleasure and delight will be.

7. Choral Gloria sei dir gesungen, mit Menschen- und englischen Zungen, mit Harfen und mit Zimbeln schon. Von zwölf Perlen sind die Pforten, an deiner Stadt sind wir Konsorten der Engel hoch um deine Thron. Kein Aug’ hat je gespürt, kein Ohr hat je gehört solche Freude, des sind wir froh, io,io, ewig in dulci jubilo.

7. Chorale Let Gloria be sung to You with mortal and angelic tongues, with harps and even with cymbals. Of twelve pearls the portals are made, In Your city we are companions Of the angels high around Your throne. No eye has ever perceived, no ear has ever heard such joy as our happiness, Io, io, eternally in dulci jubilo! Translation by Pamela Dellal

Repertory Choir

Dr. Junghwa Lee, Rehearsal Accompanist Dr. Mark Doerries, Faculty Director

Sopranos Emily Bird

Katrina Keat Monika Scott

Katherine Ward

Altos Andrea Desilets Jan Lindquist Mary Dekold

Alyse Jamieson Erin Wendt

Tenors

Nolan Carter Brandon Hollihan

Benjamin Von Bredow James Goldrick Joshua Wang

Basses

Howard Eckdahl Zen Kuriyama

Jack Lyons Constantine Novotny

Mario Simone Ryan Peteraf

Ritornello Orchestra

Dr. Daniel Stein, Concertmaster Vince Kurtz, Violin II

Dr. Rose Wollman, Viola Brady Lanier, Cello

Ting Lau, bass Dan Schwandt, organ

Jennett Ingle and Tony Kamnikar, oboes

SACRED MUSIC at NOTRE DAME SPRING 2019 RECITALS

SMND CONDUCTING RECITAL - Josh Boggs Sunday, February 3, 2019, 4:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame

SMND CONDUCTING RECITAL - Katrina Keats Sunday, February 24, 2019, 4:00pm - St. Joseph Catholic Parish, 225 S Mill St, Mishawaka SMND ORGAN RECITAL: Gregory Santa Croce Sunday, February 24, 2019, 8:00pm - Basilica of the Sacred Heart, Notre Dame SMND ORGAN RECITAL: Heejin Kim Saturday, March 2, 2019, 8:00pm - Basilica of the Sacred Heart, Notre Dame SMND ORGAN RECITAL: Carina Sturdy Sunday, March 3, 2019, 4:00pm - DeBartolo Performing Arts Center, Reyes Organ & Choral Hall, Notre Dame SMND ORGAN RECITAL: JJ Mitchell Sunday, March 3, 2019, 8:00pm - Basilica of the Sacred Heart, Notre Dame SMND VOICE RECITAL: Fatima Anyekema & Mark Laseter Saturday, March 23, 2019, 4:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame SMND ORGAN RECITAL: Leah Martin Sunday, March 24, 2019, 4:00pm - DeBartolo Performing Arts Center, Reyes Organ and Choral Hall, Notre Dame SMND VOICE RECITAL: Emily Bird & Jared Swope Sunday, March 24, 2019, 7:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame SMND CONDUCTING RECITAL – James Goldrick, Josh Wang & Erin Wendt Sunday, March 31, 2019, 4:00pm - DeBartolo Performing Arts Center, Reyes Organ and Choral Hall, Notre Dame

SMND ORGAN RECITAL: Daniel Schwandt Sunday, March 31, 2019, 8:00pm - Basilica of the Sacred Heart, Notre Dame SMND ORGAN RECITAL: Audrey Thomas Friday, April 5, 2019, 7:00pm - DeBartolo Performing Arts Center, Reyes Organ and Choral Hall, Notre Dame SMND VOICE RECITAL: Emily Swope Saturday, April 6, 2019, 2:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame SMND VOICE RECITAL: Alyse Jamieson Saturday, April 6, 2019, 5:00pm - location TBD SMND VOICE RECITAL: Constantine Novotny Sunday, April 7, 2019, 3:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame SMND VOICE RECITAL: Nolan Carter Sunday, April 7, 2019, 6:00pm - 136 O’Neill Hall, LaBar Performance Hall, Notre Dame SMND ORGAN RECITAL: Myles Hayden Sunday, April 7, 2019, 8:00pm - Basilica of the Sacred Heart, Notre Dame SMND CONDUCTING RECITAL - Zen Kuriyama Sunday, April 14, 2019, 4:00pm - St Monica Catholic Church, 222 W Mishawaka Avenue, Mishawaka

Note that the schedule is subject to change. To confirm the program schedule, please call, email or check our website.

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