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Bach_ Britten _ Friends



Bach, Britten & Friends
                    UM Chamber Singers
                    Edward Maclary, conductor

                        University Chorale
                      Nicole Aldrich, conductor

                 friday, april 3, 2009 . 8pM
 ElSiE & MarViN dEKElBOUM CONCErT Hall         21
program                                                                                             program

   i. ComBineD CHoirS                       JOHANNES BRAHMS (1833 – 1897)
                                            Liebeslieder Walzer, Op. 52
   FRANZ JOSEPH HAYDN (1732 – 1809)                 Rede, Mädchen, allzu liebes
   Die Himmel erzählen die Ehre Gottes              Wenn so lind dein Auge mir
          from “Die Schöpfung”                      Nein, es ist nicht auszukommen
                                                    Am Donaustrande
                  Yee Von Ng, accompanist
                                            DANIEL PINKHAM (1923 – 2006)
                                            Wedding Cantata
   ii. CHamBer SingerS                            Rise up, my love
                                                  Many waters
   JOHANNES BRAHMS (1833 – 1897)                  Awake, O north wind
   Es ist das Heil uns kommen her                 Epilogue: Set me as a seal
   Op. 29, No. 1

   JOHANN SEBASTIAN BACH (1685 – 1750)
   Singet dem Herrn ein neues Lied          INTERMISSION
   BWV 225

                  Nicole Aldrich, soprano
                  Mairin Srygley, alto      iV. CHamBer SingerS
                  Gary Seighman, tenor
                  Douglas Yocum, bass       SAMUEL BARBER (1910 – 1981)
                  Juwon Moon, cello         Reincarnations
                  Miori Sugiyama, organ            Mary Hynes
                                                   Anthony O Daly
                                                   The Coolin’
   iii. UniVerSitY CHoraLe
                                            BENJAMIN BRITTEN (1913 – 1976)
   WILLIAM MATHIAS (1934 – 1992)            Hymn to St. Cecilia
   Let the people praise thee, O God        Op. 27

   ORLANDO DI LASSO (1532 – 1594)
   O occhi, manza mia                       V. ComBineD CHoirS

   ANDREA GABRIELI (c.1532 – 1585)          FRANZ JOSEPH HAYDN (1732 – 1809)
   Occhi sereni                             Vollendet ist das grosse Werk
                                                   from “Die Schöpfung”
   FILIPPO AZZAIOLO (16th century)
   Occhi non fu                                            Yee Von Ng, accompanist

                                                                                     UM CHaMBEr SiNgErS &
301.405.arTS                                                                           UNiVErSiTy CHOralE   23
tranSLationS                                                                                                                                   tranSLationS

   Die Himmel erzählen die ehre gottes                                                iii Double Chorus         Psalm 150:2 – 6
   The heavens are telling the glory of God.                                          Praise the Lord for his acts,
   The firmament displays the wonder of His works.                                    praise him for his great glory!
   As day after day his power declares and night after night his honor affirms.       Let all that has breath praise the Lord
   In all the lands resounds the word, never unperceived ever understood.             Alleluia!
   The heavens are telling…
                                                                                      o occhi, manza mia
   es ist das Heil uns kommen her                                                     O eyes, my beloved, gilded lashes!
   Salvation has come to us from grace and pure goodness:                             O face like the moon, shining!
   Our deeds help us no more, they cannot protect us!                                 Hold me in mind, my beautiful joy,
   Faith looks to Jesus Christ                                                        Look at me a little,
   He who has done enough for us all,                                                 Make me happy.
   He has become the intercessor.
                                                                                      occhi sereni
   Singet dem Herrn ein neues Lied                                                    Eyes serene, beautiful words,
   i Double Chorus           Psalm 149:1 – 3                                          Smile full of sweetness,
   Sing to the Lord a new song!                                                       Royal countenance, natural beauty,
   The assembly of saints shall praise him.                                           Grace descended from heaven, rare intellect
   Let Israel rejoice in him who has made him.                                        Heart not fickle, thoughts noble and upright,
   May the children of Zion be joyful in their king.                                  How your face and heart brighten the sun!
   They shall praise his name in the dance;                                           And how quick you are to give a thousand torments
   with timbrel and harps they shall play to him.                                     And to draw from the souls of others a thousand sighs!

   ii Chorale (Chorus 2) and Aria (Chorus 1)                                          occhi non fu
   Chorale text – Johann Gramann                                                      Eyes were never so tearful
   Aria text – author unknown                                                         For reason of pain of death,
                                                                                      Or as afflicted as the eyes of my heart.
   Chorale                                     aria                                   Not long ago death robbed me of my love.
   As a father has mercy                       God, continue to care for us.          O dear love, o beautiful love,
   on his young child,                         God, continue to care for us.          O sweet love, o fine love
   so the Lord has mercy on us all,            God, continue to care for us.          that has filled the world with love
   if, like children, we sincerely fear him.   God, continue to care for us.          You are the pillar of as much love as ever was.
   He knows our feeble powers;                 God, continue to care for us.
   God knows we are but dust,                  For without you, nothing is achieved   rede, mädchen, allzu liebes
                                               in any of our affairs.                 “Speak, dearest maiden,
   like as the grass before the rake           God, continue to care for us.          You whose glance has hurled into my cool heart
   a fading flower and a falling leaf.         For without you, nothing is achieved   These wild, passionate feelings!”
                                               in any of our affairs.
   The wind only blows over it,                God, continue to care for us.          “Don’t you want to soften your heart?
   and it is there no more!                    Therefore be our shield and light,     Do you want, you overly pious one,
                                               and do not disappoint our hope.        To rest without true delight?
                                               Thus you will continue to do so.       Or do you want me to come?”
   Thus we all pass away;                      Happy is the one who steadfastly
   our end is near.                            relies on you and your grace!

                                                                                                                                    UM CHaMBEr SiNgErS &                                                                                                        UNiVErSiTy CHOralE   25
tranSLationS                                                                                                      tranSLationS

   rede, mädchen, allzu liebes (continued)                 Blonde Aphrodite rose up excited,
   “Rest without true delight—                             Moved to delight by the melody,
   I don’t want to suffer so bitterly.                     White as an orchid she rode quite naked
   Do come, you dark-eyed maid,                            In an oyster shell on top of the sea;
   Come when the stars appear!”                            At sounds so entrancing the angels dancing
                                                           Came out of their trance into time again,
   Wenn so lind dein aug mir                               And around the wicked in Hell’s abysses
   When your eyes so gently                                The huge flame flickered and eased their pain.
   And so fondly gaze on me,
   Every last sorrow flees                                 Blessed Cecilia, appear in visions
   That once had troubled me.                              To all musicians, appear and inspire:
                                                           Translated Daughter, come down and startle
   This beautiful glow of our love —                       Composing mortals with immortal fire.
   Do not let it die!
   Never will another love you                             ii
   As faithfully as I.                                     I cannot grow;
                                                           I have no shadow
   nein, es ist nicht auszukommen                          To run away from,
   No, it is impossible to get along with such people;     I only play.
   They know how to interpret everything so maliciously!
                                                           I cannot err;
   If I’m merry, I’m said to have frivolous desires;       There is no creature
   If I’m silent, then supposedly I’m mad with love.       Whom I belong to,
                                                           Whom I could wrong.
   am Donaustrande
   On the Danube’s bank there stands a house,              I am defeat
   And there a rosy maiden gazes out.                      When it knows it
   The maiden is quite well protected;                     Can now do nothing
   Ten iron bars block her door.                           By suffering.

   Ten iron bars — that’s a joke!                          All you lived through,
   I’ll break them as if they were only glass.             Dancing because you
                                                           No longer need it
   Hymn to St. Cecilia                                     For any deed.
   W.H. Auden
                                                           I shall never be
   i                                                       Different. Love me.
   In a garden shady this holy lady
   With reverent cadence and subtle psalm,                 Blessed Cecilia, appear in visions
   Like a black swan as death came on                      To all musicians, appear and inspire:
   Poured forth her song in perfect calm:                  Translated Daughter, come down and startle
   And by ocean’s margin this innocent virgin              Composing mortals with immortal fire.
   Constructed an organ to enlarge her prayer,
   And notes tremendous from her great engine
   Thundered out on the Roman air.

                                                                                                        UM CHaMBEr SiNgErS &
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tranSLationS                                                                               tranSLationS & program noteS

   iii                                                Vollendet ist das grosse Werk
   O ear whose creatures cannot wish to fall,         Achieved is the glorious work.
   O calm of spaces unafraid of weight,               Our song let be the praise of God.
   Where Sorrow is herself, forgetting all            Glory to His name forever, he sole on high exalted reigns.
   The gaucheness of her adolescent state,            Alleluia!
   Where Hope within the altogether strange
   From every outworn image is released,
   And Dread born whole and normal like a beast       program noteS
   Into a world of truths that never change:
   Restore our fallen day; O re-arrange.
                                                      es ist das Heil uns kommen her
   O dear white children casual as birds,             op. 29, no. 1
   Playing among the ruined languages,
   So small beside their large confusing words,       Brahms’ antiquarian musical interests were deep and abiding. They were
   So gay against the greater silences                reflected most strongly in the works for a cappella chorus he wrote early in his
   Of dreadful things you did: O hang the head,       career. The motet Es ist das Heil uns kommen her, composed in 1860, is based
   Impetuous child with the tremendous brain,         on a 15th century German chorale melody set to a text by Paul Speratus which
   O weep, child, weep, O weep away the stain,        was first published in 1523. Brahms used a very strict approach to the work,
   Lost innocence who wished your lover dead,         first presenting the work as a harmonized chorale in the manner of Bach. He
   Weep for the lives your wishes never led.          then follows this with a highly disciplined fugue that, like the preceding chorale
                                                      setting, is laid out in an A-A-B sectional format. Rather than using a standard
   O cry created as the bow of sin                    four voice choral texture however, Brahms adds a fifth voice to which he assigns
   Is drawn across our trembling violin.              the task of presenting the chorale melody in rhythmic augmentation, an ancient
                                                      compositional technique known as cantus firmus. By doing so Brahms reached
   O weep, child, weep, O weep away the stain.        past even Bach and embraced early Renaissance composers such as Josquin.
   O law drummed out by hearts against the still      The entire motet is a tour de force of counterpoint that demonstrates both
   Long winter of our intellectual will.              Brahms’ mastery of technique and love of choral sonority.

   That what has been may never be again.             The motets of Johann Sebastian Bach form one of the cornerstones of his
                                                      prodigious vocal music output. Just as with the cantatas, Passions and the B
   O flute that throbs with the thanksgiving breath   Minor Mass, they represent the pinnacle of compositional achievement in their
   Of convalescents on the shores of death.           particular form. Written as occasional pieces, usually for funerals of Leipzig
                                                      dignitaries, motets afforded Bach the opportunity to give free rein to his
   O bless the freedom that you never chose.          imagination without being tied to a particular feast or text. Singet dem Herrn
                                                      is perhaps the most famous of his six motets and is generally regarded as the
   O trumpets that unguarded children blow            most challenging, given its double choir format, fierce contrapuntal complexity
   About the fortress of their inner foe.             and virtuoso part writing. Indeed, after listening to a performance of the work
                                                      in 1789 on a visit to Leipzig’s Thomaskirche, Mozart reportedly was heard to
   O wear your tribulation like a rose.               exclaim joyfully, “Now this is something I can learn from!” The work is divided
                                                      into four main sections, a double choir section of antiphonal choral declamation
   Blessed Cecilia, appear in visions                 with one choir and then the other issuing the imperative to “Sing to the Lord a
   To all musicians, appear and inspire:              new song!” This is followed by a highly complex and beautifully realized fugue
   Translated Daughter, come down and startle         for all eight voices, with the theme, built on the text “Let the children of Zion
   Composing mortals with immortal fire.              delight in their king.” After this virtuoso display Bach turns to the “homiletic”

                                                                                                    UM CHaMBEr SiNgErS &                                                                        UNiVErSiTy CHOralE 29
program noteS                                                                                                                                              program noteS

   portion of the motet with a lyrical ‘Aria and Chorale’ that is presented in             The vigorous character of the third movement conveys physical strength, while
   Choir I (aria) and Choir II (chorale) as an admonition to mankind on his frailty        the separate entrances of women’s and men’s voices embody the longing
   and of God’s continuing care. A third section on the text “Praise the Lord for          the lovers feel for each other. The Epilogue, set in a chordal texture, is a final
   his great works” reinstates the energy of the opening section and transitions           statement of love and fidelity. The key of E, made exotic in the first movement
   directly into the fourth and final movement where both Choir I and II join forces       by the presence of the raised fourth scale degree, appears in its pure form in the
   to sing a four-part “Hallelujah” that is a joyous triple-meter dance of celebration.    final movement, providing a sense of calm and fulfillment that is the essence of
                                                                                           truest love.
   Let the people praise thee, O God, a setting of Psalm 67, was written by the
   Welsh composer William Mathias for the wedding of Prince Charles and Lady               The Reincarnations of Samuel Barber date from 1942 and are set to poems by
   Diana Spencer in 1981. In its alternation between full choral texture, organ            James Stephens. The Stephens poems are themselves based on Irish folk poetry,
   interludes and section solos, the work resembles the verse anthem form                  as Stephens put it, “after Raftery.” Raftery is Anthony Raftery (1784 – 1835) one
   practiced by English church musicians since Henry Purcell. The slightly dissonant       of the last great Gaelic bards and harpists.
   harmonic language and syncopated rhythms clothe this centuries-old form in
   modern garb.                                                                            Mary Hynes was a legendary beauty from the town of Thoor Ballylee, a town
                                                                                           just south of Galway on Ireland’s west coast. Barber’s energetic setting of the
   It has been said that the eyes are the windows to the soul. If so, they are the         text’s passion and fervor is a madrigal clothed in the harmonic language of the
   perfect place to see all of the emotions of love: joy, longing, heartache. The          20th century. Anthony O Daly is a lament for an Irish resistance martyr who was
   three Italian madrigals on tonight’s program demonstrate the range of these             hanged in 1820. It is a “keening” that is full of barely suppressed rage and anger
   feelings, and the range of compositional techniques prominent in this style: a          set over a drone on the repeated word “Anthony.” The Coolin’ refers to a lock of
   mix of chordal and imitative textures, nonsense syllables (“fa la li le la”), and the   hair or “curleen” that grew at the back of young woman’s neck and came to be
   full extent of harmonic language available to the Renaissance composer: major,          used as a term of endearment for one’s sweetheart. Stephens attempted in his
   minor and modal, with unexpected harmonic changes that convey the depth of              poem to portray “a …dream wherein the passion of love has almost overreached
   all of love’s emotions.                                                                 itself and is sinking into a motionless languor.” Barber’s gently rocking setting
                                                                                           captures the mood of the poem perfectly.
   German Romantic composer Johannes Brahms had a deep love for the voice, as
   evidenced by his nearly 300 songs for vocal solos, by duets and by his quartets         In the early 1940s Benjamin Britten was just beginning to establish himself firmly
   and his substantial output of repertoire for full choir. The Liebeslieder Walzer,       as a composer and he was particularly influenced by the great English poet W.
   opus 52, were originally written for four solo voices (soprano, alto, tenor and         H. Auden. Auden was something like Britten’s muse for a time, and the Hymn to
   bass) and four-hand piano, but are often performed by full chorus. The texts            St. Cecilia is the most important work to result from their artistic relationship.
   are from a collection of international poetry translated into German by Georg           The poem is both a paean to the patron saint of music and a direct challenge
   Friedrich Daumer. The poetry for the waltzes on tonight’s program comes                 from the poet to the composer to “Appear and Inspire.” The music is laid out
   originally from Russia, Hungary and Poland. In 1872 Brahms visited Daumer to            in three large sections, the first a virtuoso combination of chant-like ostinati
   express his gratitude for the poetry that inspired this fine set of songs, and was      in the male voices that support a fabulous succession of inverted harmonies
   astonished to discover that Daumer had never heard of the Liebeslieder Walzer           in the women’s voices. The text is in praise to Cecilia as it tells the story of her
   or of the composer!                                                                     imparting the gift of music to mankind. The effect of the choir in imitating the
                                                                                           sounds of the organ is stunning. The second part is a rapid, chase-like scherzo
   The text for Daniel Pinkham’s Wedding Cantata comes from the Song of                    based on the text’s theme of childhood, innocence and playfulness. The third
   Songs (or Song of Solomon), an Old Testament collection of love poetry often            and final section mourns this loss of innocence and recalls our attempts to
   interpreted as a metaphor for the love between God and his people. The poetry           recapture it through the various instruments and sounds of our musical and
   is often sensual or even frankly erotic, however, and Pinkham’s setting places          poetic artifice. The plea to Cecilia to touch us and “all musicians with immortal
   the text firmly in the earthly realm. The Lydian mode (a major scale with raised        fire,” which has been sounded several times throughout, is used to bring the
   fourth scale degree) provides harmonic and melodic spice to the first movement.         work to a reverent close.
   The second movement, “Many waters,” is a strict canon that interweaves the
   vocal parts in an intimate pattern marked by part-crossing and close harmonies.

                                                                                                                                          UM CHaMBEr SiNgErS &
301.405.arTS                                                                                                                                UNiVErSiTy CHOralE                    31
aBoUt tHe artiStS                                                                                                               aBoUt tHe ConDUCtorS

CHamBer SingerS            UniVerSitY CHoraLe         profeSSor of mUSiC     nicole aldrich is a doctoral fellow in choral conducting at the University of
Edward Maclary, director   Nicole Aldrich, director   and DireCtor of        Maryland, where she studies with Edward Maclary and James Ross. Before
Yee Von Ng, accompanist    Joy Mentzel, accompanist   CHoraL aCtiVitieS      coming to the University of Maryland, she was a member of the music faculty
                           Dustin Ludemann, pianist   Edward Maclary         at the University of Delaware, where she was the conductor of the school’s
Nicole Aldrich*                                                              premier women’s ensemble, University Singers. In addition to University Singers,
Katelyn Aungst             Vindhya Adapa              CHoraL aDminiStrator   which she directed from 2000 to 2007, she taught undergraduate and graduate
Rami Ayyub                 Mark Bublitz               Lauri Johnson          conducting and all levels of class piano. She also served on the applied voice
Caroline Brent             Greg Cox                                          faculty of the University of Delaware for two years. Ms. Aldrich has directed
Christina Britton          Ymene Fouli                CHoraL aSSiStantS      district and regional honor choirs in Pennsylvania and New Jersey and in 2007
Lauren Brown               Spencer Goldberg+          Spencer Goldberg       directed the Delaware All State Women’s choir. She has presented workshops on
Rameen Chaharbaghi+        Taryn Gordon               Gillian Kraus-Neale    vocal health, voice training in the choral rehearsal and choral intonation at state
Natalia Cuadra             Missy Graham                                      and regional conferences. Ms. Aldrich studied both piano and voice at Virginia
Teresa Ferrara             Junjie Hao                 SCore LiBrarian        Wesleyan College, graduating summa cum laude in 1996. She went on to earn
Aaron Freeman              Haley Holden               Rameen Chaharbaghi     a master’s degree in conducting from Northwestern University, where she was
Stephen Holmes*            Sara Karlin                                       the recipient of the Frederick Swann Scholarship. Ms. Aldrich is a member of the
Thomas Hunter              Carolyn Koch               graDUate StUDent       National Association of Teachers of Singing and recently completed a two-year
Brendan Kennedy            Soon Kwon                  ConDUCtorS             term as president of the Delaware chapter of the American Choral Directors
Jim Krabbendam             Kayla Lyles                Nicole Aldrich         Association.
Gillian Kraus-Neale+       Dustin Ludeman             Stephen Holmes
Sarah Lee                  Sarah Martin               Timothy Reno           edward maclary became Director of Choral Activities at the University of
Mark Luckenbill            Caitlin Moore              Diana Sáez             Maryland School of Music in September 2000. He was named Professor of
Aram Mann                  Annelise Myers             Gary Seighman          Music in 2006. Prior to coming to Maryland he served on the faculties of the
Dennys Moura               Jeff Nickerson                                    Oberlin College Conservatory of Music, Bowling Green State University and
Josh Perry-Parrish         Rhianna Nissen                                    the University of Akron. Choirs under his direction have toured throughout the
Timothy Reno*              Jason Petrucci                                    United States and Canada and have sung by invitation at the Music Educators
Tanya Ruth                 Collier Rowe Jr.                                  National Conference, the American Choral Directors Association and the
Diana Sáez*                Mathias Scharinger                                National Collegiate Choral Organization. In addition to leading the graduate
Katherine Sanford          Emily Sproul                                      studies program in choral conducting, Edward Maclary conducts The Maryland
Gary Seighman*             Anita Strassberger                                Chorus and the Chamber Singers, two of the School of Music’s seven full-time
Joseph Shortall            Julia Suszynski                                   choral ensembles. Regarded as an outstanding clinician and teacher, Maclary
Jane Sitarz                Jeremy Turret                                     maintains an active schedule as guest conductor for choral festivals and
Mairin Srygley             Nicholas Wagman                                   honors choirs throughout the country. He has also served as chorus master for
Dale Trumbore              Brian Wallin                                      distinguished conductors such as Robert Shaw, Helmuth Rilling, Iván Fischer,
Doug Yocum                 Sarah Watt                                        Robert Spano, Paul Goodwin and Bobby McFerrin. He has prepared choirs for
Laura Ziccardi             Tom Wool                                          performance with the Cleveland Orchestra, the Baltimore Symphony Orchestra
                                                                             and the National Symphony Orchestra. Edward Maclary received his doctoral
                                                                             degree in conducting with honors from Indiana University after having been
                                                                             awarded a graduate degree in musicology from Boston University. In the
*graduate assistant                                                          following years he worked closely on many projects with Robert Shaw and also
+student assistant                                                           studied and collaborated with Helmuth Rilling, Margaret Hillis and Robert Page.

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aBoUt tHe enSemBLeS                                                                                                                         aBoUt tHe Um CHoirS

   The University of maryland Chamber Singers were founded in 2001 by music            UniVerSitY of marYLanD CHoirS
   director, Edward Maclary. The group has rapidly established itself as one of the    Choral Activities at the University of Maryland School of Music offer students,
   leading choral ensembles in the Washington DC metropolitan area. Chosen by          faculty, staff and community members a wide variety of ensembles in which
   audition from the undergraduate and graduate student population of Maryland’s       to sing. The University Chorale, Chamber Singers, The Maryland Chorus, Men’s
   flagship university, the Chamber Singers present concerts on and off campus         Chorus, Women’s Chorus, Opera Chorus and Summer Chorus perform works
   throughout the year. Their repertoire encompasses music from the Renaissance        from all eras and styles from early Renaissance music to the masterworks of the
   era to the twenty-first century and recent programs have included major works       choral/orchestral repertoire. Director of Choral Activities Edward Maclary also
   by Bach, Handel, Britten, Brahms, Copland, Penderecki, Poulenc and Schönberg.       oversees the graduate degree program in choral conducting at the School of
   The Chamber Singers were the featured performers for the opening concert of         Music. Rehearsals and concerts take place in the state-of-the-art Clarice Smith
   the 2004 convention of the National Association for Music Education. In 2006        Performing Arts Center and the University of Maryland Memorial Chapel.
   the ensemble released its first CD, The First Five Seasons and in 2007 made its
   first international performance tour. In Wales the ensemble competed at the         If you would like information regarding our choral ensembles, upcoming events,
   prestigious International Musical Eisteddfod at Llangollen and was awarded          or degree programs, please contact:
   Second Prize in the Mixed Choirs division. The Chamber Singers performed by
   invitation at the 2008 American Choral Directors Association convention and         University of Maryland
   most recently sang at the 2008 convention of the National Collegiate Choral         Office of Choral Activities
   Organization. In addition to working regularly with their music director, Edward    2150 Clarice Smith Performing Arts Center
   Maclary, the Chamber Singers have collaborated and studied with conductors          School of Music
   such as Helmuth Rilling, Iván Fischer, Paul Goodwin, Peter Philips, Paul Hillier,   College Park, Maryland 20742
   Kenneth Slowik and J. Reilly Lewis.
                                                                                       Tel. 301-405-5571
   The University of maryland Chorale is a vital component in the Choral Activities    FAX 301-314-9504
   Department and a popular ensemble on campus. This 50-voice ensemble       
   is chosen by audition of students from the School of Music and throughout 
   the University each semester. They have collaborated with the University of
   Maryland Symphony Orchestra and annually with the National Symphony
   Orchestra since 2003 in repertoire such as the Bach St. Matthew Passion with
   Helmuth Rilling and Handel’s Messiah with both Emil de Cou and, in 2007, Paul
   Goodwin. The University Chorale performs a wide range of concerted and a
   cappella repertoire, ranging from Medieval chant and Renaissance polyphony to
   masterworks of the twentieth century. They also premiere contemporary works,
   including those of the University’s own choral composition majors.

                                                                                                                                    UM CHaMBEr SiNgErS &
301.405.arTS                                                                                                                          UNiVErSiTy CHOralE                 35
UpComing CHoraL eVentS

   friday, april 17 . 7:30pm*
   Sunday, april 19 . 3pm*
   thursday, april 23 . 7:30pm*
   Saturday, april 25 . 7:30pm*
   by Peter Illyich Tchaikovsky
   ina & JaCK KaY tHeatre

   Sunday, april 26 . 3pm
   Spring Showcase

   thursday, april 30 . 7pm+
   friday, may 1 . 8pm+
   Saturday, may 2 . 8pm+
   UM Concert Choir
   National Symphony Orchestra
   the John f. Kennedy Center for the performing arts

   Sunday, may 10 . 3pm*
   Fauré Requiem

   June 29 – July 18
   Henry Purcell
   Welcome to All the Pleasures
   W.A. Mozart
   Coronation Mass

   For more information call 301.405.5571.

   *For tiCKetS call 301.405.artS or visit

   + For tiCKetS call 202-467-4600.

   Performances take place in the Dekelboum Concert Hall of the
   Clarice Smith Center and are FREE unless otherwise indicated.

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