presents symphony orchestra - content.byui.edu · the christmas text “glory to god in the highest...
TRANSCRIPT
BYU-IDAHODEPARTMENTOFMUSIC
PRESENTS
SYMPHONYORCHESTRA
COLLEGIATE&CONCERTCHOIRS
AaronCopland1900-1990
Featuring
PaulandRebeccaBusselberg
MARCH1,2018,7:30PM
BARRUSCONCERTHALL
3
workinthefinalmovement:FanfarefortheCommonManwhichpremieredin1943
bytheCincinnatiSymphonyOrchestraasoneofeighteenfanfarescommissionedas
“stirringandsignificantcontributionstothewareffort.”Notonlydoesthefanfare
openthefinalmovement,butCoplandusesitsmotifstounifytheentiremovement,
closingthesymphonywithasenseofoverwhelmingjoyandoptimism.Copland
wroteaboutthework:
Intheprogrambookforthefirstperformance,Ipointedoutthatthewritingofasymphonyinevitablybringswithitthequestionsofwhatitismeanttoexpress.AsIwroteatthetime,ifIforcedmyself,IcouldinventanideologicalbasisfortheThirdSymphony.ButifIdid,I’dbebluffing—oratanyrate,addingsomethingexpostfacto,somethingthatmightormightnotbetruebutthatplayednoroleatthemomentofcreation.TheThirdSymphony,mylongestorchestralwork(about40minutesinduration)isscoredforabigorchestra.Itwascomposedinthegeneralformofanarch,inwhichthecentralportion,thatisthesecond-movementscherzo,isthemostanimated,andthefinalmovementisanextendedcoda,presentingabroadenedversionoftheopeningmaterial.Boththefirstandthirdthemesinthefirstmovementarereferredtoagaininlatermovements.Thesecondmovementstaysclosetothenormalsymphonicprocedureofausualscherzo,whilethethirdisfreestofallinformalstructure,builtupsectionallywithitsvarioussectionsintendedtoemergeonefromtheotherincontinuousflow,somewhatinthemannerofacloselyknitseriesofvariations.Someofthewritinginthethirdmovementisforveryhighstringsandpiccolo,withnobrassexceptsinglehornandtrumpet.Itleadsdirectlyintothefinalandlongestofthemovements:thefourthisclosesttoacustomarysonata-allegroform,althoughtherecapitulationisreplacedbyanextendedcoda,presentingmanyideasfromthework,includingtheopeningtheme.OneaspectoftheThirdSymphonyoughttobepointedout:itcontainsnofolkorpopularmaterial.Anyreferencetoeitherfolkmaterialorjazzinthisworkwaspurelyunconscious.However,IdoborrowfrommyselfbyusingFanfarefortheCommonManinanexpandedandreshapedforminthefinalmovement.IusedthisopportunitytocarrytheFanfarematerialfurtherandtosatisfymydesiretogivetheThirdSymphonyanaffirmativetone.Afterall,itwasawartimepiece—ormoreaccurately,anend-of-warpiece—intendedtoreflecttheeuphoricspiritofthecountryatthetime.Koussevitskydeclaredthepiece“thegreatestAmericansymphonyeverwritten.”
ConductorLeonardBernstein,amongthework’smostprominentinterpreters,said:
“(This)symphonyhasbecomeanAmericanmonument,liketheWashington
MonumentortheLincolnMemorial.”
Dr.RobertTueller
BYU-IDAHOSYMPHONYDr.RobertTueller,Director
ElizabethCrawford,WoodwindSpecialistDr.MatthewMoore,BrassSpecialist
1
FluteClarissaTracyRobynBradyLizzieBlakeCrystalVanDuren,piccoloOboeLizzyHendersonScotlynWhitemarshHannahWallis,englishhornClarinetEthanTuftsEmmaleeChristensenHaydenJensen,bassAimeeMcCarreyBassoonJordanTerryTaylorHeikellMiaBido,contrabassoonHornTateWadsworthAbbyTaylorAdamHeyenEvanChamberlainTrumpetCJIsonTylerMcTavishNateKellerConnorRobertsonTromboneRandallSmithShelbyChampJackiePeifferCameronPizzo,bassTubaThomasKinder
2
TimpaniLandonWhitworthPercussionHollyChaputJackEnsignAdrianRosalesDr.DavidTaylorPianoEdwardPostonCelesteGuillermoSanchezOrganAndrewWoodruffHarpSarahCloseKatieCalderwoodViolinIMcKenzieZengerSarahBagleyKrystellTaylorAnnaRasmussenDavidTruscottSamShumwayMcKennaMottoAmiraBagleyBryceBoydstonHaileyHinnenMikaylaCareyAubreyLoveless
3
ViolinIISamanthaHeatonNoelleSingletonAnnieSmithElizabethJonesRachelAllenNathanHooperJasonHughesMariahBushVivienneCampbellAlisonRichEmilyRappRebeccaThompsonViolaDallinGreenSarahPuzeySpencerHuntLauraBerghoutLaurelWettsteinChloeKnutsenSusanRobertsonCurtisAndersonSarahKuhnCelloSebastianFraserCharlottePetersenJaquellTaylorEmmaFloresLeticiaBenningAngelinaGomezJennaMedlynKatheryneBoscanBassNathanMayCarolynOgdenJessicaHarrisGabeDavisJosephMechamCurtisMainord
2
relevantthanitwasin1936,whenthegatheringstormledtoglobalwar.Andthoughthe“cheerfulagnostic”intendedsomethingquitedifferentfromhisuseofscripture,Latter-daySaintaudiencescan’tfailtohearRestorationdoctrineinmovementVI(“truthshallspringoutoftheearth…Iwillgatherallnationsandtongues…”),evenwhilesecularhumanistsmayhearinthesamewordshopeforayetunrealizedhumansolutiontothevexingarmedconflictsthatstillfaceus.IpersonallyhearinVaughanWilliams’musicasensitiveandcompassionateportrayaloftheeffectsofwar(whichhesawfirst-handasasoldierinWWI),concludedinMovementVIwiththesamesenseofsunnyoptimismforwhichPresidentHinckleywassofamous.Yes,thingswillgetworsebeforetheygetbetter,butindividualscanfindpeaceandevenjoyinaworldofconflict,andtheoutcomeoftheconflictisknown(spoileralert):Christwins,bringing(atsomefutureandnottoodistanttime)permanentandenduringpeacetotheworld;and,moreimmediately,peacetoindividualsandfamilieswhochoosetofollowHim.VaughanWilliams,whowroteinmanygenres,wasalsoasought-afterfilmcomposer,notunlikeourownWilliams(John,norelation).Incinematicfashion,eachmovementseguesseamlesslytothenext,likescenesinthedramaofwarandfuturepeace.MovementI:afearfulsopranosoloistandfaithful,yetanxiouschoir,singtheancient“Donanobispacem”text(LambofGod…grantuspeace)—thusmakingthemusicsimultaneouslyancientandmodern,personalandcollective,fearfulandfaithful.Butthepleaisnotansweredyet,aswetransitionto…II(Beat!Beat!Drums):…thefirstofthreeWaltWhitmanCivilWartexts,inwhichwarbludgeonseverythingandeverybody,withoutmercy.ThisterrifyingepisodemeltsintoIII(Reconciliation),apersonal,hauntingvignetteinwhichthesoloistrealizesthatevenhisformerenemyis“amandivineasmyself.”InIV(DirgeforTwoVeterans),weviewthefuneraloftwoveterans;clashingimagesofamilitarybandandthesilent“ghastlyphantommoon”echotheemotionsofonlookers,inwhomgriefwarspainfullywithpatrioticprideandlove.ThenVwearewrenchedbacktopre-warEngland,inwhichaParliamentspeechwarnsofimpendingwar;thereisaterrifiedreturnoftheopeningcriesof“Donanobispacem”;andfinally,amagicalmomentoftransitiontoVI,inwhichwehearhopeforapeacefulresolution.Thefuneralbellsoftheopeninghaveturnedintobellsofvictory;theChristmastext“GlorytoGodinthehighest”asserts(toChristianears,atleast)thatthesourceoffinal“peaceonearth”isindivine,nothuman,hands.
Dr.KemptonIn1944,AaronCoplandstartedworkonhisThirdSymphony,commissionedbyconductorSergeKoussevitskyandtheBostonSymphonyOrchestratopremiereintheir1946season.Coplandwantedthepieceto“reflecttheeuphoricspiritofthecountryatthetime”–theclosingofWorldWarII.Koussevitskywantedaworkthatwasmodernandlarge-scale:“inthegrandmanner.”CoplandstruggledtoconnecthissignatureAmericanastylefoundhispopular(andveryapproachable)worksincludingAppalachianSpring,BillytheKid,Rodeo,andElSalonMexicowiththedemandsoftheserioussymphonicform.Theconnectionwasfoundinhisdecisiontouseanearlier
1
NOTESRalphVaughanWilliamswroteDonanobispacem,oneofhismostenduringchoral
works,in1936,ontheeveofWorldWarII,whenmanystillwishedtobelievethe
gatheringstormwouldblowover.Bynow“cheerfullyagnostic,”herespondedtoa
commissionfromalocalchoralsocietywithamixofsacredandseculartextsthat
addressedamuchlargerconcernthanthechoir’s100thbirthdaycelebration:theNazi
threatwastoopresenttoignore,andheusedtheopportunitytospeakdirectlytohis
countrymenaboutit.
SowhydoesanEnglishagnosticquoteancientLatinliturgy,AmericanCivilWarpoetry
andBibleverses?It’sabrilliantmovebythiscomposerofmanyhymnsstillfoundin
theEnglishhymnal(wehaveafewofhiseffortsinourownHymns).Histextmakesthe
workatoncetimelessandimmediate,personalandcollective,sacredandearthly—in
short,themusicappealstobelieversandhumanistsalike,inwhatevercountry,
whateverthecurrentthreattopeacemightbe.Inourcurrenttimeofterrorism,
genocide,moraldecay,andsocial/politicaldiscord,hispleaforpeaceisnoless
PROGRAMDonaNobisPacem.....................................................RalphVaughanWilliams
I.AgnusDei 1860–1911
II.Beat!Beat!Drums!
III.Reconciliation
IV.DirgeforTwoVeterans
V.TheAngelofDeathhasbeenAbroad
VI.OMan,GreatlyBeloved
RebeccaBusselberg,Soprano
PaulBusselberg,Baritone
BYU-IdahoConcertChoir,Dr.EdaAshby,Director
BYU-IdahoCollegiateSingers,Dr.RandallKempton,Director
Short,standingintermission
ThirdSymphony........................................................................AaronCopland
I.Moltomoderato,withsimpleexpression 1900–1990
II.Allegromolto
III.Andantequasiallegretto
IV.Moltodeliberato(freelyatfirst)
SOLOISTSDr.PaulBusselbergisinhisfirstyearofteachinginthemusicdepartmentatBYU-
Idaho.PreviouslyhewasheadofvoiceandchoirsatSanJacintoCollegeinHouston,
Texas,andavoicefacultymemberattheUniversityofWisconsin-Whitewater.He
holdsdegreesfromBrighamYoungUniversity,theEastmanSchoolofMusic,andRice
University.HehasbeenheardinperformanceswiththeSantaFeOpera,Florentine
Opera,MilwaukeeSymphony,SouthwesternMichiganSymphonyOrchestra,
SouthwestFloridaSymphonyOrchestra,BuffaloPhilharmonic,aswellastheBach
SocietiesofHouston,Texas,andRockford,Illinois.SolorecordingsincludeRobert
Cundick’sTheRedeemerwithbothBrighamYoungUniversityandBYU-Idaho;Johann
SebastianBach’scantataBWV39(BrichdemHungrigendeinBrot)withtheBachSocietyHouston;andSongsonPoetryofRabindranathTagoreandKarimAl-Zand’s
Leila(AlbanyRecords).
Houston-nativeRebeccaPyperBusselberghasbeenheardinperformanceswithTexas
ensemblesincludingthePasadenaPhilharmonicOrchestraandtheBayArea
SymphonyandChorus,aswellasnationallywiththeFlorentineOpera,PineMountain
MusicalFestival,MilwaukeeOperaTheatre,MilwaukeeSymphony,Milwaukee
ChamberOrchestra,Racine(WI)SymphonyOrchestra,andtheSouthwestFlorida
SymphonyOrchestra.ShewasaguestsoloistwithBYU-Idaho’s2016productionof
RobertCundick’sTheRedeemer,alsoreleasedonCDandDVD.ShereceivedstellarreviewsforherappearanceswithHouston'sOperaintheHeights,singingthetitle
rolesinNorma,LaTriavata,andManonLescaut.ShehasbeenfeaturedinvariousrecitalsandconcertsatSanJacintoCollege,wheresheisadjunctprofessorof
voice.SheholdsaBachelorofMusicfromBrighamYoungUniversityandaMaster's
degreeandPerformer'sCertificatefromtheEastmanSchoolofMusic.
1
TEXTI.AgnusDeiAgnusDeiquitollispeccatamundi(LambofGodwhotakestawaythesinsoftheworld)
Donanobispacem(Grantuspeace)
II.Beat!Beat!Drums!Beat!beat!drums!Blow!bugles!blow!
Throughthewindows,throughthedoorsburstlikearuthlessforce,
Intothesolemnchurch,andscatterthecongregation,
Intotheschoolwherethescholarisstudying;
Leavenotthebridegroomquiet,nohappinessmusthehavenowwithhisbride,
Northepeacefulfarmeranypeace,ploughinghisfield,orgatheringinhisgrain,
Sofierceyouwhirrandpoundyoudrums,soshrillyoubuglesblow.
Beat!beat!drums!Blow!bugles!blow!
Overthetrafficofcities,overtherumbleofwheelsinthestreets;
Arebedspreparedforthesleepersatnightinthehouses?
Nosleepersmustsleepinthosebeds,
Nobargainers'bargainsbyday,wouldtheycontinue?
Wouldthetalkersbetalking?Wouldthesingerattempttosing?
Thenrattlequicker,heavierdrums,youbugleswilderblow.
2
Beat!beat!drums!Blow!bugles!blow!Makenoparley,stopfornoexpostulation,Mindnotthetimid,mindnottheweeperorprayer,Mindnottheoldmanbeseechingtheyoungman,Letnotthechild'svoicebeheard,northemother'sentreaties,Makeeventhetrestlestoshakethedeadwheretheylieawaitingthehearses,SostrongyouthumpOterribledrums,soloudyoubuglesblow.III.ReconciliationWordoverall,beautifulasthesky,Beautifulthatwarandallitsdeedsofcarnagemustintimebeutterlylost;ThatthehandsofthesistersDeathandNightincessantly,softly,washagainandeveragainthissoiledworld;Formyenemyisdead,amandivineasmyselfisdead,Ilookwherehelieswhite-facedandstillinthecoffin.Idrawnear,Benddownandtouchlightlywithmylipsthewhitefaceinthecoffin.IV.DirgeforTwoVeteransThelastsunbeamLightlyfallsfromthefinishedSabbath,Onthepavementhere,andtherebeyonditislookingDownanew-madedoublegrave.Lo,themoonascending,Upfromtheeastthesilveryroundmoon,Beautifuloverthehouse-tops,ghastly,phantommoon,Immenseandsilentmoon.Iseeasadprocession,AndIhearthesoundofcomingfull-keyedbugles,Allthechannelsofthecitystreetsthey'refloodingAswithvoicesandwithtears.Ihearthegreatdrumspounding,Andthesmalldrumssteadywhirring,AndeveryblowofthegreatconvulsivedrumsStrikesmethroughandthrough.Forthesonisbroughtwiththefather,Intheforemostranksofthefierceassaulttheyfell,Twoveterans,sonandfather,droppedtogether,Andthedoublegraveawaitsthem.Nownearerblowthebugles,Andthedrumsstrikemoreconvulsive,Andthedaylighto'erthepavementquitehasfaded,Andthestrongdead-marchenwrapsme.Intheeasternskyup-buoying,Thesorrowfulvastphantommovesillumined,'Tissomemother'slargetransparentface,Inheavenbrightergrowing.
3
Ostrongdead-marchyoupleaseme!Omoonimmensewithyoursilveryfaceyousootheme!Omysoldierstwain!Omyveteranspassingtoburial!WhatIhaveIalsogiveyou.Themoongivesyoulight,Andthebuglesandthedrumsgiveyoumusic,Andmyheart,Omysoldiers,myveterans,Myheartgivesyoulove.
WaltWhitman(1819–1892)V.TheAngelofDeathhasbeenabroadTheAngelofDeathhasbeenabroadthroughouttheland;youmayalmosthearthebeatingofhiswings.Thereisnooneasofoldtosprinklewithbloodthelintelandthetwoside-postsofourdoors,thathemayspareandpasson.
JohnBright(1811–1889)Donanobispacem.Welookedforpeace,butnogoodcame;andforatimeofhealth,andbeholdtrouble!ThesnortingofhishorseswasheardfromDan;thewholelandtrembledatthesoundoftheneighingofhisstrongones;fortheyarecome,andhavedevouredthelandandthosethatdwelltherein.Theharvestispast,thesummerisended,andwearenotsaved.IstherenobalminGilead?Istherenophysicianthere?Whythenisnotthehealthofthedaughterofmypeoplerecovered?
Jeremiah8:15-16,20,22VI.OmangreatlybelovedOmangreatlybeloved,fearnot,peacebeuntothee,bestrong,yeabestrong.
Daniel10:19ThegloryofthislatterhouseshallbegreaterthanoftheformerandinthisplacewillIgivepeace.
Haggai2:9Nationshallnotliftupaswordagainstnation,neithershalltheylearnwaranymore.
Isaiah2:4Andnoneshallmakethemafraid,neithershalltheswordgothroughtheirland.
Leviticus,26:6Mercyandtrutharemettogether;righteousnessandpeacehavekissedeachother.Truthshallspringoutoftheearth,andrighteousnessshalllookdownfromheaven.
Psalm85:10Opentomethegatesofrighteousness,Iwillgointothem.
Psalm118:19Letallthenationsbegatheredtogether,andletthepeoplebeassembled;andletthemhear,andsay,itisthetruth.
Isaiah43:9Anditshallcome,thatIwillgatherallnationsandtongues.Andtheyshallcomeandseemyglory.AndIwillsetasignamongthemandtheyshalldeclaremygloryamongthenations.Forasthenewheavensandthenewearth,whichIwillmake,shallremainbeforeme,soshallyourseedandyournameremainforever.
Isaiah66:18-19,22GlorytoGodinthehighest,andonearthpeace,goodwilltowardmen.
Luke2:14
2
Beat!beat!drums!Blow!bugles!blow!
Makenoparley,stopfornoexpostulation,
Mindnotthetimid,mindnottheweeperorprayer,
Mindnottheoldmanbeseechingtheyoungman,
Letnotthechild'svoicebeheard,northemother'sentreaties,
Makeeventhetrestlestoshakethedeadwheretheylieawaitingthehearses,
SostrongyouthumpOterribledrums,soloudyoubuglesblow.
III.ReconciliationWordoverall,beautifulasthesky,
Beautifulthatwarandallitsdeedsofcarnagemustintimebeutterlylost;
ThatthehandsofthesistersDeathandNightincessantly,softly,washagainandever
againthissoiledworld;
Formyenemyisdead,amandivineasmyselfisdead,
Ilookwherehelieswhite-facedandstillinthecoffin.
Idrawnear,Benddownandtouchlightlywithmylipsthewhitefaceinthecoffin.
IV.DirgeforTwoVeteransThelastsunbeam
LightlyfallsfromthefinishedSabbath,
Onthepavementhere,andtherebeyonditislooking
Downanew-madedoublegrave.
Lo,themoonascending,
Upfromtheeastthesilveryroundmoon,
Beautifuloverthehouse-tops,ghastly,phantommoon,
Immenseandsilentmoon.
Iseeasadprocession,
AndIhearthesoundofcomingfull-keyedbugles,
Allthechannelsofthecitystreetsthey'reflooding
Aswithvoicesandwithtears.
Ihearthegreatdrumspounding,
Andthesmalldrumssteadywhirring,
Andeveryblowofthegreatconvulsivedrums
Strikesmethroughandthrough.
Forthesonisbroughtwiththefather,
Intheforemostranksofthefierceassaulttheyfell,
Twoveterans,sonandfather,droppedtogether,
Andthedoublegraveawaitsthem.
Nownearerblowthebugles,
Andthedrumsstrikemoreconvulsive,
Andthedaylighto'erthepavementquitehasfaded,
Andthestrongdead-marchenwrapsme.
Intheeasternskyup-buoying,
Thesorrowfulvastphantommovesillumined,
'Tissomemother'slargetransparentface,
Inheavenbrightergrowing.
3
Ostrongdead-marchyoupleaseme!
Omoonimmensewithyoursilveryfaceyousootheme!
Omysoldierstwain!Omyveteranspassingtoburial!
WhatIhaveIalsogiveyou.
Themoongivesyoulight,
Andthebuglesandthedrumsgiveyoumusic,
Andmyheart,Omysoldiers,myveterans,
Myheartgivesyoulove.
WaltWhitman(1819–1892)
V.TheAngelofDeathhasbeenabroadTheAngelofDeathhasbeenabroadthroughouttheland;youmayalmosthearthebeating
ofhiswings.Thereisnooneasofoldtosprinklewithbloodthelintelandthetwoside-
postsofourdoors,thathemayspareandpasson.
JohnBright(1811–1889)
Donanobispacem.
Welookedforpeace,butnogoodcame;andforatimeofhealth,andbeholdtrouble!The
snortingofhishorseswasheardfromDan;thewholelandtrembledatthesoundofthe
neighingofhisstrongones;fortheyarecome,andhavedevouredthelandandthosethat
dwelltherein.
Theharvestispast,thesummerisended,andwearenotsaved.IstherenobalminGilead?
Istherenophysicianthere?Whythenisnotthehealthofthedaughterofmypeople
recovered?
Jeremiah8:15-16,20,22
VI.OmangreatlybelovedOmangreatlybeloved,fearnot,peacebeuntothee,bestrong,yeabestrong.
Daniel10:19
ThegloryofthislatterhouseshallbegreaterthanoftheformerandinthisplacewillIgive
peace.
Haggai2:9
Nationshallnotliftupaswordagainstnation,neithershalltheylearnwaranymore.
Isaiah2:4
Andnoneshallmakethemafraid,neithershalltheswordgothroughtheirland.
Leviticus,26:6
Mercyandtrutharemettogether;righteousnessandpeacehavekissedeachother.Truth
shallspringoutoftheearth,andrighteousnessshalllookdownfromheaven.
Psalm85:10
Opentomethegatesofrighteousness,Iwillgointothem.
Psalm118:19
Letallthenationsbegatheredtogether,andletthepeoplebeassembled;andletthem
hear,andsay,itisthetruth.
Isaiah43:9
Anditshallcome,thatIwillgatherallnationsandtongues.Andtheyshallcomeandseemy
glory.AndIwillsetasignamongthemandtheyshalldeclaremygloryamongthenations.
Forasthenewheavensandthenewearth,whichIwillmake,shallremainbeforeme,so
shallyourseedandyournameremainforever.
Isaiah66:18-19,22
GlorytoGodinthehighest,andonearthpeace,goodwilltowardmen.
Luke2:14
1
NOTESRalphVaughanWilliamswroteDonanobispacem,oneofhismostenduringchoral
works,in1936,ontheeveofWorldWarII,whenmanystillwishedtobelievethe
gatheringstormwouldblowover.Bynow“cheerfullyagnostic,”herespondedtoa
commissionfromalocalchoralsocietywithamixofsacredandseculartextsthat
addressedamuchlargerconcernthanthechoir’s100thbirthdaycelebration:theNazi
threatwastoopresenttoignore,andheusedtheopportunitytospeakdirectlytohis
countrymenaboutit.
SowhydoesanEnglishagnosticquoteancientLatinliturgy,AmericanCivilWarpoetry
andBibleverses?It’sabrilliantmovebythiscomposerofmanyhymnsstillfoundin
theEnglishhymnal(wehaveafewofhiseffortsinourownHymns).Histextmakesthe
workatoncetimelessandimmediate,personalandcollective,sacredandearthly—in
short,themusicappealstobelieversandhumanistsalike,inwhatevercountry,
whateverthecurrentthreattopeacemightbe.Inourcurrenttimeofterrorism,
genocide,moraldecay,andsocial/politicaldiscord,hispleaforpeaceisnoless
PROGRAMDonaNobisPacem.....................................................RalphVaughanWilliams
I.AgnusDei 1860–1911
II.Beat!Beat!Drums!
III.Reconciliation
IV.DirgeforTwoVeterans
V.TheAngelofDeathhasbeenAbroad
VI.OMan,GreatlyBeloved
RebeccaBusselburg,Soprano
PaulBusselburg,Baritone
BYU-IdahoConcertChoir,Dr.EdaAshby,Director
BYU-IdahoCollegiateSingers,Dr.RandallKempton,Director
Short,standingintermission
SymphonyNo.3inFminor,Op.36..........................................AaronCopland
I.Moltomoderato,withsimpleexpression 1900–1990
II.Allegromolto
III.Andantequasiallegretto
IV.Moltodeliberato(freelyatfirst)
SOLOISTSDr.PaulBusselbergisinhisfirstyearofteachinginthemusicdepartmentatBYU-
Idaho.PreviouslyhewasheadofvoiceandchoirsatSanJacintoCollegeinHouston,
Texas,andavoicefacultymemberattheUniversityofWisconsin-Whitewater.He
holdsdegreesfromBrighamYoungUniversity,theEastmanSchoolofMusic,andRice
University.HehasbeenheardinperformanceswiththeSantaFeOpera,Florentine
Opera,MilwaukeeSymphony,SouthwesternMichiganSymphonyOrchestra,
SouthwestFloridaSymphonyOrchestra,BuffaloPhilharmonic,aswellastheBach
SocietiesofHouston,Texas,andRockford,Illinois.SolorecordingsincludeRobert
Cundick’sTheRedeemerwithbothBrighamYoungUniversityandBYU-Idaho;Johann
SebastianBach’scantataBWV39(BrichdemHungrigendeinBrot)withtheBachSocietyHouston;andSongsonPoetryofRabindranathTagoreandKarimAl-Zand’s
Leila(AlbanyRecords).
Houston-nativeRebeccaPyperBusselberghasbeenheardinperformanceswithTexas
ensemblesincludingthePasadenaPhilharmonicOrchestraandtheBayArea
SymphonyandChorus,aswellasnationallywiththeFlorentineOpera,PineMountain
MusicalFestival,MilwaukeeOperaTheatre,MilwaukeeSymphony,Milwaukee
ChamberOrchestra,Racine(WI)SymphonyOrchestra,andtheSouthwestFlorida
SymphonyOrchestra.ShewasaguestsoloistwithBYU-Idaho’s2016productionof
RobertCundick’sTheRedeemer,alsoreleasedonCDandDVD.ShereceivedstellarreviewsforherappearanceswithHouston'sOperaintheHeights,singingthetitle
rolesinNorma,LaTriavata,andManonLescaut.ShehasbeenfeaturedinvariousrecitalsandconcertsatSanJacintoCollege,wheresheisadjunctprofessorof
voice.SheholdsaBachelorofMusicfromBrighamYoungUniversityandaMaster's
degreeandPerformer'sCertificatefromtheEastmanSchoolofMusic.
1
TEXTI.AgnusDeiAgnusDeiquitollispeccatamundi(LambofGodwhotakestawaythesinsoftheworld)
Donanobispacem(Grantuspeace)
II.Beat!Beat!Drums!Beat!beat!drums!Blow!bugles!blow!
Throughthewindows,throughthedoorsburstlikearuthlessforce,
Intothesolemnchurch,andscatterthecongregation,
Intotheschoolwherethescholarisstudying;
Leavenotthebridegroomquiet,nohappinessmusthehavenowwithhisbride,
Northepeacefulfarmeranypeace,ploughinghisfield,orgatheringinhisgrain,
Sofierceyouwhirrandpoundyoudrums,soshrillyoubuglesblow.
Beat!beat!drums!Blow!bugles!blow!
Overthetrafficofcities,overtherumbleofwheelsinthestreets;
Arebedspreparedforthesleepersatnightinthehouses?
Nosleepersmustsleepinthosebeds,
Nobargainers'bargainsbyday,wouldtheycontinue?
Wouldthetalkersbetalking?Wouldthesingerattempttosing?
Thenrattlequicker,heavierdrums,youbugleswilderblow.
BYU-IDAHOSYMPHONYDr.RobertTueller,Director
ElizabethCrawford,WoodwindSpecialist
Dr.MatthewMoore,BrassSpecialist
1
Flute
ClarissaTracy
RobynBrady
LizzieBlake
CrystalVanDuren,piccolo
Oboe
LizzyHenderson
ScotlynWhitemarsh
HannahWallis,englishhorn
Clarinet
EthanTufts
EmmaleeChristensen
HaydenJensen,bass
AimeeMcCarrey
Bassoon
JordanTerry
TaylorHeikell
MiaBido,contrabassoon
Horn
TateWadsworth
AbbyTaylor
AdamHeyen
EvanChamberlain
Trumpet
CJIson
TylerMcTavish
NateKeller
ConnorRobertson
Trombone
RandallSmith
ShelbyChamp
JackiePeiffer
CameronPizzo,bass
Tuba
ThomasKinder
2
Timpani
LandonWhitworth
Percussion
HollyChaput
JackEnsign
AdrianRosales
Dr.DavidTaylor
Piano
EdwardPoston
Celeste
GuillermoSanchez
Organ
AndrewWoodruff
Harp
SarahClose
KatieCalderwood
ViolinI
McKenzieZenger
SarahBagley
KrystellTaylor
AnnaRasmussen
DavidTruscott
SamShumway
McKennaMotto
AmiraBagley
BryceBoydston
HaileyHinnen
MikaylaCarey
AubreyLoveless
3
ViolinII
SamanthaHeaton
NoelleSingleton
AnnieSmith
ElizabethJones
RachelAllen
NathanHooper
JasonHughes
MariahBush
VivienneCampbell
AlisonRich
EmilyRapp
RebeccaThompson
Viola
DallinGreen
SarahPuzey
SpencerHunt
LauraBerghout
LaurelWettstein
ChloeKnutsen
SusanRobertson
CurtisAnderson
SarahKuhn
Cello
SebastianFraser
CharlottePetersen
JaquellTaylor
EmmaFlores
LeticiaBenning
AngelinaGomez
JennaMedlyn
KatheryneBoscan
Bass
NathanMay
CarolynOgden
JessicaHarris
GabeDavis
JosephMecham
CurtisMainord
2
relevantthanitwasin1936,whenthegatheringstormledtoglobalwar.Andthough
the“cheerfulagnostic”intendedsomethingquitedifferentfromhisuseofscripture,
Latter-daySaintaudiencescan’tfailtohearRestorationdoctrineinmovementVI
(“truthshallspringoutoftheearth…Iwillgatherallnationsandtongues…”),even
whilesecularhumanistsmayhearinthesamewordshopeforayetunrealizedhuman
solutiontothevexingarmedconflictsthatstillfaceus.IpersonallyhearinVaughan
Williams’musicasensitiveandcompassionateportrayaloftheeffectsofwar(which
hesawfirst-handasasoldierinWWI),concludedinMovementVIwiththesamesense
ofsunnyoptimismforwhichPresidentHinckleywassofamous.Yes,thingswillget
worsebeforetheygetbetter,butindividualscanfindpeaceandevenjoyinaworldof
conflict,andtheoutcomeoftheconflictisknown(spoileralert):Christwins,bringing
(atsomefutureandnottoodistanttime)permanentandenduringpeacetotheworld;
and,moreimmediately,peacetoindividualsandfamilieswhochoosetofollowHim.
VaughanWilliams,whowroteinmanygenres,wasalsoasought-afterfilmcomposer,
notunlikeourownWilliams(John,norelation).Incinematicfashion,eachmovement
seguesseamlesslytothenext,likescenesinthedramaofwarandfuturepeace.
MovementI:afearfulsopranosoloistandfaithful,yetanxiouschoir,singtheancient“Donanobispacem”text(LambofGod…grantuspeace)—thusmakingthemusic
simultaneouslyancientandmodern,personalandcollective,fearfulandfaithful.But
thepleaisnotansweredyet,aswetransitionto…II(Beat!Beat!Drums):…thefirstofthreeWaltWhitmanCivilWartexts,inwhichwarbludgeonseverythingand
everybody,withoutmercy.ThisterrifyingepisodemeltsintoIII(Reconciliation),apersonal,hauntingvignetteinwhichthesoloistrealizesthatevenhisformerenemyis
“amandivineasmyself.”InIV(DirgeforTwoVeterans),weviewthefuneraloftwoveterans;clashingimagesofamilitarybandandthesilent“ghastlyphantommoon”
echotheemotionsofonlookers,inwhomgriefwarspainfullywithpatrioticprideand
love.
ThenVwearewrenchedbacktopre-warEngland,inwhichaParliamentspeechwarns
ofimpendingwar;thereisaterrifiedreturnoftheopeningcriesof“Donanobis
pacem”;andfinally,amagicalmomentoftransitiontoVI,inwhichwehearhopeforapeacefulresolution.Thefuneralbellsoftheopeninghaveturnedintobellsofvictory;
theChristmastext“GlorytoGodinthehighest”asserts(toChristianears,atleast)that
thesourceoffinal“peaceonearth”isindivine,nothuman,hands.Dr.Kempton
In1944,AaronCoplandstartedworkonhisThirdSymphony,commissionedby
conductorSergeKoussevitskyandtheBostonSymphonyOrchestratopremiereintheir
1946season.Coplandwantedthepieceto“reflecttheeuphoricspiritofthecountry
atthetime”–theclosingofWorldWarII.Koussevitskywantedaworkthatwas
modernandlarge-scale:“inthegrandmanner.”Coplandstruggledtoconnecthis
signatureAmericanastylefoundhispopular(andveryapproachable)worksincluding
AppalachianSpring,BillytheKid,Rodeo,andElSalonMexicowiththedemandsofthe
serioussymphonicform.Theconnectionwasfoundinhisdecisiontouseanearlier
BYU-IDAHODEPARTMENTOFMUSIC
PRESENTS
SYMPHONYORCHESTRA
COLLEGIATE&CONCERTCHOIRS
AaronCopland1900-1990
Featuring
PaulandRebeccaBusselburg
MARCH1,2018,7:30PM
BARRUSCONCERTHALL
3
workinthefinalmovement:FanfarefortheCommonManwhichpremieredin1943
bytheCincinnatiSymphonyOrchestraasoneofeighteenfanfarescommissionedas
“stirringandsignificantcontributionstothewareffort.”Notonlydoesthefanfare
openthefinalmovement,butCoplandusesitsmotifstounifytheentiremovement,
closingthesymphonywithasenseofoverwhelmingjoyandoptimism.Copland
wroteaboutthework:
Intheprogrambookforthefirstperformance,Ipointedoutthatthewritingofasymphonyinevitablybringswithitthequestionsofwhatitismeanttoexpress.AsIwroteatthetime,ifIforcedmyself,IcouldinventanideologicalbasisfortheThirdSymphony.ButifIdid,I’dbebluffing—oratanyrate,addingsomethingexpostfacto,somethingthatmightormightnotbetruebutthatplayednoroleatthemomentofcreation.TheThirdSymphony,mylongestorchestralwork(about40minutesinduration)isscoredforabigorchestra.Itwascomposedinthegeneralformofanarch,inwhichthecentralportion,thatisthesecond-movementscherzo,isthemostanimated,andthefinalmovementisanextendedcoda,presentingabroadenedversionoftheopeningmaterial.Boththefirstandthirdthemesinthefirstmovementarereferredtoagaininlatermovements.Thesecondmovementstaysclosetothenormalsymphonicprocedureofausualscherzo,whilethethirdisfreestofallinformalstructure,builtupsectionallywithitsvarioussectionsintendedtoemergeonefromtheotherincontinuousflow,somewhatinthemannerofacloselyknitseriesofvariations.Someofthewritinginthethirdmovementisforveryhighstringsandpiccolo,withnobrassexceptsinglehornandtrumpet.Itleadsdirectlyintothefinalandlongestofthemovements:thefourthisclosesttoacustomarysonata-allegroform,althoughtherecapitulationisreplacedbyanextendedcoda,presentingmanyideasfromthework,includingtheopeningtheme.OneaspectoftheThirdSymphonyoughttobepointedout:itcontainsnofolkorpopularmaterial.Anyreferencetoeitherfolkmaterialorjazzinthisworkwaspurelyunconscious.However,IdoborrowfrommyselfbyusingFanfarefortheCommonManinanexpandedandreshapedforminthefinalmovement.IusedthisopportunitytocarrytheFanfarematerialfurtherandtosatisfymydesiretogivetheThirdSymphonyanaffirmativetone.Afterall,itwasawartimepiece—ormoreaccurately,anend-of-warpiece—intendedtoreflecttheeuphoricspiritofthecountryatthetime.Koussevitskydeclaredthepiece“thegreatestAmericansymphonyeverwritten.”
ConductorLeonardBernstein,amongthework’smostprominentinterpreters,said:
“(This)symphonyhasbecomeanAmericanmonument,liketheWashington
MonumentortheLincolnMemorial.”
Dr.RobertTueller