Fanfare for the Common Man

Aaron Copland (1900-1990)

Alan Allred, guest conductor

Will ye go, lassie, go?

Trad. Scottish

Arr. Eva Toller

The Good Old Way

Traditional

Arr. UVU Deep Green

Kade Bennett & Josh Scribner, soloists

“This selection, arranged and harmonized by the choir, represents disparate traditions of oral transmission with three subsequent versions of the same tune: 1. The Good Old Way, 2. Come, let us all go Down, and 3. Down to the River to Pray.” — Dr. Criddle

Beati mortui

Felix Mendelssohn (1809-1847)

Brittney Stradling, conductor

Да и̑спра́витсѧ мл͂тва моѧ̀ (Let My Prayer Arise)

Pavel Chesnokov (1877-1944)

Brittney Stradling, alto

Ukrainian National Anthem

Arr. Reed Criddle (b. 1981)

Dies Irae

Ryan Main (b.1984)

Janette Nelson, pianist

Lux Aeterna

Z. Randall Stroope (b . 1953)

Nick Mendenhall, pianist

Jubilate Deo

Laura Farnell (b.1975)

Janette Nelson, pianist

Keep the Whole World Singing

Willis A. Diekema (1892-1988)

Kenny Wiser, guest conductor

Alto Rhapsody, Op. 53

Johannes Brahms (1833-1897)

Aubrey Adams-McMillan, alto

Reed Criddle, conductor

Johannes Brahms wrote Alto Rhapsody in 1869 as a wedding gift for Robert and Clara Schumann’s daughter, Julie. The text is Johann Wolfgang von Goethe’s poetry, which was received by the general public as a “sort of bible of despair for young lovers.” This specific poem, “Winter Journey in the Harz Mountains,” describes Goethe’s travels to visit a friend experiencing deep depression. Having been romantically rejected by both Clara and Julie Schumann, Brahms was no stranger to depression and unrequited love. He therefore set Goethe’s first two stanzas darkly, with melancholy, meandering melodies and harsh, haunting harmonies. This menacing beginning is followed by a wandering second theme in which the soloist and orchestra struggle between duple and triple meter on the lyrics “Ah who heals the pains.”

Before publishing it, Johannes sent a copy to Clara, who was “so moved by the profound pain of words and music.” Referring to the composer, she added: ‘It is the expression of his own heart’s anguish.” Pain turns to rejoicing as the choir finally enters in joyful C major singing the virtues of music. It seems Brahms has found delivery from his suffering through the beauty of song.

“Enigma” Variations on an Original Theme, Op. 36 (1898-99)

Edward Elgar (1857-1934)

Alan Allred, guest conductor

Dedicated “to my friends pictured within,” this work consists of a theme and variations of the theme that are character sketches of the composer’s friends.

Pilgrim’s Chorus (from Tannhäuser, Act III)

Richard Wagner (1813-1883)

Reed Criddle, conductor

In Richard Wagner’s opera, Tannhäuser returns to his former life from the lustful pleasures of Venusberg. He is greeted by an old friend who, with a group of pilgrims, is on his way to seek penitence in Rome. On their way, the travelers sing praises to their Eternal God in the famed Pilgrim’s Chorus. The friend tells Tannhäuser that his prior love, Elizabeth, still misses him. Eventually ashamed by his time in Venusberg, he decides to take the penitent pilgrimage to Rome and seek forgiveness from the Pope. The Pope denies him, saying that his staff will sprout leaves before Tannhäuser receives forgiveness. When Tannhäuser discovers that Elizabeth died of grief, Tannhäuser also dies of anguish. The morning after Tannhäuser’s death, the group of pilgrims returned with the Pope’s staff, which had suddenly sprouted leaves. This symbol marked Tannhäuser’s ultimate redemption.

Wagner wrote Tannhäuser during his tenure as the conductor of the court opera, and was 32 when this opera premiered in 1845. Like Brahms, he also enjoyed the poetry of Goethe. Tannhäuser was not received well, but foreshadowed Wagner’s exile and return in his own lifetime. The piece itself was written in a chorus style influenced by J.S. Bach, but with an incredible amount of chromaticism.