Dr. Reed Criddle, conductor
Anthony Ruiz, tenor
Taci Miner, soprano
Emily Adams, oboe
Noah Guzman, cello
Ashley Vasquez, piano
Hannah Boyack, assistant conductor
Translation
He has helped His servant Israel
In remembrance of His mercy.
Translation
The rose stood in the dew -
They were pearls grey.
When the sun shone on them,
They became rubies.
Garrett Bills, guitar
Ethan Stemmons, mandolin
Hannah Boyack, drum
Ashley Vasquez, piano
Dr. Reed Criddle, conductor
josquin des prez (1450-1521)
Translation
Rejoice, virgin, mother of Christ
You who conceived through your ear
As announced by Gabriel.
Rejoice because, full of God,
You gave birth without pain, with the lily of purity.
Rejoice for your son, whose death you mourned,
Shines in the resurrection.
Rejoice as Christ ascends, and seeing you,
Is carried into heaven by his own movement.
Rejoice, you who rise after him,
And to whom great honor
Is accorded in the palace of heaven,
Where the fruit of your womb
Is given to us through you to enjoy, in eternal joy.
Translation
Movement 1: O Master of all living
(sung in Church Slavonic)
O Master of all living,
Bestowing priceless gifts upon us,
God creating all out of nothing,
Mysterious, omniscient, frightening,
Merciful and impeccable, inevitable and inscrutable,
Invisible, eternal, boundless, terrifying and beneficent.
You are unfathomable, intangible,
Without beginning and without end,
You are the only one who is measureless,
Who is true and real in the world,
It is you who give us blessing,
You are a noon without nightfall, light without shadow,
Our only fountain of peace
That lightens our temporal existence.
You are limitless and omnipresent,
Our sweetest honey and daily bread,
An inexhaustible treasure, purest rain,
Forever plentiful might,
You are a guardian and guide to us,
A healer knowing our ills,
Support to all, an all-seeing eye,
A hand of abundant giving,
Radiant with greatness, welcome to all,
Our tireless shepherd, benevolent tsar,
All-seeing, vigilant day and night,
A judge dispensing fair judgement,
A non-oppressive gaze, a voice of comfort,
You are a message bringing peace.
Your forbidding hand and all-seeing eye
Warn mortals against vice,
A judge of what is right and wrong,
A glory that inspires no envy,
You are a light to us, a greatness without limit,
A path, invisible but straight.
Your imprint is invisible, we can only see Your favour,
It descends to us on earth from heaven.
The words that I pronounce glorifying You
Are poorer than those You should have heard,
O God, by right,
Had I not been so poor in speech.
God blessed, praised,
Glorified by all living in the universe,
All we are destined to achieve
Is born by Your wise inspiration.
O God, show me in my doubts the path of purity
And, guiding me to the gates of salvation,
Be content and rejoice.
The purpose of Your slave’s paean
Is not glorification or eulogy,
My worthless words are a supplication
By which I long to obtain salvation.
Movement 4: Complete this work
Complete this work
Which I began in hope and with Your name,
So that my singing may become healing,
Curing the wounds of body and soul.
If my humble work is finished
With Your holy blessing -
May the divine spirit in it
Join with my meagre inspiration.
Do not extinguish the revelation You have granted,
Do not abandon my reason,
But, again and again, receive praise
From Your servant. Amen.
Opening with evocative beauty, Alfred Schnittke’s (1934-1998) Choir Concerto stands
as one of the great choral masterpieces of the 20th century. Its text is from “The
Book of Lamentations” by the medieval Armenian monk, Gregory of Narek (951-1003).
Gregory’s prayerful pursuit is to answer the question “what can we as humans offer
to God?”
Schnittke adopted the Orthodox faith in the 1970’s. Leaning on the church’s mandate
for unaccompanied music, Schnittke wrote and scored this concerto for a large, a cappella,
mixed-voice choir. The concerto's movements strike a stirring balance between the
contemplative and powerful. When listening, one might wonder how Schnittke wrote such
compelling music. The composer stated, “I wrote music which was evoked by this text,
not the music I wanted to write.” showing he did not compose by striving for popularity,
but by listening to the inner voice, trusting in his desire to express his most intimate
and profound feelings.
While the movements of the concerto are not formally titled (only listed as I, II,
III, and IV in the score), the first line of the texts can be considered the titles.
The first movement, “O Master of all living,” is in ABA’ form. The A section, consisting
of the first 29 measures, describes the majesty and mystery of God.
The B section, comprising the next 11 minutes of music, begins a litany to God. The
foundational element of this section is the drone that supports the melody. While
the melody is presented in a variety of keys and harmonic centers, a drone provides
consistent texture. Listen as pedal tones pass between the voices and as soloists
emerge from the texture. After a massive climax to end the B section, Schnittke presents
the soft, stark opening of the piece again. This return of the A section finds resolution
as the choir pleas to have their supplication be enough to obtain salvation.
The last movement of the Concerto, “Complete this work,” is a hopeful and contemplative
prayer. Unlike the harmonic exploration of the previous movement, the final movement
essentially stays in the same key, with momentary tonicizations of related keys. After
one final clash of dissonance as Gregory refers to himself, the “servant,” Schnittke
provides resolution with a sonorous Amen section. A coda marked by brilliant D Major
chords, the Amens require the choir to divide into 26 individual voice parts, as if
signifying a multitude of angels were anointing this supplication.
- Program note by Jordan Conover & Reed Criddle
Dr. Reed Criddle
conductor
|
Tenor 1 Kegan Bjorn Tenor 2 Ryan Call * + Assistant Conductor |
Baritone Benjamin Brown Bass 2 Joseph Blomberg |
Dr. Reed Criddle
conductor
|
Soprano 1 Megan Benson Soprano 2 Katherine Cox alto 1 Marlie Krogh alto 2 Hannah Boyack + Assistant conductor |
Tenor 1 Jordan Conover + Tenor 2 Logan Bishop bass 1 Ryan Call bass 2 Braden Johnson * |
Utah Valley University acknowledges that we gather on land sacred to all Indigenous people who came before us in this vast crossroads region. The University is committed to working in partnership—as enacted through education and community activities—with Utah’s Native Nations comprising: the San Juan Southern Paiute, Paiute Indian Tribe of Utah, Uintah & Ouray Reservation of the Northern Ute, Skull Valley Goshute, Confederated Tribes of the Goshute Reservation, Northwestern Band of Shoshone Nation, Hopi Tribe, Navajo Nation, Ute Mountain Ute-White Mesa Community, and urban Indian communities. We recognize these Native Nations and their continued connections with traditional homelands, mountains, rivers, and lakes as well as their sovereign relationships with state and federal governments. We honor their collective memory and continued physical and spiritual presence. We revere their resilience and example in preserving their connections to the Creator and to all their relations, now and in the future.
With this statement comes responsibility and accountability. We resolve to follow
up with actionable items to make the School of the Arts at UVU and The Noorda Center
for the Performing Arts an inclusive, equitable, and just space for all. There is
much work to be done, and we are committed to putting these words into practice.
Artwork by Shane Walking Eagle (Sisseton Dakota).
Our mission is to produce and present artistic excellence, which would not be possible without the generous support of our sponsors. We thank them and express our deep gratitude to all patrons, supporters, and friends of The Noorda.
The arts possess the unparalleled power to inspire, educate, liberate, and transform. They elevate moments, mark milestones, soften edges, and generate profound meaning. Experience the beauty and wonder of the arts with us this season at The Noorda and begin at once to live!
Courtney R. Davis, J.D., M.A.
Dean, School of the Arts
Department Chair
JEFFREY O'FLYNN
Administrative Assistant
CHRIS GINES
Chamber Choir/Deep Green
REED CRIDDLE
Emerald Singers
CHERILYN WORTHEN
Concert Choir
DEMAREE BROWN
Opera Coordinator
ISAAC HURTADO
Voice Coordinator
MELISSA HEATH
Private Voice Instructors
AUBREY ADAMS-MACMILLAN
CECILY BILLS
ADRIENNE BRAUN
DEMAREE BROWN
ANTHONY BUCK
REED CRIDDLE
MELISSA HEATH
CHRISTOPHER HOLMES
ISAAC HURTADO
CONSTANCE JENSEN
SERENA KANIG BENISH
EMILY MERRELL
JOSEPH MOORE
