 |
About the MusicThe Concerts | The Compositions | The Soloists The ConcertsRemembrance * Friday, November 11, 2011, 8:00 PM Messiah * Saturday, December 17, 2011, 7:30 PM Sacred Music Festival * Friday, March 2, 2012 8:00 PM GVOC Salutes America! * Friday, May 4, 2012 6:00 PM The CompositionsRequiem – Gabriel Fauré (1845 - 1924) Fauré began sketches for the Requiem in 1887. Unlike many composers, he was not drawn to compose a requiem because of the death of a loved one, though his mother passed away during early stages of composition and his father died two years before. By the time of the first performance, on January 16 1888, there were five movements: an Introit and Kyrie, the Sanctus, Pie Jesu, Agnus Dei, and In Paradisum. He added an Offertoire in 1889, and added a setting of the Libera Me that he had written for baritone and organ some twelve years earlier. He added horns, trumpets, and trombones to the orchestra, and a baritone soloist, and this version was first performed at the Madeleine in January of 1893. Fauré's publisher wanted a larger-scale work, though, leading to a final revision premiered in July 1900 at the Trocadéro in Paris. In this version, the one most commonly heard in concert, woodwinds and violins were added to the orchestra. About the Composer
By the time Fauré was established as a successful composer and a pivotal figure in French musical life, he began to grow deaf, and his compositional output dropped considerably. He died at the age of 79 in Paris, on November 24, 1924. Mass of the Children - John Rutter (b. 1945) The Mass of the Children is John Rutter’s first major work after a hiatus of almost ten years. It received its première in Carnegie Hall, New York, in February 2003, and the first UK performance followed a month later in Guildford Cathedral, the composer conducting on both occasions. The work is scored for adult mixed choir, children’s choir, soprano and baritone soloists and orchestra. The Mass is a Missa Brevis – a Latin Mass without a Credo – in five movements. Several additional English texts are also included, and these form a progression from waking to sleeping that runs through the work as a counterpart to the liturgy of the conventional Mass text. The piece does not begin immediately with the Kyrie Eleison but, in keeping with the ‘waking to sleeping’ theme, opens with the children’s choir singing lines from Bishop Thomas Ken’s fine morning hymn, ‘Awake, my soul, and with the sun’, written in about 1674 for the scholars of Winchester College. After the Kyrie comes an exuberant Gloria featuring energetic, unequal rhythms that are typical of Rutter at his liveliest, and then a complete change of mood is introduced with the gently lilting harmonies of the Sanctus and Benedictus. The Agnus Dei text is divided between the fourth and fifth movements, with the first part being followed by William Blake’s moving poem, ‘The Lamb’, sung by the children’s choir. The final movement begins with two prayers by John Rutter, for the baritone and soprano soloists, based on verses by Lancelot Andrewes and St Patrick. The Mass now returns to the poetry of Bishop Ken. In one of Rutter’s most inspired passages the beautiful evening hymn, ‘Glory to thee, my God, this night’ is sung by the children to the sublime melody of Tallis’s Canon whilst the adults chant ‘Dona nobis pacem’ (Grant us thy peace). Finally the choirs are joined by the soloists, and the combined voices gradually bring the work to its peaceful conclusion. Rutter’s skillful writing for soloists, choirs and orchestra and his sensitive interweaving of the various Latin and English texts has resulted in one of his finest and most moving works. Rutter says: “I had always wanted to write a work combining children’s choir with adult performers, not only because I find the sound of children’s voices irresistible but also because I wanted to repay a debt. As a boy soprano in my school choir I had been thrilled whenever our choir took part in adult works with children’s choir parts, such as the Mahler Third Symphony and the Britten War Requiem, and years later I remembered this experience and wanted to write something that would give children a similar opportunity to perform alongside adult professionals.” (From the album notes). About the Composer
Material for these program notes are from John Bawden, Musical Director, Fareham Philharmonic Choir (http://www.choirs.org.uk/prognotes/programnotes.htm), from the album notes, and from http://www.geocities.com/Vienna/2820/rutt.html Messiah - George Frederic Handel (1685 – 1759) Messiah was written in 1741 in London. The texts were selected by Charles Jennings, a literary scholar and editor of Shakespearean plays. Although Messiah is traditionally performed at Christmas time, it was originally an Easter tradition. Messiah was first performed in Dublin on April 13, 1742 at St. Patrick’s Cathedral as a charity event. The first London performance of Messiah took place at the Convent Garden Theatre (now known as the Royal Opera House) with King George II in attendance. The tradition of standing during the “Hallelujah” Chorus had it beginnings at this time. There is a great deal of speculation as to why King George stood up during this section --did he nod off and jump up, startled by the loud music? – or was he acknowledging that his kingdom was subservient to God’s? Protocol demanded that no one remain seated while the King was standing. Messiah was dedicated from its initial performance to charitable purposes. In his will, Handel bequeathed it to an institution for the relief of poverty. Handel continued composing oratorios at the rate of about two a year, including such masterworks as Samson (1743) and Solomon (1749), until 1751, when his eyesight began to fail. Handel died in London on April 14, 1759; the last musical performance he heard, on April 6, was of his own Messiah. About the Composer
Handel was born February 24, 1685, in Halle, Germany, to a family of no musical distinction. His own musical talent, however, manifested itself so clearly that before his tenth birthday he began to receive, from a local organist, the only formal musical instruction he would ever have. Although his first job, beginning just after his 17th birthday, was as church organist in Halle, Handel's musical predilections lay elsewhere. Thus, in 1703 he traveled to Hamburg, the operatic center of Germany; here, in 1704, he composed his own first opera, Almira, which achieved great success the following year. Once again, however, Handel soon felt the urge to move on, and his inclinations led him to Italy, the birthplace of operatic style. In Italy Handel composed operas, oratorios, and many small secular cantatas; he ended his Italian sojourn with the spectacular success of his fifth opera, Agrippina (1709), in Venice. Handel left Italy for a job as court composer and conductor in Hannover, Germany, where he arrived in the spring of 1710. As had been the case in Halle, however, he did not hold this job for long. By the end of 1710 Handel had left for London, where with Rinaldo (1711), he once again scored an operatic triumph. Under the patronage of the duke of Chandos, he composed his oratorio Esther and the 11 Chandos anthems for choir and string orchestra (1717-1720). By 1719 Handel had won the support of the king to start the Royal Academy of Music for performances of opera, which presented some of Handel's greatest operas: Radamisto (1720), Giulio Cesare (1724), Tamerlano (1724), and Rodelinda (1725). Handel’s introduction to oratorio began in the spring of 1708 when opera performances were banned in the Holy City of Rome. At this time, oratorios became the acceptable substitute for opera, and it was then that Handel explored this form. In 1738 Handel, as determined as ever, began yet another operatic endeavor, which ended with his last opera, Deidamia, in 1741. During the 1730s, however, the most important directions taken by Handel were, first, the composition of English dramatic oratorios, notably Athalia (1733) and Saul (1739); and, second, the surge of instrumental music used in conjunction with the oratorios, including some of Handel's greatest concertos-the solo concertos of op. 4 (1736, five for organ and one for harp) and the 12 concerti grossi of op. 6 (1739). Sacred Music Festival Details to be announced. This is a mélange of choral and instrumental works presented in a “prism” format – each work blends into the next, without pause. GVOC Salutes America! Details to be announced. This concert will include works of American composers who celebrate our country through song. The Soloists
Amy Cochrane made her Carnegie Hall debut in 1998 singing Gabriel and Eve in Haydn's Creation under the direction of John Rutter, and has since returned to Carnegie Hall to sing Creation again, and as a soloist in the New York premiere of The World of the Spirit by Benjamin Britten. Critically acclaimed performances with the Madison Opera and Symphony Orchestra include Gilda in Rigoletto and Mendelssohn's Symphony No. 2, "Lobgesang", as well as Adina in The Elixir of Love. Ms. Cochrane has returned as soloist with Chicago's prestigious Music of the Baroque most recently in Handel's "Dixit Dominus", under the direction of Nicholas Kraemer. Her several performances as soloist with Music of the Baroque include Bach's Cantata "Wachet auf", Vivaldi's Gloria, Monteverdi's The Coronation of Poppea, Schubert's Mass in G and Cavalli's La Callisto. Also she joined Chicago's Rembrandt Chamber Players in a concert of works by bassist and composer, John Deak. The set of songs by Messiaen, Chants de Terre et de Ciel, Amy has performed three times with pianist Dr. Joseph Dechario: once at Nazareth College and then again for SUNY Geneseo and for the WXXI Live from Hochstein series. Locally Ms. Cochrane sang as Constanze in Mercury opera's production of Mozart's Die Entfuhrung aus dem Serail, and then Violetta, with the Oswego Opera and their production of La Traviata. She received her Bachelor’s in Music from Oberlin College and her Masters degree from the New England Conservatory of Music. Ms. Cochrane is also the director of the Genesee Valley Children’s Choir.
Mario E. Martínez made his United States professional operatic debut in the Rochester Philharmonic Orchestra production of Beethoven’s Fidelio singing the role of Don Pizarro. During his professional career, Martínez has appeared with the Rochester Philharmonic Orchestra, Charleston Symphony, Western New York Chamber Orchestra, National Symphony and Philharmonic Orchestras of Santo Domingo, Orchard Park Chorale and Symphony, New Eastman Symphony, Eastman Philharmonia, Mercury Opera Rochester, Opera Rochester, Buffalo Opera Unlimited, Opera de las Américas and Compañia Lírica Dominicana. Recent performances include his leading roles in Le nozze di Figaro with the Eastman Opera Theater and the critically acclaimed Mercury Opera productions of L’Elisir D’Amore and L’amico Fritz, as well as a concert presentation at Merkin Concert Hall, at the Kauffman Center, in New York City. In addition to Figaro in Mozart’s Le nozze di Figaro, Dulcamara in Donizetti’s L’Elisir D’Amore and David in Mascagni’s L’Amico Fritz, his operatic repertoire includes Emperor Uberall in Ullmann’s The Emperor of Atlantis, Falstaff in Verdi’s Falstaff, Almaviva in Mozart’s The Marriage of Figaro, The Father in Milhaud’s Le Pauvre Matelot, Bohechio in Braga’s Opera 1492, Junius in Britten’s The Rape of Lucretia, Raymondo in Donizetti’s Lucia di Lammermoor and Marullo in Verdi’s Rigoletto, among others. In addition to his active performance career, Martínez serves as Coordinator of Vocal Studies at Nazareth College in Rochester, New York, where he teaches applied voice, vocal pedagogy, song literature and performance technique courses. As Coordinator of Vocal Studies, Martínez has created and developed innovative programs such as the Annual Vocal Fest, the Barbara Staropoli Singing Competition, the Nazareth College Vocal Pedagogy Series and the Summer School of the Arts Musical Theatre Program. Several of Martinez’s students have been awarded prizes in the National Association of Teachers of Singing Regional competitions. Martínez taught at the State University of New York (SUNY), College at Fredonia and at the Eastman School of Music Community Education Division. Martínez is an active member of the National Association of Teachers of Singing (NATS), and was selected to participate in the exclusive NATS Intern Program in 2003. Martínez also served as On-Site Coordinator for the 2005 NATS Intern Program and is currently President-Elect for the Central New York-Finger Lakes NATS Regional Chapter. In August 2005, Martínez was invited as guest conductor for the National Choir’s 50th Anniversary celebrations in his native country, the Dominican Republic, where he has since returned as art consultant, guest conductor and guest master teacher for the Secretary of Culture and the General Office of Fine Arts. Martínez is currently Music Director at the Penfield Presbyterian Church in Penfield, New York.
Holly Bewlay, born in Pusan, South Korea, received her vocal training at the New England Conservatory of Music in Boston, Massachusetts where she received a Bachelor’s in Music degree. Dr. Bewlay then completed her Master in Music and Doctorate in Musical Arts at the Eastman School of Music in Rochester, New York. She joined the music faculty at Buffalo State College in 2005 as a lecturer, and in 2008 was appointed to the rank of assistant professor. She serves as vocal coordinator, teaches applied voice, and vocal pedagogy. She has performed numerous solo engagements with opera companies, orchestras, universities, and arts organizations including the Mercury Opera, Opera Rochester, Eastman Opera Theatre, Tulsa Gilbert and Sullivan Society, Buffalo Philharmonic Orchestra and Chorus, New Haven Chorale, Connecticut Choral Artists, and many others. Bewlay’s operatic roles include Despina in Cosi fan Tutte, Juliette in Romeo and Juliette, Venere and Amor in Orfeo, Laetitia in The Old Maid and the Thief, Giannetta in L’Elisir D’Amore, and Sophie in Werther. She has also premiered new works, appearing in Ray Picken’s opera An Affair of State in a main state role as Bianca, and has performed benefit concerts for the Friends of Autistic People in Connecticut and the victims of the September 11 tragedy. She has been a soloist in oratorios and concert works such as Bach's Magnificat, Mozart’s Solemn Vespers, Brahm’s Requiem, Mozart’s C Minor Mass, Pergolesi’s Stabat Mater, Vivaldi’s Gloria, Haydn’s Creation, Pergolesi’s Magnificat, Saint Saens’ La Nuit, Haydn’s Lord Nelson Mass, Mendelssohn’s Elijah, Mendelssohn’s Lobgesang, Mozart’s Exsultate Jubilate, Gounod’s Messe Solennelle, and four times in Handel’s Messiah with the Rochester Chamber Orchestra. Dr. Bewlay has kept her solo recital works up as well. She gave a recital for Sounds of the World Concert Series at the Black Rock Art Center in Bridgeport, Connecticut as well as numerous recitals at Eastman, New England Conservatory, Buffalo State College, Georgia State University in Columbus, and throughout the Northeast. She was also invited to perform opera roles in Urbania, Italy with the Oberlin in Italy.
Kathryn Cowdrick, a graduate of Penn State and Columbia University with degrees in speech and voice pathology, began her career when awarded an Adler Fellowship with the San Francisco Opera. For the past 30 years, she has worked with many international and regional companies that included Spoleto Festival, Wexford Festival, Nederlands Opera, Scottish Opera, New York City Opera, and Washington National Opera. Known for Rossini heroines, she is now in demand as a respected singing actress, appearing in roles that include Mrs. Lovett (Sweeney Todd) for the Princeton Festival, Katisha (The Mikado) for Opera New Jersey, Marcellina (Le nozze di Figaro) for Utah and Arizona Operas, Marquise (Fille du Regiment) for Kentucky Opera, Old Woman (Candide) and Zita (Gianni Schicci) for Lake George Opera, (Pirates of Penzance) for Chautauqua and Mercury Opera, Filipevna (Eugene Onegin) for Tulsa Opera, Berta (Barber of Seville) for New York City Opera and the leading role of Orfeo with Opera Memphis and Ballet. She sang the role of Julia Child in Hoiby's opera Bon Appetit for Child's induction into the National Women's Hall of Fame in 2007- an opera recently recorded for Albany Records. She can be heard on the 1984 Grammy award winning album of Antony and Cleopatra recorded live at the Spoleto Festival and Jenufa recorded live from Carnegie Hall. She is one of those rare singers that has balanced a successful performing career while teaching voice and vocal pedagogy. She is a member of the voice faculty of the Eastman School of Music, where she sang the title role in The Medium with the Eastman Opera Theatre. Future performances include Marcellina (Le nozze di Figaro) for Ft. Worth Opera, and Despina (Cosi fan tutte) for Opera Saratoga.
Matthew Swensen graduated in 2011 from Penfield High School and is now attending the Boston Conservatory of Music. He was the recipient of the Eastman Award and the Vocal Award there. In addition to his vocal activities while at PHS, he played saxophone with the wind and jazz ensembles. He received scholarships as the first prize winner from competitions that include the Glenn Miller Foundation Contest, Barbara Starapoli for High School singers, Empire Lyric Theatre Angelone, and Rochester Philharmonic Guild. This past summer in Los Angeles, he was the third prize winner in the national Classical Singer High School Competition. He was a member of the ensemble for Mercury Opera Rochester's Pirates of Penzance and La Boheme. Matthew was a member of the Chancel Choir and appeared in leading roles in Third Presbyterian Church's youth musicals Godspell and Joseph and the Magic Technicolor Dreamcoat. His first opera role was Cobweb in Eastman Opera Theatre's A Midsummer Night's Dream in Kodak Hall.
American bass Zachary Benton Burgess, a recent graduate of the Boston Conservatory and National Finalist in the Classical Singer Competition 2011, will be making his debut with the Genesee Valley Orchestra & Chorus. Mr. Burgess performed scenes from John Musto’s The Inspector as part of Opera America’s 2011 New Works Sampler. In the upcoming season Mr. Burgess will be performing the role of Kecal in Smetana’s The Bartered Bride with Eastman Opera Theatre. In previous seasons, Mr. Burgess portrayed the title role of The Mikado, Sarastro from Mozart’s Die Zauberflöte, and Crébillon in Puccini’s La Rondine. Equally at home with oratorio and concert repertoire, Mr. Burgess has been the bass soloist for J.S. Bach’s Magnificat in D-major and more recently with the Eastman Rochester Chorus in a performance of Part III of Schumann’s Szenen aus Goethes Faust. Mr. Burgess is currently fulfilling requirements for his Master of Music in Vocal Performance and Literature from the Eastman School of Music where he studies privately with Professor Jan Opalach. |
Gabriel Fauré was born on May 12, 1845 in Pamiers, in the Midi-Pyrénées region of southern France. His musical talent was recognized at an early age, and he spent his high school years at the Niedermeyer School in Paris, where he studied organ, piano, and choral music and where his teachers included Camille Saint-Saëns. After graduating, he worked as organist and choirmaster at a series of churches of increasing prestige, until 1877, when he took over Saint-Saëns's post as choirmaster at the Madeleine in Paris. Fauré would remain at the Madeleine for almost 20 years. He also taught composition at the Paris Conservatoire, becoming director in 1905, and his pupils included Maurice Ravel and Nadia Boulanger.
John Rutter (born September 24, 1945) is an English composer and choral conductor. He studied music at Clare College, Cambridge, where he was director of music from 1975 to 1979. In 1981 he founded his own choir, the Cambridge Singers, with which he has made many recordings. His compositions are chiefly choral, and include Christmas carols, anthems and extended works such as the Gloria, Requiem. His music shows the influences of the French and English choral traditions of the early 20th century, combining these with harmonic and rhythmic elements largely derived from the light music of the 1950s and 60s.
George Frederic Handel (1685 – 1759) was born in Halle, Germany. He was one of the greatest composers of the late baroque period (1700-1750) and, during his lifetime, perhaps the most internationally famous of all musicians.
Amy Cochrane, Soprano
Mario Martinez, Baritone
Holly Bewlay, Soprano
Kathryn Cowdrick, Mezzo-soprano
Matthew Swensen, Tenor
Zachary Benton Burgess, Bass