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Celebrating the 200th aniversary of the death ofWolfgang Amadeaus Mozart

Raleigh Oratorio SocietyCelebrating its' 50th Aniversary

James M.Marshall- Musical Director/Conductor

York County Choral SocietyCelebrating its' 10th Aniversary

DavidLowry-Musical Director/Conductor

RALEIGH'S MEMORIAL AUDITORIUM

Raleigh, NC 13April 1991 8PM

MLEIGH(f)WIiYli()SOCIETY••••• • •

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PROGRAM

REGINA COELI, K. 276

SoloistsMiriam Kilbourne - Soprano

Faye Daniel - AltoScott Rogers - Tenor

Gregory V. Solovieff - Bass

AVEVERUM, K.618

CLARINET CONCERTO, K. 622

SoloistPhil Thompson

INTERMISSION

MASS IN C MINOR, K.427

SoloistsMelinda Wilkinson - SopranoCatherine Charlton - Soprano

Scott Rogers - TenorGregory V. Solovieff - Bass

Regina coeli, laetare.alleluia coeli, laetare.alleluia.Quia quem meruisti,alleluia, alleluia.Quia quem meruisti, portare,alleluia.Resurrexit sicut dixit,alleluia.Ora,pro nobis Deum.alleluia.

Regina Coeli

Creator Father we praise Thee.Creator, we praise Thee.alleluia.o Lord, we magnify Thee,alleluia, alleluia.o Lord we magnify Thee and bless Theealleluia.We rejoice now with loud voices,alleluia.o Lord,how gracious Thy Name.alleluia.

Ave Verum Corpus

Ave, Ave verum corpus, natumEx Maria Virgine;Vere passum, immolatumIn cruce pro homine,Cujus latus perforatumvero fluxit sanguine.Esto nobis praegustatumin mortis examine.

Hail, holy Body of theVirgin Mary born;who has truly suffered,broken on the cross for all;from whose pierced sideflowed water and blood.Be for us a heavenly giftin death's agony.

Mass in C Minor

Chorus and Soprano

KYRIE

Kyrie eleisonChriste eleisonKyrie e1eison

Lord, have mercy.Christ, have mercy.Lord, have mercy.

Gloria in excelsis - Chorus

GLORIA

Gloria in excelsis Deo.Et in terra paxhominibus bonae voluntatis

Glory to God in the highest.And on earth peace .to men of good will.

Laudamus te - Soprano

Laudamus te. Benedicimus te.Adoramus te. Glorificamus te.

We praise you. We bless you.We adore you. We glorify you.

Gratias - Chorus

Gratias agimus tibipropter magnam gloriam tuam.

We give you thanksfor your great glory.

Domine - Soprano I and Soprano II

Domine Deus, Rex caelestis,Deus Pater omnipotens.Domine Fili unigenite Jesu Christe

Domine Deus, Agnus Dei, Filius Patris.

Lord God, heavenly King,God the Father Almighty.Lord Jesus Christ, the only-begottenSonLord God, Lamb of God, Son of the'Father.

Qui tollis - Double Chorus

Qui tollis peccata mundi,miscrere nobis.Qui toUispeccata mundi,suscipe deprecationem nostram.Qui sedes ad dexteram Patris,miserere nobis.

Who takes away the sins of the world,have mercy on us.Who takes away the sins of the world,receive our prayer.Who sits at the right hand of theFather,have mercy on us.

Quoniam - Soprano I, Soprano II and Tenor

Quoniam tu solus sanctus.Tu solus Dominus.Tu solus altissimus.

For you alone are holy.You alone are Lord.You alone, are most high.

Jesu Christe-Cum Sancto Spiritu - Chorus

Jesu ChristeCum Sancto Spiritu,in gloria Dei Patris.Amen.

Jesus Christ,Together with the Holy Spirit,in the glory of God the Father.Amen.

Credo in unum Deum - Chorus

CREDO

Credo in unum Deum,Patrem omnipotent em,factorem caeli et terrae,visibilium omnium et invisibilium.

Et in unum Dominum Jesum Christum,Filium Dei unigentium.Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine,Deum verum de Deo vero.Genitum, non factum,consubstantialem Patri:per quem omnia facta sunt.Qui propter nos homineset propter nostram salutemdescendit de caelis.

I believe in one God,the Father Almighty,Creator of heaven and earth,and of all things, visibile andinvisible.And in one Lord Jesus Christ,the only-begotten Son of God,born of the Father before all ages.God of God, Light of Light,true God of true God.Begotten, not made;one in being with the Father;by whom all things were made.Who for us men,and for our salvationcame down from heaven;

Et incarnatus - Soprano

Et incarnatus est de Spiritu Sanctoex Maria Virgine: et homo factus est.

SANCIlJS

and was incarnate by the Holy Spirit,born of the Virgin Mary:and was made man.

Sanctus, Sanctus, SanctusDominus Deus SabaothHosanna in excelsis.

Double Chorus

Holy, holy, holy,Lord God Sabaoth.Hosanna in the highest.

BENEDlCIlJS

Soprano I, Soprano II, Tenor and Bass

Benedictus qui venetin nomine Domini

OSANNA

Hosanna in excelsis.

Blessed is he who comesin the name of the Lord.

Chorus

Hosanna in the highest.

PROGRAM NOTESThe general public has probably never been so inter-

ested in Mozart as a personality as it has since the ap­pearance of Peter Shaffer's popular drama and movieAmadeus. First, one must admonish admirers of the dramathat it was never intended to be a history of Mozart. Theplaywright was giving us a picture of Mozart as Salieri sawhim. Salieri would hardly have wanted to give an accurateaccounting of Mozart, the man who, even after his death,would undo Salieri's whole life by becoming known as themost comprehensive and brilliant composer in the historyof music.

Where Shaffer's approach to Mozart's personalitycomes very close to the truth is that Mozart was indeedvulgar, yes, obscene, undisciplined in his personal habits,unreliable as a manager of his personal affairs, apparentlyunhealthy, decidedly arrogant and likely was not as attrac­tive as Tom Hulce. But he was pure genius.

Mozart's church music was written for practical use.The masses, the motets based on various liturgical texts, thevesper canticles and psalms, the litanies, the one cantataand the organ "epistle" sonatas all reflect the intensereligiosity of the man buried beneath the outwardly crassand frequently vulgar individual. For whatever Mozart wasas a mortal, his religious zeal was deeply felt and wasequated with his artistic impulse. Mozart's inner calling isunquestionable. He understands the unspeakable joys ofsalvation, the poignancy of suffering, the mystery andmajesty of God, the frailty of humanness. It always comesout in his music.

Mozart himself was responsible for the performanceof much of his church music, as an employee of anarchbishop. He understood best the forces available toperform his music. The further we get from Mozart, the

more we realize the magnitude and the unsurpassed excel­lence of his music.

REGINA COELI K. 276 (1779, Salzburg) is the thirdof his settings of this text. The first two were written moreoperatically and with contrasting sections. This one, in Cmajor, is a single movement of fanfare music with tightlywoven interplay between the chorus and the four soloists.That audiences hear things in this work that seem to remindthem of Handel (listen for some of the alleluias, and listenagain in the Grand Mass in C minor) simply indicates thatMozart is indeed the eclectic composer he claims himselfto be. Handel's superior technique at writing Italian operawas, after all, a model for Mozart. It would be only a fewyears later that Mozart took Handel's Messiah and re-or­chestrated the entire oratorio.

AVEVERUM CORPUS K. 618 (1791, Vienna) is theonly church music written between the Grand Mass in Cminor K. 427 (1782- 3, Vienna) and the Requiem K. 626(1791). During this last period of his life, his employmentrequired works for the concert halls and the opera houses.Written as a gift to a choirmaster in the little town of Badenoutside Vienna, it stands as one of the most simple andmoving pieces of church music ever written.

CLARINET CONCERTO, K. 622 (1791, Vienna) isnot church music, but is intensely interesting music as itwaswritten the last year of his life, except for a sketch of thefirst movement two years earlier, a piece originally in­tended for the basset horn (a relative of the modernclarinet). The adagio reflects the tendency noticed in theAve Verum CO/pusto write more simply, a proclivity noticedin several of his works.

As many of his 40 concertos, this one was written asmuch for the client who was to perform it as it was for theinstrument. Mozart likely heard the clarinet at age 9whilein London, and he had used it in chamber works, operas,

and (only) four symphonies. One of the facts of the day wasthat the instrument was not quite in use regularly andclarinetists, therefore, were not so plentiful. Yet Mozartwas obviously fascinated with the sound of the instrument,for he employs the instrument throughout its range andshows off its unique and haunting textures

Notes by David Lowry

GRAND MASS IN C MINOR, K.427 (417a)The twogreatest religious choral works of Mozart were never com­pleted. The Requiem was finished after his death by .astudent, but the Mass in C minor remains virtually asMozart left it. Mozart worked on the Mass in 1782-83whilein Vienna to fulfill a vow "in his heart of hearts" that whenhe first took his bride Constanze to Salzburg, there wouldbe a new mass to perform there. It was about this same timethat Mozart began a careful study of the works of Bach,especially the counterpoint and fugues. This influence isgreatly in evidence in all of the Mass, but particularly in thedouble choruses, "Que toUis"and "Sanctus".

Mozart also held in high regard the works of Handel.Fearing that the works of Handel might not survive or beaccepted and admired in his own time, Mozart re-or­chestrated several of Handel's works, including Ads andGalatea and Messiah. Much of Mozart's choral writingreflects this influence and admiration.

The Mass in Cminor contains two of the most popular(and difficult) arias for soprano in the musical repertoire,"Laudamus te" and "Et incarnatus", plus an equally beauti­ful duet for two sopranos, the "Domine deus". Mozartnever completed the "Credo"; he only finished the move­ment through the "Et incarnatus". Likewise, he never setpen to the "Agnus dei" or the "Dona nobis pachem". In spiteof this, the Grand Mass in C minor remains a monument tothe creative genius of Mozart.

Notes byl.M. Marshall

BIOGRAPlllES

David Lowry is professor of music at Winthrop Col­lege in Rock Hill, South Carolina where he is the conductorof the Rock Hill Chamber Orchestra and professor in organand church music. He has been at Winthrop since 1965.He is the founder and conductor of the York County ChoralSociety which joins the Raleigh Oratorio Society in aMozart concert on Saturday, April 13 at 8:00 P.M. inMemorial Auditorium, Raleigh.

Lowry is a graduate of Baldwin-Wallace College,Union Theological Seminary and the University of NorthTexas, from which he holds the degree Doctor of MusicalArts. Internationally known in the field of church music andorgan performance, his conducting career in the last decadehas flourished with notable performances of major worksincluding a BrahmsA German Requiem broadcast on publicradio.

On the Mozart program April 13,Lowrywill conductthe combined choral societies in Regina Coeli, Ave VerumCorpus, and the Clarinet Concerto. James Marshall, con­ductor of the Raleigh Choral Society will lead the combinedforces in Grand Mass in C minor.

James M. Marshall was named Musical Direc­tor/Conductor of Raleigh Oratorio Society in June 1970.He is a graduate of Westminister Choir College and is apast member of the Robert Shaw Chorale. As musicalDirector/Conductor, Mr. Marshall has presented a widevariety of choral masterpeices to the Triangle area. He isa private voice and piano in Raleigh and conducts manyworkshops around the country for church, civic and profes­sional groups. He was the only performer to receive theRaleigh Arts Medal in 1985 for his outstanding musicalcontributions.

Phil Thompson is a professor of music at WinthropCollege in Rock Hill, South Carolina and a graduate of EastCarolina and the University of Michigan. Thompson is acandidate for the degree of Doctor of Musical Arts at theUniversity of North Texas. He has been at Winthrop Col­lege since 1979 and is in constant demand as a performerand teacher of all woodwind styles. "-

As a recording artist, he appears on the recentlyreleased albums ''Torch Songs" and "Alec Wilder Songs"featuring Eileen Farrell with Loonis McGlohan on Refer­ence Recordings of San Francisco.

Thompson's performances of classical recitals oftenfeature his facile ability on the flute, clarinet, soprano ortenor saxophone and oboe. His interests in electronicmusic has led him to the position of director of computermusic at Winthrop and as a performer on the MIDI WindController.

Melinda F. Wilkinson, Soprano, is a graduate ofUNC-Chapel Hill where she earned the degree of Bachelorof Music Education. She has studied with Stafford Wingand Chole Owens and the Summer Vocal Institute in Graz,Austria. She was a Winner in the 1975NATS District andRegional auditions and is a frequent soloist and recitalistthroughout North Carolina. Ms. Wilkinson has appearedas soloist with The North Carolina Symphony, RaleighConsort and the Duke Chapel Choir. She has just com­pleted a master's degree in Guidance and Personnel Ser­vices from North Carolina State University and is presentlyteaching music at Powell G. T. Magnet Elementary Schoolin Raleigh.

Catherine Chariton, Soprano, has performed widelyin opera, recital, and music festivals throughout the UnitedStates. Her credits include Adele in Die Fledermaus,Carolina in n Matrimonio Segreto, Despina in Cosi FanTutte, and Marie in La Fille du Regiment as well as Marian

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in The Music Man and Mary in Little Mary Sunshine. Heroratorio repertoire includes Bach's Magnificat, Bernstein'sChichester Psalms, Handel's Messiah, and Saint-Saens'Christmas Oratorio. She has been a guest soloist with theNew Orleans Philharmonic in Mendelssohn's Elijah. Ms.Charlton has appeared with the Mallarme ChamberPlayers of Durham, North Carolina and has been featuredin a broadcast on WUNC radio in Ravel's ChansonsMadecasses and Roussel's Deuxpoemes de Ronsard, Op.26.Ms. Charlton holds degrees from Trinity University in SanAntonio, Texas, and The Ohio State University.

Scott Rogers, tenor has been tenor soloist in operaand oratorio from Athens, Georgia to Spoleto, Italy. He iscurrently a graduate student at Winthrop College studyingvoice with Jerry Helton and concentrating on the art songrepertory. He holds the degree Bachelor of Music, magnacum laude, from the University of Georgia.

Gregory Vladimir SoloviefT,bass, is a native of LongIsland, New York. This is his second appearance as soloistwith Raleigh Oratorio Society, having sung Shostakovich'sSong of the Forests in February of 1990. He began hismusical career at a young age playing flute, baritonesaxophone and bassoon. At age 14, Greg began studyingvoice, and was taught by his father, a professional singerwith the Metropolitan Opera and the New York Philhar­monic. As a student at Columbia University in New Yorkcity, he sang professionally with the Riverside Church andBrick Presbyterian Church Choirs. While at Duke MedicalSchool, he sang with the Duke Chapel Choir and the DukeUniversity Chorale. Greg was the bass soloist in theproduction of Kurt Weill's Down in the Valley. In 1977, hewent to Israel with the Russian Synod Cathedral Choir ofNew York. Upon graduation, he practiced familymedicineand emergency medicine. in Durham. Since 1981,Greg hasbeen an emergency attending physician at Wake MedicalCenter in Raleigh.

Raleigh Oratorio Society is a non-profit corporationfounded in 1942byDr. Harry E. Cooper, then chairman ofthe music department of Meredith College. Its primaryobjectives are to provide a training ground for advancedchoral singing and to present great choral masterpieces toarea music lovers. The Society has performed virtually allof the important choral literature such as the Bach Mass inB minor, Mendelssohn's Elijah, and Handel's Israel inEgypt. On May 25, 1987, the Society performed Brahms'A German Requiem with the American Symphony Or­chestra in Carnegie Hall. In December 1983, RaleighOratorio Society began the tradition of annually presentingHandel's Messiah in Raleigh's Memorial Auditorium.Next season, 1991-92, Raleigh Oratorio Society will becelebrating its 50th Anniversary.

York County Choral Society is celebrating its 10thAnniversary season. The society was founded by DavidLowry and Shirley Fishburne in Rock Hill, South Carolina.Quickly gaining its non-profit tax status and solid financialbacking from corporate and private patrons, the YCCS hasenjoyed a decade of performances of major works, usuallytwo each season.

Guest appearances have included a Mozart mass andPoulenc's Gloria with the Charlotte Symphony Orchestraunder the direction of Leo Driehuys. The YCCS has alsoappeared on the Piccolo Spoleto Church Series, singingMozart's Vespers.

Board development and civic service have been sig­nificant projects in the past few years. Most recently theestablishment of an annual Christmas Concert at the Me­Celvey Center in York, SC, a remarkable arts performancecenter in a former school facility, has expanded the YCCS'sreach into York County, rapidly becoming an importantbusiness and residential district in the Charlottemetropolitan area.

CONTRIBUTORSRaleigh Oratorio Society would like to extend its appreciation to the fol­lowing people and organizations for helping make this season possible.

. BENEFACTORTheA.J. Fletcher Foundation

SPONSORMo and BobbiCoorie

Dr.Arthur R.Kamm and Mrs. Mary E. DePuew-KammJames M. Marshall

Kurt MolterMr.and Mrs. HenryM.Steele

DONORRobertand Frances Averyt

Joyce'EBanksWayneand Jodi Gammon

Mr.and Mrs. Paul G.HeidepriemMr. and Mrs. Mark G.Lynch

Management Solutionsloa Mae B.Powell

Ralph and Sarah SantitoroDougand CanneSmaU

. Mr. and Mrs. Jerry P.Smith, IIIWaldenberg,\nrborough & Cline,M.D.,P.A.

Mr. and Mrs. John N.WdkerElaine and MalcolmWilliams

FRIENDAtlanticOptometric Center,P.A.

Mr. and Mrs. Charles F.BlanchardMiriam Dixon

RobertJ. HallbergKindermusik ofRaleigh

RobMaddreyJulianne and Burt Sauvageot

CorinneWhiteACKNOWLEDGEMENTS

Raleigh Oratorio Society is a member of the United Arts Council ofRaleigh and Wake County, Inc.

Mr. Marshall's formal attire for this evening's performance is furnishedby Tuxedo Gallery in Brentwood Square.

The GALANTI ORGAN for this performance is provided by the PlANOand ORGAN DISTRIBUTORS.

Flowers on stage are provided by JOHNSON-PASCHAL FLORALCOMPANY

Special thanks to WPTF-TV,WRAL-TV,WDTV-TV,WUNC radio forpromotional efforts.

PERSONNELRALEIGHORATORIOSOCIElY

Richard Whitley -AccompanistRob Maddrey ...•...........•................•...•.............................•.....PresidentBobbi Courie Vice·PresidentDeirdre DutTy.......................•.......•...•.•.................................SecretaryGinger Ingram ..................•...•................................................•PublicistDouglas Brame ................................•...................................LibrarianElaine Williams ..•••••..............•......................•.....•.............•..HistorianGinger Shanholt ...............•...............................:....Member-at-LargeRalph Santitoro .................•...................................Member-at-Large

Joyce Tunstall Banks*Charlene BassettHelga G. BraunbeckGuiula R. CasteelBobbi CourieRusty CvjetnicaninAmanda Day

Brenda CarrollEliszabeth T. DierdorfDeirdre DuffyPatricia Faellaci

Greg ClagettEric EnnisTom Galligan

Richard BestDouglas BrameJames ColemanJohn K. CosterMarshel Dean

*Section Leader

SOPRANOJoanne Coppola DennisMary DePuew-KammShirley FlemmingEsther E. HeidepriemGinger IngramJune Landis

ALTODeborah KirklandLinda C. LeshowitzHope K. LucasAnne Elizabeth LynchMary B. Quaintance

TENORGisbert KruesemannHugh James Lee*Rob MaddreyRalph E. Outcalt, Jr.

BASSDrew K. EdwardsBenjamin Franklinwilf HarperGene Herr

Susan MeredithGinger ShanholtDonna StallingsLisa J. StohsEleania WardCorinne WhiteElaine WiJliams

Mary W. RaverVirginia G. ReedJulianne G. Sauvageot*Cheryl Stoudenmire

Robert PageJay L. StahlBruce Strickland, Jr.

Stephen Hoar*Arthur R. KammJacob C. LandisJim MitchellRalph T. Santitoro

York County Choral Society

SOPRANOLucinda Barker Beth Joyce Betty Rawls

Beth Burrell Miriam Kil-bourne Jan Westerman

Sara Castillo Allean McGowan Adelaide WilliamsMartha Cowan Mary Martin Catherine WilliamsDeena Faris Ann Moody Helen Williams

Linda Hutchinson Gale Moore Pat Wilson

ALTOAnn Adams Faye Daniel Betty Salmond

Deborah Bagwell Frances Ellison Virginia Scruggs

Peggy Bridgers Katie Grant Linda ShealyCathy Cannup Shirley Highfill Becky Staton

Heidi Carpenter Susan Kelly Margaret Ann tice

Ann Cody Susan Marks Conna VandiverKatherine Collier Elizabeth Miller Marilyn White

TENORJohn Arant Chris Fischesser Priscilla Jennings

Bill Blough Chip Grant Dan Lawson

JeffCulp Evelyn Harper John McCulloch

Mike Faris Bill Sturgis

BASSPage Connelly Jeff Leiber Jonathan Noel

Joe Farris Brian McSwain Patrick RobinsonEd Kelly Larry Nipe Frank Strait

ORCHESTRAViolin Cello Bassoon

June Huang-Elias Carole Namzetta Dave Michael

Con certm istress Principal Principal

Mark Adams Julius Prescott Chuck HinnantCathy Arthur Jane SalernsonRandolyn Emerson French Horn

Phyllis Garriss Bass Violin Pam Halverson

Margaret Harnish DanZehr Principal

Joseph Koch PrincipalMike Morse

Pam Mole Dan ThuneKathy Moore Trumpet

Karin Reed Oboe Paul Neebe

Jcanine Zenge Mary Greiner Principal

Viola PrincipalTimothy Rall

Paul Emerson Janet PagePrincipal Tympani

Flute Bob BundersonShelly Chauvaux Pam WhitlowGeorge Brown Principal Organ

David LowryVirginia Zehr

JOIN US FOR RALEIGH ORATORIO SOCIETY'S50TH ANNIVERSARYNext Season Concerts

MESSIAHA Cappella Pr:w9~arn(featuring works by

Bach, Mendelssohn, and Johann David)50tb Ar::mioe~sa~yGala (featuring excerpts

from ROS's greatest concerts)