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November 22, 2015
Wendy Moy, conductor
Patrice Newman, pianist
John Anthony, rehearsal pianist

Reveille, No. 7 from A Pushkin Wreath Cantata (1978) .............................................................. Georgy Sviridov

Chorale & Camel Heard
Maksim Ivanov, Baritone, Stephanie Foster 18, Soprano, Kristina Toro 17, Alto

The Longest Nights (commission and CT premiere) ............................................................. Timothy C. Takach

(b. 1978)
A Winters Spell
After Harvest
Many-Splendored Thing
Winter Walk
Last Nights Moon

Camel Heard


The First Noel ............................................................................................................................................... arr. Dan Forrest

(b. 1978)
Camel Heard & Chorale

Nowel: Owt of Your Slepe Arise ......................................................... 15th Cen. British Carol, arr. Anonymous 4

Ther Is No Rose of Swych Vertu ......................................................... 15th Cen. British Carol, arr. Anonymous 4

Camel Heard

Song of Good Cheer ................................................................................... Ukrainian Carol, arr. Mykola Leontovich

Christmas Lullaby ................................................................................................................................................ Dan Forrest

Rejoice, O Virgin (1990) ......................................................................................................................................... Arvo Prt

(b. 1935)


Rejoice, O Virgin from All-Night Vigil, Op. 37 (1915) ..........................................................Sergei Rachmaninoff


The 12 Days of Christmas ......................................................................................................................... arr. John Rutter

(b. 1945)

Camel Heard & Chorale

Chorale Personnel

Lauren Baretta 18
Caley Bennett 19
Molly Brown 18
Alexis Cheney 16
Olivia Giuliano 17
Julia Hutton 19
Clare Loughlin 18
MaryClare McDonough 18
Elizabeth Moreno 18
Becca Nash 19
Emmaline Nathans 19
MacKenzie Orcutt 19
Caroline Schiller 17
Tanya Schneider*
Julia Tackett 18

Karen Baker*
Molly Brown 18
Kathryn Chinetti 19
Meaghan Hanley*
Catharine Moffett*
Jillian Noyes 19
Tina O'Keefe*
Kristina Toro 17
Lucy Tuchmann 19
Sophie Xue 18

Colin Archer 19
Ken Koopmans*
Alex Medzorian 19

Samuel Girioni 19
Luis Gonzalez*
Tobias Myers*
Jacob Stewart*

Camel Heard Personnel

Molly Brown 18
Stephanie Foster 18

Camille Iorio 19
Rachel Glasser 19
Lauren Stubbs 17

Sam Girioni 19
Gerard Lanzano 17
Christian Vazquez 19

Justin Winokur 18
Connor Wu 17

*CC Staff/Faculty


I. A Winters Spell
On the old porch swing I set a spell,
Collecting the cicadas lulling buzz,
Hazy summer sunset lingering
All lazy, ripe, and heavy on the night.

Far too soon this light will turn to gold,
And fireflies will flee the waning day.
Copper leaves will choke the guttered eaves
As all the signs of summer fade from sight.

Soon the snows shall gather up the green,
A chill wind whistling through the branches
Silences in violet shadows fall,
Reflect, refract through gleaming prismic white.

How shall I endure this winters chill,
When blizzard bites the blood and shivers all?
Ill remember then the spell I set
Upon the old porch swing in summers light.
Charles Anthony Silvestri
(commissioned for this piece)
II. After Harvest
The gleaning done, the ashen pods and vines,
just twitch and rattle with whats left behind.
The purple stubble on the fields below
erasing now with patches of first snow.

Cornstalks turn ghostly. Wagon, barn and rake
give up their shapes, and the new shapes they
no longer presage any human thing.
The wilderness recalls her underling.

We need the strength of all we can endure,
to grant what earth gives up and make it sure.
The twining and the gathering is the easy part
for now the rind is ripe and heavy like the heart.

The liquid light that poured into our flesh
must take us through the night of cold and
when colors of the world fade into one.
The web of branches stretches till its gone.

Monica Raymond
(used with permission)

III. Many-Splendored Thing

And there are the dawns and the dusks
when the snow is falling,
when the lights in the villages
take on a fat and gauzy glow,
when the whole prairie world, although dark,
seems somehow aglow,
when the sky above the storm
becomes the particular pale pink
of a prairie rose in bloom.
When the winter sky puts on that face,
the only possible response is to keep silent,
as before any many-splendored thing.

Paul Gruchow (used with permission)

IV. Blizzard
A blizzard races a blizzard,
neither can defeat the other:
now one pulls ahead,
now it is behind the other.
I watch until my eyes tire,
the minds world enters my thought:
A blizzard races a blizzard,
neither can defeat the other.

Juhan Liiv, trans. H.L. Hix and Jri Talvet
(used with permission)

V. Winter Walk

The longest night
The brightest moon
The sharpest sting of cold
The barest branch
The hardest earth
My breath the only cloud

And I am out walking to ask the winter moon:
Who will I be when the spring rains come?

The air so still
Smoke rising straight
The snowbanks sleep so deep
The quiet star
The silent night
A lone bird wakes and sings

And I am out walking to hear my heart,
And I am out walking to hear my heart.

Brian Newhouse (commissioned for this piece)

VI. Last Nights Moon

This morning, the wind and a bent weed
working together

drawing the shape of last nights moon
in the snow.
Scott King (used with permission)

From the willow,
melting ice dripped,
from the alder
wet snow slipped.
High on the air came a cry:
I hear, I hear!
Im coming, I, the spring,
Im coming, Im coming!

Juhan Liiv, trans. Hix and Talvet
(used with permission)

VII. Returning

I was walking in a dark valley
and above me the tops of the hills
had caught the morning light.
I heard the light singing as it went
among the grass blades and the leaves.
I waded upward through the shadow
until my head emerged,
my shoulders were mantled with the light,
and my whole body came up out of the darkness,
and stood
on the new shore of the day.
Where I had come was home,
for my own house stood white
where the dark river wore the earth.
The sheen of bounty was on the grass,
and the spring of the year had come.

Wendell Berry (used with permission)

Poem by Alexander Pushkin

Theyre sounding reveillefrom my hands
The ancient Dante falls,
On my lips a nascent verse,
Half-read, falls silent,
The spirit soars into the distance.
Ah, familiar sound, lively sound!
How often you sounded
There, where I quietly grew up
In days long past.
Theyre sounding reveille

Song of Good Cheer

Song of good cheer, song of good cheer!
A swallow is here,
Chirping her song,
Calling out the master of the house:
Come out, come out, master,
take a look at your manger!
The sheep there have mated
And the little lambs have been born.
If all your animals stay healthy,
You will have a pot of money!
And should your money turn to chaff,
You still have a good-looking wife!
Song of good cheer, song of good cheer!
A swallow is here!

Rejoice, O Virgin

Rejoice, O Virgin Theotokos,
Mary full of grace, the Lord is with You.
Blessed are You among women,
And blessed is the Fruit of Your womb,
For You have borne the Savior of our souls.

Nowel: Owt of Your Slepe Aryse

Out of your sleep arise and awaken,
for God has taken human form
from a maid without any equal:
of all women she is best.

And through a fair and wise maiden
humankind is now brought to its full worth;
now the angels kneel in the service of humanity;
and at Christmas time, all this took place.

Now man is brighter than the sun;
man shall now dwell on high;
blessed be God that this game is begun,
and his mother the empress of hell.

Ther Is Nor Rose of Swych Vertu

There is no rose of such virtue
as in the rose that bore Jesus.

There is no rose of such virtue
as is the rose that bore Jesus,

For in this rose was contained
both heaven and earth in a little space,
a thing to wonder at.

By that rose we may well see
that he is God in person three,
but of equal form.

The angels sang to the shepherds,
Glory in the highest to God.
Let us rejoice!

Let us leave this worldly mirth
and follow this joyful birth.
Let us go.

From the Timothy C. Takach, Composer:

Ive always imagined the winter months as the bottom third of a circle, dipping lowest at
the new year and then coming back up to find Spring. There was never any negativity or
depression attached to that image, but I do think its neat to think about the act of
journeying through Winter as a descent of sorts. We dig deep, we nestle ourselves in, we
maintain until its safe to come out. The texts and music in this cycle touch on that ideathat
we have to endure, we have to stay strong through the turning of the year. The images of
hibernation and metamorphosis come to mind as wellwill we be the same person on the
other side? Or do we grow? Do we change?

I wrote A Winters Spell last of all seven movements. I commissioned Tony Silvestri to
write the poetry for this first piece, and not only did I want him to foreshadow images and
emotions from the other texts, but I also wanted to include musical motives and themes
from the remainder of the cycle. And so we hear hints of whats to comethe opening piano
theme is from Many-Splendored Thing, the scalar passages in Blizzard, a few
instances of the chorus from Winter Walk, the grace note figure from After Harvest,
and the rolling chords in the piano from Returning. Its all in there. In his poem Tony tries
to hold on to the warmth of summer as winter descends.

The piano writing in After Harvest is sparse and open, signaling the onset of cold and
darkness. Monica Raymonds poem paints a landscape thats covered in snow, and she talks
about how the light and warmth of summer must take us through the night of cold and

But winter can also take on a beautiful form, as is evidenced in Paul Gruchows writing. The
music here paints a different perspective on the season. Its warm, full and rich, and we are
asked to take in this scene with a sense of awe, of wonder that illicits a response, simply, of

I was intrigued by the motion and energy in Juhan Liivs poem Blizzard. Often times in a
snow storm we are able to see the wind as flakes swirl around our world and around each
other. That fierce wind is most present in the right hand of the piano, but also in the
repeating, alternating rhythmic ostinato in the soprano and tenor lines. Of the poem,
translator Jri Talvet says that Liiv imagines a parallel between (cosmic) nature and the
minds world (human culture); the same blizzards are racing one another in the world of
culture...And it is true...A trend claims its superiority, then falls, and so on eternally...

In 2014 Brian Newhouse sent me a piece he had written, and I asked if he would be willing
to take two lines from that piece and expand it into a poem for this cycle. He agreed and
came up with the wonderful poem Winter Walk. I imagine this poem falling in the
middle of the season, at the peak (or the bottom of my imagined circle, as I mentioned
above) of the journey through the darkness. And here we have the main idea of the cycle.
The cold and quiet offer us a chance to look inside of ourselves. And if we listen and decide
to follow our hearts, who will we be when we come through on the other side? I imagine
that we come out as better, stronger versions of ourselves.

When I was gathering texts together, I kept reading Scott King and Juhan Liivs two small
poems as one narrative, so I set them as one song here. They work seamlessly together!
The idea of two working together toward a common goal led me to collaboration, so I asked
my friend, violinist Sara Pajunen, to read these texts and write a wordless melody to go
along with them. I improvised a second melody under her line, and the bones of the piece
were created. And here, at the end of this movement, we get the first promise of Spring.

Returning completes our journey. Wendell Berry uses these images of emerging: from
under to above, from shadow into light, from quiet into singing. I loved the contrast here
between the new (the fresh spring grass), and a familiar scene. Those warm rolling piano
chords sound out and we know we are home. Octave doubling in the voices gives us
solidarity and strength until we arrive on the new shore of the day.

It was a delight to compose this cycle, and my deep thanks go out to the poets who wrote
for me, and those who gave their permission for me to use their work. I also wouldnt have
been able to write this without the encouragement of my 42 commissioning choirs, who
supported me in the creation of the work. - Timothy C. Takach, 2015

The traditional Ukrainian carol, Song of Good Cheer arranged by Leontovich tells of the
New Year, which in Pre-Christian Ukraine took place in the Spring. Peter Wilhousky added
English lyrics to this tune and the resulting piece is commonly known in the United States
as Carol of the Bells. Arvo Prt was born in Estonia and received his formal music education
at the Tallinn Music Middle School and Tallinn Conservatory. Bogoroditse Devo (Rejoice, O
Virgin) with text in Church Slavonic, was composed for the Festival of Nine Lesson and
Carols that takes place on Christmas Eve at Kings College Choir, Cambridge.

Sergei Rachmaninoff was born in Novgorod, south of St. Petersburg, Russia and started his
musical studies in piano with his mother. While attending the Moscow Conservatory, he
studied with Taneyev and Arensky and met Tchaikovsky. Rachmaninoff composed three
sacred works with Church Slavonic texts, which reflected his interest in traditional Russian
Orthodox chant and singing he heard during his youth. Bogoroditse Devo from the All-
Night Vigil (Rachmaninoff Vespers) was premiered by the Moscow Synodal Choir in 1915
and received rave reviews. Nine of the works movements are based on znamenny or
Kievan chants. The movement we sing today has become the most popular and is
commonly performed separate from the masterwork.
Notes by Wendy Moy

George Sviridovs stature as a composer is evidenced by his tremendous popularity among
Russian musicians, musicologists, and audiences. His music has entered the standard
repertory of Russias professional musicians; it has become the subject of research and
analytical works by the countrys leading musicologists. Most impressive is his popularity
of among Russian audiences: Sviridov is a household name loved and revered by the
occasional concert-goer as well as the connoisseur. Outside of Russia, Sviridovs works
have been sporadically performed, primarily by Russian artists. There have been
occasional attempts to present him to American audiences but, for all practical purposes,
he is an unknown.

A Pushkin Wreath is a musical book of poemsten in allby Aleksandr Pushkin (1799-

1837). The poems selected by Sviridov form, at once, a wreath made of Pushkina
kaleidoscopic view of the poets world, and a wreath for Pushkina eulogy to Russias
greatest poet. The composers relationship to the poet is symbiotic: by his choice of poems,
Sviridov sets forth his own unique vision of the world. Among the slow movements of the
choral concerto, Ekho (No. 4) and Zoriu byut (No.7) [Reveille], exhibit a number of typical
traits: long note values, a solo line over a chordal texture sung a bocca chiusa, intricate
divisi voice lines, elaborate dynamic effects, and static harmony. The composer imposes his
own peculiar pacing and acoustical effects: time appears to be frozen, and movement is
accomplished through space and color. The overall effect is meant to create a sensitized
listening environment in which the word is heard anewthrough the composers
Notes by Peter Jermihov


Maksim "Maks" Ivanovs artistic career spans two continents and several art forms. As a
singer, songwriter, poet and actor, he has appeared in opera, musical theater and concerts,
on movie and TV screens, music festivals and clubs in the United States and his native
Russia. On the lyric stage he has appeared with the Metropolitan Opera, New York City
Opera Festival at Glimmerglass, Lyric Opera of Kansas City, Opera Providence, New Jersey
Opera, Yale Opera, Opera Theater of Connecticut, Salt Marsh Opera of Rhode Island,
Connecticut Lyric Opera, Ash-Lawn Festival, Sanibel Music Festival and the Music Academy
of the West and many others. His repertoire includes over a dozen roles including Marcello
and Shaunard in "La Boheme," Count Almaviva in "The Marriage of Figaro," Figaro in
"Barber of Seville," Escamillo in "Carmen," Ford in "Falstaff," Sharpless in "Madama
Butterfly" and Eugene Onegin, among others. In concert Mr. Ivanov performed at Lincoln
Center in New York, Staller Center for the Arts and in Paul Mellon art Center as well as with
Wallingford Symphony, Norwalk Symphony, Manhattan Philharmonia Orchestra, Classical
Orchestra of Pila, Poland and the Connecticut Virtuosi Orchestra among others. He was a
winner in a number of national and international vocal competitions including those held
by Metropolitan Opera, Chicago Lyric Opera and the Connecticut Opera Guild.

Conductor Wendy K. Moy is the Director of Choral Activities and Music Education
at Connecticut College and Co-Artistic Director of Chorosynthesis Singers, a professional
project choir based in Seattle, WA. Active as a clinician and guest conductor, she serves on
the Connecticut American Choral Directors Association Board and is also the President/Co-
founder of Chorosynthesis, a national nonprofit organization whose mission is to transform
the culture of American choral music through the tenets of collaboration, sustainability,
innovation, and excellence. Wendy is proud to be singing her first season with the
professional choir, CONCORA. Wendy holds a BA in Music Education from Seattle Pacific
University, a MME from Westminster Choir College, and a DMA in Choral Conducting from
the University of Washington.
Pianist Patrice Newman collaborates frequently in chamber music and art song. She has
performed in concerts in the New York area including the Riverside Church, Hudson

Highlands Music Festival, Peconic Chamber Orchestra, and in a Weill Recital Hall chamber
music debut as a winner of the Artists International competition. Her recent CDs include
Lukas Foss "The Prairie" and Dominick Argentos "Jonah and the Whale" with the Boston
Modern Orchestra Project (BMOP) and The Providence Singers. In New York, she also
performed frequently with the Composers Circle and Friends and Enemies of New
Music. Patrice holds degrees from the Hartt School/University of Hartford and Boston
University, where she won the Piano Performance Award, and also studied at the American
Conservatory at Fontainebleau, France, the Schubert Institute in Baden bei Wien, Austria,
and in New York with pianist Grant Johannesen. She worked as a collaborative pianist at
the Mannes College of Music. Patrice is also a founding artistic director of Chamber Music
Mystic, a summer chamber music festival in Mystic, CT.

Acknowledgements and Special Thanks

John Anthony & Dale Wilson-Music Department Co-Chairs
Jurate Svedaite-Waller, Samantha Talmadge, Maksim Ivanov, Voice Faculty
Nancy Zuelch-Music Department Administrative Assistant
Connecticut College Sound, Lighting, and Recording Departments
Whitehall Foundation
Andrea Lanoux, Head of CC Slavic Department
Tony Lin, Russian Advisor

About the Music Department

Our department of music seeks to distinguish itself among liberal arts college music
departments in the United States. Our curriculum is modeled on the best features of a
music conservatory, but we are small enough to offer personal attention.
For more information, please visit

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Upcoming Events

Russian Winter Arts and Music Festival
December 3, 2015
6:00 pm-Concert #2 in Harkness Chapel

December 4, 2015
4:15 pm-Student presentations with Molly Brunson (Yale University) in Charles Chu Room
7:00 pm-Lecture by Emily Frey Giansiracusa in Ernst Common Room
8:00 pm-Concert #3 in Harkness Chapel

A Festival of Lessons and Carols
December 9, 2015, 12:00 pm -1:00 pm
Harkness Chapel
Featuring Chorale and Camel Heard