Strings Attached
Music for Chorus & Violin
Today’s Program
Shalom
Dan Forrest (b. 1978)
text: John 14:27
The Snow
Edward Elgar (1857--1934)
text: C. Alice Elgar; arr.: John Pointer
Sunjay Jayaram, second violin
Dark field, evening
Joseph N. Rubinstein
text: Beginning by James Wright (1927--1980)
The Secret
Sean Ivory (b. 1969)
text: from Poems 1960--1967, Denise Levertov (1923--1997)
Sunjay Jayaram, viola
Yver, vous n'este qu'un villain
Claude Debussy (1862--1918)
text: Charles d'Orléans from Trois Chansons
Chamber Chorus
Five Hebrew Love Songs
Eric Whitacre (b. 1970)
text: Hila Plitmann (b. 1973)
- Temuná (A Picture)
- Kalá Kalá (Light Bride)
- Laróv (Mostly) • Sakari Selva, soloist
- Éyze Shéleg! (What Snow!) • Colette Domingues, Eliza Bates, Hailey Arango, Jennifer Hoddinott; soloists
- Rakút (Tenderness)
Louisiana Blues Strut
Coleridge-Taylor Perkinson (1932--2004)
Ashley Horne, violin solo
Cradle Hymn
Kim André Arnesen (b. 1980)
text: Isaac Watts
Jonathan Morrone, conductor
Angel Alleluias
15th century, modernized and adapted: Alan Bullard (b. 1947)
Brightest and Best
text: Reginald Heber, (1783--1826); arr.: Shawn Kirchner
Southern Harmony, 1835
Please join us for our Sing Along!
From Susan Glass
Good afternoon and welcome! I have wanted to revisit Eric Whitacre’s Five Hebrew Love Songs for some time. The beauty of the Hebrew language and of the poetry of these love songs seems timely. We have performed them twice before with violinist Ashley Horne. Making music with Ashley is a musical treat, and when he agreed to play with us again, I decided to create this program around a collaboration between violin and chorus.
Our opening, “Shalom,” emphasizes the word’s meaning as a call for Peace, and sets the tone for the concert. Edward Elgar’s setting of Alice Elgar’s poem about snow, shifts from minor to major throughout, using “snow” as a metaphor for the soul. The purity, beauty, and goodness of the human spirit must endure through difficult times, in contrast to the transience of the melting snow. Our very own Joe Rubinstein (guest tenor) has allowed us to premiere his piece, “Dark field, evening,” for chorus and solo violin. Joe writes:
When I read James Wright’s poem “Beginning” a few years ago, I was struck by its sense of quiet mystery and waiting. “Dark field, evening” is a piece that attempts to capture the spooky spirit of Wright’s poem, and emphasizes, in particular, the stillness and inwardness of the text’s imagery. I’m grateful to the Glass Menagerie for presenting this world premiere of the composition on this afternoon’s program.
The first portion of our concert closes with “The Secret.” I was captivated by Denise Levertov’s poem, which speaks in the voice of the poet, and by Sean Ivory’s musical setting for viola and chorus. Ivory writes:
“The Secret” is a beautiful, thought-provoking poem. It can be interpreted many different ways, although the gist of the poem is rather straight forward: the poet has written something which two random people find profound and life-altering, even though that isn’t what the poet intended.
The title of Debussy’s third chanson, from his famous Trois Chansons, translates as: “Winter, thou art a villain!” Performed by our chamber chorus, it serves as a palette cleanser before our featured Five Hebrew Love Songs. Poet Hila Pittman writes:
The “Five Hebrew Love Songs” are very meaningful and personal. These five songs were written about innocent, beautiful, and simple love. This was my first time writing poetry for a musical composition.... I ended up spurting them out in an hour and a half. They are mini poems, a bit like haikus, with inner rhyming, and are reminiscent of our (composer Whitacre and Pittman) relationship and romance.
When I asked Ashley to perform a solo at this concert, he didn’t hesitate to suggest Coleridge-Taylor Perkinson’s “Louisiana Blues Strut.” One of Ashley’s mentors and a composer of color, Perkinson is described by the New York Times as a “composer, conductor and pianist who combined styles from the classics to jazz to create sonatas, concertos and symphonies as well as scores for movies and television.”
Norwegian composer Kim André Arnesen’s “Cradle Hymn” opens the Christmas portion of our program. He uses treble voices to lull the listener into the Nativity story, voiced by Mary, the Mother. Next comes a buoyant setting of an ancient Christmas text by Alan Bullard. The following quote about his music captures our thoughts exactly. “Bullard’s is not ivory tower music—what seems to please him most is to write music which performers enjoy playing and audiences enjoy hearing: music which might provide something of a challenge, but which is not out of reach.” We conclude with an arrangement of “Brightest and Best,” an Epiphany text by a British hymn poet, written sometime before 1811. This particular melody is wholly American. It became popular during the 1800’s, and is found in several shapenote American songbooks of the time, such as Southern Harmony.
After listening to this beautiful music, be ready to lend your own voice to our annual holiday sing-along. Happy holidays!
About Our Artists
Featured Artists
Ashley Horne (violin) is a distinguished violinist and Los Angeles native whose vibrant career spans classical, contemporary, and commercial music. A Juilliard graduate praised for his “bright tone and fine overall sense of style” (Strad Magazine), Ashley has performed globally, from Lincoln Center’s Alice Tully Hall to sharing stages with artists such as Tony Bennett, Natalie Cole, and Portishead. He serves as principal violinist and soloist with The Harlem Chamber Players, where he champions works by Black composers and contributes to culturally significant performances, including the 20th anniversary tribute at Ground Zero. Ashley’s artistry extends to Broadway, film, and PBS; and his recordings are regularly featured on WQXR. Known for his versatility and artistic integrity, Ashley brings depth and distinction to every performance.
Sunjay Jayaram (violin, viola) is a violist, violinist, and improviser who enjoys playing in a wide variety of styles including traditional and contemporary classical music as well as jazz, Carnatic music, and more. He is the current violist in Sirius Quartet, a progressive chamber group that plays its own music. He has worked with a wide variety of groups and ensembles in New York City such as the American Composers Orchestra, 8-Bit Big Band, Ene, and the chamber orchestra Parlando. Sunjay has also worked with musicians and directors including Ted Sperling, Bobby Sanabria, Huang Ruo, Elijah Thomas, Richie Beirach, Amir ElSaffar, and others.
Artistic Direction
Susan Glass (Artistic Director) has enjoyed a rich and varied career as a music educator in many diverse settings. She began her career at Little Red School House & Elisabeth Irwin High School, where she taught music and founded three children’s choruses and an adult chorus, which became The Glass Menagerie. She was a longtime member of the faculty at the NYU Summer Kodály Institute. She taught at the Gateway School of New York — a special setting for children with learning disabilities. She returned to LREI as a Middle School and High School vocal teacher and choral director. Over the years, her students have participated in concerts with Pete Seeger and with Peter, Paul and Mary at Carnegie Hall, Avery Fisher Hall, and on PBS television. Susan is a frequent clinician and guest conductor throughout the United States. She is co-founder of the Kodály Organization of New York and has served two terms on the national board of the Organization of American Kodály Educators (OAKE). She was honored to receive the 2015 OAKE Outstanding Educator Award, and she conducted the OAKE National Women’s Chorus at their 2017 conference in Philadelphia. She holds a doctorate in Music Education from Teachers College, Columbia University. She sings with Cerddorion, a vocal chamber ensemble.
Benjamin Balatbat (accompanist) is a pianist and music director based in New York City. He has played in off-Broadway shows such as Alan Turing and the Queen of the Night at the Players Theatre and Anne Frank, a Musical at the Actors’ Temple. Other favorite music directing credits include You’re A Good Man, Charlie Brown, A Gentleman’s Guide to Love and Murder, and Urinetown. Benjamin has also worked as a dance pianist for the Misty Copeland Foundation and the National Dance Institute and as a vocal accompanist for the musical theatre departments at Pace University, AMDA, and NYU.
About the Chorus
In 1984 Susan Glass founded The Glass Menagerie with a group of eight parents and teachers from the Little Red School House & Elisabeth Irwin High School (LREI) community. Since this modest beginning the chorus has grown in numbers, repertoire, and musical accomplishments. Our members come from throughout the metropolitan area, from every walk of life, and include enthusiastic amateurs as well as professional music educators and performers. Performances have highlighted classical masterworks, folk and vernacular musical traditions, and the work of living composers.
We have commissioned and performed new works by Elliot Z. Levine, Jonathan David, Julie Dolphin, and Rich Campbell; we have celebrated the renowned Robert DeCormier; and collaborated with guest arranger/conductors. We are proud to have been one of the area choruses invited to perform in the 2018 Mile Long Opera, which took place over seven consecutive evenings on New York City's High Line.
Recent performances have included Bob Chilcott's The Miracle of the Spring, a celebration of water, one of Earth's most precious resources; and Ariel Ramirez's Navidad Nuestra. In 2023, we performed two song cycles, Johannes Brahms' Liebeslieder Waltzes, Op. 52 and Randall Thompson's Frostiana. Our 2023--24 season featured Leonard Bernstein's Chichester Psalms, and The Road Home explored the many meanings of "home," with works by Stephen Paulus, Abbie Betinis, and Chris Hutchings. The centerpiece, "Border," by Rich Campbell, gave voice to those seeking refuge around the world. Fall 2024 featured John Rutter's Gloria, and this past spring we presented For the Beauty of the Earth, highlighting Mr. Campbell's "Planet Earth Lullaby," a work we commissioned
Texts and Translations
SHALOM
Peace I leave with you,
my peace I give to you,
not as the world gives;
do not be afraid.
THE SNOW
O snow, which sinks so light,
Brown earth is hid from sight
O soul, be thou as white as snow,
O snow, which falls so slow,
Dear earth quite warm below;
O heart, so keep thy glow
Beneath the snow.
O snow, in thy soft grave
Sad flow'rs the winter brave;
O heart, so sooth and save,
as does the snow.
The snow must melt, must go,
Fast, fast as water flow.
Not thus, my soul, O sow
Thy gifts to fade like snow.
O snow, thou'rt white no more,
Thy sparkling too, is o'er;
O soul, be as before,
Was bright the snow.
Then as the snow all pure,
O heart be, but endure;
Through all the years full sure,
Not as the snow.
DARK FIELD, EVENING
The moon drops one or two feathers into the fields.
The dark wheat listens.
Be still.
Now.
There they are, the moon's young, trying
Their wings.
Between trees, a slender woman lifts up the lovely shadow
Of her face, and now she steps into the air, now she is gone
Wholly, into the air.
I stand alone by an elder tree, I do not dare breathe
Or move.
I listen.
The wheat leans back toward its own darkness,
And I lean toward mine.
THE SECRET
Two girls discover
the secret of life
in a sudden line of
poetry.
I who don't know the
secret wrote
the line. They
told me
(through a third person)
they had found it
but not what it was
not even
what line it was. No doubt
by now, more than a week
later, they have forgotten
the secret,
the line, the name of
the poem. I love them
for finding what
I can't find,
and for loving me
for the line I wrote,
and for forgetting it
so that
a thousand times, till death
finds them, they may
discover it again, in other
lines
in other
happenings. And for
wanting to know it,
for
assuming there is
such a secret, yes,
for that
most of all.
YVER, VOUS N'ESTES QU'UN VILLAIN
Yver, vous n'estes qu'un villain;
Esté est plaisant et gentil,
En tesmoing de May et d'Avril
Qui l'accompaignent soir et main.
Esté revest champs, bois et fleurs,
De sa livrée de verdure
Et de maintes autres couleurs,
Par l'ordonnance de Nature.
Mais vous, Yver, trop estes plain
De nège, vent, pluye et grézil;
On vous deust banir en éxil.
Sans point flater, je parle plain.
WINTER, YOU ARE NOTHING BUT A ROGUE
Winter, you are nothing but a rogue;
Summer is pleasant and kind,
As May and April can testify,
Accompanying it each eve and morn.
Summer clothes fields, woods and flowers
With his verdant livery,
And many other colours too,
As nature commands.
But you, Winter, you exude
Snow, wind, rain and hail;
You ought to be exiled.
Winter, you are nothing but a rogue.
FIVE HEBREW LOVE SONGS
Hila Plitmann (b.1973)
I. TEMUNÁ (A PICTURE)
Temuná belibí charuntá;
Nodédet beyn ór uveyn ófel:
Min dmamá shekazó et guféch kach otá,
Usaréch al pańa'ich kach nófel.
A picture is engraved in my heart;
Moving between light and darkness:
A sort of silence envelopes your body,
And your hair falls upon your face just so
II. KALÁ KALLÁ (LIGHT BRIDE)
Kalá kallá
Kulá shelí,
U've kalút
Tishákhílí!
Light bride
She is all mine,
And lightly
She will kiss me!
III. LARÓV (MOSTLY)
"Laróv," amár gag la'shama'im,
"Hamerchák shebeynéynu hu ad;
Ach lifnéy zman alu lechán shna'im,
Uveynéynu nishár sentiméter echad"
*"Mostly," said the roof to the sky,
"the distance between you and I is endlessness;
But a while ago two came up here,
And only one centimeter was left between us." *
IV. ÉYZE SHÉLEG! (WHAT SNOW!)
Ézye shéleg!
Kmo chalomót ktaníim
Noflím mehashamá im.
What snow!
Like little dreams
Falling from the sky.
V. RAKÚT (TENDERNESS)
Hu hayá malé rakút;
Hi haytá kasha
Vechól káma shenistá lehishaér kach,
Pashút, uvlí sibá tová,
Lakách otá el toch atzmó,
Veheníach Bamakóm hachí rach.
He was full of tenderness;
She was very hard.
And as much as she tried to stay thus,
Simply, and with no good reason,
He took her into himself,
And set her down
In the softest, softest place.
CRADLE HYMN
Hush! my dear, lie still and slumber,
Holy angels guard thy bed!
Heav'nly blessings without number
Gently falling on thy head.
See the kindly shepherds round Him,
Telling wonders from the sky!
Where they sought Him, there they found Him,
With His Virgin mother by.
See the lovely babe addressing;
Lovely infant, how he smiled!
When he wept, the mother's blessing
Soothed and hushed the Holy Child.
May'st thou live to know and fear him,
Trust and love him all thy days;
Then go dwell for ever near him,
See his face, and sing his praise!
ANGEL ALLELUIAS
Alleluia, Alleluia
When Christ was born of maid Mary, Alleluia
Angels sung there with mirth and glee, Alleluia
Some shepherds saw those angels bright, Alleluia
To them appeared with glorious light, Alleluia
And said, "God's Son is born tonight!" Alleluia
This king hast come to save His kind, Alleluia
In holy scripture as we find, Alleluia
Therefore this song we have in mind: Alleluia
Then, dearest Lord, for Thy great grace, Alleluia
Grant us the bliss to see Thy face, Alleluia
Where we may sing with all the human race: Alleluia
BRIGHTEST AND BEST
Brightest and best of the sons of the morning,
Dawn on our darkness and lend us Thine aid;
Star of the East, the horizon adorning,
Guide where our infant Redeemer is laid.
Cold on His cradle the dewdrops are shining;
Low lies His head with the beasts of the stall;
Angels adore Him in slumber reclining,
Maker and Monarch and Savior of all!
Say, shall we yield Him, in costly devotion,
Odors of Edom and off'rings divine?
Gems of the mountain and pearls of the ocean,
Myrrh from the forest, or gold from the mine?
Vainly we offer each ample oblation,
Vainly with gifts would His favor secure;
Richer by far is the heart's adoration,
Dearer to God are the prayers of the poor.
Brightest and best of the sons of the morning,
Dawn on our darkness and lend us Thine aid;
Star of the East, the horizon adorning,
Guide where our infant Redeemer is laid.