October 4
Cathedral of the Immaculate Conception, Albany

Performers: College of Saint Rose Wind Ensemble, Robert S. Hansbrough, conductor

Program: "In Remembrance, Luciano Pavarotti": A Columbus Day Concert: Peter Mennin, "Canzona" for band; Alfred Fabrizio, "Marcha Brigade Italiana" ("Marcia della Brigata Italiana"?); Vincent Persichetti, 6th Symphony, Op. 69; Morten Lauridsen, "Contra qui, rose", transcribed by H. Robert Reynolds; John Philip Sousa, "Hands Across the Sea"; Puccini, "Nessun dorma" (from Turandot), arr. Jay Bocook

Pavarotti died on Sept. 6, 2007. This is the first of what I hope will be several remembrance concerts & events in the area, given the worldwide fame & importance of this splendid performer. Perhaps the next public event will involve vocal and/or choral components. One possibility is the Oct. 28th "Opera Sample" concert by the Octavo Singers in Schenectady.

Kudos to Hansbrough & his contingent of wind & other players (24 winds: 1 piccolo, 7 flutes, 2 oboes, 2 bassoons, 8 clarinets, & 4 saxophones; 20 brass: 4 French horns, 6 cornets, 2 trumpets, 4 trombones, 1 euphonium, & 3 tubas; 7 percussion; 1 string bass) for taking the initiative & putting on what proved to be a most intriguing performance. While Hansbrough assured me that he had ample support from his Saint Rose faculty colleagues, I deplore the lack of turnout by others who have an interest in serious music. It appeared to be a mostly Saint Rose audience.

The 1st piece on the program was a 1951 work for band by Mennin, inspired by Gabrieli, he of the Italian Renaissance antiphonal brass & choral "canzoni". A rollicking way to start off this kind of tribute, & in a cathedral setting!

Continuing the martial, upbeat tone was the work by mandolinist Fabrizio ("Marcia della Brigata Italiana"), equally successful to my ears, bringing to mind a triumphant air, rather than sad remembrance of a beloved tenor virtuoso.

The only problematic piece on the program was Persichetti's symphony which, while not overly long (15 minutes), was only successful in the final movement (Vivace). I am much more familiar with Persichetti's choral works, which I have liked, but I have heard some of his orchestral pieces, on recordings, & I have yet to come around to liking them. This work was well played on the whole, the percussion & brass (trumpets) in particular, but it never worked for me.

By far the most compelling piece was the Lauridsen "wistful nocturne", transcribed for winds from a choral composition. I have yet to hear anything by this composer for chorus that I didn't like & felt as extremely compelling, musically & emotionally. Below are the French & Spanish texts from Rilke's poem:

Rainer Maria Rilke, "Les roses" — "Las rosas"

XII

Contre qui, rose,
avez-vous adopté
ces épines ?
Votre joie trop fine
vous a-t-elle forcée
de devenir cette chose
armée ?

Mais de qui vous protège
cette arme exagérée ?
Combien d'ennemis vous ai-je
enlevés
qui ne la craignaient point.
Au contraire, d'été en automne,
vous blessez les soins
qu'on vous donne.

¿Contra quién, rosa,
has adoptado
estas espinas?
¿Tu alegría demasiado fina
te obligó
a transformarte en esta cosa
armada?

Pero, ¿de quién te proteje
esta arma exagerada?
Cuántos enemigos te he
sacado
que no le tenían miedo alguno.
Al contrario, del verano al otoño,
hieres los cuidados
que se te prodigan.

It might have been interesting to have had one of these texts read, if not sung.

"Hands" was vintage Sousa: Forward, driving rhythms, punctuated by strong bass drum. Very upbeat, no tears to be shed here, extremely impressive in this cathedral setting.

Last, certainly not least, was the signature Pavarotti aria from "Turandot", text below. It was surprisingly successful as an arrangement for winds, though what was missing was the Pavarotti sound, in song. It might have been effective to have a recording of that unique tenor sound, certainly it would have added to the emotional impact of this grand finale.

Nessun dorma (Libretto)

Il principe ignoto
Nessun dorma!... Tu pure, o Principessa,
Nella tua fredda stanza
Guardi le stelle
Che tremano d'amore e di speranza.
Ma il mio mistero è chiuso in me,
Il nome mio nessun saprà!
Solo quando la luce splenderà,
Sulla tua bocca lo dirò fremente!...
Ed il mio bacio scioglierà il silenzio
Che ti fa mia!...
Voci di donne
Il nome suo nessun saprà...
E noi dovremo, ahimè, morir!...
Il principe ignoto
Dilegua, o notte!... Tramontate, stelle!...
All'alba vincerò!...
Il principe ignoto
Nessun dorma! Nessun dorma! Tu pure, o Principessa,
nella tua fredda stanza
guardi le stelle
che tremano d'amore e di speranza...
Ma il mio mistero è chiuso in me,
il nome mio nessun saprà!
No, no, sulla tua bocca lo dirò,
quando la luce splenderà!
Ed il mio bacio scioglierà il silenzio
che ti fa mia.
Voci di donne
Il nome suo nessun saprà...
E noi dovrem, ahimè, morir, morir!
Il principe ignoto
Dilegua, o notte! Tramontate, stelle!
Tramontate, stelle! All'alba vincerò!
Vincerò! Vincerò!

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October 13
Universal Preservation Hall, Saratoga Springs

Performers: Saratoga Chamber Players (Susan Ratholz, flute, Scott Jackson Wiley, guitar, Jill Levy, Robin Zeh, violins, Sarah Adams, viola, Eliot Bailen, cello), Gabriela Granádos, choreographer/dancer

Program: "Celebration of Spanish Themes & Dance": Alberto Ginastera (1916-1983), "Impresiónes de la Puña" for flute & string quartet; Joaquin Turina (1882-1949), "The Bullfighter's Prayer", Op. 34, for string quartet; Traditional Spanish work for guitar & castanets; Juan Cristostomo Arriaga (1805-1826), Quartet No. 3 in E-flat major; Astor Piazzolla (1921-1992), Histoire du Tango; Luigi Boccherini (1743-1805), Quintet No. 4 in D Major for guitar, string quartet, & dancer, G. 448 ("The Fandango")

One reason I wanted to go to this concert was the hall. I had never been in it, had heard good things about its acoustics, etc.

Well, it certainly has capacity, somewhere around 800 when all the seats or pews are set up. And the acoustics are certainly live & resonant, unless you are playing a lower register instrument, such as the guitar or cello, up front. The flute & violins, also castanets, were quite audible, the guitar, in the added piece, was not. Another down side was ambient noise, e.g. coughing & audience movement.

Once the players moved back to the alcove, no problem, even for the guitar & cello!

With that caveat: A "celebration" of things Spanish indeed! I agree completely with reviewer Geraldine Freedman's overall assessment that this was "delightful". (Daily Gazette, 10/14/07) I only part company with her when she avers that the audience was "huge". That high-ceilinged, cathedral-like hall would dwarf anything much under 800, & on this crisp autumn evening, there couldn't have been more than 100. Perhaps some who might have come stayed away, given the uncertain recent history of that space, still under construction or rehabilitation.

I was disappointed in the 1st work on the program, Ginastera's "Impresiónes", other than the Piazzolla piece, the most familiar to me. This may have been due in part to the positioning of the players, only flutist Rotholz was clearly audible. And she played superbly all night!

By far, the most spectacular part of the program was dancer Granados! Even in the somewhat subdued Turina piece, she stole the spotlight, & in the Boccherini "Fandango", she was outstanding.

Redemption in the Turina piece, wherein viola & cello shone, the 2 violins acting as a "coro angelorum". Superb finale!

A substitute for the Albéniz work ("Castilla") came next: A traditional or popular, anonymous Spanish song of the late 19th century, also with guitar & castanets. The downside: Guitar was at times inaudible, castanets overpowered, as did the dancer. More of a visual than strictly aural experience!

In the Arriaga quartet, some imbalance, violin (Levy) vs. viola (Adams) & cello (Bailen), especially in the 1st two movements (Allegro & Pastorale andantino). The ensemble hit its stride in the last movement (Presto agitato), whose conflicting rhythms reminded me of late Beethoven & Brahms.

The Piazzolla work has become more or less of a standard in 20th century chamber repertoire, definitely an acquired taste, even if you like jazz & offbeat sounds. Flute sounded harsh & chirpy in the 1st movement (Concert d'aujourd'hui), "molto ritmico" indeed! This jazziness continued into the next 3 movements (Bordel 1900, Café 1930, Nightclub 1960), all of which called to mind Debussy & Ravel.

Chiefly because of the dancer, the last work on the program, "Fandango", was the most spectacular. Programming choreography or other non-musical elements doesn't always work, unless you have a Gershwin, Copland, or Bernstein, perhaps Stravinsky, but here, because of the lively acoustics & excellence of the dancer, it did work. I heard some tuning problems in the higher register on the part of the violins, e.g. 2nd movement (Allegro maestoso).

Overall, a most interesting evening of chamber cum dance. Kudos to Jill Levy for taking a chance on this kind of "diverse" programming, also for trying out this in process space!

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October 21
GE Theatre, Proctor's, Schenectady

Performers: Albany Pro Musica, David Janower, director, Capital District Youth Chorale, Diane Warner, director, Starr Norman, accompanist

Program: "Autumn Landscapes": William Byrd (1543-1623), "Justorum animae"; Rupert Lang (1948-), "Agneau de Dieu"; Thomas Morley (1557-1602), "Fire, Fire"; Morten Lauridsen (1943-), "Quando son più lontan", "Amor, io sento l'alma" (from "Madrigali: Six 'Fire Songs' on Italian Renaissance Poems"); Mark Zuckerman (1948-), "Fayer, fayer"; Daniel E. Gawthorp (1949-), "Sing Me to Heaven"; James Fritschel, "Soft Are the Soles"; Steve Murray (1939-), "Margery Make the Tea"; Rene Clausen (1953-), Psalm 100; Schumann, "Herbstlied"; Cap Breton Lullaby, arr. Stuart Calvert; "Torah! Orah!", arr. Brant Adams; John Rutter (1945-), "For the Beauty of the Earth"; "Niska Banja", arr. Nick Page; Eric Whitacre (1970-), "Water Night"; Veljo Tormis (1930-), "It Is Late Summer", "Clouds Are Racing", "Pale Light", "Wind Over the Barrens", "Heather" (from "Autumn Landscapes"); Nils Lindberg (1933-), "Shall I Compare Thee to a Summer's Day?"; "Sednalo e Djore dos" (Bulgaria), arr. Sara Shakliyan; "All For Me Grog" (England), arr. Stephen Hatfield; Lisa Milena Simikic (1961-), "Svjati Boze - Holy God" (Kosovo); "Vamuvamba" (Kenya), arr. Boniface Mganga; Debussy, "Dieu! qu'il la fait bon regarder!", "Yver, vous n'estes qu'un villain"; Ravel, "Trois beaux oiseaux du Paradis"; "Anthem of Peace", arr. Mack Wilberg

One comment right away: This new performance space is not good for things vocal or choral, & it certainly does a disservice to a group like Albany Pro Musica, which rightfully prides itself on its command of nuance, enunciation, & blend. The circuslike atmosphere in that stadium, I mean auditorium, with people coming & going during the performance, drinks brought in, the occasional cell phone going off, takes away from our enjoyment. Distracting sounds never stopped. And adding so many other voices with the Youth Chorale, while visually & logistically impressive, is almost overwhelming in that space. Some of the APM singers said that they couldn't hear, there being few if any reflectors, baffles, clouds, etc. I also heard individual sections, almost unheard of in any APM performance, coming through & distorting the overall sound. The post-concert reception in the vestibule, while a nice gesture, was completely chaotic, with hundreds of bodies crammed into a small space.

I include all the texts, 1st because they are significant & an essential part of the performamce, 2nd, because I am hooked on the written word. Also to act as a remembrance of what was heard here today.

Byrd, "Justorum"

Justorum animae in manu Dei sunt,
Et non tanget illos Tormentum mortis.
Visi sunt oculis insipientium mori,
Illi autem sunt in pace.

In the above piece was the trademark APM blend, also lovely finishing of phrases, a most appropriate beginning, but I also heard individual sections, sopranos especially. Blame the hall's acoustics.

Lang, "Agneau"

Agneau de Dieu,
qui portes les péchés du monde,
prends pitié de nous!
Agneau de Dieu,
donne nous la paix.

Only thing that marred the 2nd piece ("Agneau") was a problematic rendering of the title. What came through to me was "day Zdoo", instead of "duh Dyuh". Call me picky! Otherwise, no serious complaints. The soloist did seem to reach for the higher notes.

Morley, "Fire"

Fire, fire, fire! My heart, my heart!
O help, O help, alas! O help.
Ah me! Ah me! I sit & cry me, & call for help, alas!
But none comes nigh me!

Excellent blend in the lighter, more whimsical "Fire": "Fa, la la la la" indeed!

Lauridsen, "Quando"

Quando son più de' bei vostri occhi
Che m' han fatto cangiar voglia e costumi,
Cresce la fiamma e mi conduce a morte;
E voi, che per mia sorte
Potresti raffenar la dolce fiamma,
Mi negate la fiamma che m' infiamma.

Extremely interesting harmonies in "Quando", though the tenors had to reach for notes. Outstanding finish to "morte"!

Lauridsen, "Amor"

Amor, io sento l'alma
Tornar nel fuoco ov' io
Fui lieto e più che mai d' arder desio.
Io ardo e 'n chiara fiamma
Nutrisco il miser core;
E quanto più s' infiamma,
Tanto più cresce amore,
Perch' ogni mio dolore
Nasce dal fuoco ov' io
Fui lieto e più che mai d' arder desio.

Excellent cutoffs in "Amor", providing a somewhat unusual contrast to Lauridsen's "Quando" which moves more fluidly.

Zuckerman, "Fayer"

Fayer, fayer, oy! S' iz heys!
Se brent a fayer! Brenendike heyse lokshen!

Possibly the best performance up to this point, showing off the group's ability to handle difficult sonorities with aplomb, excellent unison singing.

Gawthorp, "Sing Me"

In my heart's sequestered chambers
lie truths stripped of poet's gloss.
Words alone are vain & vacant & my heart is mute.
In response to aching silence memory summons
half-heard voices, & my soul finds primal eloquence & wraps me in song.

If you would comfort me, sing me a lullaby.
If you would win my heart, sing me a love song.
If you would mourn me & bring me to God, sing me a requiem, sing me to heaven.
Touch in me all love & passion, pain & pleasure,
Touch grief & comfort; love & passion, pain & pleasure.
Sing me a lullaby, a love song, a requiem.
Love me, comfort me, bring me to God;
Sing me a love song, sing me to heaven.

This is where the overhead microphone suddenly took the plunge, an incident that barely phased the singers & which emcee Janower turned into a Johnny Carson moment. Lovely, haunting words, the repetition adding to the emotional content.

Fritschel, "Soft"

Soft are the soles of the sandals of the night.
Soft her coming is, soft her flight.
And all her tending from dusk to dawn, is a lifting up & a laying on.
Softly, softly,
O night come now & bending over me, cool my brow.

A prime example of one thing Janower seems to be looking for in his search for new & unusual texts: Importance of sound ("s" in "soft", "soles", "sandals", "l" in "lifting", "laying", "b" in "bending", "brow"), impressionistic style, as in the lovely "Water Night", a beginning, middle, & end, all handled with great precision & style.

Murray, "Margery"

The doors are shut, the windows fast;
Outside the gust is driving past,
Outside the shivering ivy clings,
While on the hob the kettle sings,
Margery, Margery, make the tea,
Singeth the kettle merrily.

The streams are hushed up where they flowed,
The ponds are frozen along the road,
The cattle are housed in shed & byre,
While singeth the kettle on the fire.
Margery, Margery, make the tea,
Singeth the kettle merrily.

The fisherman on the bay in his boat
Shivers & buttons up his coat;
The traveler stops at the tavern door,
And the kettle answers the chimney's roar.
Margery, Margery, make the tea,
Singeth the kettle merrily.

The firelight dances upon the wall,
Footsteps are heard in the outer hall,
A kiss & a welcome that fill the room,
And the kettle sings in the glimmer & gloom.
Margery, Margery, make the tea,
Singeth the kettle merrily.

And now for something really different! "Margery" couldn't be farther in tone & content from most of the earlier pieces: Steve Murray excels in infusing humor into his songs, all is impression, there does not appear to be a story or hidden moral to this series of notes, & yet it manages to hang together & hold our attention. Bravo, Composer Steve!

Clausen, "Psalm 100"

Make a joyful noise to the Lord,
Serve the Lord with gladness,
Come into His presence with singing,
Know that the Lord is God,
It is He who made us, & not we ourselves.
We are His people, the sheep of His pasture.
And we are His.
Enter into His gate with thanksgiving,
And His courts with praise,
Give thanks to Him & bless His holy name,
For the Lord is good, His mercy endures forever,
And His faithfulness endures,
From generation to generation,
From age to age.
Alleluia! Alleluia! Alleluia! Amen.

Most anything by Clausen is wonderful, the above piece is no exception. Outstanding unison singing here by the chamber choirs of the Youth Chorale, most appropriate for a psalm of praise! "All-lay-loo" indeed!

Schumann, "Herbstlied"

The leaves are softly falling, the tender autumn leaves,
And life with its golden moments, lies strewn upon the ground,
Alas, alas, lies strewn upon the ground.
No voice in the woodland echoes, How silent are the woods!
And in the hearts sad bowers, the song of love is still,
Alas, alas, the song of love is still.
But love's not lost forever, one day it shall return,
Once more the heart will waken, to love's long silent song.
Then winter be thou welcome, thy cloak of purest snow,
Enfolds the world in beauty, its loveliness to keep,
Its loveliness to keep!

[ Das Laub fällt von den Bäumen,
Das zarte Sommerlaub.
Das Leben mit seinen Träumen
Zerfällt in Asch und Staub.

Die Vöglein im Walde sangen,
Wie schweigt der Walt jetzt still!
Die Lieb ist fortgegangen,
Kein Vöglein singen will.

Die Liebe kehrt wohl wieder
Im lieben künft'gen Jahr,
Und alles kehrt dann wieder,
Was jetzt verklungen war.

Du Winter, sei willkommen,
Dein Kleid ist rein und neu.
Er hat den Schmuck genommen,
Den Schmuck bewahrt er treu.]

I include the German text, not because the translation is deficient, it isn't, it is lovely, but to give some idea of what the original sounds are like. Performed in English because of time constraints for the Youth Chorale, also might have been beyond their capabilities. Diction was superb. No complaints from this picky audiolinguist, the execution was lovely, echoes of Robert Frost.

Cape Breton Lullaby

Driftwood is burning blue,wild walk the wall shadows.
Nightwinds go riding by, riding by the lochie meadows.
On to the ring of day flow Mira's stream, singing:
Caidil gula laddie, la laddie, Sleep the stars away.
Far on Beinn Bhreagh's side wander the lost mammies
Find them & fold them deep, fold them to sleep, singing:
Caidil gula laddie, la laddie, Sleep the moon away.
Daddy is on the bay. He'll keep the pot brewin'.
Keep all from tumblin' down,
Tumblin' down from rack & ruin.
Pray, Mary send him home safe from the foam singing:
Caidil gula laddie, la laddie, Sleep the dark away.

Another turn to the rustic & humorous in this lullaby, well handled by the chamber choirs. Only thing I noticed that wasn't quite up to snuff were a few draggy tempi. Harmonies excellent!

"Torah Orah"

Israel! The Torah is light, hallelujah!
Israel & the Torah & the Blessed are one.

Almost a vocal standoff in "Torah" between younger voices & instruments (tambourine & clarinet): Jim Ordon was outstanding on clarinet, beautiful finishing of phrases.

"For the Beauty"

For the beauty of the earth, for the beauty of the skies,
For the love which from our birth,
Over & around us lies, over & around us lies.
Lord of all, to thee we raise
This our joyful hymn of praise.

For the beauty of each hour, of the day & of the night,
Hill & vale & tree & flower, Sun & moon & stars of light:
Lord of all, to thee we praise
This our joyful hymn of praise.

For the beauty of human love, brother, sister, parent, child,
Friends on earth, & friends above,
For all gentle thoughts & mild, for all gentle thoughts & mild.
Lord of all, to thee we praise
This our joyful hymn of praise.

For each perfect gift of thine to our race do freely given,
Graces human & divine, flow'rs of earth & buds of heav'n
Lord of all, to thee we praise
This our joyful hymn of praise.

Very familiar John Rutter song, "For the beauty", which I have sung before, & I don't tire of it. Sung by the whole Youth Chorale, with accompanist, adds to the rising & falling of the words, the triumphant climax.

"Niska Banja"

How splendid are the hot springs of Nis!
And how fine its ladies!
Once & twice, & twice again,
many times I kiss you

Also sung by the whole Youth Chorale: Short as it was, the finale sounded a bit tentative.

"Water Night"

Night with the eyes of a horse that trembles in the night,
night with eyes of water in the field asleep
is in your eyes, a horse that trembles,
is in your eyes of secret water.

Eyes of shadow-water,
eyes of well-water,
eyes of dream-water.

Silence & solitude,
two little animals moon-led,
drink in your eyes,
drink in those waters.

If you open your eyes,
night opens, doors of musk,
the secret kingdom of the water opens
flowing from the center of the night.

And if you close your eyes,
a river, a silent & beautiful current, fills you from within,
flows forward, darkens you:
night brings its wetness to beaches in your soul.

I have heard this before, sung by APM, I never cease to be mesmerized by the words: "Trembles in the night", "shadow-water", "dream-water", "moon-led", "doors of musk", & the last line: "night brings its wetness to beaches in your soul". I was tempted to reproduce the Spanish text, but the Muriel Rukeyser translation is lovely enough! There is sensuality here, secrecy, the mystery of the unspoken but deeply felt, & this was conveyed so well, so sensitively by APM. Rising & descending lines, now quiet, now somewhat louder, nuance after nuance, until the mysterious ending.

"It Is Late Summer"

The fragrant meadow sweet & buttercup & thistledown.
It's late in summer.
And berries ripe on rowan branches,
And heather in the pine grove.
And this same summer will ne'er return here,
Will ne'er return here this same summer.

What a difference in tonality here from "Water Night"! Still about nature, still repetition, impression, only without the deep, dark mystery. Lovely!

"Clouds Are Racing"

Over heavens clouds are fast racing,
Over heavens, morning clouds now lavender after rainfall.
This a wind from lakeside blown,
This the soil of potato's low field,
Chilling your hands.

Much lighter & faster in "Clouds", still impression, color, movement, making the connection between environment & perception: "Chilling your hands". Well rendered by the chorus.

"Pale Light"

Colorless sun rays over autumnal regions.
Whitish tassels thistledown scattering windwards.
Colorless sun rays 'neath heavens so tatterous riven
Lengthy & muddy the roads.

More landscapes of the season, impression: "colorless" (Not "colorful"), "whitish" (Not "white"!), "thistledown", "tatterous" (cluttered? scattered?), & the sudden focus in the last line: "Lengthy & muddy the roads". Rendered so well in unison singing.

"Wind Over the Barrens"

Wind over the barrens
Corpse-like yellowish over the barrens
Road bending rattling laughter
Some lifeless trees
Rattling laughter.

More of same in "Wind": Focus on arresting images b& sounds, e.g. "corpse-like yellowish", "rattling laughter", "lifeless trees". Where did that laughter come from? And how could it be "road bending"? Lovely, haunting, mysterious, all well rendered by the singers.

"Heather"

Sad purple heather-bell franic'ly blazes,
Capturing aftermost flickering sunlight.
And all else is as ever the meadows,
As ever the roads, only over them burning,
Flaring a planet aflame.

What a Dylan Thomas-like line is the opener: "Sad purple heather-bell frantic'ly blazes". No need to know exactlt what is intended here, just to take in the sounds & visual impressions of the text. "Flickering sunlight", "burning", & the final line, underscored by "f's": "Flaring a planet aflame". Dies it matter if it's sun down or sun up? Men on 1st verse, women afterward, lovely unison singing at the end. What does it mean? What does it matter?

"Shall I compare thee"

Shall I compare thee to a summer's day?
Thou art more lovely & more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometimes too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owe'st;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st:
So long as men can breathe or eyes can see,
So long lives this & this gives life to thee.

One of Shakespeare's most famous sonnets, if not the most famous, beautifully sung by APM: "temperate" (l. 2), "the eye of heaven" (l. 5), "his gold complexion" (l. 6), "eternal lines" (l. 12), & the wonderfully climactic final lines: "So long as men can breathe or eyes can see, / So long lives this & this gives life to thee". Lovely inversion of "this", well finished by the singers.

"Sednalo"

Sednalo e Djore dos, sednalo e Djore!
Ti ludo Djore dos, ti mi ludo Djore!
Vunka na vartitsi dos, vunka na vartitsi.
Sharen chorap plete dos, sharen chorap
plete. Yutdol ide devoyche ta na Djore veli.
Shto rabothish tuka dos, heh shto rabotish
tuk? Sharen chorap pleta dos, sharen chorap
pleta. Komu che go dadesh dos, komu che
go dadesh? Koyto mene zeme dos, nemu che
go yodam. Ya chu tebe zema dos, ya chu
tebe zema. Tebe che go yodam dos, ya chu
tebe zema dos.

Added, no doubt, for exotic flavor, coming on the heels of the Shakespeare sonnet: The translation, much needed for those of us who aren't fluent in Bulgarian! Compare to Steve Murray's"Margery" or "Fayer, fayer", & "Grog" coming up. A sterling example of APM's ability to handle different languages & tones.

"All For Me Grog"

All for me grog, for me jolly, jolly grog.
All for me grog an' tabacca!
For I spent all me store with the lassies on the shore.
And it's all for me grog an' tabacca!

When I come home then my sweetheart I shall see.
All for me grog an' tabacca!
An' my sweetheart'll sing when she sees the wedding ring.
And it's all for me grog an' tabacca!

When I've a wee one to dandle on me knee,
All for me grog an' tabacca!
I'll sing him to sleep when me man is off to sea.
And it's all for me grog an' tabacca!

When he's a man then a sailor he shall be.
All for me grog an' tabacca!
With his pipe & his can like a proper sailor man,
And it's all for me grog an' tabacca!

In spite of APM's proven linguistic abilities, this was not one of its best efforts, mainly because of diction, particularly in the 2nd stanza ("When I come home..."). I had a hard time making out what was being said, & this was, after all, narrative!

"Svjati Boze"

Svjatgi Boze, Svjati Krjepki,
Svjati Bezsmertni pomiluj nas

Glory to the Father & to the Son & to the Holy Spirit,
Both now & forever & unto ages of ages. Amen.
Holy Immortal have mercy on us!

Svjati Boze, Svjati Krjepki,
Svjati Bezsmertni pomiluj nas

Much better here, where diction was no problem & the tone better suited to the singers' considerable vocal abilities.

"Vamuvamba"

In remembrance of our Lord Jesus when he was crucified:
When Judas betrayed Jesus, they crucified him.
Again we read in the Bible, our sins crucified him.
In his blood we were forgiven,
In his blood our hearts were saved.

Only problem here was weak tenor response in this back & forth, otherwise fine. Drums were effective.

"Dieu! qu'il la fait bon regarder!"

Dieu! qu'il la fait bon regarder;
La gracieuse bonne et belle;
Pour les grans bien que sont en elle:
Chascun est prest de la loüer.
Qui se pourroit d'elle lasser?
Toujours sa beauté renouvelle.
Dieu! qu'il la fait bon regarder;
La gracieuse bonne et belle!
Par de ça, ne de là, la mer,
Ne scay dame ne damoiselle
Qui soit en tous bien parfais telle.
C'est ung songe que d'i penser.
Dieu! qu'il la fait bon regarder!

Now, with this 1st "serving" of French "Dessert" — And I concur with reviewer James Hennerty's reservations about this use of culinary metaphor, Times-Union, 10/22/07 — I can afford to be my usual picky self, French being one of my "spécialités de la maison"! On the whole, the chorus handled the French very well, the women especially. "La gracieuse bonne et belle!" came across very well. The repeated line: "Dieu! qu'il la fait bon regarder" sounded problematical to my ears, however.

"Trois beaux oiseaux"

Trois beaux oiseaux du Paradis,
Mon ami z-il est à la guerre
Trois beaux oiseaux du Paradis
Ont passé par ici.
Le premier était plus bleu que ciel,
Mon ami z-il est à la guerre
Le second était couleur de neige,
Le troisième rouge vermeil.

"Beaux oiselets du Paradis
Mon ami z-il est à la guerre
Qu'apportez par ici?"
"J'apporte un regard couleur d'azur
Ton ami z-il est à la guerre
Et moi, sur beau front couleur de neige,
Un baiser dois mettre, encore plus pur."

Oiseau vermeil du Paradis,
Mon ami z-il est à la guerre
Que portez vous ainsi?
"Un joli coeur tout cramoisi"
Mon ami z-il est à la guerre
"Ah! je sens mon coeur qui froidit...
Emportez le aussi."

Only problem I had with this selection was the somewhat problematic "z-il", repeated in each of the 3 stanzas. Perhaps the "z" was added for pronunciation, the transition from "ami" to "est" requiring a consonant sound to avoid awkwardness, as in: "A-t-il bien mangé?" Call it a phonetic "t". Well sung, with just enough color & lightheartedness, despite the background of war.

"Yver"

Yver, vous n'estes qu'un villain!
Esté est plaisant et gentil,
En témoing de may et d'avril,
Qui l'accompaignent soir et main.

Esté revet 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:
Yver, vous n'estes qu'un villain!

Some excellent ensemble singing here, equally light in spirit to the other 2 French selections. Best line was "Mais vous, Yver, trop estes plein / de nège, vent, pluye et grézil", perhaps because of the staccato sounds: "è" (short or open "e"), "en" (nasal), "uye" (diphthong) & "ézil" (long "e" & long "i", connected by "z").

"Anthem of Peace"

When in the morning I begin my singing, all the village listens to my song.
In field & town the people gladly greet me, with the wind I gaily swing along.
Ev'ry ear is tuning to my music, every voice will one day join my song.
From earth & sky the joyful echo thunders, sun & stars repeat the glad refrain.
Hill & dale swell the mighty chorus, all the world in harmony again.
When in the morning I begin my singing, all the village istens to my song.
Ev'ry window opens to receive me, welcoming my voice so clear & strong.
As we join with one heart, nations will be a part of our song
heard across land & sea. When we sing with one song, lands & people will long
for the peace that forever shall be.

We shall walk together in the Valley of Peace,
we shall walk in the valley of peace.
When all lands walk hand in hand together,
we shall walk in the valley of peace.

A most appropriate way to end this concert, with all singers (Albany Pro Musica 62, Youth Chorale 112) on stage at the same time, expressing the universal desire for peace & an end to violence & bloodshed overseas. The audience joined in for "We shall walk".

One comment about the review cited above: While I agree with its author about the rather silly use of a menu as a frame for the program ("Sacred Starters", "Turning up the Heat", "Adding American Flavor", "Kids' Menu", "Seasonal Spice", "A Touch of International", "French Dessert", & "Digestif"), I also think such a big program deserved more than cursory description of what was "on the menu", also focusing to much on the Youth Chorale & not nearly enough on Pro Musica. In addition, something I have noticed in other reviews, no mention of audience or venue. Both are part of the overall experience, for good or ill, & here, as I observed earlier, the venue as very much part of my experience s a member of the audience, as was the audience itself, or the noisier parts thereof. The reception afterward was a virtual madhouse, bringing to mind those pictures in Tokyo, of people being pushed into overcrowded subway cars. Or perhaps, at this festive time of year, crowded malls & shopping centers!

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