Masterworks Concert featuring UCO Symphony Orchestra Alexander Mickelthwate, director Concert Chorale and Cantare Karl Nelson, director Cantilena Jan Hulsey, director University Choir Stephanie Keegan-Moring, director Edmond Community Chorale Tracey Gregg-Boothby, director Program Prophecy | Michael Snow (1928-2023) Symphony No. 8, D. 759, “Unfinished” | Franz Schubert (1797-1828) I. Allegro Moderato II. Andante con moto Intermission Nun danket alle Gott, BWV 192 | Johann Sebastian Bach (1685-1750) I. Chorus: Nun danket alle Gott II. Duet: Der ewig reiche Gott III. Chorus: Lob Ehr’ und Preis sei Gott Duet: Cheyenne Holland, soprano, and Blake Harlow, baritone Dixi, for mixed choir and orchestra | Giya Kancheli (1935-2019) Soloists: Alexandria DeHart, soprano, and Kylie Weldon, mezzo-soprano Program Notes Nun danket alle Gott, BWV 192 Johann Sebastian Bach, a towering figure of the Baroque era, composed well over 200 cantatas. Bach composed Nun danket alle Gott in 1730 during his tenure as Thomaskantor in Leipzig, Germany. Nun danket alle Gott BWV 192 is a jubilant expression of gratitude and praise, encapsulating the spirit of thanksgiving. This cantata was written for a special occasion, possibly a community or religious event celebrating a harvest festival or day of thanksgiving. Its vibrant orchestration and exultant choruses reflect the joyous atmosphere of such festivities. Nun danket alle Gott follows the typical structure of a Bach cantata, comprising opening and closing choruses, recitatives, and arias. The work is scored for soprano and bass soloists, a four-part chorus, and a rich instrumental ensemble of strings, flutes, oboes, and continuo. Nun danket alle Gott showcases Bach’s mastery of contrapuntal writing, vivid harmonic language, and expressive vocal and instrumental textures. The music alternates between moments of exuberant celebration and introspective reverence, embodying the diverse emotions associated with thanksgiving and praise. Bach’s Nun danket alle Gott stands as a testament to the composer’s profound faith and musical genius. Through its majestic choruses, expressive duet, and fervent prayers, the cantata invites listeners to join in a spirit of gratitude and worship, acknowledging the abundant blessings bestowed by a benevolent Creator. The cantata opens with a triumphant chorus proclamation as all soprano, alto, tenor, and bass voices, join together in unison to declare “Nun danket alle Gott” (Now thank we all our God). Bach’s handling of polyphony allows each voice to weave in and out of the texture, creating a gorgeous tapestry of sound. The orchestration is equally magnificent, with the strings providing a lush harmonic backdrop while the oboes add color and depth to the ensemble. Fanfare-like motifs in the brass punctuate the music, heightening the sense of exultation and joy. As the chorus progresses, Bach ingeniously develops the musical material, introducing cascading melodic lines and intricate contrapuntal textures. The music swells to majestic heights, reflecting the magnitude of the thanksgiving being expressed. The text of the chorus, drawn from Martin Rinkart’s hymn, “Nun danket alle Gott,” applauds the virtues of gratitude and acknowledges God’s boundless blessings. Each voice in the chorus joins in a collective expression of thanks, embodying the communal spirit of wosrhip and praise. Bach’s Nun danket alle Gott exudes a sense of exuberance and jubilation, uplifiting the listener with its radiant melodies and fervent devotion. The chorus serves as a call to worship, inviting all to join in thanksgiving and sets the stage for a profound musical and spiritual journey. Through its majestic music and heartfelt text, this chorus inspires gratitude and reverence, reminding us of the power of thanksgiving to unite hearts and uplift souls. In the second movement, we encounter a sublime duet for soprano and bass, “Der ewig reiche Gott” (The eternally rich God), serving as a nostalgic reminder of the enduring abundance of divine love, inviting listeners to join in the chorus of thanksgiving and praise. The duet unfolds with the soprano and bass soloists engaging in a tender dialogue, accompanied by an ornate ensemble of strings, oboes and continuo. The voices intertwine seamlessly, creating a tapestry of intricate harmonies aned expressive melodies. The lush orchestration enhances the beauty of the vocal lines, enveloping listeners in a transcendent musical experience. The text of the duet celebrates the eternal richness and benevolence of God, acknowledging His boundless blessings and celestial care. The soprano and bass soloists unite in praise and adoration, expressing gratitude for God’s unfailing grace and mercy. In the concluding movement, a majestic chorus with a resplendent fanfare, all voices join together in unison to declare “Lob, Ehr’ und Preis sei Gott” (Praise, honor, and glory be to God). Each voice shines individually while contributing to the grandeur of the ensemble sound. The text of the chorus serves as a culmination of the cantata’s theme of thanksgiving, praise and honor to the Divine Creator. It serves as a fitting conclusion to the cantata, reaffirming the central message of gratitude and devotion. – Davison Ngyuen Dixi, for mixed choir and orchestra Born in Tbilisi, Georgia on the 10th of August 1935, Giya Kancheli grew up in Belgium. Giya initially began actively composing in 1961. While living in the USSR, he was awarded the Nika Award for Best Music Score. After the dissolution of the USSR in late 1991, he became the composer-in-residence of the Royal Flemish Philharmonic. In 2008 he was awarded the Wolf Prize in Arts for Music, placing him alongside recipients like Stevie Wonder, Paul McCartney, Vladimir Horowitz, and many other extremely famous and influential musicians. His final published work was released in 2015. 4 years later, he passed away in his home city of Tbilisi at 84 years old. Kancheli wrote the piece ‘Dixi’ in 2009 for choir and orchestra. It was first performed by the Bavarian Radio Choir and Orchestra in October of 2009 in Munich Germany. The words of the piece are all mixed Latin, and not without reason. Kancheli, in his original composer’s notes for the piece wrote; “My choice of Latin phrases was based on the desire to remind our contemporaries how relevant problems that have existed since ancient times remain. We are only entitled to remind you that, despite the greatest advances in civilization, the gap between good and evil unfortunately continues to grow”. The Latin word Dixi translates to “I said” in English, and the piece carries a very dramatic air throughout, emphasized not only by the text itself, but also the extreme variation of dynamics, and the fluid key center. – Greg Henson Translations Nun danket alle Gott by Johann Sebastian Bach 1. Chorus Nun danket alle Gott Let all give thanks to God Mit Herzen, Mund und Händen, with heart, voice, and deeds, Der große Dinge tut to the one who does great things An uns und allen Enden; for us and in all ways; Der uns von Mutterleib who from the womb Und Kindesbeinen an and childhood on Unzählig viel zugut has done us incalculable good Und still jetzund getan. And does so even now. 2. Duet Der ewig reiche Gott May the ever-bounteous God Woll uns bei unserm Leben give us throughout our life Ein immer frölich Herz an ever-joyful heart Und edlen Frieden geben and genuine peace, Und uns in seiner Gnad and in his grace Erhalten fort und fort preserve us forever and ever, Und uns aus aller Not and from all distress Erlösen hier und dort. Deliver us here and there. 3. Chorus Lob, Ehr und Preis sei Gott, Praise, honor, and glory be to God, Dem Vater und dem Sohne to the Father, and to the Son, Und dem, der beiden gleich and to him who is the same as both Im hohen Himmelsthrone, on heaven’s high throne, Dem dreieinigen Gott, to God the Three-in-One, Als der ursprünglich war as he was in the beginning Und ist und bleiben wird and is and shall be Jetzund und immerdar. now and evermore. Dixi by Giya Kancheli Mortuos plango I lament the dead Ad se ipsum To oneself Ars est celare Artem True art conceals its art Canimus surdi We sing for deaf people Vox clamantis in deserto A voice crying in the wilderness Durum patientia frango I use patience to break that which is hard Ede, Bibe, lude Eat, drink, play Salve, sancta simplicitas Hail, holy simplicity Per aspera Through hardships Qualis rex, talis grex Like master, like servant Stabat mater dolorosa Grieving Mary stood Sine ira et studio Without hate and zealousness Vitam impendere vero To devote one’s life to the truth Ora et labora Pray and work Et alleluia, re vera veritas And Alleluia, truly the truth Et feci And I did it Dictum, factum—Kakhidze Said and done—Kakhidze Lux in tenebris, The light in the darkness Lux et tenebris the light from the darkness Via sacra Sacred road Omnes una manet nox One and the same night awaits everyone Credo verum I believe in the truth Ex silentio From the silence Signum temporis Signs of the time Si etizm omnes sit, ego non Even if all join in, I do not Lege artis In accordance with art Larga manu With a liberal hand Lux Veritatis Light of Ttruth Nil nisi Nothing but Dum est lux As long as there is light Dum est vis, est vox As long as one has strength, one has a voice Ad infinitum For all eternity Charta non erubescit Paper does not blush Et alleluia, ab initio, And Alleluia, from the beginning until infinity. Ad infinitum astra the stars shine Dixi I have spoken Varium hic, nubila Here it is variable, sometimes clouds, sol sometimes sun Volens nolens For better or worse Odium, omnia vanitas Hatred reigns, and all is vanity Ego non Not I Dum spero, As long as I hope, Nil nisi bene I only want to say good things O, si sic omnia Oh, if only everything were so Memento vivere, Remember that you are alive, Et memento mori and remember that you must die Lege artis, Who is it in truth, and according re vera quis? to the rules of art? Post tenebras lux, After the darkness, the light, Post nubila sol after the clouds, the sun Post mortem lux After death, light Summa summarum All in all Itur ad astra The way to the stars Super omnia veritas Truth conquers all Personnel UCO Symphony Orchestra Alexander Mickelthwate, director First Violin Samuel Gilles Anuja Poulo Anna Grace Darvin Noshin Rahman Wei Jia * Chazlen Rook Dustin Borjas Madeline Bradley Second Violin Zoey Yip Briana Donovan Piper Rath Sasha Gunderson Azusena Gordillo Ashley Selby Skylar Callan Viola Caleb Springer Taylor Nguyen Alexis Wartchow Ella Haiges Cello Sophia Darvin Lily Coyer Emma Douglas Logan Bycko Ashley Haiges Jeremiah Salem-Jones Yasaman Seif Midori Ito Ishmael Sutherland Aria Hansen Elise Gaymon Bass Tyler Dees Alex Chapman Noah Colson Kaleb Guillory Dawson Gilreath Ian Morrison Flute Bryanna Louch Melody Soto Eric Neel (piccolo) Kieran Sowerby (piccolo, alto flute) Oboe Scott Erickson * Emily King Clarinet Cristian Celis Jace Cooper Roseanna Medina (bass clarinet) Bassoon Micah Adkins Abigail Claussen Horn Becca Geitzenauer Alex Hamm Iriana Phipps Sephra Jared Trumpet Trevor Chandler Josiah Banter Clinton Carr Noah Moey Trombone Luke McHenry Jonathan Kegley Mason Longey Mateo Rivera (Bass Trombone) Tuba Zane Radka Percussion Blake Wylie Calvin Forrester LeAnna Branham Caden Bayne Piano Rachel Darvin Harp Chelsea Bushong * * faculty guest Concert Chorale Karl Nelson, director Luis Vasquez, assistant director Hwaju Lee, piano Tae Bradshaw Khalil Cabrera-Tosado Kody Clark Jarrett Cox Katy Croft Jake Eads Katelynn Fair Lliam Guill Blake Harlow Nickolas Hennigh Greg Henson Cheyenne Holland Taylor Jones Cadence Luttrell Autumn Manus Lauren Mckenna Ky Miller Faith Morrissey Sofie Moxley Davison Nguyen Yutong Nie Trever Spruill Payton Stephens Marli Stodden Luis Vasquez Kylie Weldon Qing Yang Cantilena Jan Hulsey, director Luis Vasquez, assistant director Hwaju Lee, piano Emily Burrus Zanna Clegg Emily Cole Luanda De Hilster Alexandra DeHart Jael Doumembo Brynn Fuqua Peyton Harris Gabrielle Hightower Kadyn Lott Elissa Marks Hanna Mobley-Hubbard Victoria Mosburg Grace Myers Katelynn Pannell Kyoka Shibayama Brooklyn Snyder Stevie St. John Lisa Teske Ava Van Bevern Aubree Walker Avery Wooden Cantare Karl Nelson, director Hwaju Lee, piano Eli Davis Caden Giles Jonathan Grein Zhikun Han Ayden Hartel Joe McBride Caleb Scott Samuel Skinner-Noble Zachary Studdard University Choir Stephanie Keegan-Moring, director Luis Vasquez, assistant director Hwaju Lee, piano Christian Belcher Grace Blocker Lamar Burns Daniela Garces Maddie Hamby Baily Hill Laila Jalil Andrew Johnson Chloe Grace Kenyon Grace Martin Caden McKenna Ian Nance Morgan Paulson Grace Pierce Heath Rawls Colin Rizzo Harrison Shaw Luis Soto Nolia Sweatt Robert Valderas Logan Vohs Edmond Community Chorale Tracey Gregg-Boothby, director Sallie Pollack, piano David Bailey Derek Bridenstine-McTurnal JoDee Burger Jon Butterfield Karen Cooper Esther Davis Lexi DeHart Abby Delony-Buller Ramona Waylon Diaz Ted Drab Brynn Fuqua Erinn Giraudo Rachel Glass Fairchild Will Goss Tylar Grant Dana Hampton Taze Hearn Ricki Hoover Haldor Howard Xana Howard Molly Jobe Ann Jones Lingchu Lin Debbie Lord Linda Mason Ella McDonald Cathy Miller Kari Mitchell Dennis Moran Jana Mott Brooke Nguyen Mark Parkhurst Dennis Paul Jim Pregler Ellisya Ravencroft Megan Rupp Alayna Smith Sarah Spurrier Sharon Taylor Alicia Vanderschaaf Katie Vogel Carol Willett Marcia Woodward Rebecca Yeager