October 21, 2007

Voices & Violin :: Bach to Broadway
Katherine Cromley, soprano

Christopher Chappell, violin
R. Hugh Patterson, baritone
Maureen Rhodes, piano


ALTHOUSE / CHOPIN : Song of Peace *
Ms. Cromley & Ms. Rhodes

GOUNOD : O Divine Redeemer

Mr. Patterson & Ms. Rhodes

SCHUBERT : Der Hirt auf dem Felsen

Ms. Cromley, Mr. Chappell & Ms. Rhodes

BACH : Chaconne in D minor
Mr. Chappell

LEIN : Pie Jesu *
Ms. Cromley, Mr. Chappell & Ms. Rhodes

LLOYD WEBBER : Think of Me
Ms. Cromley, Mr. Patterson & Ms. Rhodes

LLOYD WEBBER : Memory
Ms. Cromley, Mr. Chappell & Ms. Rhodes

LØVLAND : You Raise Me Up
Mr. Patterson, Mr. Chappell & Ms. Rhodes

MORRICONE : Nella fantasia
Ms. Cromley & Ms. Rhodes

SAGER / FOSTER : The Prayer
Ensemble

WARD : America the Beautiful *
Ensemble
With readings from The Declaration of Independence (1776),
the Preamble to the United States Constitution (1787),
Abraham Lincoln’s Gettysburg Address (November 19, 1863),
and the “I Have a Dream” speech, by Martin Luther King, Jr. (August 23, 1963)

* The first and final selections are dedicated to the men and women of
our Armed Services and their families. The Pie Jesu is presented in
memory of those who died serving our country in Iraq and Afghanistan.


PROGRAM NOTES, by Ed Lein, Music Librarian

Contemporary South Carolina composer, arranger, educator and music publisher Jay
Althouse
has over 500 original works and arrangements in print, including music for
both adult and children’s choirs, several musicals for children, plus collections for solo
voice, and his works are frequently performed throughout the English-speaking world.
For his Song of Peace, Mr. Althouse has adapted Piano Etude, Op. 10, no. 3, by the
great Polish pianist and composer Frédéric Chopin (fray-day-REEK shoh-PA[N],
1810-1849), combining an original text with the traditional Latin prayer, “Dona nobis
pacem
” (Grant us peace).

French composer Charles-François Gounod (sharl frahn-SWA GOO-noh, 1818-
1893) gained international fame as the composer of operas, including especially
Faust (1859), based on Goethe’s play, and Roméo et Juliette (1867), based on
Shakespeare’s, and many a baby-boomer will remember his instrumental Funeral
March for a Marionette
as the theme music to the 1955-1962 television series Alfred
Hitchcock Presents
. But before he began composing for the stage Gounod was a
church musician and in his youth he had considered entering the priesthood, so it is
not surprising that his output includes a great many sacred works. In fact, Gounod is
most widely known today for his Ave Maria (1852), which uses the first Prelude from
J.S. Bach’s Well-tempered Clavier (book 1) as the accompaniment to an original
melody. His second most famous sacred piece probably is Repentir (“Repentance”), or as it is better
known in the English-speaking world, O Divine Redeemer. The semi-operatic “scene in the form of a
prayer” was composed only six months before the composer’s death, and Gounod wrote the original
French text himself. Originally with orchestral accompaniment, Gounod did not intend the scene for use in
religious services, but its heartfelt and pious fervor makes it so irresistible to church soloists that it is safe
to say that today it is performed more frequently for church congregations than for concert audiences.

In addition to numerous symphonies, chamber works, masses, and solo piano
music, the Austrian composer Franz Schubert (frahnts SHOO-behrt, 1797-1828)
composed over 600 songs in his short life, and has remained unsurpassed in his
ability to marry poetry with music. Although his music was regularly performed in
private concerts for Vienna’s musical elite and his genius was touted by no less
than Beethoven, Schubert was never able to secure a publisher for the bulk of his
masterworks so he depended on his devoted circle of friends for maintaining his
finances. Schubert composed Der Hirt auf dem Felsen, D.965, during the last
months of his life, probably at the request of an Anna Milder-Hauptmann, a famous
soprano of the Austrian operatic stage. The work, which may well have been
Schubert’s last song, brilliantly combines elements of Lieder, operatic arias and chamber music, and
although the original scoring is for soprano, piano, and obbligato clarinet, published versions substituting
obbligato violin, flute or cello illustrate the works versatility and universal appeal. The text combines verses
by two German poets, Wilhelm Müller (1794-1827) and Wilhelmina Christiane von Chézy (1783-1856).

Although he was dismissed by many of his contemporaries as being too old-fashioned, the great
German composer Johann Sebastian Bach (YOH-hahn zeh-BAHS-tchuhn Bahk[h], 1685-1750)
now ranks with Beethoven (who himself studied Bach’s music) as the most influential composers
of all time. The monumental Chaconne (originally Ciaconna), the fifth and final movement of
Bach’s Partita in D minor for solo violin (BWV 1004), is built over a repeated four-measure bass
pattern, D | D-C# | D-B flat | G-A(-C#), and is divided into three main parts including a middle
section in D major. In crafting the piece Bach employed all of the violin techniques available to
him, and he created one of the most demanding and moving pieces in the violinist’s repertoire.
About the Chaconne the German romantic composer Johannes Brahms (1833-1897) observed:
On one stave, for a small instrument, the man writes a whole world of the deepest thoughts
and most powerful feelings. If I imagined that I could have created, even conceived the
piece, I am quite certain that the excess of excitement and earth-shattering experience
would have driven me out of my mind.

Edward Lein (leen, b. 1955), a native of Fort Pierce, Florida, is a retired tenor soloist and is the
Music Librarian for Jacksonville Public Library. Recent performances of his compositions include
the May 2006 premiere by the Jacksonville Symphony Orchestra of Meditation, for cello, oboe and
orchestra, and November 2006 choral performances by the Orange Park Chorale of For Matthew
and Astronomy, both on original texts. Pie Jesu, the fifth movement of the composer’s Missa pro
defunctis
(“Mass for the Dead”), was originally performed in 1991 by the Riverside Presbyterian
Chancel Choir and members of the Jacksonville Symphony Orchestra, and is dedicated to victims
of terminal illness in memory of the composer’s mother, Marzell Martin Lein (1922-1980), who died of cancer. Along
with three other movements from the Missa, the Pie Jesu has been reworked into a purely orchestral Sinfonia pro
defunctis
(2007), dedicated to victims of war and terrorism. The arrangement made especially for today’s concert
combines elements from the choral and orchestral

With his 1970 rock opera Jesus Christ Superstar, Andrew Lloyd Webber (b. 1948) catapulted to
international fame and has become a fixture of musical theater, music publishing, the recording industry,
and motion pictures, winning virtually every major award open to him (Tony, International Emmy,
Grammy, Oscar, Golden Globe, etc.) along the way, plus a British knighthood and peerage. In The
Phantom of the Opera
(1986), the heroine, “Christine,” sings Think of Me, basically as an audition
number that serves as her introduction to the Paris Opera, and she is recognized by “Raoul,” her
childhood sweetheart. In 1981, Cats, an unlikely project based on the poetry of T.S. Eliot, emerged as
one of the greatest successes in musical theater history, and from it the song Memory took on a life of it’s own as a pop
phenom. In the stage production, Memory is sung by the prodigal “Grizabella” as she tries to regain the trust of the
other, well, cats by recounting her happy youth before she abandoned the clowder in search of a more glamorous life.

Norwegian composer Rolf Løvland (b. 1955) asked Irish novelist Brendan Graham (b.1945) to write
lyrics to his instrumental piece entitled Silent Story, and the result is the inspirational You Raise Me
Up
. First recorded in 2001 by Secret Garden, Løvland’s Celtic band, it has since been recorded in
over 125 languages. In 2003, American composer and record producer David Foster selected an
emerging talent, Josh Groban, to record the song for release in the United States, and their recording
spent six weeks at the top of the Billboard charts and was nominated for a Grammy. In 2004, Groban
sang it during Super Bowl XXXVIII to honor the loss of the Space Shuttle Columbia astronauts, and
received still more exposure when he sang it at television icon Oprah Winfrey’s 50th birthday celebration.

The song Nella fantasia (“In My Fantasy”) was originally an instrumental piece called Gabriel’s Oboe
from the motion picture The Mission (1986), but British soprano Sarah Brightman hounded Academy
Award® -winning composer Ennio Morricone (EHN-yoh mor-ee-KOHN-eh, b.1928) for several years
to turn it into a song until he finally relented. With an original Italian text by Chiara Ferraù, Nella fantasia
first appeared on Brightman’s 1998 album, Eden. The song’s titular fantasy envisions a just world of
peace and harmony, a world that grows ever brighter where we may “… dream of spirits that are
always free, Like the clouds that fly, Full of humanity in the depths of the spirit.”

The Prayer was co-written by veteran songwriters Carol Bayer Sager (b.1947) and David Foster
(b.1949) for the animated feature film, Quest for Camelot (1998), and although the film didn’t do too
well with either critics or audiences this Oscar-nominated song fared much better, earning the 1999
Golden Globe Award for Best Original Song used in a motion picture. The movie’s soundtrack included
solo versions by both Céline Dion (in English) and Andrea Bocelli (in Italian—a surprising choice for a
tale of medieval English knights), and the singers soon after collaborated on a Grammy-nominated
bilingual duet that made it onto the Contemporary Adult music charts in the U.S. and Canada. After the
birth of her daughter Céline re-recorded it as A Mother’s Prayer, and among other duet versions is a
pairing of Charlotte Church and Josh Groban. In any language, The Prayer is a moving plea for guidance and safe
passage, and for a nonviolent world of peace and brotherhood.

When Samuel Augustus Ward (1847-1903) wrote the hymn tune Maderna in 1882, the New Jersey
organist could not have dreamed that it would become one of the most recognized melodies in
the world, thanks to a poet he never even met. Katharine Lee Bates (1859-1929), a professor of
English at Wellesley College in Massachusetts, penned America the Beautiful in response to the
magnificent panoramas she experienced during a cross-country trip in 1893. First published on July
4, 1895, Bates revised her poem in 1904, and finalized the complete eight stanzas in her 1911
collection entitled, America the Beautiful and Other Poems. Although Bates’ verses were sung to
practically every tune that could be made to fit (including even Auld Lang Syne), by as early as 1910
Ward’s hymn had become the favorite, and today it is hard to imagine that the words and familiar
melody came from unrelated sources. Incorporating readings from landmark documents and speeches
in American history, the setting used in today’s concert is by Mark Hayes (b. 1953), a composer and arranger who has
published over 600 works primarily for church musicians.

ABOUT THE PERFORMERS

Soprano Katherine Cromley moved to the First Coast in 1978, but she began childhood
music training with her mother in St. Petersburg, Florida, and continued her education in
flute and voice at St. Petersburg College and Florida State University, in Tallahassee. Her
teachers have included the late Kathleen Curley, Ron Emory, Jacqueline Quirk, Charlotte
Miller, and Mary Walkley, and she has participated in vocal workshops and master classes
with Roger Miller and Ray Holcomb. Currently Ms. Cromley is coached by Sonia Lewis with
RCAM Artist Management, Inc. Ms. Cromley's diverse repertoire extends from opera and
oratorio to Broadway, and she has appeared in recital, at numerous charity events, and as
guest soloist with church and choral groups across the southeastern United States and in
Europe. Major choral works in which she has been featured include Handel's Messiah,
Rutter's Magnificat and Requiem, Britten's Ceremony of Carols, Saint-Saëns' Christmas Oratorio, Mendelssohn's St.
Paul,
and with the Jacksonville Symphony Orchestra for Mozart's Requiem. She has appeared on the operatic stage
in La Boheme, Tosca, Carmen, Amahl and the Night Visitors, and Don Giovanni. Katherine Cromley is a member of
the Florida Federation of Music Clubs, and produces award winning singers through her private voice studio and at
Bolles Middle School (Bartram Campus). She is soprano soloist for Riverside Church of Christ Scientist, and, as a
bedside musician with the nonprofit organization Body & Soul (The Art of Healing), Ms. Cromley provides music
therapy for patients in local hospitals and Hospice. She also serves on the board of Opera Jacksonville.

Violinist Christopher Chappell has been a member of the Jacksonville Symphony Orchestra
since 1990, and became the Assistant Principal Second in 2002. Originally from Rochester,
New York, Chris began playing the violin in the first grade. He went on to receive a
Bachelor's Degree in Applied Music from the Eastman School of Music in his hometown,
and continued his studies at Indiana University, earning a Master's Degree in Violin Performance.
Before moving to Jacksonville, Mr. Chappell was the Associate Concertmaster of
Savannah Symphony and the acting Concertmaster for the Yamagata Symphony in Japan,
and was also a featured soloist with these orchestras. Christopher Chappell finds the performance
of great symphonic works to be spiritually enriching, but also has a great love of
chamber music. In 2002, with JSO colleagues violinist Jean Majors and cellist Vernon Humbert,
Chris founded the Prelude Chamber Music Camp to help impart this love to young
musicians. Their non-profit organization offers performance instruction and mentoring to student players, and in
June, 2007, some of the Camp's finest students gave a family concert at the Main Library. Mr. Chappell, who
teaches violin and improvisation to the summer students, frequently participates in chamber music concerts himself
with a variety of First Coast ensembles, including a September 2007 benefit concert to help combat childhood
diabetes.

For over two decades baritone R. Hugh Patterson has given numerous recital and oratorio
performances, and he recently appeared as soloist for the Jacksonville Symphony Orchestra's
Holiday Pops Concert. Although he has long been noted for his powerful interpretation of Mendelssohn's
Elijah, Mr. Patterson is a relative newcomer to opera, having made his operatic
debut in 2004 singing the title role of Verdi's Rigoletto for Florida Concert Opera. His expanding
repertoire now includes "Valentine" in Faust, "Count Almaviva" in Le nozze di Figaro,
"Escamillo" in Carmen, "Tonio" in I Pagliacci, and "Germont" in La Traviata, and in February,
2007, he sang in the JSO's production of Il barbiere di Siviglia. He will again appear on stage
with the Symphony for its 2008 presentation of La Traviata. Mr. Patterson, whose resonant
voice has been favorably compared with legendary American baritone Sherrill Milnes, was born
in North Carolina but grew up on the First Coast where he studied music in his church and the Duval County Public
Schools, playing piano and trombone, and, of course, singing. A graduate of Wolfson High School, he continued his
music education at Mars Hill College in North Carolina and at Southwestern Baptist Theological Seminary in Fort
Worth, Texas, and was ordained in 1991. He earned a Master of Arts in Management from the University of Phoenix
and is currently pursuing the Doctor of Management degree. Hugh Patterson is represented by Sonia Lewis with
RCAM Artist Management, Inc., and is a member of the American Choral Directors Association, MENC, the National
Association for Music Education, American Guild of Organists, American Guild of English Handbell Ringers, The
CenturyMen, Florida Vocal Association, and the Florida Music Educators' Association. He is the Worship Arts Associate
Pastor at Beach United Methodist Church in Jacksonville Beach, and is an IT Business Consultant with Fidelity
National Informational Services. He serves on the Board of the Hendricks Avenue Community Athletic Association,
and as the Director of Operations for Opera Jacksonville.

Maureen Rhodes is the organist at Palms Presbyterian Church in Jacksonville Beach, Florida,
and has been a professional accompanist for over 30 years. In addition to working with soloists
she has performed with ensembles such as the St. Johns Art Singers, and she accompanied the
University of North Florida Singers on their 1984 European concert tour. Ms. Rhodes, who received
her Bachelor of Music Education degree from Bowling Green State University, Ohio, with
further study at the University of North Florida, teaches privately and specializes in piano ensemble
coaching. Her philosophy of teaching is to endow the next generation of musicians with excellence
in all areas of the Fine Arts, and the motto Soli Deo Gloria ("Glory to God Alone") is the
spiritual base she uses to impart excellence to her pupils. Among her students are prize-winners
in both the ensemble and piano concerto divisions of the Florida Federation of Music Clubs competitions.

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