Brahms Requiem - SATURDAY APRIL 6TH 7 PM - Helios Ensemble
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THE HELIOS ENSEMBLE PRESENTS
Brahms
Requiem
And the world premiere of
Universo by Sam Sierra-Feldman
SATURDAY
APRIL 6TH 7 PM
GRACE ST. PAUL’S EPISCOPAL CHURCH
2331 E ADAMS ST, TUCSON
THE HELIOS ENSEMBLE PRESENTS THE HELIOS ENSEMBLE PRESENTS
Brahms Requiem Brahms Requiem
PROGR AM PROGR AM
Ein deutsches Requiem Johannes Brahms
Universo Enrique Feldman
1. Selig sind, die da Leid tragen
NOTA BENE 2. Denn alles Fleisch es ist wie Gras
3. Herr, lehre doch mich, Dass ein Ende
Elena Galbraith, Soprano Sandy Schwoebel, Flute
Marie Sierra, Piano
Mark Hockenberry, Baritone
Universo Sam Sierra-Feldman
4. Wie lieblich sind deine Wohnungen
1. Alma 5. Ihr habt nin Traurigkeit
2. Llamada
3. Luz Cait Frizzell, Soprano
4. Universo
6. Denn wir haben hie keine bleibende Statt
Abby Alexander, Thomas Alexander, Juan Flores,
Gitanjali Gnanadesikan, Anisa Jimenez, Rachel Lovins, Mark Hockenberry, Baritone
Trish Marji, John McMeen, Caroline Spurlin,
Belen Urreiztieta, and Ezra Zurita, Soloists
7. Selig sind die Toten
The Helios Ensemble
Sam Sierra-Feldman, conductor
The Helios Ensemble
Benjamin Hansen, Conductor
~ INTERMISSION ~
Chia-Chun Ko and Marie Sierra, Piano
2 3
PRO GR A M NOTES movement, you will hear a single voice chanting an eerie echo of con
alma entera, to which the choir will respond as one: hay mundo entero.
Universo is presented this evening in two versions: an instrumental This statement from the opening movement was not originally the
ending to the poem; it was not even included in the final movement
ensemble composed by Enrique Feldman, followed by a choral
when I rearranged the text. Yet I believe there could not be a more
work composed by Sam Sierra-Feldman with text by Enrique
suitable ending: “With a whole soul, there is a whole world.”
Feldman. Program notes are written by the composer.
THE TRANSLATION:
Universo is a journey through the dysfunction and disconnected-
ness we experience in our world, and a meditation on what can Alma Soul
be if we all come together and remember that we are one. I chose Con alma entera hay mundo entero. With a whole soul, there is a whole world.
to edit the original text, written by Enrique “Hank” Feldman, and Sin alma entera, no hay mundo entero Without a whole soul, there is no whole world.
re-organize it into four distinct parts of this journey. y la llamada nos pregunta y dice, and the call asks us and says,
“Pensamos, hacemos, y somos.” “We think, we do, and we are.”
Part 1, Alma (“Soul”) meditates on the chaos that surrounds us,
but also on the call to action which urges us to strive for something Llamada The Call
better , reminding us that con alma entera, hay mundo entero; sin Tu alma espera. Your soul waits.
alma entera, no hay mundo entero: “with a whole soul, there is a Nos habla de lejos una luz A light speaks to us from afar,
whole world; without a whole soul, there is no whole world.” This is que nos calma, y sin ver a light which calms us, and without seeing
the line of text that I consider to be my “thesis statement,” which ya sabemos. we already know.
embodies the driving force behind the entire piece and the reason Y la llamada nos pregunta y dice, And the call asks us and says,
I chose to use this text. “Ya sabes; ahora hacemos.” “You already know; now we do.”
Part 2, Llamada, (“The Call”) meditates further on what we must
do in order to heal what is broken in our world today. This call Luz Light
questions us, inspires us to reflect and think critically, and ultimately Luz viene; ciclo de luz, Light comes; cycle of light,
reminds us that we already know what to do; now it is time to do it. momento de luz, moment of light,
luz eterna, luz de amor, eternal light, light of love,
Part 3, Luz, (“Light”) is more meditative still. Without giving creciendo, respirando. growing, breathing,
instructions and, more importantly, without acknowledging the Terria; Universo. Earth; Universe.
darkness or dysfunction, we now simply focus on light: cyclical
light, loving light, the simplicity of breath, of the earth, and of Universo Universe
eternal light. This light may mean something different to each of Vida primigenia; Primal life;
us, and that is precisely what makes it so powerful. Elementos, respirando solo. Elements, breathing alone.
El sol despierta. The sun awakens.
Part 4, Universo, ("Universe") focuses even more on simplicity; some
Deseo alma humano. I wish for a human soul.
of the most profound and perhaps unsettling moments in the piece
Vida encendido. Life turned on.
will feature the words vida primigenia: “primal life,” as we remember
Vida viene con intensidad. Life comes with intensity.
once again where we all come from and just how connected we really
Mundo; Universo; World; Universe:
are. We will repeat some of the text from earlier movements with a
greater sense of urgency, a greater call to action. At the end of this Con alma entera hay mundo entero. With a whole soul, there is a whole world.
4 5
PROGR A M NOTES continued
Ein deutches Requiem is Brahms’ longest composition, and it are they that mourn for they shall become comforted.” After many
made him famous. He composed six movements in 1865, adding repetitions of “getröstet” or “comforted,” the text changes to
the final movement in 1868. In 1871 he arranged an intimate piano Psalms 126:5. The key, tempo, and mood follow, reflecting “those
four-hands accompaniment, the version you will hear this evening. that sow in tears shall reap in joy.”
Save the 7th movement, it is unique among Requiems in that its text
is not the liturgy from the Catholic Requiem Mass including prayers Mvt. 2. Brahms’ bleak outlook on life is on full display in the
for the dead, but a compilation of Bible verses Brahms selected beginning of the 2nd movement. Somber, almost macabre music
himself that focus on comforting the living. These verses are taken sets the text Denn alles Fleisch es ist wie Gras, “For all flesh is as
from 16 chapters in 10 books, with the musical material—mood, grass.” Midway through the movement, however, Brahms shows us
orchestration, tempo, key—changing each time the text shifts to dramatically that he also has hope, beginning with Aber, or “but,”
a new verse. The entire Requiem, therefore, is a highly personal and continuing through fugal procedures on text declaring that
statement of Brahms’ theology and his personal outlook on life, those who have hope and work hard shall be rewarded!
which includes: 1) the bleak reality of the transience of life; 2) the Mvt. 3. The baritone soloist pleads to God in the opening of the
need for comfort; 3) the hope of some ultimate happy resolution; 3rd movement: Herr, lehre doch mich, dass ein Ende mit mir haben
4) the reward for effort. muss, “Lord, make me to know mine end and the measure of my
The texts of the first three movements juxtapose hope with insecurity. days that I may know how frail I am.” The chorus echoes the soloist
Mvts. 4 and 5 celebrate hope, first communally, then individually. through the first section, but continues on through fugue and close
The 6th movement returns to the questioning in Mvt. 3, and like Mvt. imitation on the text “Lord, what do I wait for?” “My soul is in thee.”
5, a voice of authority speaks to the individual or mourner. The 7th The chorus concludes with a glorious neo-Handelian fugue on the
movement text reflect the ultimate message of the work: Man must pedal point D, setting the text Der Gerechten Seelen sind in Gottes
rejoice in his achievements: “Yes, says the spirit, that they rest from Hand und keine Qual rühret sie an, “But the souls of the righteous
their labours, and their work follows after them.” are in God’s hands, and no torment shall come to them.”
As unconventional as Brahms’s texts are, his musical material Mvt. 4. The much beloved 4th movement is the center of the
looks back to Bach and Handel, employing many compositional Requiem’s mirror structure, and the movement itself has a mirrored
devices of the Baroque, including fugue and canon. In choosing structure of ABACA. In the style of a Viennese Waltz, the opening
German to express religious sentiments, Brahms also looks back to soprano melody is an inversion of the opening melodic line in
the Baroque German protestant tradition of such usage found in the accompaniment. Throughout, the text “How lovely are thy
Bach’s Cantatas and several of Heinrich Schutz’s pieces. To these dwellings” is set to some of Brahms’ most charming music.
old compositional devices and use of text Brahms gives us his own Mvt. 5. Added to the Requiem in 1868 after the first iteration, this
Romantic harmonic language, with unexpected modulations and movement featuring soprano solo has a choral refrain, often in
chromaticism, together with his legendary lyrical melodies that canon, of Ich will euch trösten, wie einen seine Mutter tröstet, “As
have given comfort for over 150 years. one whom his mother comforteth, so will I comfort you.” As such,
Mvt. 1. Taken from taken from Matthew 5:4, the very first words of much speculation has arisen that this movement was composed in
the Requiem encapsulate the entire thrust of the work: Selig sind response to the death of Brahms’ mother.
die da Leid tragen, denn sie sollen getröstet werden, “Blessed
6 7
PROGR A M NOTES continued THE HELIOS ENSEMBLE
Mvt. 6. Despair and hope are again juxtaposed in the 6th movement
as the chorus and soloist alternate, again ruminating on mortality. SOPRANOS ALTOS
Then, in a dramatic shift of the music, the soloist cries out with the Abby Alexander Nancy Atherton
chorus echoing “In a moment, in the blink of an eye, at the last Kylee Duron Lisa Brown
moment the trumpet shall sound, the dead shall rise uncorrupted, Nora Evans-Reitz Melanie De Sa
and we shall all be changed.” With such hope, the choir exclaims Anisa Jimenez Gitanjali Gnanadesikan
Tod, wo ist dein Stachel, “Death, where is your sting.” The Rachel Lovins Angela Hoover
movement closes with another triumphant and hopeful fugue. Trish Marji Lois Manowitz
Mvt. 7. Like the first movement, the final movement opens with Naja McKenzie Sarah Pace
Selig, “blessed,” but now like other Requiems, Brahms helps us Mira Raju Jessica Pryde
pray for the dead in selecting a text from Revelation 14:13: Selig Anna Schoff Sarah Ross
sind die Toten, die in dem Herren sterben, von nun an, “Blessed Caroline Spurlin Sam Sierra-Feldman
are the dead which die in the Lord from henceforth.” Some of Emily Tapia Belen Urreiztieta
the most beautiful, comforting, and lyrical music of the Requiem Amy Beth Willis Stephanie Watson
follows, setting the text dass sie ruhen von ihrer Arbeit, denn ihre
Werke folgen ihnen nach, “that they may rest from their labours;
TENORS BASSES
and their works do follow them.”
Thomas Alexander Dennis Anderson
Laura Couchman Gary Anderson
John McLean Neil Bauer
John McMeen Sebastian Deimen
Doug Spurlin Ben Cline
Anne Thwaits Lee Fike
Nick Victoratos Juan Flores
Ezra Zurita Paul Kreuzer
Jeff Ladderud
John Mielke
AB OUT THE HELI OS ENSEM B LE
Chris Newsom
The Helios Ensemble is an auditioned mixed choral ensemble based in John Palmer
Tucson, Arizona, founded in 2014 and directed by Benjamin J. Hansen, David Shepard
DMA candidate at the University of Arizona. Ben’s mission for Helios is
to create fantastic sound through innovative group vocal pedagogy, to
ACCOMPANIST
use the drama inherent in the music to improve blend and color, and
to empower choristers to sing difficult music. Helios also trains young
Chia-Chun Ko
conductors through The Helios Young Conductor’s Initiative by offering
conducting pedagogy and rehearsal and concert podium time.
8 9
AB OUT THE AR TI S TI C DI R EC TO R , AB OUT THE A SSI S TANT D I R EC TOR ,
B EN JAM I N HANSEN SAM SIER R A - FELDMAN
Benjamin Hansen is the founder and Artistic Director of The Sam is a graduate of the University of Arizona with a degree in Vocal
Helios Ensemble and the Director of Music at the Catalina United Studies and a minor in Creative Writing. In addition to assistant
Methodist Church. Hansen received his BA from Yale, singing in the directing and composing for the Helios Ensemble, Sam also serves as
Yale Whiffenpoofs; his MM in voice from The Catholic University of the music teacher for the Tucson Hebrew Academy, as a church music
America; and his MM in conducting from The College-Conservatory director on the Davis-Monthan Air Force Base, as a staff singer for the
of Music at the University of Cincinnati. He is currently a doctoral Tucson Symphony Orchestra Chorus, and as an instructor and music
candidate in choral conducting at the University of Arizona. Hansen director for CYT Tucson. Sam also enjoys writing the “Sam the Ant”
has conducted such works as Bach’s Mass in B Minor, Brahms children’s book series with her co-author, Enrique C. Feldman, and is
Requiem, Haydn’s Lord Nelson Mass, Mozart’s Requiem, Beethoven’s passionately devoted to her cats and the Wizarding World of Harry
Mass in C, Howells’ Requiem, Duruflé’s Requiem, Poulenc’s Mass in G, Potter.
and Vaughan Williams’ Three Shakespeare Songs. Hansen has studied
conducting with Bruce Chamberlain, Elizabeth Schauer, Leo Nestor,
Jerry Blackstone, Mark Gibson, Earl Rivers, Fiora Contino, and Robert
Sund. Hansen was the director of choral activities at Cincinnati State
College, and a Conducting Fellow at the Chorus America Conducting
Symposium in 2010 in Houston, TX.
10 11
We are Grateful for
the Support of our Donors!
Anonymous, Nancy Atherton, Mary Balson, Neil and Monica
Bauer, Robert Beizer, Carol Brown, Bill and Laura Couchman, Carol
des Cognets, Melanie and Erwin De Sa, Cathy Dinsmore, Doris
Dinsmore, Nora Evans-Reitz and Steven Reitz, Lee Fike, Kory Floyd,
Mariette Francis, Freeport-McMoran Foundation, Karl Haas, Milan
and Debra Hansen, Mindy Jones, Judith Kreuzer, Paul Kreuzer, Jeff
Ladderud, Irene and Steve Little, Richard Long, Lois Manowitz, Lauri
McCanless, Naja McKenzie, John McLean, Martha Mecom, Michael
Melton and Arlis McLean, Suzanne Mohr, Traudi Nichols, Sarah Pace,
Judith Peters and Dennis Noonan, Duncan Paton, John Pestle, John
Alisha Escoto
and Peggy Prugh, Janet and Michael Rowe, Deborah Ryan, Susan
Schlaepfer, Anna Schoff, David Shepard, David Shurtleff, Linda
Sielken, Ron Staub, Howard and Marylin Steele, Patricia and John
Stocker, Ilse Swihart, Kathy and Stephanie Watson, Peter Weiblen,
Les and Carol Welborn, Amy Beth Willis, Donna Worland, and We are grateful for the life of our friend
Teresiana Zurita. Alisha Escoto, who sang Alto and designed
Your donations support Helios’s expenses for the professional our logo, website, and many beautiful posters
musicians we collaborate with to bring our music to you. Please and programs for The Helios Ensemble.
donate online at www.heliosensemble.org. If you would like to be
a sponsor for an upcoming concert, contact our Artistic Director
Benjamin Hansen at benhansen00@hotmail.com.
SPECIAL THANK S TO
Jessica Castillo, Dove of Peace Lutheran Church, Eric Holtan
WANT TO AUDITION FOR THE HELIOS
ENSEMBLE? Rehearsals are held once a week on Sunday
nights. Previous choral experience and outside-of-rehearsal
preparation is required. Membership dues are $85, and
include two free voice lessons ($80 value) from the director.
More info at heliosensemble.org
12 13
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SUMMER CONCERT!
I Was Glad British Choral/Organ music
BY BRITTEN, DOVE, PARRY, AND MORE
SATURDAY, JUNE 22ND 7PM
CATALINA UNITED METHODIST CHURCH
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