Author name: Marty Sauser

Haydn: Te Deum No. 2 in C

Performed on June 11, 2023; James Knox Sutterfield, conductor.

Te Deum laudamus, te Dominum confitemur.
Te aeternum Patrem, omnis terra veneratur.

Tibi omnes Angeli, tibi coeli et universae potestates,
Tibi Cherubim et Seraphim, incessabili voce proclamant,
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.
Pleni sunt coeli et terra majestatis gloriae tuae.

Te gloriosus Apostolorum chorus,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia,
Patrem immensae majestatis,
Venerandum tuum, verum et unicum Filium,
Sanctum quoque Paraclitum Spiritum.

Tu Rex gloriae Christe.
Tu Patris sempiternus es Filius.
Tu, ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu devicto mortis aculeo,
aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes in gloria Patris.
Judex crederis esse venturus.

Te ergo quaesumus, famulis subveni,
quos pretioso sanguine redemisti.

Aeterna fac cum sanctis tuis in gloria numerari.
Salvum fac populum tuum, Domine,
et benedic haereditati tuae.

Et rege eos, et extolle illos usque in aeternum.
Per singulos dies benedicimus Te,
Et laudamus nomen tuum in saeculum,
et in saeculum saeculi.
Dignare, Domine, die isto sine peccato nos custodire.

Miserere nostri, Domine, miserere nostri.
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in Te,
In Te, Domine, speravi, non confundar in aeternum.

We praise Thee, O God, we acknowledge Thee to be the Lord.
All the earth doth worship Thee, the Father everlasting.

To Thee all angels cry aloud, the heavens and all the powers therein,
To Thee cherubim and seraphim continually do cry,
Holy, holy, holy, Lord God of hosts.
Heaven and earth are full of the majesty of Thy glory.

The glorious choir of the apostles praise Thee,
The noble army of martyrs praise Thee.
The holy Church throughout all the world doth acknowledge Thee,
The Father of an infinite majesty,
Thy honourable, true, and only Son,
And the Holy Spirit, the Comforter.

Thou art the King of glory, O Christ.
Thou art the everlasting Son of the Father.
Thou, having taken upon Thee to deliver man,
didst not disdain the Virgin’s womb.
When Thou hadst overcome the sting of death,
Thou didst open the kingdom of heaven to all believers.

Thou sittest at the right hand of God, in the glory of the Father.
We believe that Thou shalt come to be our Judge.

We therefore pray Thee, help Thy servants,
whom Thou hast redeemed with Thy precious blood.

Make them to be numbered with Thy saints in glory everlasting.
O Lord, save Thy people,
and bless Thine inheritance.

Govern them and lift them up forever.
Day by day we bless Thee,
And we praise Thy Name forever,
yea forever and ever.
Vouchsafe, O Lord, to keep us this day without sin.

O Lord, have mercy upon us.
O Lord, let Thy mercy be upon us,
as our hope is in Thee,
O Lord, in Thee have I trusted, let me never be confounded.

Welcome, and thank you for joining The Kent Singers as we bring our 50th season to a celebratory close!

Franz Joseph Haydn’s Te Deum no. 2 in C major serves as a suitably festive opener for this occasion. The Te Deum is a hymn of praise from Christian liturgy, and, though it is a regular part of Matins or Morning Prayer services in some denominations, it can be appended to other services on special occasions. Because of this use of the text, many composers have written celebratory settings of the Te Deum like this one, which was commissioned around 1799 by Empress Maria Theresa, wife of Francis II, who was the last Holy Roman Emperor and first Emperor of Austria. Haydn was highly successful and popular but jealously guarded by his wealthy and powerful employers, the Esterházy family, so it was rare that they allowed him to compose music for others—even an empress. Haydn, who composed many short Mass settings, was no stranger to fitting a great deal of text into a compact piece of music. He often resorted to “telescoping” the text of the Credo by having different voice parts sing different sections of text at the same time to get through it faster (a technique used by other composers as well, and often in conflict with the wishes of the clergy). There is almost no such telescoping in this piece, though. Indeed, much of the text is sung homophonically (all parts singing at the same time), providing much clarity and showcasing Haydn’s sensitivity to the text.

Overall, the music is characteristic of Haydn, who was known for both his technical prowess and his inventiveness. (His contributions to musical forms were so influential that Haydn is often credited as “father of the symphony” and “father of the string quartet.”) Structurally, this piece is divided into a three-part form, something Haydn helped popularize to the extent that it grew to be standard: outer fast sections with a slower middle section. For added contrast, the middle section is also in the minor mode. The opening theme, heard in the brief orchestral introduction and then sung in unison by the choir, is a quote of one of the Gregorian chant melodies historically used for the Te Deum hymn. While Haydn quickly moves to newly composed material and four-part harmony, he frequently returns to a unison texture at the beginning or end of a section, which has a striking effect. Baroque-style fugues were well out of musical fashion by this time, but Haydn often incorporated them into the final section of a piece, as he does here before a final coda full of harmonic surprises. No doubt his audiences forgave him the anachronism because of the exciting freshness of the rest of his music. He was a master of subverting expectations, and his themes develop rapidly, often bringing a sense of playfulness to the music despite its careful structure.

A Jubilant Song – March 19, 2023

Entire concert

Individual tracks

Click here to access music files for downloading

In memory of Lynette Cornell (1934-2023)

Lynette was an enthusiastic and active member of The Kent Singers alto section for many years.  She loved people, had a ready smile and an upbeat attitude about life; nothing ever got her down. Lynette’s fun sense of humor evidenced itself in little ways: amused by our all-black concert attire, she and Louise used to call each other “Mort”, for Morticia!

Music was an integral part of Lynette’s being; she sang in choral groups all her life and besides classical music, she had a particular love of Broadway musicals. She contributed to The Kent Singers in a big way, serving on the board and bringing in record amounts in donations and ads through her many connections in the community. She even kept getting ads for a couple of years after she had stopped singing!

At lunches together we laughed a lot; Lynette had a light touch with life, didn’t take things too seriously, made friends easily. She seemed to know everyone: anywhere we went Lynette ran into old friends. She was an avid reader: we shared a love of historical novels and often swapped book ideas. Lynette is my role model for aging: until far into her eighties she stayed physically, socially and mentally active.

— Nancy Adams Morse, Kent Singer

Lynette was unfailingly cheerful and upbeat, and always looked fashionable and put together.  She was also a fearless fundraiser; she had several Kent Singers advertisers well trained to buy ads in our programs.

–Melissa Merkling, Kent Singer

We thank the Cornell family for designating The Kent Singers as the organization to which donations can be made in Lynette’s memory.

Welcome Yule! – December 10 & 11, 2022

Rehearsal – Wednesday, November 30, 2022

Entire concert

Individual tracks

Click here to access music files for downloading (disc 1)

Entire concert

Individual tracks

Click here to access music files for downloading (disc 2)

Season Album 2019-2022

Among Angels
December 15, 2019
Songs of the British Isles
March 5 & 6, 2022
Handel’s Messiah
June 12, 2022

After presenting our holiday concert for the 2019-2020 season, Among Angels, we began rehearsals for our planned Spring concert, Songs of the British Isles. Unfortunately the global COVID pandemic forced us to cancel the Spring concert, and our planned Summer concert as well.

We spent the pandemic year of 2021 learning all twenty choruses of Handel’s Messiah with individual study, guided practice videos made by our director, and weekly Zoom meetings to check in with each other and socialize. We resumed live rehearsals in Fall 2021 with strict health safety protocols, and resumed our work on the British Isles repertoire. After a two year delay, that concert was presented in March 2022.

Immediately afterward we began rehearsals for Messiah, singing the choruses together as a group for the first time. Thanks to all that practicing we did at home during our 2021 “virtual season,” Messiah came together quickly resulting in a very successful performance on June 12, 2022 with soloists and orchestra of period instruments.

St. Andrew’s Church, Kent, CT
Among Angels dress rehearsal
Pre-concert warmup for
Songs of the British Isles
Zoom rehearsal for Messiah, June 2021
St. John’s Church, New Milford, CT
Harpsichordist’s music for Messiah
Messiah dress rehearsal
The trumpet shall sound

Handel: Messiah – June 12, 2022

We spent the 2021 pandemic learning all twenty choruses of Handel’s Messiah with individual study, guided practice videos made by our director, and weekly Zoom meetings to check in with each other and socialize. We started live rehearsals for Messiah right after our March concert in 2022. Thanks to all that practicing we did at home during our 2021 “virtual season”, the Messiah came together quickly resulting in a very successful performance on June 12, 2022 with soloists and orchestra of period instruments.

Click here to access music files for downloading

In memory of Louise Schofield

We are all grieving and still in shock over the sudden loss of our dear Louise. Her niece, Maya, been especially appreciative of the Kent Singers. Maya sent us this email:

Please let the Kent Singers know what a special place they hold in her heart — and mine as well!  She loved pouring over the information to create programs for your performances.  She admired Knox’s notes — not just the details about the pieces you performed, but the historical details and his interpretations as well.  Magical.

She also found comfort and pleasure in singing with such a dedicated group. She told me about her routines in preparing for the different pieces — researching online, getting together with other singers, and I found several boxes of Throat Coat Tea in her kitchen.  She would describe in detail the rehearsals, how the groups engaged with one another and Knox’s natural ability to draw out the talents of each singer and group. The pandemic interrupted your time together in-person, which she missed dearly. 

The consistency and care of community, the sharing of musical passions, and the camaraderie — all ingredients to a full life she lived up here.  Living in the Kent area and being part of the Kent Singers was heaven on earth for her (and for me when I visited) — one member wrote, “I want to surround her with love and wish her godspeed.  Maybe she’s on her way to the land where music really lives.”

You all were that place and that comfort for her. 

Tributes published in our Messiah concert program:

Louise was a lady—educated, elegant and under-stated—with a zany sense of humor that revealed an exuberant, youthful soul. She was adventurous and liked to travel and try new things. She loved to cook and appreciated good food; she loved plants and worked tirelessly in her luxuriant gardens. She loved dogs, knew all about their training and upbringing, and always had a faithful canine companion at home. She loved spending time with her family. Her spotless little house was sparingly furnished with treasures that showcased her good taste.

And Louise loved music. In spring 2020, when Covid put an end to Kent Singers rehearsals, we sat on my porch and practiced the “Songs of the British Isles” program a cappella, song by song, with her singing alto to my soprano. When the Kent Singers finally performed the concert two years later, this past March, Louise had already left us.

Louise was generous, sharing perennials from her garden and stylish clothes from her wardrobe. She was organized, thoughtful, cultured, charming, witty, insightful, and a delight to be with. She exited this life as many of us would want to: quickly and quietly, without fanfare, leaving us all in shock yet grateful to have known her and to have walked beside her for a little while.

— Mellisa Merkling, Kent Singer

I am one of the altos and one of the many now broken-hearted over the loss of Louise. She was a dear friend and it is difficult to sing without her by my side. I remember first meeting her and admiring those curls of hers! We used to practice music for a concert at my house, since I had a piano, and we wanted our singing to be as close to perfect as possible. We would let each other know if a note was off, or if I was too loud! A true friend. We shared a love of dogs as well as our music, although her love of sweets surpassed mine! She was so intelligent and could discuss any subject with insight. She is greatly missed! 

— Lori McDonald, Kent Singer

I first met Louise over 30 years ago when she was a puppy raiser for Guiding Eyes for the Blind. She later was employed by Guiding Eyes, as was I, and our friendship continued. When I think of Louise, I think of a woman who always loved dogs, especially German Shepherds. It was rare to see Louise without a dog by her side, whether during her tenure at Guiding Eyes or in the years to follow. How many times I bumped into her as we were each out for a walk with our dogs!

— Susan White, Kent Singer

Louise was such a beautiful and gentle soul. She welcomed me into the Kent Singers and we became friends over her love of animals and her great care of her dogs. Animals know when they are safe and loved and hers certainly did.

— Trish Grinnell, Kent Singer

The alto section is not the same without Louise’s calm and regal presence, lovely voice, and enthusiasm. Her interests and friendships were wide-ranging: she enjoyed discussing everything from ethics to car problems, always reading an interesting book. She looked for what was admirable, or unusual, in others. She had a sly sense of humor, too, and loved finding what was quirky in the behavior of those around her. She was so fond of the whole gamut of the Kent Singers. There were many things I meant to do with Louise! She is still very present in our thoughts.

— Ann Quackenbos, Kent Singer

As an alto I have a lot of alternatives for whom to sit next to. But Louise could be counted on to be professional, good-humored, and on point at every rehearsal. Because I wasn’t the only alto to notice this, she was often surrounded by others, but I always got as close as I could. Louise was a singer’s singer and an alto’s alto. Even though our alto section is our largest section, it is just too small since Louise left us.

— Robin Gustafson, Kent Singer

The Kent Singers is just not the same without Louise’s steady hand. She was the driving force behind the group’s return to its former glory. And behind is the right word: Louise always worked her magic from behind the scenes, with no fanfare, on tasks as varied as creating flawless concert programs to maintaining accurate historical concert data… and everything in between.

Varied also describes Louise’s many interests, and the diverse group of people who were lucky enough to call her friend. Whether it be Guiding Eyes, the Kent Library, the New Milford Hospital, or the Kent Singers, Louise left her imprint on Litchfield County, and we all mourn her loss.

— Norma Hart, Kent Singer

From the moment I began conducting The Kent Singers, I had the pleasure of working closely with Louise to prepare the concert programs—a job she handled patiently and professionally. Over the years, I got to know her better on a personal level, particularly in the months she provided a warm bed, delicious food, and rides to and from the train station, when I was commuting too far to get home on Wednesday nights. Most of all, she provided the most wonderful companionship on those nights and very early mornings, and we often talked much too late into the night.

Louise turned a challenging period of my life—with long commutes, stress over housing, and too much time apart from my (then) fiancé—into a special time that was abruptly cut short by the onset of the pandemic, when rehearsals and life in general ground to a halt. Louise and I had been discussing options for her to practice sight-reading, when I heard the sudden news of her passing. She was an inquisitive learner to the end and always looking to grow. I miss her dearly and often still expect to see her smiling face and attentive eyes in the alto section.

Louise left behind a CD she had put together of her favorite choral music, which we found in her Kent Singers folder. We have selected “He watching over Israel,” from Mendelssohn’s Elijah as a prologue to our concert in memory of and thanks for her legacy.

— Knox Sutterfield, KS Music Director

Handel: Messiah – All they that see him; He trusted in God

Performed June 12, 2022; James Knox Sutterfield, conductor; Paul D’Arcy, tenor.

27. Arioso for Tenor
All they that see him laugh him to scorn; they shoot out their lips, and shake their heads, saying:
(Psalm 22:7)

28. Chorus
“He trusted in God that he would deliver him; let him deliver him, if he delight in him.”
(Psalm 22:8)

George Frideric Handel’s Messiah holds a singular place in the choral canon. It is a fixture of many choirs’ annual seasons–whether in full or in part–particularly in December. In New York City alone, there are often more than 20 performances of the piece in that single month. The Oratorio Society of New York has performed it annually since 1874, and the tradition of annual repetition goes all the way back to Handel himself. The 1743 premiere in Dublin was a tremendous success, and though Messiah initially met with a less enthusiastic reception in London, by 1750, Handel began leading yearly charitable performances at London’s Foundling Hospital. Reflecting on the work’s already monumental success by the end of the 18th century, music historian Charles Burney wrote that Messiah “fed the hungry, clothed the naked, fostered the orphan, and enriched the succeeding managers of Oratorios, more than any single musical production in this or any country.”

James Mulholland: A Red, Red Rose

Performed March 17, 2012; James Knox Sutterfield, conductor; Tom Morris, piano.

A Red, Red, Rose, Robert Burns

O my luve’s like a red, red rose, that’s newly sprung in June:
O my luve’s like the melodie, that’s sweetly play’d in tune.

As fair art thou, my bonnie lass, so deep in luve am I
I will luve thee still, my dear, till a’ the seas gang dry.

I will luve thee still, my dear, while the sands o’ life shall run.
Till the seas gang dry, my dear, and rocks melt with the sun!

As fair art thou, my bonnie lass, so deep in luve am I,
I will come again my luve, tho’ it were ten thousand mile!

A Red, Red Rose and Highland Mary both come from American composer James Mulholland’s set of Four Robert Burns Ballads. Robert Burns is generally considered the national poet of Scotland. Though he wrote great poetry in the Scots language, he also wrote in a “light Scots dialect” that was accessible to broader English-speaking audiences and has influenced writers, musicians, and even political and social thought well beyond the borders of his homeland. “A Red, Red Rose” is one his best known poems, set here with equal parts urgency and tenderness.

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