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  Antonio Vivaldi’s ever popular GLORIA was composed in or about the year 1715 during his employment at the Ospedale della Pietà, a convent, orphanage and music school in Venice. It is a setting of the Gloria from the Roman Catholic Mass. Although Vivaldi wrote three settings of this text, this is the most mature, as it is characterized by an increased use of chromaticism and is a prime example the emerging compositional style of the late Italian Baroque.
  
  
  Zoltán Kodály composed the BUDAVÁRI TE DEUM in 1936, and it received its first performance in the same year. It was written in commemoration of the 250th anniversary of the liberation of Buda (later to become Budapest) from Turkish rule. The work is a setting for chorus and orchestra of the Christian hymn TE DEUM from the common liturgy of the roman Catholic church. He took the Latin text from the 4th century Christian doxology and set it, as was typical of Kodály, in a largely traditional Hungarian folk-music idiom. In this case, he avoids the use of actual folk melodies but relies on the techniques and tools of Hungarian folk songs throughout while employing his own unique creative compositional methods.
  
  Frederick Delius gave us SEA DRIFT in the years 1903–04 but it was not premiered until May of 1906. Furthermore, that premiere took place in Essen, as his music was more popular among Germans rather than Englishmen at that time. It was not performed in the United Kingdom until 1908. Along with APPALACHIA, it is said that he reached his full compositional maturity with SEA DRIFT. The text comes from the section of Walt Whitman’s LEAVES OF GRASS of the same title, and depicts a pair of mating sea birds, the female of which eventually disappears without warning or explanation. Whitman’s verse exalts the love between the birds, and Delius recognizes this with muted references to Wagner’s TRISTAN AND ISOLDE. What follows is the male’s laments at his loss fraught with imaginings that he sees or hears his love. As the work comes to a poignant climax, he realizes that his wishes are not to be fulfilled.
  
  IN MEMORIAM – ALBERTO GINASTERA
  1916–1983
  (This performance took place in May of 1985.)
  Alberto Ginastera, an Argentinian composer, is said to be one of the most important 20th century classical composers of the Americas. He attended the National Conservatory (also known as Williams Conservatory) in Buenos Aires graduating in 1938. Further studies brought him to Tanglewood under Aaron Copland during a trip to the US in the years 1945–47. A huge work for mixed chorus, boychoir and orchestra, PSALM 150 was the thesis for his graduation from the National Conservatory.
  
  
  
  Antonio Vivaldi’s ever popular GLORIA was composed in or about the year 1715 during his employment at the Ospedale della Pietà, a convent, orphanage and music school in Venice. It is a setting of the Gloria from the Roman Catholic Mass. Although Vivaldi wrote three settings of this text, this is the most mature, as it is characterized by an increased use of chromaticism and is a prime example the emerging compositional style of the late Italian Baroque.
  
  
  Zoltán Kodály composed the BUDAVÁRI TE DEUM in 1936, and it received its first performance in the same year. It was written in commemoration of the 250th anniversary of the liberation of Buda (later to become Budapest) from Turkish rule. The work is a setting for chorus and orchestra of the Christian hymn TE DEUM from the common liturgy of the roman Catholic church. He took the Latin text from the 4th century Christian doxology and set it, as was typical of Kodály, in a largely traditional Hungarian folk-music idiom. In this case, he avoids the use of actual folk melodies but relies on the techniques and tools of Hungarian folk songs throughout while employing his own unique creative compositional methods.
  
  Frederick Delius gave us SEA DRIFT in the years 1903–04 but it was not premiered until May of 1906. Furthermore, that premiere took place in Essen, as his music was more popular among Germans rather than Englishmen at that time. It was not performed in the United Kingdom until 1908. Along with APPALACHIA, it is said that he reached his full compositional maturity with SEA DRIFT. The text comes from the section of Walt Whitman’s LEAVES OF GRASS of the same title, and depicts a pair of mating sea birds, the female of which eventually disappears without warning or explanation. Whitman’s verse exalts the love between the birds, and Delius recognizes this with muted references to Wagner’s TRISTAN AND ISOLDE. What follows is the male’s laments at his loss fraught with imaginings that he sees or hears his love. As the work comes to a poignant climax, he realizes that his wishes are not to be fulfilled.
  
  IN MEMORIAM – ALBERTO GINASTERA
  1916–1983
  (This performance took place in May of 1985.)
  Alberto Ginastera, an Argentinian composer, is said to be one of the most important 20th century classical composers of the Americas. He attended the National Conservatory (also known as Williams Conservatory) in Buenos Aires graduating in 1938. Further studies brought him to Tanglewood under Aaron Copland during a trip to the US in the years 1945–47. A huge work for mixed chorus, boychoir and orchestra, PSALM 150 was the thesis for his graduation from the National Conservatory. ... more
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