University of Missouri School of Music and University concert series present, testament of freedom .. Propheta Lucis ... featuring Choral Union, University Singers, and University Wind Ensemble
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"John Cheetham, a native of New Mexico, is Professor Emeritus of Music at the University of Missouri, where he taught courses in music theory, composition, counterpoint, and orchestration from 1969 until 2000. Since his retirement Cheetham has been able to fulfill a lifelong dream: for the first time in his life, he is a full-time composer. Specializing in music for instrumental forces, his Scherzo for brass quintet (1965) has become a standard piece in the modern repertory for that ensemble. In addition, a majority of his works have been published and have been widely performed in this country and abroad. His achievements have been recognized by several Special Awards from the American Society of Composers, Authors, and Publishers and by a Centennial Distinguished Alumni Award conferred by his alma mater. Cheetham holds the Bachelor of Fine Arts and the Master of Music degrees from the University of New Mexico and the Doctor of Musical Arts degree from the University of Washington. Propheta Lucis (Prophet of Light) was first heard, under the direction of Gregory Fuller, in 1989 as a highlight of the University of Missouri's Sesquicentennial Celebration. For that special occasion, Cheetham set to music his own adaptation of texts by Thomas Jefferson, words by which the 'philosophical father' of the University of Missouri addressed the role of education in a democratic society. Twenty-five years later, another performance of this work serves a similar function, as its pairing with Randall Thompson's Testament of Freedom commemorates the University of Missouri's 175th anniversary. The individuality of this ceremonial work is memorable, for few specialize in the subject of academic celebrations. Tonight's performance will be its fifth. Propheta Lucis represents Dr. Cheetham's first extended foray into the realm of choral music in recent years. The setting of the text and the treatment of voices are so sophisticated that the challenge of writing for such forces is nowhere apparent. The hallmarks of his style are, of course, evident: fine craftsmanship, a tonal orientation enriched by pandiatonic procedures, and engaging rhythms. Randall Thompson (1899-1984) called his Testament of Freedom (1943) a "celebration of the idea of freedom as a God-given blessing." Because it was composed during the Second World War, the patriotic theme comes as no surprise. In fact, the idea of freedom became an acknowledged focus of many American composers during the war years. Few pieces with this message, however, have received as much consideration and lasting popularity as Thompson's Testament of Freedom. The only other patriotic work to receive comparable attention is Aaron Copland's Lincoln Portrait (1942), with its recitation of excerpts from the martyred president's speeches over a dynamic orchestral accompaniment. The emotional response to such powerful words set to music, indeed, contributes to the esteem held for the Lincoln tribute. It is undoubtedly the basis of similar sentiments regarding the Testament of Freedom. For the piece Thompson selected passages from the writings and correspondence of one of America's founding fathers, Thomas Jefferson. Like Lincoln, Jefferson, too, had a unique understanding of this universal "God-given blessing" of freedom. "This country remains;' Jefferson's ideas remain, and this work represents a grateful encomium to his legacy. Randall Thompson was a passionate and exceptional composer for voices. As this piece demonstrates, he was able to set music to words sensitively and to elicit the effect of natural speech. Unison passages and moving orchestral interludes contribute to the solemn, inspirational character of the work. Each of its four movements dramatically emulates the specific mood communicated by the words. On the matter of choosing an appropriate text, Thompson admonished, Don't choose a mawkish sentimental, obscure, problematic, eccentric text or any text capable of appealing only to a few. Choose a text of some universality. . . There is sometimes a real difference between what is popular and what is great; but there is no difference at all between what is great and what is widely popular over a long period of time. Thompson nobly heeded his own advice in selecting the appropriate text for the work. The chosen excerpts adeptly encapsulate Jefferson's ideals. His notions did not appeal to just a few, but to many, and they fostered a nation. Testament of Freedom is dedicated to the University of Virginia (where Thompson was teaching at the time) in memory of Jefferson, the school's founder. The connection to the third president is immediately made manifest in the first five chords-one for each syllable in his name: Tho-mas Jef-fer-son. Many believe the piece was written in conjunction with American war efforts and make a juxtaposed comparison of World War II to the conflict in Jefferson's own time. While this may be true, nonetheless, the primary motivation for its composition was the bicentennial of Jefferson's birth. The premiere performance took place on 13 April 1943, with the composer at the piano. Originally scored for a four-handed piano accompaniment and all men's voices, it was later arranged by Thompson for mixed chorus, orchestra, and piano. It is in this format that Testament of Freedom has been given a prominent place in fine art musical Americana."--Program Notes.
Table of Contents
Propheta Lucis (Prophet of Light) (1989): I. Introduction -- II. Preach, My Dear Sir -- III. Truth is Great -- IV. Litany - "These are the Objects" -- V. For Here We Are Not Afraid -- The Testament of Freedom (1943): I. The God who gave us life -- II. We have counted the cost -- III. We fight not for glory -- IV. I shall not die without a hope