Digital program
Program notes, texts and translations
Program Notes, Texts, and Translations
I.
Plainchant: Ubi caritas, anonymous Gregorian chant, Roman Rite (incipit)
Choir: Ubi caritas, from Quatre Motets sur les thèmes grégoriens, Op 10, No 1 (1960)
Duruflé dedicated this set of four short motets from which Ubi caritas is taken to
Auguste Le Guennant, the director of the Gregorian Institute in Paris. All four of them
are based on melodies from the Benedictine monastery of Solesmes, which issued the
official, most widely recognized edition of Gregorian chant.
‘Ubi caritas’, an antiphon taken from the Mass for Maundy Thursday, begins and ends
with the darker choral range of the altos, tenors and basses. The text, “Where charity
and love are, there is God also,” is a commemoration of the scene during the Last
Supper where Jesus washes the feet of His disciples.
(Carl B Cunningham)
_ _ _
Ubi caritas et amor, Deus ibi est.
Congregavit nos in unum Christi amor.
Exsultemus, et in ipso jucundemur.
Timeamus, et amemus Deum vivum.
Et ex corde diligamus nos sincero.
Ubi caritas et amor, Deus ibi est
Where charity and love are, God is there.
Love of Christ has gathered us into one.
Let us rejoice in Him and be glad.
Let us fear, and let us love the living God.
And from a sincere heart let us love one.
Where charity and love are, God is there.
Organ: Fugue sur le theme du Carillon des Heure de la Cathédrale de Soisson, Op 12 (1962)
Fugue on the theme of the hourly chimes of the Soisson Catherdral, is dedicated to Canon Henri Doyen, organist of the Cathedral at Soissons, and the descending eight-note theme is taken from the carillon there. Duruflé, the contrapuntal craftsman, uses the theme in inversion, augmentation and stretto, by which time the joyful carillon has infused the entire toccata-like texture and the fugue comes to an end in A minor with a series of majestic chords.
(William McVicker)
Choir: Notre Père, Op 14, with organ improvisation by Richard Elliott (1977-78)
Notre Père (Our Father), is a sacred setting of the Lord’s Prayer. With French text, this motet was intended to be sung by the congregation in the vernacular liturgy. Composed two years after he and his wife were involved in a serious automobile accident, Duruflé dedicated this composition to his wife, Marie-Madeleine Duruflé Chevalier. It is his last published composition.
(Gerda Arendt)
_ _ _
Notre Père qui es aux Cieux,
Que Ton nom soit sanctifié,
Que Ton règne vienne,
Que Ta volonté soit faite,
sur la Terre comme au Ciel.
Donne-nous aujourd’hui notre pain de ce jour,
Pardonne-nous nos offenses,
comme nous pardonnons à ceux qui nous ont offensés.
Et ne nous soumets pas à la tentation,
Mais délivre-nous du Mal.
Our Father who art in Heaven,
Hallowed by Thy name.
Thy kingdom come,
Thy will be done,
on earth as it is in Heaven.
Give us our daily bread,
And forgive us our trespasses,
as we forgive those who trespass against us.
And lead us not into temptation,
But deliver us from evil.
II.
Organ: Prélude, Adagio and Choral varié sur le thème du ‘Veni Creator’, Op 4 (1930)
This vast composition, composed early in Duruflé’s career, is based upon the phrases of the Gregorian plainsong hymn, Veni Creator, with a Pentecostal text celebrating the Holy Spirit. Duruflé dedicated this work to his organ teacher Louis Vierne. The first movement, Prélude, begins with shadowy, impressionistic figuration which slowly builds on fragments of the chant. The second movement, Adagio, demonstrates a lyrical, contemplative style, with mode changes, chromaticism, and what some critics consider Duruflé’s finest writing for organ.
The final movement, Choral varié (Chorale variations), features the full chant melody followed by four variations, culminating with a brilliant closing toccata. The closing ‘Amen’ is presented in the pedals on full organ.
(William McVicker, James Frazier)
_ _ _
III.
Requiem, Op 9 (1947)
Maurice Duruflé’s initial thoughts regarding the use of the Gregorian chant cycle from the “Missa pro defunctis” took form as a suite for solo organ. Apparently early in the compositional process, Duruflé received a commission from the Durand publishing company to compose a requiem. During the composer’s summer vacation in Louviers preceding the 1947 school year he did much of the work of transforming the organ suite into the Requiem, Op. 9, written for soprano and baritone soloists, choir, orchestra and organ.
The completed Requiem was premiered in a radio performance November 11, 1947, conducted by Roger Désormière, featuring the Chœurs de Radio of Yvonne Gouverné, with soloists Hélène Bouvier and Camille Maurane. The first concert performance of the Requiem was on December 28, 1947, with Paul Paray directing the Orchestre Colonne and the Chorale Yvonne Gouverné, with soloists Hélène Bouvier and Charles Cambon.
Gregorian chant is the basis for the form and melodic content of the Requiem. Duruflé’s passion for plainchant may have come from years he spent in French cathedrals, first as a choirboy in Rouen, and later as organist at Saint-Etienne-du-Mont, a position he held for nearly a half-century. The influence of chant is evident throughout his works in his use of modes, chant-like rhythms, and direct quotations.
Duruflé strongly opposed liturgical changes which would diminish the role of chant. Two such changes were the introduction of the jazz idiom into the Mass and the use of the vernacular to replace Latin. Duruflé asserted that plainchant was the “most appropriate vehicle for prayer in the Mass.” His devotion to chant appears a matter of both musical and religious conviction, and the Requiem represents an embodiment of these convictions.
Though frequently characterized as self-effacing and rarely pleased with his own creative output, he made comments indicating he seemed at peace with this work. Wrote Duruflé:
The Requiem is not an ethereal work, which sings detached of earthly cares. It reflects, in the expression of immutable Christian prayer, the anguish of man before the mystery of the ultimate end. It is often dramatic, or full of resignation or of hope, or of fear, as the words of the Scriptures themselves in the liturgy. It attempts to express the sentiments of humans before their terrifying, inexplicable, and marvelous destiny… finally, [with the] In Paradisum, the ultimate response of Faith to all questions, by the flight of the soul towards Paradise.
(Matthew Faerber)
Additional Enrichment, by Matthew Faerber, from Maurice Durufle and his Requiem: Master’s Thesis, Brigham Young University, 1995
The Requiem is one of only thirteen works by French composer Maurice Duruflé. He first conceived the work as an organ suite based on the Gregorian chant cycle of the Requiem Mass. With encouragement from the Durand Publishing Company of Paris, he transformed the piece into a choral work, completing it in the fall of 1947. Although reminiscent of Gabriel Fauré’s beloved Requiem in its restraint, Duruflé’s work presents an extraordinary combination of musical styles ranging from medieval plainchant to the rich harmonies of French Impressionism, unified in a deeply personal musical language.
The Introit begins with the men gently intoning the chant above a seamless running sixteenth-note pattern in the organ and violas. A brief middle section follows in which the sopranos and then the altos sing the repeated-note psalm, “A hymn becometh Thee, O God; listen to my prayer.” The third section restores the running figures of the organ and viola while the chant appears in the violins, with the choir providing a pedal-point descant. A large crescendo emphasizes the phrase, “May perpetual light shine upon them,” followed by a gradual rallentando leading into the second movement.
The long, arching lines of Renaissance-style polyphony shape the plea “Lord, have mercy” at the beginning of the Kyrie. A trumpet cantus firmus derived from the chant underlines the counterpoint in the first and last sections of this three-part movement. In the central section, altos and sopranos sing intertwining lines that gradually converge as the phrase “Christ have mercy” builds toward the powerful re-entry of the basses and tenors. The movement concludes with a reverent stillness as choir and orchestra settle into sustained F-major harmonies.
A mystical organ prelude introduces the chant in the lower strings that begins the Domine Jesu Christe. The altos start softly with the chant-like plea, “Lord Jesus Christ, deliver the souls of the faithful,” followed by the full choir and orchestra crying out for deliverance “from the lion’s mouth.” The dramatic central section depicts the “infernal suffering and the bottomless abyss” through sharply dissonant cries from choir and trumpets. The intensity subsides as the chant returns in the cellos and basses, leading to an ethereal soprano phrase: “Let Saint Michael lead them into the holy light.” A baritone solo follows above trembling strings, ending with a final prayer recalling the promises made to Abraham.
The Sanctus glows with the luminous colors of French Impressionism. A flowing organ ostinato accompanies the sopranos and altos as they sing “Holy, Holy, Holy Lord God of Hosts,” repeating the phrase three times in ascending fashion. In the middle section, a pianissimo pedal tone in the altos is sustained over rhythmic figures in timpani and plucked strings, building gradually toward a radiant climax punctuated by trumpet calls. The tenors enter with a joyful “Hosanna,” joined by the other voices as the strings surge toward the movement’s peak. Sopranos and altos close with a reprise of the opening texture, singing “Blessed is He that cometh in the name of the Lord.”
The Pie Jesu is a duet for soprano and cello with organ accompaniment. The soprano begins with the humble request, “Lord Jesus, grant them rest,” while the cello quietly sustains the prayer beneath. As the movement unfolds, tempo, dynamics, and tessitura intensify, magnifying the fervor of the plea before the music gradually subsides. The movement ends with the cello carrying the melody while the soprano softly prays for “rest everlasting.”
In the Agnus Dei, organ and harp accompany the alto chant, “Lamb of God, who takest away the sins of the world.” The strings introduce a gentle melody while the tenors repeat the chant. Sopranos and altos weave gentle counterpoint above it before the string melody returns with cellos carrying the chant and basses adding a third voice in rich polyphonic texture. The movement closes as the words “Grant them rest everlasting” are sustained in a hushed pianissimo.
The serenity continues in Lux aeterna, where the sopranos sing the chant over a cappella harmonies in the lower voices. Between choral sections, the organ introduces a theme reminiscent of the chant. Later, the organ presents a broad chordal melody while strings and voices sustain pedal tones as the text “May perpetual light shine upon them” unfolds. After another organ interlude, the choir sings softly, “Because Thou art merciful,” before the organ repeats the chordal theme and the choir and strings bring the movement quietly to rest.
The Libera me begins dramatically with trumpets foretelling the Day of Wrath. The basses enter in unison with the urgent plea, “Deliver me, O Lord, from eternal death.” As tension increases, voices enter contrapuntally at the words “When Thou comest to judge the world by fire.” A baritone solo rises above trembling strings expressing fear of the day of judgment. The tension erupts in the violent “Dies irae,” first sung by the men and then exploding with the full choir, orchestra, and thundering timpani. A haunting soprano chant, “Grant them rest and eternal light, O Lord,” leads back to a solemn choral statement of the opening theme.
The final movement, In Paradisum, provides a luminous close. Organ, harp, and strings accompany the soprano chant, “May the angels lead thee into Paradise.” The choir becomes the choir of angels receiving the departing soul. The work closes with the same word that opened it—“Requiem,” meaning “Rest”—fading away on a radiant dominant ninth chord. As Duruflé himself described it, the movement offers “the ultimate response of faith to all the questions, by the flight of the soul toward Paradise.”
_ _ _
I. Introit
Requiem aeternam
dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus in Sion,
et tibi reddetur
votum in Jerusalem;
exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam
dona eis, Domine,
et lux perpetua luceat eis.
Eternal rest
give them, O Lord,
and let perpetual light shine upon them.
A hymn, O God, becometh Thee in Zion,
and a vow shall be paid to Thee
in Jerusalem;
O Lord, hear my prayer,
all flesh shall come to Thee.
Eternal rest
give them, O Lord,
and let perpetual light shine upon them.
II. Kyrie
Kyrie eleison,
Christe eleison.
Kyrie eleison.
Lord have mercy on us,
Christ have mercy on us.
Lord have mercy on us.
III. Domine Jesu Christe
Domine Jesu Christe, rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni
et de profundo lacu.
Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum.
Sed signifer sanctus Michael
repraesentet eas
in lucem sanctam,
quam olim Abrahae promisisti
et semini ejus.
Hostias et preces tibi, Domine,
laudis offerimus.
Tu suscipe pro animabus illis,
quarum hodie
memoriam facimus,
fac eas, Domine,
de morte transire ad vitam
quam olim Abrahae promisisti
et semini ejus.
O Lord Jesus Christ, King of glory,
deliver the souls of all the faithful
departed from the pains of hell
and from the deep pit;
Deliver them from the lion’s mouth
that hell engulf them not,
nor they fall into darkness.
But that Michael,
the holy standardbearer,
bring them into the holy light,
which Thou once didst promise
to Abraham and his seed.
We offer Thee, O Lord,
sacrifices and prayers of praise;
do Thou accept them
for those souls
whom we this day commemorate;
grant them, O Lord,
to pass from death to the life
which Thou once didst promise
to Abraham and his seed.
IV. Sanctus
Sanctus Dominus Deus Sabaoth,
pleni sunt coeli
et terra gloria tua.
Hosanna in excelsis!
Benedictus, qui venit
in nomine Domini.
Hosanna in excelsis!
Holy, Lord God of hosts.
The heavens and the earth
are full of Thy glory.
Hosanna in the highest.
Blessed is He Who cometh
in the name of the Lord.
Hosanna in the highest.
V. Pie Jesu
Pie Jesu Domine,
dona eis requiem sempiternam.
Gentle Lord Jesus,
grant them eternal rest.
VI. Agnus Dei
Agnus Dei, qui tollis,
peccata mundi,
dona eis requiem sempiternam.
Lamb of God, Who takest away
the sins of the world:
grant them eternal rest.
VII. Lux aeterna
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum,
quia pius es.
Requiem aeternam
dona eis, Domine,
et lux perpetua luceat eis.
May light eternal shine upon them, O Lord, with Thy saints forever,
for Thou art kind.
Eternal rest
give to them, O Lord,
and let perpetual light shine upon them.
VIII. Libera me
Libera me, Domine,
de morte aeterna,
in die illa tremenda,
quando coeli
movendi sunt et terra,
dum veneris judicare
saeculum per ignem.
Tremens factus sum ego et timeo
dum discussio venerit
atque ventura ira,
quando coeli
movendi sunt et terra.
Dies illa, dies irae,
calamitatis et miseriae,
dies magna
et amara valde.
Requiem aeternam
dona eis, Domine,
et lux perpetua luceat eis.
Libera me, Domine,
de morte aeterna,
in die illa tremenda,
quando coeli
movendi sunt et terra,
dum veneris judicare
saeculum per ignem.
Deliver me, O Lord,
from eternal death
on that dreadful day
when the heavens
and the earth shall be moved,
and Thou shalt come
to judge the world by fire.
I quake with fear and I tremble
awaiting the day of account
and the wrath to come,
when the heavens
and the earth shall be moved.
Day of mourning, day of wrath,
of calamity, of misery,
the great day,
and most bitter.
Eternal rest
give to them, O Lord,
and let perpetual light shine upon them.
Deliver me, O Lord,
from eternal death
on that dreadful day
when the heavens
and the earth shall be moved,
and Thou shalt come
to judge the world by fire.
IX. In Paradisum
In Paradisum
deducant Angeli in tuo
adventu suscipiant te Martyres
et perducant te in civitatem sanctam Jerusalem.
Chorus Angelorum te suscipit
et cum Lazaro quondam paupere
aeternam habeas requiem
May the angels
receive them in Paradise,
at thy coming may the martyrs receive thee
and bring thee into the holy city Jerusalem.
There may the chorus of angels receive thee,
and with Lazarus, once a beggar,
may thou have eternal rest.
Maurice Duruflé (1902–1986)
Maurice Duruflé was born on January 11, 1902, in Louviers. His musical study began at
the age of 5 as a participant in group piano lessons. At the age of ten, he enrolled in
boarding school at the Cathédrale Notre-Dame de Rouen as a chorister and began his
organ training under Jules Haelling.
At age 17, Maurice Duruflé traveled to Paris, where he was appointed assistant organist
at Sainte-Clotilde under Charles Tournemire. The following year, Duruflé was named
assistant organist at Notre-Dame-de-Paris by Louis Vierne. At the same time, he was
accepted as a student at the Paris National Conservatory of Music, where he studied
under Vierne and Gigout (organ), Gallon (harmony), Estyle (accompanying), Caussade
(fugue), and Dukas (composition). Over the next 8 years, Duruflé attained First Prize
awards in each of his study areas at the Conservatory.
Duruflé was named organist at Saint-Étienne-du-Mont of Paris at age 28. He was
awarded composition prizes by the French Amis de l’Orgue in 1930 and the Fondation
Blumenthal in 1936.
Duruflé was selected by Marcel Dupré to assist him in organ instruction at the Paris
National Conservatory of Music in 1942, and in 1943 was named professor of harmony
at the Conservatory.
Duruflé was an active recitalist on cathedral organs throughout Europe and the United
States. He was also featured in recordings of his own organ works and those of
Tournemire, Vierne, Messiaen and Bach, among others.
In 1975, Maurice Duruflé and his wife, Marie-Madeleine Duruflé-Chevalier, were
involved in a serious automobile accident, which essentially ended his musical career,
although in 1977 he composed a short choral work¹ which he dedicated to his wife. He
passed away June 16, 1986.
Maurice Duruflé’s works reflect the compositional style of his organ instructors Vierne
and Tournemire, and that of their teacher, César Franck. To this inherited legacy,
Duruflé gave added emphasis to modality, plainchant themes and motives, and the
techniques of the French impressionists. Of particular note is his fascination with
Gregorian chant, which is evident even in his earliest organ compositions.
(Matthew Faerber)
Special Guest: Dr. Richard Elliot
Richard Elliott is the Principal Organist at the Tabernacle on Temple Square in Salt Lake City, Utah, USA. He participates in the long-running daily organ recital series and accompanies the Tabernacle Choir on the choir’s weekly radio and TV broadcast, “Music and the Spoken Word,” as well as during general conferences of the Church of Jesus Christ of Latter-day Saints.
As accompanist for the Tabernacle Choir he has performed in many of the world’s great halls and appeared on numerous television and radio programs. He has traveled extensively as a solo recitalist, with performances on five continents, and previously served as an assistant organist at the John Wanamaker Department Store (later Macy’s) in Philadelphia, home to the world’s largest fully functioning pipe organ. Dr. Elliott can also be heard on dozens of recordings and videos with and without the choir.
The Chorale
Our mission is to engage and inspire singers and audiences through high-quality performances of diverse, distinctive choral music and unique education opportunities in Northern Minnesota, Wisconsin, and surrounding communities.
Click here to learn more about the Arrowhead Chorale (including singer bios)!
Board of Directors
Susan Masterson, President
Rachel Bartell, Vice President
Samantha Kerr, Treasurer
Audrey Beyer, Secretary
Alexandra Strelow, Sing for Good | Marketing
Paul Robinson, Interim Business Manager
Mark Knutson
Jake Olson
Zachary WareJoncas
Thomas Wiig
Passionate about the arts? Join our Board!
The Arrowhead Chorale is in an exciting phase of growth and renewal! We’re seeking new board members to help us pursue our artistic goals and deepen our commitment to engage, inspire, and serve our community. Interested? Contact [email protected].
Sing for Good
What is Sing for Good?
Sing for Good is Arrowhead Chorale’s community engagement program, under which any and all Chorale-initiated, community-oriented performances and service projects are housed.
The mission of the program is simple, yet powerful: to create harmony in our community through song and service.
origin story
Established in fall of 2022, the idea for Sing for Good was born from a mere observation: there is goodness here.
At any given rehearsal, it is obvious this group understands music to have a transcendent power that heals, unifies, rejuvenates, and soothes. Our singers truly care for each other and our community. To be sure, during the pandemic — a time that was rife with division and the dissolution of arts groups — not only did our group stick together, we emerged with a stronger sense of self and purpose, and with a heightened awareness of the needs in our community that we now endeavor to help meet.
The Arrowhead Chorale possesses a palpable sense of good will, and it felt natural and right to harness that good will and turn it outward, into our community. And so, we Sing for Good.
what we do for goodness sake
To achieve its mission, Sing for Good has five primary projects: outreach concerts, good give, community connect, concert cause, and soul-tending.
outreach concerts
Sing for the marginalized and underserved
2022-23 + 2023-24 seasons: Musical Merriment, Benedictine Living Center, NERCC
2024-2025 season: Musical Merriment (12/3/24), NERCC (12/5/24), Ecumen (3/20/25)
December 2025 concert cycle: Musical Merriment (Tues. 12/2) + NERCC (Thurs. 12/4)
good give
Collect goods for a local nonprofit each concert cycle
2022-23 + 2023-24 seasons: Rural Care and Share Food Shelf, Union Gospel Mission, Duluth Harbor Mission, Damiano Center, Safe Haven, Life House, and Birch Tree Center.
2024-2025 season: Dec 2024: LSS Crisis Nursery | March 2025: Damiano Center
December 2025 concert cycle: Carlton County Community & Family Initiatives
community connect
Host, participate, & pitch in at community events
2022-23 + 2023-24 seasons: Chamber Singers caroling at Bentleyville and The Depot Christmas Market, Haunted Shack, Season Splash
2024-2025 season: Oct 2024: Help with The Haunted Shack event and fundraiser for the Special Olympics in Carlton, MN | July 2025: Participation in Duluth Downtown Days
December 2025 concert cycle: Help with the Haunted Shack in Carlton, Chamber Singers caroling at various community events
concert cause
Fundraise for a local cause at each concert
2022-23 + 2023-24 seasons: Life House, MN Adult & Teen Challenge, Family Freedom Center
2024-2025 season December 2024: Raised $450 for LSS Crisis Nursery in memory of our late friend and fellow singer, Gregory Garmer | March 2025: Raised $500 for 23rd Veteran
December 2025 concert cycle: Stepping on Up
soul-tending
Show care in proactive, intentional, tangible ways
2022-Dec 2025 concert cycle: Encouragement notes written to NERCC residents, Saved You a Seat Memorial at all ticketed concerts (reserved seat in first row marked with a rose and decorative pillow. Singers are welcome to insert notes or mementos to loved ones we’ve lost who we know would love to be in that seat listening to us sing.)
musical merriment
Musical Merriment offers guests an intimate look at the Chorale’s preparation for our Holiday Traditions and Jubilations concert by performing excerpts of the repertoire in a warm and welcoming atmosphere complete with festive decorations, Christmas cookies, cocoa, and a joyous singalong of treasured carols. This event is our goodwill offering to those in our community who may face barriers to experiencing live choral music and its life-giving effect.
December 2025 marked our third annual Musical Merriment behind-the-scenes holiday choral experience. For three years running, generous funding by The Depot Foundation, as well as donations and discounts from SuperOne, Johnson’s Bakery, and Caribou Coffee, this event remains free and festive for all attendees. We have been honored to welcome guests from Trillium, Lighthouse Center for Vital Living, DRCC, Sevita, MN Adult and Teen Challenge, BOLD-choice Theatre, and more. During intermission we mingle in pleasant fellowship with our guests and are always moved to see and hear what this event means to them. And that is why we will continue to do so.
our platinum season sponsors
Thank you to our generous partners who help make the the music happen.
