Choral Chameleon (Ensemble): 2018 - Mind Program [ Mind / Body / Spirit Series ] San Francisco Tour

vince peterson, founding artistic director

MIND PART THREE OF CHORAL CHAMELEON’S MIND | BODY | SPIRIT SERIES CELEBRATING THE CHORAL SINGER ARTIST AS A WHOLE PERSON SUNDAY, MAY 6TH @ 7PM Harvey Milk Center for the Arts 50 Scott Street I San Francisco CA 94117 TUESDAY, MAY 8TH @ 7.30PM San Francisco Conservatory of Music 50 Oak Street | San Francisco CA 94102

____ ​ABOUT THE MIND | BODY | SPIRIT SERIES ​ ne of the things that captivates all of us about the art of ensemble singing is O that, for singers, the human psyche is attached to the instrument. This means that all of the beauty, emotion, memories, reactions, and impulses of life are intrinsically attached to the instrument and are inseparable from it.

When a group of people come together to sing, there are exponents of all of these. ​ his makes for music making that we believe has a particularly potent power to T start conversations, remove defenses, forge strong relationships and trust, and, most importantly, yield an organic sound which is full of love and openness. ​In a series of three concert programs, we explore three main aspects of this: SPIRIT: the unseen, private and most vulnerable part of the musician BODY: the vessel and the instrument of the singer ​MIND: the hive, the site of action and the neurological center of musical cognition

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ARTISTIC DIRECTOR’S NOTE Dear Friends, The phrase “Gradus ad Parnassum” can literally be translated “Steps to Parnassus;” Parnassus being the loftiest point of a certain mountain range near Delphi in central Greece. To reach this peak is a long journey to say the least. This peak is said to be sacred to the god Apollo and the nine muses. Throughout history, this phrase has been used in the liberal arts to describe any gradual process which is sought after in the form of a written guide. In music, the seminal guide on counterpoint called “Gradus ad Parnassum” was written c.1725 by Johann Joseph Fux. It was used by J.S. Bach himself to study the art of composition: voice leading, melodic constructions, and harmony as a “chance occurrence” (a happy convergence of melodies interacting with each other.)

This concert represents a “Gradus” journey for musicians. To be a musician is much more than to work as an entertainer. It is decidedly a whole way of life. Our journey as musicians is a long one, and whether or not we reach the lofty peak of Parnassus is permanently up for discussion. Some think they are closer to the peak than others.

Some are in it for the journey itself. Some even think they’ve already reached it. Ha! In short, to reach this point is, in my opinion, to say that we understand all things in the universe, because music is that big. It was the only thing the ancient Greeks couldn’t really explain. They described astronomy as “the study of the observable,” and music as “the study of the unobservable.”

Let me tell you: it’s quite easy to become so captivated by this art that one offers it their whole life.

This concert is a love song to people who have done just that. It’s also an opportunity for those whose lives are devoted to other important things to get a glimpse of the life and upbringing of the authentic musician. It sings of the musician’s trials and successes, the relationship with the music teacher, the emotional rollercoaster, the moments of eureka, and the discipline of the body and the mind. When one begins the journey toward Parnassus in music, one quickly discovers the real level of devotion it takes to give one’s life over to it. I’ve tried to show as many aspects of this as possible and also to look at it from different perspectives. The interpretation of all of it together and its meaning is up to you.

One of the best parts of my job is that I get to meet and work with musicians who are all at different points in their “Gradus” journey. It’s very clear to me, though, that we are all connected, and we stand in solidarity with each other. It’s almost familial in its nature. I feel so blessed to be a part of it with my fellow musicians; and blessed, too, to have you bend your ear to us as we sing this beautiful music-about-music. Perhaps as we journey through this program together, we can at least glimpse, for a moment, the loftiest point we can imagine - a momentary musical nirvana for our times. May it be so.

Warmly, Vince Peterson Founding Artistic Director Choral Chameleon

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vince peterson, founding artistic director

MIND PART THREE OF CHORAL CHAMELEON’S MIND | BODY | SPIRIT SERIES CELEBRATING THE CHORAL SINGER ARTIST AS A WHOLE PERSON

PROGRAM Ut Queant Laxis Tomás Luis de Victoria (c.1548-1611) The Composer (2002) David Conte Text by John Stirling Walker

from

Solfege a la Francaise (2004) Louis Moyse (1912-2007) I. Intrada - Allegro Giocoso

Laudamus, Adoramus, Hippopotamus NEW COMMISSION (2018)

Rex Isenberg Meta (2012) PREMIERED BY CHORAL CHAMELEON

Kevin Cummines

INTERMISSION 5

Solfeggio (1963) Arvo Pärt Lord Don’t Move This Mountain Mahalia Jackson Toccata for Choir NEW COMMISSION (2018)

Joseph Stillwell Text by William Shakespeare Competitive World Des’ree

from

Solfege a la Francaise (2004) Louis Moyse (1912-2007) III. Menuet Gradus Ad Parnassum

COMMISSIONED BY CHORAL CHAMELEON (2013)

Adam Ward From texts by Johann Joseph Fux I. The Dialogue II. The Dialogue (Continued) III. Florid Counterpoint IV. Mi Contra Fa V. The Farewell

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PERFORMERS Soprano Liz Geisewite Erika Lloyd Julie Waters Alto Kelly Baxter Golding Emily Crowe Clare Maloney Tenor Alex Canovas Matthew Finkel Matt Robbins Bass Joseph Bellino Robbie Cowan David Moon Cellist Matthew Linaman (Sunday performance) Andrés David Vera (Tuesday performance) Narrators FOR GRADUS AD PARNASSUM

Brian Rosen – aloysius Members of SFArtsEd Players – josephus

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NOTES | TEXTS | TRANSLATIONS Ut Queant Laxis Ut Queant Laxis Ut Queant Laxis Ut queant laxis resonare fibris mira gestorum famuli tuorum, solve polluti labiis reatum, sancte Joannes.

For thy spirit, holy John, to chasten Lips sin-polluted, fettered tongues to loosen; So by thy children might thy deeds of wonder Meetly be chanted.

Nuntius celso veniens Olympo, te patri magnum fore nasciturum, nomen, et vitae seriem gerendae, ordine promit.

Lo! a swift herald, from the skies descending, Bears to thy father promise of thy greatness; How he shall name thee, what thy future story, Duly revealing.

Ille promissi dubius superni per didit promptae modulos loquelae; sed reformasti genitus peremptae organa vocis.

Scarcely believing message so transcendent, Him for a season power of speech forsaketh, Till, at thy wondrous birth, again returneth Voice to the voiceless.

Laudibus cives celebrant superni te, Deus simplex pariterque trine; supplices ac nos veniam precamur: parce redemptis.

The heavenly citizens celebrate you with lauds, one God and at once triune; we also come imploring forgiveness; spare us among the redeemed.

Ventris obstruso recubans cubili, senseras Regem thalamo manentem: hinc parens, nati, meritis, uterque, abdita pandit.

Thou, in thy mother’s womb all darkly cradled, Knewest thy Monarch, biding in His chamber, Whence the two parents, through their children’s merits, mysteries uttered.

Gloria Patri, genitaeque Proli, et tibi compar utriusque semper, Spiritus alme, Deus unus omnium, tempore saeculi. Amen.

Praise to the Father, and to the Son begotten, And to the Spirit, equal power, possessing, One God whose glory, through the lapse of ages. Amen.

The Composer TEXT BY JOHN STIRLING WALKER

Music! Ah, music!

In restless moments or in quiet, when the feel or thought draws near, And though the Musse’s will deny it, comes him music loud and clear.

Music! Ah, music!

When, oh, when the world awaiting, glistens in the morning dawn, Or asleep lies grief abating ‘midst the stars that carry on.

Listens he and hears his music, ah! His music, Married to the tones that he must tarry on.

Oh, music!

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from

Solfège à la Francaise (2004)

I. INTRADA - ALLEGRO GIOCOSO Pianissimo, sempre piano, mezzo piano, mezzo forte, e crescendo più forte molto più forte, fortissimo, molto fortissimo, molto tutta forza, tutta la forza, diminuendo molto, molto ritardando, lento più lento.

Attacca Allegro giocoso [Solfege] piano Laudamus, Adoramus, Hippopotamus Laudamus te, adoramus te, benedicimus te, hippopotamus.

We praise you God and adore you, we bless you and glorify you.

Laudamus te, Nostradamus te, diplodocus te.

You can’t stop us, benedicimus te, hipopotamus te, subcutaneous te, this is the zaniest te, multiplicabimus, contradictorius, decibilissimus, ateopurpureus, physiologicus, nothing-isstopping-us te!

Extraordinarius te!

Meta Minor second What about it?

I just enjoyed it.

It wasn’t a minor second It was a tone cluster!

I just thought it was pretty over the ostinato.

Nothing. No one was talking to you.

They stopped singing.

Now we need to start all over again.

Is that a passing tone? The “G”?

In the ostinato is that a passing tone?

Only if we’ve established a harmonic center.

Have we? No! We have!

However you want to ascribe it.

It’s really a matter of personal taste.

I wish they would agree on numbers verses solfege. Seriously.

Nobody asked you!

I was agreeing!

They’re really making a lot of mistakes.

It’s not your job to correct them.

I wasn’t! I’d never step on the conductor!

Spineless!

That wasn’t very nice to say.

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What? Who? The conductor.

He looks so deflated. Look at him!

We should apologize. What? Now? Alright. We’re sorry!

I think he feels better.

Apparently. That’s nice.

Just look at how he sways back and forth in this section.

Why does he do that? What? That swaying thing?

He thinks it conveys something. No! But it’s good for his ego.

Super non-metrical chord tone, SHOVE IT. Passing tone, escape tone, neighbor tone, arpeggiate, non chord tone, Arpeggiation, appoggiatura, ridiculous.

Inner voice moves around just for the sake of the movement.

Deceptive plagal cadence.

Lord Don’t Move This Mountain Lord, don’t move this mountain, But give me strength to climb it.

Please don’t move that stumbling block, But lead me, Lord, around it.

The way may not be easy.

You didn’t say that it would be.

For when my tribulations get too light I tend to stray from Thee.

Lord, don’t move this mountain, But give me strength to climb it.

Please don’t move that stumbling block, But lead me, Lord, around it.

Now when my foes would slay me.

And these things they will try to do.

Oh, Lord, don’t touch them, but within their hearts, Make them give their hearts to you.

Lord, don’t move this mountain, But give me strength to climb it.

Please don’t move that stumbling block, But lead me, Lord, around it.

Our cares we bring unto you.

You told us that we could.

For you help those who try to help themselves And I believe we should.

Lord, don’t move this mountain, But give me strength to climb it.

Please don’t move that stumbling block, But lead me, Lord, around it.

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Toccata for Choir TEXT BY WILLIAM SHAKESPEARE, FROM HAMLET, ACT 3, SCENE 3

My words fly up, my thoughts remain below: Words without thoughts never to heaven go.

Competitive World Adjacently we stand keeping out the cold Emotions flowing through us, are we being too bold To say we’re in control Time is moving on soon well be gone The wall will crumble and fall, it had to be that way ‘Cause this competitive world, may let you down Hearts and souls and minds, they get churned around People tread on your heart and they don’t fear That brave look in your eye, which says you care Clouds that float on by, furnishing the sky So beautiful you want to be there too, oh you can make it there Stones may block your path people they may laugh Say your acting like a fool, this fuels your will to prove So don’t ever let go, when someone says its so Don’t give up the flight, cos you know its right That brave look in you eye, says your dreams won’t die This formulates your key Don’t let the wall crumble and fall Build it up, keep it up Cos this competitive world may let you down Rise up and defend yourself This competitive world, this competitive world Rise up and defend yourself

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from

Solfège à la Francaise (2004)

III. MENUET Le Menuet, l’authentique danse, est à trois temps.

Ah, oui, vraiment, mon cher, oui, c’est certain.

The Minuet, is it not authentic in triple time?

Ah, yes, indeed, my dear, that is the truth.

On le dansait à la cour du Roi Soleil.

Pas trop vite, pas trop lent, juste à trois temps.

Thus is was danced at the court of Louis the Fourteenth [Sun King] Not too fast, not too slow, One, two, three beats.

Las dames se pâmaient d’aise en admirant le roi qui faisait de beaux effets de jambs, simplement pour le désir de plaire.

Ladies were overjoyed to admire the king who exhibited great skill with his legs, for he only wanted to be pleasing.

Sa Majesté était vaine, chacun le savait; il fallait donc savoir le flatter pour rester dans ses bonnes grâces.

His Majesty was quite vaine, as everyone knew; so you had to know just how to flatter him if you were to stay in his good graces.

Le Menuet demande mille contorsions de la jambe.

Ah, oui, vraiment, ma chère, oui, c’est certain.

Il faut donc avoir le temps de se mouvoir gracieusment.

The Minuet: does it cause the leg to go through contortions?

Ah, yes, indeed, my dear, that is the truth.

One must have leisure to move gracefully.

Ceux qui le jouent trop vite, comme une valse lente, sont ils des ânes?

Non, bien sûr, mais des petits ânons!

Those who play too fast, as if they were waltzing, are they pompous asses?

Not at all, but they are silly fools!

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Gradus Ad Parnassum TEXT FROM ‘GRADUS AD PARNASSUM’ BY JOHANN JOSEPH FUX

I. THE DIALOGUE Ah! Audivi enim a quodam sene: Studium, voluptatem effe potius, qum laborem.

JOSEPHUS: I have come to you, venerable master, in order to be introduced to the rules and

principles of music.

ALOYSIUS: You want, then, to learn the art of composition?

JOSEPHUS: Yes. ALOYSIUS: But are you not aware that this study is like an immense ocean, not to be exhausted even in the lifetime of a Nestor? You are indeed taking on a heavy task, a burden greater than Aetna. If it is in any case most difficult to choose a life work – since upon the choice, whether it be right or wrong, will depend on the good or bad fortune of the rest of ones’ life – how much care and foresight must he who would enter upon this art employ before he dares to decide. For musicians and poets are born such. You must try to remember whether even in childhood you felt a strong natural inclination to this art and whether you were deeply moved by the beauty of concords.

JOSEPHUS: Yes, most deeply. Even before I could reason, I was overcome by the force of

this strange enthusiasm and I turned all my thoughts and feelings to music. And now the burning desire to understand it possess me, drives me almost against my will and day and night melodies seem to surround me. Therefore I think I no longer have reason to doubt my inclination. Nor do the difficulties of the work discourage me, and I hope that with the help of good health I shall be able to mast it…I once heard a wise man say: Study is pleasure rather than a task.

II. THE DIALOGUE (CONTINUED) Virtus suiipsius sit premium. Oh! JOSEPHUS: I remember also that my teacher often told me one should be content with a simple way of life and strive rather for proficiency and good name than for wealth, for virtue is its own reward.

III. FLORID COUNTERPOINT ALOYSIUS: What this species is and how it is written you will well remember, I suppose, from what has been said about it in two part composition: it is a combination of all five species contrived in as beautiful and singable a way as possible. How the concord with two other voices – consisting of whole notes – is to be treated you will know, I think, from the three part exercises we have done so far. So it does not seem necessary to spend any more time on explanation. Let us do on to the examples without delay.

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IV. MI CONTRA FA Ah, oh, in musica, proverbium: mi, fa, mi.

Non dubito, quin saepius audiverent tritum illud sermon proverbium: mi contra fa, est dia bolus in musica.

ALOYSIUS: Don’t worry about that mistake. You couldn’t avoid it because your attention has not yet been called to it. And do not distress yourself in advance about writing for more voices because practice will make you gradually more clear-sighted and skillfull.

V. THE FAREWELL Vale, et Deum pro me ora. Ah. JOSEPHUS: The road you bid me take, revered master, is rough and thorny. It is hardly possible to spend so much time on such a task without becoming tired of it.

ALOYSIUS: I can understand your complaint, my dear Josephus, and I sympathize with you. But the mountain of the muses is to be reached only by a very precipitous path. The benefits your efforts may bring you: the hope of success; the facility in writing which you will eventually acquire; and finally the firm confidence that what you are writing is well written may encourage you.

JOSEPHUS: It seems, venerated master, that you want to put an end to the work.

ALOYSIUS: Yes. JOSEPHUS: Then will you not say anything concerning composition in more than four

voices?

ALOYSIUS: …Understand that to him who masters four part composition the way to composition with more voices is already made quite clear: for as the number of voices increases the rules are to be less rigorously observed. Farewell, and pray to God for me.

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BIOGRAPHIES VINCE PETERSON founding artistic director

Over his 17+ year career, he has established himself prominently in the world of choral music, most notably having founded the “shape-shifting” vocal ensemble Choral Chameleon in 2008. Under his leadership, Choral Chameleon has premiered more than 150 works since its nascence and has won critical acclaim in The New York Times, Time Out New York, The New York Concert Review, I Care If You Listen, The Examiner, and other publications. In 2015, the ensemble was awarded the prestigious ASCAP/Chorus America Award for Adventurous Programming.

A native of San Francisco, Peterson studied piano from the age of 6 and organ from the age of 11. He was fortunate to gain touring experience early on in his high school career as singer and keyboardist, having toured to Italy, The Philippines, Austria, Hungary, and Slovakia and having played for Mass in St. Peter’s Basilica in Rome and sung at an audience for Pope John Paul II. In 2003, Peterson earned the BM in Composition from San Francisco Conservatory of Music under the tutelage of celebrated vocal music composer, Conrad Susa. He has also studied composition with David Conte, Elinor Armer, and Philip Lasser. In 2007, he earned a Double MM in Composition and Choral Conducting from Mannes College of Music where he studied under pioneer conductor Mark Shapiro, as well as the composer David Loeb. In addition to his school work, he has had the honor of working closely with choral icons Joseph Jennings, Vance George, and Matthew Oltman.

As a prolific arranger, Peterson has most notably received seven commissions to date from the multi-Grammy® Award-winning ensemble, Chanticleer, whose YouTube videos of Vince’s work have received over half a million views to date.

Many of his choral arrangements and his original compositions have become staples for choirs across the United States. Distinguished performance venues include Chicago Symphony Hall, San Francisco’s War Memorial Opera House, Bartok National Concert Hall in Budapest, New York’s Metropolitan Museum of Art, and Carnegie Hall, among others.

A recognized thought-leader in the music world, The New York Times called Peterson “authoritative beyond his… years,” and The Brooklyn Eagle praised his work as “a stunning symphony of the spiritual and secular,” while hailing him as a solo performer “with depth and vigor” who “provided a universal context which resonated with his audience.”

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In addition to his work with Choral Chameleon, he joyfully serves as Artistic Director of Empire City Men’s Chorus who he will soon usher through its 25th Anniversary Season; and Music Director of Regis High School – the only tuitionfree Jesuit high school in the United States and ranked #1 among Catholic secondary schools.

In 2018 Vince Peterson was awarded the Louis Botto Award for Innovative Action and Entrepreneurial Zeal by Chorus America, a lifetime distinction he shares with only fourteen of the most influential choral musicians in the United States. www.vincepeterson.com

ALEX CANOVAS associate conductor

Alex Canovas is a Brooklyn-based conductor, singer, teacher, and administrator who has worked with some of the most important arts organizations in the United States.

Early studies in composition and voice led him to Ithaca College, where he graduated with a B.M. in Vocal Performance. Alex was previously the Assistant Conductor of Ars Musica under Dusty Francis in Ridgewood, NJ, and the Opera Center Coordinator for OPERA America’s National Opera Center. He is currently the Associate Conductor for the critically acclaimed vocal ensemble Choral Chameleon, Director of Music at St. Paul’s Episcopal Church in Carroll Gardens, Brooklyn, and Operations Manager for the Empire City Men’s Chorus. He also maintains a private studio, teaching voice, diction, and music theory. www.alexgcanovas.com

ABOUT CHORAL CHAMELEON Founded in 2008 by Artistic Director Vince Peterson, as an experiment in creating a joyfully curious music-making environment in New York City, our thriving choral arts organization now encompasses: a roster of professional ensemble singers, a volunteer chorus of 30-40 adults and an annual week-long Summer Institute for emerging composers and conductors hosted in Brooklyn.

Our: mission is to reinvent the art of choral music from every perspective; to constantly question how our art form behaves, what it values, how it interacts with others, how it treats its artists and engages its audience. culture marries informality, loving support and joyful curiosity, with the expectation of solidly technical musicianship, constant learning and openness towards the unexpected.

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identity is distinctly metropolitan – alongside the 140 original compositions and arrangements premiered since 2008, much of the material performed from existing repertoire is infused with and informed by New York City. programming ethos seeks to dilate audience sensibilities towards the new, by the way it is paired with the familiar and by treating both with the respect they deserve.

Singers from Choral Chameleon frequently appear as guests for other artists, off-Broadway productions and presenting organizations, which include: Taylor Mac, Sxip Shirey, Caroline Polachek, National Sawdust, Opera America, Playwrights Horizons, and New York Theater Workshop.

This Season, Choral Chameleon is honored to be the first choir as Group-inResidence at National Sawdust - the artist-led music incubator in Williamsburg, Brooklyn. Our next Residency event as part of Sawdust’s ‘Classical Sundays’ Series is on June 10, 2018 – tell your New York friends!

CHORAL CHAMELEON: MISSION + VALUES The Mission of Choral Chameleon is to reinvent the art of choral music from every perspective.

We value: Innovation: We fearlessly explore and bring new possibilities in choral music to our members and audiences.

Excellence: We pursue the highest standards in preparation, performance, and repertoire.

Collaboration: We foster and celebrate diverse partnerships with composers, conductors, and organizations to expand our reach in the community we serve.

Enrichment: We strive to touch the lives of our audiences, while preserving fun and gratifying experiences for our performers.

Education: We are committed to providing mentorship and practicing the care of the musician as whole person.

Our Strategic Imperatives: • Commission new work every season • Bring audiences a dynamic blend of musical genres and art forms • Nurture artistic growth of all singers, conductors, and composers • Encourage fun, openness, and joy in the process of learning and performing

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Andrew Kent Fundraising Chair

STAFF Vince Peterson Artistic Director

Brian M. Rosen David Dabbon

Alex Canovas Associate Conductor

Eddie Maddalena Sarah Fels

Sam Shull Accompanist

Joseph Bellino Ensemble Representative (ex officio)

Robbie Cowan Professional Singer Contractor Ariel Estrada Grant Writer + Production Graphic Design

Alex Canovas Associate Conductor + Acting Secretary (ex officio)

Marc Bovino Season Artwork

ARTISTIC ADVISORY BOARD

VOLUNTEER ADMINISTRATIVE STAFF

Vance George Symphony Chorus Conductor Emeritus, San Francisco Symphony

Nicole Belmont Executive Director + Marketing Manager

Matthew Oltman Music Director Emeritus, Chanticleer

Jessica Wong Membership + Volunteer Singer Manager

Mark Shapiro Artistic Director, Cantori New York; Conductor, Cecilia Chorus of New York

Michael Squitieri Accounting

Bruce MacIntyre Musicologist, Director: Brooklyn College Conservatory of Music

Stephanie Tuck Newsletter

Emily Keeler Artistic Director San Francisco Arts Education Project

Kathryn Squitieri Database Tegan Miller Program Notes

Stephen Goldstine Photographer, Consultant

Brian Rosen Crowdfunding Manager Eddie Maddalena Front of House (New York)

David Conte Composer, San Francisco Conservatory of Music

BOARD OF CHORAL CHAMELEON

Conrad Susa (in Memoriam) Composer, San Francisco Conservatory of Music

Vince Peterson Founder + Artistic Director

CHORAL CHAMELEON IS A PROUD MEMBER OF:

Nicole Belmont President Michael Squitieri Treasurer Jessica Wong Chorus President

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THANK YOU Choral Chameleon wishes to thank the following generous contributors to our 10th Anniversary Season Kickstarter Campaign: Alexandria Aldinger Alison Wauk Andrea Farina Andy Simmons Anne Ticks Anonymous (2) Assaf Gleizner Barbara Labounta Bernice B. Landis Boreta Singleton Brad Andalman Brandon Coyle Candace Forest Cara Caponi Catherine Berardi Cathy Solomon Charlie Bellino Christina Squitieri Chris & Lori Aldinger Clare Maloney Craig Goodwin Dalila Velez David Bredthauer David Bloom David DeLauro David Mold David Moon Derek Galvin Donna Lee Doug Slemmer Dylan Nagler Edward Thompson Elena Tulloch Elizabeth Ostler Erica Spyres Erin Greenawald Erin Rittweger Evan Crawford Gerald Rosen Gina & Bobby Dawley Gina & Gary Parnaby

Irene Bobbins Jacob Stensberg James Currier James Taylor Jane Kostelc Janet Griffin-Canovas Jared Field Jason Asbury Jeffrey Hirschman Jen Campanaro Jennifer Wu Jerry Cain Jill Stevenson Joanne Tuck JoAnn Hunter Johanna Hirota John Prince & Pat Hick Joseph Bellino Joseph Stillwell Jo Walker Justice Maltese Kat Gilbride Kathryn Squitieri Kerry Moe Krishna Stone Kristina Boerger Ladd Boris Leviathan Lab Lindsay Lisa Neigut Loren Cheng Lynn Peterson Mark Palermo Mary Speers Matthew McConnell Brown Matt Cohen Matt Hempey Matthew Finkel Matt Vieira Meg Zervoulis

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Michael A. Shea Michael Squitieri Michelle Coladonato Mikhail Pontenila Min Rhee Nancy Tepper Nathan Taylor Nick Gibson Nick Weininger Nicki Cola Nicole Belmont Paul Squire Peter Walters Pritesh Damani Rebecca Martinez Rex Isenberg Richard D’Egidio Robbin Antony Robert Cowan Robyn and Vince Caponi Rose MacKenzie Roxanna Panufnik Samuel Shull Sarah Frey Sara Joe Wolansky Scott Brown Shauna Miller Stefanie Wauk Stephanie Tuck Steph OK Stuart Freedman Susie Krone Tegan Miller T Monteferrante Tom Gabbard Tom Shields Wendy Moy Westley Todd Holiday Winnie Lee Yong Wook Kwon Yusuf Simonson

IT’S NOT TOO LATE TO SUPPORT CHORAL CHAMELEON’S 10TH ANNIVERSARY SEASON! If you missed our Fall Kickstarter Campaign, please consider making a contribution towards our nationally-influential work today. We are still fundraising to cover the costs of this Tour and for our annual Summer Institute for composers and conductors, which includes free public access to the culminating concert, performed by our professional singers.

Donations can be made directly via our website homepage at www.choralchameleon.com.

If online donations are not your thing, or you would like to explore further how you can support our work, you are welcome to speak to our Fundraising Chair, Andrew Kent at andrew@choralchameleon.com.

STAY IN TOUCH! Website & Newsletter Sign Up: www.choralchameleon.com Facebook: /choralchameleon Twitter: @choralchameleon Instagram: @choralchameleon

MAILING ADDRESS CHORAL CHAMELEON 199 Carroll Street Brooklyn, New York 11231

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