Choral Chameleon: 2010 - Marry Me A Little Program

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presents

Vince Peterson, Artistic Director Fourth Universalist Society 160 Central Park West at 76th Street, New York

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Thanks for joining us as we celebrate the beginning of Choral Chameleon's third season!

Oh no! Not another concert about love! The topic of the universality of love and marriage seems to be a hot one right now, doesn't it? As I think about this, my heart is moved by the many displays of unconditional love I have witnessed and experienced in my own life and the lives of people who are close to me.

Yet I admit there have been many times in my life when, in hindsight, I wish I'd have armed myself with love rather than anger, disdain, or stubbornness in uncomfortable situations with others. The need for this is ever increasing in our modern society with its electric identities and push-button instant gratification. In a way, loving and human-to-human contact has become somewhat less safe to us. Many, though not all, would rather send an instant message or an email to tell someone how they feel — or write on their Facebook wall rather than look them in the eye or let them hear their voice saying the words.

Our composers for this concert show us how to ride the tumultuous love roller coaster for real — from the moment of attraction, to the courting, the proposal, the wedding — and after the wedding... They remind us to place our tongues appropriately into our cheeks and maintain a blessed sense of humor in our relationships. Through the musical journey we will go on today, we can truly rediscover, through music, the universal essence of love and marriage. Perhaps we can discover something about ourselves in the process too?

“Marry Me a Little” means just that... “a little”; not “a lot”; not in some way society thinks we “should”; not “sell your soul” or “give up your whole life”" Just enough to show me that you have the capacity to love. We're ready.

Much love from the Choral Chameleon family to yours — and best wishes for an exciting musical season!

Vince Peterson

Board of directors Cathy Solomon, President Vince Peterson, Artistic Director Steven Smith, Director of Education Outreach Mario Dell’Olio Guilford W. Forbes Bebe Landis Karla Robertson Evan Crawford (ex officio) Kelly Baxter Golding (ex officio) ababab

acknowledgements Our thanks to: The Fourth Universalist Society, Rev. Rosemary Bray McNatt and Darius Lang Archival recording: Joe Patrich Web design: Matthew Brown, muglug.com Art design: Marc Bovino, marcbovino.com Photography: Amanda Peskin, amandapeskin.com Legal assistance: Meg Davidson and Amy Kalil, Shearman & Sterling LLP, and Norma Kerlin and special thanks to all of our volunteers. ababab

Choral Chameleon gratefully acknowledges the support of The Sparkplug Foundation.

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MARRY ME A LITTLE The Attraction: An Immorality

Aaron Copland (1900-1990)

The Courting: The Flower of Maherally Siuil a Ruin She Moved Through the Fair

Irish Trad.

The Proposal: Marry Me A Little

Stephen Sondheim (1930-)

The Wedding: Seven Votic Wedding Songs

Veljo Tormis (1930-)

INTERMISSION After the Wedding - The Reception: Four Slovak Folk Songs: #2, 3, 4

Béla Bartók (1881-1945)

The Problem and the Advice: Four Slovak Folk Songs: #1 It’s the Little Things You Do Together

Béla Bartók (1881-1945) Stephen Sondheim (1930-)

The Prayer: Set Me As a Seal Being Alive

Richard Nance (1955- ) Stephen Sondheim (1930-)

The Blessing and the Moral: O God That Guides the Cheerful Sun Love the One You’re With

William Byrd (c. 1540-1623) Stephen Stills (1945- )

Please join us for a reception immediately following the concert.

ChORAL ChAMELEON Vince Peterson, Artistic Director Daniel Delaney, Cello Brad Whiteley, Piano

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TExTS an immorality - aaron copland (1926) Sing we for love and idleness, Naught else is worth the having.

Though I have been in many a land, There is naught else in living.

And I would rather have my sweet, Though rose-leaves die of grieving, Than do high deeds in Hungary To pass all men’s believing.

the flower of maherally - irish trad.

One pleasant summer’s morning when all the flowers were springing, oh, Nature was adorning, and the wee birds sweetly singing, oh.

I met my love near Banbridge Town, my charming blue-eyed Sally, oh, She’s the queen of the County Down, the flower of Maherally, oh.

With admiration I did gaze upon this blue-eyed maiden, oh.

Adam wasn’t half so pleased when he met his Eve in Eden, oh.

Her skin was like the lily white that grows in yonder valley, oh She’s my queen and my heart’s delight, the flower of Maherally, oh.

I hope the day will surely come when we’ll join hands together, oh.

‘Tis then I’ll take my darling home, in spite of wind and weather, oh, And let them all say what they will, and let them reel and rally, oh, For I shall wed the girl I love, the flower of Maherally, oh.

siúil a rúin - irish trad.

I wish I was on yonder hill.

‘Tis there I’d sit and cry my fill, And every tear would turn a mill.

I wish I sat on my true love’s knee Many a fond story he told to me.

He told me things that ne’er shall be.

Siúil, siúil, siúil a rúin.

Siúil go sochair agus siúil go ciúin.

Siúil go doras agus ealaí liom His hair was black, his eye was blue.

His arm was strong, his word was true.

I wish in my heart I was with you.

I’ll dye my petticoats, I’ll dye them red.

Around the world I’ll beg my bread, ‘Til I find my love alive or dead.

Go, go, go, my love.

Go quietly and peacefully.

Go to the door and flee with me

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she moved through the fair - irish trad.

My young love said to me, “My mother won’t mind, And my father won’t slight you for your lack of kind,” And she stepped away from me and this she did say, “It will not be long, love, till our wedding day.”

She stepped away from me, and she went through the fair, And fondly I watched her move here and move there.

And then she went homeward with one star awake, As the swan in the evening moves over the lake.

Last night she came to me, she came softly in, So softly she came, that her feet made no din.

And she laid her hand on me and this she did say, “It will not be long, love, till our wedding day.”

marry me a little - stephen sondheim (1970) Marry me a little, Love me just enough.

Cry, but not too often, Play, but not too rough.

Marry me a little, Love me just enough.

Warm and sweet and easy, Just the simple stuff.

Keep a tender distance, So we’ll both be free.

That’s the way it ought to be.

I’m ready!

Keep a tender distance, So we’ll both be free.

That’s the way it ought to be.

I’m ready!

Marry me a little, Do it with a will.

Make a few demands I’m able to fulfill.

Marry me a little, Body, heart, and soul.

Passionate as hell, But always in control.

Want me more than others, Not exclusively.

That’s the way it ought to be.

I’m ready! I’m ready now!

Want me first and foremost, Keep me company.

That’s the way it ought to be.

I’m ready! I’m ready now!

You can be my best friend.

I can be your right arm.

We’ll go through a fight or two.

No harm. No harm.

Oh, how gently we’ll talk, Oh, how softly we’ll tread.

All the stings, the ugly things We’ll keep unsaid.

We’ll look not too deep, We’ll go not too far.

We won’t have to give up a thing, We’ll stay who we are.

We’ll build a cocoon Of love and respect.

You promise whatever you like, I’ll never collect.

Right? Okay, then, I’m ready!

I’m ready now! Someone,

Right? Okay, then, I’m ready!

I’m ready now! Someone, I’m ready!

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vadja pulmalaulud (votic wedding songs) - veljo tormis (1971) 1.

Mõrsja vihtlemine (The Ritual Whisking of the Bride)

Tšülpii, tšülpii, sisoiseni, Kõlmõõ koivuu õhsaizõlla, Viijjee vitsaa varpaizõlla.

Whisk, whisk yourself, my little sister, With three birch twigs, With five thin switches.

Õjavesi se õnnõssi, Jõkivesi se jõvvussi, Merivesi meeloiozõssi, A lähevesi lähössi.

The water from the brook is for luck, The water from the river is for strength, The water from the sea for wisdom, The water from the spring for success.

2.

Pulmaliste saabumine (Arrival of the Wedding Guests)

Avatkaa viroo veräjäd!

Viroo võõraad va tullaa.

Tulõvad Loojaa joukkuinee, Jumalaa pereheinee.

Open the Estonian gates!

The Estonian guests are coming.

They’re the Creator’s kinsfolk, They’re God’s family.

Terve tultua tuppaa Enne nähtüä vättšiä, Risitettüä rahvahassa!

Terve tupa, kolmi kolkkaa, Kolmi kolkkaa, neljä nurkkaa.

Laki lahnaasoomussiissa, Silta pantu sipulissa, Kiukka on mereetšivessä, Arina anõõmunissa.

Welcome to our home, Familiar folk, The christened folk!

Good morning chamber, three corners, Three corners, four nooks!

The ceiling’s made of bream scales, The floor’s made of onions, The stove’s built of sea pebbles, The hearth, it is of goose’s eggs.

3.

Pilkelaulmine (Mocking Song)

Kuhõõ viivüd, velvüeni?

Kuhõõ viivüd, vävüeni?

Vai siä viivüd viinaateelee, Kavassuid kapakkateelee?

Humalaza hupsuttelid, Tapõid täitä tankissani, Napid nahkapöksüissäni.

Sellä viivüd, velvüeni, Sellä viivüd vävüeni!

Where were you tarrying, my brother?

Where were you tarrying, my son-in-law?

Were you having a drinking bout, Staying too long in the tavern?

Drunkenly you capered about, Killed the fleas in your coat, Picked them from your leather trousers.

That’s why you tarried, my brother, That’s why you tarried, my son-in-law?

Lankoiseni, lintuiseni!

Mi siä laulad, lappahuuli, Kolkutid, nenä kovõra!

Et siä õõ koossa kõrkõassa!

My sister-in-law, my little chirper!

What’s that you’re singing, you dangling lips, What are you clattering, you crooked nose?

You don’t come from any mansion!

Lammas määkib, pää märännü, Läpi va laõttomaa läävää, Koir va haukub, kolmihammas, Läpi va vittsõizõõ väräjää.

Your sheep’s baaing, the scabby head, In a roofless stable, Your dog’s barking, the three-toothed one, Through a gate of twigs.

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4.

Veimevaka jagamine (Distributing the Dowry Chest)

Suuri kiitoz langolõõ I passibo kullõlõõ Üvää lahjaa antõmassõ I parõpaa lupamassõ.

Many thanks, my in-laws And thanks to you, my honey For giving me a good gift, For promising even a better one.

Kuhõõ paan va lahjojani?

Paan va kuussi kuumõttõõmaa, Päivüessi paissamaa.

Where shall I put my gifts?

Like the moon I’ll put them to shine, Instead of the sun to shine.

La ko katson lahjojani, Onko lahjani lakkaad?

Ku on lakkaad, nii on lustid.

Let me look at my gifts.

Are my gifts smooth?

If they’re smooth, they’re beautiful.

5.

Noorpaari õpetamine (Instructing the Newly-Weds)

Kuulõ, kuulõ, vellojani!

Tunnõd võttaa, tunnõ pittää, Taija tarkutta elää.

Elä lüü ühessä süüssä, Eläko kõikkinaa kahõssa, A lüü süüssä tšümmenessä, Ku rikob parvõõ patoja I tõizõõ tinatooppija, Kõlmõttõmaa vaskilaatkoi.

Siiz vass lüü sisaruttani, Siiz vass peeksä peenüttäni, Õlki varrõssi valõlõ, Niitti siimassi sitele.

Elä lüü tšülää kujala, eläko vallaa vainijoila.

Listen to me, my brother!

Now that you marry her, take good care of her, Know how to live wisely.

Don’t hit her for one sin, Don’t hit her for two sins, But hit her for ten sins, When she has broken many pots Another lot of tin mugs And another of copper bowls.

Only then may you hit my sister, Only then may you spank my little one, Take a straw for the whip handle, Tie some thread for the lash.

Never hit her in the village lane Nor in the parish common.

Oi, Oto, sisaruveni, Oi, Oto, emäni lahsi!

Tunnõd mennä, tunnõ õlla, Taija tarkutta elää.

Elä nurkkõza nupizõ, Elä kolkkõza kolizõ, Pööri tšehsi permõnnolla.

Tuõb äijäni mereltä, Võta kaššõli sellässä, Tuõb tšütü tšüntämässä, Tõmpaa tšennäd jalgassa.

Elä oottõlõ tšälujä, Tšälül tšäed tšättšüvezä, Elä ootõlõ natoja, Naod laattii lahjojani.

Oi, Oto, my little sister, Oi, Oto, my mother’s child!

Now that you marry him, look after him, Know how to live wisely.

Don’t squat in the corner, Don’t clatter in a nook, Twirl in the middle of the floor.

When your father-in-law comes back from sea, Help him to take off his bag, When your father-in-law comes back from ploughing, Help him to take off his boots, Don’t count on your sister-in-laws, They’re cradling babes in their arms, Don’t count on your sister-in-laws, They’re making wedding gifts.

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6.

Koka kiitmine (Praising the Cook)

Üva kokki, kaunis kokki!

A good cook, a handsome cook!

Süüka, langod, juuka, langod, Elka panka pahassi!

Süüka, langod, juuka, langod, Elka panka kormunasõ, Elka panka ribojõsõ!

Eat, in-laws, drink, in-laws, We hope you like our fare!

Eat, in-laws, drink, in-laws, Don’t stuff it into your pockets, Don’t stuff it into your puttees!

Üva kokki, kaunis kokki, Keitti supii suuta müütä, Pani soolõd meeltä müütä.

Kõik õli tootu, kõik õli saatu, Saijõd tootu Saarõmaalta, Viinad tootu Viromaalta, Oluõd õmalta maalta, Peened saijõd Petterissä.

Tulkaa kokkia kiittelöömää!

Kokk õli tootu Koivisoossa, Kokiipoika Poolõsmaalta, Ize kokki Inkerimaalta.

A good cook, a handsome cook, He made the broth pleasing to the taste, He added just enough salt.

Everything was ordered, everything was delivered, Cakes were brought from Saaremaa, Drinks were from Estonia, Beer from our own country, Small buns from Petersburg.

Come to praise the cook!

The cook was brought from Koivisoo, His help was brought from Poland, He himself from Ingria.

7.

Kui ma kasvaskin, kanake (When I, Little Chick, Was Growing Up)

Kui miä kazvõlin, kanainõ, Nõizin, neito noorukkaninõ Viijjee velloo veerüvezä, Kuuvvõõ velloo kukkõzõnna, Seittsemee minjaa natona, Isä kuttsu kullassõni, Emä ehto lahzõssõni, Vello tširkutti sizossi, Velloonaisuvõd naossi, Muu pere murukukassi.

Makazin rohkapi muita, Tein tüütä vähep muita, Tšäin tšüläz rohkap muita, Siištši kuuluin kunniaasõõ.

Menin marja muilõõ mailõõ, Lintu muilõõ liivikkoilõõ, Kana muilõõ kallaizilõõ, Toomi tõizilõõ vezilõõ.

Makazin vähepi muita, Tein tüütä enep muita, Tšäin tšüläz vähep muita, Siištši en kuulu kunniaasõõ.

When I, chick, was growing up, When I, young maid, was growing up Beside my five brothers, As the flower of my six brothers, As the sister-in-law of my seven brothers’ wives, Father called me his own darling, Mother called me her dearest child, Brothers called me their little sister, Brothers’ wives their sister-in-law, Everyone else called me a meadow flower.

I slept longer than the others, I worked less than the others, I went visiting more than the others, Still, I was respected.

To other places I, little berry, went then, To other sand-dunes I, little bird, flew To other shores I, little chick, stepped, To be a bird-cherry on another bank.

I sleep less than the others, I work more than the others, I go visiting fewer than the others, Despite that, I’m not respected.

Isä pillinä piteli, Vello kantõ kantõlõnna.

Pantii pilli piinaa päälee, Kantõlõ rihee uhzõlõõ.

I was the flute of my father, I was the zither of my brother.

The flute was left on the doorpost The zither hanging on the door.

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Oh, maidens, my good sisters, You apple-cheeked girls, Do not get married.

Never marry a widow!

Do not get married!

Oi tütöd, sulasõsarõd, Sulad sullitud omenad!

Elkaa menkaa mehelee, Elkaa menkaa ležželee!

Elkaa menkaa mehelee!

four slovak folk songs - Béla Bartók (1916) 2.

Where the Alps soar so free Flowery vale bright with glee, There to rest!

Oh! There’s no bed in the world softer!

Done the work of the day, filled the barn with our hay.

Comes the night, let us turn peacefully home, brothers, and rest.

3.

Food and drink’s your only pleasure, And to dance so madly.

But to work with pin and needle Never appeals to thee.

Hi! To the merry bagpipe player Have I paid some money, For while you are dancing, I stand by alone, nobody cares for me.

4.

Bagpipes are a-playing!

Dancers are a-swaying!

Piper play till all is spent, To our hearts’ and heels’ content!

Play on, bright and bonny, While we have the money!

Tavern-keeper, one for you!

Here is for the piper too!

Once a goat was straying; Now his skin is playing!

While the goat no more can prance Bagpipe now makes young folk dance!

1.

Thus sent the mother her little daughter Into a distant land.

Sternly she bid her: “Follow thy husband!

Never return to me!”

“Lo! I shall change me into a blackbird, Fly to my mother’s home; There I’ll be waiting, sad in her garden, On a white lily’s stem.”

Then out came the mother: “Who is this blackbird?

Strange is her song and sad; Forth and begone now, go, little birdling, From my white lily’s stem.”

“To a bad husband mother has sent me Forth to a distant land.

Why must I suffer such bitter pining In an ill-mated bond?”

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the little things you do together - stephen sondheim (1970 ) It’s the little things you do together, Do together, Do together, That make perfect relationships, The hobbies you pursue together, Savings you accrue together, Looks you misconstrue together, That make marriage a joy.

M-hm.

It’s the little things you share together, Swear together, Wear together, That make perfect relationships, It’s concerts you enjoy together, Neighbors you annoy together, Children you destroy together, That keep marriage intact.

It’s not so hard to be married When two maneuver as one.

It’s not so hard to be married And Jesus Christ, is it fun!

It’s sharing little winks together, Drinks together, Kinks together, That make marriage a joy; It’s bargains that you shop together, Cigarettes you stop together, Clothing that you swap together, That make perfect relationships.

Uh huh. Mm-hm.

It’s not talk of God and the decade ahead that allows you to get through the worst.

It’s “I do” and “You don’t” and “Nobody said that” and “Who brought the subject up first?”

It’s the little things, The little things, the little things, the little things.

The little ways you try together, Cry together, Lie together, That make perfect relationships; Becoming a cliché together, Growing old and gray together, Withering away together, That makes marriage a joy.

It’s not so hard to be married.

It’s much the cleanest of crimes.

It’s not so hard to be married.

I’ve done it three or four times.

It’s people that you hate together, Bait together, Date together, That make marriage a joy.

It’s things like using force together, Shouting till you’re hoarse together, Getting a divorce together, That make perfect relationships.

Uh huh. Kiss kiss. Mm-hm.

set me as a seal - richard nance (1996) Set me as a seal upon your heart, as a seal upon your arm; For love is strong as death.

Many waters cannot quench love, neither can floods drown it.

Being alive - stephen sondheim (1970) Someone to hold you too close, Someone to hurt you too deep, Someone to sit in your chair, To ruin your sleep, To make you aware Of being alive.

Someone to need you too much, Someone to know you too well, Someone to pull you up short, To put you through hell, And give you support Is being alive.

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Someone you have to let in, Someone whose feelings you spare, Someone who, like it or not, Will want you to share A little, a lot, Is being alive.

Someone to crowd you with love, Someone to force you to care, Someone to make you come through, Who’ll always be there, As frightened as you Of being alive.

Somebody hold me too close, Somebody hurt me too deep, Somebody sit in my chair And ruin my sleep And make me aware Of being alive.

Somebody need me too much, Somebody know me too well; Somebody pull me up short And put me through hell And give me support For being alive, Make me alive.

Make me confused, Mock me with praise, Let me be used, Vary my days.

But alone is alone, Not alive.

Somebody crowd me with love, Somebody force me to care.

Somebody let me come through, I’ll always be there As frightened as you, To help us survive Being alive!

o god that guides the cheerful sun - william Byrd (1611) O God that guides the cheerful Sun, by motions strange the year to frame, Which now returned whence it begun, from heaven extols Thy glorious name.

This new year’s season sanctify, with double blessings of Thy store, That graces new may multiply, and former follies reign no more.

So shall our hearts with heaven agree, and both give laud and praise to Thee.

The old year by course is past and gone, old Adam Lord from us expel: New creatures make us every one, new life becomes the New Year well.

As newborn babes from malice keep, new wedding garments, O Christ, we crave: That we Thy face in heaven may see with Angels bright our souls to save. Amen.

love the one you’re with - stephen stills (1970) If you’re down and confused, And you don’t remember who you’re talking to, Concentration can slip away, ‘Cause your baby is so far away.

Don’t be angry, don’t be sad, And don’t sit crying over good times you had, There’s a girl right next to you, And she’s just waiting for something to do.

Well, there’s a rose in a fisted glove, And the eagle flies with the dove, And if you can’t be with the one you love, honey, Love the one you’re with!

Turn your heartache right into joy, She’s a girl and you’re a boy, Get it together, make it nice, You ain’t gonna need any more advice.

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Changing the Voice of Choral Music ARTISTIC DIRECTOR Vince Peterson

SOPRANOS

ALTOS

TENORS

BASSES

Evan Crawford Erika Lloyd Julie Waters

Kelly Baxter Golding Johanna Bronk Jacqueline Perez

Marshall Bessières Joshua Diamant Gates Thomas

Joseph Bellino Justin Randolph Mark Johnson

the mission of choral chameleon is to engage its listeners in a diverse and innovative musical experience through its integrative concert programming and education outreach.

KeLLy BAxTeR GoLDING, mezzo-soprano, has been a choral performer since her teens. She has experience in styles ranging from original notation chant to new music, and has appeared as a soloist with many groups in her native Canada. Kelly was a member of Tokyo’s acclaimed Baroque ensemble Bach Collegium Japan when it launched its cantata recording series on the BIS label. After her relocation to New York, Kelly scaled back on outside commitments for several years to devote time to a new role: mother to sons Jamie and AJ. She is delighted by the energy and diversity of Choral Chameleon.

JoSePh BeLLINo, baritone, a native of Eastern Long Island, Resident of Astoria, Queens, graduated SUNY Fredonia with a Bachelors Degree in Music with a concentration in Classical Voice. Joseph was invited to study classical voice abroad in Lucca, Italy for one summer and has studied acting at HB Studios & TVI Actors Studio in New York City. He has been a professional cantor and pianist for the Catholic Church for over twelve years and is also currently working for Ghirardelli Chocolate Company as an outside sales representative in charge of building the company’s presence in New York City. Joseph has performed in numerous theatrical productions including: J. Pierre Pont Finch in How to Succeed in Business Without Really Trying, Judge Turpin in Sondheim’s Sweeney Todd, Rapunzel’s Prince in Into the Woods, Barnaby Tucker in Hello Dolly and Benny Southstreet in Guys and Dolls. Some of Joseph’s passions and hobbies include: world travel, fine food & wine, martial arts (Aikido) and continuing to hone his craft as a singer and actor.

Joseph is delighted to be a part of this incredibly talented group of musicians known as Choral Chameleon.

MARShALL BeSSIeReS, tenor, is a singer, composer, and music educator based in New York City. His works have been performed by Hexnut, Wet Ink Ensemble, Clogs, Aeros Wind Quintet, and the Santa Clara Chamber Singers, among others. Mr. Bessières has taught composition and music technology at Santa Clara University. Since 2003 he has been on the faculty of the Walden School’s Young Musicians Program, a 5-week summer school, camp, and festival for young musicians ages 10-18. He recently joined the faculty of Walden's Teacher Training Insti-

tute, working with music educators from around the world to share Walden's unique approach to music education. Mr. Bessières has a degree in composition and piano performance from Santa Clara University, where he studied with Pamela Layman Quist, Pat Plude, and Teresa McCollough. He is thrilled to be joining Choral Chameleon for his first season!

JohANNA BRoNK, alto, has a love for close harmonies, heartstrumming texts, and rhythmic maneuverability. Johanna is overjoyed to join Choral Chameleon where she can indulge these passions in the intimate setting of 12 nuanced musicians. She currently sings in three vocal groups including Polyhymnia early music ensemble and St. Bartholomew's choir. In 2009 Johanna graduated with a degree in vocal performance from Oberlin Conservatory where she studied with Kendra Colton. Featured performances at Oberlin include “Architecture” in Marc-Antoine Charpentier's Les Arts Florissants, performed also at the 2009 Boston Early Music Festival, and Osvaldo Golijov's Ayre, performed in concert with puppets. When not on stage, Johanna can be seen biking across bridges, harvesting kale, or watching yeast ferment. eVAN CRAWfoRD, soprano, is thrilled to be singing with the talented members of Choral Chameleon. A devotee of new opera and musical theater as well as choral music, Evan’s recent roles include Brigid in Susan Stoderl’s The Veil of Forgetfulness and Betty in Christian McLeer’s House. Evan has performed as a soloist at the Bel Canto Institute in Florence, and in 2008 toured with the Beijing Olympics Festival Chorus. Other notable choral work includes the soprano solo in Bernstein’s Chichester Psalms with the Brooklyn College Chorale, and the world premiere of Christian McLeer's Requiem with the Brooklyn-based Remarkable Theater Brigade. A graduate assistant at Brooklyn College Conservatory of Music, Evan teaches a voice production and technique class for music education students and maintains a private voice studio in Brooklyn.

JoShUA DIAMANT, tenor, is delighted to join Choral Chameleon this season as someone who has always tried to break down artificial genre boundaries in all of his

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musical activities. A native of Long Island, he holds a B.A. in ethnomusicology from Columbia University, spent the following three years as the managing editor of a local newspaper, and is currently a graduate student in music education at Brooklyn College and a private tutor in numerous subjects for one of the large nationwide test-prep companies. Deeply involved in the world of Jewish choral music, he also sings with the Zamir Chorale and conducts the Long Island chapter of its teen affiliate, HaZamir: The International Jewish High School Choir. He studies conducting with Vince Peterson. Love to all the good people.

MARK JohNSoN, bass, has worked with a cappella ensembles of every size and a broad range of musical styles. He attended the Eastman School of Music where he studied oboe and conducting. His most notable vocal work has been with composer Toby Twining, who writes new music for voices in extended just intonation, employing special vocal techniques from around the world. He was music director, producer, and singer for Chrysalid Requiem (2002) and Eurydice (to be released on Cantaloupe Music in January, 2011). He has worked extensively with the Western Wind, as producer for their recordings and ensemble coach at their workshops. Some of his a cappella arrangements can be heard sung by the Western Wind on My Funny Valentine (1997). He has also been a frequent clinician at Studio Arsis vocal workshops in Tokyo. Since 2004 he has sung bass with Marble Collegiate Church in NYC under the direction of Ken Dake. Mark is also a music copyist and editor, and piano tuner, all of which he gets to do at Marble. In November 2010 Mark is participating in the New York premieres of several pieces from Bobby McFerrin’s latest album, VOCAbuLarieS, arranged & directed by Roger Treece. eRIKA LLoyD, soprano, is a Brooklyn based singer and painter, most widely known as the lead singer and songwriter for the indie rock band, Little Grey Girlfriend. She received her Bachelors of Voice Performance, Early Music, from Indiana University in 2005. Her love of early repertoire is evident in much of the performing she does today. She is the soprano with The Good Pennyworths, a Renaissance vocal quartet with lute; you can also hear her every Sunday as the featured soloist and section leader of the Union Church of Bay Ridge Choir. As one of the original singers of Choral Chameleon, she is thrilled to continue to break boundaries in music! Visit her on the web at www.erikalloydmusic.com.

JACqUeLINe PeRez, alto, began singing in grade school and has been singing ever since. She received a B.A. from Colgate University with a major in biology/minor in music. She graduated from the New York College of Osteopathic Medicine and completed her residency training at Saint Vincent’s Catholic Medical Center in NYC. Jackie has studied voice and cabaret and performed in musical theatre, cabaret and with choral groups of all shapes and sizes. She currently sings with The Ignatian Schola (www.ignatianschola.com), the Choir of St. Francis Church and in various church and musical settings in the NYC area. When not singing, Jackie is a Spiritual Director, Retreat Director, Speaker/Presenter and continues to practice Internal Medicine in tthe Mount Sinai affiliate: Lutheran Family Health Community Medicine Department, formerly St. Vincent’s Hospital. Singing with Vince Peterson and Choral Chameleon is both an honor and privilege and one of the great joys in her life.

GATeS ThoMAS, tenor, is a New York-based composer, conductor, multi-instrumentalist and recording producer. He has worked with Paula Cole, Bobby McFerrin, Pat Metheny, Gary Burton, Jim Hall, Will Lee, John Scofield, Sadao Watanabe, the New American Orchestra of Chicago, and the Los Angeles-based a cappella group M*PACT. Gates is Music Director at the Fourth Universalist Society in Manhattan, and Associate Professor of Contemporary Writing and Production at Berklee College of Music in Boston. Gates grew up in Davenport IA, where he attended public schools and took his first piano lessons at age five — the repertoire was Beatles, Bacharach and Jobim — then started on violin in the fourth grade. He studied violin and composition and earned a B.A. in American History at Northwestern University, and was subsequently a Lawrence and Alma Berk Scholar at Berklee.

He has presented master classes throughout North America and at the l’Ottava school in Rome. Here samples of Gates Thomas' work at www.myspacemusic.com/gatesthomas JUSTIN RANDoLPh, bass, is a singer and actor with extensive performance experience in opera, musical theatre, theatre, and film. Favorite opera and musical theatre roles include: The Magic Flute (Papageno), The Marriage of Figaro (The Count), Die Fledermaus (Falke), Into the Woods (Cinderella's Prince & The Wolf), Camelot (Mordred), and The Pirates of Penzance (Samuel). Mr. Randolph has performed internationally with The Centro Italiani Festival di Opera in Urbania, Italy and with The Neil Semer vocal institute in Coesfeld, Germany. M.M (Voice Performance) & B.M. (Voice Performance & Theatre studies) from Bowling Green State University. For more information please visit www.justinrandolph.com JULIe WATeRS, soprano, moved to New York City in 2008 from Seattle where she attended Western Washington University and received a BA in secondary choral music education. Currently, Julie teaches elementary general music at two public schools for the non-profit organization Education Through Music. After a few years of gaining experience, she will eventually pursue her masters degree in choral conducting.

Artistic Director Conductor, pianist and award-winning composer VINCe PeTeRSoN is the founding Artistic Director of Choral Chameleon. In addition, he currently serves as Director of Choirs and Coordinator of Ear Training Studies at Brooklyn College Conservatory of Music. He holds the BMus in Composition from The San Francisco Conservatory of Music and a Double MMus from Mannes College The New School for Music in Manhattan where he was the sole recipient of the 2007 Music Teacher’s League Award upon his graduation. His principal composition teachers have included celebrated composers Conrad Susa and David Conte of SF Conservatory and David Loeb at Mannes. He studied conducting under Dr. Mark Shapiro, a critically acclaimed champion of new and obscure music and previously assisted Dr. Shapiro at Cantori New York. He also previously served as Assistant Conductor and Principal Accompanist for The Golden Gate Men’s Chorus of San Francisco, under the direction of widely-respected music director Joseph Jennings, a position to which Jennings appointed him. Peterson’s work

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as composer and conductor has been profiled in The New York Times, The Brooklyn Eagle and The San Francisco Classical Voice, among other reputable publications. His thriving music program at The Union Church of Bay Ridge, a church community known for its commitment to the arts, caused the church sanctuary to be hailed in The Brooklyn Eagle as Bay Ridge’s “premiere performance hall”.

Peterson is equally at home working within multiple genres of music and is becoming known for his affinity for genrebending in his compositions and arrangements as well as his innovative concert programming. He has appeared all over the world as choral singer and accompanist, including concert tours to Italy, Austria, Hungary, Slovakia, France, The Philippines, Canada and throughout the United States. As a hybrid composer / conductor, he has not only worked diligently to champion the works of many of his composer colleagues, but also actively maintains his own catalogue of work. He has received performances and commissions from The San Francisco Arts Education Project, The DeLaSalle Institute (Napa, CA), his alma mater - Sacred Heart Cathedral Preparatory (SF), The Monmouth Civic Chorus of Red Bank, NJ and Cantori, among others. His choral arrangement of the song “Cells Planets” (written by Chameleon soprano, Erika Lloyd) was recently commissioned and commercially recorded by the Grammy®-award winning ensemble, Chanticleer for the 2010-2011 concert season and will be taken on national tour.

Not limiting his work to choral music, he also works actively in cabaret and musical theater in NYC, currently serving as Music Director / Arranger for the MAC® award-winning performer Cait Doyle in her hit show, “Hot Mess In Manhattan”, which has been nominated for MAC® awards in multiple categories for two seasons in a row and is noted for its cultivation of new musical theater songs. www.vincepeterson.com

Bachelor of Music degree in Cello from the University of Northern Colorado. His chamber music mentors have included the Alexander, Orion, and Takaćs quartets. His teachers have included violinist Kimberly Fisher and cellists Paul Tobias, James Fittz, Owen Carman, Timothy Eddy, Darrett Adkins, and Ron Leonard.

Mr. Delaney has served on music faculties at the Csehy Summer School of Music (Houghton, NY), the Frontier Academy (Greeley, CO), and Philadelphia Biblical University (Langhorne, PA). He has performed extensively throughout Europe, Canada, and the United States, most recently with the Liu Trio and the Brooks-Delaney Duo (Bethany Brooks, piano).

Mr. Delaney has held principal cello positions with the Manhattan Chamber Symphonee, New York’s Ensemble 212, and the Southeastern Pennsylvania Symphony Orchestra. He is cellist for the hit musical, Hot Mess in Manhattan, and performs frequently with cross-over collaborators Sharon Kenny and Vince Peterson.

Mr. Delaney plays a modern American cello, made by L. Bowers in 1989, and a handmade Seagull S6 acoustic guitar. Visit www.dandelaney.com.

BRAD WhITeLey is a Manhattan-based pianist, organist, and composer/ arranger at home in a wide variety of musical styles, from classical, jazz, and musical theater to indie rock and freely improvised music. Brad has performed with Christian McBride, Maria Schneider, Bob Mintzer, Darius DeHaas,

GUeST ARTISTS Cellist DANIeL DeLANey is an acclaimed classical and crossover artist with an exciting and varied performance career.

Recognized for his compelling performances of the Dvorak Cello Concerto and the Bach Suites for Solo Cello, he has also been praised for his work in rock and musical theatre. Broadway World Magazine called him a “world-class cellist” and Edge New York an “inspired choice” for his playing in the MAC Awardwinning musical-cabaret Hot Mess in Manhattan (20082010). Mr. Delaney holds the Master of Music degree in Cello from Mannes College of Music in New York, and the

and Sylvia McNair, among others, at venues including Birdland, The 55 Bar, Small’s, Joe’s Pub, Merkin Concert Hall, and Iridium. He is featured on recent recordings by Cameron Mizell, Kelsey Jillette, Little Maestros and Mike Delledera, and has recently released a CD with his band Little Grey Girlfriend. He holds a BM from DePauw University and an MM from the Indiana University School for Music. Brad has also been invited to teach at Interlochen, Michigan, and to attend the Jazz Workshop in Banff, Canada and the Henry Mancini Institute in Los Angeles, California.

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2010-2011 friends of the chameleon Choral Chameleon salutes those who help us make the music: conductor’s circle ($250+) Mario Dell’Olio Guilford W. Forbes Milton Fullen Bebe Landis Peter Landis Panny and Mac King Bruce and Mary MacIntyre Vince Peterson Cathy Solomon Michael Wengroff supporters ($100-249) Diane M. Polledri friends ($50-99) Susan R. Gillespie patrons Alan Reiffe choral chameleon is grateful for the generous support of: Manhattan Community Arts Fund The Sparkplug Foundation

Thank you for your attendance today and for your support of Choral Chameleon! We have exciting and ambitious goals including innovative programming, collaborations with other musicians, and an educational outreach project to inspire the next generation of choral artists. But we cannot do it without you. Your tax-deductible donation will help bring us one step closer to our goals.

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contact@choralchameleon.com www.choralchameleon.com