2025 Santa Fe Desert Chorale Summer Festival Program by Santa Fe Desert Chorale

July 13August 1

A home for the world’s classics.

St.

John’s College Master’s Programs:

The Western Classics How did our modern world come to be? In our Master of Liberal Arts program, you will explore 3,000 years of Western thought: from the ancient philosophical, scientific and historical texts of Greece and Rome, to the rise of both Christianity and the Enlightenment, to the development of democracy and the American experiment. But more importantly, you will work closely and in dialogue with faculty and peers to discover the most undeniable thing of all: our shared humanity.

The Middle Eastern Classics What intellectual scholarship happened between the fall of Rome and the European Renaissance? Our new Master of Arts in Middle Eastern Classics will explore the texts and authors of Jewish and Islamic civilizations, whose stewardship fostered the rebirth of scientific and philosophical inquiry in Europe. Together, students will ask: what is the relationship between human and divine wisdom? What is the soul, and can one attain happiness as a spiritual being? Engage these questions and more in this singular program of study.

The Eastern Classics What do the most searching, profound, and beautiful texts from three of the most significant civilizations in Asia tell us about what it means to be human? In our Master of Arts in Eastern Classics program, students will investigate the great works that are central to the philosophical, literary, and religious traditions of China, India, and Japan. Like the Western classics, these works raise timeless questions which are fundamental to understanding the past but through a whole new lens—which students will discover in close community with others.

sjc.edu/worldclassics

Santa Fe Desert Chorale is supported in part by New Mexico Arts, a division of the Department of Cultural Affairs, and by the National Endowment for the Arts. Additional funding is provided by the County of Santa Fe Lodgers’ Tax, and the City of Santa Fe Arts and Culture Department and the 1% Lodgers’ Tax. Special thanks to our corporate sponsors — Four Seasons Hotels and Resorts Santa Fe, the Santa Fe New Mexican, Santa Fe Selection Travel Guide, and Thornburg Investment Management — and other individuals, corporations, and foundations for their generous support. For a full list of donors, please see pages 53 through 56.

Emma Marzen Welcome

EXECUTIVE DIRECTOR

As the days grow longer and summer stretches across the high desert, we are thrilled to welcome you back for another season of exceptional choral music in the Land of Enchantment. Our 2025 Summer Festival promises to uplift, challenge, and inspire with three distinct concert programs and special activities that celebrate musical storytelling, cultural heritage, and the breathtaking power of the human voice.

43rd Annual Summer Festival

We open with Cantos y Cuentos, a vibrant journey through the music of today’s Latin America featuring folk melodies, sacred works, and the world premiere of a new piece by Cuban-American composer Ernesto Herrera. Mass for the Endangered pairs Sarah Kirkland Snider’s haunting modern mass for the natural world with Caroline Shaw’s To the Hands, a meditation on compassion and interconnection. In Roots & Rivers, Nigerian-American composer Shawn E. Okpebholo reimagines American folk songs and spirituals in The American Road, a powerful new work exploring heritage and cultural memory, presented alongside favorite recent commissions. Rounding out the season is our Artist Spotlight Recital—an intimate afternoon showcasing the artistry and voices of individual Chorale singers in a program they have personally curated.

To enrich your concert experience, we invite you to join us for Insights & Sounds, a series of events that open windows into the music and the minds behind it. Each program includes a free, on-demand video pre-concert lecture given by an expert on the music

(two of whom are Desert Chorale artists!), that will remain available for several weeks after the concert. Select performances offer pre- and postconcert Q&As with composers Herrera, Okpebholo, and Snider. Our pay-what-you-wish Symposium on July 24–25 brings together composers, artists, and scholars for conversations about the impact of choral music on our world. And for families, our free Family Concert on July 30 offers a fun, interactive introduction to choral singing for young listeners and their grown-ups. Whether you’ve been with us for decades or are discovering us for the first time, these gatherings will offer you moments of reflection, discovery, and shared joy—at the heart of what makes the Desert Chorale so special.

Sharing Your Desert Chorale with the World

Following the Summer Festival, we look ahead to the creation of a new commercial recording that captures the heart of who we are. This album will primarily feature works commissioned for our ensemble and performed throughout our summer programs, including this year’s premieres by Herrera and Okpebholo, as well as Northland by Kile Smith, Caminante by Jocelyn Hagen, and The Tipping Point by Reena Esmail. These powerful works, crafted for our ensemble, will allow us to share the Desert Chorale sound with audiences far beyond New Mexico.

A Winter Tradition Awaits

While we’re savoring summer’s sunlight, we’re also looking ahead to the glow of candlelight and song this

NEW ALBUM COMING 2026

December. Carols & Lullabies has become one of Santa Fe’s most beloved holiday traditions, offering a heartwarming mix of timeless carols, tender lullabies, and festive music from around the world. Whether it’s your first time joining us or a treasured annual ritual, we invite you to make it part of your 2025 holiday season. Tickets are available now at desertchorale.org—and we encourage early reservations, as these cherished performances often sell out quickly.

Your Support Matters

None of this work is possible without you. Today, we ask for your support to ensure the continued vitality of the music you love. Please consider a gift to our annual fund—via the QR code below, by visiting desertchorale.org/support, or by calling (505) 988-2282. Your contribution directly supports our mission: to excite, engage, and inspire diverse audiences with the beauty and power of great choral music.

Please come say hello on your way out. I would love to meet you and hear what you thought of today’s concert! In the meantime, please sit back and enjoy this performance by your Santa Fe Desert Chorale.

With gratitude and warmest wishes,

Emma Marzen Executive Director

Donate Here

SHARE YOUR DESERT CHORALE WITH THE WORLD

Following our Summer Festival, we will be recording a brand new commercial album filled with world premieres written especially for your Desert Chorale.

We need your help to bring this music to life! Visit desertchorale.org/recording to learn more.

Adrift A Dream Photography

PERFORMANCE VENUE & INFORMATION

The Desert Chorale has the privilege of performing in some of the most beautiful and historic venues in New Mexico that provide the acoustic quality needed for excellent choral performances. While many of the venues and the music we sing represent specific religious or cultural traditions, we celebrate the diversity of faith, thought, artistry, and human experiences represented by the music performed in these spaces. We hope that this shared musical experience transcends and binds the audience, as we seek to be inspired by the power of great choral music.

Cathedral Basilica of St. Francis of Assisi

131 Cathedral Place, Santa Fe, NM

Christ Church Santa Fe

1213 Don Gaspar Ave, Santa Fe, NM

Cristo Rey Church

1107 Cristo Rey St, Santa Fe, NM

St. Bede’s Episcopal Church

550 W San Mateo Rd, Santa Fe, NM

Special Needs and Requests

Our facilities are ADA compliant, and accommodate those with special needs and physical challenges. Please contact our Box Office at (505) 988-2282 or at boxoffice@desertchorale.org to reserve a wheelchair location, or for other special needs. While at the concert, our ushers are available to assist you. A limited number of large-type text and translation inserts are available at each concert.

Lost and Found

Any items found at the concert will be collected by our staff and will be available in our offices for one month following each season, then donated to charity. Please call the office about lost items: (505) 988-2282.

Recycle and Reuse

To minimize printing costs and save paper, please recycle or reuse your program book, either by saving it for a future concert or by returning it to an usher at the end of the concert.

All photos by Tira Howard Photography unless otherwise noted.

SANTA FE DESERT CHORALE MISSION STATEMENT

The mission of the Santa Fe Desert Chorale is to excite, engage, and inspire diverse audiences with the beauty and power of great choral music.

”Cancer

threatened my ability to create, but the Cancer Foundation for New Mexico gave me the support and peace of mind to keep going. Their help reminds me that hope is always within reach.” - José, Santa Fe.

Thanks to your generosity, an artist can journey back to his creativity.

For northern New Mexico’s cancer patients, the journey to treatment is filled with challenges beyond the medical battle. For José, an artist from Santa Fe, cancer threatened not just his health but the creative spirit that defined his life. The Cancer Foundation for New Mexico stepped in with emergency assistance to help cover some basic needs and restore his peace of mind.

Your donations help northern New Mexicans navigate cancer with dignity.

Proceeds go directly to cancer patients and the following patient support services:

• Travel to treatment

• Overnight lodging

• Nutritious food assistance

• Emergency assistance

• Professionally-led support groups

• Clinically trained volunteer support during treatment

• Licensed Social Worker support and navigation

and

BOARD OF DIRECTORS, STAFF, AND ARTISTIC SERVICES

BOARD OF DIRECTORS OFFICERS

Catherine Gronquist, President

Diane Graves, Vice President

Felicia Morrow, Treasurer

Gregory Dove, Secretary

Barry Lyerly, Immediate Past President

BOARD OF DIRECTORS

Murray Bern, M.D.

Douglas Brooks

Kathryn King Coleman

Tom Conner

Mary Delk

Jeffrey C. Fort, J.D.

Joshua Habermann*

Chelsea Helm, Singer Representative*

Stephen Hochberg

Christine M. Lorillard

Emma Marzen*

Fraser A. McAlpine

Sara McKenzie

Carmen Paradis

Marianne Reuter

Patricia Stanley

Susie Wilson, D.M.A.

Honorary Director

*ex-officio member

DIRECTORS EMERITI

Mary G. Brennan

David A. Bueschel

Mark Edw. Childers

Allegra Derryberry

Jim Derryberry

Margie Edwards

Kirk Ellis

Allison Elston†

John Greenspan†

Kathleen Davison Lebeck, J.D.

Sheryl Kelsey

Lynn F. Lee

William H. Lynn

Dorothy Massey

Laurie Meyer

Ian McKee†

Laurie Meyer

Haydock Miller†

Margaret K. Norton

Jane Clayton Oakes

Mary Lou Padilla, Ph.D.

Nina Hinson Rasmussen†

Don Roberts†

Brooke Bandfield Taylor

Jane Thomson

Frances White†

Brahna Lauger Wilczynski

Mac Wright† † in memoriam

ADMINISTRATIVE STAFF

Joshua Habermann, Artistic Director

Emma Marzen, Executive Director

Joanna Armstrong, Sales & Marketing Director

George Case, Artist Manager

Heather Eaves, Community Engagement Manager

Rachelle Elbert, Patron Services Associate

Anne Pearson, Development Manager

Amanda Sidebottom, Operations Director

Mark Zero, Grants Manager

ARTISTIC SERVICES & SEASONAL STAFF

Brian Gaukel Productions

Matthew Gutierrez, Production Associate

Tira Howard Photography

Sean Johnson, Mesa Creative Solutions

Zina Jundi, Adverti-Zing!

Matthew “Kabby” Kabakoff, Kabakoff Sound Studios

Enrico Lagasca, Digital Content Manager

Clarissa Lovato, Elevate Media

Thomas McCarthy, Social Media Manager

Sam Vernon, Intern

Jake Zimmer, Artistic Assistant

SEASON OPENER

September 14 4:00 pm—LENSIC

CHORAL MASTERWORKS

October 26 3:00 pm—Cathedral

SOUNDS OF THE SEASON

CAROLS & CHORUSES

December 9

December 7 4:00 pm—LENSIC NOSOTROS & THE SANTA FE SYMPHONY

7:00 pm—Cathedral FROM THE NEW WORLD October 19 4:00 pm—LENSIC HANDEL’S MESSIAH November 22 & 23 7:00 pm & 4:00 pm—LENSIC

December 27 7:00 pm—LENSIC

ABOUT THE SANTA FE DESERT CHORALE

Founded in 1982 by Lawrence “Larry” Bandfield, the Santa Fe Desert Chorale is one of the longest-running professional music organizations in New Mexico, as well as one of the most distinguished American professional chamber choirs. “The Santa Fe Desert Chorale [is] a topnotch, 24-voice group…comprising the crème de la crème of professional choral singers from coast to coast” (Dallas Morning News). Performing in historical venues such as the Cathedral Basilica of St. Francis of Assisi, the Desert Chorale has become a centerpiece of the cultural life of Santa Fe. Their annual Summer Festival is one of the nation’s largest choral events.

Artistic Director Joshua Habermann has led the Chorale since 2008 in repertoire spanning seven centuries, from early polyphony to contemporary works. Habermann’s versatile programming sets the ensemble apart as “a rara avis in the choral music world” (Santa Fe New Mexican).

The Chorale’s first commercial release, The Road Home, launched at No. 3 on the Billboard Classical Chart following a sold-out CD launch program in Santa Fe. The ensemble has traveled across the nation, performing in prominent conferences and cities such as Dallas, Chicago, and Los Angeles.

The Desert Chorale had the honor of performing at the American Choral Directors Association National Conference in Salt Lake City in 2015, and was the invited headlining ensemble for the 2025 National Conference at the Meyerson Symphony Center in Dallas.

Dedicated to advancing the composers of our time, the Chorale has commissioned over 30 new works, and several additional pieces have been given their world or American premieres by the Santa Fe Desert Chorale. The organization’s Commissioning Club selects and funds a new commission annually.

While nationally recognized, the Chorale prides itself on its strong relationships within the community of Northern New Mexico. Since 2016, the Chorale has hosted an annual community singing workshop, Santa Fe Sings!, bringing together music-lovers of all backgrounds to express themselves through song under the direction of Joshua Habermann. Through its Insights & Sounds program, the Chorale also presents free mini-concerts for children to introduce them to the beauty and power of great choral music, symposiums that gather experts for engaging dialogues through the lens of choral music, education workshops and masterclasses for local high school students, and more.

CANTOS Y CUENTOS

Summer Festival Sponsor

Sallie Bingham

Program Sponsor

Santa Fe Desert Chorale Endowment Fund

Conductor Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

SONGS AND STORIES OF TODAY’S LATIN AMERICA

If you loved last year’s Songs of the Americas program, you won’t want to miss this treasure trove of songs from North and South America. Continue to journey through this diverse and dynamic musical landscape with sixteen professional Desert Chorale artists. Experience the vibrant rhythms and soulful melodies of modern-day Latin America as you’re transported across Brazil, Argentina, and Venezuela. Enjoy the world premiere of Dos Salmos para el Alma (Two Psalms for the Soul) by Cuban-American composer Ernesto Herrera. Then, celebrate familiar folk tunes featuring New Mexican guitarist and vocalist Nacha Mendez.

Sunday, July 13, 2025 | 4 pm

CONCERT PROGRAM

CANTOS Y CUENTOS

Cántico de Celebración - Leo Brouwer (b. 1939)

Soneto de Amor - Henrique de Curitiba (1934-2008)

Oblivion - Astor Piazzolla (1921-1992)/arr. Oscar Escalada

La Muerte del Ángel - Piazzolla/arr. Nestor Zadoff

De Profundis - Cristian Grases (b. 1973)

Dos Salmos para el Alma - Ernesto Herrera (b. 1988)

World Premiere Commission

I. No me Apartes de Ti

II. Salmo 150

Juramento - Miguel Matamoros (1894-1971)/arr. Electo Silva

Guantanamera - Joseíto Fernández (1908-1979)/arr. Silva

El Guayaboso - Guido López-Gavilán (b. 1944)

Malagueña - Ernesto Lecuona (1895-1963)

La Llorona - Traditional Mexican/arr. Joshua Habermann

Canción Mixteca - José López Alavez (1889–1974)/ arr. Habermann

Nacha Mendez, guitar and vocals

Alexis Corbin, percussion

Hovey Corbin, percussion

Since its founding in 1982, the Desert Chorale has championed Spanish language programming, both from abroad and local to our New Mexico home. Following last summer’s concerts of historical Latin American music, this program presents an experience of contemporary choral repertoire from throughout the Americas, focusing especially on nations where choirs have been at the forefront of musical culture.

Leo Brouwer’s Cántico de Celebración (Canticle of Celebration) is an excellent example of the intricate rhythms that are so common in Latin American music. The choir begins slowly at first, wordlessly introducing a melody that is shared by altos and basses. Eventually syllables emerge, imitating the percussion instruments characteristic of Cuban music. A sudden drum break launches us into the main part of the piece, which features a driving pulse that leads to a thrilling ending.

The pieces that follow are from Brazil and Argentina, and were written by composers who were influenced by those countries’ close ties to European musical traditions. With its shifting textures and impressionistic harmonies, Henrique de Curitiba’s Soneto de Amor (Love Sonnet) recalls the music of the French master Claude Debussy. Astor Piazzolla spent time in the United States and France before returning to Argentina to found orchestras devoted to a new style of tango that infused the traditional form with classical influences. Syllables imitating the sound of a tango orchestra are used to turn the voices into instruments, a common technique in Latin American choral music. Where Oblivion sets a nostalgic mood, La Muerte del Ángel (The Death of the Angel) drives relentlessly forward, interrupted only briefly by a melancholic middle section.

Like Piazzolla, many generations of Latin American musicians have come to the United States, either for study or to seek out new opportunities. The next two composers are immigrants who have contributed to the popularization and dissemination of Latin American music to choirs around the world. De Profundis by Cristian Grases reflects the composer’s Venezuelan roots through driving rhythms, and features a dramatic tenor who acts as a cantor figure to give voice to the desperation of the psalm’s darkest moments. In the final section of the piece, Grases uses a cumaco drum from the central coast of Venezuela, played by two players, each of whom has a unique rhythmic ostinato. While the pattern of the drum is steady, it comes in and out of phase with the choir, which is constantly shifting in mixed meter. Grases heightens the drama by adding clapping in highly rhythmic and irregular patterns, culminating in a gripping conclusion.

Another psalm setting, this time from Cuban-born composer Ernesto Herrera, receives its world premiere in these concerts. Commissioned for the Desert Chorale by our Commissioning Club, Dos Salmos para el Alma (Two Psalms for the Soul), is a study in contrasts. The first movement, No me Apartes de Ti, uses lyrical melodies and rich harmonies to depict the psalmist’s longing. The second movement, Salmo 150, recalls the composer’s Cuban roots, and makes good use of the traditional syncopations of Afro-Cuban music.

Electo Silva was a composer and choir director who founded the Orfeón Santiago, receiving international recognition for his interpretations of Cuban repertoire with that ensemble. More than any other single composer, Silva is beloved for his contributions to national choral culture, and especially his arrangements of Cuban melodies for his choirs.

The two arrangements you’ll hear are beloved pieces that are standard repertoire in Cuba. Juramento, is a bolero, a genre which originated in eastern Cuba, and is considered the quintessential Latin American romantic song. Guantanamera is a setting of verses by Cuba’s national poet, José Martí. Long associated with love for country, the song is beloved not only in Cuba, but across the world. In the United States it was popularized by folk groups The Sandpipers and The Weavers, as well as Pete Seeger, who included it in his album We Shall Overcome released in 1963.

This set of Cuban music closes with El Guayaboso (The Liar), in which increasingly preposterous claims are set to a driving rumba-guaguancó rhythm. As in the opening Cántico de Celebración, the voices imitate instruments, and in one remarkable passage a small group of sopranos performs a drum solo of tremendous virtuosity.

The Desert Chorale is thrilled to welcome Nacha Mendez as a special guest artist for these programs. Nacha has been honored as the Best Female Vocalist in Santa Fe and is a passionate advocate for arts education in our local community. Nacha offers three songs with roots on both sides of the US-Mexico border: La Malagueña, a Huapango song from Northeastern Mexico dating from the 1940’s, the famous La Llorona, based on the cautionary tale of a wailing woman, and Canción Mixteca, one of the most beloved mariachi songs of nostalgia and longing for home.

— Joshua Habermann

Cántico de Celebración (sung in Spanish)

Leo Brouwer (b. 1939)

Canta, cantor, un Aleluya para ti, cantor. Celebra y canta un Aleluya, cantor.

A celebrar, un Aleluya para ti, un Aleluya canta.

Que buena está la vida, los unos para abajo y los otros para arriba.

Que venga el barullo, dale cuerda a tu cuerpo que pa’ eso es tuyo.

— Traditional

Soneto de Amor (sung in Portuguese)

Henrique de Curitiba (1934-2008)

Pálida, a luz da lâmpada sombria, Sobre o leito de flores reclinada, Como a lua por noite embalsamada,

Entre as nuvens do amor ela dormia!

Era a virgem do mar, na escuma fria

Pela maré das águas embalada!

Era um anjo entre as nuvens d’alvorada

Que em sonhos se banhava e se esquecia!

Era mais bela! o seio palpitando...

Negros olhos as pálpebras abrindo... Formas nuas no leito resvalando...

Não te rias de mim, meu anjo lindo!

Por ti as noites eu velei chorando, Por ti nos sonhos morrerei sorrindo!

— Álvares de Azevedo (1831-1852)

Oblivion (Wordless Text)

Astor Piazzolla (1921-1992)/arr. Oscar Escalada

La Muerte del Ángel (Wordless Text)

Piazzolla/arr. Nestor Zadoff

Sing, singer, an Alleluia for yourself, singer. Celebrate and sing an Alleluia, singer. Let’s celebrate, sing an Alleluia.

Life is good, some go down and some go up.

Let the party come, and let your body run, that’s what it’s for.

Pale, by the light of the shadowed lamp, Upon a bed of flowers reclining, Like the moon perfumed by night, Among clouds of love she slept!

She was the virgin of the sea in the cold foam Rocked by the tide!

She was an angel among clouds of dawn Who dreamlike warmed and bathed herself!

She was the greatest beauty, her heart beating… Dark eyes, lids opening… Naked forms on the bed…

Do not laugh at me, my beautiful angel! For you—I cried through sleepless nights! For you—in dreams I would die, smiling!

De Profundis (sung in Latin and Spanish)

Cristian Grases (b. 1973)

De profundis clamavi ad te, Domine; Domine exaudi vocem meam.

— Psalm 130:1-2a

Domine, exaudi orationem meam.

— Psalm 143:1a

lnclina, o Jehová, tu oído, y escúchame, salva a tu siervo que en Ti confía, ten misericordia de mi, o Jehová, porque en Ti clamo todo el día.

— Psalm 86:1, 2a, 3

Dos Salmos para el Alma

World Premiere Commission

Ernesto Herrera (b. 1988)

I. No me Apartes de Ti (sung in Spanish)

De tu presencia, no me apartes o Dios. No alejes tu espíritu de mí, Tu santo espíritu de mí.

Renueva tu espíritu en mí, y crea en mí un limpio corazón.

Amen.

— Basado en Salmo 51:10-11

II. Salmo 150 (sung in Spanish)

Alabad a Dios en su santuario; Alabadle en la magnificencia de su firmamento. Alabadle por sus proezas; Alabadle conforme a la muchedumbre de su grandeza.

Alabadle a son de bocina; Alabadle con salterio y arpa. Alabadle con pandero y danza; Alabadle con cuerdas y flautas. Alabadle con címbalos resonantes; Alabadle con címbalos de júbilo. Todo lo que respira alabe a Jehová, Aleluya!

— Salmo 150

Out of the depths I have cried to thee, 0 Lord; 0 Lord, hear my voice.

0 Lord, hear my prayer.

Incline, O Jehovah, your ear, and listen to me, save your servant who trusts in you, have mercy on me, O Jehovah, because I cry unto you all day.

Do not separate me from your presence, O God. Do not remove your spirit from me, Your holy spirit from me.

Renew your spirit in me, and create in me a clean heart.

Amen.

— Based on Psalm 51:10-11

II. Psalm 150

Praise God in his sanctuary; Praise him in his mighty heavens.

Praise him for his acts of power; Praise him for his surpassing greatness.

Praise him with the sounding of the trumpet; Praise him with the harp and lyre.

Praise him with timbrel and dancing; Praise him with the strings and pipe.

Praise him with the clash of cymbals; Praise him with resounding cymbals.

Let everything that has breath praise the Lord, Alleluia!

— Psalm 150

Juramento (sung in Spanish)

Miguel Matamoros (1894-1971)/arr. Electo Silva

Si el amor hace sentir hondos dolores

Y condena a vivir entre miserias

Yo te diera, mi bien por tus amores

Hasta la sangre que hierve en mis arterias.

Si es surtidor de místicos pesares, Y hace al hombre arrastrar largas cadenas

Yo te juro arrastrarlas por los mares

Infinitos y negros de mis penas.

— Miguel Matamoros (1894-1971)

Guantanamera (sung in Spanish)

Joseíto Fernández (1908-1979)/arr. Electo Silva

Chorus:

Guantanamera

Guajira Guantanamera

Yo soy un hombre sincero

De donde crece la palma.

Y antes de morir yo quiero

Echar mis versos del alma,

Chorus

Mi verso es un verde claro, Y un carmín encendido.

Mi verso es un ciervo herido Que busca en el monte amparo.

Chorus

Cultivo una rosa blanca

En junio como en enero.

Para el amigo sincero

Que me da su mano franca.

Chorus

— From Simple Verses by José Martí (1853-1895)

If love makes one feel deep pain And condemns one to live in misery For your love, I would give you, my dear Even the blood that boils within my veins.

If it is fountain of mystic grief, And makes men drag long chains I swear to you I will drag them across The infinite and black seas of my sorrows.

Chorus:

Guantanamera

Guajira Guantanamera

I am a simple man From where the palm tree grows. And before I die I want To pour out my verses from my soul,

Chorus

My verse is a light green, And a fiery red.

My verse is a wounded deer That seeks shelter in the mountains.

Chorus

I grow a white rose In June as in January.

For the trusted friend who reaches out with an honest hand.

Chorus

El Guayaboso (The Liar) (sung in Spanish)

Guido López-Gavilán (b. 1944)

Yo vi bailar un danzón en el filo de un cuchillo, un mosquito en calzoncillos y una mosca en camisón.

Yo vi un cangrejo arando, un cochino tocando un pito, y una vieja regañando sentada en una butaca.

A una ternerita flaca que de risa estaba muerta, al ver una chiva tuerta remendar una alpargata.

— Traditional

Malagueña (sung in Spanish)

Ernesto Lecuona (1895-1963)

¡Qué bonitos ojos tienes! Debajo de esas dos cejas. Ellos me quieren mirar

Pero, si tú no los dejas

Ni siquiera parpadear.

Malagueña salerosa

Besar tus labios, quisiera. Y decirte, niña hermosa Eres linda y hechicera

Como el candor de una rosa.

Si por pobre me desprecias

Te concedo la razón. Yo no te ofrezco riquezas, Sino el corazón.

Malagueña salerosa…

— Ernesto Lecuona (1895-1963)

I saw a danzón dancing on the edge of a knife, a mosquito wearing trousers and a fly dressed in a shirt.

I saw a crab plowing, a pig blowing a whistle, and an old growling woman sitting in an armchair.

And a skinny little calf died laughing, upon seeing a one-eyed goat mending a sandal.

What beautiful eyes you have! Beneath those two eyebrows. They want to look at me But, if you don’t let them Not even to blink.

Enchanting Malagueña I would like to kiss your lips. And tell you, beautiful girl You are lovely and enchanting Like the innocence of a rose.

If you turn me away for my poverty I won’t argue. I can’t offer you riches, only my heart.

Enchanting Malagueña…

La Llorona (sung in Spanish)

Traditional Mexican/arr. Joshua Habermann

Todos me dicen “el negro,” Llorona, “Negro pero cariñoso,” Yo soy como el chile verde, Llorona, Picante pero sabroso.

Ay de mí, Llorona, Llorona de azul celeste, Y aunque la vida me cueste, Llorona, No dejaré de quererte.

Dicen que no tengo duelo, Llorona, Porque no me ven llorar. Hay muertos que no hacen ruido, Llorona, Y es más grande su penar.

Salías del templo un día, Llorona, Cuando al pasar yo te vi.

Hermoso huipil llevabas, Llorona, Que la Virgen te creí. Hermoso rebozo llevabas, Llorona, Que la Virgen de Guadalupe te creí.

Ay de mí, Llorona, Llorona de ayer y hoy. Ayer maravilla fui, Llorona, Y ahora ni sombra soy.

— Traditional Canción Mixteca (sung in Spanish)

José López Alavez (1889–1974)/arr. Joshua Habermann

¡Qué lejos estoy del suelo donde he nacido! Inmensa nostalgia invade mi pensamiento. Y al verme, tan solo y triste cual hoja al viento, ¡Quisiera llorar ‒ quisiera morir ‒de sentimiento!

¡Oh tierra del sol suspiro por verte! Ahora que lejos yo vivo sin luz ‒sin amor.

Y al verme tan solo y triste cual hoja al viento, ¡Quisiera llorar ‒ quisiera morir ‒de sentimiento!

— José López Alavez (1889–1974)

Everyone calls me “the dark one,” Llorona, “Dark but tender,” I am like green chile, Llorona, Spicy but tasty.

Woe is me, Llorona, Llorona of celestial blue, And even if it costs me my life, Llorona, I will not stop loving you.

They say I don’t grieve, Llorona, Because they don’t see me cry. The dead may be silent, Llorona, but their sorrow is deep.

You were leaving the temple one day, Llorona, When I saw you passing by.

You were wearing such a beautiful huipil, Llorona, That I thought you were the Virgin. You were wearing such a beautiful shawl, Llorona, That I believed you to be the Virgin of Guadalupe.

Woe is me, Llorona, Llorona, of today and always. Yesterday I was a marvel, Llorona, And now I am barely a shadow.

So far am I from the land where I was born! Immense nostalgia invades my thoughts. And, to see myself, alone and sad as a leaf in the wind, I would that I’d weep – I would that I’d die –out of sorrow!

O land of sunshine I long to see you! Now that, far from you, I live without light –without love.

And, to see myself, alone and sad as a leaf in the wind, I would that I’d weep – I would that I’d die –out of sorrow!

MASS FOR THE ENDANGERED

Summer Festival Sponsor

Sallie Bingham

Program Sponsors

Catherine and Guy Gronquist

Conductor

Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

JOURNEYS OF COMPASSION, PROTECTION, AND HOPE

Connect to our deep relationships with nature and each other through the universal language of music. A chamber orchestra joins the twenty-four Desert Chorale vocal artists for captivating works by two brilliant American women composers. Known as “a hymn for the voiceless and the discounted,” Sarah Kirkland Snider’s Mass for the Endangered is an evocative meditation on the fragility of the natural world and a plea to defend it. After including a single movement of Caroline Shaw’s To the Hands in our acclaimed 2023 program The American Immigrant Experience, we are now thrilled to perform this work in its entirety, exploring themes of welcome and belonging. Join us for an evening of musical storytelling that reminds us of our shared struggles and triumphs as members of the human family.

Sunday, July 20, 2025 | 4 pm

Friday, July 25, 2025 | 7:30 pm

Sponsored by Patricia “Tish” Romer in memory of Joan Berner Complimentary Q&A with Sarah Kirkland Snider prior to the performance at 6 pm in Crispin Hall at the Cathedral Basilica.

Thursday, July 31, 2025 | 7:30 pm

Sponsored by Dmitri Bovaird and Maggie Edmondson in loving memory of Nina Hinson Rasmussen and Dr. Prescott C. Rasmussen

Free Pre-concert Video Lecture

Presented by Dr. Kerry Ginger

CONCERT PROGRAM

MASS FOR THE ENDANGERED

To the Hands - Caroline Shaw (b. 1982)

I. Prelude

II. in medio / in the midst

III. Her beacon-hand beckons

IV. ever ever ever

V. Litany of the Displaced

VI. i will hold you

David Felberg, violin

Elizabeth Baker, violin

Kimberly Fredenburgh, viola

Amy Huzjak, cello

Sam Brown, double bass

Mass for the Endangered - Sarah Kirkland Snider (b. 1973)

I. Kyrie

II. Gloria

III. Alleluia

IV. Credo (on a ground by Caroline Shaw)

V. Sanctus/Benedictus

VI. Agnus Dei

David Felberg, violin

Elizabeth Baker, violin

Kimberly Fredenburgh, viola

Amy Huzjak, cello

Sam Brown, double bass

Jesse Tatum, flute

Kevin Vigneau, oboe

Jeffrey Brooks, clarinet

Judith Farmer, bassoon

Keryn Wouden, harp

Nathan Salazar, piano

Jeff Cornelius, percussion

PROGRAM NOTES

The two works you’ll hear at this concert pose a profound question: What does it mean to be human, living in community with the world that surrounds and sustains us? In To the Hands we are asked to consider what responsibility we have to other people in need. Mass for the Endangered takes the same consideration, and expands it to the natural environment that is the source of our lives. The composers of these works are asking us to reflect on the nature of our relationships, and the duty owed to those with whom we share life on this planet.

Caroline Shaw is a multifaceted artist. A singer, violinist and composer, at 30 she was the youngest winner of the Pulitzer Prize in music. Shaw’s interests are wide-ranging, and she has collaborated with both classical and popular musicians from Renée Fleming to Kanye West. Her work as a singer with the vocal ensemble Roomful of Teeth, which counts some Desert Chorale alumni among its ranks, has been a source of inspiration for her choral writing. To the Hands was premiered by The Crossing in June 2016 as a response to Dieterich Buxtehude’s 17th century masterpiece, Membra Jesu Nostri. Shaw writes:

To the Hands begins inside the 17th century sound of Buxtehude. It expands and colors and breaks this language, as the piece’s core considerations, of the suffering of those around the world seeking refuge, and of our role and responsibility in these global and local crises, gradually come into focus.

The opening prelude takes Buxtehude’s idea and transforms it into a wordless melody, which is interrupted by an unsettling string motive, leading without a pause into the second movement. Buxtehude’s original text on the suffering of Christ is subtly transformed to reference not only his wounds, but also ours. Shaw asks us to consider our own actions. Are we victims? Perpetrators? Or perhaps both?

In the third movement, Her beacon-hand beckons, the strings fall silent. The sopranos and altos of the choir recall the words inscribed on the Statue of Liberty: “Give me your tired, your poor,” bringing to mind promises made, but not always kept in American history. The entry of the tenors and basses adds another layer of meaning as their melody starts low and surges upward, a bit higher with each iteration, as if longing to fly but never quite able to break its earthly bonds.

The fourth movement reintroduces the strings, painting an intimate scene of an old woman, perhaps a refugee far from home, sitting alone at her dining table. The sense of solitude and loss is swept into repeated calls of “in caverna,” a phrase taken from Buxtehude’s original composition referring to the hollows of a cave. The music for the fifth movement employs a restless string figure,

passed between the instruments as the choir abandons singing, and instead recites figures of internally displaced people, sourced from the Internal Displacement Monitoring Center. Shaw writes, “Sometimes data is the cruelest and most honest poetry.”

The sixth and final movement begins simply, with the tenors and basses affirming, “I will hold you.” The strings respond with plucked chords, establishing a heartbeat that will permeate this section. Voices and strings alike take up rising, swirling figures as the singers repeat, with gentle insistence, “ever ever will I hold you, ever ever will I enfold you.” Shaw suggests that these could be the words of Christ, of a parent or friend or lover, or even a nation. In the final moments only the faint heartbeat is left, and the music fades into silence.

Sarah Snider’s Mass for the Endangered was commissioned by Trinity Wall Street as part of their “Mass Re-Imaginings” project in 2018. In Snider’s words, the mass is a “hymn for the voiceless and the discounted, a requiem for the not-yet-gone.” At over 40 minutes in duration it is a major work, and a resonant appeal for protection of the planet we all share, and the living creatures that call it home.

In addition to the traditional mass text, Mass for the Endangered features poetry of Nathaniel Bellows. By juxtaposing the traditional sacred text with a contemporary author’s words, Mass for the Endangered follows in the footsteps of great choral works of the 20th century such as Vaughan Williams’ Dona Nobis Pacem, and Britten’s War Requiem, both of which expanded the Mass beyond the bounds of the church and introduced concerns of modern life into an ancient rite.

Snider seeks to, in her words, “take the Mass’s musical modes of spiritual contemplation and apply them to concern for non-human life – animals, plants, and the environment. There is an appeal to a higher power – for mercy, forgiveness, and intervention – but that appeal is directed not to God but rather to nature itself.”

The piece opens with uncertainty (Kyrie). We are seeking a firm foundation, a tonal center, but have only fragments of melodies and words. It is not until we get the first of Bellows’ interpolations “On earth, air and water have mercy” that we hear a more affirmative cry, which then launches into an energetic recitation of the creatures on whose behalf mercy is sought.

Gloria, most often set by composers as celebratory, is quiet here, and intimately scored for harp and sopranos and altos of the choir. Over time, the music grows and expands to include other instruments and the tenors and basses, who bring a more robust approach. Then, via

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a brief angelic trio of upper voices, the original music is reintroduced, and the movement ends gently once again with the trio of harp and upper voices.

From the ethereal sounds of the Gloria, the focus shifts to the lower voices, accompanied by shifting figures in the strings (Alleluia). Bellows’ text introduces darker images: ashes, camphor, coal. A soprano soloist intones “she who is sleeping is she who will wake,” inviting a lighter turn in the imagery, yet the brooding music persists. The tenors and basses mutter a muted “alleluia” as the music ends abruptly.

For the Credo, Snider turns to her colleague Caroline Shaw, and quotes an idea that Shaw created for another work to form the basis for this movement. The words are largely by Bellows, with only short interpolations of the traditional mass text. A recitation, mantra-like, of “we believe” spins forward in a constantly shifting harmonic and melodic pattern. This reaches a climax before dying away to a gentle ending, with only the tenors and then the winds, dissipating into air. The final words “and I await…” are unresolved.

With its short, asymmetrical phrases and bright harmonies, Sanctus-Benedictus takes a page from Benjamin Britten’s aforementioned War Requiem. Two tenor soloists intone the mass text, juxtaposed against upper voices, pealing like bells. This luminous music is taken up by the full ensemble, ultimately fading into the distance as the lower sounds drop away, leaving only a heavenly halo of sound.

Snider describes the Agnus Dei as “a solemn appeal,” and we feel that seriousness of purpose in the single viola note and the stark, wide-ranging soprano solo that open this movement. The uncertain music of the Kyrie reappears here, connecting this final movement to the opening prayer for mercy. The altos of the choir introduce a melody which is taken up in counterpoint by the other voices, juxtaposed with the instruments that are sometimes surging ahead, sometimes trailing behind. This builds to a great fullness, leading to a final cry of “Agnus Dei” that is all the more impactful as the instruments suddenly fall away. It is only the strings, playing with a thin sound, that help carry the voices the final few steps before the piece ends where it began, in uneasy contemplation.

— Joshua Habermann

To the Hands

Caroline Shaw (b. 1982)

I. Prelude (Wordless Text)

II. in medio / in the midst

quid sunt plagae istae quid sunt plagae istae in medio manuum tuarum in medio quid sunt plagae istae quid sunt plagae istae in medio manuum nostrarum

what are those wounds what are those wounds in the midst of your hands in the midst what are those wounds what are those wounds in the midst of our hands

[text from Buxtehude’s Ad manus — Zechariah 13:6 — adapted by Caroline Shaw, with the addition of in medio manuum nostrarum (“in the midst of our hands”)]

III. Her beacon-hand beckons

Her beacon-hand beckons: give give to me those yearning to breathe free tempest-tossed they cannot see what lies beyond the olive tree whose branch was lost amid the pleas for mercy, mercy give give to me your tired fighters fleeing flying from the from the from let them i will be your refuge i will be your refuge i will be i will be we will be we will

[text by Caroline Shaw, responding to the 1883 sonnet “The New Colossus” by Emma Lazarus, which was mounted on the pedestal of the Statue of Liberty in 1903]

IV. ever ever ever

ever ever ever in the window sills or the beveled edges of the aging wooden frames that hold old photographs hands folded folded gently in her lap ever ever in the crevices the never-ending efforts of the grandmother’s tendons tending to her bread and empty chairs left for Elijahs where are they now in caverna in caverna

[text by Caroline Shaw — the final line, in caverna, is from Buxtehude’s Ad latus — the line from the Song of Songs, in foraminibus petrae, in caverna maceriae, or “in the clefts of the rock, in the hollow of the cliff”]

V. Litany of the Displaced

The text for the choir includes internal displacement figures sourced from the Internal Displacement Monitoring Centre. The numbers spoken are the counts of internally displaced persons by country, in ascending order. These are people, some of whom may have legal refugee status, who have been displaced within their own country due to armed conflict, situations of generalized violence or violations of human rights.

VI. i will hold you

i would hold you i would hold you ever ever will i hold you ever ever will i enfold you in medio in medio in medio in medio in medio manuum tuarum

[text by Caroline Shaw — The final line is a reprise from the Zechariah 13:6 text.]

in the midst in the midst in the midst in the midst in the midst of your hands

Mass for the Endangered

Sarah Kirkland Snider (b. 1973)

I. Kyrie

Kyrie eleison

On earth, air, and water, have mercy.

On stone, tree, and flower, have mercy. World have mercy.

Kyrie eleison

Give mercy to all wing and paw, mercy to all creed and claw, on flower, seed, leaf, and root. Give mercy to all broods and tribes, mercy to all nests and prides; to tide and spring, squall and breeze, to those who plead for calm and peace, not hunted, hounded, poisoned, fleeced.

To barren, poisoned land: Forgive us.

To the vanished, and the left: Forgive us.

World forgive us.

Mercy on this refuge, this braided boundless stone. Mercy for their old, mercy for their young.

And mercy now for what we’ve done.

Kyrie eleison

— Nathaniel Bellows (b. 1972)

II. Gloria (sung in Latin)

Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis.

Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris, O miserere nobis.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris.

Amen.

III. Alleluia

Sea of cradle, foundling, current, cold and quelled as morning. Braid of vapored ashes, shadowed creche, collapsing.

Contour, carve, corrode— breathe through camphor, coal, seed each breeze with gold. Poison, parch, pollute— plow the coast, the dune, flow toward constant moon.

Alleluia

Glory to God in the highest, and on earth peace to people of good will.

We praise you; we bless you; we adore you; we glorify you. We give you thanks for your great glory.

Lord God, heavenly King, O God almighty Father. Lord Jesus Christ, Only Begotten Son, Lord God, Lamb of God, Son of The Father.

Who takes away the sins of the world, have mercy on us. Who takes away the sins of the world, receive our prayer. Who is seated at the right hand of the Father, have mercy on us.

For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ. With the Holy Spirit, in the glory of God the Father.

Amen.

Hearth of stone, of tar, of lava, shelter shielding mother. Oh, save us mother!

She who is sleeping, Is she who will wake.

Fracture, foist, defoul— shatter cliff and shoal, sand each stone to whole. Harbored, held, unharmed— she’ll wake, rise, rejoin, her daughters and her sons.

Alleluia

— Nathaniel Bellows (b. 1972)

IV. Credo (on a ground by Caroline Shaw)

We believe in stone and moss, sand and grass. Land limned on loam, haven to the harmed and the whole, the lesser and the left, the spirit housed in the opposite.

We believe in all who are offset.

We believe in the blessing of wing, angelic, ingenious—every soaring thing. We believe in the holy pelt and fin, hoary hide and shell. The armor of every beast is blessed, adorned in their own regalia.

Mercy, now, on all animalia.

Take no tooth or tusk, steal no heart, hair, or husk. Et expecto…

No shark robbed of its fin, no mink denied its skin.

resurrectionem mortuorum et vitam venturi saeculi… No bath in bowls of salted blood And I await the life of the world to come… no cove for corpse, no reddened veldt.

A flora fashioned, valued, known to heal the mind and mend the bone.

We believe in all who are voiceless. We believe in all who are at risk. We believe in all who are helpless. We believe in all who are at risk.

Lay down the spear, lay down the hook, lay down the gun, the knife, the net. No majesty in poison. No virtue in the snare. No salvation in a strangled spirit.

We believe in songs at daybreak, cries and calls at dusk.

In quell and coo, drone and hum, in hovel, hollow, river, pond.

We believe in listen. We believe in wish. And to be worthy of their gift: this chance to look within ourselves and change how we have lived, to change how we have lived.

We believe in all who are offset. We believe in all who are outcast. We believe in all who are voiceless.

We believe in all who are stranded.

We believe in all who are stalwart.

We believe in all who are fearless.

Expecto vitam venturi saeculi …

We believe in all who are dauntless.

And I await the life of the world to come…

We believe in all offset, outcast, voiceless, stranded, stalwart, fearless, dauntless, promised.

We believe in all who are silenced. We believe in all silenced. We believe in all who are promised. We believe in all promised. And I await…

— Nathaniel Bellows (b. 1972)

V. Sanctus/Benedictus (sung in Latin)

Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Benedictus qui venit in nomine Domini. Osanna in excelsis.

VI. Agnus Dei

Agnus Dei, qui tollis peccata mundi

Lamb of God, of longing, loss, have mercy on us. Accept, embrace these sins—release the callous, the conquering, replace this hardened wrath, with calm.

Lamb of God, in calling, call, grant them peace. The deepest sleep of safety, the unencumbered yawn. To bathe and breed with no threat or risk— trade our sins, our trespasses, for bliss.

Let, allow, admit, accord:

The slumbering of gods

The wandering unbound

The hunted hunting whole

The grazing under moon

The breathing boundless breath

The freedom found in self

The feeling life is whole

The meaning known, unknown

Agnus Dei

Lamb of God, of goodness, gold, share your mercy.

Enslaved by sordid time—the inward-turning eye, in scarcity, with lie.

Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest.

Blessed is He that comes in the name of the Lord. Hosanna in the highest.

Lamb of God, they who take our basest acts—no punishment no cruel attack.

Lamb of God, they who rise from all we lack—Lamb of God—give wonder, wish, give kindness back.

Agnus Dei

— Nathaniel Bellows (b. 1972)

ROOTS & RIVERS

ECHOES OF THE PAST, VOICES OF THE FUTURE

Get a sneak peak at our upcoming commercial album live in concert! At the heart of this journey through American choral music is The American Road: Six Songs of the Enslaved, Embattled, and Emancipated by Nigerian-American composer Shawn E. Okpebholo. In this new large-scale work, Okpebholo reimagines folk songs and spirituals—including an original by Rhiannon Giddens—that both honor the pain and resilience of the past and inspire hope for the future. Be among the first to hear this momentous work paired alongside recent favorite commissions for the Desert Chorale by Kile Smith, Jocelyn Hagen, and Reena Esmail. These and other works will be included on the Desert Chorale’s new album coming in 2026.

Summer Festival Sponsor

Sallie Bingham

Program Sponsor

Lynne Horning

Conductor

Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

Thursday, July 24, 2025 | 7:30 pm

Sponsored by David and Lee Takagi in honor of Joshua Habermann Complimentary Q&A with Shawn E. Okpebholo prior to the performance at 6 pm in Palen Hall at the Church of the Holy Faith.

Sunday, July 27, 2025 | 4 pm

Co-sponsored by Patricia Stanley and Phyllis Lehmberg

Friday, August 1, 2025 | 7:30 pm

Sponsored by Peter and Sara Rutenberg in support of new music by living composers

Free Pre-concert Video Lecture

Presented by Dr. Marques Jerrell Ruff

CONCERT PROGRAM ROOTS

& RIVERS

Sweet Rivers - Shawn Kirchner (b. 1970)

Caminante - Jocelyn Hagen (b. 1980)

Northland - Kile Smith (b. 1956)

I. The Tropics in New York

II. America

III. On Broadway

IV. To One Coming North

The Tipping Point - Reena Esmail (b. 1983)

Sutanu Sur, tabla

The American Road - Shawn Okpebholo (b. 1981)

World Premiere Commission

Sponsored by Lindsay S. Pope in memory of her grandmother, Hope Stearns Anderson

I. Prepare Me One Body

II. Little Cuckoo

III. Left Foot, Peg Foot (Follow the Drinking Gourd)

IV. Battle Cry

V. Shall We Gather at the River

VI. Shine (This Little Light of Mine)

Nathan Salazar, piano

PROGRAM NOTES

Since 2018, the Desert Chorale Commissioning Club has been an integral part of the Chorale’s efforts to expand the choral canon, and create innovative new works. The Club is made up of supporters who act as the jury for an annual competition in which a winner from composers across the United States is selected. All of the pieces you’ll hear tonight were written especially for the Chorale, and represent the forefront of new American choral composition.

Shawn Kirchner’s Sweet Rivers, which opens the program, is the only piece that was not originally written for the Desert Chorale. Kirchner originally wrote the tune in D Major, but the Chorale subsequently requested a special higher version in Eb, which allows the sopranos to soar to a high C. It’s that “Desert Chorale version” that you’ll hear on this program.

As its winner for 2022, the Commissioning Club selected Minnesota-based composer Jocelyn Hagen, who chose to reflect Santa Fe’s multicultural character by setting a bilingual Spanish-English work. Combining poetry of Antonio Machado and Julia Klatt Singer, her work Caminante (Traveler) divides the choir into two groups, each of which has its own language and its own song. The choirs present their songs independently before Hagen brings them together in the final verse, yielding surprising and delightful results. The synergy created when the songs are joined suggests possibilities for connection and cooperation across boundaries of language and culture.

Northland by Kile Smith, is a significant 4-movement work that received its premiere in The American Immigrant Experience concerts in 2023. It uses a quintessentially American musical language characterized by syncopation, elements of blues and jazz, and an appealing melodic lyricism to explore the poetry of Claude McKay, an early twentieth-century Jamaican immigrant to New York.

Smith’s piece takes us from homesickness upon McKay’s arrival (The Tropics in New York) to facing discrimination and rootlessness (America), to the thrill of big city life (On Broadway), and ultimately acceptance and deep affection for his new country (To One Coming North) In Smith’s writing, the piano is an equal partner to the voices—sometimes supporting, and other times leading with driving rhythms. The final movement, elegiac and heartfelt, is a moving depiction of an immigrant whose patriotism is hard-won and who, despite significant trials, has come to embrace and love his new home.

Composer Reena Esmail infuses elements of Indian classical music into Western forms. Her commission The Tipping Point, which was written for the Chorale in 2021 in the midst of the Covid-19 pandemic, spoke to that moment in a direct way. Amy Fogerson’s words set the scene:

…balanced on the razor’s edge between darkness and light darkness exults its hold yet we have arrived at the tipping point and light stands proudly poised for her return (come morning light, come enlightenment)

The piece is essentially a conversation between the voices and the tabla, an Indian percussion instrument that can create a complex variety of sounds. The voices take on the rhythms of the drum—at first slow, and then faster as they work through a series of variations of increasing intensity. Using traditional scales of Indian classical music, two solo voices soar above the choir, leading to a luminous and hopeful ending. Light overcomes darkness not through force, but tenderly, just as young shoots might grow into a mighty tree.

The American Road is a major commission by Shawn Okpebholo that receives its world premiere at these concerts. Written in six movements, the piece draws upon a variety of American musical traditions ranging from African American spirituals to hymns, Civil War songs, and gospel music. Okpebholo writes:

This work traverses themes of sacrifice, oppression, freedom, war, healing, and strength. The suite opens with Prepare Me One Body, a solemn invocation drawn from the Negro spiritual’s affecting meditation on the crucifixion. Little Cuckoo, inspired by a contemporary folk lullaby by Rhiannon Giddens, tells the story of an enslaved woman who, while singing to and nursing not her own child but the child of her enslaver, envisions the road this baby will one day travel, capturing moments of love given freely amidst unthinkable cruelty.

The energy builds with Left Foot, Peg Foot (Follow the Drinking Gourd), which brings to life the uncertain passage of the Underground Railroad and its promise of a secret passage to freedom in the North. Battle Cry of Freedom is a Civil War anthem set as a stately call and response for tenor solo and tenor-bass choir. This movement embodies the fierce push for justice and belief in a better future.

Shall We Gather at the River is a space for mourning, healing and renewal, a sanctuary along the road where burdens can be set down and strength renewed. The suite culminates with Shine! (This Little Light of Mine) in which the familiar children’s song is transformed into a dynamic anthem of perseverance. Here, despite life’s struggles, voices rise together, ensuring that our light shines unwavering and enduring.

The American Road is a significant addition to the American choral canon and was commissioned by Lindsay S. Pope in memory of her grandmother, Hope Stearns Anderson, who instilled in her a love of music and deep appreciation of beauty.

Sweet Rivers

Shawn Kirchner (b. 1970)

Sweet rivers of redeeming love lie just before mine eyes; Had I the pinions of a dove, I’d to those rivers fly. I’d rise superior to my pain, with joy outstrip the wind: I’d cross o’er Jordan’s stormy waves and leave the world behind.

A few more days, or years at most, my troubles will be o’er: I hope to join the heav’nly host on Canaan’s happy shore. My rapt’rous soul shall drink and feast in love’s unbounded sea, The glorious hope of endless rest is ravishing to me.

O come my Savior! Come away, and bear me through the sky, Nor let thy chariot wheels delay, but draw thou nigh. Then I shall join the angel throng and circle ‘round thy throne. I’ll sing through all the ages long and joy to be thine own.

Sweet rivers of redeeming love…

— John Granade (1763-1807)

Caminante (sung in Spanish and English)

Jocelyn Hagen (b. 1980)

Caminante, son tus huellas el camino y nada más; Caminante, no hay camino, se hace camino al andar. Al andar se hace el camino, y al volver la vista atrás se ve la senda que nunca se ha de volver a pisar.

Caminante, no hay camino sino estelas en la mar.

— Antonio Machado (1875-1939)

Traveler

You watch the water swell and spill, measure change in the distant blue.

Seeing isn’t believing, but being carried to shore, in the boat of your own body. Even if your footprints wash away

Traveler, your footprints are the only road, nothing else. Traveler, there is no road; you make your own path as you walk. As you walk, you make your own road, and when you look back you see the path you will never travel again. Traveler, there is no road; only a ship’s wake on the sea.

even as rocks are turned to sand you are shaped by the world. Carry the wind and the seas and the mountains and the trees in each breath, and love and memory.

— Julia Klatt Singer (b. 1963)

2025-2026

Classical Music During Santa Fe’s Winter Season

Curated by Artistic Director and Violinist Colin Jacobsen

“Armed with vision, courage, a sense of humor and a devastating bow arm, Jacobsen is emerging as one of the most interesting figures on the classical music scene.”

(The Washington Post)

GRAMMY-nominated Orchestra

Renowned String Quartets

The Southwest’s Premier Bach Festival

Colin Jacobsen

Northland

Kile Smith (b. 1956)

I. The Tropics in New York

Bananas ripe and green, and ginger-root, Cocoa in pods and alligator pears, And tangerines and mangoes and grapefruit, Fit for the highest prize at parish fairs,

Sat in the window, bringing memories Of fruit-trees laden by low-singing rills, And dewy dawns, and mystical skies In benediction over nun-like hills.

My eyes grew dim, and I could no more gaze; A wave of longing through my body swept, And, hungry for the old, familiar ways, I turned aside and bowed my head and wept.

II. America

Although she feeds me bread of bitterness, And sinks into my throat her tiger’s tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth. Her vigor flows like tides into my blood, Giving me strength erect against her hate, Her bigness sweeps my being like a flood. Yet, as a rebel fronts a king in state, I stand within her walls with not a shred Of terror, malice, not a word of jeer. Darkly I gaze into the days ahead, And see her might and granite wonders there, Beneath the touch of Time’s unerring hand, Like priceless treasures sinking in the sand.

III. On Broadway

About me young careless feet Linger along the garish street; Above, a hundred shouting signs Shed down their bright fantastic glow Upon the merry crowd and lines Of moving carriages below. Oh wonderful is Broadway — only My heart, my heart is lonely.

Desire naked, linked with Passion, Goes trutting by in brazen fashion; From playhouse, cabaret and inn The rainbow lights of Broadway blaze All gay without, all glad within; As in a dream I stand and gaze At Broadway, shining Broadway — only My heart, my heart is lonely.

IV. To One Coming North

At first you’ll joy to see the playful snow, Like white moths trembling on the tropic air, Or waters of the hills that softly flow Gracefully falling down a shining stair.

And when the fields and streets are covered white And the wind-worried void is chilly, raw, Or underneath a spell of heat and light The cheerless frozen spots begin to thaw,

Like me you’ll long for home, where birds’ glad song Means flowering lanes and leas and spaces dry, And tender thoughts and feelings fine and strong, Beneath a vivid silver-flecked blue sky.

But oh! more than the changeless southern isles, When Spring has shed upon the earth her charm, You’ll love the Northland wreathed in golden smiles By the miraculous sun turned glad and warm.

— Claude McKay (1890-1948)

The Tipping Point (sung in Hindi and English)

Reena Esmail (b. 1983) Stasis.

Balanced on the razor’s edge between darkness and light.

Darkness exults in his hold on the world. Yet we are arrived at the tipping point.

Dha Dhin Dhin Dha

Dha Tin Tin Ta

Ta Dhin Dhin Dha

Aaye savera (come, morning)

Aaye gyan (come, light/enlightenment)

And Light stands proudly, poised for her return. She presses inexorably forward In her journey to true north. For light is life and Light always returns Light always Light

Dha Dhin, Dha Dha Dhin

Ta Tin, Dha Dha Din

— excerpt of poetry by Amy Fogerson, interspersed with Hindi and tabla bols

The American Road

World Premiere Commission

Shawn Okpebholo (b. 1981)

I. Prepare Me One Body

Prepare me one body, I’ll go down, I’ll go down.

Prepare me one body, I’ll go down an’ die.

The man of sorrows, sinner, see; I’ll go down, I’ll go down, He died for you an’ he died for me, I’ll go down an’ die.

My Lord!

Prepare me, one body one body, I’ll go down an’ die.

— Traditional

II. Little Cuckoo

Go to sleepy little baby, Lay your head upon my breast, not the time to leave the nest, Little cuckoo, little baby, cuckoo.

Purty blue eyes, little baby, Let them close a little more, soon enough the world is yours. Little cuckoo, little baby, cuckoo.

Such a beauty little baby, Soft as rose, and pale as milk, yet her hair is fine as silk. Little cuckoo, little baby, cuckoo.

Such a shame now little baby, that you are not my own, but I’ll nurse you till you’re grown. Little cuckoo, little baby, cuckoo.

You’ll be grown soon little baby, and go out into the world if you see my darling girl, treat her nice now.

— Rhiannon Giddens (b. 1977)

III. Left Foot, Peg Foot (Follow the Drinking Gourd)

Follow the drinking gourd. Follow the drinking gourd.

For the old man is a–waiting for to carry you to freedom If you follow the drinking gourd.

When the sun comes back and the first quail calls, Follow the drinking gourd.

For the old man is a–waiting for to carry you to freedom If you follow the drinking gourd.

The riverbank makes a very good road, The dead trees will show you the way. Left foot, peg foot, traveling on, Follow the drinking gourd.

The river ends between two hills, Follow the drinking gourd.

There’s another river on the other side, Follow the drinking gourd.

When the great big river meets the little river, Follow the drinking gourd.

For the old man is a–waiting for to carry you to freedom If you follow the drinking gourd.

— Traditional

IV. Battle Cry

Yes we’ll rally round the flag, boys, we’ll rally once again, Shouting the battle cry of freedom, We will rally from the hillside, we’ll gather from the plain, Shouting the battle cry of freedom!

Chorus:

The Union forever! Hurrah, boys, hurrah! Down with the traitor, up with the star; While we rally round the flag, boys, rally once again, Shouting the battle cry of freedom!

We will welcome to our numbers the loyal, true and brave, Shouting the battle cry of freedom!

And although they may be poor, not a man shall be a slave, Shouting the battle cry of freedom!

Chorus

— The Battle Cry of Freedom by George Root (1820-1895)

V. Shall We Gather at the River

Shall we gather at the river, Where bright angel feet have trod; With its crystal tide forever Flowing by the throne of God?

Chorus:

Yes, we’ll gather at the river, The beautiful, the beautiful river; Gather with the saints at the river That flows by the throne of God.

At the smiling of the River Mirror of the Savior’s face, Saints, whom death will never, never Lift their song of saving grace.

Chorus

Soon we’ll reach the shining river, Soon our pilgrimage will cease; Soon our happy hearts will quiver With the melody of peace.

Chorus — Robert Lowry (1826-1899)

VI. Shine (This Little Light of Mine)

This little light of mine, I’m gonna let it shine. This little light of mine, I’m gonna let it shine. This little light of mine, I’m gonna let it shine.

Let it shine, let it shine, let it shine.

Hide it under a bushel, no! I’m gonna let it shine.

No, hiding under a bushel, no!

I’m gonna let it shine!

Hide it under a bushel, no! I’m gonna let it shine

Let it shine, let it shine, let it shine.

Someday, when I’m free, I’m gonna let it shine.

Let it shine, let it shine, let it shine.

— Traditional

& INSIGHTS SOUNDS Symposium

THURSDAY and FRIDAY

July 24 and 25, 2025

Christ Church Santa Fe

& INSIGHTS SOUNDS

Sponsored by Mary Costello, Lynne Horning, and Brahna Wilczynski in memory of Janusz Wilczynski

Dive deeper into the choral music you love with the return of the Desert Chorale’s Insights & Sounds Symposium. This year, we are partnering with the Boulanger Initiative to present workshops on a variety of topics for all music lovers.

Discovery Discussion: Where are the Women?

Join the Boulanger Initiative for a meaningful discussion on the topic of women in music.

Graphic Score Workshop

Grab a crayon and discover the joy of composing!

Redefining the Canon Lecture

Learn how to make a difference in determining what music is performed today.

Composer Panel Discussion

Bring your questions for our panel of three visiting composers and Artistic Director Joshua Habermann.

Purchase your tickets online at desertchorale.org/i&s or call the Desert Chorale Box Office at (505) 988-2282.

Ernesto Herrera Sarah Kirkland Snider Shawn E. Okpebholo

Kathryn Cruz

Laura Colgate Joshua Habermann

Photo courtesy of the Boulanger Initiative

Desert Chorale

ARTIST SPOTLIGHT RECITAL

Wednesday, July 30, 2025 at 4 pm

St. Bede’s Episcopal Church

Alleluia - Ned Rorem (1923-2022)

Philis - Déodat de Séverac (1872-1921)

Hébé - Ernest Chausson (1855-1899)

La Belle au bois dormant - Claude Debussy (1862-1918)

ARTISTIC DIRECTOR

Joshua Habermann

Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation’s premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America’s largest choral events.

Habermann’s experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was the director of the Dallas Symphony Chorus, where highlights included Bach’s St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar’s Dream of Gerontius, Bernstein’s Kaddish Symphony, Rachmaninov’s The Bells, and Vaughan-Williams’ Sea Symphony. He is a frequent guest conductor, and

in 2022-2023 prepared Handel’s Messiah, Ravel’s Daphnis and Chloe, and Benjamin Britten’s War Requiem for the San Francisco Symphony.

A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73, and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach cantatas in South America. He currently teaches choral literature at the University of North Texas.

As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling, and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, Both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov’s All Night Vigil with the Santa Fe Desert Chorale.

Special thanks to Barry & Margaret Lyerly for underwriting our 2025 Season Artists

SOPRANOS

Chelsea Helm (8th Season)

Hometown: West Bloomfield, MI

Current Residence: Washington, DC

Savannah Porter (5th Season)

Hometown: Fort Worth, TX

Current Residence: Brooklyn, NY

Elijah McCormack (1st Season)

Hometown: Trumbull, CT

Current Residence: Utica, NY

Sarah Moyer (10th Season)

Hometown: Bixby, OK

Current Residence: Denver, CO

Kathlene Ritch (17th Season)

Hometown: Kerrville, TX

Current Residence: Santa Fe, NM

Addy Sterrett (1st Season)

Hometown: Manton, MI

Current Residence: Los Angeles, CA

Sarah Brauer (17th Season)

Hometown: Portland, OR

Current Residence: Eugene, OR

Kerry Ginger (11th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Kate Maroney (8th Season)

Hometown: Toms River, NJ

Current Residence: Brooklyn, NY

Sarah Nickerson (17th Season)

Hometown: Fargo, ND

Current Residence: Minneapolis, MN

Dianna Grabowski (13th Season)

Hometown: Humble, TX

Current Residence: Nacogdoches, TX

Pamela Terry (2rd Season)

Hometown: Kalamazoo, MI

Current Residence: New York, NY

Photo: Michael Justin Studios

Photo: Summer Maulden

Photo: Spencer Worthley

Photo: Olivia Ockey

Photo: Jiyang Chen

Photo: Tira Howard Photography

Photo: Elizabeth van Os

Photo: Blue Rose Photography

Photo: Buck Butler

Photo: Jared Rey

Chelsea Helm is sponsored by Marianne Reuter

Photo: Caitlin Oldham

Addy Sterrett is sponsored by Thomas & Anne Conner

Kerry Ginger is sponsored by Rick Gustafson

Sarah Moyer is sponsored by Allegra & Jim Derryberry

Sarah Nickerson is sponsored by Phyllis Lehmberg

Dianna Grabowski is sponsored by Sheryl Kelsey & George Duncan

Savannah Porter is sponsored by Laurie Meyer

Kathlene Ritch is sponsored by Dr. J. Randle Adair DO, PhD

Pamela Terry is sponsored by Sheryl Kelsey & George Duncan

Kate Maroney is sponsored by Sallie Bingham

Sarah Brauer is sponsored by Diane & Bill Graves

Elijah McCormack is sponsored by Dr. Douglas P. Clark and Mr. Scott Allocco

Photo: Julian Morris

A complete list of biographies for our 2025 Summer Festival Artists may be found on desertchorale.org

TENORS

George Case (14th Season)

Hometown: Atlanta, GA

Current Residence: Santa Fe, NM

Brad

(4th Season)

Hometown: Houston, TX

Current Residence: Sterrett, AL

Erik Gustafson (10th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Michael

(6th Season)

Hometown: Peoria, IL

Current Residence: Los Angeles, CA

Bradley Naylor (15th Season)

Hometown: Houston, TX

Current Residence: Fort Worth, TX

Steven

(10th Season)

Hometown: Denton, TX

Current Residence: Philadelphia, PA

BASSES

James K. Bass (10th Season)

Hometown: Tampa, FL

Current Residence: Los Angeles, CA

John Buffett (11th Season)

Hometown: Los Angeles, CA

Current Residence: Los Angeles, CA

Harrison Hintzsche (3rd Season)

Hometown: DeKalb, IL

Current Residence: Brooklyn, NY

Enrico Lagasca (9th Season)

Hometown: Manila, Philippines

Current Residence: New York, NY

Edmund

(2nd Season)

Hometown: Chesapeake, VA

Current Residence: Washington, DC

Marques Jerrell Ruff (7th Season)

Hometown:

Pennington, NJ

Current Residence: Jonesboro, AR

Photo: Jonathan Cole

Photo: Siobhan Doherty Buffett

Photo: Jiyang Chen

Photo: Darshae Spells

Photo: Daniel King

Photo: Jon Simpson Photography

Photo: Matthew Fried Photography

Marques Jerrell Ruff is sponsored by Jeffrey Fort & Diane Locandro

John Buffett is sponsored by Murray & Nancy Bern

Bradley Naylor is sponsored by Carmen Paradis & Brian McGrath

Photo: Hope Austin

Diamond

Photo: Lora Sherrodd

Jones

Erik Gustafson is sponsored by Gregory Dove

Steven Soph is sponsored by Peter & Sara Rutenberg

Photo: Amanda Weber

Soph

Photo: Britt Olsen-Ecker

Milly

George Case is sponsored by Richard & Chris Frenk

Brad Diamond is sponsored by Bill & Susan Cammock

Edmund Milly is sponsored by Stephen Marquart & Audrey La Fehr

Harrison Hintzsche is sponsored by Jeffrey Fort & Diane Locandro

Enrico Lagasca is sponsored by James Murphy & Roxanne Howe-Murphy

Michael Jones is sponsored by Sheryl Kelsey & George Duncan

James K. Bass is sponsored by Dr. Donald Shina & J. Kevin Waidmann

Photo: Kerry Travilla

2025 SUMMER FESTIVAL GUEST ARTISTS

A complete list of the biographies for our 2025 Summer Festival Guest Artists may be found on desertchorale.org

Elizabeth Baker Violin

Program: Mass for the Endangered

Jeffrey Brooks Clarinet

Program: Mass for the Endangered

Sam Brown Double Bass Program: Mass for the Endangered

Alexis Corbin Percussion

Program: Cantos y Cuentos

Hovey Corbin Percussion

Program: Cantos y Cuentos

Jeff Cornelius Percussion

Program: Mass for the Endangered

Judith Farmer Bassoon

Program: Mass for the Endangered

David Felberg Violin

Program: Mass for the Endangered

Kimberly Fredenburgh Viola

Program: Mass for the Endangered

Amy Huzjak Cello

Program: Mass for the Endangered

Nacha Mendez Guitar and Vocals Program: Cantos y Cuentos

Nathan Salazar Piano

Program: Mass for the Endangered and Roots & Rivers

(continued on next page)

Photo: Ian Evenstar

Photo: LA Philharmonic

Photo: Michaela Salazar

Photo: Shea Perry

Photo: M. Cordero

Photo: Evangeline Hodge

Photo: Wes Naman

Jeffrey Brooks is sponsored by Barbara & Gregory Kok

David Felberg is sponsored by Sheryl Kelsey & George Duncan

Nathan Salazar is sponsored by Diane & Bill Graves

Jeff Cornelius is sponsored by Elaine Wang Meyerhoffer

Nacha Mendez is sponsored by Jose Piedra de la Portilla & Ernesto Roederer

Alexis Corbin is sponsored by Sara J. McKenzie

Hovey Corbin is sponsored by Sara J. McKenzie

Amy Huzjak is sponsored by Barbara & Rod Slaton

Sutanu Sur Tabla Program: Roots & Rivers

Jesse Tatum Flute

Program: Mass for the Endangered

Kevin Vigneau Oboe Program: Mass for the Endangered

Keryn Wouden Harp Program: Mass for the Endangered

Photo: Fox Valley Symphony Orchestra

Photo: Amaury Martinez D.

Sutanu Sur is sponsored by Pam Piper

COMMISSIONING CLUB

We wish to give a special thank you to the members of the Santa Fe Desert Chorale’s 2025 Commissioning Club for making the summer’s world premiere of Ernesto Herrera’s new work, Dos Salmos para el Alma, a reality!

Cris Barnes

Richard Bentley

Mary Delk

Gregory Dove

Halley Faust

Stephen Hochberg

Barry Lyerly

Elaine Wang Meyerhoffer

Marianne Reuter

About the Commissioning Club

Each year, members of the Commissioning Club, guided by Artistic Director Joshua Habermann, select an emerging composer to create a new work to be premiered during an upcoming Desert Chorale season. This initiative not only supports rising talent but also enriches the global choral repertoire and ensures the legacy of the Desert Chorale as one of the country’s leading chamber choirs. The Club builds on its rich history of over 30 commissioned works, with the most recent serving as the centerpiece of the Chorale’s 2026 commercial recording.

Joining the Santa Fe Desert Chorale Commissioning Club with a $1,000 contribution per person helps bring this new music to life. Members enjoy unique benefits, including an invitation to the dress rehearsal, a private dinner with the composer, and a signed score and archival recording of the commissioned piece—creating a lasting connection to the legacy of choral music.

For more information and to join the Commissioning Club, please email commissioningclub@desertchorale.org

FUND-A-NEED

YOUR DONATIONS SUPPORT THE CHORALE AND INVEST IN GREAT MUSIC FOR YEARS TO COME.

Special Project Opportunity

$1,000+ Support our 2025 album recording (released in 2026)

General Needs

$50 Subsidize a student ticket

$1,000 Sponsor an artist’s travel expenses

$2,000 Sponsor an instrumentalist

$2,500 Sponsor an artist’s housing for a season

$3,500 Sponsor a singer for a festival

$5,000 Sponsor an Insights & Sounds Family Concert

$7,000 Sponsor a concert

$13,000 Sponsor Artistic Director Joshua Habermann (Seasonal)

$18,000 Sponsor a full summer concert program

$28,000 Sponsor the Winter Festival season

$50,000 Sponsor the Summer Festival season

VIRTUOSO

Gifts of $50,000+

Sallie Bingham

Barry and Margaret Lyerly

The Estate of Thomas F. McGuire

The 2010 Faith Charitable Lead Trust

FOUNDER

Gifts of $25,000 to $49,999

Mary and Phil Delk

The Hutson-Wiley & Echevarria Foundation

Jeffrey Fort and Diane Locandro

Richard and Chris Frenk

Catherine and Guy Gronquist

Dalit Holzman and Ron Holzman

Lynne Horning

Sheryl Kelsey and George Duncan

Katherine and William Landschulz

Carmen Paradis and Brian McGrath

Suzanne Timble†

DIRECTOR

Gifts of $10,000 to $24,999

Murray and Nancy Bern

George Case and Nathan Salazar

Susan Esco Chandler and Alfred D. Chandler

Johanna Cinader

City of Santa Fe Arts & Culture Department and the 1% Lodgers’ Tax

City of Santa Fe Occupancy Tax

Kathryn and Hank Coleman

Anne and Thomas Conner

Mary Costello

Maggie Edmondson and Dmitri Bovaird

Judith Ford

Four Seasons Resort Rancho Encantado

Diane and Bill Graves

Stephen and Jane Hochberg

Marian “Mimi” Lloyd

Christine and Pierre Lorillard

Fraser and Alice McAlpine

Andrea Meditch

Laurie Meyer

Felicia and Daniel Morrow

Dr. and Mrs. Leon Podles

Lindsay S. Pope

Kelly Purcell and Kevin Sadler

Marianne Reuter

Martha Rochelle

Sara and Peter Rutenberg

The Santa Fe County Lodgers’

Tax Advisory Board

Patricia Stanley

Elaine Wang Meyerhoffer

Tobi Watson

Susie and Jerry Wilson

The Edw. F. Zimmer Community Fund

DONOR HONOR ROLL

MAESTRO

Gifts of $5,000 to $9,999

Anonymous (1)

Dr. J. Randle Adair DO, PhD

Brooke Bandfield Taylor

Douglas and Helen Brooks

Susan and Bill Cammock

Patrick Carr

Allegra and Jim Derryberry

Gregory Dove

Halley Faust and Eve Cohen

Frederick H. Leonhardt Foundation

Sandra and Justin Greene,

Dashing Delivery

Steven Kerchoff†

Susan Koehn, Habermann Koehn Foundation

Barbara and Gregory L. Kok

Mark Kriendler-Nelson, The Lawrence

P. J. Bonaguidi Foundation

Phyllis Lehmberg

Dana and Jim Manning

Sara J. McKenzie

Roxanne Howe-Murphy and James Murphy

Jon Patrick and Peter Siegel

Nyla and Larry Rasmussen

Patricia “Tish” Romer

The Evelyn L. Petshek Arts Fund,

Santa Fe Community Foundation

Santa Fe New Mexican

Santa Fe Selection Travel Guide

Richard Schacht and Judith Rowan

Caroline and Sid Swinson

Lee and David Takagi

Patricia and Bradley Thompson

Brahna Wilczynski

Janusz† and Brahna Lauger Wilczynski

ARTIST

Gifts of $2,500 to $4,999

Anonymous (1)

Celia Baldwin

Frances and David Ertel

Jane and Ernest Godlove

Rick Gustafson

H.B. and Lucille Horn Foundation

Joyce Wolff and Richard Henderson

Susana Howard and Vincent Charles Pigott

Jane and Joe Bob Kinsel

Joy and Phil LeCuyer

Julia and David Leifeste

Audrey La Fehr and Stephen Marquart

Beverley McArthur

Sarah and James Nickerson

Linda Osborne

Jose Piedra de la Portilla and Ernesto Roederer

Eileen and Ron Ricks

Andrew J. Rudnick

Cathy and Todd Sickles

Leslie Shaw

Donald Shina and Kevin Waidmann

Silvia and Alexander Speyer III

Lore Thorpe

Patti Wetzel and Sirous Partovi

CHOIRMASTER

Gifts of $1,000 to $2,499

Anonymous (5)

Catherine Alsip

Diane Buchanan and Rick Andrew, The Andrew Family Foundation

May R. and Larry C. Ball

Marilyn and Cris Barnes

Dr. Camille Cates Barnett

Sharon and Robert Barton

Walter Beckham

Bette Betts

Martha Blomstrom

Lisa Romanoff Botos and Stephen Botos

Drs. Laura Sulak and Richard Brown

The Honorable Michael L. Bustamante

Pamela Culwell and Charles G. Case II

Elizabeth Case

George Davis

Susan and Conrad De Jong

Del Norte LOV Foundation

Joanne and Andrew Eggen

Gwen and Ralph Fuller

Karen and Bill Gahr

Lark Dale and W. Peyton George

Suzan and Julius Glickman

John Gray and Ray Landy

Kent Grubbs

Cynthia and Roger Gullickson

Joshua and Joanna Habermann

Dr. Robert and Mrs. Marian Haight

James O. Harris, Jr.

Marcia Harris

Walter High

Rae Hoffacker

Dora and Clinton Horn

Elizabeth Hurst-Waitz

Bruce Jackson

Lynn and Jacqueline Johnson

Sylvia and Paul Johnson

Reverend Canon Ted Karpf

Bill Keller and Robert Holleyman

Lane and Phyllis Keller

Dr. Walter L. Kirchner and Mary Meredith-Kirchner

Enrico Lagasca and Jonathan Stewart

Jean and Donald Lamm

Mary Anne and Bruce Larsen

Alan and Kathleen Davison Lebeck

Lynn F. Lee

Miranda and David Lind

Karen Linder

Thomas Lopez

Kathryn Lowerre and Robert Shay

Barbara Lynn

Dianne Eret and Richard Macklin

Ginnie Maes

Allegra Derryberry, Sarah Moyer, and Jeffrey Fort

Susan and Philip Marineau

Emma Marzen and Sean Johnson

Jennifer Martinez and William McArthur

Jane and David McGuire

Steve Moise

New Mexico Bank & Trust

Nusenda Credit Union

Dorothy Peacock and Douglas Brew

Anne Pearson

Pam Piper

Susan and John Shaffer

Maureen and Robert Shearer

Cathy and Todd Sickles

Sarah and Preston Stone

The Mickey Inbody Charitable Foundation Inc.

Edwin and Melanie Peters Thorne

Drs. Seth Vaccaro and Jean Dea

Jan Watson

Sue Wetsel and Cary Brown

John Wilcynski and Jan Chavez-Wilcynski

Joyce Wolff

PATRON

Gifts of $500 to $999

Anonymous (1)

Judith Alger

Reverend Talitha Arnold

Margaret and David Ater

Anne E. Beckett

Jack Campbell

Catherine and Nicholas Carlozzi

Dr. Colston Chandler

George deGarmo

Janet and Joel DeLisa

Janet Desforges

Margaret M. Detwiler

Kenneth Dickson

Natalie Dimitruck

Mary Dudley and Greg Wortman

Margie Edwards and Ellie Edelstein

Timothy R. Fox

Dorothy and George Gamble

Mary Alice and Gregory Gillette

Steven Lustig and Jessie R. Groothuis, MD

Patricia Henning

Jeanne and Van Hoisington

Richard W. Hughes

Deborah Jones

Charles and Yvonne Keller

Charles MacKay

Frances and Michael Meier

Pamela and Don Michaelis

Jeanette (Boo) Miller

Lillian Montoya

Patty and Gary Osborne

John Overbey

Matilda Perkins

Ashlyn and Dan Perry

Helena Ribe

Judy and Bob Sherman

Susan Lamberson and Clinton Singley

Barbara and Louis Sklar

Barry and Marilyn Smith

Alison Sowden

Susanne Stauffer

Dr. Allen and Andrea Steele

Christine and Paul Vogel

John Watson

Bill and Kay Whitman

Mary Witherow and Susan Schneider

Linda Wolcott

Mary and Michael Woolever

BENEFACTOR

Gifts of up to $499

Anonymous (24)

Mark Abe

Nancy and Harro Ackermann

Laura Acquaviva

Susan Ahrens

Larry Aker

Lexey Alcorn and John Vazquez

Vicki Holmsten and Don Allen

David Anderson

Hillary Armstrong

Patricia Assimakis

Bette Myerson, B’nai Shalom Havurah

Patricia and Alan Baer

Martha Baker

Benjamin Bankson

Avelina Bardwell

Ann and Ed Barker

James K. Bass

Sue Baum

Elizabeth S. Bayne

Constance and Douglas Beck

Thomas Beckner

Norma Bekowies

Judith Benkendorf and Norman Marks

Joanie Puma Bennet

James Benton

Jean and John Berghoff

Steven Berkshire

David and Jimi Bernard

Alicia Bertram

Rebecca Jensen and Chris Biemesderfer

Audrey Bishop

Katherine Blagden

Betty and Phil Block

Mark Bolander

Ted and Jamison Borek

George Dennis

Rebecca Brackett

Iain Bray

Kathryn Braziel and Elizabeth Doak

Christine and Hans Von Brieson

Barbara A. Brooks

Gwynne and Joe Brooks

William Brooks

Diane Brunjes

Julianne and Carl R. Buckland

Dave Bueschel

Constance Burke

Jason Burnett and Brandon Baker

Laura Burton

Jeanne Butler

Genevieve Ann Caldwell

Anita and James Caldwell

Julie Ann Canepa

Katharine Carrillo and Nery Carrillo-Barrera

Nansy and Steve Carson

Betty Bevans and C. Carvel Jr.

JoAnn and Richard Casten

Peggy Catron

Dianne Chalmers

Jean Charis

Elaine Cheesman

Lee Siah Chong and Bill Dodge

Qris Claassen

Soraya Clow

Coca-Cola Bottling Company of Santa Fe

Bradlee Coe

Jon Cohen and Pat Pecorella

Robert Colegrove

Susan E. Collins

Marcia Congdon

Frank Conlon

Maxine Thevenot and Edmund Connolly

Annette Cook

Paul Cook

Catherine Sheppard and Jerry Cooke

Mona and Ken Corcoran Sherrell

Jack Cox and Edwin Light, DMA

Philip Dale

Renata Dallas

Abby Dan

Judith Davenport

Julia Davidson

Isabel and Raul Delgado

Thomas Doerk

Chav Doherty

Kevin Dowd

Lucy and John Draper

Cameron Duncan

Rachel Dunlap

Stephen Dunn

Dona Durham

Linda Duritz

Dr. Betty M. Duson

Kathleen and Dan Dustin

Mary Dye

Mary Eagan

Melissa Eason

Susan and Ellis Eberlein

Jane Ann Edwards

Anne Einerson

Laura Elliman

Michael Engl

Susan English and Michael Kalkstein

Tom Epperson

Robert Evans

Frances Ewing

Cynthia Feiden-Warsh

Beth and Jim Felty

Mary and Joe Ferguson

Gail and Douglas Fine

Margaret Finley

Carolyn Finster

Michael Fiore

Paul Fish

Jo Fisher

Marilyn Flood

Jennifer Forest

Rick Fortner

Peter Frank

Portia Franklin

Charles R. Freuden

Leslie Fry

Charles Gamble

David Gardels

Debbie Garrity

Lynda and Louis Gavioli

Monika Ghattas

Jeffery Gibbs

JoAnn and James Gillula

Terri Giron and Gary Gordon

Becky Gould

Annetta Grace-Darmitzel

Robert Gracey

Francine and Peter Gray

Liz Grobsmith

Gordon Groff

Diane and Gerald Gulseth

Ruben Habito

Deborah Halverson

Virginia Hamilton

Ursula Hammes

Elizabeth Hansen

Judy and Neal Hansen

Roland C. Hansen

Steven Harlos

David Hartley

Richard Harveston

W. Peyton George and Lark Dale

Mimi Hatch

Christopher and Dani Hayes

Leonard Heil

Jacquelyn Helin and Robert Glick

Doug and Bobbi Heller

Jill Heppenheimer

Newby Herrod

Kay and Michael Hilliard

Martha Formosa and Robert Hirasuna

Julia Hoffman

Dorothy L. Hudson and Harry J. Guffee

Lisa Huggins

Howard Hughes

Jolie and Bart Humphrey

Joyce Ice

David Jennison

Brenda and Michael Jerome

Christine H. Johnson

Jean and Kenneth Johnson

Lizabeth Johnson

Amorette Jones

Julie Jones

Betsy and Thomas Jones

Rebecca Jusbasche

Marianne Kah

David and Stephanie Kauffman

Nancy Kelley

Susan Kelly

Dr. Patricia Kennedy

Bo Keppel

Susan and Thomas Kingston

Jenifer and Grayson Kirtland

Allene Kleweno

Evan Kottle

Patricia Krebs

Katherine Kubarski

The Estate of Evelyn Kupec

John La Farge

Linne Lalire

Lucia and Frank La Rocca

Shirley Laseter

Jean L. and Stephen J. Lauer

Mary E. Lebeck

Anne and Bruce Legler

Ann LeMay

JD Leslie

Jennifer Levi

Kit Lewis

Allen Lieb

Melanie Lohmann

Ellen and Bill London

Timothy Lowery

Ron Lucchino

Mary Ann and Warren Lukas-Laskey

Monica Lund

Janet Braziel and Robert Lynn

Judith and Donald Machen

Ann MacVicar

Timothy Malone

Lena Mann

Sharon Manuel

Cristine Marchand

Martha Marchand

Nancy Maret

Yorgos Marinakis

Richard Mariner

Tom Marking

Audrey Marnoy

Katherine Maroney

Philip Martin

Maryann and Charles Marzen

Mary Matus

Janice L. Mayer

William Mayer

Amy McCawley

Diana McEnnerney

Sasha McGhee

Nancy McLean

Dorothy McMath

Karen and J. Richard McMichael

Judith McNeill and David Welch

Christina and David Mead

Claire Meador

Jenny Meyer

Kathleen Meyer

Maria Meyer

Marilyn Middleton

Carol and George Miraben

Leslie Mitchell

Mary and Timothy Mitchell

Arianne Monroe

Brandon Moore

Marie Moore

Thomas M. Morales

Nancy Morgan

Ted Morse and Mary Winters Morse

Kirsten Moy

Hal Myers

Skip and Molly Naylor

Carol Nieling

Diane Nelson

Charles Newman

Etain O’Malley

Barbara and Michael Ogg

Rebecca Okun

Mary Lou and Alex Padilla

Marishka Rosinski and John Pakula

Eric Patchen

David Patterson

Eileen Patterson

Deborah and Barry Paull

Joyce and Thomas Pavlis

Patricia Pecorella and Jonathan A. Cohen

Sullivan Peraino

Eva Peterson

Dr. John Petricciani

John Petrila

Kurt and Pauline Philipps-Zabel

Fred and Lois Phillips

Karen Phillips

HelenAnn and Robert Phillips

Cynthia Piatt

Nancy L. and James A. Pierce

Mary and James Polk

Catherine Pope

Rebecca Rene Porras

Drs. Marcia Kaplan and Michael Privitera

Hattie Proteau

Jane Punneo

Molly and Ben Sheen

Jim Murphy, Emma Marzen, and Roxanne Howe-Murphy

Judy Rainger

James Rauscher

Marion Reynolds

Margaret Riesen

Sally Roberts

Franke Robertson

Mary Robison

Joseph Roig

Terry Root

Jo Ann Rosebrock

Nancy Rowland

Kristen Rowley

Martha Braniff and David Rubenstein

Charlotte Rundell

Anne Russ

Barbara Russell

Buffie Saavedra

Stacy Sacco and Dorothy Stermer

Sara Sacra and Jeffrey Gruber

Carmen Salazar

Anne Salopek

Luisa Sandoval

Vicki and Robert Schaevitz

Joanne Schulte

Willa Seldon

Judith Seltzer

Laura Sherwood

Nancy Sherwood

Yvonne Sininger

Jeanne Sison

Pam Skillman

Carolyn Smalls

Dr. Glen and Barbara Smerage

James Snead

Liza Solomon

Dean Southern

Dr. Peter and Jody Spalding

Matthew Spano

Judith Sperling

Cynthia and Bryan Sperry

Melanie Spriggs

Kathryn E. Squire

Nadine Stafford

Robert Steber

Rebecca Steele

John and Cynthia Stetson

Michael Stevens

Jamienne Studley

Dr. Ryan Sullivan

Douglas Sutherland

Jan and Charles Swaney

Kristin Swim

Kay Swindell†

Trudy Swint

Gail Takagi

Marc Talbert

Mary Taylor Goforth

Mindy Teolis

Sara Teppema

David Thomas

Rhonda Thomas

Mary Thornton

Michael Toledo

Steven Traub

Anne Urbanski

Josephine Van Der Hoeven

Monica Van de Water

Deborah and Hubert Van Hecke

David Van Winkle

Joan Vernick

Richard Vickery

Eric von Starck

Duke Wagner

Susan and Trenholm Walker

Joseph Warganz

George Warmingham

Mary and Douglas Weaver

Mayor Alan Webber and Frances Diemoz

Patricia Weiler

Maiken Westphal

Janislee and Bill Wiese

Elaine Williams

Jason Williams

Lisa Williams

Shelagh Wilmott

Linda Wilson

Clara Winter

James and Lori Winter

Gerald Wise

Sylvia Wittels and Joseph Alcorn

Charles Wood

Jane Woods and Anne M. O’Connor

Marian Yeager

Emily York

Lyle York and Matthew Wilson

Elizabeth Young

Julia Zarcone

Everett Zlatoff-Mirsky

HONORARIA

In Honor of Sarah Brauer

Diane and Bill Graves

In Honor of Joshua Habermann

Mark Abe

Susan Koehn, Habermann Koehn Foundation

Joyce and Thomas Pavlis

Lee and David Takagi

In Honor of Stephen Hochberg

Laura Acquaviva

Janice L. Mayer

Patricia Stanley

In Honor of Jeffrey Fort and Diane Locandro

Genevieve Ann Caldwell

In Honor of Barry and Margaret Lyerly

Mark Kriendler-Nelson

Ashlyn and Dan Perry

In Honor of Emma Marzen

Reverend Canon Ted Karpf

Sullivan Peraino

In Honor of Carmen Paradis and Brian McGrath

Jane and Joe Bob Kinsel

John Wilcynski and Jan Chavez-Wilcynski

In Honor of Jenna Hernandez McLean

Nancy McLean

In Honor of Bradley Naylor

Dr. Betty M. Duson

Joy and Phil LeCuyer

Molly and Skip Naylor

Patty and Gary Osborne

In Honor of Kathlene Ritch

Anne and Thomas Conner

In Honor of Patricia Stanley

Celia Baldwin

Patrick Carr

Barbara Russell

IN MEMORIAM

In Memory of Hugh V. Balaam

Martha Blomstrom

Martha Baker

In Memory of Dr. Jim Barnett

Dr. Camille Cates Barnett

In Memory of Joseph W. Blagden (Jody)

Katherine Blagden

In Memory of Rick Blatchley

Lynn Bickley and Randy Schiffer

In Memory of Peggy Bonner

Mary Dudley and Greg Wortman

In Memory of Patricia O. Casey

Michael Toledo

In Memory of Ash Collins, Jr.

Susan E. Collins

In Memory of Doris Franson Dakin

Julie Ann Dakin and Christopher Oechsli

In Memory of Kathleen Doherty

Jon Aase

In Memory of Jake Foster

Jason Burnett and Brandon Baker

In Memory of Cheryl Hall

The Honorable Michael L. Bustamante

In Memory of Frances Contreras Harley and Mary Graham Hartley

David Hartley

In Memory of Judith M. Harris

James O. Harris, Jr.

In Memory of Dorothy Harroun

Ron and Dalit Holzman

In Memory of Charles T. “Terry” Hendrix

Nadine Stafford

In Memory of Steven Kerchoff

Mark Abe

Roland C. Hansen

Patricia Stanley

In Memory of Danielle Moloney

Joanne and Andrew Eggen

In Memory of Don L. Roberts

Sally Roberts

In Memory of Albie Romanoff

Lisa Romanoff Botos and Stephen Botos

In Memory of Craig Smith

Jo Fisher

In Memory of Jan and Ralph Stone

Anonymous

In Memory of Suzanne Timble

Catherine L. and Nicholas Carlozzi

Kurt and Pauline Philipps-Zabel

In Memory of Robert Weiler

Patricia Weiler

IN MEMORIAM

We remember and will always have in our hearts our dear friends:

John Alsip, supporter

Dan Billingsley, former SFDC Director of Development

Dorothy Karayanis, supporter

Steven Kerchoff, supporter and Encore Society Member

Eric Phinney, tabla player for The Tipping Point premiere

Michael Serk, supporter

Kay Swindell, supporter

Suzanne Timble, former Board Member and supporter

Janusz Wilczynski, supporter

Gordon Wilson, supporter

ENCORE SOCIETY

We salute the foresight and generosity of the following individuals who have chosen to include the Santa Fe Desert Chorale in their estate plans:

Anonymous (1)

Reverend Talitha Arnold

Brooke Bandfield Taylor

Murray & Nancy Bern

Bette Betts

Mary Costello

Dorothy B. Davis

Gregory Dove

Margaret Edwards & Ellie Edelstein

Halley Faust & Eve Cohen

Diane & Bill Graves

Catherine & Guy Gronquist

Barbara Houser & Sarah Nolan

Richard Hughes

Sheryl Kelsey & George Duncan

Dr. Patricia Kennedy

Steven Kerchoff†

Joy & Phil LeCuyer

Lynn F. Lee

Nancy & Raymond Lutz

Barry & Margaret Lyerly

Charles MacKay & Cam McCluskey

Janice L. Mayer

Fraser & Alice McAlpine

James Murphy & Roxanne Howe-Murphy

Jerome B. Nelson

Susan Noel

Margaret K. Norton

Carmen Paradis & Brian McGrath

Edwin & Melanie Peters Thorne

Don† & Sally Roberts

Donald Shina & Kevin Waidmann

Nadine Stafford

Patricia Stanley

Bradley & Patricia Thompson

Brahna & Janusz† Wilczynski

Margaret Wright

ENDOWMENT GIFTS

Dmitri Bovaird & Maggie Edmondson

Nina Hinson Rasmussen & Dr. Prescott C. Rasmussen†

ESTATE GIFTS

Anonymous

Margaret Arrott

Lawrence Bandfield

John de Beer

Martin Dieter

Dr. James C. & Julie J. Drennan

Allison & James Elston

Robert Fisher

Dorothy Harroun

Evelyn C. Kupec

Thomas F. McGuire

Ian McKee

Paul Resnick

Joseph P. Schwitter

Ann Marie Shaw

Robert C. Smith

Frances & Hywel White

While we endeavor to appropriately recognize all of our donors, please inform us if we have inadvertently omitted your name or listed it incorrectly.

† in memoriam

George Duncan, Patricia Stanley, and Cathy Gronquist

Acosta Strong Fine Art Gallery, Carlos Acosta Archdiocese of Santa Fe, The Most Reverend John C. Wester, The Very Reverend John D. Cannon, Carmen Flórez-Mansi, and Tom Mansi

Arizona Lithographers, Michelle Bonito

Celia Baldwin

Sue Baum

Sallie Bingham

Sean Michael Chavez

Christ Church of Santa Fe, Reverend Dr. Greg Schneeberger and Sylvia Sims

The Church of the Holy Faith, The Reverend Canon Robin D. Dodge, The Reverend Lynn Finnegan, Canon Mark Edw. Childers, Marcos and Rocio Castillo, and Donna Lukacs

City of Santa Fe (Arts & Culture and Tourism Departments), The Honorable Alan Webber, Mayor; Randy Randall; Jordan Guenther; and Chelsey Johnson

Cristo Rey Catholic Church, The Very Reverend John D. Cannon and Yvette Lujan

Dashing Delivery, Sandra and Justin Greene

Elevate Media, Clarissa Lovato

Halley Faust and Eve Cohen

Four Seasons Resort Rancho Encantado Santa Fe,

William Powell

Karen and Bill Gahr

Dr. Kerry Ginger

Antonio M. Gómez

Catherine and Guy Gronquist

Phyllis and Thomas Keller

Sheryl Kelsey and George Duncan

KHFM, Alexis Corbin, Kathlene Ritch, and Brent Stevens

KNCE, Molly Steinbach

KSFR, Lynn Cline

The Life Link Clubhouse

Barry and Margaret Lyerly

Dana and James Manning

New Mexico Bank & Trust, Linda Bencomo and Shauna Shannon

Nusenda, Bheira Ugalde

Lili Pierrepont

Susan Howard and Vince Pigott

Reflective Jewelry, Mark Choyt

Sally Ritch

Dr. Marques Jerrell Ruff

Santa Fe County Lodgers’ Tax Advisory Board, Lisa A. Katonak

Santa Fe High School, Cameron Wilson

Santa Fe New Mexican Pasatiempo, Carolyn Graham and Mark Tiarks

Santa Fe Selection Travel Guide, Maria Johnson

St. Bede’s Episcopal Church, The Reverend Ryan Lee, and Jerome “Jerry” Nelson

The State of New Mexico (New Mexico Arts), Governor Michelle Luhan Grisham, Secretary Debra Garcia y Griego, Senator Peter Wirth, Representative Reena Szczepanski and Michelle Laflamme-Childs

Thornburg Investment Management, Erin Cave, Michael Corrao, and Michael Nelson

United Church of Santa Fe, Reverend Talitha Arnold, Bradley Ellingboe, and Lin Raymond

U.S. Representative from the State of New Mexico, Teresa Leger Fernandez

U.S. Senators from the State of New Mexico, Martin Heinrich and Ben Ray Luján

JOIN US FOR OUR 48TH SEASON!

2025-26 SEASON

Santa Fe, New Mexico

Dr. George Case

Music Director Visit sdcchorale.org

OCT 11 & 12, 2025 Passing of the Year, Jonathan Dove and 20th-century American composers

DEC 6 & 7, 2025 Midwinter Songs, Carols and songs of winter featuring Morten Lauridsen’s Midwinter Songs

MAR 14 & 15, 2026 Petition, Mendelssohn and other sacred music from the 18th and 19th centuries

MAY 23 & 24, 2026 America’s Bard, Settings of Walt Whitman texts by American composers

Our concerts and events would not be possible without the support of many volunteers in the community who give generously of their time and talent. Thank you! If you would like to join the Desert Chorale Ambassadors, please contact Heather Eaves by emailing heather@desertchorale.org

Anna Aguilera

Ann Alexander

Barbara Anderson Acosta

Demetrius Armstrong

Terry Beery

Kenneth Beier

Sue Benedict

Ellen Morris Bond

Darryl Bowman

Jeannie Bowman

Susan Breyer

Edie Brooks

Gene Brooks

John Burke

Martha (Marty) Carroll

Andréa Cassutt

Elaine Cheesman

Donna Clark

Bradford Clements

Jane Clements

Kenneth Alan Collins

Doug Conwell

Judy Costlow

Diana Dallas

Colleen Davidson

Rebecca Dempsey

David Ted Eastlund

Lisa El-Kerdi

Doug Escue

Laura Escue

Barbara Forslund

Denise Fort

Gwen Fuller

Ralph Fuller

Mary Garcia Ingram

K.C. Garrett

Michaela Granito-Tibbetts

Jennifer Graves

Divara Harper

Alice Harris

Janet Harris

Arnie Hershman

Shari Hirst

Ruth Hogan

Marie Howson

Christopher (Chris) Howson

Victoria Hudimac

Rose Ann James

Jamie Jarvis

Julia Johnson

Martha Kallejian

Margery Kaplan

Anna Katherine

Bo Keppel

Janet Kerr

Lori Koch

Barbara Kuzminska

Joan Lamarque

Beata Lewis

Rodger Liljestrand

Dolores Lopez

Ann MacVicar

Dirk Mathis

Carole Mathison

Arin McKenna

Karen Meador

Estelle Miller

Jeff Mocho

Kathy Moore-Gregory

Elizabeth Morgan

Karen Nelson

Marie Newsom

Mary O’Brien

Lynn Osborne

Tina Ossorgin

Carole Owens

Hannah Palmer

Shirley Panek

Marcus Parker

Linda Pasternacki

Grace Philips

Cindy Piatt

Rob Pine

Anita Pisa

Ross Pope

Rebecca Rene Porras

Madeline S. Pryor

Chantal Quincy

Larry Rasmussen

Nyla Rasmussen

Donna Rigano

Pat Roach

Laurie Romero

Barbara Roush

Ann Roylance

Nickola Rubow

Joyce Ruderman

Karren Sahler

Anne Salzmann

Donald Schmit

Elizabeth Schwitz

John Schwitz

Diana Segara Mahony

Helen Senesac

Sally Shockey

Deborah Smith-Davis

Sandy Sparks

Lynn Spray

Allen Steele

Andrea Steele

Erin Taylor

Mark Tibbetts

Alice Tinkle

Jolanta Tuzel

Carrie Vogel

Jan Watson

Jefferson (Jeff) Welch

Linda Wieseman

Jean Withers

Carmela Woll

Bob Zimmerman