2026 Santa Fe Desert Chorale Summer Festival Program by Santa Fe Desert Chorale

SUMMER FESTIVAL

July 12 - August 2, 2026

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 — Dry Farm Wines, Four Seasons Hotels and Resorts Santa Fe, Heritage Resorts & Hotels, La Fonda on the Plaza, Nusenda Credit Union, Patina Gallery, the Santa Fe New Mexican, Santa Fe Selection Travel Guide, Thornburg Investment Management, and UMB Bank — and other individuals, corporations, and foundations for their generous support. For a full list of donors, please see pages 59 through 64.

Emma Marzen

In the summer of 2016, I waited with bated breath for my first-ever Santa Fe Desert Chorale concert in the hushed Cathedral Basilica of St. Francis of Assisi. That performance was the first of our Rachmaninoff All-Night Vigil program that summer—the final program to open. I was your Box Office Manager then, freshly on the scene in Santa Fe, just beginning to know this community and our beloved ensemble. By evening’s end, I knew I had found a home for my soul.

The Cathedral Basilica fell silent as Joshua Habermann lifted his hands, and when the Chorale began to sing, thirty-two voices filled the space with a wash of sound so transcendent that time stood still. At the final note, Josh held the silence just long enough for all of us to remain suspended together—luxuriating in a perfect moment— before releasing us into uproarious applause and, for many, cathartic tears.

I have come to find that this is the signature Desert Chorale experience, and it never loses its magic. The liminal space just before the first note and just after the last remains as mysterious and precious to me today as it was ten years ago. In a world where truth, beauty, and belonging can feel harder to find, live performances by the Santa Fe Desert Chorale remind us of what humanity can do when we join together in harmony.

This is our aim: to build bridges between all people and create a place of true belonging through the power of the collective human voice. A community united in song. With that intention at the center of all we do, the future of your Desert Chorale is brighter than ever.

44th

Annual Summer Festival

That spirit comes alive this summer in programs that span

centuries, continents, and stories of home. We open with Renaissance Splendor, journeying to the heart of Spain and Italy through luminous polyphony and early Baroque grandeur, joined by theorbo, organ, baroque guitar, and early music ensemble Incantare. Homecoming marks our nation’s 250th anniversary with a celebration of new American choral music, featuring four world premieres by composers Moira Smiley, Shawn Kirchner, Shavon Lloyd, and Taja Astar, alongside Alex Berko’s celebrated work, Sacred Place. And then, the program that captivated me from my first days with the Chorale returns: Rachmaninoff’s All-Night Vigil. Last performed by the Desert Chorale a decade ago, this deeply spiritual masterpiece will once again expand our ensemble to 32 voices and transform our venues into sanctuaries of sound. It also marks a special return “home” to a summer performance in Albuquerque—the first, we hope, of many. Rounding out the Festival, children and their grown-ups are invited to a free, fun-filled mini concert—the Children's Concert—at the Chavez Center on July 29 at 11 am; then at 4 pm that day, our Artist Spotlight Recital offers an intimate afternoon with Kathlene Ritch, Sylvia Leith, Edmund Milly, and pianist Nathan Salazar at St. Bede’s.

Our New Album Is Here

The sound of your Desert Chorale is reaching far beyond the concert hall. Roots & Rivers, released June 12, gathers new American choral music written especially for your Desert Chorale, with works by Shawn E. Okpebholo, Reena Esmail, Jocelyn Hagen, Kile Smith, and Shawn Kirchner. These pieces tell stories of struggle, resilience, journeying, and light—and carry the Desert Chorale sound far beyond New Mexico. Get your copy after the concert, listen on your favorite streaming platform, and share this music with someone who needs to hear it.

Santa Fe Sings! and Winter Festival

First produced in 2016, our ever-popular Santa Fe Sings! returns September 19. This joyful community choral workshop invites singers of all backgrounds and ages, from lifelong choristers to shower singers (and everyone in between), to gather under Josh’s direction for a day of singing, learning, and connection. And while we are still savoring summer, our beloved Winter Festival, Carols & Lullabies: A Winter’s Glow returns December 12–22. We hope you will join us again as candlelight, song, and the warmth of this extraordinary ensemble carry us into the holiday season. Registration and tickets for both are available now.

The Founder’s Match

This work is only possible because of the generosity of our dedicated community. This summer, we sing with profound gratitude for Brooke Bandfield Taylor—an early board member and soprano in our very first ensemble. Brooke’s kindness and generosity helped forge the heart-toheart connection that still defines the Desert Chorale, and we invite you to join us in honoring her legacy through a special matching campaign to raise up to $30,000 for this year’s Summer Festival (see page 49 for more details).

A TRIBUTE TO BROOKE BANDFIELD

TAYLOR

Brooke Bandfield Taylor, one of the founding members of the Santa Fe Desert Chorale, passed away March 17, 2026, in Walnut Creek, CA, at the age of 85. The sister of the Chorale’s founder, Larry Bandfield, Brooke supported the Chorale from the very beginning, sang soprano in our first programs, and established our very first children’s choir and educational initiatives. She remained one of the Chorale’s most ardent supporters for more than 44 years.

Brooke helped create the Desert Chorale’s original vision for a chamber choir that might take its place alongside the Santa Fe Opera, the Chamber Music Festival, and the many other extraordinary ensembles that fill Santa Fe with music. Over the decades, the Desert Chorale experienced ups and downs, but Brooke was always there, sponsoring

Your support ensures that the music and community we love will continue to flourish for generations to come. Gifts may be made by calling Anne Pearson at (505) 988-2282, ext. 7 or by visiting desertchorale.org/support. Thank you for your generous consideration.

Last but not least, I would also like to express my deepest appreciation to this year’s program book artists, Evelyne Boren and Jack Dunn, whose powerful artwork visually expresses our programmatic themes and enriches our season, and to Carlos Acosta of Acosta Strong Gallery for enabling this partnership.

Please come say hello on your way out! We would love to meet you and hear your reaction to the music. 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

concerts, helping commission new works, and developing the framework that has allowed the Chorale to attract stellar vocal artists from across the nation. She was a sweet, generous person, and she would drop everything to help a friend.

This summer, through a gift from our Endowment Fund, the Desert Chorale honors Brooke’s lifelong love of music by sponsoring the entire 2026 Summer Festival in her memory. We miss you, Brooke.

Photo by Paul Horpedahl

PERFORMANCE VENUES & 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 represent specific religious or cultural traditions, we celebrate the diversity of faith, thought, artistry, and human experiences represented by the music we perform. We hope that the experiences we share in these spaces bring us closer together, as we seek to be inspired by the power of great choral music.

Genoveva Chavez Community Center

3221 Rodeo Rd, Santa Fe, NM

Cathedral Basilica of St. Francis of Assisi

131 Cathedral Place, Santa Fe, NM

Cathedral of St. John

318 Silver Ave SW, Albuquerque, 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 us at (505) 988-2282 to inquire about lost items.

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.

“The road to care was difficult until we found the Cancer Foundation for New Mexico. Their support lifted many burdens for my family and me.”

Jimmy, Ohkay

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

• Travel to treatment

• Overnight lodging

• Nutritious food assistance

• Emergency financial assistance

• Professionally led support groups

• Clinically trained volunteer support during treatment

When cancer tests the spirit, faith and community bring strength.

Owingeh Pueblo, New Mexico Your generosity helps provide hope for every journey.

When the distance and cost of travel to care became overwhelming, the Cancer Foundation for New Mexico stepped in with assistance that helped Jimmy continue his treatment. Just as important, he found a community where traditions are respected, prayers are honored, and families are welcomed with compassion.

• Licensed Social Worker support and navigation

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

Richard G. Andrew

Murray Bern, M.D.

Douglas Brooks

Mary Delk

Jeffrey C. Fort, J.D.

Chris Frenk

Joshua Habermann*

Chelsea Helm,* Singer Representative

Stephen Hochberg

Christine M. Lorillard

Emma Marzen*

Fraser A. McAlpine

Carmen Paradis

Marianne Reuter

Todd Sickles

Alison Sowden

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

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

Rachelle Elbert, Patron Services Associate

Heather Lacy, Community Engagement Manager

Anne Pearson, Development Manager

Amanda Sidebottom, Operations Director

Mark Zero, Grants Manager

SEASONAL STAFF

Isabella Brewer, Summer Intern

Lillian Letiecq, Production Tech

Nicholas D. López, Summer Intern

Maria Perez, Summer Intern

Jordyn Tatum, Summer Intern

ARTISTIC SERVICES

8va Music Consultancy

Tira Howard, Photography

Sean Johnson, Mesa Creative Solutions

Zina Jundi, Adverti-Zing!

Matthew “Kabby” Kabakoff, Kabby Sound Studios

Enrico Lagasca, Digital Content Manager

Clarissa Lovato, Elevate Media

Taylor Washburn, Social Media Content

W 40th Media, Videography

ABOUT THE SANTA FE DESERT CHORALE

Founded in 1982 by Lawrence “Larry” Bandfield, the Santa Fe Desert Chorale has flourished as one of the longest-running professional music organizations in New Mexico. Praised by The Dallas Morning News as “a topnotch, 24-voice group…comprising the crème de la crème of professional choral singers from coast to coast,” the Desert Chorale is regarded as one of America’s most distinguished professional chamber choirs.

Performing in the historic Cathedral Basilica of St. Francis of Assisi in Santa Fe and other treasured venues throughout New Mexico, the Chorale has woven itself into the heart of the region’s cultural life. The organization’s annual Summer Festival has grown into one of the nation’s largest choral events, and the Chorale’s Winter Festival has become a beloved holiday tradition for thousands of locals and visitors.

The Desert Chorale works to excite, engage, and inspire diverse audiences with the beauty and power of great choral music. It brings together 24 exceptional professional singers from across the United States, carefully selected for their artistry, musicianship, and community mindedness. Under the artistic leadership of Joshua Habermann since 2008, the Chorale performs a rich and expansive repertoire spanning seven centuries, from early polyphony to vibrant contemporary works, and the Santa Fe New Mexican called the Desert Chorale “a rara avis in the choral music world.”

The ensemble has toured across the nation, performing in major cities including Dallas, Denver, Chicago, and Los Angeles. The Desert Chorale was honored to headline the 2025 National Conference of the American Choral

Directors Association at the Meyerson Symphony Center in Dallas, following a previous appearance at the ACDA National Conference in Salt Lake City in 2015.

The organization is deeply committed to championing contemporary composers. The Chorale has commissioned over 35 new works and premiered numerous additional pieces, fostering the vital creation of new choral music. Through the organization’s Commissioning Club, supporters have the opportunity to help select and fund a new commission annually.

The Desert Chorale’s commercial recording, The Road Home, debuted at No. 3 on the Billboard Classical Chart. The ensemble released their new album Roots & Rivers in June 2026, featuring new works by American composers written especially for the Chorale. Roots & Rivers is available on streaming platforms, as well as on CD and vinyl.

While nationally recognized, the organization is dedicated to building meaningful connections within its Northern New Mexican community. Since 2016, the beloved annual Santa Fe Sings! workshop has brought together music enthusiasts of all backgrounds to experience the joy of singing together under Habermann’s direction. Through the Insights & Sounds program, the Chorale offers free mini concerts for young people, thought-provoking symposiums exploring choral music, and dynamic workshops and masterclasses for high school students.

The Santa Fe Desert Chorale is a 501(c)(3) nonprofit organization.

Renaissance Splendor

Summer Festival Sponsor

The 2026 Summer Festival is underwritten in memory of Brooke Bandfield Taylor by the Santa Fe Desert Chorale Endowment Fund and The Founder’s Match Campaign (see page 49 for details).

Program Sponsor

Lynne Horning

Conductor

Joshua Habermann, Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

DISCOVER EUROPE’S MUSICAL MASTERPIECES

Journey back in time to the heart of Spain and Italy, where a resplendent world of Renaissance and Early Baroque music awaits. Twenty Desert Chorale artists—joined by theorbo, organ, and the early music ensemble Incantare—will transport you to the hallowed halls of grand cathedrals, the mountains and seasides of the Mediterranean, and beyond. Highlights include Monteverdi’s jubilant expressive Versa Est in Luctum of Juan Arañés’ Un Sarao de la Chacona

high C’s of Allegri’s famous Experience the breathtaking polyphony of these sacred and secular works, creating a captivating tapestry of interwoven melodies that will fill you with the same wonder felt by those who first heard these masterworks centuries ago.

Sunday, July 12, 2026 | 4 pm

Sponsored by Sheryl Kelsey and George Duncan

Tuesday, July 28, 2026 | 7:30 pm

RENAISSANCE SPLENDOR

Joshua Habermann, conductor

Plaudite - Giovanni Gabrieli (1557 - 1612)

Versa Est in Luctum - Alonso Lobo (1555 - 1617)

Beatus Vir - Claudio Monteverdi (1567 - 1643)

Shir Hamma’alot - Salamone Rossi (1570 - 1630)

Vidi Speciosam - Tomás Luis de Victoria (1548 - 1611)

Psalm 100, SWV 36 - Heinrich Schütz (1585 - 1672)

Miserere Mei, Deus - Gregorio Allegri (1582 - 1652)

Canzon Vigesimaseconda - Bastian Chilese (fl. 1608)

Bergamasca - Salamone Rossi

En Tanto Que de Rosa - Francisco Guerrero (1528 - 1599)

Suite of Dances - Salamone Rossi

Sinfonia, si placet

Correnta quarta

Brando primo

Gagliarda detta la Massara

Una Sañosa Porfía - Juan del Encina (1468 - c. 1529)

Amor con Fortuna - Juan del Encina

Un Sarao de la Chacona - Juan Arañés (d. 1649)

Incantare Early Music Ensemble

Underwritten by Richard and Chris Frenk

Cynthia Keiko Black, violin

Alice Culin-Ellison, violin

Liza Malamut, alto and tenor trombone

Ben David Aronson, tenor trombone

Garrett Lahr, bass trombone

Richard Savino, theorbo and baroque guitar

PROGRAM NOTES

Whether in the visual or performing arts, stylistic development often follows a recognizable pattern. A new idea is introduced and it finds some traction. Others are inspired by this new idea and adopt and adapt it, each in their own way. A style or movement is born and polished by composers in each successive generation, leading eventually to the full expression of the style in its most mature form, an artistically rich golden age. Eventually the human need for novelty reasserts itself. A new idea is introduced and the cycle begins anew.

It is in these times of stylistic flux that some of the most compelling art is made, where we simultaneously experience the perfection of an established style, as well as the birth of a new idea that will ultimately supplant it. Cultural and geographical factors play a part in this ecosystem, with more conservative cultures favoring the late-stage culmination of old styles, while more innovative environments invite the introduction of new ideas that challenge the status quo. These two trends enrich and challenge the other. In our program today we shine a light on Spain and Italy at the cusp of the 17th century, when the glory of the Spanish Renaissance was at its fullest expression. At the same time, the beginnings of a new Baroque period were being championed by composers in Venice and elsewhere, resulting in a uniquely varied musical culture, a rich buffet of music with something for every taste.

We open with one of our innovators, Giovanni Gabrieli, organist and Maestro di Cappella at St. Mark’s Cathedral from 1585 until his death in 1612. Late 16th-century Venice was the envy of the world, drawing enormous wealth from its position along trade routes between East and West. Riches flowed into government and church coffers and supported ambitious music programs, none more grand than St. Mark’s. Gabrieli, ambitious to use the forces at his disposal and the resonant acoustics of the cathedral, wrote large scale works combining voices and instruments such as his Plaudite, for 12 voices in three choirs. Each group has a unique role to play: a high voiced choir, a vocal quartet, and a large low voiced choir of voices and instruments. Gabrieli plays the choirs off each other, reserving the full 12 parts for special moments of maximum power. The voices of the Desert Chorale are joined by our artistic partners, Incantare, an ensemble of early music specialists dedicated to the performance of this unique repertoire.

Though lesser known to modern audiences than his teacher Victoria, in his day Alonso Lobo was considered among the greatest composers of Spanish sacred music. Written for the death of Phillip II in 1598, Versa est in

Luctum honors the fallen monarch with richly melodic lines and masterful counterpoint in six parts. The motet reflects a time when the Spanish Empire was at its apex, extending from Europe to the Americas, Africa and Asia. Similarly, Spanish courts were flush with riches from the colonies, and composers were writing sophisticated music that defined the pinnacle of renaissance polyphony.

Monteverdi published his Selva Morale e Spirituale in 1640-1641, but the psalm setting Beatus Vir, which appears in it, is believed to have been written some years earlier. All great composers borrow, and here Monteverdi borrows from himself by repurposing a lively violin melody from his secular duet Chiome d’Oro in this sacred setting. Likely heard in the sumptuous Vespers liturgies common at St. Mark’s in Venice, where Monteverdi worked for the final 3 decades of his life, the composer adds trombones, sometimes doubling the lower voices and sometimes striking out independently in the forward-looking style that defined the early Baroque. Voices and instruments are often grouped in duets, singing energetic and florid melodies over a charming ground bass that acts as a unifying element. Ever the madrigal composer, Monteverdi can’t resist painting the text in music, setting irascetur (“is angry”) in repetitive fast notes, aeternum (“eternity”) in long notes, and peribit (“shall perish”) in notes that fade away into silence.

A contemporary of Monteverdi, Salamone Rossi was employed by the Gonzaga family in Mantua as a violinist and composer. Rossi overwhelmingly composed secular music but in 1623 he published a collection of Jewish liturgical music: Ha-shirim asher li-Shlomo (The Songs of Solomon). This is the earliest known published collection of liturgical music in Hebrew, and a fascinating window into Mantua, where a vibrant Jewish community had lived for centuries. Shir Hamma'alot (Song of Ascents) is written in a thoroughly contemporary style indistinguishable from Christian and secular music of the day.

Our next two composers were not Italian, but traveled there to study and immerse themselves in the rich cultural life of the late Renaissance. Tomás Luis de Victoria left Spain as a teenager, and spent two decades in Rome, working as a singer, organist and maestro di cappella at various Roman churches. Victoria’s output is exclusively sacred, and he developed a compositional style that is widely praised for its deep emotional impact. Of Victoria’s many motets, Vidi Speciosam (I Beheld Her) is especially beloved for its lyrical writing and soaring phrases. The composer skillfully groups the six voices in different ways, sometimes three and three, and sometimes in unequal combinations highlighting high and low sounds. Some of the most beautiful music is produced at climactic moments when all six parts come together.

(continued on page 17)

On View

Inspired by sunlit coastlines and Santa Fe’s high-desert spirit, Solymar is a coastal kitchen centered on vibrant flavors, seasonal ingredients, and warm hospitality. Drawing inspiration from the Mediterranean and the coastal regions of North and South America, the menu blends fresh ingredients with bold, approachable cooking.

Our second immigrant to Italy, Heinrich Schütz (1585–1672), came from Germany to study under the Venetian master Giovanni Gabrieli, whose music kicked off this program. Unlike Victoria, who was rooted firmly in the Renaissance, Schütz came from a younger generation interested in the new Baroque style. Schütz’ setting of Psalm 100 (Jauchzet dem Herrn) is part of his larger collection Psalmen Davids published in 1619. In typical Venetian style, the works are strongly polychoral, combining contrasting groups that play with and off of each other, here with one choir of voices and the second echoing choir of instruments.

For our next piece we return to Rome, specifically the Sistine Chapel, site of the secret papal conclave, the extraordinary paintings of Michelangelo, and the justifiably famous Miserere Mei, Deus of Gregorio Allegri. Allegri was a prolific composer, but like so many musicians he was both blessed and cursed with having one huge hit for which he is primarily known today. Composed in 1638 for Holy Week services at the Papal Chapel, Miserere was recognized immediately as a masterwork. The Sistine Chapel Choir, which tended towards secrecy, closely guarded the scores. The mystique around the piece built, and over the years Allegri’s Miserere became one of a few truly famous choral works. This fame was enhanced by the tradition of ornamentation, in which singers improvised feats of virtuosity. In the case of Miserere one particular improvisation with repeated high C’s in the soprano was so effective that it became codified as the standard version, and was performed each Holy Week for more than 200 years. It is that version that we present here.

Though the church sought to prevent the music from falling into external hands, copies of Allegri’s beloved score eventually began to leak out. Mozart heard it and is said to have memorized and transcribed it in one hearing. There are similar stories about Mendelssohn and others, “stealing” the score from the Vatican. Whether these are tall tales or true events, our fascination with this piece speaks to the enduring power of sacred, and secret, music.

The members of Incantare are playing on period violins and trombones to come as close as possible to the sounds of the seventeenth century. The violinists are playing on gut strings with shortened Baroque bows. This allows them to emphasize the articulation, movement, and vocal qualities of the music. The trombones are sometimes referred to as “sackbuts” to differentiate them from their modern symphonic grandchildren. “Sackbut” comes from an old French word meaning “to push and to pull,” while “trombone” literally means “big trumpet” in Italian—but they are both the same! During this time period, bells were smaller, metal was thinner, and mouthpieces had flatter rims. This allowed them to blend with singers and violins.

Both violins and trombones were referred to as “alterable” instruments, meaning neither of them have frets, keys, or holes. Like singers, this allows us to tune spontaneously and achieve a rich composite sound.

Bastian Chilese’s Canzon Vigesimaseconda is an example of a common musical genre written for instruments in seventeenth-century Italy, made most famous by Giovanni Gabrieli. Chilese, while lesser known than Gabrieli, was active in Venice around the same time, producing several collections of ornate works for instruments. Guerrero’s En Tanto Que de Rosa is a beautiful Spanish madrigal written for voices but performed on instruments. En Tanto shows off the wonderful vocal capabilities of the instruments, allowing us to truly sing through them. Salamone Rossi was also a pioneer composer of instrumental works. Rossi revolutionized writing for the violin, leading to the invention of the trio sonata. His music was performed frequently by his musical ensemble, including his family, at the Gonzaga Court in Mantua, alongside Claudio Monteverdi and other renowned composers. The dances performed on this program highlight Rossi at his best, with complex rhythmic interplay and sparkling lines for the violins.

The Cancionero de Palacio is a collection of some 400 musical works of the Spanish Renaissance, dating primarily from the late 15th and early 16th centuries. The poet and composer Juan del Encina is represented with over 60 pieces, including Una Sañosa Porfía (A Cruel Fate), a lament sung by Boabdil, the last Muslim King of Granada, recounting the final days of Muslim power in Spain before the expulsion in 1492, when King Ferdinand and Queen Isabel ended more than seven centuries of Muslim presence in the Iberian Peninsula. The tone is dignified and ceremonial, befitting the portentous historical moment. Encina’s Amor con Fortuna is another lament, but cut from a different cloth entirely. Here, the poet bemoans his romantic struggles in an uneven meter that suggests the despair of a spurned lover. As with the Muslim King, fortune has turned cruel and the poet resorts to song to express his sorrow.

Our program closes with Un Sarao de la Chacona by Spanish composer Juan Arañés. The chacona, a dance of Latin American origin, became popular first in Spain, and eventually throughout Europe. The tuneful melodies and sometimes scandalous texts lend the chacona a popular, lighthearted character. Here a wedding feast is described, with dancing shepherdesses, brawling guests and even a recalcitrant donkey making appearances in what must have been quite a party.

— Joshua Habermann and Liza Malamut

Plaudite (sung in Latin)

Giovanni Gabrieli (1557 - 1612)

Plaudite, psallite, jubilate Deo, omnis terra— alleluia.

Benedicant Dominum omnes gentes, collaudantes eum— alleluia.

Quia fecit nobiscum Dominus misericordiam suam— alleluia.

Et captivam duxit captivitatem, admirabilis et gloriosus in saecula— alleluia.

— Psalms 66, 67, 68

Versa Est in Luctum (sung in Latin)

Alonso Lobo (1555 - 1617)

Versa est in luctum cithara mea et organum meum in vocem flentium. Parce mihi, Domine, nihil enim sunt dies mei.

— Job 30:31 and 7:16

Beatus Vir (sung in Latin)

Claudio Monteverdi (1567 - 1643)

Beatus vir, qui timet Dominum: In mandatis eius rolet nimis. Potens in terra erit semen eius; Generatio rectorum benedicetur. Gloria et divitiae in domo eius; Et justitia eius manet in saeculum saeculi. Exortum est in tenebris lumen rectis. Misericors, et miserator et justus. Jucundus homo qui miseretur et commodat.

Disponet sermones suos in judicio: Quia in aeternum non commovebitur. In memoria aeterna erit justus. Ab auditione mala non timebit. Paratum cor eius sperare in Domino;

Renaissance SplendorTEXTS & TRANSLATIONS

Clap your hands, sing praises, make a joyful noise to God all ye lands. Alleluia.

Let the people praise Thee, O God, let all the people praise Thee. Alleluia.

For God who made us has shown mercy unto us. Alleluia.

He has led captivity captive, wonderful and glorious for ever. Alleluia.

My harp is turned to grieving and my flute to the voice of those who weep. Spare me, O Lord, for my days are as nothing.

Blessed is the man who fears the Lord: He delights greatly in his commandments. His seed will be mighty on earth; The generation of the upright will be blessed. Wealth and riches are in his house; And his righteousness endures for ever and ever. Unto the upright there arises light in the darkness. He is gracious, full of compassion, and righteous. Happy is the man who has compassion and is generous. He will guide his affairs with discretion: Because he will not be moved for ever.

The righteous will be in everlasting remembrance. He will not be afraid of evil tidings.

His heart is fixed, trusting in the Lord;

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Confirmatum est, cor eius: Non commovebitur, Donec despiciat inimicos suos. Dispersit, dedit pauperibus: Justitia eius manet in saeculum saeculi, Cornu eius exaltabitur in gloria. Peccator videbit, et irascetur; Dentibus suis fremet et tabescet. Desiderium peccatorum peribit.

Gloria patri, Gloria et Filio, Gloria et Spiritui Sancto, Gloria sicut erat in principio, Gloria et nunc et semper, Gloria et in saecula saeculorum, Amen.

— Psalm 112, Vulgate

Shir Hamma’alot (sung in Hebrew)

Salamone Rossi (1570 - 1630)

Shir hamma’alot.

Ashre kol y’re adonai haholech bidrachav Yagia kapecha ki tochel ashrecha v’tovlach Esht’echa k’gefen poriya b’yark’tei vetecha Hanecha kishtilei zeitim saviv l’shulhanecha. Hineichi echen y’vorech gaver y’re Adonai Y’varech’echa Adonai mitsiyon ur’eb’tuv Y’rushalayim kol y’mei chayecha. Ur’e vanim l’vanecha Shalom al Yisrael.

— Psalm 128

Vidi Speciosam (sung in Latin)

Tomás Luis de Victoria (1548 - 1611)

Vidi speciosam sicut columbam ascendentem desuper rivos aquarum, cuius inaestimabilis odor erat nimis in vestimentis eius; et sicut dies verni circumdabant eam flores rosarum et lilia convallium.

Quae est ista quae ascendit per desertum sicut virgula fumi ex aromatibus myrrhae et thuris?

— Responsory for the Assumption of the Virgin; from Song of Songs from the Latin Vulgate

His heart is established: He will not be moved, Though he may face his enemies. He has shared, he has given to the poor: His righteousness endures for ever and ever, His soul will be exalted with honor. The sinner will see it, and will be angry; He will gnash with his teeth. The desires of the wicked shall melt away.

Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, is now, and ever shall be, world without end. Amen.

A song of ascents. Blessed are all that fear the Lord and walk in his ways. You will eat the labor of your hands, happy and blessed. Your wife shall be as the fruitful vine in your house. Your children like the olive-branches around your table. Lo, thus shall the man be blessed: that fears the Lord. The Lord from out of Zion shall so bless you: that you will see Jerusalem in prosperity all thy life long. You will see your children’s children. Peace be upon Israel.

I beheld her, beautiful as a dove rising above the waterbrooks, whose incomparable fragrance was strong in her garments; and as on a spring day she was circled about by flowers of roses and the lily of the valley.

Who is this, rising from the desert like fragrant smoke of frankincense and myrrh?

Psalm 100, SWV 36 (sung in German)

Heinrich Schütz (1585 - 1672)

Jauchzet dem Herren alle Welt. Dienet dem Herren mit Freuden. Kommt vor sein Angesicht mit Frohlocken. Erkennet dass der Herre Gott ist. Er hat uns gemacht, und nicht wir selbst, zu seinem Volk und zu Schafen seiner Weide.

Gehet zu seinen Thoren ein mit Danken. Zu seinen Vorhöfen mit Loben. Danket ihm, lobet seinen Namen. Denn der Herr ist freundlich und seine Gnade währet ewig und seine Wahrheit für und für.

Ehre sei dem Vater, Ehre sei dem Sohn, Und auch dem heilgen Geiste, Wie es war im Anfang, Jetzt und immerdar, Und von Ewigkeit zu Ewigkeit.

Amen.

— Psalm 100:1-5; Luther Translation

O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song. Be ye sure that the Lord he is God; it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture. O go your way into his gates with thanksgiving, and into his courts with praise; be thankful unto him, and speak good of his name. For the Lord is gracious, his mercy is everlasting; and his truth endureth from generation to generation.

Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, is now, and ever shall be, world without end.

Amen.

Miserere Mei, Deus (sung in Latin)

Gregorio Allegri (1582 - 1652)

Miserere mei, Deus, secundum magnam misericordiam tuam; et secundum multitudinem miserationum tuarum, dele iniquitatem meam.

Amplius lava me ab iniquitate mea: et a peccato meo munda me.

Quoniam iniquitatem meam ego cognosco, et peccatum meum contra me est semper.

Tibi soli peccavi, et malum coram te feci; ut justificeris in sermonibus tuis, et vincas cum judicaris.

Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea.

Ecce enim veritatem dilexisti; incerta et occulta sapientiae tuae manifestasti mihi.

Asperges me hyssopo, et mundabor; lavabis me, et super nivem dealbabor.

Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.

Averte faciem tuam a peccatis meis, et omnes iniquitates meas dele.

Cor mundum crea in me, Deus, et spiritum rectum innova in visceribus meis.

Ne projicias me a facie tua, et spiritum sanctum tuum ne auferas a me.

Redde mihi laetitiam salutaris tui, et spiritu principali confirma me.

Docebo iniquos vias tuas, et impii ad te convertentur.

Libera me de sanguinibus, Deus, Deus salutis meae, et exultavit lingua mea justitiam tuam.

Domine, labia mea aperies, et os meum annuntiabit laudem tuam.

Quoniam si voluisses sacrificium, dedissem utique; holocaustis non delectaberis.

Sacrificium Deo spiritus contribulatus; cor contritum et humiliatum, Deus, non despicies.

Benigne fac, Domine, in bona voluntate tua Zion, ut aedificentur muri Jerusalem.

Tunc acceptabis sacrificium justitiae, oblationes et holocausta; tunc imponent super altare tuum vitulos.

— Psalm 51; Latin Vulgate

Have mercy upon me, O God, according to your unfailing love do away mine offences.

Wash me throughly from my wickedness: and cleanse me from my sin.

For I acknowledge my faults: and my sin is ever before me.

Against thee only have I sinned, and done this evil in thy sight: thou art justified in your verdict, and right when thou come as judge.

Behold, I was shapen in wickedness: and in sin hath my mother conceived me.

But lo, thou requirest truth in my heart: and shalt reveal secret wisdom to me.

Thou shalt purge me with hyssop, and I shall be clean: thou shalt wash me, and I shall be whiter than snow.

Thou shalt make me hear of joy and gladness: that the bones which thou hast broken may rejoice.

Turn thy face from my sins: and put out all my misdeeds.

Make me a clean heart, O God: and renew a right spirit within me.

Cast me not away from thy presence: and take not thy holy Spirit from me.

O give me the comfort of thy help again: and establish me with thy free Spirit.

Then shall I teach thy ways unto the wicked: and sinners shall be converted unto thee.

Deliver me from blood-guiltiness, O God, thou that art the God of my health: and my tongue shall sing of thy righteousness.

Thou shalt open my lips, O Lord: and my mouth shall show thy praise.

For thou desirest no sacrifice, else would I give it thee: but thou delightest not in burnt-offerings.

The sacrifice of God is a troubled spirit: a broken and contrite heart, O God, shalt thou not despise.

O be favourable and gracious unto Zion: build thou the walls of Jerusalem.

Then shalt thou be pleased with the sacrifice of righteousness, with the burnt-offerings and oblations: then shall they offer young bullocks upon thine altar.

Una Sañosa Porfía (sung in Spanish)

Juan del Encina (1468 - 1529/30)

Una sañosa porfía sin ventura va pujando

Ya nunca tuve alegría ya mi mal se va ordenando.

Ya fortuna disponía quitar mi próspero mando

Qu’el bravo León d’España mal me viene amenazando

Su espantosa artillería

Los adarves derribando mis villas y mis castillos mis ciudades va ganando.

— Anonymous; Lament of Boabdil the last Moorish king of Granada, 1492

Amor con Fortuna (sung in Spanish)

Juan del Encina

Amor con fortuna me muestra enemiga, no se que me diga No se lo que quiero, pues busqué mi daño Yo mesmo m’ engaño, me meto do muero Y muerto no espero salir de fatiga, no sé qué me diga

Amor me persigue con muy cruda guerra Por mar y por tierra fortuna me sigue

¿Quién hay que desligue amor donde liga?

No sé qué me diga

Fortuna traidora me hace mudança que siempre empeora Jamas no mejora mi suerte enemiga, no sé qué me diga

— Cancionero de Palacio (16-century Spanish songbook)

A furious struggle

A dark cloud approaches. I have never known joy; My terrible fate is sealed.

Fortune has disposed to remove my prosperous authority, for the brave Lion of Spain comes to menace me with evil.

With his terrible artillery destroying my walls, he is conquering my towns, my castles, and my cities.

Fortune and love have proven themselves my enemies, how could this be?

I am lost, for I have sought my own ruin I deceive myself, and place myself in death’s path Yet death brings no relief, how could this be?

Love persecutes me, it treats me roughly On sea and on land bad luck follows me Who can untie love’s entanglements? How could this be?

Treasonous love works its spell that makes things worse, never better my ill-fate is sealed. How could this be?

Un Sarao de la Chacona (sung in Spanish)

Juan Arañés (d. 1649)

Un sarao de la chacona se hizo el mes de las rosas

Hubo millares de cosas

y la fama lo pregona

A la vida, vidita bona, vida vámonos a chacona.

Porque se casó Aldamán se hizo un bravo sarao

Dançaron hijas de Anao con los nietos de Milán

Un suegro de Don Beltrán y una cuñada de Orfeo

Començaron un guineo y acabolo una Amaçona

Y la fama lo pregona: A la vida, vidita bona, vida vámonos a chacona.

Salió la çabalagarda con la mujer del encenque

Y de Zamora el palenque con la pastora Lisarda

La mézquina Doña Albarda, trepó con pasta a Gonzalo

Y un ciego dió con un palo tras de la braga lindona

Y la fama lo pregona:

A la vida, vidita bona, vida vámonos a chacona.

Entraron treinta Domingos con veinte lunes a cuestas

A dance party was held in the month of roses

It afforded thousands of pleasures, and was famed far and wide Here’s to the good, sweet life, let’s dance the chacona.

For Aldamán’s wedding a great party was held

The daughters of Aeneus danced with the grandchildren of Milan

The father-in-law of Beltrán and the sister-in-law of Orpheus

Started a guinea dance, which was finished by an Amazon

And it was famed far and wide Here’s to the good, sweet life, let’s dance the chacona.

Then came the row with the infirm man’s wife And from Zamora the craziness with the shepherdess Lisarda

The nasty lady Albarda tripped and hit Gonzalo with a pie

And a blind man used a cane to whack her pretty panties

And it was famed far and wide: Here’s to the good, sweet life, let’s dance the chacona.

In came thirty Sundays, with twenty Mondays on their shoulders

Homecoming

Summer Festival Sponsor

The 2026 Summer Festival is underwritten in memory of Brooke Bandfield Taylor by the Santa Fe Desert Chorale Endowment Fund and The Founder’s Match Campaign (see page 49 for details).

Program Sponsor

Elaine Wang Meyerhoffer

Conductor

Joshua Habermann, Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

2026 Moira Smiley Commission and Residency

Underwritten by Susan Esco Chandler and Alfred ‘Appy’ Chandler

2026 Shawn Kirchner Commission

Underwritten by Mary and Phil Delk in memory of Joel Brauer

2026 Shavon Lloyd Commission

Underwritten by the Santa Fe Desert Chorale Commissioning Club

FAMILIAR SIGHTS & NEW HORIZONS

Marking our nation’s 250th anniversary, this program celebrates the rich yet familiar sounds of American roots choral music. Twenty-four professional vocalists from across the country—joined by piano, violin, and cello—unite to perform fresh compositions by Shawn Kirchner, Shavon Lloyd, and Moira Smiley, who will be a guest soloist on her work. These celebrated composers, known for their masterful blending of classical choral traditions with American folk influences, will explore themes of community and belonging. Alex Berko’s Sacred Place has quickly become an international choral phenomenon. His multi-movement work interweaves the structure of a Jewish service with environmental texts, reflecting on the beautiful world we call home. Rounding out this program is the premiere of Cranes Coming Home by emerging composer Taja Astar, winner of Chicago a cappella’s HerVoice competition. Find your own sense of home within this inspiring evening.

Sunday, July 19, 2026 | 4 pm

Co-sponsored by Roxanne Howe-Murphy and James Murphy, and Laurie Meyer in memory of Dick Meyer

Friday, July 24, 2026 | 7:30 pm

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

Sunday, August 2, 2026 | 4 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. Bradley Naylor

Sponsored by Carmen Paradis and Brian McGrath

All concerts will be held at the Cathedral Basilica of St. Francis of Assisi.

Page 26: New Mexico Morada Galisteo by Evelyne Boren, Acosta Strong Fine Art Gallery

Page 27: Artwork by Olga Tamkovich

HOMECOMING

Joshua Habermann, conductor

Sacred Place - Alex Berko (b. 1995)

1. Opening Prayer

2. Amidah

3. Shema

4. Mi Shebeirach

5. Kaddish

6. Closing Prayer

Cranes Coming Home - Taja Astar (b. 1974)

The Guest House - Shavon Lloyd (b. 1997)

Underwritten by the Santa Fe Desert Chorale Commissioning Club

The Great Refuge - Shawn Kirchner (b. 1970)

Underwritten by Mary and Phil Delk in memory of Joel Brauer

1. Jesus, Lover of My Soul

2. I Will Arise and Go to Jesus

3. Many Mansions/Come, Thou Fount

Home - Moira Smiley (b. 1976)

Underwritten by Susan Esco Chandler and Alfred ‘Appy’ Chandler

1. Summer Night

2. Home: No Harm

3. Summer Grass

4. Home: Earthly

David Felberg, violin

Sponsored by Sheryl Kelsey and George Duncan

Amy Huzjak, cello

PROGRAM NOTES

American Homecoming

Over its four-plus decades, the Santa Fe Desert Chorale has been a leading champion of new choral music. The Chorale has given dozens of premieres, and commissioned over 35 pieces, many of which have moved into the repertoire of other choral ensembles around the United States and beyond. In this program celebrating the 250th anniversary of our founding, four of the five works are receiving their world premiere. Alex Berko’s Sacred Place was written in 2023 and is almost as new. This is all fresh music, written by some of our most exciting and innovative living composers.

All but one of these writers are American, and though each has a distinct compositional voice, there is a throughline, a rootedness that connects them like different plants springing from the same fertile soil. We hear an openness to cross pollination, where classical choral idioms join hands with historical hymns, folk music, and musical theater in a way that is quintessentially American. This shared musical language is as wide-ranging as the American people itself, and a product of the mixing of cultures that makes us unique.

Our fifth composer, Taja Astar, is a Ukrainian immigrant living in Sweden. Taja’s composition Cranes Coming Home was the winner of the HerVoice competition sponsored by our artistic partner Chicago a cappella. Like her American colleagues Taja explores the concept of shelter, in her case in an adopted country where she is seeking safety from the violence consuming her native land. Each of these composers has something unique to say about home and homecoming. Let’s hear them in their own words:

Alex Berko on Sacred Place

Sacred Place is an ecological service that connects the old with the new, the sacred with the secular, and the individual with their community. The outline of the work is a Jewish service. However, rather than Jewish prayers, the text is made up of various writers and thinkers who speak of the environment as a place of safety, comfort, and beauty. It is at times a meditation and at times an impassioned prayer for the world we inhabit and share.

Opening Prayer and Closing Prayer use the same serene Wendall Berry passage from the poem “The Porch Over the River.” Amidah (to stand) uses snippets of a letter written by John Muir to Theodore Roosevelt asking him to meet at Yosemite National Park. Muir pleads Roosevelt to “stand” with him in preserving this land. Shema (to listen) uses a poem by William Stafford who urges us to listen to what the earth is saying. Mi Sheberach (a prayer for the sick)

is the only English translation of the Hebrew prayer in the work. In the Jewish service, the Mi Sheberach is often the emotional peak as it asks for the congregation to pray for those in need of healing. I view this movement as a call to action for us as inhabitants of the earth to do our part to heal it. Finally, Kaddish (a prayer for the dead) uses a very short line from the Bengali writer Rabindranath Tagore speaking about the sunset as a metaphor for remembering those who are no longer with us.

The title “Sacred Place” holds many meanings. Each writer that I have chosen views the earth as sacred. They speak of us as inhabitants, as visitors. Without the earth, there is no us. It is not a coincidence that a piece framed in a Jewish service was premiered in a Lutheran church and will be performed today in a Catholic cathedral. I find it beautiful that the audience will be entering one sacred space with its own history and religious traditions and experiencing elements of another culture’s service. There is a deep unifying power in collective listening that transcends a single person or a single group’s traditions. I am thinking about the concept of the “service” in the broadest sense: coming together to sit, listen, breathe, and understand. The audience is entering a sacred space within themselves, silently resonating with those around them.

Taja Astar on Cranes Coming Home

Looking for inspiration for a new song, my partner and I came across information about Lake Hornborga in Western Sweden. Thousands of birds come there every year in March on their way up north, back to their nesting grounds. We read the story of how the lake had nearly been lost; and how it was brought back to life half a century later. We watched videos of cranes dancing— majestic, and at the same time gracefully childish. It is for a reason that the crane is a symbol of youth and happiness!

We listened to their calls, and smiled at our own memories. To those who live in the North, a sight of cranes’ flight in the vernal sky is like a promise of warmth coming back, their call—like a demanding cry of life awakening. And we wanted it all to be contained in our song: the joy of coming home, the joy of welcoming spring, the merry dancing—but also the worry of all migrating creatures about not being able to find home. Being migrants ourselves, we know what it feels like.

Shavon Lloyd on The Guest House

The Guest House is inspired by the poem of the same name by the 13th-century Persian mystic Jalal al-D n Muhammad Rum , which imagines the human soul as a house continually visited by unexpected emotional guests. Joy, sorrow, anger, grief, and wonder arrive without warning, and the poem invites us to greet each one with

curiosity rather than resistance. The work begins with a feeling of anticipation. Individual voices gradually emerge, offering fragments of sound and emotion that accumulate into a shifting choral landscape. These layered entries mirror the unpredictable way emotions surface within us, overlapping and interacting before we fully understand them.

A baritone soloist serves as the work’s voice of awareness and guidance. Through its text and musical line, the baritone offers moments of reflection that illuminate the emotional landscape unfolding within the choir. Rather than narrating events directly, the soloist provides perspective, encouraging recognition and acceptance of the many “guests” that arrive. In this role, the baritone functions as a guiding presence, helping us move toward a deeper understanding of the wide spectrum of emotions that shape our inner lives.

Between the choir and the baritone, a solo violin functions as a musical bridge. Moving fluidly between the choral texture and the baritone line, the violin connects these two perspectives. At times it echoes or anticipates the choir’s emotional currents; at other moments it responds to the baritone’s reflections. In doing so, the violin embodies the subtle space between feeling and understanding, linking collective expression with personal insight.

Shawn Kirchner on The Great Refuge

We all have a need for embrace and assurance amidst the storms of life. When I visited St. Petersburg in 2010, I was struck by the long lines of Russian Orthodox believers waiting to venerate an icon of Theotokos “Mother of God,” the Mary of the Eastern church. I felt their longing for assurance, and the phrase “The Great Refuge” came into my mind — the idea that all religions are offering a “resting place” of assurance and mercy. From the smile of Buddha, to the gentle face of Mary, to the old hymns sung by my grandma and mom as they washed dishes, the great traditions are all offering a sense of safety, a spiritual home.

So, when I came across an old hymnal that had a version of the Charles Wesley hymn I was drawn to the first line. “Jesus, Lover of my soul, let me to your bosom fly.” The hymn expressed in that first line the essence of what any child (and the child within any adult) wants in times of trouble: a loved one to “fly to” — to be caught up in their comforting arms. The background of the hymn also struck me as providential. Wesley was on a ship with a large contingent of Moravian refugees on their way to America when there was a tremendous storm that threatened to sink the boat. Many passengers were paralyzed with fear, but the Moravians sang hymns throughout the entire storm and remained calm. Wesley considered it perhaps the

single most important turning point in his life, and it seems likely that this hymn is his testament to that very moment.

I had been wanting to write The Great Refuge for years, but I needed more than a single movement to fulfill my vision for the piece, so I sought out other hymn sources. Realizing that if I wanted to talk about embrace, estrangement is the other side of that notion, and the story of the Prodigal Son came to mind as the quintessential example of estrangement and reconciliation. I knew the old Shape Note melody and the hymn lyrics “Far, far away from my loving father” with the refrain “I will arise and go to Jesus, he will embrace me in his arms...” I took considerable liberties with the inherited lyrics of that hymn.

Prior to the Prodigal Son movement, I wanted to include an intimate instrumental interlude to depict a loving embrace, like a parent in a tender moment with an infant child, or two lovers, or close friends in gentle conversation. The violin and cello very intimately play together, in close thirds and sixths, eventually blooming in their conversation into a joyous back and forth before returning to the quiet intimacy of the opening. The beauty of closeness and connection sets up estrangement in the Prodigal Son movement, culminating in a “reconciliation scene” where the lost child returns home to the loving embrace of their family.

After the reconciliation, all that is left to show musically is the fullness of the embrace, the “cup running over” at the feast of welcome. So, for the final movement, I use a new original tune for Come, Thou Fount of Every Blessing that I have named “Ivan’s Stream” in memory of a close friend’s departed father. I wanted to show the extravagance of the welcome and also the richness and plenty of coming home. So, instead of the traditional Come Thou Fount first verse, I penned a new verse, (utilizing various often-heard scriptural references, as well as expanded imagery, and small quotes from the original text).

Verse two comes mainly from the original Come, Thou Fount, with an important exception. Instead of “He to rescue me from danger, interposed his precious blood,” I used Good Samaritan imagery — letting that be an image for “Jesus, lover of the soul” — the one who wouldn’t hesitate to stop and help if you were lying wounded and robbed on the roadside. I also tucked in other “comfort hymn” phrases from Amazing Grace and Leaning on the Everlasting Arms

I like how in that final verse of the original Come, Thou Fount, that the perennial problem is named: We’re all “prone to wander.” We might find a moment’s peace, but then we suffer a new upset, so there is an ever-present seeking for that elusive center. There will always be that inner prayer arising, “Let me to thy bosom fly.” So, after

the Come Thou Fount denouement, I let the violin and cello lead us back to just a small quote from the “Jesus, Lover of My Soul” material that opened the piece. We’ve had an “away moment” — forgetting the troubles of the world for a short time, but the world is still here, things haven’t been magically all fixed. We must enter back into it, but we return having had the strengthening embrace. Having had a home-cooked meal and being warmed by the fire, we can go back and face life with a calm heart and a cup filled to overflowing.

Moira Smiley on Home

As I spoke with SFDC’s Artistic Director, Josh Habermann, about the ensemble’s 2026 themes of “home” and American traditions for the 250th anniversary of the country’s founding, I initially imagined writing a piece about Santa Fe’s role in that larger story: A crossroads, an oasis, a lookout point in the history and geography of the United States. I began researching Santa Fe’s distinctive landforms, weather patterns, and historical moments that shaped the region as it influenced the wider world around it. But as 2025 unfolded I felt called to write something that responded more directly to the moment. I set aside my earlier sketches and began walking, improvising, recording, and reading my way toward a piece that could speak to both upheaval and the actions that rebuild and rethink home.

As I wrote Home, I imagined the glistening sound of these exquisite singers reverberating in a cool interior of Santa Fe in a high-desert summer night. That setting for sacred, secluded beauty-sharing became an important “writing partner”. Instead of the anthems and simple songs I would write and lead for gatherings of solidarity and participatory hope, I could write complex, subtle layers of music and emotion into the safety of a sanctuary that celebrated, even expected spaciousness and the hush of consideration.

Across the four movements, the perspective of “home” gradually widens. Each piece settles deeper into an emotional wisdom, exploring the ideas that allow me not only to feel what home is, but to actively create it for those around me who are more vulnerable. Two extraordinary quotes kept drawing my attention upward, away from despair and toward hope and action:

“You only are free when you realize you belong no place — you belong every place — no place at all. The price is high. The reward is great.” — Maya Angelou

“The children are always ours, every single one of them.” — James Baldwin

These words helped my lyrics move through sadness and anger toward wider visions of time and space. Throughout

2025 I also read many haiku, seeking the same shift in perspective: a way of walking through hopelessness into a sanctuary of humanity and attention. The simple settings of these short texts act for me as a cooling and deepening of listening. The first movement welcomes us into a whispering night, simmering with quiet openness. The second haiku, which is the third movement of the piece, invites us into waves of memory and emotion, bearing witness to nature slowly healing over the places of human battle and folly.

The second movement, Home: No Harm begins the conversation between balance and belonging, and my desperation as I see destruction of our many-faceted, creaturely senses of home. I list out all the kinds of homes and feelings about home. I delighted in images of our tiny earth in the suburb (Orion's Arm) of a vast galaxy and marveled at the cosmic, ever-changing balance between the planets and other bodies in our incomprehensibly large universe ‘home’. I’ve taken comfort in Maya Angelou’s words to embrace and expect change while seeking to create belonging for myself and others.

The fourth movement, Home: Earthly started as a fullthroated lament! I recorded three verses that voiced my anger and collective anger at the greed and shortsightedness that creates most human suffering, especially the unspeakable wars of our present day. Once I recorded and expressed these verses and vocally improvised the lines that would evolve into the violin and cello lines, I could start rewriting and pulling myself into more constructive reflecting. I knew this would be the final piece in the set, and so it needed to express the core reasons for building safe, accountable societies despite the monstrousness we also share as human beings. James Baldwin’s luminous words about caring for the wellbeing of all children refocused me on why we must keep rebuilding the idea, and the reality, of home.

— Joshua Habermann and composers

Homecoming TEXTS & TRANSLATIONS

Sacred Place

Alex Berko (b. 1995)

1. Opening Prayer

In the dusk of the river, the wind gone, the leaves grow still— The beautiful poise of lightness, The heavy world pushing toward it.

— Wendell Berry (b. 1934)

2. Amidah

“How softly these mountain rocks are adorned, and how fine and reassuring the company they keep – their brows in the sky, their feet set in groves and gay emerald meadows, a thousand flowers leaning confidingly against their adamantine bosses, while birds bees butterflies help the river and waterfalls to stir all the air into music – things frail and fleeting and types of permanence meeting here and blending as if into this glorious mountain temple Nature had gathered her choicest treasures, whether great or small to draw her lovers into close confiding communion with her.”

— John Muir (1838 - 1914) to Teddy Roosevelt (on preserving Yosemite National Park)

3. Shema

The earth says have a place, be what that place requires; hear the sound the birds imply and see as deep as ridges go behind each other.

The earth says every summer have a ranch that’s minimum: one tree, one well, a landscape that proclaims a universe - sermon of the hills, hallelujah mountain, highway guided by the way the world is tilted, reduplication of mirage, flat evening: a kind of ritual for the wavering.

The earth says where you live wear the kind of color that your life is and by listening with the same bowed head that sings draw all things into one song, join the sparrow on the lawn, and row that easy way, the rage without met by the wings within that guide you anywhere the wind blows.

Listening, I think that’s what the earth says.

— William Stafford (1914 - 1993)

4. Mi Shebeirach

May the source of strength

Who blessed the ones before us

Help us find the courage to make our lives a blessing

And let us say Amen.

Bless those in need of healing with r’fuah sh’leimah

The renewal of body, the renewal of spirit

And let us say Amen.

— Mi Shebeirach by Debbie Friedman and Drorah Setel

5. Kaddish

“Let my thoughts come to you, when I am gone, like the afterglow of sunset at the margin of starry silence.”

— Rabindranath Tagore (1861-1941)

6. Closing Prayer

In the dusk of the river, the wind gone, the leaves grow still—

The beautiful poise of lightness, The heavy world pushing toward it.

— Wendell Berry (b. 1934)

Cranes Coming Home

Taja Astar (b. 1974)

The sky’s a piercing call again

Deep in the blue, a flight of cranes

They’re coming back home, home

The North is hatching from its sleep

The drifting skeins like sailing ships

They carry spring home, home

They crave to dance on their lakes of birth

They call in joy, and the earth whispers below, I’m waiting

The sky’s a longing call again I fly up high, I am a crane

I’m seeking my home, home

(continued on page 34)

I’m friends with every southern wind They kissed my wings, so I could bring their love to you home, home

Wait for me

I will dance for you Whisper below, I’m waiting

— Anna Astar (b. 1981)

The Guest House

Shavon Lloyd (b. 1997)

This being human is a guest house. Every morning a new arrival. A joy, a depression, a meanness, some momentary awareness comes as an unexpected visitor. Welcome and entertain them all!

Even if they’re a crowd of sorrows, who violently sweep your house empty of its furniture, still, treat each guest honorably. He may be clearing you out for some new delight.

The dark thought, the shame, the malice, meet them at the door laughing, and invite them all. Be grateful for whoever comes, because each has been sent as a guide from beyond.

— Jalal al-D n Muhammad Rum (1207-1273); Translated by Coleman Barks (1936-2026)

In Celebration of Homecoming

Roxanne Howe-Murphy’s book, The Four Sacred Portals, is medicine for the soul and a light for the journey ahead. — Dr. Deborah Threadgill Egerton

JOIN US FOR OUR 49TH SEASON!

2026-27 SEASON

Santa Fe, New Mexico

Dr. George Case, Music Director

Oct 10 & 11, 2026 Our Transcendental Passion, A concertlength Passion to celebrate the 250th anniversary of America’s independence

Dec 5 & 6, 2026 Carols and Lullabies of the Southwest, Conrad Susa’s masterpiece and other Spanish carols

Mar 13 & 14, 2027 Song of Songs, Works of great world religions

May 29 & 30, 2027 Shakespeare, Set to music by England’s and America’s great composers

Photo: Kitty Leaken

The Great Refuge

Shawn Kirchner (b. 1970)

1. Jesus, Lover of My Soul

Jesus, lover of my soul, Let me to thy bosom fly, While the nearer waters roll, While the tempest still is high; Hide me, O my Savior, hide, Till the storm of life is past; Safe into the haven guide, O receive my soul at last! Other refuge have I none; Hangs my helpless soul on thee; Leave, ah! leave me not alone, Still support and comfort me. All my trust on thee is stayed, All my help from thee I bring; Cover my defenseless head With the shadow of thy wing.

— Charles Wesley (1707-1788)

2. I Will Arise and Go to Jesus

Far, far away from my loving father, I had been wandering, wayward, wild, Squandering all I had been given Left to beg like an orphan child.

Fain had I fed on the husks around me, Till to myself I came, and said, “Plenteous are my mother’s tables; Perish I for want of bread.”

Refrain

I will arise and go to Jesus, He will embrace me in his arms. In the arms of my dear Savior, Oh, there are ten thousand charms.

I will arise, though faint and weary, To my home I now will go. Woe to me that ever wandered, Ah, that I such need should know.

“Father,” I’ll say, “I have gone against thee, Mother, I know I’ve made you cry Make me only as thy servant; As befits a wretch as I.”

Refrain

Interlude:

Father, I stretch my hands to Thee; None other help I know. If Thou withdraw Thyself from me, Whither shall I go?

Then I arose, to my dear ones turning,

Mercy amazing! Love unknown! While yet far off, they beheld me, Running came to bid me home, Richest robes wrapped ‘round my shoulders, Tenderly called me their own.

Refrain

— Anonymous (adapted)

3. Many Mansions/Come, Thou Fount

Many mansions has my Father, In his house are many rooms, Mother’s fields are ripe to gather, And her gardens rich with blooms. Welcome tables laid in plenty, Cups of blessing, ever raised; For this mercy without measure I must sing my loudest praise.

Here I find my dearest treasure Hither by thy help I’m come, And I hope, by thy good pleasure, Safely to abide at home. Jesus sought me when a stranger, Bound my wounds and healed my harms, Let me lean, through toil and danger, On his everlasting arms.

O to grace how great a debtor Daily I’m constrained to be, Let thy mercy like a fetter Bind my wandering heart to thee. Prone to wander, Lord, I feel it, Prone to leave the God I love: Here’s my heart, O take and seal it, Seal it for thy courts above.

Jesus lover of my soul, Till the storm of life is past Let me to thy bosom fly. O receive my soul at last.

— Shawn Kirchner (b. 1970) vs.1 / Robert Robinson (1735 - 1790) vs. 2, 3 (adapted)

Home

Moira Smiley (b. 1976)

1. Summer Night

Summer night, even the stars are whispering.

— Kobayashi Issa (1863-1828)

Translated by Robert Hass (b. 1941)

2. Home: No Harm

Our world spins through her home of stars Leaning on Orion’s Arm. Each night a pledge To Venus, Mars: stay the course & do no harm.

Home, under trees, home by the fire

Home in a voice, home in desire.

Home, very still, home in the soil

Home, a big bill, home after toil

Home under metal, home in the flock

Home from the battle, home on the rocks.

Home in your arms, home like a mother Home your heart warms, hold one another.

Can you hear the raven call?

We touch and breathe the earth & sky Home in our senses, all in flight. Migrating flocks & herds & storms: The pulse of life in every form. For we are…

Home on the prairie, home in the stars (Home in the desert, under the stars)

Home that you carry, home from the wars.

Home that you left, home that you mourn,

Home far away from where you’re born.

Home under metal, home in the flock

Home from the battle, home on the rocks.

Home someone took, home in my body, Home feeling shook; I don’t want to look – look.

Home in your arms, home like a mother Home your heart warms, hold one another.

Can you hear the siren call?

Home. Our world spins through her home of stars She’s leaning on Orion’s Arm. Each night a pledge To Venus, Mars to stay her course & do no harm.

To our home do no harm.

4. Home: Earthly

Can we give them a sweet home? Can we give them a sweet homecoming?

We come into this earthly home

We are the stardust, part of a whole trust

Between all of earth’s living beings… here we have all that we need.

Can we give them a sweet homecoming?

Can we give them a sweet home?

We are born in(to) uneasy times Blind hawks and hunger here at the edge of An end we cannot comprehend, an end we did not intend. We need wisdom to mend.

Can we leave them this earthly home?

Child in the meadow, the bee in the shadow of oak trees we’ll never see grown

Can we give them sweet home?

Can we give them a sweet homecoming?

Can we give them a sweet home and dignity for all?

Can we give them a sweet home? The children are always ours!

Every single child, every chance for wisdom to carry on.

Can we give them a chance for wisdom?

Can we give to future generations, can we give them a sweet home and dignity for all?

The children are always ours!

Every single child, every chance for wisdom to carry on and grow in us, guide us?

May wisdom our living trust grow in us, guide us? Guide us in our earthly home.

— Moira Smiley

3. Summer Grass

Waves of summer grass: All that remains of soldiers’ impossible dreams.

— Matsuo Basho (1644 - 1694)

Rachmaninoff’s All-Night Vigil

Summer Festival Sponsor

The 2026 Summer Festival is underwritten in memory of Brooke Bandfield Taylor by the Santa Fe Desert Chorale Endowment Fund and The Founder’s Match Campaign (see page 49 for details).

Program Sponsors

Catherine and Guy Gronquist

Conductor

Joshua Habermann, Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

A SANCTUARY OF SOUND

The Santa Fe Desert Chorale is thrilled to continue our tradition of presenting Sergei Rachmaninoff’s profoundly beautiful and deeply spiritual All-Night Vigil (popularly known as Vespers), which we last performed in 2016. This cornerstone of choral music consists of fifteen movements of unaccompanied voices creating a cathedral of sound. Composed in less than two weeks in 1915 against the backdrop of war, Rachmaninoff’s masterpiece marries traditional Orthodox chants with his distinctive harmonic language, creating a work of great emotional depth. From the grand opening of “Come, Let Us Worship” to the famous low B-flat descent in “Now Lettest Thou,” All-Night Vigil showcases the full expressive range of the human voice. The Desert Chorale will expand to 32 top-tier professional vocalists to tackle this herculean work. Whether you’re hearing the Vespers for the first time or revisiting a beloved favorite, this program promises to be an unforgettable journey through what many consider to be the pinnacle of Russian choral music.

Thursday, July 23, 2026 | 7:30 pm

Co-sponsored by Phyllis Lehmberg and Patricia Stanley

Saturday, July 25, 2026 | 6 pm

Cathedral of St. John, Albuquerque

Co-sponsored by an Anonymous Donor, Bill and Diane Graves, and J. Randle Adair DO, PhD

Sunday, July 26, 2026 | 4 pm

Sponsored by Patricia “Tish” Romer in loving memory of Joan Berner

Thursday, July 30, 2026 | 7:30 pm

Sponsored by Katherine and William Landschulz

Free Pre-concert Video Lecture

Presented by Elena Sharkova

Sponsored by Jose Piedra de la Portilla and Ernesto Roederer

All concerts will be held at the Cathedral Basilica of St. Francis of Assisi unless otherwise noted.

Page 38: Blood Moon Over Santa Fe by Evelyne Boren, Acosta Strong Fine Art Gallery

Page 39: Artwork by Olga Tamkovich

Sergei Rachmaninoff (1873 - 1943)

Joshua Habermann, conductor

1. Priidite, poklonimsia (Come, Let Us Worship)

2. Blagoslovi, dushe moya, Ghospoda (Bless the Lord, O My Soul)

3. Blazhen muzh (Blessed is The Man)

4. Svete tihiy (Gladsome Light)

5. Nine otpushchayeshi (Lord, Now Lettest Thou)

6. Bogoroditse Devo (Rejoice, O Virgin)

7. Shestopsalmiye (The Six Psalms)

8. Hvalite imia Ghospodne (Praise the Name of the Lord)

9. Blagosloven yesi, Ghospodi (Blessed Art Thou, O Lord)

10. Voskreseniye Hristovo videvshe (Having Beheld the Resurrection of Christ)

11. Velichit dusha moya Ghospada (My Soul Magnifies the Lord)

12. Slavosloviye velikoye (The Great Doxology)

13. Dnies spaseniye (Today Salvation Has Come)

14. Voskres iz groba (Thou Didst Rise from the Tomb)

15. Vzbrannoy voyevode (To Thee, the Victorious Leader)

PROGRAM NOTES

If one were to compile a list of the greatest, major a cappella (unaccompanied) choral works there surely would be lively debate, but one point would likely be uncontroversial: Rachmaninoff’s All-Night Vigil (also known, popularly, as Vespers) would rank at or near the top. For sheer sonority there is perhaps no other large work in the repertoire that can compare to it. That Rachmaninoff, a virtuoso pianist who had written the great majority of his music for piano and/or orchestra, should have created a piece of choral music of such surpassing skill and beauty is one of the mysteries of this extraordinary work.

The All-Night Vigil can be said to exist thanks in part to a happy historical coincidence. Just as Rachmaninoff was reaching his full compositional powers, so too was the Moscow Synodal Choir entering its glory days. Whereas in the mid-nineteenth century Russian composers had little interest in writing for the church, latter decades brought resurgence, and the Synodal Choir rose from mediocrity to a position of preeminence in church music. Leading figures such as Tchaikovsky and Rimsky-Korsakov wrote significant works for them, so that by the time Rachmaninoff’s Vigil was completed in 1915 the choir was a seasoned professional ensemble capable of music of great complexity. Sadly, this symbiotic relationship was shortly to come to an end with the Bolshevik Revolution of 1917, when the Synodal Choir and School were disbanded. Not surprisingly, Rachmaninoff wrote no further sacred choral works.

The demands that the All-Night Vigil makes on the choir are significant. Foremost among them perhaps is stamina. At 65 minutes, the Vigil might seem modest to an opera-goer accustomed to longer programs, but without any supporting instruments (which are forbidden in Orthodox music) or extended solo sections, the choir carries the entire weight of the performance. Each of the 15 movements is richly conceived, requiring extraordinary concentration, with some of the most challenging music of the score coming towards the end. One can imagine a marathoner turning the corner at mile twenty, only to discover that the last six miles are uphill.

The Vigil also requires singers capable of sustaining long, arching lines and extreme vocal ranges. The most famous of course are the basses; Rachmaninoff requires them to drop to a low B-flat, well below the typical bass range. Listen for these “sub-woofers,” especially at the end of movement 5, where they descend, step by step into the depths.

1. The All-Night Vigil begins with the word “Amin” (amen), which is a response to the Great Litany, which would be chanted by the priest. There follows the opening call to prayer, expanding from six to eight parts.

2. Rachmaninoff employs authentic chant as the basis of nine of the 15 movements, and in the others he composes “conscious counterfeits,” which are written with such skill as to be indistinguishable to the uninitiated from the real thing. In this movement the chant is in the alto, accompanied by alternating choruses of low and high voices.

3. Middle voices (tenors and altos) sing verses, juxtaposed with the full choir singing increasingly intense “alleluia” refrains.

4. The chant that forms the basis for this movement is comprised of only four notes. What Rachmaninoff is able to do with this limited material is an excellent example of his vivid imagination.

5. One of the most celebrated parts of the All-Night Vigil, Rachmaninoff had a special fondness for this movement, which he asked to be sung at his funeral. A gently undulating melody, together with a tenor solo proclaiming a song of praise to the Trinity, characterizes the motion until the final extraordinary bass descent.

6. This famous movement, which is often excerpted, is the Orthodox equivalent to the “Ave Maria” of the Roman church. In the central section the altos, divided in two, sing a sweetly undulating melody, accompanied by sopranos and tenors in octaves. The end of this movement marks the end of the Vespers section of the All-Night Vigil.

7. The morning office, Matins, begins with a chant that will reappear later at the repetition of the text: “Glory to God in the highest.” Imitation of bell sounds is pervasive in this movement, reflecting the ringing of bells that would accompany this section of the liturgy.

8. A powerful chant, sung by altos and basses, is accompanied by sopranos and tenors, swirling around in decorative flourishes. The extroverted nature of the music reflects the moment in the liturgy when, after a long period of darkness the lights in the church are turned on.

9. A softly murmured refrain forms the basis for this movement, together with a bold chant melody passed between sections of the choir. Rachmaninoff reworked sections of this movement into his Symphonic Dances, composed in 1940.

10. A stark chant sung in octaves by the tenors and basses makes for a commanding opening, juxtaposed with a mystical response in the sopranos and altos. Huge contrasts in dynamics and register characterize this movement.

11. This is the “Magnificat,” with Mary’s words set, astonishingly, for the basses. A refrain, “more honorable than the Cherubim,” alternates with the verse. Low B-flats make another appearance here in the bass voice.

12. For length and complexity this is one of the richest movements in the All-Night Vigil. The chant from movement five reappears in the climax of the Matins service.

13. and 14. Only one of these two resurrection-themed movements would appear in a traditional liturgy, but Rachmaninoff gives us both, based on traditional Znamenny Chant.

15. All-Night Vigil ends with a final hymn to the Virgin set in a brilliant C-Major, to contrast the prevailing modality of the work. In the final measures, Rachmaninoff introduces leaping arpeggios – atypical of the usual stepwise undulation Russian chant –to bring the work to a vigorous conclusion.

— Joshua Habermann

FREE CHILDREN’S CONCERT

Wednesday, July 29, 2026 at 11 am

Genoveva Chavez Center Community Room

Rachmoninoff's All-Night Vigil TEXTS &

Priidite, poklonimsia Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadyem Hristu Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadyem samomu Hristu Tsarevi i Bogu nashemu. Priidite, poklonimsia i pripadyem Yemu.

Blagoslovi, dushe moya, Ghospoda, blagosloven yesi, Ghospodi. Ghospodi Bozhe moy, vozvelichilsia yesi zelo. Blagosloven yesi, Ghospodi. Vo ispovedaniye i v velelepotu obleklsia yesi. Blagosloven yesi, Ghospodi. Na gorah stanut vodi: Divna dela Tvoya, Ghospodi. Posrede gor proydut vodi. Divna dela Tvoya, Ghospodi. Fsia premudrostiyu sotvoril yesi. Slava Ti, Ghospodi, sotvorivshemu fsia.

Blazhen muzh, izhe ne ide na sovet nechestivih. Alliluya, alliluya, alliluya.

Yako vest Ghospod put pravednih, i put nechestivih pogibnet. Alliluya … Rabotayte Ghospodevi so strahom, i raduytesia Yemu s trepetom. Alliluya … Blazheni fsi nadeyushchiisya nan. Alliluya … Voskresni, Ghospodi, spasi mia, Bozhe moy. Alliluya … Ghospodne yest spaseniye, i na liudeh Tvoih blagosloveniye Tvoye. Alliluya … Slava Ottsu, i Sinu, i Sviatomu Duhu, i nine i prisno i vo veki vekov. Amin. Alliluya, alliluya, alliluya, slava Tebe, Bozhe. Alliluya, alliluya, alliluya, slava Tebe, Bozhe. Alliluya, alliluya, alliluya, slava Tebe, Bozhe.

Come, let us worship God, our King. Come, let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down and kneel before the Very Christ, our King and our God. Come, let us worship and fall down before Him.

Bless the Lord, O my soul, blessed art thou, O Lord. O Lord my God, Thou art very great. Blessed art thou, O Lord. Thou art clothed with honor and majesty. Blessed art thou, O Lord. The waters stand upon the mountains. Marvelous are Thy works, O Lord. The waters flow between the hills. Marvelous are thy works, O Lord. In wisdom hast Thou made all things. Glory to thee, O Lord, who hast created all!

Blessed is the man, who walks not in the counsel of the wicked. Alleluia, alleluia, alleluia.

For the Lord knows the way of the righteous, but the way of the wicked will perish. Alleluia… Serve the Lord with fear and rejoice in Him with trembling. Alleluia… Blessed are all who take refuge in Him. Arise, O Lord! Save me, O my God! Alleluia… Salvation is of the Lord, and Thy blessing is upon Thy people. Alleluia… Glory be to the Father, and to the Son, and to the Holy Spirit, both now and ever and unto ages of ages. Amen. Alleluia, alleluia, alleluia, glory to Thee, O God! Alleluia, alleluia, alleluia, glory to Thee, O God! Alleluia, alleluia, alleluia, glory to Thee, O God!

Svete tihiy sviatiya slavi Bessmertnago, Ottsa Nebesnago, Sviatago, Blazhennago, Iisuse Hriste.

Prishedshe na zapad solntsa, videvshe svet vecherniy, poyem Ottsa, Sina, i Sviatago Duha, Boga, Dostoin yesi vo fsia vremena pet biti glasi prepodobnimi, Sine Bozhiy, zhivot dayay, temzhe mir Tia slavit.

Nine otpushchayeshi raba Tvoyego Vladiko, po glagolu Tvoyemu s mirom, yako videsta ochi moi spaseniye Tvoye, yezhe yesi ugotoval pred litsem vseh Iiudey, svet vo otkroveniye yazikov, i slavu liudey Tvoih Izrailia.

Bogoroditse Devo, raduysia, Blagodatnaya Mariye, Ghospod s Toboyu. Blagoslovenna Ti v zhenah, i blagosloven Plod chreva Tvoyego, yako Spasa rodila yesi dush nashih.

Slava v vyshnih Bogu, i na zemli mir, v chelovetseh blagovoleniye. Ghospodi, ustne moi otverzeshi, i usta moya vozvestiat hvalu Tvoyu.

Hvalite imia Ghospodne. Alliluia. Hvalite, rabi Ghospoda. Alliluia, alliluia. Blagosloven Ghospod ot Siona, zhiviy vo Iyerusalime. Alliluia. Ispovedaytesia Ghospodevi, yako blag. Alliluia, alliluia.

Yako v vek milost Yego, Alliluia. Ispovedaytesia Bogu nebesnomu, Alliluia, alliluia.

Yako v vek milost Yego. Alliluia

9. Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.

Angelskiy sobor udivisia, zria Tebe v mertvih vmenivshasia, smertnuyu zhe, Spase, krepost razorivsha, i s Soboyu Adama vozdvigsha, i ot ada fsia svobozhdsha.

Gladsome light of the holy glory of the Immortal One –the Heavenly Father, holy and blessed –O Jesus Christ!

Now that we have come to the setting of the sun, and behold the light of evening, we praise the Father, Son and Holy Spirit – God. Thou art worthy at every moment to be praised in hymns by reverent voices.

O Son of God, Thou art the Giver of Life; therefore all the world glorifies Thee.

Lord, now lettest Thou Thy servant depart in peace, according to Thy word, for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all peoplea light to enlighten the Gentiles, and the Glory of Thy people Israel.

Rejoice, O Virgin Theotokos, Mary full of grace, the Lord is with Thee.

Blessed art Thou among women, and Blessed is the Fruit of Thy womb, for Thou hast borne the Savior of our souls.

Glory to God in the highest, and on earth peace, good will among men.

O Lord, open Thou my lips, And my mouth shall proclaim Thy praise

Praise the name of the Lord. Alleluia. Praise the Lord, O you His servants. Alleluia, alleluia. Blessed be the Lord from Zion, He who dwells in Jerusalem. Alleluia.

O give thanks unto the Lord, for He is good. Alleluia, alleluia.

For His mercy endures forever. Alleluia.

O give thanks unto the God of Heaven. Alleluia, alleluia.

For His mercy endures forever. Alleluia.

Blessed art Thou, O Lord, teach me Thy statues.

The angelic host was filled with awe, When it saw Thee among the dead. By destroying the power of death, O Savior, Thou didst raise Adam, and save all men from hell!

Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.

“Pochto mira s milostivnimi slezami, o uchenitsi, rastvoriayete?”

Blistayaysia vo grobe Angel, mironositsam veshchashe:

“Vidite vi grob, i urazumeyte: Spas bo voskrese ot groba.”

Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.

Zelo rano mironositsi techahu ko grobu Tvoyemu ridayushchiya, no predsta k nim Angel i reche: “Ridaniya vremia presta, ne plachite, voskreseniye zhe apostolom rtsite.”

Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.

Mironositsi zheni s miri prishedshiya ko grobu Tvoyemu, Spase, ridahu, Angel zhe k nim reche, glagolia:

“Chto s mertvimi zhivago pomishliayete? Yako Bog bo voskrese ot groba!”

Slava Ottsu, i Sinu, i Sviatomu Duhu.

Poklonimsia Ottsu, i Yego Sinovi, i Sviatomu Duhu, Sviatey Troitse vo yedinom sushchestve, s Serafimi zovushche: “Sviat, Syiat, Syiat, yesi Ghospodi!”

I nine, i prisno, i vo veki vekov, Amin.

Zhiznodavtsa rozhdshi, greha, Devo, Adama, izbavila yesi,

Radost zhe Yeve v pechali mesto podala yesi: padshiya zhe ot zhizni, k sey napravi, iz Tebe voplotiviysia Bog i chelovek.

Alliluiya, alliluiya, alliuiya, slava Tebe, Bozhe!

10.

Voskreseniye Hristovo videvshe, poklonimsia Sviatomu Ghospodu Iisusu, yedinomu bezgreshnomu.

Krestu Tvoyemu pokloniayemsia, Hriste, i sviatoye voskreseniye Tvoye poyem i slavim: Ti bo yesi Bog nash, razve Tebe inogo ne znayem, imia Tvoye imenuyem.

Priidite fsi vernii, poklonimsia sviatomu Hristovu voskreseniyu: se bo pride krestom radost fsemu miru, fsegda blagosloviaschche Ghospoda, poyem voskreseniye Yego: raspiatiye bo preterpev, smertiyu smert razrushi.

Blessed art Thou, O Lord, teach me Thy statutes.

“Why do you mingle myrrh with your tears of compassion, O ye women disciples?” cried the radiant angel in the tomb to the myrrh-bearers. “Behold the tomb and understand: the Savior is risen from the dead!”

Blessed art Thou, O Lord, teach me Thy statutes.

Very early in the morning the myrrh-bearers ran with sorrow to Thy tomb, but an Angel came to them and said: “The time for sorrow has come to an end! Do not weep, but announce the resurrection to the apostles!”

Blessed art Thou, O Lord, teach me Thy statutes.

The myrrh-bearers were sorrowful as they neared Thy tomb, but the Angel said to them:

“Why do you number the living among the dead? Since He is God, He is risen from the tomb!”

Glory to the Father and to the Son and to the Holy Spirit.

We worship the Father, and His Son, and the Holy Spirit: the Holy Trinity, one in essence! We cry with the Seraphim: “Holy, Holy, Holy art Thou, O Lord!”

Both now and ever, and unto ages of ages. Amen.

Since Thou didst give birth to the Giver of Life, O Virgin, Thou didst deliver Adam from his sin!

Thou gavest joy to Eve instead of sadness! The God-man who was born of Thee Has restored to life those who had fallen from it! Alleluia, alleluia, alleluia! Glory to Thee, O God!

Having beheld the resurrection of Christ, let us worship the holy Lord Jesus, the only Sinless One.

We venerate Thy Cross, O Christ, and we hymn and glorify Thy holy resurrection, for Thou art our God, and we know no other than Thee; we call on Thy name.

Come, all you faithful, let us venerate Christ’s holy resurrection. For, behold, through the cross joy has come into all the world. Ever blessing the Lord, let us praise His resurrection, for by enduring the cross for us, He has destroyed death by death.

Democratic Vistas I Sep 26 | Sep 27

Bach Festival Dec 18 – Dec 30

Chiaroscuro Quartet Mar 8

Brooklyn Rider Oct 4

Winter Orchestra Jan 16 | Jan 17

Holy Week Baroque Mar 20 | Mar 21

Attacca Quartet with Caroline Shaw Oct 25

Borromeo String Quartet Feb 14

Brentano String Quartet Apr 11

Fall Orchestra Nov 14 | Nov 15

Democratic Vistas II Feb 28

Democratic Vistas III May 1 | May 2

4 PM Galisteo by Douglas Atwill, Courtesy of New Concept Gallery

Béla Fleck

Benjamin Hochman

Eric Jacobsen

Dan Tepfer

Colin Jacobsen

Ariadne Greif

Tessa Lark

11.

Velichit dusha Moya Ghospoda, i vozradovasia duh Moy o Boze Spase Moyem.

Pripev:

Chestneyshuyu Heruvim i slavneyshuyu bez sravneniya Serafim, bez istleniya

Boga Slova rozhdshuyu, sushchuyu Bogoroditsu Tia velichayem.

Yako prizre na smireniye rabi Svoyeya. se bo otnine ublazhat Mia fsi rodi.

Yako sotvori Mne velichiye Silniy, i sviato imia Yego, i milost Yego v rodi rodov boyashchimsia Yego…

Nizlozhi silniya so prestol, i voznese smirenniya, alchushchiya ispolni blag, i bogatiashchiyasia otpusti tschi.

Vospriyat Izrailia, otroka Svoyego, pomianuti milosti, yakozhe glagola ko ottsem nashim, Avraamu i semini yego dazhe do veka.

12.

Slava v vishnih Bogu, i na zemli mir, v chelovetseh blagovoleniye.

Hvalim Tia, blagoslovim Tia, klaniayem Ti sia, slavoslovim Tia, blagodarim Tia, velikiya radi slavi Tvoyeya.

Ghospodi, Tsariu Nebesniy, Bozhe Otche Fsederzhiteliu.

Ghospodi, Sine Yedinorodniy, Iisuse Hriste, i Sviatiy Dushe.

Ghospodi Bozhe, Agnche Bozhiy, Sine Otech, vzemliay grehi mira, pomiluy nas; vzemliay grehi mira, priimi molitvu nashu.

Sediay odesnuyu Ottsa, pomiluy nas.

Yako Ti yesi yedin sviat, Ti yesi yedin Ghospod, Iisus Hristos, v slavu Boga Ottsa. Amin.

Na fsiak den blagoslovliu Tia i vos hvaliu imia Tvoye vo veki i v vek veka. Spodobi, Ghospodi, v den sey bez greha sohranitisia nam. Blagosloven yesi, Ghospodi, Bozhe otets nashih. i hvalno i proslavleno imia Tvoye vo veki. Amin.

My soul magnifies the Lord, and my spirit rejoices in God my savior.

Refrain:

More honorable than the Cherubim and more glorious beyond compare than the Seraphim, without defilement Thou gavest birth to God the Word, true Theotokos, we magnify Thee.

For He has regarded the low estate of His handmaiden. For behold, henceforth all generations will call me blessed.

For He who is mighty has done great things for me, and holy is His name, and His mercy is on those who fear Him from generation to generation…

He has put down the mighty from their thrones, and has exalted those of low degree; He has filled the hungry with good things, and the rich He has sent empty away.

He has helped His servant Israel, in remembrance of His mercy, as He spoke to our fathers, to Abraham and to his posterity forever.

Glory to God in the highest, and on earth peace, Good will toward men.

We praise Thee, we bless Thee, we worship Thee, we glorify Thee, we give thanks to Thee for Thy great glory.

O Lord, Heavenly King, God the Father almighty.

O Lord, the only begotten Son, Jesus Christ and the Holy Spirit.

O Lord God, Lamb of God, Son of the Father, who takes away the sin of the world have mercy on us. Thou who takest away the sin of the world, receive our prayer.

Thou who sittest at the right hand of the Father, have mercy on us.

For thou alone art holy, Thou alone art the Lord, Jesus Christ, to the glory of God the Father, Amen.

Every day I will bless Thee and praise Thy name forever and ever.

Vouchsafe, O Lord, to keep us this day without sin. Blessed art Thou, O Lord, God of our fathers, and praised and glorified is Thy name forever. Amen.

Budi, Ghospodi, milost Tvoya na nas, yakozhe upovahom na Tia.

Blagosloven yesi, Ghosposi, nauchi mia opravdaniyem Tvoim.

Blagosloven yesi, Ghosposi, nauchi mia opravdaniyem Tvoim. Ghospodi, pribezhishche bil yesi nam v rod i rod.

Az reh: Ghospodi, pomiluy mia, istseli dushi moyu, yako sogreshih Tebe. Ghospodi, k Tebe pribegoh. nauchi mia tvoriti voliu Tvoyu, yako Ti yesi Bog moy, yako u Tebe istochnik zhivota; vo svete Tvoyem uzrim svet. Probavi milost Tvoyu vedushcim Tia.

Sviatiy Bessmertiniy, pomiluy nas.

Sviatiy Bozhe, Sviatiy Krepkiy, Sviatiy Bessmertniy, pomiluy nas.

Slava Ottsu i Sinu i Sviatomu Duhu, i nine i prisno, i vo veki vekov. Amin.

Sviatiy Bozhe, Sviatiy Krepkiy, Sviatiy Bessmertniy, pomiluy nas.

13.

Dnes spaseniye miru bist, poyem Voskresshemu iz groba i Nachalniku zhizni nasheya; razrushiv bo smertiyu smert, pobedu dade nam i veliyu milost.

14.

Voskres iz groba i uzi rasterzal yesi ada, razrushil yesi osuzhdeniye smerti, Ghospodi, fsia ot setey vraga izbaviviy, yaviviy zhe Sebe apostolom Tvoim, poslal yesi ya na propoved, i temi mir Tvoy podal yesi fselenney, yedine Mnogomilostive.

15.

Vzbrannoy voyevode pobeditelnaya, yako izbavlshesia ot zlih, blagodarstvennaya vospisuyem Ti rabi Tvoi, Bogoroditse: no yako imushchaya derzhavu nepobedimuyu, ot fsiakih nas bed svobodi da zovem Ti: raduysia, Nevesto Nenevestnaya.

— Traditional

Let Thy mercy, O Lord, be upon us, as we have set our hope on The Sviatomu e. Blessed art Thou, O Lord, teach me Thy statutes.

Blessed art Thou, O Lord, teach me Thy statutes. Blessed art Thou, O Lord, teach me Thy statutes. Lord, Thou has been our refuge from generation to generation. I said: Lord, have mercy on me, heal my soul, for I have sinned against Thee. Lord, I flee to Thee, teach me to do Thy will, for Thou art my God; for with Thee is the fountain of life, and in Thy light we shall see light. Continue Thy mercy on those who know Thee.

Holy Immortal, have mercy on us.

Holy God, Holy Mighty, Holy Immortal, have mercy on us.

Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever and unto ages of ages. Amen.

Holy God, Holy Mighty, Holy Immortal, have mercy on us.

Today salvation has come to the world, let us sing to Him who rose from the dead, the Author of our life.

Having destroyed death by death, He has given us the victory and great mercy.

Thou didst rise from the tomb and burst the bonds of Hades! Thou didst destroy the condemnation of death, O Lord, releasing all mankind from the snares of the enemy! Thou didst show Thyself to Thine apostles, and didst send them forth to proclaim Thee; and through them Thou hast granted Thy peace to the world, O Thou who art plenteous in mercy!

To Thee, the victorious Leader of triumphant hosts, we Thy servants, delivered from evil, offer hymns of thanksgiving, O Theotokos!

Since Thou dost possess invincible might, set us free from all calamities, so that we may cry to Thee: “Rejoice, O unwedded Bride!”

STEVEN KERCHOFF MEMORIAL TRIBUTE CONSORTIUM

The Santa Fe Desert Chorale honors the memory of our dear friend, Steven Kerchoff, through a project that celebrates his passion for music, history, and education. Several generous donors have contributed to sponsor the pre-recorded video lecture by Edmund Connolly for our program, Renaissance Splendor, in Steve’s memory. With his love of Renaissance polyphony and his long-standing support of our lecture series, this seemed a particularly fitting tribute.

Thank you to the following individuals: Ambassador Mark and Jane Asquino, Rebecca Jensen and Chris Biemesderfer, Heather Lacy, Kathryn Lowerre and Robert Shay, Vincent Pigott and Susan Howard, Amanda Sidebottom, Dr. Peter and Jody Spalding, and Patricia Stanley.

Lieder eines fahrenden Gesellen - Gustav Mahler (1860 - 1911)

1. Wenn mein Schatz Hochzeit macht

2. Ging heut’ morgen übers Feld

3. Ich hab’ ein glühend Messer

4. Die zwei blauen Augen von meinem Schatz

Sylvia Leith, mezzo-soprano

ARTIST SPOTLIGHT RECITAL

Wednesday, July 29, 2026 at 4 pm

St. Bede’s Episcopal Church

ArtistRecitalSpotlight

& TRANSLATIONS

Lieder eines fahrenden Gesellen, GMW 10

Gustav Mahler (1860–1911)

Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag! Geh’ ich in mein Kämmerlein, Dunkles Kämmerlein!

Weine! wein’! Um meinen Schatz, Um meinen lieben Schatz!

Blümlein blau! Blümlein blau! Verdorre nicht! Verdorre nicht!

Vöglein süß! Vöglein süß!

Du singst auf grüner Heide!

„Ach, wie ist die Welt so schön! Ziküth! Ziküth!“

Singet nicht! Blühet nicht! Lenz ist ja vorbei!

Alles Singen ist nun aus!

Des Abends, wenn ich schlafen geh’, Denk’ ich an mein Leid!

An mein Leide!

Ging heut’ morgen über’s Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink: „Ei du! Gelt?

Guten Morgen! Ei, Gelt? Du!

Wird’s nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!“

Auch die Glockenblum’ am Feld

Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, Ihren Morgengruß geschellt:

„Wird’s nicht eine schöne Welt?

Kling! Kling! Schönes Ding! Wie mir doch die Welt gefällt!

Und da fing im Sonnenschein

Gleich die Welt zu funkeln an; Alles, alles, Ton und Farbe gewann! Im Sonnenschein!

On my darling’s wedding day, That joyful wedding day, I have my day of woe! I go into my little chamber, My dark little chamber! Weep! weep! Over my darling, Over my dear darling!

Little blue blossom! Don’t wither!

Sweet little bird!

You sing over the green heath!

“Ah, how beautiful the world is! Chick-a-dee!”

Don’t sing! Don’t bloom! Springtime is well past! All singing is now shut off! In the evenings, when I go to sleep, I think of my suffering!

My suffering!

I walked this morning over the field, Dew still hung on the grasses, The funny finch said to me: “Hey, you!

Good morning! Hey, you! Isn’t it a beautiful world? Tweet! Tweet! Pretty and fleet! I do love the world!”

The bluebells, too, in the field, Funny little things, Joined the church bells in ringing out Their morning greeting to me, ding-dong:

“Isn’t it a beautiful world?

Ding ding! Beautiful thing! I do love the world!”

And then in the sunshine

All at once the world began to glitter; Everything grew in sound and color! In the sunshine!

Blum’ und Vogel, groß und klein!

„Guten Tag! Guten Tag! Ist’s nicht eine schöne Welt? Ei, du! Gelt? Schöne Welt!“

Nun fängt auch mein Glück wohl an?

Nein! Nein! Das ich mein’, Mir nimmer, nimmer blühen kann!

Ich hab’ ein glühend Messer, Ein Messer in meiner Brust, O weh! O weh!

Das schneid’t so tief

In jede Freud’ und jede Lust, So tief! so tief!

Es schneid’t so weh und tief!

Ach, was ist das für ein böser Gast!

Nimmer hält er Ruh’, Nimmer hält er Rast! Nicht bei Tag, Nicht bei Nacht, wenn ich schlief! O weh! O weh! O weh!

Wenn ich in dem Himmel seh’, Seh’ ich zwei blaue Augen steh’n! O weh! O weh!

Wenn ich im gelben Felde geh’, Seh’ ich von fern das blonde Haar Im Winde wehn! O weh! O weh!

Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh! O weh!

Ich wollt’, ich läg’ auf der schwarzen Bahr’, Könnt’ nimmer die Augen aufmachen!

Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da mußt’ ich Abschied nehmen Vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab’ ich ewig Leid und Grämen!

Ich bin ausgegangen in stiller Nacht, Wohl über die dunkle Heide. Hat mir niemand Ade gesagt, Ade! Mein Gesell’ war Lieb’ und Leide!

Auf der Straße stand ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht!

Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wußt’ ich nicht, wie das Leben tut,

Flower and bird, big and little!

“Good day!

Isn’t it a beautiful world? Hey, you! A beautiful world!”

Now will my happiness truly begin? No! That, I reckon, Can never bloom for me!

I have a smoldering knife, A knife in my chest, It hurts!

It cuts so deeply Into every joy and every pleasure, So deep! It cuts so sorely and deeply!

Ah, what a nasty guest! He never rests, He never stops! Not by day, Not by night, when I should sleep! It hurts!

When I look to the sky, I see two blue eyes! It hurts!

When I walk in the yellow field, I see from afar that blond hair Waving in the wind! It hurts! When I startle out of my dreams And hear her silvery laugh ringing, It hurts!

I wish that I were lying on the black gurney, That I could never again open my eyes!

The two blue eyes of my darling, They have sent me out into the wide world. So I had to say goodbye To the place I loved most! Oh blue eyes, why did you look at me?

Now I have suffering and grief forever!

I went out into the silent night, Over the dark heath. No one said goodbye to me. Goodbye! My companions were love and suffering.

A linden tree stood in the road, That’s where I slept for the first time! Under the linden tree, Who sprinkled his blossoms over me, In that moment I was not aware of life’s doings,

(continued on next page)

War alles, alles wieder gut!

Alles! Alles!

Lieb und Leid, und Welt und Traum!

— Poetry by Gustav Mahler, translation by Sylvia

Leith

1. The Vagabond

Give to me the life I love,

Let the lave go by me, Give the jolly heaven above And the byway nigh me.

Bed in the bush with stars to see, Bread I dip in the riverThere’s the life for a man like me, There’s the life for ever.

Let the blow fall soon or late, Let what will be o’er me; Give the face of earth around And the road before me.

Wealth I seek not, hope nor love, Nor a friend to know me; All I seek, the heaven above And the road below me.

Or let autumn fall on me Where afield I linger, Silencing the bird on tree, Biting the blue finger.

White as meal the frosty fieldWarm the fireside havenNot to autumn will I yield, Not to winter even!

Let the blow fall soon or late, Let what will be o’er me; Give the face of earth around, And the road before me.

Wealth I ask not, hope nor love, Nor a friend to know me; All I ask, the heaven above, And the road below me.

— Ralph Vaughan Williams (1872-1958)

2. Let Beauty Awake

Let Beauty awake in the morn from beautiful dreams, Beauty awake from rest!

Let Beauty awake

For Beauty’s sake

In the hour when the birds awake in the brake And the stars are bright in the west!

(continued on next column)

Everything was good again! Everything!

Love and suffering, and world and dream!

Let Beauty awake in the eve from the slumber of day, Awake in the crimson eve!

In the day’s dusk end When the shades ascend, Let her wake to the kiss of a tender friend,

To render again and receive!

— Ralph Vaughan Williams

3. The Roadside Fire

I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night, I will make a palace fit for you and me

Of green days in forests, and blue days at sea.

I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom; And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night.

And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire,

Of the broad road that stretches and the roadside fire.

— Ralph Vaughan Williams

6. The Infinite Shining Heavens

The infinite shining heavens Rose, and I saw in the night

Uncountable angel stars

Showering sorrow and light.

I saw them distant as heaven, Dumb and shining and dead, And the idle stars of the night Were dearer to me than bread.

Night after night in my sorrow

The stars looked over the sea, Till lo! I looked in the dusk

And a star had come down to me.

— Ralph Vaughan Williams

7. Whither Must I Wander?

Home no more home to me, whither must I wander? Hunger my driver, I go where I must. Cold blows the winter wind over hill and heather: Thick drives the rain and my roof is in the dust. Loved of wise men was the shade of my roof-tree, The true word of welcome was spoken in the doorDear days of old with the faces in the firelight, Kind folks of old, you come again no more.

Home was home then, my dear, full of kindly faces, Home was home then, my dear, happy for the child. Fire and the windows bright glittered on the moorland; Song, tuneful song, built a palace in the wild. Now when day dawns on the brow of the moorland, Lone stands the house, and the chimney-stone is cold. Lone let it stand, now the friends are all departed, The kind hearts, the true hearts, that loved the place of old.

Spring shall come, come again, calling up the moorfowl, Spring shall bring the sun and rain, bring the bees and flowers; Red shall the heather bloom over hill and valley, Soft flow the stream through the even-flowing hours. Fair the day shine as it shone on my childhoodFair shine the day on the house with open door; Birds come and cry there and twitter in the chimneyBut I go for ever and come again no more.

— Ralph Vaughan Williams

8. Bright is the Ring of Words

Bright is the ring of words

When the right man rings them, Fair the fall of songs When the singer sings them, Still they are carolled and saidOn wings they are carriedAfter the singer is dead And the maker buried.

Low as the singer lies In the field of heather, Songs of his fashion bring The swains together. And when the west is red With the sunset embers, The lover lingers and sings And the maid remembers Lingers and sings

— Ralph Vaughan Williams

9. I Have Trod the Upward and the Downward Slope

I have trod the upward and the downward slope; I have endured and done in days before; I have longed for all, and bid farewell to hope; And I have lived and loved, and closed the door.

— Ralph Vaughan Williams and text by Robert Lewis Stephenson (1850-1894)d and loved, and c

Home from Phantom

All my life I’ve been waiting

In my mind, in a rocking chair

For my fancy to take me And I would know the time

Tick and tock went my childhood

Father said I would know the place Skin would tingle and pulse would race

As they do, it’s here

I’m home

Where music fills the air And I’m home

Where a thousand lovers cry Swoon and sigh And I’m home

Where every violin Plays a treat as sweet

As a honeycomb

Wherever music plays I know I’m home

Here, where fables come alive Year by year

We forget our troubled lives Under lights

And each tear

Becomes a gentle tune or duet Kept straight by a metronome

And if I’m singing Then I know I’m home

— Maury Yeston (b. 1945)

My House from Matilda

This roof keeps me dry when the rain falls

This door helps to keep the cold at bay

On this floor I can stand on my own two feet

On this chair I can write my lessons

On this pillow I can dream my nights away

(continued on next page)

And this table, as you can see, well, it’s perfect for tea

It isn’t much but it is enough for me

It isn’t much but it is enough...

On these walls I hang wonderful pictures

Through this window I can watch the seasons change

By this lamp I can read, and I, I am set free!

And when it’s cold outside I feel no fear!

Even in the winter storms, I am warmed by a small but stubborn fire

And there is nowhere I would rather be

It isn’t much but it is enough for me

For this is my house!

This is my house!

It isn’t much but it is enough for me

And when it’s cold and bleak

I feel no fear!

Even in the fiercest storms, I am warmed by a small but stubborn fire!

Even when outside it’s freezing, I don’t pay much heed

I know everything I need is in here

It isn’t much but it is enough for me

— Tim Minchin (b. 1975)

I Don't Need a Roof from Big Fish

In your face, I see a lifetime

In this place, I feel at ease

Wallpaper peeling, paint wearing thin

Here’s where I end and begin

I don’t need a roof to say I’m covered

I don’t need a roof to know I’m home

There could be a single shingle dangling overhead

I don’t need a roof to make my bed

Close your eyes, I’m still beside you

No goodbyes needed today

Hear what the rain says, know what it knows

After the rain something grows

I don’t need a roof to say I love you

I don’t need a roof to call you mine

I don’t need adventure in some faraway frontier

I don’t need a roof to feel you near

All I need is you and you forever

All I feel is true and absolute

I don’t need a legal deed to help me play my part

I don’t need a roof to hold my heart

— Andrew Lippa (b. 1964)

Life is But a Dream from Myths and Hymns

They say that life is but a dream

Drifting on a stream

But I’ve begun to wonder Is it really like the song?

We just gently row along

It’s not enough, there must be more Upon a distant shore

Adventure in the thunder of life

Open up your arms to me

And I will find my way

In my heart a riddle lives

And by the amber light it gives I will ask until I know who I am

Inside the outside that I show

From where I sit it doesn’t seem

That life is but a dream

It seems like there’s a world out there

Open up your arms to me

Open up your arms

And you will set me free

— Adam Guettel (b. 1964)

Migratory V from Myths and Hymns

We sail above the weather

We search the ocean floor

We rival our creation

Still yearning for more But can we fly together

A migratory V?

How wonderful if that’s what God could see

A single voice in whispered prayer

Can only pray to travel there

But all as one

We sound the everlasting sound

And sing our salvation

Aloft and in formation

A migratory V

How wonderful if that’s what God could see

— Adam Guettel

Go Back Home from Scottsboro Boys

Lying all alone, I’m thinkin’

Starin’ at the stars, I wonder

Since I’ve been away, I’m lonely

When I’m gonna go back home?

Walkin’ through the world, things happen

Right before your eyes, things happen

Soon enough your lost and thinkin’

When I’m gonna go back home?

Oh me, oh my, time goes slow

Where’s it gone to?

I don’t know

But maybe times’ll turn

I pray, so maybe someday I’ll get lucky

Someone’s gonna say

“Alright son, take the train and go back home

Hop a freight and go back home”

Oh me, oh my, time goes slow

Where’s it gone to?

— John Kander (b. 1927) and Fred Ebb (1928-2004)

Home from The Wiz

When I think of home

I think of a place

Where there’s love overflowing I wish I was home, I wish I was back there

With the things I’ve been knowing

Wind that makes the tall grass bend into leaning

Suddenly the raindrops that fall, they have a meaning

Sprinkling the scene

Makes it all clean

Maybe there’s a chance for me to go back

Now that I have some direction

It sure would be nice to be back home

Where there’s love and affection

And just maybe I can convince time to slow up

Giving me enough time in my life to grow up

Time, be my friend

Let me start again

Suddenly my world’s gone and changed its face

But I still know where I’m going

I have had my mind spun around in space

And yet I’ve

I’ve watched it growing

Oh, and if you’re listening God, please don’t make it hard

To know if we should believe the things that we see

And tell us should we try and stay?

Or should we run away?

Or is it better just to let things be?

Charlie Smalls (1943-1987)

—

Joshua Habermann Director

Joshua Habermann is in his eighteenth 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 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 has prepared Handel’s

Messiah, Ravel’s Daphnis and Chloe, and Benjamin Britten’s War Requiem for the San Francisco Symphony, as well as John Adams’ El Niño and the Czech Rhapsody of Bohuslav Martinu for the Houston 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. As a singer (tenor), he 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, Rachmaninov’s All Night Vigil, and Roots & Rivers, a new album of commissions written for the Desert Chorale released June 2026.

2026 SUMMER FESTIVAL ARTISTS

Special thanks to Barry and Margaret Lyerly for underwriting our 2026 Season Artists, and to Sara J. McKenzie and Dee Boyer for sponsoring our 2026 Artist Residency Program.

SOPRANOS

Elisse Albian (1st Season)

Hometown: Chicago, IL

Current Residence: New York, NY

Julie Bosworth* (2nd Season)

Hometown: St. Louis, MO

Current Residence: Silver Spring, MD

Chelsea Helm (9th Season)

Hometown: West Bloomfield, MI

Current Residence: Washington, DC

Elijah McCormack (2nd Season)

Hometown: Trumbull, CT

Current Residence: Bridgeport, CT

Kori

Kathlene Ritch (18th Season)

Hometown: Kerrville, TX

Current Residence: Santa Fe, NM

Kori

(2nd Season)

Hometown: Saluda, SC

Current Residence: Argyle, TX

Sarah Moyer (11th Season)

Hometown: Bixby, OK

Current Residence: Mansfield, MA

ALTOS

Addy Sterrett (2nd Season)

Hometown: Traverse City, MI

Current Residence: Los Angeles, CA

Kerry Ginger (12th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Dianna

(14th Season)

Hometown: Humble, TX

Current Residence: Nacogdoches, TX

Addy Sterrett is sponsored by Dr. J. Randle Adair, DO PhD

Sylvia Leith (1st Season)

Hometown: Washington, DC

Current Residence: Baltimore, MD

Kate Maroney (9th Season)

Hometown: Toms River, NJ

Current Residence: Brooklyn, NY

Photo: Summer Maulden

Photo: Buck Butler

Elisse Albian is sponsored by Patricia Stanley

Photo: Jiyang Chen

Photo: Spencer Worthley

Kerry Ginger is sponsored by Rick Gustafson

Chelsea Helm is sponsored by Marianne Reuter

Kathlene Ritch is sponsored by Tom and Anne Connor

Photo: Katlyn DeGraw

Photo: Caitlin Oldham

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

Photo: Julian Morris

Photo: Michael Justin Studios

Sarah Moyer is sponsored by Allegra and Jim Derryberry

Photo: Lauren Salazar

Miller*

Miller is sponsored by Lore Thorpe

Photo: Jared Rey

Grabowski

Dianna Grabowski is sponsored by Sheryl Kelsey and George Duncan

Photo: Jonathan Nesteruk

Sylvia Leith is sponsored by Brahna Wilczynski in memory of Janusz Wilczynski

Photo: Jiyang Chen

Kate Maroney is sponsored by Laurie Meyer in memory of Dick Meyer

Julie Bosworth is sponsored by Lynne Horning

2026 SUMMER FESTIVAL BIOGRAPHIES

Complete biographies for our 2026 Summer Festival Artists may be found on desertchorale.org.

Sarah Nickerson (18th Season)

Hometown: Fargo, ND

Current Residence: Minneapolis, MN

Erin Roth Thomas* (2nd Season)

Hometown: Lufkin, TX

Current Residence: Nacogdoches, TX

Pamela Terry (3rd Season)

Hometown: Kalamazoo, MI

Current Residence: NYC, NY

George Case (15th Season)

Hometown: Atlanta, GA

Current Residence: Santa Fe, NM

Brad Diamond (5th Season)

Hometown: Houston, TX

Current Residence: Sterrett, AL

TENORS

Elliott JG Encarnación* (4th Season)

Hometown: Livonia, MI

Current Residence: San Francisco, CA

Erik Gustafson (11th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Michael Jones (7th Season)

Hometown: Peoria, IL

Current Residence: Los Angeles, CA

Bradley Naylor (16th Season)

Hometown: Houston, TX

Current Residence: Fort Worth, TX

John Ramseyer* (1st Season)

Hometown: Pontiac, IL

Current Residence: NYC, NY

Steven

Hometown: Denton, TX

Current Residence: Philadelphia, PA

Photo: Tira Howard Photography

Sarah Nickerson is sponsored by Phyllis Lehmberg

Photo: Elizabeth van Os

Photo: Abi Poe Photography

Erin Roth Thomas is sponsored by Katherine and William Landschulz

Pamela Terry is sponsored by Sheryl Kelsey and George Duncan

Photo: Jonathan Cole

Photo: Hope Austin

George Case is sponsored by Richard and Chris Frenk

Brad Diamond is sponsored by Bill and Susan Cammock

Photo: Daniel King

Photo: Lora Sherrodd

Michael Jones is sponsored by Sheryl Kelsey and George Duncan

Photo: Jon Simpson Photography

Erik Gustafson is sponsored by Barbara and Gregory Kok

Elliott JG Encarnación is sponsored by Richard and Chris Frenk

Photo: Adore Alexander

John Ramseyer is sponsored by Jose Piedra de la Portilla and Ernesto Roederer

Photo: Kendra Berentsen

Steven Soph is sponsored by Peter and Sara Rutenberg

Photo: Steven Soph

Soph (11th Season)

Bradley Naylor is sponsored by Carmen Paradis and Brian McGrath

2026 SUMMER FESTIVAL ARTISTS

Special thanks to Barry and Margaret Lyerly for underwriting our 2026 Season Artists, and to Sara J. McKenzie and Dee Boyer for sponsoring our 2026 Artist Residency Program.

BASSES

James K. Bass (11th Season)

Hometown: Tampa, FL

Current Residence: Long Beach, CA

John Buffett (12th Season)

Hometown: Hudson, OH

Current Residence: Long Beach, CA

Harrison Hintzsche (4th Season)

Hometown: DeKalb, IL

Current Residence: Brooklyn, NY

Enrico Lagasca (10th Season)

Hometown: Manila, Philippines

Current Residence: NYC, NY

Glenn Miller* (4th Season)

Hometown: Flemington, NJ

Current Residence: Birmingham, MI

Edmund Milly (3rd Season)

Hometown: Pennington, NJ

Current Residence: Baltimore, MD

Neil Netherly* (2nd Season)

Hometown: Orange, TX

Current Residence: NYC, NY

John E. Orduña* (3rd Season)

Hometown: Omaha, NE

Current Residence: Ourense, Spain

Marques Jerrell Ruff (8th Season)

Hometown: Hartford, CT

Current Residence: Jonesboro, AR

*Rachmaninoff’s All-Night Vigil Extension Artists

Photo: Siobhan Doherty Buffett

Photo: Darshae Spells

Photo: Matthew Fried Photography

Marques Jerrell Ruff is sponsored by Jeffrey Fort and Diane Locandro

John Buffett is sponsored by Murray and Nancy Bern

Harrison Hintzsche is sponsored by Jeffrey Fort and Diane Locandro

Neil Netherly is sponsored by Sheryl Kelsey and George Duncan

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

Photo: Kerry Travilla

Photo: Curtis Brown

Photo: Britt Olsen-Ecker

Edmund Milly is sponsored by Stephen Marquart and Audrey La Fehr

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

Glenn Miller is sponsored by Diane and Bill Graves

Photo: Andrew Morstein

John E. Orduña is sponsored by Sheryl Kelsey and George Duncan

2026 SUMMER FESTIVAL GUEST

Complete biographies for our 2026 Summer Festival Artists may be found on desertchorale.org.

GUEST MUSICIANS

Cynthia Keiko Black Violin (1st Season) Program: Renaissance Splendor

Alice Culin-Ellison Violin (1st Season)

Program: Renaissance Splendor

David Felberg Violin (6th Season) Program: Homecoming

Amy Huzjak Cello (2nd Season) Program: Homecoming

Richard Savino Theorbo and Baroque Guitar (4th Season) Program: Renaissance Splendor

Maxine Thévenot Organ (3rd Season) Program: Renaissance Splendor

Ben David Aronson Alto and Tenor Trombone (1st Season) Program: Renaissance Splendor

Garrett Lahr Bass Trombone (1st Season) Program: Renaissance Splendor

Liza Malamut Alto and Tenor Trombone (1st Season) Program: Renaissance Splendor

Nathan Salazar Piano (10th Season) Program: Homecoming

Moira Smiley Composer and Vocalist (1st Season) Program: Homecoming

Photo: Brandon Labadie

Amy Huzjak is sponsored by Barbara and Rod Slaton

Photo: Evangeline Hodge

Nathan Salazar is sponsored by Diane and Bill Graves

Cynthia Keiko Black is sponsored by Richard and Chris Frenk

Photo: Nerissa Sparkman

Alice Culin-Ellison is sponsored by Richard and Chris Frenk

David Felberg is sponsored by Sheryl Kelsey and George Duncan

Photo: Shea Perry

Richard Savino is sponsored by Gregory Dove

Maxine Thévenot is sponsored by Bill and Susan Cammock

Photo: Brooke Bailey Portraits

Ben David Aronson is sponsored by Richard and Chris Frenk

Photo: Alan Luntz

Liza Malamut is sponsored by Richard and Chris Frenk

Garrett Lahr is sponsored by Richard and Chris Frenk

Photo: Ron Lahr

Photo: Alan Lutz

Photo: Fiona Small Moira Smiley is sponsored by Susan Esco Chandler and Alfred ‘Appy’ Chandler

COMMISSIONING CLUB

JOIN THE DESERT CHORALE’S COMMISSIONING CLUB AND IMPACT CONCERT PROGRAMMING.

We wish to give a special thank you to the members of the Santa Fe Desert Chorale’s 2026 Commissioning Club for making the summer’s world premiere of Shavon Lloyd’s new work, The Guest House, a reality!

Cris Barnes

Mary Delk

Halley Faust

Ginnie Maes

David McGuire

Joy and Phil LeCuyer (in memory of Bob Burman)

Barry Lyerly

Elaine Wang Meyerhoffer

Marianne Reuter

About the Commissioning Club

Each year, members of the Commissioning Club meet under the guidance of Artistic Director Joshua Habermann to choose an emerging composer who will write a work to be premiered by the Desert Chorale during an upcoming summer season. This important work helps to expand the choral canon for choruses around the world and ensure a legacy of the Desert Chorale as one of the country’s leading chamber choirs. The club builds on the Desert Chorale’s rich history of over 35 commissioned choral works, with some of the most recent forming the heart of our new album Roots & Rivers

Join the Santa Fe Desert Chorale Commissioning Club and become part of choral music history!

A $1,250 contribution per person toward the composer’s commissioning fee is all that is required to help bring a new piece of music to life. Club members are invited to attend the dress rehearsal of the new work, enjoy a private meal with the composer, and receive an archival recording and signed score of the commissioned work.

Commissioned by The Santa Fe Desert Chorale Joshua Habermann, Artistic Director

THE GUEST HOUSE

Words by Jalāl al-Dīn Muhammad Rūmī (1207-1273)

Translation by Coleman Barks (1936-2026)

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

FOUNDER

Gifts of $25,000 to $49,999

Susan Esco Chandler and Alfred ‘Appy’ Chandler

Mary and Phil Delk

Gregory Dove

Jeffrey Fort and Diane Locandro

Richard and Chris Frenk

Bill and Diane Graves

Ronald† and Dalit Holzman

Lynne Horning

Hutson-Wiley Echevarria Foundation Inc.

Sheryl Kelsey and George Duncan

Katherine and William Landschulz

Carmen Paradis and Brian McGrath

DIRECTOR

Gifts of $10,000 to $24,999

Americans for the Arts

Murray and Nancy Bern

George Case and Nathan Salazar

Johanna Cinader

The Edw. F. Zimmer Community Fund

Jude Ford

Four Seasons Resort Rancho Encantado

Stephen and Jane Hochberg

Marian "Mimi" Lloyd

Andrea Meditch

Felicia and Daniel Morrow

Roxanne Howe-Murphy and James Murphy

National Philanthropic Trust

Susan Noel

Dr. and Mrs. Leon Podles

Lindsay S. Pope

Kelly Purcell and Kevin Sadler

Marianne Reuter

Jose Piedra de la Portilla and Ernesto Roederer

Sara and Peter Rutenberg

The Santa Fe County Lodgers' Tax Advisory Board

Rodney and Barbara Slaton

Patricia Stanley

The 2010 Faith Charitable Lead Trust

Elaine Wang Meyerhoffer

Tobi Watson

Susie and Jerry Wilson

MAESTRO

Gifts of $5,000 to $9,999

Anonymous (1)

J. Randle Adair DO, PhD

Diane Buchanan and Rick Andrew, The Andrew Family Foundation

With gratitude, the Santa Fe Desert Chorale recognizes gifts from individuals, businesses, and government agencies received between June 1, 2025, and June 1, 2026.

DONOR HONOR ROLL

Maggie Edmondson and Dmitri Bovaird

Douglas and Helen Brooks

Susan and Bill Cammock

Kathryn and Hank Coleman

Anne and Thomas Conner

Jack and Juanita Dunn

Halley Faust and Eve Cohen

Frederick H. Leonhardt Foundation

John Gray and Ray Landy

Sandra and Justin Greene, Dashing Delivery

Susan Koehn, Habermann

Koehn Foundation

Barbara and Gregory L. Kok

Phyllis Lehmberg

Christine and Pierre Lorillard

Dana and Jim Manning

Fraser and Alice McAlpine

Sara J. McKenzie

Laurie Meyer

New Mexico Arts, Division of the Department of Cultural Affairs

Linda Osborne

The Evelyn L. Petshek Arts Fund, Santa Fe Community Foundation

Pam Piper

Martha Rochelle

Patricia "Tish" Romer

Andrew J. Rudnick Fund (2026) at the Community Foundation for Greater Buffalo

Cathy and Todd Sickles

Alison Sowden

Lee and David Takagi

Thornburg Investment Management

Lore Thorpe

Patti Wetzel and Sirous Partovi

ARTIST

Gifts of $2,500 to $4,999

Anonymous (1)

Dr. Douglas P. Clark and Mr. Scott Allocco

Celia Baldwin and Bruce Catania

Dr. Camille Cates Barnett

Eleanor Bingham Miller

Martha Blomstrom

Dee Boyer

Patrick Carr

Julie Ann Dakin and Christopher Oechsli

Allegra and Jim Derryberry

David and Frances Ertel

Peter Frank

Jane and Ernest Godlove

Rick Gustafson

H.B. and Lucille Horn Foundation

Vincent Pigott & Susan Howard

Sylvia and Paul Johnson

Lane and Phyllis Keller

Jane and Joe Bob Kinsel

Dr. Walter L. Kirchner and Mary Meredith-Kirchner

Miranda and David Lind

Mike and Judge Barbara Lynn

Audrey La Fehr and Stephen Marquart

Patrick Galbreath and James Marx

Jon Patrick and Peter Siegel

Lili Pierrepont

Nyla and Larry Rasmussen

Susan and John Shaffer

Donald Shina and Kevin Waidmann

Sarah and Preston Stone

Caroline and Sid Swinson

Brahna Lauger Wilczynski

CHOIRMASTER

Gifts of $1,000 to $2,499

Anonymous (7)

Lexey Alcorn and John Vazquez

The Azalea Fund

May R. and Larry C. Ball

Brooke Bandfield Taylor†

Sharon and Robert Barton

Sue Baum

Bette Betts

Lisa Romanoff Botos and Stephen Botos

Curtiss T. and Mary G. Brennan

David and Lisa Caldwell

Pamela Culwell and Charles G. Case II

George Davis

Martha Davis

Drs. Seth Vaccaro and Jean Dea

Susan and Conrad De Jong

Joanne and Andrew Eggen

John and Cookie Emerson

Enterprise Mobility

Gwen and Ralph Fuller

Cynthia and Roger Gullickson

Joshua and Joanna Habermann

Elizabeth Hansen

Marcia Harris

Joyce Wolff and Richard Henderson

Rae Hoffacker and Peter Pappas

Dora and Van Horn

Richard W. Hughes

Elizabeth Hurst-Waitz

Bruce Jackson

Lynn and Jacqueline Johnson

Deborah Jones

The Reverend Canon Ted Karpf

Bill Keller and Robert Holleyman

Enrico Lagasca and Jonathan Stewart

From left to right: Joshua Habermann, Patricia Stanley, Jon Patrick, Peter Siegel, and Cathy Gronquist

SANTA FE

Donald and Jean Lamm

Mary Anne and Bruce Larsen

Alan and Kathleen Davison Lebeck

Joy and Phil LeCuyer

Karen Linder

John and Kim Lowe

Dianne Eret and Richard Macklin

Ginnie Maes

Emma Marzen and Sean Johnson

Jennifer Martinez and William McArthur

Pamela and Don Michaelis

Steve Moise

Anthony Nickel

Nusenda Credit Union

John Overbey

Mary Lou and Alex Padilla

Dorothy Peacock

Anne M. Pearson

Amy and John Petrila

Sally Ritch

Carlos Rovelo and Dr. Sherry Dean

Michelle Schumann

Maureen and Robert Shearer

Ann Stanley

Jim Stephens and Abraham Brown

Charles and Jan Swaney

Mindy Teolis

Linda and Ronald Thisted

John Thompson

New Mexico Foundation's Thorne Family Fund

UMB Bank

Sue Wetsel and Cary Brown

John Wilcynski and Jan Chavez-Wilcynski

Mary Witherow and Susan Schneider

Joyce Wolff

PATRON

Gifts of $500 to $999

Anonymous (1)

Rev. Talitha Arnold

Susan Bales

Anne E. Beckett

Walter Beckham

Drs. Laura Sulak and Richard Brown

Jack Campbell

Julie Ann Canepa

Dr. Colston Chandler

Lee Siah Chong and Bill Dodge

Isabel and Raul Delgado

Janet Desforges

Margaret M. Detwiler

Ken Dickson and Terry Melendez

Natalie Dimitruck

Mary Dudley and Greg Wortman

Rachel and James Dunlap

Ellen and Bill Dupuy

Charles R. Freuden

Karen and Bill Gahr

Lydia Milá Garmaier and Herbert Garmaier

Lynn Gay

Judith Gibbs

Erik Gustafson and Kerry Ginger

Patricia Henning

Marianne Kah

Laura Kiser

Julia and David Leifeste

Bill and Ellen London

Diane Lotti

Kathryn Lowerre and Robert Shay

Katherine Maroney

Beverley McArthur

Thomas McCaffrey

Laura McWilliams

Mary Munger

Michael and Barbara Ogg

Patty and Gary Osborne

Helena Ribe

Leslie Shaw

Judy and Bob Sherman

James and Anne Shute

Amanda Sidebottom

Susanne Stauffer

Dr. Allen and Andrea Steele

Patricia and Bradley Thompson

Jan Watson

Bill and Janislee Wiese

Linda Wolcott

Mary and Michael Woolever

BENEFACTOR

Gifts of up to $499

Anonymous (10)

Kim Abeyta-Martinez

Janet Abrams

Nancy and Harro Ackermann

Laura Acquaviva

Catherine Adams

Dr. Gabrielle Adams and Dr. Felix Cerna

Dina Afek

Jonathan Aibel

Richard and Joanne Akeroyd

Kim Alderwick

David Alessandri

Ann Alexander

Martha Allen

Page Allen

Consuelo Althouse

Damaris Ames

Anita Amstutz

David Anderson

Sally Arai

Ambassador Mark and Jane Asquino

Patricia Assimakis

Joella Autorino

Catherine Avery

Karen Avila

Bette Myerson

Celia Baca

Patricia and Alan Baer

Martha Baker

James Ball

Benjamin Bankson

Leslie Barclay

Avelina Bardwell

Amy Bauer

Elizabeth S. Bayne

Thomas Beckner

Norma Bekowies

Vicki Bellmyer

Edward Bennett

Steven Berkshire

Mike Bickel

Rebecca Jensen and Chris Biemesderfer

Katherine Blagden

Ted and Jamison Borek

Yvonne Boyer and Leonard Folgarait

Rebecca Brackett

Suzanne Brannen

Paul Brault

Iain Bray

Kathryn Braziel and Elizabeth Doak

Mark Broecker

Barbara A. Brooks

Gwynne and Joe Brooks

William Brooks

William Broyles

Gwen Buchanan

Jennifer Burkholder

Lisa Burkstaller

Deena Burnett

Laura Burton

Genevieve Ann Caldwell

Katherine Caldwell

Steven Caplan

Michelle Caputo

Patricia Carlton

Katharine Carrillo and Nery Carrillo-Barrera

Michael Carter and Elizabeth Harcombe

Harry Cates

Peggy Catron

William Cavin

Katherin and David Chase

Kathleen Chattin

Bruce Chemel

Warren Chisler

Celeste Chmielewski

Kirsten Clary

Lisa Cochrane

Susan E. Collins

Moira Connolly Marzen and Jeff Marzen

Lora Connolly

Marcie Connolly

Paul Cook

Rebecca Cook

Jerry Cooke and Catherine Sheppard

Mary Costello

Judith Costlow

Andrew Coulson

Karen Cox

Paul Crafts

Scott Craig

Kathy Cross

Michelle Cross

Mark Cummings

Julia Cusatis

Miles and Susan Davis

Joel and Janet DeLisa

George Dennis

Bill DeYoung

Chav Doherty

Becky Donohue

John and Lucy Draper

Joseph Dray

Paulette Dubickas

Susan Dunshee

Mary Lou Dye

Deborah Dye

Amy Eads

Melissa Eason

Paula Eastwood

David Eaton

Susan and Ellis Eberlein

Allegra Derryberry, Sarah Moyer, and Jeffrey Fort

Jeana Efroymson

Jillian Ellzey

Judy Elstner

Encore Global

Susan English and Michael Kalkstein

Anastasia Erastova

Robert Evans

Nancy Fairchild

Iris Fanning

Arturo Febry

Cynthia Feiden-Warsh

Jim and Beth Felty

Mary and Joe Ferguson

Raquel Fernandez

Margaret Finley

Paul Fish

Jo Fisher

William Fitzgerald and Kyra Kerr

Carol Fitzpatrick

Alan Fleischauer

Jacquelyn Foorman

Phillip Ford

Timothy R. Fox

Leticia Fraga

Lynn Freedman

Gary Frisch

Jake Gallegos

Dana Garcia

Leigh Gathright

Lynda and Louis Gavioli

Elizabeth Geier

Sayre Gerhart

Monika Ghattas

Theressa Gheen

Peggy Gilbert

James and JoAnn Gillula

Linda Goodman

Pamela Goodson

Gary Gordon and Terri Giron

Douglas Gould

Rosaline and Rob Gould

Laura Grady

Kirsten Graham

Wesley and Karin Granberg-Michaelson

Paige Grant

Mark Gray

Peter and Francine Gray

Abby Greenwald

Kathy Greer

Steven Lustig and Jessie R. Groothuis, MD

Sally Guenther

Rod Guinn

Diane Gulseth

Michino Gustafson

Paul Gutelius

Trammell Gutierrez

Charles Haggard

Greg Hansen

Annie Hanson

Christopher Hanson

Mark Hardaway

Wendy Harnwell

James O. Harris, Jr.

David Hartley

Frances Hatfield

Judy Hayes

Shawn Hazlewood

Kai Hecker

Becky Heeney

Cynthia Hendrick

Jill Heppenheimer

Barbara Herrington and Robert Pine

Newby Herrod

Kay and Michael Hilliard

Shirley and Frank Hirsch

Jeffrey Hoffman

Kim E. Hogan

Vicki Holmsten and Don Allen

David and Mary Louise Hopson

Nancy Houston

Jolie and Bart Humphrey

Jill Huppert

Joyce Ice

David Jenkins

Peggy Jenkins

Reverdy and Jenny Johnson

Ms. Johnson and Mr. Dougherty

Janelle Johnson

Kenneth and Jean Johnson

Lizabeth Johnson

Tim Johnson

Deborah Jones

Thomas and Betsy Jones

Maria and Jeffrey Kabakoff

Christina Kalenda

David and Stephanie Kauffman

Charles and Yvonne Keller

Susan Kelly

Dr. Patricia Kennedy

Paul Kerrigan

Diana King

Susan and Thomas Kingston

Linda and G. Russell Kirkland Jr.

Grayson and Jenifer Kirtland

Sally Kitch

Lorri Knight

Bert & Sue Koegl

Joyce Kolberg

Elizabeth Kraemer

Kenneth Krasity and Margaret Cumming

Alberta Lamson

Helen Larsen

Dr. Shirley Laseter

Carolyn Leach

Rita Leard

Nathan Leblang

Lorinda Lee

Marcia and Tim Lenihan

JD Leslie

Jennifer Levi

Yetta Levine

Kit Lewis

Maurine Linder

Robert and Diana Linder

Pamela Livingston

Melanie Lohmann

Stewart Long

Tom and Margaret Lopez

Ron Lucchino

Amanda Lujan

Karen Luke

Robert Lynn and Janet Braziel

Deborah Maas

Charles MacKay

Barbara MacPhee

Anne D. Mansfield and John F. Rizzo

Cristine Marchand

Dorothy Marchand

Ms. Nancy Maret

Yorgos Marinakis

Richard Mariner

Maureen Maroney

James Martinek

Cherise Martinez

Winston Mascarenhas

Andrew Mason

Marilyn Matthews

Janice L. Mayer

William Mayer

Michael McCafferty

Kathy McClendon

Elizabeth McClutchey

Amy McCombs

Joanne McEntire

Kathleen McFeeters

Jennifer McGill

Nancy McLean

Nan McMillan

Judith McNeill and David Welch

John McPherson

Ernie McWilliams

Frances and Michael Meier

Kathleen Meyer

David and Ann Millican

Carol and George Miraben

Charles and Susan Mize

James Moffitt

Adriana Molina

Arianne Monroe

Daniella Montemarano

Marie Moore

Nancy Morgan

Dwayne Moseley

Susan Mueller

Hal Myers

Maryellen Nealon

Patricia Neiner

Jerome "Jerry" Nelson

Mary Ellen Noris-Adams

Katherine Nydes and Hans Bakker

Juliet Ochoa

Gregory Dove, Emma Marzen, and Elaine Wang Meyerhoffer

Mr. and Mrs. Gregory Ockelmann

Jayne Officer

Katie Olivant

Catherine Oppenheimer

Daniel Oshman

Kimberly Page

Nancy Paige

Joseph Paisley

John Pakula and Marishka Rosinski

Niki Pappas

Monica Patterson

Joyce and Thomas Pavlis

Sullivan Peraino

Mr. Dan Perry and Ms. Ashlyn Perry

William and Judith Petrick

Kathleen Pettit

Rebecca Phillips

Cynthia Piatt

Nancy L. and James A. Pierce

Catherine Pope

Pamela Porcella

Scott Porter

Drs. Michael Privitera and Marcia Kaplan

Dr. Sandra L. Ragan

Judy Rainger

Jack and Clare Ratliff

Ann Rea

Steven Redd

Allison Reed

Karen Reifel

Carol Relihan

Marion Reynolds

Kathleen and Dennis Ritschel

Lisa Roberts

Richard and Christopher Robinson

Elizabeth and James Roghair

Susan Rogowski

Garald Ross

Judy Ross

Ted and Mary Roswarski

Nickola Rubow

Susan Rush

Anne Russ

Stacy Sacco and Dorothy Stermer

Sara Sacra and Jeffrey Gruber

Carmen Salazar

Anne Salopek

Tosh Samkange

John Scanlon

Kent Scarbrough

David Schott

Lucy L. Scott

Bethany Searcey

Mona and Ken Sherrell

Nancy Sherwood

Adrienne Shurbet

Carolyn Sinor and David Sieger

Susan Lamberson and Clinton Singley

Pam Skillman

Dr. Glen and Barbara Smerage

Mark Smigelski and Bruce Kikuyama

Dale Smith

Patricia Smith

James Snead

Julie and Sherman Snyder

Dr. Peter and Jody Spalding

Richard and Kathryn Sparks

Jo Beth and Erik Speyer

Susan Sponar

Sara Spoonheim Amit

Melanie Spriggs

Nadine Stafford

Gretchen Stai

Rebecca Steele

John and Cynthia Stetson

Mark and Maria Stevens

Mary Beth Stevens

Vanessa Stokes

Yvette and Dean Stoor

Betty Storms

Karen Strickler Vinson

Marc Talbert

Cheryl Tarter

David Taylor

Denise Tellez

Kristin Thacher

David Thomas

Rebecca Tobey

Eva Toelle

Barb Turiciano

Catherine Ulrich

Giulia Urquhart

Josephine Van Der Hoeven

Michael van Eckhardt

Kay van Oort

Joan Vernick

Justyn Vogel

Craig Vollmers

Eric von Starck

Karen and John Waddell

Barbara Wagner

Robin and Jerry Ward

David Ward

Joseph Warganz

Adam Wasserman

Patricia Weiler

Mary Welker-Haddock

Anna West

Holly White-Gehrt

Jo White

Bill and Kay Whitman

Andrea Wiggins

Janis and San Williams

Rachel Williams

Shelagh Wilmott

Julia Wilson Ball

Marsha Winborn

Clara Winter

James and Lori Winter

Mary and Hank Witek

Jean C. Withers

Joseph Alcorn and Sylvia Wittels

MaryAnn Wolf-Lyerla

Belinda Wong-Swanson

Talia Wood

Laura Worsham

Maggie Wright-Oviedo

Mark Wuest

Angie Wulfow

Kathryn and G Mark Yarbrough

Donna Zahara and Larry Sachs

Julia Zarcone

Kim Zarney

Linda Zwick

From left to right: Barry Lyerly, Ernesto Roederer, Chelsea Helm, and Jose Piedra de la Portilla

James Bass, Guy Gronquist, and Walt Kirchner

HONORARIA

In Honor of Camille Barnett

The Reverend Canon Ted Karpf

In Honor of Nancy and Dr. Murray Bern

Kenneth and Jean Johnson

In Honor of Bette Betts and Zaharlick

Jerome “Jerry” Nelson

In Honor of The Desert Chorale Team

The Reverend Canon Ted Karpf

In Honor of Cathedral Docents

Nancy Lerner

In Honor of Diane and Bill Graves

Steven Caplan

In Honor of Catherine and Guy Gronquist

Mike and Judge Barbara Lynn

Charles MacKay

In Honor of Joshua Habermann

Joyce and Thomas Pavlis

Susan Koehn, Habermann Koehn Foundation

In Honor of Hearts in Harmony

Michelle Schumann

In Honor of Chelsea Helm

Isabel and Raul Delgado

In Honor of Stephen Hochberg

Laura Acquaviva

Patricia Stanley

In Honor of Isabel Johnson

Natalie Dimitruck

In Honor of Emma Marzen

Sullivan Peraino

In Honor of Jenna McLean

Nancy McLean

In Honor of Anne Pearson

Carlos Rovelo and Dr. Sherry Dean

In Honor of new music by living composers

Peter and Sara Rutenberg

In Honor of Kathlene Ritch

David and Lisa Caldwell

In Honor of Leslie Shaw

Peter Frank

In Honor of Steven Soph

Mr. and Mrs. Gregory Ockelmann

In Honor of Patricia Stanley

Ann Stanley

Jane and Ernest Godlove

Jon Patrick and Peter Siegel

In Honor of David and Lee Takagi

Peggy Gilbert

IN MEMORIAM

In Memory of Anita Abrams

Janet Abrams

In Memory of David Amos

Mary Ann Amos

In Memory of Hope Stearns Anderson

Lindsay S. Pope

In Memory of Hugh Balaam

Martha Baker

Martha Blomstrom

In Memory of Joan Berner

Patricia “Tish” Romer

In Memory of Sallie Bingham

Katherine Maroney

Nadine Stafford

In Memory of Jody Blagden

Katherine Blagden

In Memory of Joel Brauer

Mary and Phil Delk

In Memory of Douglas C. Brew

Dorothy Peacock

In Memory of Ash Collins, Jr.

Susan E. Collins

In Memory of Doris F. Dakin

Julie Ann Dakin and Christopher Oechsli

In Memory of Judith Harris

James O. Harris, Jr.

In Memory of Frances Contreras Hartley and Mary Graham Hartley

David Hartley

In Memory of Charles T. “Terry” Hendrix

Nadine Stafford

In Memory of Steven Kerchoff

Ambassador Mark and Jane Asquino

Rebecca Jensen and Chris Biemesderfer

Vincent Pigott and Susan Howard

Heather Lacy

Melanie Lohmann

Kathryn Lowerre and Robert Shay

Amanda Sidebottom

Dr. Peter and Jody Spalding

Patricia Stanley

In Memory of Richard Kipling

Laura McWilliams

In Memory of Ernest Laseter

Dr. Shirley Laseter

In Memory of Paula Marchand

Anonymous

In Memory of Brad McWilliams

Alison Sowden

In Memory of Karen Kent Metteer

Christine and Pierre Lorillard

In Memory of Dick Meyer

Laurie Meyer

In Memory of Jane Clayton Oakes

Allegra and Jim Derryberry

Nadine Stafford

In Memory of Nina Hinson Rasmussen and Dr. Prescott C. Rasmussen

Maggie Edmondson and Dmitri Bovaird

In Memory of Lana Goblet

and John Stinson

Patricia and Bradley Thompson

IN MEMORIAM

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

Loretta Armer, supporter

James Babcock, supporter

Sallie Bingham, supporter

Douglas Brew, supporter

James Burleigh, patron

Ron Holzman, supporter

Richard Kipling, supporter

Susan Graf Marineau, supporter

Bradley McWilliams, supporter

Robert R. Meyer, supporter

Morton H. Meyerson, supporter

Jane Clayton Oakes, Director Emerita and supporter

Brooke Bandfield Taylor, Director Emerita and Encore Society Member

Carolyn Trela, supporter

In Memory of Brooke Bandfield Taylor

Curtiss T. and Mary G. Brennan

Nadine Stafford

In Memory of Suzanne Timble

Susan and Bill Cammock

Shirley and Frank Hirsch

Phyllis Lehmberg

In Memory of Robert Weller

Patricia Weller

In Memory of Janusz Wilczynski

Brahna Lauger Wilczynski

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:

Rev. Talitha Arnold

Brooke Bandfield Taylor†

Murray and Nancy Bern

Bette Betts

Mary Costello

Dorothy B. Davis

Gregory Dove

Margaret Edwards and Ellie Edelstein

Halley Faust and Eve Cohen

Diane and Bill Graves

Catherine and Guy Gronquist

Bette Meyerson

Barbara Houser and Sarah Nolan

Richard Hughes

Sheryl Kelsey and George Duncan

Dr. Patricia Kennedy

Steven Kerchoff†

Joy & Phil LeCuyer

Lynn F. Lee

Barry & Margaret Lyerly

Charles MacKay

Janice L. Mayer

Fraser and Alice McAlpine

Cam McCluskey

James Murphy and Roxanne Howe-Murphy

Jerome B. Nelson

Susan Noel

Margaret K. Norton

Carmen Paradis and Brian McGrath

Edwin and Melanie Peters Thorne

Don† and Sally Roberts

Donald Shina and Kevin Waidmann

Nadine Stafford

Patricia Stanley

Bradley & Patricia Thompson

Suzanne Timble†

Brahna and Janusz† Wilczynski

Margaret Wright

ENDOWMENT GIFTS

Anonymous (1)

Dmitri Bovaird and Maggie Edmondson

Nina Hinson Rasmussen† and Dr. Prescott C. Rasmussen†

ESTATE GIFTS

Anonymous (1)

Margaret Arrott

Lawrence Bandfield

John de Beer

Martin Dieter

Dr. James C. and Julie J. Drennan

Allison and 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 and Hywel White

Acosta Strong Fine Art Gallery, Carlos Acosta J. Randle Adair, DO, PhD

Mary Ann Amos

Chris Andersen and Eric Butler

Archdiocese of Santa Fe, The Most Rev. John C. Wester, The Very Rev. John D. Cannon, Carmen Flórez-Mansi, and Tom Mansi

Arizona Lithographers, Michelle Bonito

Celia Baldwin and Bruce Catania

Sue Baum

Evelyne Boren

Edmund Connolly

Center for Contemporary Arts Santa Fe and Chatter, Dale Albright

The Church of the Holy Faith, The Rev. Canon Robin D. Dodge, The Rev. Simon Carian, Canon Mark Edw. Childers, Marcos and Rocio Castillo, and Eli Herrera

City of Santa Fe Arts & Culture and Tourism Departments, The Honorable Michael J. Garcia, Mayor; Randy Randall; Jordan Guenther; and Chelsey Johnson

Dashing Delivery, Sandra and Justin Greene

Martha Davis

Jack Dunn

Elevate Media, Clarissa Lovato

Encore

Halley Faust and Eve Cohen

Heritage Hotels & Resorts, Molly Ryckman, Kelly Bagley

Four Seasons Resort Rancho Encantado Santa Fe

Jeffrey Fort and Diane Locandro

Karen and Bill Gahr

Herbert and Lydia Milá Garmaier

Genoveva Chavez Community Center, Anya Alarid

Catherine and Guy Gronquist

Susan Howard and Vince Pigott

Sheryl Kelsey and George Duncan

Phyllis and Thomas Keller

KHFM, Alexis Corbin, Kathleen King, Kathlene Ritch, and Brent Stevens

Bette Korber and James Theiler

La Fonda on the Plaza, Britta Andersson, and Lorie Woodmansee

Heather Lacy

Barry and Margaret Lyerly

Laurie Meyer

Elaine Wang Meyerhoffer

Felicia and Daniel Morrow

Dr. Bradley Naylor

Sarah Nickerson

Nusenda Credit Union, Bheira Ugalde

Patina Gallery, Allison Buchsbaum

Lili Pierrepont

Quintessence: A Community of Singers, Abby Greenwald and Matthew Greer

Sangre de Cristo Chorale, George Case

Santa Fe County Lodgers' Tax Advisory Board and Lisa A. Katonak

Santa Fe New Mexican Pasatiempo, Carolyn Graham and Mark Tiarks

Santa Fe Selection Travel Guide, Maria Johnson and Sean Ray

Elena Sharkova

Jody and Peter Spalding

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

Patricia Stanley

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

UMB Bank, Crystal Sena

United Church of Santa Fe, Reverend Talitha Arnold, Michelle Schumann, 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

Jan and Ka Yeung

The Zia Singers, John Tiranno

AMBASSADORS

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 Lacy by emailing heather@desertchorale.org.

Anna Aguilera

Freda Anderson

Barbara Anderson Acosta

Terry Beery

Sue Benedict

Ellen Morris Bond

Jeannie Bowman

Darryl Bowman

Susan Breyer

Gene Brooks

Edie Brooks

John Burke

Andréa Cassutt

Mary Ray Cate

Elaine Cheesman

Donna Clark

Bradford Clements

Jane Clements

Kenneth Alan Collins

Doug Conwell

Judy Costlow

Diana Dallas

Colleen Davidson

Rebecca Dempsey

Ellen Dupuy

Ronald Ecker

Lisa El-Kerdi

Doug Escue

Laura Escue

Denise Fort

Mary Garcia Ingram

K.C. Garrett

Michaela Granito-Tibbetts

Jennifer Graves

Divara Harper

Janet Harris

Alice Harris

Marna Herrick

Arnie Hershman

Shari Hirst

Ruth Hogan

Marie Howson

Christopher Howson

Victoria Hudimac

Rose Ann James

Jamie Jarvis

Julia Johnson

Margery Kaplan

Anna Katherine

Roberta Keppel

Janet Kerr

Lori Koch

Barbara Kuzminska

Joan Lamarque

Dell Lawhead

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

Lynn Osborne

Tina Ossorgin

Carole Owens

Hannah Palmer

Shirley Panek

Marcus Parker

Linda Pasternacki

Uma Pattabhiraman

Grace Philips

Jamie Phillips

Cindy Piatt

Rob Pine

Ross Allen Pope

Rebecca Rene Porras

Madeline S. Pryor

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

Sandy Sparks

Lynn Spray

Andrea Steele

Allen Steele

Erin Taylor

David Taylor

Mark Tibbetts

Alice Tinkle

Jolanta Tuzel

Carrie Vogel

Jan Watson

Susan Watts

Jefferson Welch

Linda Wieseman

Jean Withers

Carmela Woll

Bob Zimmerman

Happy Snowflakes and Full Moon by Evelyne Boren, Acosta Strong Fine Art Gallery