2024 Santa Fe Desert Chorale Summer Festival Program by Santa Fe Desert Chorale

July 14 – August 3, 2024

Discover the Great Books. Discover yourself.

The Western Classics

How did our modern world come to be? In our Master of Liberal Arts program, you will explore 3000 years of Western thought: from the ancient philosophical, scientiﬁc, and historical texts of Greece and Rome, to the rise of both Christianity and the Enlightenment, to the development of democracy and the American experiment. But more importantly, you will work closely and in dialogue with faculty and peers to discover the most undeniable thing of all: our shared humanity.

The Eastern Classics

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

MA | Liberal Arts / MA | Eastern Classics

In-person or low-residency options available.

Wel come!

EXECUTIVE DIRECTOR

Emma Marzen

It is with immense joy that I welcome you to our 42nd annual Summer Festival! I’m thrilled to be back to welcome you in person after my parental leave this past winter. My family and I are doing well, and I’m excited to be back engaging in the work I love. I’d like to thank all of the dedicated members of our staff, with special appreciation to our Operations Director Amanda Sidebottom who stepped into the role of Executive Director during my leave. The Desert Chorale was in good hands while I was away, and I couldn’t be more grateful.

Singing, particularly choral singing, is for everyone. For over four decades, our organization has been dedicated to preserving and celebrating the rich heritage of choral music, spanning centuries of history and diverse cultural traditions. We also keep an eye on the future, commissioning and performing new works by the talented composers of our day. Our professional choral artists, who gather in Santa Fe from all across the nation, are exceptionally skilled across myriad musical styles. Between our three distinct concert programs and our Artist Spotlight Recital, we think you’ll hear something that you and your loved ones will enjoy.

The beauty and power of choral music is something that connects all of us on a deeply human level. According to research by Chorus America, over 54 million Americans participate in choral singing, whether through their community, church group, school, or another organization. The American Choral Directors Association (ACDA) is one organization that supports and celebrates the creation of choral music in all settings. I am thrilled to announce that the Santa Fe Desert Chorale has been invited to give the concluding headliner performance at the ACDA National Conference in Dallas, TX in March 2025. We are grateful for this honor and look forward to sharing a shortened version of The American Immigrant Experience, a powerful program from last summer, with a national audience. More information about this opportunity and an additional public performance in Dallas will be forthcoming. Stay tuned by subscribing to our email list.

Our Insights & Sounds community engagement programs reflect our desire to share the beauty and power of choral music to all communities here in Santa Fe. Last April, over one hundred of you came together for our annual Santa Fe Sings! workshop, learning and lifting up your voices

together under the direction of Joshua Habermann. You may have even sung a piece that you’ll hear the Chorale perform today!

Singing is meant to be enjoyed by all ages, but we understand that sitting quietly for an hour or more at a time can be difficult for young music-lovers. Last year, we created an opportunity for children and their families to experience choral music in a fun, interactive, no-pressure space. We are pleased to offer this summer’s free family concert on Tuesday, July 30th at 2 pm at Christ Church Santa Fe, sponsored by Stephen and Jane Hochberg. This mini-performance is geared towards younger children, but kids of all ages are invited. Visit desertchorale.org/i&s to learn more and register.

Singing, especially singing in a group, can be a deeply healing experience. In 2017, we created our Hearts in Harmony program in collaboration with the Interfaith Community Shelter (lovingly known as Pete’s Place). Hearts in Harmony is a weekly, hour-long community singing workshop offered to individuals experiencing homelessness, substance abuse disorders, and life transitions. While we unfortunately needed to pause this program for a time due to COVID-19, we relaunched Hearts in Harmony at the beginning of this year. With the support of the dedicated team at Pete’s Place, and in collaboration with program leaders Sarah Nickerson and Holly Mead, we have decided to move Hearts in Harmony to The Life Link—another wonderful local social service organization. We wish to express our tremendous gratitude to both Pete’s Place and The Life Link for partnering with us to bring the healing power of choral music to those who need it most.

It is thanks to our loyal patrons and generous donors that we are able to create and share the music that enriches all of our lives. This summer, The Hutson-Wiley & Echevarria Foundation has generously offered to match donations made to the Desert Chorale up to $30,000. Between now and the end of our Festival, your gift—of any size—will have double the impact for your Santa Fe Desert Chorale. To make a donation, scan the QR code below, pick up a donation envelope today, or speak with a member of our staff by calling (505) 988-2282.

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

With gratitude and warmest wishes,

Emma Marzen

PERFORMANCE VENUE & INFORMATION

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

Cathedral Basilica of St. Francis of Assisi

131 Cathedral Place, Santa Fe, NM

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.

Festival Consortium Sponsors

Catherine and John Alsip

May R. and Larry C. Ball

Bette Betts

Pamela Culwell and Charles Case

Joanne and Andrew Eggen

Lost and Found

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

Recycle and Reuse

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

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.

All photos by Tira

Photography unless otherwise noted.

Dr. Robert and Mrs. Marian Haight

Lynn and Jacqueline Johnson

Edwin and Melanie Peters Thorne

John and Sue Shaffer

Howard

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 — New Mexico Bank & Trust, Santa Fe Chamber of Commerce, the Santa Fe New Mexican, Santa Fe Selection Travel Guide, and Thornburg Investment Management — and other individuals, corporations, and foundations for their generous support. For a full list of donors, please see pages 53 through 56.

BOARD OF DIRECTORS, STAFF, AND ARTISTIC SERVICES

BOARD OF DIRECTORS

OFFICERS

Catherine Gronquist, President

Diane Graves, Vice President

Felicia Morrow, Treasurer

Gregory Dove, Secretary & Assistant Treasurer

Hon. Barbara J. Houser (Ret.), Assistant Secretary

BOARD OF DIRECTORS

Murray Bern, M.D.

Kathryn King Coleman

Tom Conner

Jeffrey C. Fort, J.D.

Joshua Habermann*

Chelsea Helm*

Stephen Hochberg

Barry Lyerly, Immediate Past President

Emma Marzen*

Fraser A. McAlpine

Sara McKenzie

Carmen Paradis

Marianne Reuter

Patricia Stanley

Susie Wilson, D.M.A.

Honorary Director

DIRECTORS EMERITI

Mary G. Brennan

David A. Bueschel

Mark Edw. Childers

Margie Edwards

Kirk Ellis

Allison Elston†

John Greenspan†

Kathleen Davison Lebeck, J.D.

Lynn F. Lee

William H. Lynn

Dorothy Massey

Ian McKee†

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†

*ex-officio member † in memoriam

ADMINISTRATIVE STAFF

Joshua Habermann, Artistic Director

Emma Marzen, Executive Director

Joanna Armstrong, Marketing & Communications Manager

Anne Marie Borch, Executive Assistant

O’Shaun Estrada, Box Office & Operations Manager

Lydia Milá Garmaier, Artist Manager

Holly Mead, Hearts in Harmony Co-Leader

Fredrick Mete, Production Coordinator

Sarah Nickerson, Hearts in Harmony Co-Leader

Amanda Sidebottom, Operations Director

Adalyn Thorpe, Artistic Coordinator

Mark Zero, Development Manager

ARTISTIC SERVICES

Zina Jundi, Adverti-Zing!

Brandon Soder Photography

Enrico Lagasca, Digital Content Manager

Clarissa Lovato, Elevate Media

Jennifer Kuyper, Jentech Marketing

Matthew “Kabby” Kabakoff, Kabakoff Sound Studios

Sean Johnson, Mesa Creative Solutions

Scarlett Ossorio, Social Media Manager

Tira Howard Photography

Max Kuzmyak, West 40th Media

July

ABOUT THE SANTA FE DESERT CHORALE

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

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

The Chorale’s first commercial release, The Road Home, launched at No. 3 on the Billboard Classical Chart following a sold-out CD launch program in Santa Fe. The ensemble has traveled across the nation, performing at prominent conferences and in cities such as Dallas, Chicago, and Los Angeles. In 2021, the Chorale began offering access to full video recordings through their streaming service, Desert Chorale TV

(watch.desertchorale.org), sharing the beauty and power of choral music to a wider audience across the country and around the world.

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

While nationally recognized, the Chorale prides itself on its strong relationships within the community of Northern New Mexico. Since 2016, the Chorale has hosted an annual community singing workshop, Santa Fe Sings!, bringing together music-lovers of all backgrounds to express themselves through song under the direction of Joshua Habermann. The following year, the Chorale launched its Hearts in Harmony program, providing access to the healing power of music to those experiencing homelessness in Santa Fe through weekly hour-long song circles. Today this program takes place at The Life Link. Through its Insights & Sounds program, the Chorale also presents free mini-concerts for children to introduce them to the beauty and power of great choral music, along with education workshops and masterclasses for local high school students.

SONGS OF THE AMERICAS

Summer Festival Sponsor

Sallie Bingham

Program Sponsor

Suzanne M. Timble

Conductor

Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

A SONIC TREASURE TROVE SPANNING CENTURIES AND CONTINENTS

Embark on a musical expedition as sixteen Desert Chorale artists, accompanied by strings, organ, guitar, and percussion, explore the rich heritage of 17th and 18th century music from North and South America. Experience the toe-tapping melodies and soul-stirring harmonies of works by Latin American Baroque composers. Then, return to the present with selections from the modern Mass of the Americas by Frank La Rocca, in which he melds together “tones of Western church music with those of traditional Mexican folk songs.” Debuted in 2018, this “cornerstone of modern liturgical composition” (Mark Nowakowski) incorporates texts in Spanish, Latin, and Nahuatl (the Indigenous language of the Aztecs).

Sunday, July 14, 2024 | 4 pm

CONCERT PROGRAM

SONGS OF THE AMERICAS

Cántico del Alba from Frank La Rocca (b. 1951)

Mass of the Americas

Credidi

Ay que sí, ay que no

Tarará, qui yo soy Antón

Celebren, publiquen

II.

Aue Maria from Mass of the Americas

Juan de Lienas (ca. 1617-1654)

Juan Hidalgo (1614-1685)

Antonio de Salazar (ca. 1650-1715)

Manuel de Zumaya (1678-1755)

Frank La Rocca

Excerpts from Vespers of Saint Ignatius Domenico Zipoli (1688-1726)

Beatus vir

Peccator videbit

Gloria Patri

Ave Maria from Mass of the Americas

A este sol peregrino

III.

Desvelado dueño mio

Los coflades de la estleya

Salve Regina from Mass of the Americas

¡Ay andar!

Frank La Rocca

Tomás de Torrejón y Velasco (1644-1728)

Tomás de Torrejón y Velasco

Juan de Araujo (1646-1712)

Frank La Rocca

Juan de Araujo

While in the United States the term “America” is understood to refer specifically to the U.S., in Latin America it has a broader meaning, inclusive of the complete landmass from Patagonia to the Arctic, along with the associated islands. Understood in this way, Santa Fe is at the heart of the Americas, and its location at the crossroads of Anglo, Hispanic, and Native cultures gives the city a unique character which we explore in this program.

Frank La Rocca’s Mass of the Americas was a new addition to the repertoire in 2018. To reflect the mixture of Catholic traditions with local cultures, La Rocca incorporates traditional Mexican melodies as well as Nahuatl, an Indigenous language of Mexico, into the composition. The orchestral complement includes not only strings and bells, but also guitar and marimba, instruments that are more associated with folk music than liturgical forms.

The four movements of the Mass that we include here act as pillars of the program, serving as a bridge between the present and the historical pieces that come in between. The two Ave Maria settings are particularly striking because of the contrast between them. Whereas the second setting (in Latin) is a traditional choral motet with rich harmonies and a high-flying soprano solo, the Nahuatl version (Aue Maria) uses an unusual scale and a softly trembling marimba to evoke an atmosphere of mystery. The final movement, Salve Regina, uses the traditional liturgical chant, interwoven with the beloved melody La Guadalupana, a reference to the Lady of Guadalupe, in whose honor the Mass was conceived.

Interspersed between these Mass movements, we hear gems of the 17th and 18th centuries, including Credidi for double choir by the Mexican composer Juan de Lienas. This is a vigorous piece written as a conversation between the two 4-voice choirs. The few moments when they come together are particularly powerful.

Two pieces of vocal chamber music, Ay que sí, ay que no and Tarará, qui yo soy Antón, reflect the various European and African cultural influences present in Latin America. The former, by a Spanish composer whose music was popular in the New World, describes a woman who struggles with indecision in a rather operatic way. The latter depicts a young boy who says that he “sings the most and the best.” Though he is not high born, he knows he is welcome to sing at the manger because Jesus was also poor.

Celebren, publiquen was composed by Manuel de Zumaya (1678-1755), who was hailed as the leading Mexican composer of his generation, serving in the cathedrals of

both Mexico City and Oaxaca. The festive style of Celebren reflects Zumaya’s mastery of the high baroque idiom that characterizes many of his larger works.

In order to convert the population to Christianity, Jesuit priests established missions, settlements far from major cathedrals of Mexico City and Lima. Due to their remote location, instruments were largely built locally, and choirs of Indigenous populations were formed. Domenico Zipoli (1688-1726) was an Italian composer who left Europe at a young age to join the Jesuits, eventually serving as choirmaster at the Jesuit mission of Santa Catalina, near present day Córdoba, Argentina. His compositions reflect the sophistication of the Indigenous musicians who performed them, including soprano soloists capable of handling florid passages. The music presented here uses a three-part choir of soprano, alto, and tenor, leaving out the bass as was typical at the time.

Our final composers represent the pinnacle of South American colonial music. Tomás Torrejón y Velasco and Juan de Araujo were born in Spain and emigrated to the Americas in their youth. Both served as chapel masters at the Lima Cathedral, and wrote a wide variety of works, including the villancicos for which they are widely recognized today. Torrejón y Velasco’s A este sol peregrino is written in a rollicking triple time with complex counterpoint and lively dance rhythms. Desvelado dueño mio is a gentle lullaby and divides the seven vocal parts into a trio of soloists and a four-part choir.

Araujo’s Los coflades de la estleya features constantly shifting rhythms, giving the piece a spontaneous character that is further strengthened by the call and response between the two soprano soloists and the choir. As was typical of the villancico of the time, stock characters play roles in the story, including Black members of the Cofradía de la Estleya (Brotherhood of the Star), who come together to praise the baby Jesus. Their dialect, which European composers used as a stereotypical representation of Black vernacular, is a relic of a centuries-old practice. This depiction of Black life, however, is reflective of a richly diverse Afro-Peruvian culture, which continues to this day.

Our closing piece, Ay andar, is built around a repeating refrain interspersed with humorous verses of a party gone wild. Revelers “dance faster than the strongest winds,” and a boy gives “such a wild shout that it cures the deaf.” From high art to simple fun, the breadth of these villancicos reflects the heterogeneous cultures of the Americas and the myriad traditions captured here in song.

— Joshua Habermann

Songs of the Americas

Cántico del Alba (sung in Spanish and Latin)

Ya viene alba, rompiendo día; digamos todos “Ave María.”

Nació María para consuelo de pecadores y luz del Cielo. Nació María con eficacia; Ave María, llena de gracia.

La sierpe fiera llora sus penas; María le pone fuertes cadenas. El infierno tres veces tiembla al decir pronto “Ave María.”

Todos cantemos en alta voz “Ave María,” Madre de Gracia.

— Traditional hymn from the California Missions

Credidi (sung in Latin)

Credidi, propter quod locutus sum; ego autem humiliatus sum nimis. Ego dixi in excelsu meo: omnis homo mendax. Quid retribuam Domino pro omnibus quae retribuit mihi?

Calicem salutaris accipiam, et nomen Domini invocabo.

Vota meo Domino reddam coram omni populo ejus. Pretiosa in conspectu Domini mors sanctorum ejus.

O Domine, quia ego servus tuus et filius ancillae tuae. Dirupisti vincula mea: tibi sacrificabo hostiam laudis, et nomen Domini invocabo. Vota meo Domino reddam in conspectu omnis populi ejus. In atriis domus Domini, in medio tui, Jerusalem.

Gloria Patri et Filio, et Spiritui Sancto, Sicut erat in principio, nunc et semper, et in saecula saeculorum, amen. — Psalm 116

TEXTS & TRANSLATIONS

Dawn is coming, day is breaking; let us all say “Hail Mary.”

Mary is born for consolation of sinners, and light of heaven.

Mary is born with efficacy; hail Mary, full of grace.

The fearsome serpent cries his sorrows; Mary snares him in chains. Hell trembles three times at the sound of “Hail Mary.”

Let us all sing with loud voices, “Hail Mary,” Mother of grace.

I believed, therefore I have spoken; I was greatly afflicted. I said in my haste: all men are liars. What shall I render unto the Lord for all his benefits toward me?

I will take the cup of salvation, and call upon the name of the Lord. I will pay my vows unto the Lord in the presence of all his people. Precious in the sight of the Lord is the death of his saints.

O Lord, truly I am thy servant and the son of thy handmaid. Thou hast broken my chains: I will offer a sacrifice of thanksgiving, and will call on the name of the Lord.

I will pay my vows unto the Lord in the presence of all his people. In the courts of the Lord’s house, in the midst of thee, O Jerusalem.

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

As it was in the beginning, now and ever shall be, world without end, amen.

Ay que sí, ay que no (sung in Spanish)

Ay que sí, ay que no,

Que lo que me duele, me duele y lo siento yo:

Que soy Perogrullo de mi pasión.

Y pesadilla mi pena que no reconoce no

Del plomo de sentimiento ligerezas de la voz.

Pues vaya amigas del alma, den anchas a mi dolor

Que un corazón apretado merece lo que un jubón.

Dos amas que Dios me ha dado,

Si es que da las amas Dios, No es por cuenta del cielo el mal que me busco yo.

Muy finos de sus amantes con mucha veneración

Ausentes sus ojos dicen cuanto recata su voz.

De los secretos del alma la blanda respiración

Explica cuanto no dice lo escondido del dolor.

— Francisco de Avellaneda (1625-1684)

Tarará, qui yo soy Antón (sung in Spanish)

Tarará, tarará, qui yo soy Antón, ninglito de nacimiento.

Qui lo canto lo más y mijó.

Yo soy Antón Molinela y ese niño que nació, Hijo es de li unos labialola, li tutu mi estimación.

Tarará, tarará, qui yo soy Antón.

Pul eso mi sonajiya, cascabela y tambó voy a bailá yo a Belena, pultilica y camalón.

Tarará, tarará, qui yo soy Antón.

La sagala chilubina vistila li risplandor las canta sus viyancica, gluria cun compás y son.

Tarará, tarará, qui yo soy Antón.

— Antonio de Salazar (1650-1715)

Oh yes, oh no, I am in the greatest pain! I know that I am a fool for love.

And my sorrow is a dark place in which Grief deafens me to the sweetness of another’s voice.

Give me wide berth, dear friends, For this suffering heart deserves only sorrow. God has given me two masters, if it is indeed God’s doing It is not heaven’s fault, the trouble I’m in.

His distant look of reverence for his past lovers Divulges all that the voice dares not say The merest sigh reveals all that is unsaid about the secret, hidden pain of the heart.

Tarará, tarará, I am Anton, black by birth. I sing the most and the best.

I am Antón Molinela and that child that was born, That son of working people, is worthy of all my respect.

Tarará, tarará, I am Anton.

Therefore I go to dance in Bethlehem to the sound of bells, drums and singing.

Tarará, tarará, I am Anton.

The Virgin maid, resplendent with light, sings him carols with rhythm and rhyme. Tarará, tarará, I am Anton.

Celebren, publiquen (sung in Spanish)

Celebren, publiquen, entonen y canten celestes Anfiones, con métricos aires las dichas, las glorias, los gozos, las paces con que hoy a su Reina la corte flamante recibe gloriosa, admite gozosa y aplaude triunfante.

Y al elevarle la Angélica milicia a dichas, a glorias, a gozos, a paces cada cual reverente la espera deseoso en su clase por Pura, por Reina, por Virgen, por Madre.

Las tres altas jerarquías en fiel controversia amable amorosos solicitan a la que sube triunfante.

Los serafines alegan que en su coro ha de quedarse pues si a ellos toca amar en amar es mar de mares.

Cada querubín porfía su plenitud admirable que esta Ave de Gracia Llena está de gracia llena.

Los mercurios soberanos del Cielo nuncios brillantes exclaman que aquesta Aurora anunció al mundo las paces.

Celebren, publiquen, entonen y canten…

Aue Maria (sung in Nahuatl)

Ma ximopaquiltitie Sancta Mariatzine timoçentemilltitica in teoqualnexilizmahuiçotl gracia.

Motlanzinco moyetztica in tlatoani Dios. Inic tiçenquizcayectenehualloni tiquinmopanahuillia in mochintin çihua. Auh no quizcayectenehualloni in ytlaaquillo in moxillantzin lesus.

Sancta Mariatzine in titlaçonantzin Dios. Ma topampa ximotlatlauhtilli in ye axcan huan in ye tomiquiztempan. Ma in mochihua.

— Traditional prayer

Celebrate, proclaim, chant and sing celestial choirs, with sweet airs the joy, the glories, the contentment, the peace with which today the heavenly host gloriously receives and applauds its triumphant queen.

And upon her ascension the angel host in joy, in glory, in contentment, in peace each reverently awaits her acclaiming her purity, royalty, virginity, and motherhood.

The three great hierarchies in loyal and friendly dispute lovingly salute she who ascends triumphant.

The Seraphim claim that she should join their choir for if their lot is to love in loving she is an infinite sea.

The Cherubim counter that in her admirable bounty, she fills this Ave with plenteous grace.

The sovereign Mercuries golden celestial messengers, exclaim in brilliant voices that this Dawn has brought peace to the world.

Celebrate, proclaim, chant and sing…

Rejoice, O Holy Mary, You are completely full of divinely beautiful honor and grace.

God the ruler is with you. Completely and perfectly worthy of praise: you surpass all women. Also completely and perfectly worthy of praise is the fruit of your womb, Jesus.

Holy Mary, you are the beloved Mother of God. Pray for us now and at the time of our death.

Amen.

Photo

| Colin Jacobsen, Artistic Director

St. Ignatius Vespers (sung in Latin)

Beatus vir qui timet Dominum, in mandatis ejus volet nimis. Potens in terra erit semen ejus; generatio rectorum benedicetur. Gloria et divitiae in domo ejus, et justitia ejus 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 æternum non commovebitur.

In memoria aeterna erit justus; ab auditione mala non timebit.

Paratum cor ejus sperare in Domino, confirmatum est cor ejus;

Non commovebitur donec despiciat inimicos suos.

Dispersit, dedit pauperibus; justitia ejus manet in saeculum saeculi; Cornu ejus exaltabitur in gloria.

Peccator videbit, et irascetur, dentibus suis fremet et tabescet; Desiderium peccatorum peribit.

Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in saecula saeculorum, Amen.

— Psalm 112

Blessed is the man who fears the Lord and finds delight in his commands. His children will be mighty in the land; the generation of the upright will be blessed. Wealth and riches are in his house, and his righteousness endures forever.

In darkness light dawns for the upright, for the gracious and compassionate and righteous.

Happy is the man who is merciful, who uses good judgment in his speech.

Good will come to him who is generous and lends freely, who conducts his affairs with justice.

A righteous man will be remembered forever; he will have no fear of bad news.

His heart is steadfast, trusting in the Lord.

His heart is secure, he will have no fear; in the end he will look in triumph on his foes.

He has scattered abroad his gifts to the poor, his righteousness endures forever; His horn will be lifted high in honor.

The wicked man will see and be vexed, he will gnash his teeth and waste away; The schemes of the evil will be dashed.

Glory be to the Father and Son and Holy Spirit. As it was in the beginning and is now and ever shall be. Amen.

Season sponsored by Erin & Thomas Bunkley III, Bruce Stuart, and the Esther Carp School of Living Fund

Ave Maria (sung in Latin)

Ave Maria gratia plena, Dominus tecum. Benedicta tu in mulieribus et benedictus fructus ventris tui Jesus.

Sancta Maria, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen.

A este sol peregrino (sung in Spanish)

A este sol peregrino cántale glorias zagalejo, Y con gusto y donaire con gozo y contento zagalejo, Cántale que del orbe dora las cumbres, zagalejo

Y pues vive a sus rayos, goce sus luces.

Divino pequeño, tus glorias hoy acobardan mi voz, Que no dejar registrarse supone la luz mayor.

De oriente a oriente camina tu soberano esplendor

Que aún el ocaso es principio donde siempre nace el sol.

A este sol peregrino cántale glorias, zagalejo…

— Tomás Torrejón de Velasco (1644-1728)

Desvelado dueño mio (sung in Spanish)

Desvelado dueño mio, que a tantos rigores naces

Duerme al arró, al arrullo que tiernas entonan las aves

Duerme al arró, al arrullo instrumento de plata suave

Cese mi niño desvelo tan grande

Cese al arró, al arrullo instrumento de plata suave

Cese al arró, al arrullo que tiernas entonan las aves

Duerme soberano Niño neto aljófar

No derrames que de esos que lloras néctares

Nácares son tus mejillas rosadas fragantes

Al arró…

— Tomás Torrejón de Velasco (1644-1728)

Los coflades de la estleya (sung in Spanish)

Los coflades de la estleya

Vamo turus a Beleya

Y velemo a siola bella con siolo en lo poltal. ¡Vamo, vamo currendo ayá!

Oyemo un villancico que lo compondla Flasico siendo gayta su fosico

Y luego lo cantalá Blasico, Pellico, Zuanico y Tomá Y lo estliviyo dilá: gulumbé, gulumbé, gulumbá

Guaché, guaché molenillo de Safalá.

Bamo a bel que traen de Angola a siolo y a siola Baltasale con Melchola y mi plimo Gasipar

Hail Mary full of grace, the Lord is with you. Blessed are you among women, and blessed is the fruit of your womb Jesus. Holy Mary, pray for us sinners, now and at the hour of our death. Amen.

Sing glory to this wandering sun, shepherds, And with elegance and grace, with joy and contentment Sing to the orb that brightens the heavens, shepherds For he who lives in its rays, let him enjoy the light.

Tiny divine one, my voice fails before your glory, Yielding to your greater light.

From sunrise to sunrise your sovereign splendor shines For even sunset is a beginning where the dawn is born.

Sing glory to this wandering sun, shepherds…

Sleepless Lord, born to suffer Hushabye, let the soft murmuring of birds lull you Hushabye, let the sweetness of silver calm you Let your crying stop and sleep now Quieted by sweet silver and tender birds

Sleep sovereign child, clear jewel Let no pearly tears fall on your rosy cheeks Hushabye…

Brothers and sisters of the League of the Star, Let’s all go now to Bethlehem.

We’ll see our lovely lady with our little lord in the stable. Let’s go, let’s go running there!

We’ll hear a carol that Francisco will compose, piping. Then Blas, Pedro, Juan and Tomás will sing it And the refrain will go like this: gulumbé, gulumbé, gulumbá. Guaché, guaché! O black brothers from Safalá!

Let’s see what Baltasar, Melchior and my cousin Gaspar Are bringing from Angola to our lady and our little lord.

(continued on page 22)

¡Vamo, vamo currendo allá!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché molenillo de Safalá.

Vamo siguiendo la estleya — ¡Eya!

Lo neglillo coltezano — ¡Vamo!

Pus lo Reye cun tesuro — ¡Turo!

De camino los tres ban — ¡Allá!

Blasico, Pellico, Zuanico y Tomá — ¡Eya, vamo turu ayá!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché molenillo de Safalá.

Vamo turus los neglillos — ¡plimo!

Pues nos lleva nostla estleya — ¡bella!

Que sin tantus neglos folmen — ¡noche!

Mucha luz en lo poltal — ¡abrá!

Blasico, Pellico, Zuanico y Tomá, ¡Plimo neglo bueye ezá!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché molenillo de Safalá.

Vaya nuestla cofladía — ¡linda!

Pus que nos yeba la estleya — ¡nuestla!

Tlas lo Reye pulque ayá — ¡danza!

Que pala al niño aleglar — ¡irá!

Blasico, Pellico, Zuanico y Tomá

¡Linda nuestla danza irá!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché molenillo de Safalá.

Vamo alegle al portarillo — ¡plimo!

Velemo junto al peseble — ¡bueye!

Que sin tantus neglos folmen — ¡noche!

Mucha luz en lo poltal — ¡abrá!

Blasico, Pellico, Zuanico y Tomá, ¡Plimo neglo bueye ezá!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché molenillo de Safalá.

— Juan de Araujo (1646-1712)

Salve Regina (sung in Latin)

Salve Regina, mater misericordiae.

Vita dulcedo et spes nostra, salve.

Ad te clamamus, exules filii Evae.

Ad te suspiramus, gementes et flentes in hac lacrimarum valle.

Eia ergo, advocata nostra, illos tuos misericordes oculos ad nos converte. Et Jesum, benedictum fructum ventris tui, nobis post hoc exilium ostende. O clemens, o pia, o dulcis Virgo Maria.

— Traditional prayer

Let’s go, let’s go running there!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché! O black brothers from Safalá!

Let’s go following the star — Come on!

All us from the court — Let’s go!

Let’s follow the kings with their treasure — All of us!

The three of them are on their way—And all of us!

Blas, Pedro, Juan and Tomás—

We are going, too!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché! O black brothers from Safalá!

Let’s go then, all of us—cousins!

For our star guides us there —beautiful!

For though we are dark as night

A great light upon the stable—will shine!

Blas, Pedro, Juan and Tomás, Cousins, here among the oxen!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché! O black brothers from Safalá!

Let’s go, you members of the League — lovely!

For our star is guiding us — dancing!

Let’s follow the kings, — come on!

To make the child happy — here we go!

Blas, Pedro, Juan and Tomás,

We will have a good dance!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché! O black brothers from Safalá!

Let’s go happily to the stable—cousins!

We’ll keep watch by the manger —beautiful!

For though we are dark as night

A great light upon the stable—will shine!

Blas, Pedro, Juan and Tomás, Cousins, here among the oxen!

Gulumbé, gulumbé, gulumbá.

Guaché, guaché! O black brothers from Safalá!

Hail Queen, mother of sorrows. Sweet life and our hope, hail.

We cry to thee, the exiled children of Eve.

We sigh to thee, groaning and wailing in this vale of tears.

Hasten therefore to be our advocate, turn your merciful eyes to us.

And after this exile bind us to Jesus, the blessed fruit of thy womb.

O merciful, o holy, o sweet Virgin Mary.

¡Ay andar! (sung in Spanish)

¡Ay andar, andar, andar! ¡A tocar, a cantar, a bailar!

A cantar todo gargüero, que si no quiere cantar

Por la ley de los folijones la garganta perderá.

¡Ay andar, andar, andar! ¡A tocar, a cantar, a bailar!

A tocar todo pandero; nadie se podrá excusar.

Que donde hay mucho concurso

Muchos panderos habrá.

¡Ay andar, andar, andar! ¡A tocar, a cantar, a bailar!

A bailar todo Juanete, que no podrá disculpar

Condénase a sabañones

Por huir la agilidad.

¡Ay andar, andar, andar! ¡A tocar, a cantar, a bailar!

Que toca y retoca y repica Pascual, que hoy ha nacido una rara beldad.

Y todos y todas y muchos y más astillas

Se hagan a puro bailar.

Repite Pascual ¿Cuál?

¿Cuál será en creciendo aquesta Deidad

Si recién nacida no tiene otra igual?

¡Que toca y retoca y repica Pascual, Pues hoy ha nacido quien vida nos da!

Repica bien las sonajas, pues hoy haciéndome rajas

He de bailar con ventajas al airoso vendaval.

¡Que toca y retoca y repica Pascual, Pues hoy ha nacido quien vida nos da!

Folijón en español quiere la Madre del Sol

No tiene en su facistol otro mejor Portugal.

¡Que toca y retoca y repica Pascual, Pues hoy ha nacido quien vida nos da!

Un monaguillo atrevido encaramando el chillido

Dio un grito tan desmedido que le quitó a un sordo el mal.

¡Que toca y retoca y repica Pascual, pues hoy Ha nacido quien vida nos da!

Otro, dando zapatetas no le valieron las tretas

Que en lugar de zapatetas dio El colobrillo al umbral.

¡Que toca y retoca y repica Pascual, Pues hoy ha nacido quien vida nos da!

— Juan de Araujo (1646-1712)

Let’s go, go, go! Let’s play, sing and dance! Let everyone sing out, and he who doesn’t want to According to the rule let him lose his neck.

Let’s go, go, go! Let’s play, sing and dance!

Let us beat all the tambourines; no one will be left out. For where there is a crowd, Many tambourines are sure to be there.

Let’s go, go, go! Let’s play, sing and dance!

Let everyone dance; none shall be allowed to refuse Let him who flees the fun and fails to Join in be properly punished.

Let’s go, go, go! Let’s play, sing and dance!

Play, jingle and play it again, Pascual, For today a rare jewel is born. Let us all, every one, Give ourselves splinters from so much dancing. Play it again, Pascual — What?

What will become of this Deity

Newly born and yet without equal?

Play it and play it again, Pascual, For today is born he who gives us life!

Play the jingles well for today I will throw myself into it

Dancing even faster than the strongest winds. Play it and play it again, Pascual, For today is born he who gives us life!

The Mother of the Sun wants to hear a Spanish dance; Portugal, in all its catalogue has nothing like it.

Play it and play it again, Pascual, For today is born he who gives us life!

A daring altar boy, raising his voice

Gave such a wild shout that it cured the deaf.

Play it and play it again, Pascual, For today is born he who gives us life!

Another, with fancy footwork tried to show off his steps

But instead of a new dance all He managed was to polish the floor.

Play it and play it again, Pascual, For today is born he who gives us life!

OUT OF THIS WORLD

Summer Festival Sponsor

Sallie Bingham

Program Sponsor

Elaine Wang Meyerhoffer

Conductor

Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

SOMETHING FOR EVERYONE WITHIN THIS COSMIC ARRAY OF CHORAL FAVORITES

Spend an evening soaring through the skies with our twenty-four Desert Chorale artists as they traverse extraterrestrial beauties, the thrills of flight, and the miracle of human connection. From classical masterpieces to popular tunes by Dolly Parton and others, there’s something for everyone in this interstellar program. Don’t miss the chance to hear beloved works from our album The Road Home live in concert. Plus, be the first to experience not just one but two world premieres! First, our Commissioning Club has sponsored Daniel Knaggs to write Harmony of the World, which incorporates the words of renowned astronomer Johannes Kepler. Then, as a new partner with Chicago a cappella’s HerVoice competition and mentorship program for up-and-coming women composers, the Desert Chorale is honored to present Thoughts by winner Andelena Jackson. Prepare to be filled with awe and wonder on a musical journey for the ears and the soul.

Sunday, July 21, 2024 | 4 pm

CONCERT PROGRAM OUT OF THIS WORLD

OUT OF THIS WORLD

Out of This World

FLIGHT

Harold Arlen (1905-1986) (arr. Barnett)

Leonardo Dreams of His Flying Machine Eric Whitacre (b. 1970)

HARMONY OF THE WORLD

Harmony of the World

Daniel Knaggs (b. 1983) (2024 Commission)

I. From the heavenly music to the hearer

II. The first true offprints

AURORA BOREALIS

Northern Lights

Biegga Luohte

HER VOICE

Ēriks Ešenvalds (b. 1977)

Jan Sandström (b. 1954)

Thoughts (World Premiere) Andelena Jackson (b. 1998)

HEAVENLY BODIES

Faire is the Heaven

William Henry Harris (1883-1973)

Song to the Moon from Rusalka Antonín Dvořák (1841-1904) (arr. Habermann)

ANGELS

Light of a Clear Blue Morning

Angel Band

Hallelujah

Cells Planets

Dolly Parton (b. 1946) (arr. Johnson)

William Bradbury (1816-1868) (arr. Kirchner)

William Walker (1806-1875) (arr. Kirchner)

Erika Lloyd (b. 1983) (arr. Peterson)

PROGRAM NOTES

Since the beginning of civilization, artists, poets, and composers have turned their gaze to the skies. Whether searching for information or inspiration, awareness of the limitless space around us can remind us of our small place in a much larger universe, and fully ground us in the here and now.

Out of This World hit the charts in 1945 and has been recorded by a wide array of artists including Bing Crosby, Ella Fitzgerald, John Coltrane, and Julie Andrews. Today’s arrangement by Steve Barnett highlights the rhythms characteristic of the beguine, a Caribbean dance that was popularized in the United States in the 1930s.

Our next two pieces feature modern composers looking to historical figures. In describing Leonardo Dreams of His Flying Machine, American composer Eric Whitacre writes: [I] started with a simple concept: what would it sound like if Leonardo Da Vinci were dreaming? And more specifically, what kind of music would fill the mind of such a genius? The drama would tell the story of Leonardo being tormented by the calling of the air, tortured to such a degree that his only recouse was to solve the riddle and figure out how to fly.”

Just as Whitacre dreams of Da Vinci, our 2024 commissioned composer, Daniel Knaggs, turns to the German astronomer Johannes Kepler (1570-1631), who in his Harmonice Mundi (1619) attempted to explain the astronomical relationships of the natural world in terms of music. Knaggs’ music is ever-shifting, with melodic lines weaving around each other not unlike planets in orbit. After a mystical opening, the voices spring into motion (“now there is need of a grander sound”). A chorale-like section leads to a broad crescendo (“the first few offprints of the universal whole”) before ramping up once more for a rhythmic and powerful conclusion. These performances mark the world premiere of Harmony of the World.

In May 2024 a rare celestial storm revealed to much of the world a spectacle that only a select few had ever seen; the aurora borealis (northern lights) were visible as far south as New Mexico. Raised in Latvia (on the same latitude as Alaska), composer Ēriks Ešenvalds sets accounts by arctic explorers Charles Francis Hall and Fridtjof Nansen, combining them with a Latvian folk myth in his choral work Northen Lights. Ešenvalds approaches the voices like an orchestra, painting grand sweeps of sound. Chimes and tuned crystal glasses represent the shimmering aurora.

Hailing from the northern Lapland (Sápmi) region, Jan Sandström has arranged a yoik, or traditional melody, of the Sámi people in his piece Biegga Luohte. The Sámi historically led an itinerant lifestyle, tending to herds of reindeer across the broad expanses of the arctic tundra.

In Sandstöm’s reimaigning, the simple yoik is introduced first by the soprano and alto voices, and then taken up by a tenor soloist while the other voices dance around the melody in a variety of rhythmic patterns. Cries of “zagga zagga” bring to mind the reindeer herder calling to his animals. A traditional Sámi drum, made of reindeer bone and skin, keeps a steady beat until the melody melts away and is lost in the distance.

The Santa Fe Desert Chorale is a partner with Chicago a cappella in HerVoice, a program designed to elevate women’s voices and provide training and mentorship to the next generation of women choral composers. Female composers from across the world submit scores, which are judged by a professional panel. We are pleased to present one of this year’s winners: Andelena Jackson, and her piece Thoughts, on poetry by Myra Viola Wilds. Thoughts is characterized by a running ostinato (repeating figure) of short, staccato notes passed in between the voices. Wordless melodies emerge, eventually revealing themselves to be Wilds’ poetry. “What kind of thoughts do you carry?” she asks, as Jackson’s music gives us an image of a mind in motion, swirling. The poet advises that we “burnish brightly, and then in love set each one free.”

Both Faire is the Heaven and Dvořák’s Song to the Moon from his opera Rusalka, are well loved pieces of vocal music from the early 20th century. Where Harris’ sublime harmonies are the star of the former, it is the soaring melody of the soprano solo that captivates in the latter, as the water sprite Rusalka sings of her hidden love for a huntsman who frequents her lake. At once intimate and dazzling, the gently rocking accompaniment and lyrical aria paint a sublime picture of unfulfilled longing.

Written in 1977, Dolly Parton’s Light of a Clear Blue Morning is a reflection on new beginnings. Dolly refers to it as her “song of deliverance,” coming out of a particuarly painful relationship. The hope and resilience celebrated here lead us to two Desert Chorale favorites: Angel Band and Hallelujah, from Shawn Kirchner’s Heavenly Home. Kirchner draws on American shape note and folk traditions, but the simplicity of the tunes is belied by the sonorous treatment each receives from Kirchner, who is a master arranger. Both of these pieces can be heard on the Desert Chorale’s 2018 recording The Road Home.

The composer Erika Lloyd is a true crossover artist. Trained in early music as a soprano, she combines a sensitivty to historical styles with an interest in experimental pop music. The choral arrangement of her tune Cells Planets was written for the San Francisco-based ensemble Chanticleer and was an instant hit with choirs across the country. We present it here with the hope that it brings you joy, and that you take a moment, tonight perhaps, to gaze up into the New Mexico sky.

Out of This World

You’re clear out of this world

When I’m looking at you I hear out of this world

The music that no mortal ever knew

You’re right out of a book

Out of This World

The fairytale I read when I was so high

No armored knight out of a book

Was more enchanted by a Lorelei than I

After waiting so long for the right time

After reaching so long for a star

All at once from a long and lonely night time

And despite time, here you are

I’d cry out of this world

If you said we were through

So let me fly out of this world

And spend the next eternity or two with you

— Johnny Mercer (1909-1976)

Leonardo Dreams of His Flying Machine

(sung in English and Italian)

Leonardo dreams of his flying machine...

Tormented by visions of flight and falling, More wondrous and terrible each than the last, Master Leonardo imagines an engine

To carry a man up into the sun...

And as he’s dreaming the heavens call him, softly whispering their siren-song: “Leonardo, vieni a volare.” (“Leonardo, come fly.”)

L’uomo colle sua congiegniate e grandi ale, facciendo forza contro alla resistente aria.

(A man with wings large enough and duly connected pushing to overcome the resistance of the air.)

As the candles burn low he paces and writes, Releasing purchased pigeons one by one Into the golden Tuscan sunrise...

(continued next column)

TEXTS & TRANSLATIONS

And as he dreams, again the calling, The very air itself gives voice: “Leonardo, vieni a volare.” (“Leonardo, come fly.”)

Vicina all’elemento del fuoco...

(Close to the sphere of elemental fire)

Scratching quill on crumpled paper, Rete, canna, filo, carta. (Net, cane, thread, paper.)

Images of wing and frame and fabric fastened tightly. ...sulla suprema sottile aria.

(…in the highest and rarest atmosphere.)

Leonardo, vieni a volare.” (“Leonardo, come fly.”)

As the midnight watchtower tolls, Over rooftop, street and dome, The triumph of a human being ascending In the dreaming of a mortal man.

Leonardo steels himself, takes one last breath, and leaps...

“Leonardo, vieni a volare! Leonardo, sognare!” (“Leonardo, come fly! Leonardo, dream!”)

— Charles Anthony Silvestri (b. 1965) with Italian text from the notebooks of Leonardo da Vinci (1452-1519)

Harmony of the World

I. From the heavenly music to the hearer There are many degrees of knowledge, Some distant, some close. For astrology shows the effects of the stars on the Earth; Celestial harmonies are formed by rays at the Sun.

It is not easy to judge what vision, what eyes there may be on the Sun, or what other instinct for perceiving these harmonies which enter the mind by whatever door…

Harmonies of music are sung by singers; Harmonies of rays emerge geometrically. These configurations sing; Sublunary nature dances to this song.

(continued on page 29)

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II. The first true offprints

Now there is need of a grander sound while I ascend the harmonic stair to where the fabric of the world is found…

The proportion of simple melody (known to the ancients), to the melody of multiple voices, (product of recent centuries) equals that of harmonies between single planets and those of planets combined.

Follow me, modern musicians, and attribute it to your arts, unknown to antiquity: in these last centuries, Nature has finally brought forth you, the first true offprints of the universal whole. By your harmonizing of various voices, and through your ears, she has whispered, to the human mind.

— Text adapted by the composer from the writings of Johannes Kepler (1570-1631)

Northern Lights (sung in English and Latvian)

Cik naksnīnas pret ziemeli redzēj’ kāvus karojam Ē, redzēj’ kāvus karojam; (How many nights against the North wind I saw the Northern Lights fighting)

Karo kāvi pie debesu, vedīs karus mūs’ zemē; (Fighting in the sky, bringing war to our land.)

It was night, and I had gone on deck several times. Iceberg was silent; I too was silent. It was true dark and cold.

At nine o’clock I was below in my cabin, When the captain hailed me with the words: “Come above, Hall, at once! The world is on fire!”

I knew his meaning, and, quick as thought I rushed to the companion stairs. In a moment I reached the deck And as the cabin door swung open A dazzling light, overpow’ring light burst upon my startled senses!

Oh, the whole sky was one glowing mass of colored flames, so mighty, so brave!

Like a pathway of light the northern lights seemed to draw us into the sky. Yes, it was harp-music, wild storming in the darkness; The strings trembled and sparkled in the glow of the flames, Like a shower of fiery darts.

A fiery crown of auroral light cast a warm glow across the arctic ice.

Like a pathway of light the northern lights seemed to draw us into the sky.

Again at times it was like softly playing, gently rocking silvery waves

On which dreams travel into unknown worlds.

— English text by Charles Francis Hall (1821-1871) and Fridtjof Nansen (1861-1930) with traditional Latvian folk text

Biegga Luohte (sung in Lappish)

Na de jo biegga båså∂ij, lo, lo, lo....

Basse voujngha buktta rij ibmilis dervuo∂ajt Ålmmujta sáme ednamij buorre sivnnja∂usájt

— Unknown author

Thoughts

What kind of thoughts now, do you carry In your travels day by day? Are they bright and lofty visions, Or neglected, gone astray?

Matters not how great in fancy, Or what deeds of skill you’ve wrought; Man, though high may be his station, Is no better than his thoughts.

Catch your thoughts and hold them tightly, Let each one an honor be; Purge them, scourge them, burnish brightly, Then in love set each one free.

— Myra Viola Wilds (1875-1935)

Now the wind blows, lo, lo, lo...

Coming with the Holy Spirit, a greeting from God To the people in our Lapland with his blessing.

Faire is the Heaven

Faire is the heaven where happy soules have place In full enjoyment of felicitie; Whence they do still behold the glorious face Of the Divine, Eternall Majestie; Yet farre more faire be those bright Cherubins

Which all with golden wings are overdight. And those eternall burning Seraphins Which from their faces dart out fiery light;

Yet fairer than they both and much more bright

Be the Angels and Archangels

Which attend on God’s owne person without rest or end.

These then in faire each other farre excelling

As to the Highest they approach more neare, Yet is that Highest farre beyond all telling

Fairer than all the rest which there appeare

Though all their beauties joyn’d together were; How then can mortal tongue hope to expresse The image of such endlesse perfectnesse?

— Edmund Spenser (d. 1599)

Song to the Moon (sung in Czech)

Měsíčku na nebi hlubokém, světlo tvé daleko vidí, po světě bloudíš širokém, díváš se v příbytky lidí.

Měsíčku, postůj chvíli, řekni mi, řekni, kde je můj milý!

Řekni mu, stříbrný měsíčku, mé že jej objímá rámě, aby si alespoň chviličku vzpomenul ve snění na mě.

Zasvit’ mu do daleka, zasviť mu, řekni mu, řekni, kdo tu naň čeká!

O mně-li duše lidská sní, af se tou vzpomínkou vzbudí!

Měsíčku, nezhasni, nezhasni!

Měsíčku, nezhasni!

— Jaroslav Kvapil (1868-1950)

Angel Band

The latest sun is sinking fast, my race is almost run, My strongest trials now are past, my triumph is begun.

O come angel band, come and around me stand, Bear me away on your snow-white wings to my immortal home.

I know I’m near the holy ranks of friends and kindred dear, I’ve brushed the dew on Jordan’s banks, the crossing must be near.

O come angel band, come and around me stand, Bear me away on your snow-white wings to my immortal home.

I’ve almost reached my heav’nly home, my spirit loudly sings,

The Holy Ones, behold they come; I hear the noise of wings.

O come angel band, come and around me stand, Bear me away on your snow-white wings to my immortal home.

— Jefferson Hascall (1807-1887)

Moon on high in the deep sky, Your light shines far and wide, You wander across the world, Seeing into homes everywhere.

Moon, stay, Tell me, tell me where my beloved is!

Tell him, silvery moon, My arms embrace him Whenever he thinks on me, as in a dream.

Shine down, shine down on him, Tell him who is waiting here!

If in his soul he is dreaming of me, Let the memory awaken him! Moon do not fade, do not fade! Moon do not fade!

Hallelujah

And let this feeble body fail, And let it faint or die; My soul shall quit this mournful vale, And sail to worlds on high,

And I’ll sing hallelujah, And you’ll sing hallelujah, And we’ll all sing hallelujah, When we arrive at home.

O what are all my suff’rings here If Lord, Thou count me meet With that enraptured host to appear And worship at Thy feet!

And I’ll sing hallelujah, And you’ll sing hallelujah, And we’ll all sing hallelujah, When we arrive at home.

Give joy or grief, give ease or pain, Take life or friends away, But let me find them all again In that eternal day.

And I’ll sing hallelujah, And you’ll sing hallelujah, And we’ll all sing hallelujah, When we arrive at home.

— Charles Wesley (1707-1788)

Light of a Clear Blue Morning

It’s been a long dark night, and I’ve been waiting for the morning. It’s been a long hard fight, but I see a brand new day a-dawning. I’ve been looking for the sunshine ‘cause I ain’t seen it in so long. Everything’s gonna work out fine. Everything’s gonna be alright, it’s gonna be okay.

I can see the light of a clear blue morning. I can see the light of a brand-new day. I can see the light of a clear blue morning. Everything’s gonna be alright, it’s gonna be okay.

—

Cells Planets

So far away, when all will shine and all will play, hey.

The stars will open up and all will be tiny pieces of galaxy reflected in you and me…

Cells, planets, same thing.

Bright electric lights on all the leaves and ev’rything growing from a tree; (the) water’s blood, and roots are veins.

I don’t know you, but I like you. I don’t know you, but I miss you. I don’t know you, but I need you.

Smallest is the biggest thing, and in all the world, the love is the love from me to you.

— Erika Lloyd (b. 1983)

Dolly Parton (b. 1946)

THE GREAT ROMANTICS

Summer Festival Sponsor

Sallie Bingham

Program Sponsors

Catherine and Guy Gronquist

Conductor

Joshua Habermann

Artistic Director

Sponsored by Carmen Paradis and Brian McGrath

RICH GERMAN MASTERPIECES THAT WILL TUG AT YOUR HEARTSTRINGS

Immerse yourself in the lush harmonies, sweeping melodies, and tender poetry of the German Romantics. Impressive works of Johannes Brahms bookend a sublime set of vocal chamber music by Franz Schubert and Robert Schumann, featuring several Desert Chorale artists as soloists, all with lyrics and music that delve into the depths of human emotion. Music, both secular and sacred in nature, has been influenced by this rich Romanticism ever since, including several Mass settings featured on this program. The twentyfour professional Desert Chorale singers accompanied by piano bring to life a spectacular sampling from these giants of the Western classical tradition. Come and experience these vocal masterworks of the 19th and 20th centuries like you’ve never heard them before.

Thursday, July 25, 2024 | 7:30 pm

Presented in loving memory of Reverend Elizabeth Bueschel

Sunday, July 28, 2024 | 4 pm

Co-sponsored by Patricia Stanley and Phyllis Lehmberg

Friday, August 2, 2024 | 7:30 pm

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

Pre-concert Lecturer: James Kennerley

CONCERT PROGRAM

THE GREAT ROMANTICS

THE GREAT ROMANTIC I

Warum ist das Licht gegeben dem Mühseligen? Johannes Brahms (1833-1897) Op. 74, No. 1

Intermezzo in A Major, Op. 118, No. 2

Johannes Brahms

In memory of Charlene Cox-Clifton

Zigeunerlieder, Op. 112, No. 3-6

3. Himmel strahlt so helle und klar

4. Rote Rosenknospen künden

5. Brennessel steht an Weges Rand

6. Liebe Schwalbe, kleine Schwalbe

MASS TRADITIONS

Johannes Brahms

Kyrie from Cantus Missae Josef Rheinberger (1839-1901)

Gloria from Missa Lux caelestis Franz Herzog (b. 1962)

Sanctus-Benedictus from Mass for Double Choir Frank Martin (1890-1974)

VOCAL CHAMBER MUSIC

Mein schöner Stern! from Minnespiel, Op. 101 Robert Schumann (1810-1856)

Des Tages Weihe, D. 763

Ständchen (Zögernd leise), D. 920

THE GREAT ROMANTIC II

Fest- und Gedenksprüche, Op. 109

1. Unsere Väter hofften auf dich

2. Wenn ein starker Gewappneter

3. Wo ist ein so herrlich Volk

Wiegenlied, Op. 49, No. 4

Franz Schubert (1797-1828)

Franz Schubert

Johannes Brahms

Among the many great composers of the Romantic Era, there is possibly no more complex figure than Johannes Brahms. Alternately described as reserved and emotional, taciturn and tender, Brahms does not allow for easy characterization. Much has been made of his humble upbringing in Hamburg, and his relationship with the composers Robert and Clara Schumann. Robert was a mentor and champion of Brahms’ music, and his wife Clara, to whom Brahms was deeply devoted both professionally and personally, was his primary muse. Brahms’ lifelong bachelorhood was certainly in some respect tied to the unrequited nature of that relationship, which lasted until Clara’s death, just eleven months prior to Brahms’ own passing in April 1897.

To understand Brahms, we have to contend with his famously gloomy nature. “I must confess,” the composer wrote, “I am a severely melancholic person...black wings are constantly flapping above us.” This is reflected in Brahms’ choice of texts, especially in his motet Warum ist das Licht gegeben dem Mühseligen? (Wherefore is light given to the tired in spirit?). Verses from the book of Job are set in a fugue, set off by cries of “Warum” (Why?) in an existential cry.

For the middle movements, Brahms repurposes music he had previously written in his Missa Canonica in a strict imitative structure. Ever the lover of earlier music, he references antiphonal techniques reminiscent of the German Baroque. Brahms brings the motet to a close with two chorale-based movements, the last of which sets verses of Martin Luther in an homage to Johann Sebastian Bach, whose music Brahms admired.

Written towards the end of his life, Brahms’ Intermezzo in A Major (Opus 118 No. 2), is one of his most beloved piano works. Introspective in character as in many of his late works, it is written in a classical ternary form, with the original music returning to close the piece. The Op. 112 Zigeunerlieder (Gypsy Songs) represent another side entirely of Brahms’ personality. Here, the melancholic shadows are dispelled, and we have music of extroverted charm.

Josef Rheinberger, from the tiny principality of Liechtenstein, was an exact contemporary to Brahms. His Kyrie, excerpted here from his Cantus Missae, has as similar lyricism and classical form to the German master. Franz Herzog’s Gloria provides a contrast, both rhythmically and harmonically, with its more modern approach.

The Sanctus-Benedictus from the Mass for Double Choir by Frank Martin was written in 1926, but remained unknown until 1963, when a choral conductor colleague was able to lay hands on the manuscript, which had been hidden in a drawer in the composer’s desk. Martin said that he

considered it to be “a private matter between himself and God” and thus had not sought public performances. Fortunately for us, the work was brought to light and has become a favorite of excellent choirs everywhere thanks to its lyrical opening and rhythmically exciting final section.

Robert Schumann, who hailed Brahms as the “savior of German music” was a mentor for the younger composer. Less prolific than his protegé in choral forms, Schumann was a dedicated composer of Lieder, including the wellloved Mein schöner Stern from the song cycle Minnespiel. The poet asks the beloved for her favor despite his imperfections. The text is particularly poignant given Robert’s struggles with mental illness that led ultimately to his institutionalization and death.

We follow this with another great Romantic Era song composer, Franz Schubert, who in his brief 33 years was wildly prolific, composing over 1,500 works. The two pieces heard here, Des Tages Weihe and Ständchen, are two of his most esteemed examples of vocal chamber music. Schubert wrote Ständchen for Anna Fröhlich, a Viennese singing teacher who commissioned the work for her pupil Louise Gosmar to sing with her female friends. Schubert, misunderstanding Fröhlich’s intention, set the piece for mezzo-soprano and male chorus. At Fröhlich’s request, Schubert rescored the work for mezzo and female chorus. For these performances, we return to Schubert’s original version.

To close, we return once more to Brahms, who at the end of his life had achieved the recognition from his native city that had eluded him earlier in his youth. In response to being named an “honorary citizen” of Hamburg, Brahms composed Fest- und Gedenksprüche (Festival and Commemoration Sentences), a three-motet cycle set to biblical verses. The music is public facing and ceremonial in nature. The double choir is used to represent the thenrecent unification of the German nation. The middle movement Wenn ein starker Gewappneter (When a strong armed man) beautifully paints the text as one house falls upon another in a confusion of dense counterpoint. The final movement, Wo ist ein so herrlich Volk (Where is there such a glorious people), restores order and celebrates the city and nation in optimistic terms.

From Brahms the public figure, we return to Brahms the private man, who throughout his life dealt with his share of acclaim and disappointment. Berta Faber, another of Brahms’ unrequited loves, is the dedicatee of this Wiegenlied (Lullaby), which Brahms wrote on the occasion of the birth of her second child. In a tender gesture, Brahms includes as a hidden countermelody a tune that Faber sang to him years before. That he would harness his loneliness to create such melancholic beauty is characteristic of Brahms, the great romantic.

— Joshua Habermann

The Great Romantics

Warum ist das Licht gegeben dem Mühseligen? (sung in German)

Warum ist das Licht gegeben dem Mühseligen, und das Leben den betrübten Herzen, die des Todes warten und kommt nicht, und grüben ihn wohl aus dem Verborgenen, die sich fast freuen und sind fröhlich, daß sie das Grab bekommen, und dem Manne, deß Weg verborgen ist, und Gott vor ihm denselben bedecket?

— Job 3:20-26

Lasset uns unser Herz samt den Händen aufheben zu Gott im Himmel.

— Jeremiah 3:41

Siehe, wir preisen selig, die erduldet haben. Die Geduld Hiob habt ihr gehöret, und das Ende des Herrn habt ihr gesehen; denn der Herr ist barmherzig und ein Erbarmer.

— James 5:11

Mit Fried und Freud ich fahr dahin, in Gottes Willen.

Getrost ist mir mein Herz und Sinn, sanft und stille.

Wie Gott mir verheißen hat, der Tod ist mir Schlaf worden.

— Martin Luther (1483-1546)

Zigeunerlieder (sung in German)

3. Himmel strahlt so helle und klar, Heller strahlt mir dein Augenpaar. Du meine Rose, mir ins Auge blick, Daß ich dich segne in meinem Glück.

Vögleins Lied so lieblich erklingt, Süß’res Lied mir mein Liebchen singt. Du meine Rose, mir ins Auge blick, Daß ich dich segne in meinem Glück.

TEXTS & TRANSLATIONS

Wherefore is light given to the tired in spirit and life to those with sorrowful hearts who wait upon death, yet it comes not, and seek it out in hidden places, they who take joy, and are happy to find the grave, and to the man, whose way is hidden from him, and whom God himself has hemmed in?

Let us raise our hearts and hands to God in heaven.

See, we praise as blessed those who have endured. You have heard of the patience of Job, and you have seen the works of the Lord; for he is merciful and a comforter.

I go forth in peace and joy, by God’s will.

My heart and soul are comforted, calm and still. As God has promised me, death is become but sleep.

Heaven shines, so clear and bright, Brighter still are your eyes. You, my rose, meet my gaze, And I bless you in sweetest happiness.

Joyous birdsong resounds, Sweeter still is the song my beloved sings. You, my rose, meet my gaze, And I bless you in sweetest happiness.

(continued on page 38)

Sonne küßt das ganze Erdenrund, Heißer küßt mich dein Rosenmund. Du meine Rose, mir ins Auge blick, Daß ich dich segne in meinem Glück.

4. Rote Rosenknospen künden schon des Lenzes Triebe. Rosenrote Wangen deuten Mädchens erste Liebe. Kleiner roter Vogel, flieg herab zur roten Rose! Bursche geht zum ros’gen Mädchen kosen.

5. Brennessel steht am Wegesrand, Neider und Feinde hab’ ich in Stadt und Land. Neidet, haßt, verleumdet, doch das bringt mir keine Not. Wenn mir nur mein süßes Liebchen treu bleibt bis zum Tod.

6. Liebe Schwalbe, kleine Schwalbe

Trage fort mein kleines Briefchen Flieg zur Höhe, fliege schnell aus Flieg hinein in Liebchens Haus!

Fragt man dich, woher du kommest Wessen Bote du geworden

Sag, du kommst vom treusten Herzen Das vergeht in Trennnungsschmerzen

— Hugo Conrat (1845-1906)

Kyrie (sung in Latin)

Kyrie eleison, Christe eleison, Kyrie eleison

Gloria (sung in Latin)

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe.

Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.

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

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

The sun kisses the entire world, Warmer still are the kisses from your rosy mouth. You, my rose, meet my gaze, And I bless you in sweetest happiness.

Red rosebuds herald spring’s arrival.

Rosy cheeks reveal a girl’s first love. Little red bird, fly away to the red rose! The boy rushes to the rosy maiden’s embrace.

Spiky nettles mark my path, I have enemies everywhere Envied, hated, slandered, yet it brings me no pain. If only my sweet beloved remains true until death

Dear swallow, tiny swallow Take forth my little letter Fly on high, fly quickly Fly to my beloved’s house!

Should they ask you whence you come Whose message you bear Say you come from the truest heart That endures the agony of separation

Lord have mercy, Christ have mercy, Lord have mercy. Glory to God in the highest. And on earth peace to all those of good will. We praise thee, we bless thee, we worship thee, we glorify thee.

We give thanks to thee according to thy great glory. Lord God, Heavenly King, God the Father almighty. Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.

Thou who takest away the sins of the world, have mercy upon us.

Thou who takest away the sins of the world, receive our prayer.

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

For Thou alone art holy, thou alone art the Lord. Thou alone art the most high, Jesus Christ. With the Holy Spirit in the glory of God the Father. Amen.

Sanctus-Benedictus (sung in Latin)

Sanctus, sanctus, sanctus

Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua Osanna in excelsis.

Benedictus qui venit in nomine Domini. Osanna in excelsis.

— Traditional Mass texts

Mein schöner Stern! (sung in German)

Mein schöner Stern! Ich bitte dich, O lasse du dein heitres Licht Nicht trüben durch den Dampf in mir, Vielmehr den Dampf in mir zu Licht, Mein schöner Stern, verklären hilf!

Mein schöner Stern! Ich bitte dich, Nicht senk’ herab zur Erde dich, Weil du mich noch hier unten siehst, Heb’ auf vielmehr zum Himmel mich, Mein schöner Stern, wo du schon bist!

— Friedrich Rückert (1788-1866)

Des Tages Weihe (sung in German)

Schicksalslenker, blicke nieder Auf ein dankerfülltes Herz.

Uns belebt die Freude wieder, Fern entfloh’n ist jeder Schmerz

Und das Leid, es ist vergessen.

Durch die Nebel strahlt der Glanz Deiner Grösse unermessen, Wie aus hellem Sternenkranz.

Liebevoll nahmst du der Leiden Herbem Kelch von Vaters Mund, Darum ward in Fern und Weiten Deine höchste milde kund.

— author unknown

Ständchen (sung in German)

Zögernd, leise, in des Dunkels nächt’ger Hülle Sind wir hier, und den Finger sanft gekrümmt, Leise, leise, Pochen wir an des Liebchens Kammertür.

Doch nun steigend, schwellend, hebend, Mit vereinter Stimme, laut, Rufen aus wir hochvertraut: Schlaf du nicht, wenn der Neigung Stimme spricht.

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

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

My lovely star! I beg of you, Do not let your serene radiance

Be dimmed by dark clouds in me, Rather help, my lovely star, To transfigure my darkness into light!

My lovely star! I beg of you, Not to descend to earth, Looking down from above, Rather lift me up to heaven, My lovely star, to where you are!

Guider of fate, look down On this grateful heart. We are stirred anew by joy; All suffering has fled far away, And sorrow is forgotten. Through the mists shines the immeasurable radiance of your greatness, as if from a brilliant wreath of stars.

Lovingly you took the bitter cup of sorrow from your Father’s lips, and your supreme merciful kindness was made known far and wide.

Hesitant, gentle, under cover of darkness at night We are here, and with a softly bent finger, Gently, gently, We knock on our darling’s bedroom door.

But now rising up, swelling, lifting, With a united voice, loud, We call out full of confidence: Do not sleep when the voice of affection speaks!

(continued on page

Sucht ein Weiser nah und ferne Menschen einst mit der Laterne, Wie viel seltner dann als Gold Menschen, uns geneigt und hold.

Drum wenn Freundschaft, Liebe spricht, Freundin, Liebchen, schlaf du nicht. Aber was in allen Reichen Wär dem Schlummer zu vergleichen?

Drum statt Worten und statt Gaben Sollst du nun auch Ruhe haben, Noch ein Grüßchen, noch ein Wort, Es verstummt die frohe Weise, Leise, leise, schleichen wir uns wieder fort.

— Franz Grillparzer (1891-1972)

Fest- und Gedenksprüche (sung in German)

1. Unsere Väter hofften auf dich; und da sie hofften, halfst du ihnen aus. Zu dir schrieen sie und wurden errettet; sie hofften auf dich und wurden nicht zu schanden. Der Herr wird seinem Volk Kraft geben, der Herr wird sein Volk segnen mit Frieden.

— Psalms 22:56, Psalms 29:11

2. Wenn ein starker Gewappneter seinen Palast bewahret, so bleibet das Seine mit Frieden. Aber, ein jeglich Reich, so es mit ihm selbst uneins wird, das wird wüste, und ein Haus fället über das andere.

— Luke 11:21, Luke 11:17, Matthew 12:25

3. Wo ist ein so herrlich Volk zu dem Götter also nahe sich tun als der Herr, unser Gott, so oft wir ihn anrufen. Hüte dich nur und bewahre deine Seele wohl, dass du nicht vergessest der Geschichte, die deine Augen gesehen haben, und dass sie nicht aus deinem Herzen komme alle dein Lebenlang. Und sollt deinen Kindern und Kindeskindern kundtun. Amen.

— Deuteronomy 4:7-9

Wiegenlied (sung in German)

Guten Abend, gut’ Nacht Mit Rosen bedacht Mit Näglein besteckt Schlupf’ unter die Deck’ Morgen früh, wenn Gott will Wirst du wieder geweckt

— From Des Knaben Wunderhorn

There was once a wise man who searched far and wide With a lantern looking for people, How much rarer than gold Are people of good will?

Therefore, when friendship and love speak, Friend, Love, do not sleep! –But of all riches What can compare to sleep?

Therefore instead of words and instead of gifts, You shall also now have rest; Just one more little greeting, one more word, Then the cheerful tune will end, Gently, gently, we shall creep away again!

Our fathers trusted in you, and because they trusted, you raised them up. They cried to you, and were delivered; they trusted in you and were not disgraced. The Lord will give his people strength; the Lord will bless his people with peace.

When a strong, armed man guards his palace, his possessions remain in peace. But every kingdom, if it is divided against itself, becomes desolate, and one house falls upon the other.

Where is there such a glorious people whose gods favor them as the Lord our God is to us whenever we call upon him? Only beware, and guard your soul well, that you do not forget the things that your eyes have seen, and that their memory endure in your heart all your life. And you shall teach this to your children and your children’s children. Amen.

Lullaby and good night ‘Mid lilies of white Red roses are spread All over thy bed Lay thee down now and rest May thy slumber be blessed

Three of our professional Desert Chorale artists join collaborative pianist

ARTIST SPOTLIGHT RECITAL

Wednesday, July 31, 2024 at 4 pm

St. Bede’s Episcopal Church

TEXTS & TRANSLATIONS

Artist Spotlight Recital

O schöne Nacht (sung in German)

O schöne Nacht!

Am Himmel märchenhaft

Erglänzt der Mond in seiner ganzen Pracht; Um ihn der kleinen Sterne liebliche Genossenschaft.

Es schimmert hell der Tau Am grünen Halm; mit Macht Im Fliederbusche schlägt die Nachtigall; Der Knabe schleicht zu seiner Liebsten sacht –O schöne Nacht!

— Georg Friedrich Daumer

O lovely night!

In the heavens, the moon gleams magically in all its splendor; about it, the sweet comradeship of tiny stars.

The dew glimmers brightly on the green blades of grass; with great power the nightingale sings out in the elder-bush; the boy steals quietly to his sweetheart –O lovely night!

Translation © Emily Ezust, from the LiederNet Archive – www.lieder.net

Auf den Schwingen der Nacht (sung in German)

Auf den Schwingen der Nacht trägt mich die Sehnsucht zu dir. Ob ein Verlangen nach mir in deiner Seele erwacht?

Stern steht droben bei Stern, und wie mich tröstet ihr Licht, seh’ ich dein Angesicht liebenden Aug’s von fern.

— Gottfried Hertel

Translation by Harrison Hintzsche

Memnon (sung in German)

Den Tag hindurch nur einmal mag ich sprechen, Gewohnt zu schweigen immer und zu trauern: Wenn durch die nachtgebor’nen Nebelmauern Aurorens Purpurstrahlen liebend brechen.

Für Menschenohren sind es Harmonien. Weil ich die Klage selbst melodisch künde Und durch der Dichtung Glut des Rauhe ründe, Vermuten sie in mir ein selig Blühen.

On the wings of night, my longing carries me to you. Does a desire for me awaken within your soul?

Above, stars appear, and how their light consoles me. I see your face, its loving eyes, from afar.

Constant silence and grieving are my wont; the whole day long I may speak but once: when Aurora’s tender crimson rays break through the night-begotten walls of mist.

To men’s ears this is music. Since I proclaim my very grief in song, and transfigure its harshness in the fire of poetry, they imagine that joy flowers within me.

(continued on next page)

In mir, nach dem des Todes Arme langen, In dessen tiefstem Herzen Schlangen wühlen; Genährt von meinen schmerzlichen Gefühlen Fast wütend durch ein ungestillt Verlangen:

Mit dir, des Morgens Göttin, mich zu einen, Und weit von diesem nichtigen Getriebe, Aus Sphären edler Freiheit, aus Sphären reiner Liebe, Ein stiller, bleicher Stern herab zu scheinen.

— Johann Mayrhofer

Translation © Richard Wigmore

Widmung (sung in German)

Du meine Seele, du mein Herz, Du meine Wonn’, o du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab!

Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden.

Dass du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein bess’res Ich!

— Friedrich Rückert

Translation © Richard Stokes

Laue Sommernacht (sung in German)

Laue Sommernacht: am Himmel

Stand kein Stern, im weiten Walde Suchten wir uns tief im Dunkel, Und wir fanden uns.

Fanden uns im weiten Walde

In der Nacht, der sternenlosen, Hielten staunend uns im Arme In der dunklen Nacht.

War nicht unser ganzes Leben

So ein Tappen, so ein Suchen?

Da: In seine Finsternisse Liebe, fiel Dein Licht.

— Otto Julius Bierbaum

Translation © Richard Stokes

Within me, to whom the arms of death stretch out, as serpents writhe deep in my heart; I am nourished by my anguished thoughts, and almost frenzied with unquiet longing.

Oh to be united with you, goddess of morning, and, far from this vain bustle, to shine down as a pale, silent star from spheres of noble freedom and pure love.

You my soul, you my heart, You my rapture, O you my pain, You my world in which I live, My heaven you, to which I aspire, O you my grave, into which My grief forever I’ve consigned! You are repose, you are peace, You are bestowed on me from heaven. Your love for me gives me my worth, Your eyes transfigure me in mine, You raise me lovingly above myself, My guardian angel, my better self!

Mild summer night: in the sky

Not a star, in the deep forest We sought each other in the dark And found one another.

Found one another in the deep wood In the night, the starless night, And amazed, we embraced In the dark night.

Our entire life – was it not Such a tentative quest? There: into its darkness, O Love, fell your light.

Zueignung (sung in German)

Ja, du weißt es, teure Seele, Daß ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank.

Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank.

Und beschworst darin die Bösen, Bis ich, was ich nie gewesen, Heilig, heilig an’s Herz dir sank, Habe Dank!

— Hermann von Gilm

Translation © Richard Stokes

Yes, dear soul, you know That I’m in torment far from you, Love makes hearts sick –Be thanked.

Once, reveling in freedom, I held the amethyst cup aloft And you blessed that draught –Be thanked.

And you banished the evil spirits, Till I, as never before, Holy, sank holy upon your heart –Be thanked!

Ophelia’s Song (sung in English)

The hills are green, my dear one, and blossoms are filling the air.

The spring is arisen and I am a prisoner there.

In this flowery field I’ll lay me and dream of the open air.

The spring is arisen and I am a prisoner there.

Taste of the honey. Sip of the wine. Pine for a chalice of gold.

I have a dear one and he is mine. Thicker than water. Water so cold.

In this flowery field I’ll lay me and dream of the open air.

The spring is arisen and I am a prisoner there.

— Jake Heggie

Apparition (sung in French)

La lune s’attristait. Des séraphins en pleurs

Rêvant, l’archet aux doigts, dans le calme des fleurs

Vaporeuses, tiraient de mourantes violes

De blancs sanglots glissant sur l’azur des corolles.

—C’était le jour béni de ton premier baiser.

Ma songerie aimant à me martyriser

S’enivrait savamment du parfum de tristesse

Que même sans regret et sans déboire laisse

La cueillaison d’un Rêve au cœur qui l’a cueilli.

The moon grew sad. Weeping seraphim, dreaming, bows in hand, in the calm of hazy flowers, drew from dying viols white sobs that glided over the corollas’ blue. —It was the blessed day of your first kiss.

My dreaming, glad to torment me, grew skilfully drunk on the perfumed sadness that—without regret or bitter after-taste— the harvest of a Dream leaves in the reaper’s heart.

(continued on next page)

J’errais donc, l’œil rivé sur le pavé vieilli, Quand avec du soleil aux cheveux, dans la rue

Et dans le soir, tu m’es en riant apparue

Et j’ai cru voir la fée au chapeau de clarté

Qui jadis sur mes beaux sommeils d’enfant gâté

Passait, laissant toujours de ses mains mal fermées

Neiger de blancs bouquets d’étoiles parfumées.

— Stéphane Mallarmé

Translation © Richard Stokes

Stars and the Moon (sung in English)

I met a man without a dollar to his name, Who had no traits of any value but his smile. I met a man who had no yearn or claim to fame, Who was content to let life pass him for a while. And I was sure that all I ever wanted Was a life like the movie stars led.

And he kissed me right here, and he said:

“I’ll give you stars and the moon and a soul to guide you And a promise I’ll never go.

I’ll give you hope to bring out all the life inside you And the strength that will help you grow.

I’ll give you truth and a future that’s twenty times better Than any Hollywood plot.”

And I thought, “You know, I’d rather have a yacht.”

I met a man who lived his life out on the road, Who left a wife and kids in Portland on a whim.

I met a man whose fire and passion always showed, Who asked if I could spare a week to ride with him. But I was sure that all I ever wanted Was a life that was scripted and planned. And he said, “But you don’t understand—

“I’ll give you stars and the moon and the open highway And a river beneath your feet.

I’ll give you days full of dreams if you travel my way And a summer you can’t repeat.

I’ll give you nights full of passion and days of adventure. No strings, just warm summer rain.”

And I thought, “You know, I’d rather have champagne.”

I met a man who had a fortune in the bank, Who had retired at age thirty, set for life. I met a man and didn’t know which stars to thank, And then he asked one day if I would be his wife. And I looked up, and all I could think of Was the life I had dreamt I would live. And I said to him, “What will you give?”

And so I wandered, my eyes fixed on the old paving stones, when with sun-flecked hair, in the street and in the evening, you appeared laughing before me and I thought I glimpsed the fairy with her cap of light who long ago crossed my lovely spoilt child’s slumbers, always allowing from her half-closed hands white bouquets of scented flowers to snow

“I’ll give you cars and a townhouse in Turtle Bay And a fur and a diamond ring, And we’ll be married in Spain on my yacht today And we’ll honeymoon in Beijing, And you’ll meet stars at the parties I throw at my villas In Nice and Paris in June.”

And I thought, “Okay!” And I took a breath, And I got my yacht, And the years went by, And it never changed, And it never grew, And I never dreamed, And I woke one day, And I looked around, And I thought, “My God, I’ll never have the moon.”

— Jason Robert Brown

O Magnum Mysterium (sung in Latin)

O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum, jacentem in praesepio!

Beata Virgo, cujus viscera meruerunt portare Dominum Christum. Alleluia.

— Text is drawn from the Matins of Christmas in the Roman Breviary

Over the Rainbow (sung in English)

When all the world is a hopeless jumble And the raindrops tumble all around, Heaven opens a magic lane.

When all the clouds darken up the skyway

There’s a rainbow highway to be found, Leading from your window pane

To a place behind the sun, Just a step beyond the rain.

Somewhere over the rainbow, way up high, There’s a land that I heard of once in a lullaby. Somewhere over the rainbow, skies are blue, And the dreams that you dare to dream Really do come true.

Someday I’ll wish upon a star And wake up where the clouds are far behind me. Where troubles melt like lemon drops Away above the chimney tops, That’s where you’ll find me.

Somewhere over the rainbow, bluebirds fly. Birds fly over the rainbow; Why, then, oh why can’t I?

If happy little bluebirds fly beyond the rainbow, Why, oh why can’t I?

— Edgar Yipsel Harburg

O great mystery, and wonderful sacrament, that animals should see the new-born Lord, lying in a manger!

Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia!

Water Under Bridges (sung in English)

Somebody told me “Get over it.”

It’s like water under bridges that have already burned. They say “It gets better, It gets easier.”

The memories start to fade And sad songs that always play you start to hate.

Do you remember the days we used to spend? Memories so strong it keeps me from moving on. If I could go back, I’d take our worst days. Even our worst days are better than Loneliness.

Somebody told me “Get over it.”

It’s like water under bridges that have already burned.

Do you remember the days we used to spend?

Memories so strong it keeps me from moving on.

If I could go back, I’d take our worst days.

Even our worst days are better than Loneliness.

Somebody told me “Get over it.”

It’s like water under bridges that have already burned.

They say, It’s like water under bridges that have already burned.

— Gregory Porter

The Waking (sung in English)

I wake to sleep, and take my waking slow. I feel my fate in what I cannot fear. I learn by going where I have to go.

We think by feeling. What is there to know?

I hear my being dance from ear to ear. I wake to sleep, and take my waking slow.

Of those so close beside me, which are you?

God bless the Ground! I shall walk softly there, And learn by going where I have to go.

Light takes the Tree, but who can tell us how?

The lowly worm climbs up a winding stair; I wake to sleep and take my waking slow.

Great Nature has another thing to do To you and me; so take the lively air, And, lovely, learn by going where to go.

The shaking keeps me steady. I should know. What falls away is always. And is near. I wake to sleep, and take my waking slow. I learn by going where I have to go.

— Theodore Roethke

Love’s in Need of Love Today

(sung in English)

Good morn’ or evening friends, Here’s your friendly announcer. I have serious news to pass on to everybody. What I’m about to say could mean the world’s disaster, Could change your joy and laughter to tears and pain.

It’s that love’s in need of love today. Don’t delay… Send yours in right away.

Hate’s going round breaking many hearts. Stop it please before it’s gone too far.

The force of evil plans to make you its possession, And it will if we let it destroy everybody. We all must take precautionary measures. If love and peace you treasure, Then you’ll Hear me when I say,

(Oh that)

Love’s in need of love today. Don’t delay… Send yours in right away. Hate’s going round breaking many hearts. Stop it please before it’s gone too far.

— Stevie Wonder

On the Street Where You Live (sung in English)

I have often walked Down the street before, But the pavement always stayed Beneath my feet before. All at once am I Several stories high, Knowing I’m on the street where you live.

Are there lilac trees In the heart of town?

Can you hear a lark in any other part of town? Does enchantment pour Out of every door?

No, it’s just on the street where you live.

And oh, the towering feeling Just to know somehow you are near. The overpowering feeling That any second you may suddenly appear!

People stop and stare, They don’t bother me, For there’s nowhere else on earth That I would rather be. Let the time go by, I won’t care if I Can be here on the street where you live.

— Alan Jay Lerner

A Gala Celebration Among the Stars

Thursday, July 18, 2024 at 6 pm

Four Seasons Resort Rancho Encantado Santa Fe

GALA AD

AWARD PRESENTATION

Angel Award: Catherine and Guy Gronquist

THREE-COURSE DINNER PERFORMANCE

Special performance by your Santa Fe Desert Chorale

The success of our Gala relies entirely on your contributions in advance — no auctions, raffles, or requests for donations will interrupt this special event.

Star Ticket: $650 (includes a donation of $400)

Comet Ticket: $1,000 (includes a donation of $750)

Nebula Ticket: $1,500 (includes a donation of $1,250)

Galaxy Ticket: $2,500 (includes a donation of $2,250)

Cosmos Ticket: $3,500 (includes a donation of $3,250)

To learn more and RSVP, please call (505) 988-2282, or visit our website at desertchorale.org/gala

SANTA FE

ARTISTIC DIRECTOR

Joshua Habermann

Joshua Habermann is in his sixteenth 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 choruses for major symphonies, including San Francisco (Handel’s Messiah, Ravel’s Daphnis et Chloë, Britten’s War Requiem) and Houston (John Adams’ El Niño).

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

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

A native of California, Joshua Habermann is a graduate of Georgetown University and the University of Texas at Austin, where he completed doctoral studies in conducting with Craig Hella Johnson. He lives in Honolulu with his wife Joanna, daughter Kira, and son Kai.

2024 SUMMER FESTIVAL ARTISTS

Special thanks to Barry & Margaret Lyerly for underwriting our 2024 Season Artists

Aine Hakamatsuka (2nd Season)

Hometown: Tochigi, Japan

Current Residence: New York, NY

Chelsea Helm (7th Season)

Hometown: West Bloomfield, MI

Current Residence: Washington, DC

Sarah Moyer (9th Season)

Hometown: Bixby, OK

Current Residence: Denver, CO

Savannah Porter (4th Season)

Hometown: Fort Worth, TX

Current Residence: Brooklyn, NY

Sarah Brauer (17th Season)

Hometown: Portland, OR

Current Residence: Eugene, OR

Kathlene Ritch (16th Season)

Hometown: Kerrville, TX

Current Residence: Santa Fe, NM

Alissa Ruth Suver (7th Season)

Hometown: Lexington, OH

Current Residence: Waco, TX

Kerry Ginger (9th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Kate Maroney (8th Season)

Hometown: Toms River, NJ

Current Residence: Brooklyn, NY

Sarah Nickerson (16th Season)

Hometown: Fargo, ND

Current Residence: Santa Fe, NM

Dianna Grabowski (11th Season)

Hometown: Humble, TX

Current Residence: Nacogdoches, TX

Pamela Terry (1st Season)

Hometown: Kalamazoo, MI

Current Residence: Brooklyn, NY

Photo: Sasha Greenhalgh Photography

Photo: Summer Maulden

Photo: Michael Justin Studios

Photo: Olivia Ockey

Photo: Jiyang Chen

Photo: Tira Howard Photography

Photo: Elizabeth van Os

Photo: Blue Rose Photography

Photo: Buck Butler

Photo: Jared Rey

Photo: Shani Hadjian

Chelsea Helm is sponsored by Patricia Stanley

Photo: Caitlin Oldham

Aine Hakamatsuka is sponsored by Marianne Reuter

Alissa Ruth Suver is sponsored by Bradley & Patricia Thompson

Kerry Ginger is sponsored by Rick Gustafson

Sarah Moyer is sponsored by Allegra & Jim Derryberry

Sarah Nickerson is sponsored by Phyllis Lehmberg

Dianna Grabowski is sponsored by Sheryl Kelsey & George Duncan

Savannah Porter is sponsored by Laurie Meyer

Kathlene Ritch is sponsored by Thomas & Anne Conner

Pamela Terry is sponsored by Sheryl Kelsey & George Duncan

Kate Maroney is sponsored by Sallie Bingham

Sarah Brauer is sponsored by Diane & Bill Graves

George Case (13th Season)

Hometown: Atlanta, GA

Current Residence: Santa Fe, NM

Brad

(3rd Season)

Hometown: Birmingham, AL

Current Residence: Birmingham, AL

Michael

(4th Season)

Hometown: Peoria, IL

Current Residence: Los Angeles, CA

Bradley Naylor (16th Season)

Hometown: Houston, TX

Current Residence: Athens, OH

Erik Gustafson (9th Season)

Hometown: Portland, OR

Current Residence: Chattanooga, TN

Steven

(10th Season)

Hometown: Denton, TX

Current Residence: Philadelphia, PA

TENORS BASSES

Simon Barrad (3rd Season)

Hometown: Long Beach, CA

Current Residence: San Francisco, CA

James K. Bass (9th Season)

Hometown: Tampa, FL

Current Residence: Los Angeles, CA

Harrison Hintzsche (3rd Season)

Hometown: DeKalb, IL

Current Residence: Brooklyn, NY

Enrico Lagasca (8th Season)

Hometown: Manila, Philippines

Current Residence: New York, NY

Edmund

(1st Season)

Hometown: Pennington, NJ

Current Residence: New York, NY

Marques Jerrell Ruff (5th Season)

Hometown:

Hartford, CT

Current Residence: Jonesboro, AR

Photo: Jonathan Cole

Photo: Jackie Stevens

Photo: Kerry Travilla

Photo: Jiyang Chen

Photo: Darshae Spells

Photo: Daniel King

Photo: Jon Simpson Photography

Matthew Fried Photography

Marques Jerrell Ruff is sponsored by Jeffrey Fort & Diane Locandro

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

Bradley Naylor is sponsored by Carmen Paradis & Brian McGrath

Photo: Hope Austin

Diamond

Photo: Lora Sherrodd

Jones

Erik Gustafson is sponsored by Gregory Dove

Steven Soph is sponsored by Peter & Sara Rutenberg

Photo: Amanda Weber

Soph

Photo: Tim Evans

Milly

George Case is sponsored by Richard & Chris Frenk

Brad Diamond is sponsored by Murray & Nancy Bern

Edmund Milly is sponsored by Dr. J. Randle Adair DO, PhD

Harrison Hintzsche is sponsored by Jeffrey Fort & Diane Locandro

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

Michael Jones is sponsored by Sheryl Kelsey & George Duncan

Simon Barrad is sponsored by Stephen Marquart & Audrey La Fehr

2024 SUMMER FESTIVAL GUEST ARTISTS

A complete list of the biographies for our 2024 Summer Festival Guest Artists are found at desertchorale.org/artists

Jesse Acker-Johnson Guitar

Program –Songs of the Americas

Sam Brown Double Bass Program –Songs of the Americas

Jeff Cornelius Percussion Program –Songs of the Americas

Kimberly Fredenburgh Viola

Program –Songs of the Americas

Lisa Grodin Violin

Program –Songs of the Americas

Carla Kountoupes Violin

Program –Songs of the Americas

Joseph Ripka Organ

Program –Songs of the Americas

Nathan Salazar Piano

Program –The Great Romantics

Dana Winograd Cello

Program –Songs of the Americas

Nathan Salazar is sponsored by Diane & Bill Graves

Photo: Evangeline Hodge

Photo: Sharon Grodin

Photo: Marghreta Cordero

Photo: Wes Naman

Photo: Michaela Salazar

Photo: Brandon Soder Photography

COMMISSIONING CLUB

We wish to give a special thank you to the members of the Santa Fe Desert Chorale’s 2022 Commissioning Club for making the summer’s world premiere of Daniel Knagg’s new work, Harmony of the World, a reality!

Cris Barnes Barry Lyerly

Gregory Dove Elaine Wang Meyerhoffer

Jessie Groothuis Stan Yeatts

Stephen Hochberg

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 ensures the 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 30 commissioned choral works!

Join the Santa Fe Desert Chorale Commissioning Club and become part of choral music history! A $1,000 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 dinner with the composer and receive an archival recording of the commissioned work.

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

FUND-A-NEED

$8,500

$10,000

$15,000

$25,000

$50,000

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

Subsidize a student ticket

Sponsor a singer’s travel expenses

Sponsor a pre-concert lecture

Sponsor an instrumentalist

Sponsor a singer’s housing for a season

Sponsor the Insights & Sounds Program

Sponsor a singer for a season

Sponsor a concert

Sponsor a video recording for Desert Chorale TV

Sponsor a composer commission

Sponsor Artistic Director

Joshua Habermann (Seasonal)

Sponsor a full concert program

Sponsor the Winter Festival season

Sponsor the Summer Festival season

FOUNDER

Gifts of $25,000+

Sallie Bingham

Mary and Phil Delk

Gregory Dove

The Estate of Dr. James C. and Julie J. Drennan

Catherine and Guy Gronquist

The Hutson-Wiley & Echevarria Foundation

Sheryl Kelsey and George Duncan

Barry and Margaret Lyerly

The Estate of Thomas F. McGuire

Carmen Paradis and Brian McGrath

Suzanne M. Timble

The 2010 Faith Charitable Lead Trust

DIRECTOR

Gifts of $10,000 to $24,999

Dmitri Bovaird and Maggie Edmondson

Johanna Cinader

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

Kathryn and Hank Coleman

Anne and Thomas Conner

Evelyn L. Petchek Arts Fund

Halley Faust and Eve Cohen

Jeffrey Fort and Diane Locandro

Richard and Chris Frenk

Bill and Diane Graves

Stephen and Jane Hochberg

Lynne Horning

Susan Koehn, Habermann Koehn Foundation

Mark Kriendler-Nelson

Sara J. McKenzie

Andrea Meditch

Felicia and Daniel Morrow

Susan Noel

Lindsay S. Pope

Martha Rochelle

Santa Fe Community Foundation

The Santa Fe County Lodgers’ Tax Advisory Board

Patricia Stanley

Susie and Jerry Wilson

MAESTRO

Gifts of $5,000 to $9,999

Rick Andrew and Diane Buchanan, Andrew Family Foundation

Nancy and Murray Bern

George Case and Nathan Salazar

Allegra and Jim Derryberry

Susan Esco Chandler and Alfred D. Chandler

Justin and Sandra Greene, Dashing Delivery

Barbara Houser and Sarah Nolan

Steven Kerchoff

Katherine and William Landschulz

Phyllis Lehmberg

DONOR HONOR ROLL

Marian “Mimi” Lloyd

Dana and Jim Manning

Stephen Marquart and Audrey La Fehr

Fraser and Alice McAlpine

Laurie Meyer

The Mickey Inbody Charitable Foundation Inc.

James Murphy and Roxanne Howe-Murphy

New Mexico Arts

James and Sarah Nickerson

Dr. and Mrs. Leon Podles

Marianne Reuter

Patricia “Tish” Romer

Peter and Sara Rutenberg

Lee and David Takagi

Bradley and Patricia Thompson

Elaine Wang Meyerhoffer

Tobi Watson

ARTIST

Gifts of $2,500 to $4,999

Anonymous (1)

Dr. J. Randle Adair DO, PhD

Jane and Ernest Godlove

Rick Gustafson

Paul and Sylvia Johnson

Lane and Phyllis Keller

Stefanie Moore and Todd Keister

Jon Patrick and Peter Siegel

Jose Piedra de la Portilla and Ernesto Roederer

Nyla and Larry Rasmussen

Andrew J. Rudnick

Donald Shina and Kevin Waidmann

Cathy and Todd Sickles

Dr. Peter and Jody Spalding

Thornburg Investment Management

Lore Thorpe

Patti Wetzel and Sirous Partovi

CHOIRMASTER

Gifts of $1,000 to $2,499

Anonymous (2)

John and Catherine Alsip

Loretta Armer

May R. and Larry C. Ball

Brooke Bandfield Taylor

Cris and Marilyn Barnes

Dr. Camille Cates Barnett

Patrick and Melissa Barry

Robert and Sharon Barton

Bette Betts

Martha Blomstrom

Lisa and Stephen Botos

Alina Boyko and Devendra Contractor

Curtiss T. and Mary G. Brennan

Bill and Susan Cammock

John and Melissa Campbell

Patrick Carr

Charles G. Case II and Pamela Culwell

Mary Costello

Susan and Conrad De Jong

Diane and Peter Doniger

Thomas and Clair Eastwood

Margie Edwards and Ellie Edelstein

Joanne and Andrew Eggen

Judith Ford

Peter Frank and Leslie Shaw

Gwen and Ralph Fuller

Karen and Bill Gahr

W. Peyton George

Julius and Suzan Glickman

John Gray and Ray Landy

Joanna and Joshua Habermann

Robert and Marian Haight

Richard Henderson and Joyce Wolff

Rae Hoffacker

Susana Howard and Vincent Charles Pigott

Richard W. Hughes

Bruce Jackson

Lynn and Jacqueline Johnson

Ted Karpf

Joe Bob Kinsel and Jane Kinsel

Dr. Walter L. Kirchner and

Mary Meredith Kirchner

Donald and Jean Lamm

Mary Anne and Bruce Larsen

Alan and Kathleen Davison Lebeck

Joy and Phil LeCuyer

Lynn F. Lee

Richard Macklin and Dianne Eret

Ginnie Maes

Emma Marzen and Sean Johnson

William McArthur and Jennifer Martinez

David and Jane McGuire

New Mexico Bank & Trust

John Overbey

Mary Lou and Alex Padilla

Dorothy Peacock and Douglas Brew

Eileen and Ron Ricks

Carmen Salazar

Richard Schacht and Judith Rowan

John and Susan Shaffer

Judith Sjoberg

Charles and Jan Swaney

Caroline and Sid Swinson

Edwin and Melanie Peters Thorne

John J. Vazquez

Jennifer Watson

Janusz and Brahna Lauger Wilczynski

PATRON

Gifts of $500 to $999

Anonymous (1)

Anne E. Beckett

Walter Beckham

Dave Bueschel

Michael L. Bustamante

James Murphy and Roxanne Howe-Murphy

Mark Edw. Childers

Jane Clayton Oakes and Joa Dattilo

George deGarmo

Del Norte LOV Foundation

Isabel and Raul Delgado

Margaret M. Detwiler

Mary Dudley and Greg Wortman

Sheila and Kirk Ellis

Madeleine Gehrig Lister

Ann Griffith Ash

Patricia Henning

Bill Keller and Robert Holleyman

Mary Lattimore

Kathryn Lowerre and Robert Shay

Thomas McCaffrey

Pamela and Don Michaelis

Lillian Montoya

Leah Paalman

Matilda Perkins

Helena Ribe

Neil Sechan

Michael and Kathy Serk

Mauren and Robert Shearer

Judy and Bob Sherman

James and Anne Shute

Ann Stanley

Allen and Andrea Steele

Mindy Teolis

United Church of Santa Fe

Paul and Christine Vogel

John Watson

Bill and Kay Whitman

Linda Wolcott

Mary and Michael Woolever

BENEFACTOR

Gifts of up to $499

Anonymous (7)

Harro and Nancy Ackermann

Aimee Adamek

Polly Ahrendts

Richard and Joanne Akeroyd

Lexey Alcorn

Kim Alderwick

Randall Alle-Corliss

Page Allen

Dr. Aaron Anderson

Patricia Assimakis

Richard Atkinson

Jen and Matt Augustyn

Karen Avila

B’nai Shalom Havurah

James Babcock

Karen Baker-Jepsen

Carlos Baldonado

Celia Baldwin

Sonny and Sue Baldwin

Estrella Baltazar

Benjamin Bankson

M. Barger

Ann and Ed Barker

Elizabeth S. Bayne

Constance and Douglas Beck

Norma Bekowies

Betty Bell-Amarant

John and Jean Berghoff

Marcia and Ted Berridge

Chris Biemesderfer and Rebecca Jensen

Henry Bierwirth

Allan Bird

Katherine Blagden

Donald G. and Jocelyn Blair

Lora Blazina

John Bober

Perry and Patsy Bolin

Ted and Jamison Borek

Monica Bowlin

Rebecca Brackett

Jack Brannon

Iain Bray

Kathryn Braziel and Elizabeth Doak

Diane Brinkmann

Valerie Brooker

Barbara Brooks

Gwynne and Joe Brooks

Arthur Browning

Isabel Bucher and Graham Bartlett

Constance Burke

Diane Burke

Douglas and Ann Calderwood

Kristin Calfee Bybee

Julie Ann Canepa

Nansy and Steve Carson

Elizabeth Case

Dianne Chalmers

Letitia Chambers

Dr. Colston Chandler

Michael Clancy

Tracy Clark

Deirdre Clary

Christina Clayton

Janet Clow

Colin Cochran

Susan Collins

Fran and Larry Collmann

Marcia Congdon

Moira Connolly Marzen and Jeff Marzen

Lora Connolly

Ellen and Thomas Cook

Jo Cook

Carolyn Cooper

Mona and Ken Corcoran Sherrell

Judith Costlow

Jack Cox and Edwin Light

Carol Dao

Lynn Dash

Miles Davis

Vera Dawson

Perla Delgado

Joel and Janet DeLisa

Katherine DeMott

Ann Dilworth and John Lathrop

Natalie Dimitruck

Chav Doherty

Brenda Dominguez

Becky and David Donohue

Mario Dozal

John and Lucy Draper

Paulette Dubickas

Robin Dunitz

Rachel Dunlap

Dona Durham

Mary Dye

Susan Eberlein

Gayle Eby

Linda Eccard and Vi Varble

Monica Emerich

Pat Emerson

Kay Enfield

Susan English and Michael Kalkstein

Suzy Eskridge

O’Shaun Estrada and Fredrick Mete

Annalisa Ewald

Frances Ewing

George Eychner

Julia Faber

Karen Fair

Caroline Fenlon

Mary and Joe Ferguson

June and George Ferrill

Nancy Field

Susanna Finnell

Whitney Fiore

Paul Fish

Jo Fisher

James Foreman

Tim Fort

Rick Fortner

Ann Foti

Timothy R. Fox

Mary Frances Gillespie

Charles R. Freuden

Leslie Fry

Nancy Fulton

George and Dorothy Gamble

Russ Garland

Geoffrey Garvey

William and Anne Gattis

Lynda Gavioli

David Gay

Catalina Gentiana Voinescu

Monika Ghattas

April Gifford

Julanna and Bob Gilbert

Gregory and Mary Alice Gillette

Gwen Gilligan

James and JoAnn Gillula

Lori Glassgold-Gibson

Gary Gordon and Terri Giron

Nancy Gott

Becky Gould

Flora Graham

Trillium Green

John Greenspan and Julianne Bodnar

Paula Greer

Stephanie Gregoire

Pauline and Gary Griffith

Liz Grobsmith

Sally Guenther

Gerald and Diane Gulseth

Joshua Habermann and Carmen Paradis Photo: Gabriella Marks Photography

Amy Halloran and David Jordan

Judy Hansen

Steven Harlos

James and Judith Harris, Jr.

Alice Harris

Marcia Harris

David Hartley

Diana Hartley

Ellie and Trevor Hawkins

Christopher and Dani Hayes

Chris Haynes

Carrie Hecker

Barbara Hefner

Jacquelyn Helin and Robert Glick

Eleonor Hellman

Ralph Hembree

Gerald Hendrickson

Thomas Herriges

Peggy Hill

Kay and Michael Hilliard

Dianne Hillyard

Lori Hintzsche

Kim Hogan

Van and Jeanne Hoisington

David and Mary Louise Hopson

Cynthia Horton

Mary Hostak and Richard Angelos

Alona Howard

Rebecca and Steve Howard

Lisa Huggins

Jolie Humphrey

Hunter and Stephanie Hunt

Elizabeth Hurst-Waitz

Anne Jarvis

Gail Jensen

Brenda and Michael Jerome

Reverdy and Jenny Johnson

Deborah Jones

Bobbi Kaye Jones

Georgia Jones-Davis and Howard L. Davis

David Jones

Thomas and Betsy Jones

Maria Kabakoff

David and Stephanie Kauffman

Charles and Yvonne Keller

Susan Kelly

Gayle Kenny

Erna Kerst

Diana King

Susan and Thomas Kingston

Peter Kirkbride

Ann Kissinger

Stephen Kitchen

Nerissa Koehn

Nicholas Korn

Desirae Lagemann

Alberta Lamson

Mary Lamy and Lynden Galloway

Brooke Lange

Shirley Laseter

Rita Leard

Mary E. Lebeck

Nathan Leblang

Elizabeth Lee

David and Julia Leifeste

Ann LeMay

Karen Linder

Margaret Lloyd

Melanie Lohmann

Christine and Pierre Lorillard

Linda Loving

Timothy Lowery

Ron Lucchino

Steven Lustig and Jessie R. Groothuis, MD

Suzanne Lutz

Barbara Lynn

Janie MacDonald

Charles MacKay and Cameron McCluskey

Ann MacVicar

Douglas Madison

Sarah Manges

Robert and Lena Mann

Drs. David J. Manno and Julio R. Blanco

Cristine Marchand

Diane Marcinek

Richard Mariner

Katherine Maroney

Caroline Martinek

James Martinek

Gene and Kay Mascoli

Mollie Massari

James Maxon

Janice L. Mayer

Charles Maynard

Judith McGarry

Jane McGuigan

John M. McLean

Karen and J. Richard McMichael

John and Angelika McNeil

David and Christina Mead

Michael and Frances Meier

Maria Meyer

Marcia Mikulak

Don Miller

Sally and Rob Miller

David and Ann Millican

Timothy and Mary Mitchell

Thomas M. Morales

Linda Churchill

Michael Morford

Donna D. Morgan

Ted Morse and Mary Winters Morse

John Mott

Hal Myers

Victor Nelson

Charles Newman

Paul Norman

Yvonne O’Brien

Mr. and Mrs. Gregory Ockelmann

Rebecca Okun

Katie Olivant

Ana Marie Ortiz Harris

Melinne Owen and Paul Giquere

K. Elise Packard

Carlos Padilla

John Pakula and Marishka Rosinski

James Palmer

Patrick Parker

David Parr

Eileen Patterson

Shawn Paulazzo

Joyce and Thomas Pavlis

Norman Pearson

Amy Pedersen

John Petrila

Marcelle Phené

Karen Phillips

Cynthia Piatt

Stephanie Pichardo

Jennifer Pilette

Robert and Mary Platt

Danny Polhamus

Peggy Poling

James and Mary Polk

Sam Ponder

Drs. Michael Privitera and Marcia Kaplan

Jane Punneo

Andrew Quintana

Judy Rainger

Darien Raistrick

Jacqueline Rasso

Ms. Leslie Reambeault

Shirley Reichstadt

Karen Reifel

Margaret Riesen

Lissa Rivero Sanders

Sally Roberts

Steven Rodermel

Elizabeth and James Roghair

Joseph Roig

Juan Romero

Constance Romero

Terry Root

Lynn Rosa

Kimberly Rowe

Charlotte Rowe

Kristen Rowley

Ann Roylance

Charlotte Rundell

Barbara Russell

Daniel Rusthoi†

Stacy Sacco and Dorothy Stermer

Sara Sacra and Jeffrey Gruber

Karren Sahler

Terese Sanchez

Gene Sandretto

Santa Fe Opera

Robert and Vicki Schaevitz

Hans and Annmarie Schlunegger

Joanne Schulte

Judith Seltzer

Lauren Shadid

Susan Shank

Gloria and David Sharp

Nancy Sherwood

Barbara and Louis Sklar

Dr. Glen and Barbara Smerage

Linda Smith

Robin Smith

Linda and Gary Smith

Anita Southard

Phillip Speicher

Jo Beth and Erik Speyer

Kathryn E. Squire

Nadine Stafford

Leslie Stamper

Susanne Stauffer

John Stege

John and Cynthia Stetson

Karen Strickler Vinson

Lisa Stuckey

Nini B. Sulamoyo

Tricia Swift

Donna Swindell

Gail Takagi

Mayeve Tate

Sarah and Jim Taylor

Suzanne Teer

Suzanne Tesh

Susan Tharp

Cole Thompson

Jane Thomson

Rebecca Tobey

Evy Todd

Anne Urbanski

John Valdez

Kay van Oort

Elizabeth and Mark Varhaug

Philip Vasta

Sheila Vaughn

Anne Vena

Joan Vernick

Richard Vickery

Leah and Adam Vincent

David E Vogel

Eric von Stark

Jo Anne Walter

Robin and Jerry Ward

Joe Bob Kinsel and Jane Kinsel Photo: Gabriella Marks Photography

Joseph Warganz

Shannon Washburn

Adam Wasserman

Mayor Alan Webber and Frances Diemoz

Lisa Wermeling

Georgia Wheeler

Bill and Janislee Wiese

William Wiley

Shelagh WilmoKelly Wilson

Julia Wilson Ball

Jill Wilson

Dan Winske

Dean Winslow

Clara Winter

James and Lori Winter

Jean C. Withers

Kathryn Wolf

Jane Woods and Anne M. O’Connor

Tina Yarrington

Stan and Janette Yeatts

Lyle York and Matthew Wilson

Donna Zahara and Larry Sachs

Everett Zlatoff-Mirsky

Linda Zwick

HONORARIA

In Honor of Kay and Dick Anderson

Elaine Wang Meyerhoffer

In Honor of Jeffrey Fort and Diane Locandro

Tim Fort

In Honor of Vance Y. George

Maria Meyer

In Honor of Joshua Habermann

Brooke Bandfield Taylor

Anne and Thomas Conner

Bill and Diane Graves

Barbara Houser and Sarah Nolan

Susan Koehn, Habermann Koehn Foundation

David and Lee Takagi

Gail Takagi

In Honor of Enrico Lagasca and Jonathan Stewart

Katherine Maroney

In Honor of Barry and Margaret Lyerly

Mark Kriendler-Nelson

In Honor of Tom Maguire

Nadine Stafford

In Honor of Nola Marzen-Johnson

Nadine Stafford

In Honor of Carmen Paradis and Brian McGrath

Diane and Peter Doniger

In Honor of Gladys Richardson

Tricia Schott

In Honor of Steven Soph

Mr. and Mrs. Gregory Ockelmann

In Honor of Patricia Stanley

Barbara Russell

Thomas Herriges

IN MEMORIAM

In Memory of Hugh V. Balaam

Constance and Douglas Beck

Martha Blomstrom

In Memory of Larry Bandfield

Brooke Bandfield Taylor

In Memory of Joan Berner

Patricia “Tish” Romer

In Memory of Betsy Bueschel

Bob and Sharon Barton

Allegra and Jim Derryberry

Melanie Lohmann

Mary Lou and Alex Padilla

Dr. Peter and Jody Spalding

In Memory of Bob Burman

Joy and Phil LeCuyer

In Memory of Ash Collins, Jr.

Susan Collins

In Memory of Michael Freeburger

Suzanne M. Timble

In Memory of John Greenspan

Julianne Bodnar

In Memory of Susan Gustafson

Sally and Rob Miller

In Memory of Mickey Inbody

The Mickey Inbody Charitable Foundation Inc.

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

Dmitri Bovaird and Maggie Edmondson

In Memory of Andrew John Ritch

Cris and Marilyn Barnes

Allegra and Jim Derryberry

George Eychner

Karen Fair

Catherine and Guy Gronquist

Sheryl Kelsey and George Duncan

Janice L. Mayer

Laurie Meyer

Stefanie Moore and Todd Keister

Mary Lou and Alex Padilla

Hans and Annmarie Schlunegger

In Memory of Bob Roach

Patrick Carr

Patricia Stanley

In Memory of Craig Smith

Jo Fisher

In Memory of John E. Withers III

Jean C. Withers

IN MEMORIAM

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

Diana Baker, Ambassador

Maile Mills Cuddy, Former Board member and artist

James and Julie Drennan, Supporters and Encore Society members

George Scott Fitzgibbon, Former Desert Chorale artist

Dorothy S. Harroun, Former Board member and Encore Society member

Terry Hendrix, Supporter

Betty L. Hileman, Supporter

Alex Klebenow, Ambassador

Hampton Mabry, Ambassador

Daniel Rusthoi, Supporter

George Thomson, Supporter and husband of Director Emerita Jane Thomson

John Ed Withers, Ambassador

Mary Smaltz Wright, Supporter and widow of Director Emeriti Arthur “Mack” Wright

ENCORE SOCIETY

We salute the foresight and generosity of the following individuals who have chosen to include the Santa Fe Desert

Chorale in their estate plans:

Anonymous (2)

Rev. Talitha Arnold

Brooke Bandfield Taylor

Murray & Nancy Bern

Bette Betts

Mary Costello

Dorothy B. Davis

Gregory Dove

Margaret Edwards & Ellie Edelstein

Halley Faust

Diane & Bill Graves

Catherine & Guy Gronquist

Dorothy Harroun†

Barbara Houser & Sarah Nolan

Richard Hughes

Sheryl Kelsey & George Duncan

Dr. Patricia Kennedy

Steven Kerchoff

Lynn F. Lee

Nancy & Raymond Lutz

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

† in memoriam

Barry & Margaret Lyerly

Charles MacKay & Cam McCluskey

Janice L. Mayer

Fraser & Alice McAlpine

James Murphy & Roxanne Howe-Murphy

Jerome B. Nelson

Susan Noel

Margaret K. Norton

Carmen Paradis & Brian McGrath

Don† & Sally Roberts

Nadine Stafford

Patricia Stanley

Bradley & Patricia Thompson

Brahna & Janusz Wilczynski

Margaret Wright

ENDOWMENT GIFTS

Dmitri Bovaird & Maggie Edmondson

Nina Hinson Rasmussen & Dr. Prescott C. Rasmussen†

ESTATE GIFTS

Margaret Arrott

Lawrence Bandfield

John de Beer

Martin Dieter

Dr. James C. & Julie J. Drennan

James Elston

Robert Fisher

Evelyn C. Kupec

Thomas F. McGuire

Ian McKee

Dorothea Morgan

Paul Resnick

Joseph P. Schitter

Ann Marie Shaw

Robert C. Smith

Frances & Hywel White

Dr. J. Randle Adair DO, PhD

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

Sallie Bingham

The Church of the Holy Faith, The Rev. Canon

Robin D. Dodge, The Reverend Lynn Finnegan, Canon Mark Edw. Childers, Marcos and Rocio Castillo, and Donna Lukacs

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

Thomas and Anne Conner

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

Dashing Delivery, Sandra and Justin Greene

Gregory Dove

Elevate Media, Clarissa Lovato

Halley Faust and Eve Cohen

Jeffrey Fort and Diane Locandro

Four Seasons Resort Rancho Encantado Santa Fe,

William Powell

Karen and Bill Gahr

Wanda Gereben

Gregory Grabowski

Catherine and Guy Gronquist

Alex Guerrero

Susan Howard and Vince Pigott

The Interfaith Community Shelter at Pete’s Place, Korina Lopez and Sue Carr

Sheryl Kelsey and George Duncan

James Kennerley

Bo Keppel

Steven Kerchoff

KHFM, Alexis Corbin, Kathlene Ritch, and Brent Stevens

KNCE, Molly Steinbach

KSFR, Lynn Cline

The Life Link, Elizabeth Carovillano and Peter Schmitt

Barry and Margaret Lyerly

Malmark Bells, Inc.

Dana and Jim Manning

Laurie Meyer

Felicia and Daniel Morrow

New Mexico Bank & Trust, Linda Bencomo, Trevor Lewis, and Shauna Shannon

Sarah and James Nickerson

Reflective Jewelry, Mark Choyt

Santa Fe New Mexican Pasatiempo, Carolyn Graham and Spencer Fordin

Santa Fe Selection Travel Guide, Maria Johnson

Nell Snaidas and Sebastián Zubieta

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

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

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

We’re pleased to announce that Joshua Habermann and the Desert Chorale will give a headliner performance at the 2025 National Conference for the American Choral Directors Association.

Subscribe to our email list to receive Dallas tour updates

Generously sponsored by Stephen and Jane Hochberg

Encore is French for “Again;” a request for repetition or reappearance made by an audience; a second achievement that surpasses the first.

The Santa Fe Desert Chorale cordially invites you to join the Encore Society. Formerly known as the Legacy Circle, the Encore Society recognizes and honors all those who support us through planned giving and/or estate gifts.

Planned giving, or legacy giving, refers to the tools and techniques by which you make a charitable gift during or after your lifetime to take full advantage of current tax laws and make a substantial donation to the Desert Chorale.

There are many ways you can make a planned gift to the Santa Fe Desert Chorale. Whether you give during your lifetime or from your estate, you will receive our deep appreciation and this simple word of praise again and again:

We look forward to your joining our Encore Society. To learn more or to inform us of your plans, please call (505) 988-2282 or visit desertchorale.org/encore

Watercolor painting: Aija Jundi

Photo: Enrico Lagasca

AMBASSADORS

Ambassadors are individuals who have an appreciation for the beauty and power of great choral music. They promote and support the mission of the Santa Fe Desert Chorale and foster a sense of community by introducing friends and neighbors to the Chorale. Santa Fe Desert Chorale programming would not be possible without the support of many individuals in the community who give generously of their time and talent. If you would like to join the Ambassadors, please email us at info@desertchorale.org. Thank you.

Anna Aguilera

Ann Alexander

Barbara Anderson Acosta

Demetrius Armstrong

Kenneth Beier

Sue Benedict

Darryl Bowman

Jeanie Bowman

Susan Breyer

John Burke

Marty Carroll

Andréa Cassutt

Elaine Cheesman

Donna Clark

Brad Clements

Jane Clements

Ken Collins

Doug Conwell

Judy Costlow

Diana Dallas

Colleen Davidson

Rebecca Dempsey

Lisa El-Kerdi

Doug Escue

Laura Escue

Morgan Farley

Gwen Fuller

Ralph Fuller

K.C. Garrett

Pam Gilchrest

Michaela Granito-Tibbetts

Jennifer Graves

Janet Harris

Shari Hirst

Victoria Hudimac

Rose Ann James

Julia Johnson

Anna Katherine

Bo Keppel

Jan Kerr

Barbara Kuzminska

Joan Lamarque

Beata Lewis

Dolores Lopez

Ann Mac Vicar

Carole Mathison

Arin McKenna

Karen Meador

Estelle Miller

Linda Miller

Kathy Moore-Gregory

Karen Nelson

Marie Newsom

Mary O’Brien

Tina Ossorgin

Carole Owens

Linda Pasternacki

Grace Philips

Cindy Piatt

Rob Pine

Anita Pisa

Ross (Allen) Pope

Madeline S. Pryor

Chantal Quincy

Larry Rasmussen

Nyla Rasmussen

Donna Rigano

Pat Roach

Laurie Romero

Barbara Roush

Nickola Rubow

Karren Sahler

Anne Salzmann

Don Schmit

Elizabeth Schwitz

John Schwitz

Diana Segara Mahony

Helen Senesac

Deb Smith-Davis

Sandy Sparks

Lynn Spray

Allen Steele

Andrea Steele

Erin Taylor

Mark Tibbetts

Alice Tinkle

Jolanta Tuzel

Carrie Vogel

Jan Watson

Joe Watt

Laura Watt

Jefferson Welch

Linda Wieseman

Jean Withers

Robert C. Zimmerman

Photo: Zina Jundi