Joshua Habermann | Music Director
JULY 19 - AUGUST 13, 2017
LIBERTÃ‰ and JUSTICE
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A Word About Our Venues 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 131 Cathedral Place, Santa Fe, NM
Parking available in the St. Francis Cathedral Parking Lot or on the street of Cathedral Place. City of Santa Fe parking meters do not run after 6:00 p.m.
Cathedral of St. John
318 Silver Avenue SW, Albuquerque, NM
Parking available in the private lot behind the Cathedral, on Silver Avenue in the MFA lot south of the Cathedral, the lot adjacent to the Cathedral Annex (NW corner of 3rd & Silver), and the parking garage across Silver Avenue.
Christ Church Santa Fe
1213 Don Gaspar Avenue at Cordova, Santa Fe, NM Parking available in the private lot behind Christ Church.
Church of the Holy Faith
311 East Palace Avenue, Santa Fe, NM
Parking available in the private lot off of Faithway Avenue, behind the church. Overflow parking is available in First Citizens Bank parking lot.
Immaculate Heart of Mary Chapel 50 Mt Carmel Road, Santa Fe, NM
Parking available in the private lot at the Immaculate Heart Mary Retreat Center on Mt Carmel Road.
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 email@example.com 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.
Joshua Habermann | Music Director
Table of Contents Venue Information Letter from the Executive Director About the Desert Chorale Board of Directors, Staff, and Artistic Services Music from a Secret Chapel The Hope of Loving LibertĂŠ: Music of Resistance and Revolution Justice Films Summer Gala with Susan Graham Joshua Habermann, Music Director Biography Artist Biographies Donor Honor Roll Community Engagement Patron Tour
3 5 7 9 10 20 26 40 48 50 51 53 63 68 71
Sponsors The Santa Fe Desert Chorale receives generous support from American Airlines, the National Endowment for the Arts, New Mexico Arts, a division of the Department of Cultural Affairs, the New Mexico Humanities Council, the City of Santa Fe Arts Commission and the 1% Lodgers Tax, The Santa Fe New Mexican, and other individuals, corporations, and foundations. For a full list of donors, please see page 63.
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 contact us if youâ€™ve lost something at (505) 988-2282.
Recycle and Reuse
To minimize printing costs and save paper, please recycle or reuse your program book by saving it for a future concert, or by returning it to an usher at the end of the concert.
THE SANTA FE DESERT CHORALE 311 East Palace Avenue Santa Fe, NM 87501 505.988.2282 desertchorale.org Cover photo: Chama River Road Cliffs, J. David Levy SANTA FE DESERT CHORALE
J OPERA IN A SETTING LIKE NO OTHER
THE (R)EVOLUTION OF STEVE JOBS Music by Mason Bates
Libretto by Mark Campbell
DIE FLEDERMAUS Johann Strauss Jr.
LUCIA DI LAMMERMOOR Gaetano Donizetti
THE GOLDEN COCKEREL Nikolai Rimsky-Korsakov
Paul Horpedahl photo
George Frideric Handel
June 30 through August 26
JANICE L. MAYER JANICE L. MAYER EXECUTIVE DIRECTOR
Photo: Steve Sherman
Dear Friends, For centuries, music - and choral music in particular - has voiced worldwide issues of racial and religious intolerance and respect and sovereignty. Beyond addressing these important societal themes, it has served as a unifying force, encouraging harmony and hope. Our 2017 Santa Fe Desert Chorale Summer Festival theme of Liberté and Justice was chosen over a year ago to showcase this music of the past which unfortunately remains as relevant in today’s world as when it was first written and performed. The Chorale seeks to inspire and uplift, not only in our fully-professional concert presentations in Albuquerque, Los Alamos, and Santa Fe, but also through our community engagement programming. In particular, I would draw your attention to our annual community sing which brings together avocational singers throughout New Mexico for a day of fellowship and joyful music-making under the leadership of Joshua Habermann. I also encourage you to note our 2017 program, “Giving Voice to the Voiceless,” a two-pronged program that has been developed with the Voces de Libertad Poetry Workshops for the Santa Fe County Youth Development Center for incarcerated youth; and a weekly choral sing at the Interfaith Community Shelter. Our Composer-in-Residence Brandon Boyd brings extensive hands-on experience working with marginalized and vulnerable communities and will lead both of these programs. (Please see page 68 - 69 for more information). As we enter our 35th anniversary year, we are delighted to report that we are both reaching a wider audience, as shown by increased ticket sales, and realizing broader support from generous individuals, businesses, civic organizations, and foundations, as demonstrated by increased contributed income. These are signs of a healthy performing arts organization.
We will take this good news from Santa Fe on an unprecedented tour to Dallas, Fort Worth, and Oklahoma City in 2017, followed in 2018 by invitational appearances at the American Choral Directors Association Regional Conferences in Chicago and Los Angeles. Audiences worldwide will be introduced to the Chorale through our first-ever commercial recording, to be created in Dallas, released on the Londonbased AVIE Records label, launched here in Santa Fe in February 2018, and distributed by NAXOS in both compact disc and digital formats. Your continued support of the Santa Fe Desert Chorale makes all of this activity possible, and we are grateful to you, our patrons. Let’s celebrate this very happy 35th anniversary milestone together!
Janice L. Mayer Executive Director
SANTA FE DESERT CHORALE Mission Statement The mission of the Santa Fe Desert Chorale, one of the nation’s premier professional vocal ensembles, is to excite, engage, and inspire diverse audiences with the beauty and power of great choral music.
SANTA FE DESERT CHORALE
WE ARE INVESTED IN SANTA FE All of us at Thornburg are proud members of the Santa Fe community. We appreciate and support institutions and organizations who, like us, pursue excellence in everything they do. Which is why we are proud to sponsor Santa Fe Desert Chorale.
ABOUT THE SANTA FE DESERT CHORALE Founded in 1982 by Larry Bandfield, the Santa Fe Desert Chorale is one of the longest continually performing professional music organizations in New Mexico, as well as one of the most distinguished. The Chorale was a recipient of the 2006 Mayor’s Award for Excellence in the Arts and in 2016 was named the “Best Choral Group of Santa Fe” by the Santa Fe Reporter. Scott Cantrell of The Dallas Morning News characterized the Chorale as presenting “stunning singing… incredible power.” Now in his ninth season as Music Director, Joshua Habermann leads the 25-voice professional Chorale in repertoire spanning seven centuries, from medieval polyphony to contemporary works. The composition of the Chorale is truly national in scope and the ensemble is recognized among the finest American chamber choirs. Throughout its history, the Chorale has maintained a commitment to give voice to music from Hispanic and Native American communities. Dedicated to advancing the composers of our time, the Chorale has commissioned twenty-two works by eighteen composers; three quarters of the composers commissioned have been American. In addition, another seven works have been given their world or American premieres by the Santa Fe Desert Chorale. The ensemble performs at historical sites in Santa Fe such as the Cathedral Basilica of St. Francis of Assisi and the Loretto Chapel, as well as other venues throughout the Southwest. A recent highlight was an invitational appearance at the 2015 American Choral Directors Association National Conference in Utah which was later broadcast by Minnesota Public Radio. In the 2017-2018 season, the Chorale will tour to Chicago, Dallas, Fort Worth, Los Angeles, and Oklahoma City. The Santa Fe Desert Chorale presents both summer and winter festivals of concerts featuring a wide range of literature from around the world. The 2017 Summer Festival Season will take place from July 19 through August 13, 2017. The 35th Anniversary Winter Festival program, “Home for the Holidays,” is scheduled from December 16th to the 23rd, with performances in Albuquerque, Los Alamos, and Santa Fe. The Desert Chorale prides itself on its strong relationships within the community of Northern New Mexico, and enjoys collaborations with the Georgia O’Keeffe Museum, Museum of Indian Arts and Culture, New Mexico History Museum, NDI-NM, Performance Santa Fe, Santa Fe Chamber Music Festival, Santa Fe Symphony and Chorus, Santa Fe Pro Musica, and The Santa Fe Opera, among others. Community engagement is an integral part of the Desert Chorale’s mission.
Santa Fe Desert Chorale vocalists pictured with Joshua Habermann, Music Director (2016) Photo: Chelsea Call
SANTA FE DESERT CHORALE
Santa Fe Chamber Music Festival Marc Neikrug, Artistic Director David Daniels, Artist-in-Residence
July 16 - August 21, 2017
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Pictured from left: Rachel Barton Pine, John StorgĂĽrds, and David Daniels.
Board of Directors, Staff, & Artistic Services BOARD OF DIRECTORS OFFICERS
David Bueschel, President Barry Lyerly, Vice President Laurie Meyer, Secretary Robert Gardner, Treasurer
Mary G. Brennan Margie Edwards Kirk Ellis Allison Elston Kathleen Davison Lebeck Dorothy Massey Ian McKee† Haydock Miller† Margaret K. Norton Jane Clayton Oakes Mary Lou Padilla, Ph.D. Brooke Bandfield Taylor Frances White† Brahna Lauger Wilczynski Mac Wright†
Joshua Habermann, Music Director Janice L. Mayer, Executive Director
BOARD OF DIRECTORS Richard Bentley Maureen Carusona, J.D. Douglas P. Clark, M.D. Allegra Derryberry Joshua Habermann* Nina Hinson Stephen Hochberg Roxanne Howe-Murphy, Ed.D. Sheryl Kelsey, Ph.D. Lynn F. Lee Janice L. Mayer* Janet S. Sanders, Ph.D. Vincent Stenerson Patricia Thompson Gabrielle Tinto-Tresler* Rebecca Tobey Susie Wilson, D.M.A.
*ex-officio member † in memoriam
Stewart Ottersberg Enríquez, House Manager Emma Marzen, Box Office Manager and Community Liaison Michael Moore, Administrative and Box Office Assistant Kyle Nielsen, Artistic Coordinator Charles Rountree, Accounting Manager Kathryn Schwaar, Administrative Intern and Assistant House Manager Cynthia Shore, Development Assistant ARTISTIC SERVICES Zina Jundi, Graphic Design - Adverti-Zing! Matthew “Kabby” Kabakoff, Kabakoff Sound Clarissa Lovato, Elevate Media Janine Pearson, J9design Craig Smith, Writer on Music Vincent Stenerson, Documentary Filmmaker
Santa Fe Desert Chorale Board, Staff, and Singers pictured at The Santa Fe Chamber of Commerce Ribbon Cutting Ceremony in July 2016. Photo: Chelsea Call
SANTA FE DESERT CHORALE
music from a
Secret Chapel Joshua Habermann,
MUSIC DIRECTOR AND LEADER
Wednesday, July 19, 2017 at 8:00 pm Immaculate Heart of Mary Chapel, Santa Fe
Karitas Abundat .................................... Hildegard von Bingen (1098-1179) Ave Maria.................................................... Josquin des Prez (1450-1521)
Concert Sponsor: Curtiss T. and Mary G. Brennan Foundation Sunday, July 23, 2017 at 4:00 pm Immaculate Heart of Mary Chapel, Santa Fe Saturday, July 29, 2017 at 8:00 pm Cathedral Church of St. John, Albuquerque Wednesday, August 2, 2017 at 8:00 pm Immaculate Heart of Mary Chapel, Santa Fe Wednesday, August 9, 2017 at 8:00 pm Immaculate Heart of Mary Chapel, Santa Fe
England Alma Redemptoris Mater.............................Chant (Sarum Rite) Ave Verum Corpus .............................................William Byrd (1543-1623) Why do I Use? Justorum Animae
Sistine Chapel I Pueri Hebraeorum ................................. Tomás Luis de Victoria (1548-1611) Super Flumina Babylonis .......................Giovanni da Palestrina (1525-1594) Duo Seraphim ..................................... Tomás Luis de Victoria Surge Illuminare Jerusalem ....................Giovanni da Palestrina
Concerto delle Donne Lasso non è cor mio ........................................ Luca Marenzio (1553-1599) A la Strada La Farfalla
In the North Pre-concert Lecture (90 minutes before concert time) Dr. Harris Ipock, Resident Conductor, Harvard Glee Club; Vocalist, Santa Fe Desert Chorale Harris Ipock’s Pre-concert Lecture is sponsored in part by Mary Lou and Alex Padilla Pre-concert Lectures are made possible in part by a grant from the New Mexico Humanities Council
Venite Exultemus Domino ................. Jan Pieterszoon Sweelinck (1562-1621) Jubilate Domino ......................................... Michael Praetorius (1571-1621)
Sistine Chapel II Misere mei, Deus ......................................... Gregorio Allegri (1582-1652)
PROGRAM NOTES Choral music, and unaccompanied choral music in particular, offers a uniquely direct human connection. The only instruments are the performers themselves, and singing is the most democratic of all art forms, available to us all and deeply woven into our human experience from birth to death. Music from a Secret Chapel explores the rich repertoire of early a cappella music and gives listeners a chance to experience the singers of the Desert Chorale in the intimate and warm acoustics of the Immaculate Heart of Mary Chapel, our own secret chapel hidden in the hills of Santa Fe.
A Medieval Mystic and a Renaissance Icon Beginning at age three, medieval scholar and mystic Hildegard von Bingen experienced ecstatic religious visions. She was hesitant to share them widely until age 42, when she received a vision that instructed her to write down what she saw and heard. These mystical writings, along with her treasury of sacred melodies, have made Hildegard one of the most iconic figures in early religious history. Her Karitas Abundat makes a fitting opening for a concert devoted to sacred music, a medieval precursor to the full flowering of the renaissance to come. Each era in music history has a champion, a figure so revered that they come to define the music of their time: Mozart for the classical period, Beethoven for the early Romantics, Stravinsky for the 20th century. For the early renaissance period this figure was Josquin, whose Ave Maria is considered one of the most perfect pieces of its era. Beginning as a simple canon, the music unfolds in a texture of otherworldly beauty whose impact is only enhanced by its apparent simplicity. A particularly touching moment comes at the end of the motet, when all four voices, independent until then, join as one for the prayer “O Mother of God, remember me, amen.”
England - Shifting Allegiances In 1415, victory over the French army at the Battle of Agincourt cemented Henry V’s reputation as one of England’s most famous monarchs. Known in equal measure for ruthlessness and piety, Henry ordered that upon his death a secret personal chapel be built in Westminster Abbey, where monks were instructed to pray for his soul. That chapel still exists today, hidden behind a locked door at the east end of the Abbey. The chant Alma Redemptoris Mater, sung here in its Sarum Rite version, would have been heard in Henry’s chapel at this time. Some one hundred and fifty years later, England went through a series of religious reversals in which Catholic and Protestant monarchs followed each other in quick succession. The political winds shifted with each new regime until Elizabeth I assumed the throne in 1558, ending the The Sistine Chapel ceiling by Michelangelo
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controversy and establishing the Church of England and Protestantism as the official state religion once and for all. For those Catholics who remained loyal to their faith this was a challenging and potentially dangerous time. Recusants, Catholics who refused to convert, faced imprisonment, fines, and in some cases even torture. The great composer William Byrd, a contemporary of Elizabeth I, was one such recusant. Because of his fame and official positions he enjoyed a measure of protection from persecution, but nonetheless later in his life he felt compelled to retreat with his family to the countryside, where under the patronage of a sympathetic Catholic nobleman, Sir John Petre, he and his family were able to practice their faith. The services at Petre’s manor Ingatestone were the target of spying by the authorities, and for the safety of the participants great pains were taken to keep them secret. Unlike his “official” music for the Anglican church, which was often grand and celebratory, Byrd’s music for these services is therefore modest in scope, but powerful in its intent. Ave Verum Corpus and Justorum Animae are both contained in Byrd’s Gradulia, which dates from the time when Byrd lived under Petre’s protection. The two books of Gradualia contain over 100 motets, and many of the texts are chosen to speak clearly to the fate of an oppressed people. Particularly noteworthy is Plorans Plorabit, which refers to the imminent downfall of a monarch and would certainly have been considered treasonous had it not been drawn from the bible. Less overt but certainly clear is Byrd’s message in Ave Verum Corpus (Hail True Body) in which he uses an unexpected chord shift to highlight “verum” (true). Byrd is at his most daring in Why Do I Use? in which he sets a text eulogizing Father Edward Campion, an underground Jesuit priest who was arrested, tortured, and killed in 1581. This was a particularly courageous move from Byrd, as both the author and the publisher of the poem had been executed. While there is no doubt that Byrd’s fame shielded him to some extent, his willingness to compose and publish Why Do I Use? is a strong indication of his deeply felt convictions.
Sistine Chapel From England we turn to Rome, and music from the renowned Sistine Chapel. Site of the secret papal conclave and the extraordinary paintings of Michelangelo, the chapel is one of the most significant structures in Christendom. Although Palestrina and Victoria served primarily in other Roman churches, the music of both composers was and is at the core of the Sistine Chapel Choir’s repertoire. Victoria, the younger of the two by about 20 years, was deeply influenced by Palestrina’s style. Smoothly soaring lines and careful treatment of text and dissonance define both
Victoria’s Pueri Hebraeorum and Palestrina’s Super Flumina Babylonis. In Victoria’s Duo Seraphim, the traditional choir of mixed voices is replaced by a choir of like voices, in this case two tenors and two basses, resulting in an entirely different sound. Palestrina’s Surge Illuminare goes the other direction, expanding from the traditional single to double choir, with the two choirs passing ideas back and forth, ultimately culminating in a powerful summation for all eight voices.
A Virtuoso Consort As Victoria and Palestrina defined the sacred music of Rome, a parallel flowering of secular music was taking place in northern Italy. Alfonso II, Duke of Ferrara, established a group of singers known as the Concerto delle Donne (Consort of Women). These singers performed in programs of musica secreta (secret music) organized by the Duke for important occasions at his court. The women practiced for as much as six hours per day and were capable of feats of extraordinary virtuosity. Their fame spread quickly, and as copycat groups were created in other cities, courts competed to attract the most talented artists. The Concerti delle Donne were tied closely to the madrigal, and with the rise of opera in the 17th century both the madrigal and the Concerti fell out of fashion.
In the North As northerners, the Dutch composer Jan Pieterszoon Sweelinck and German composer Michael Praetorius worked in very different conditions from their Italian contemporaries. Though they both served in officially Lutheran (or in Sweelinck’s case Calvinist) societies, they nonetheless bridged the religious divide by composing Latin works that would not have had a role in Protestant worship. Sweelinck’s Venite Exultemus Domino, from his collection Cantiones Sacrae, and Praetorius’ Jubilate Deo would most likely have been intended for private devotional services. Yet, unlike Byrd’s music, this is extroverted and joyous stuff, and the nine parts of Jubilate Deo demonstrate Praetorius’ debt to the Venetian composers whose grand concept led the way into the Baroque.
A Closely-Held Gem We close our program with the justifiably famous Miserere of Gregorio Allegri. Allegri wrote a great amount of music, but like so many musicians he was both blessed and cursed with having one huge hit for which he is primarily known today. Composed in 1638 for Holy Week services at the Papal Chapel, Miserere was recognized immediately as a masterwork. The Papal Choir, which tended towards secrecy, closely guarded the scores, which were not needed by the choir as the Tenebrae services were sung in the dark and therefore memorized. The mystique around the piece built, and over the years Allegri’s Miserere became one of a few (continued on next page)
truly famous choral works. This fame was enhanced by the tradition of ornamentation, in which singers improvised feats of virtuosity. In the case of Miserere one particular improvisation with repeated high C’s in the soprano was so effective that it became codified as the standard version, and was performed each Holy Week for more than 200 years. It is that version that we present tonight.
SANTA FE PRO MUSICA PRESENTS
Though the church sought to prevent the music from falling into external hands, copies of Allegri’s beloved score eventually began to leak out. Mozart heard it and is said to have memorized and transcribed it on one hearing. There are similar stories about Mendelssohn and others, “stealing” the score from the Vatican. Whether these are tall tales or true events, our fascination with this piece speaks to the enduring power of sacred, and secret, music.
PHOTO BY KRISTIN HOEBERMANN
–Joshua Habermann (2017)
Church of the Holy Faith
PASSION E X C I T E M E N T, I N N OVAT I O N !
Santa Fe Pro Musica opens its 2017-18 Season with Nadja Salerno-Sonnenberg playing and conducting the passionate Four Seasons of Buenos Aires by ASTOR PIAZZOLLA.
SEPTEMBER 23-24, 2017 Lensic Performing Arts Center
STRING WORKS SERIES
Hear some of America’s finest string quartets in the St. Francis Auditorium at the New Mexico Museum of Art
Escher String Quartet | January 13, 2018 Danish String Quartet | February 11, 2018 St. Lawrence String Quartet | March 4, 2018
Photo by Marty Buchsbaum
Welcomes all people into an ever-deepening relationship with Jesus Christ At Holy Faith, we honor our Anglican heritage and praise God with solemn liturgy, traditional Prayer Book worship, and music to exalt the spirit. (Home to the Desert Chorale offices, the church also benefits from regular Chorale bolstering of its already fine choir.) We worship together in peace, to praise and thank God, to transcend division, and to celebrate the mystery of faith. B
santafepromusica.com | 505.988.4640
Services Sunday: 7:30, 8:30 and 11 B Tuesday, 6 p.m. (Taizé Eucharist with prayers for healing) B Wednesdsay and Thursday, 12:10 p.m. 505-982-4447 B holyfaithchurchsf.org
SANTA FE DESERT CHORALE
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Santa Fe Desert Chorale performing at the Cathedral Basilica of St. Francis, 2016 Photo: Chelsea Call
THANK YOU FOR YOUR SUPPORT! If you would like your donation to be attributed to a specific need, please contact Janice L. Mayer, Executive Director, by calling (505) 988-2282 ext. 5 or by e-mailing firstname.lastname@example.org. Thank you.
125 W. Palace Ave. | Santa Fe, NM | 505.501.6555
MUSIC FROM A
MUSIC FROM A SECRET SECRET CHAPEL TEXTS & TRANSLATIONS
Karitas abundant in omnia De imis excellentissima super sidera Atque amantissima in omnia Quia summo regi osculum pacis dedit
Love abounds in all From the depths exalted Over every star and most beloved of all Giving to the highest king the kiss of peace
-Hildegard von Bingen (1098-1179)
Ave Maria gratia plena Dominus tecum Virgo serena Ave cujus conceptio solemni plena gaudio Coelestia terrestria nova replet laetitia
Hail Mary full of grace The Lord is with you, serene Virgin Hail, thou whose conception, full of great joy Fills heaven and earth with new gladness
Ave cujus nativitas nostra fuit solemnitas Ut lucifer lux oriens verum solem praeveniens Ave pia humilitas sine viro foecunditas Cujus annunciatio nostra fuit salvatio
Hail thou whose birth became our great celebration As the light-bearing morning star anticipates the true sun Hail lowly humility, fruitful without man Whose annunciation was our salvation
Ave vera virginitas immaculata castitas Cujus purificatio nostra fuit purgatio Ave praeclara omnibus angelicis virtutibus Cujus fuit assumptio nostra glorificatio O Mater Dei memento mei Amen
Hail true virginity, wholly chaste Whose purification was our cleansing Hail glorious one in all angelic virtues Whose assumption was our glorification O Mother of God remember me Amen
-Medieval Sequence in honor of the Blessed Virgin Mary
Alma Redemptoris Mater
Alma redemptoris Mater quae per via coeli porta manes Et stella maris sucurre cadenti surgere qui curat populo Tu quae genuisti natura mirante tuum sanctum genitorem Virgo prius ac posterius Gabrielis ab ore sumens illud ave Peccatorum miserere -Hermanus Contractus (11th-century)
Loving Mother of the Redeemer
Loving mother of the Redeemer, who remains the gateway of heaven And star of the sea, give aid to a falling people that strives to rise O thou who begot the holy Creator while all nature marveled Virgin before and after receiving that â€œAveâ€? from the mouth of Gabriel Have mercy on sinners
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Ave Verum Corpus
Ave verum corpus natum de Maria Virgine Vere passum immolatum in cruce pro homine Cujus latus perforatum unda fluxit sanguine Esto nobis praegustatum in mortis examine O dulcis o piae o Jesu fili Mariae miserere mei Amen
Hail True Body
Hail true body, born of the Virgin Mary Who truly died on the cross for mankind Whose side was pierced, whence blood flowed Be for us a foretaste of the judgment of death O sweet, O holy, O Jesus, son of Mary, have mercy on me Amen
-Pope Innocent III (1160-1216)
Why do I Use My Paper Ink and Pen?
Why do I use my paper ink and pen And call my wits to counsel what to say? Such memories were made for mortal men I speak of Saints whose names cannot decay An Angelâ€™s trump were fitter for to sound Their glorious death if such on earth were found -Saint Henry Walpole (1558-1595)
Justorum in manu Dei sunt Et non tanget illos tormentum mortis Visi sunt oculis insipientium mori Illi autem sunt in pace
The Souls of the Righteous
The souls of the righteous are in the hand of God And no pain of death shall reach them To the unwise they seem to have died But they are at peace
-After the Book of Wisdom
Pueri Hebraeorum vestimenta prosternebant in via Et clamabant dicentes hosanna Filio David Benedictus qui venit in nomine Domini -Antiphon for Palm Sunday
Super Flumina Babylonis
Super flumina Babylonis Illic sedimus et flevimus dum recordaremur tui Sion In salicibus in medio ejus suspendimus organa nostra
The Children of the Hebrews
The children of the Hebrews spread their garments in the way And cried aloud hosanna to the Son of David Blessed is He that cometh in the name of the Lord
By the River of Babylon
By the river of Babylon There we sat and wept when we remembered thee Zion Amidst the willows we hung up our lyres
-After Psalm 137
Duo Seraphim clamabant alter ad alterum Sanctus Dominus Deus Sabaoth Plena est omnis terra gloria ejus
Two Seraphim proclaimed, one to the other Holy is the Lord of Hosts The whole earth is full of His glory
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Tres sunt qui testominium dant in caelo Pater et verbum et spiritus sanctus Et hi tres unum sunt
There are three who give witness to heaven Father, Word and Holy Spirit And these three are one
-After the Book of Isaiah
Surge Illuminare Jerusalem
Arise, Shine, Jerusalem
-After the Book of Isaiah
Arise, shine, Jerusalem, for your light has come And the glory of the Lord has risen in you For darkness shall cover the earth, and a mist envelop the people But the Lord shall rise within you, and the glory of the Lord shall been seen in you
Lasso non è Cor Mio, ch’io ti Rimiri
My Heart is not Lost
Surge illuminare Jerusalem quia venit lumen tuum Et gloria Domini super te orta est Quia ecce tenebrae operient terram et caligo populos Super te autem orietur Dominus et gloria ejus in te videbitur
Lasso non è cor mio, ch’io ti rimiri, che non sospiri Poscia ch’io scorgo in tua beltà infinita e morte e vita
Ma s’io contemplo il tuo leggiardo aspetto con mio diletto Allor io dico, d’ogni noia privo, “per te sol vivo”
My heart is not lost, as long as I can see you again and know that you are well For in your infinite beauty I find both death and life But if I look upon your sweet face, with delight I say Free from any pain, “I live only for you”
-Author unknown (16th century Italy)
A la Strada
A la strada, a la strada o Dio! Aiut’, aiut’ ohimè ch’io son tradito O poverino me, ch’io son ferito Ognun tenga il Dio d’Amore Udit’, udit’ come m’ha tradito O poverino me, ch’io son ferito
Into the Street
Into the street, into the street o Lord! Help, help, alas I am betrayed Woe is me, for I am deeply wounded Let us all complain of Cupid’s treachery Cry, cry how he betrays Woe is me, for I am deeply wounded
-Author unknown (16th century Italy)
La farfalla sen vola al lume intorno Fin ch’entro vi s’immerga e si consume Cotando gode dell’acceso lume
The butterfly flits about the flame Until plunging itself deep Pleasurably consumed in the bright light
La salamandra nelle vive fiamme Come altri dice si nutrica e cria Et io giocoso nella fiamma mia
The salamander, it is said Is born and raised amidst heat and flames And I myself relish my own fire
Così farfalla e salamandra insieme Intorno volo de vostri occhi al foco E vivo e m’ardo e struggo a poco a poco
Thus salamander and butterfly together Fly about your fiery eyes And I live and burn, slowly melting, consumed in you
-Author unknown (16th century Italy)
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Venite Exultemus Domino
Come Let Us Rejoice in the Lord
Venite exultemus Domino Jubilemus Deo salutari nostro Preoccupemus faciem ejus in confessione Et in psalmis jubilemus ei Quoniam Deus magnus Dominus Et rex magnus super omnes deos
Come, let us rejoice in the Lord Let us celebrate God our Savior Let us come before his presence with humility And celebrate him in psalms For God is great And a king above all gods
Jubilate Domino omnis terra Cantate et exultate et psallite Domino Et voce psalmi in cytharis in buccinis et sono tubae Jubilate coram rege Domino -After Psalm 98
Rejoice in the Lord
Rejoice in the Lord all the earth Sing praises and delight in the Lord Make a great noise in voices of psalms with the harp and the trumpet Make a joyful sound before the Lord
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Miserere mei, Deus
Have Mercy Upon Me, God
Tibi soli peccavi, et malum coram te feci ut justificeris in sermonibus tuis et vincas cum judicaris Ecce enim in iniquitatibus conceptus sum et in peccatis concepit me mater mea Ecce enim veritatem dilexisti incerta et occulta sapientiae tuae manifestasti mihi Asperges me hysopo et mundabor lavabis me, et super nivem dealbabor
Against you only have I sinned and done evil in your sight; you are a righteous judge Behold, I was made in wickedness and in sin my mother conceived me But lo, you require deepest truth and shall make me to understand hidden wisdom You shall purge me with hyssop, and I shall be clean You shall wash me, and I shall be whiter than snow
Auditui meo dabis gaudium et laetitiam et exsultabunt ossa humiliata Averte faciem tuam a peccatis meis et omnes iniquitates meas dele Cor mundum crea in me Deus et spiritum rectum innova in visceribus meis Ne projicias me a facie tua et spiritum sanctum tuum ne auferas a me
You shall make me hear of joy and gladness that your broken bones may rejoice Turn your face from my sins and put out all my misdeeds Make me a clean heart, O God and renew a right spirit within me Cast me not away from your presence and take not your Holy Spirit from me
Redde mihi laetitiam salutaris tui et spiritu principali confirma me Docebo iniquos vias tuas et impii ad te convertentur Libera me de sanguinibus, Deus salutis meae, et exsultabit lingua mea justitiam tuam Domine labia mea aperies et os meum annuntiabit laudem tuam
Give me the comfort of your help again and ground me with your counsel Then shall I teach your ways unto the nations and sinners shall be converted unto you Deliver me from sin, O God of my salvation, and my tongue shall sing of your righteousness Thou shalt open my lips, O Lord, and my mouth shall show forth your praise
Quoniam si voluisses sacrificium dedisse utique holocaustis non delectaberis Sacrificium Deo spiritus contribulatus, cor contritum et humiliatum Deus non despicies Benigne fac Domine in bona voluntate tua Sion ut aedificentur muri Jerusalem Tunc acceptabis sacrificium justitiae oblationes et holocausta Tunc imponent super altare tuum vitulos
For you desire no sacrifice, else would I give it to you; you delight not in burnt offerings The right sacrifice to God is a humble spirit; a broken and contrite heart, O God, you will not despise Be favorable and gracious unto Zion; build up the walls of Jerusalem Then you will be pleased with the sacrifice of righteousness and offerings of young bullocks upon your altar
Miserere mei Deus secundum magnam misericordiam tuam Et secundum multitudinem miserationum tuarum dele iniquitatem meam Amplius lava me ab iniquitate mea et a peccato meo munda me Quoniam iniquitatem meam ego cognosco et peccatum meum contra me est semper
Have mercy upon me O God after your great goodness According to the multitude of your mercies do away my offences Wash me thoroughly from my wickedness and cleanse me from my sin For I acknowledge my faults and my sin is ever before me
SANTA FE DESERT CHORALE
THE HOPE OF LOVING CONCERT PROGRAM Joshua Habermann, MUSIC DIRECTOR AND CONDUCTOR
String Septet from the Santa Fe Symphony David Felberg, VIOLIN Barbara Scalf Morris, VIOLIN Nicolle Maniaci-Witiuk, VIOLIN Kimberly Fredenburgh, VIOLA Christine Rancier, VIOLA Dana Winograd, CELLO Frank Murry, BASS Nathan Salazar,
String Septet sponsored by Ann Neuberger Aceves and Phil Martin. Piano sponsored by Suzanne Timble. Thursday, July 27, 2017 at 8:00 pm The Church of the Holy Faith, Santa Fe Sunday, July 30, 2017 at 4:00 pm The Church of the Holy Faith, Santa Fe Thursday, August 10, 2017 at 8:00 pm The Church of the Holy Faith, Santa Fe
Pre-concert Lecture (90 minutes before concert time) Dr. Matthew Tresler, Assistant Music Director, Santa Fe Desert Chorale; Academic Chair of Music and Director of Vocal Music at Irvine Valley College Matthew Treslerʼs Pre-concert lecture is sponsored by Dorothy B. Davis Pre-concert Lectures are made possible in part by a grant from the New Mexico Humanities Council
Fern Hill ...................................................John Corigliano (b. 1938)
The Hope of Loving ..............................Jake Runestad (b. 1986) 1. Yield to Love 2. Wild Forces 3. Wondrous Creatures 4. The Heart’s Veil 5. My Soul is Candle 6. The Hope of Loving
Triptych ...................................................... Tarik O’Regan (b. 1978) 1. Threnody 2. As We Remember Them 3. From Heaven Distilled a Clemency
PROGRAM NOTES By all measures, choral culture is alive and well in the United States. From the national advocacy group Chorus America’s most recent national survey we know that over 43 million Americans are participating in choirs today. All this musical activity serves not only to preserve the great musical canon of the past, but also encourage the creation new music.
A Song of Youth The three pieces you hear today are by living American, or in one case British-American, composers. The oldest, John Corigliano, was born in 1938. His Fern Hill is an early work, written in 1960, well before either Tarik O’Regan (b. 1978) and Jake Runestad (b. 1986) were born. Still, the three pieces are united, not only by their orchestration for strings and voices, but also in their lyrical approach, and common themes in the poems they use. In Fern Hill, though Thomas is concerned primarily with the carefree joys of youth, there lies within the text a hint of mortality. Corgilano writes: “I first encountered Dylan Thomas’ work in 1959, my last undergraduate year at Columbia College. It was a revelation. Both the sound and the structure of Thomas’ words were astonishingly musical…One poem captivated me - Fern Hill, about the poet’s ‘young and easy’ summers at his family’s farm of the same name. I wanted to write this work as a gift for my high school music teacher, Mrs. Tillis, who first encouraged my musical ambitions. Fern Hill is a blithe poem, yet touched by darkness; time finally holds the poet ‘green and dying,’ but the poem itself…sings joyously of youth and its keen perceptions. I set it for mezzo-soprano solo, chorus and orchestra, aiming to match the forthright lyricism of the text. The direction ‘with simplicity’ is everywhere in the printed score.”
Life, Death, and Remembrance Tarik O’Regan takes up this same death/life meditation in Triptych, the closing piece of the concert. Combining words of English and American poets with English translations of Egyptian and Persian poets and biblical verse, O’Regan weaves a three-movement work in a fast-slow-fast format. Describing the energy of the two outer movements, the composer links them to New York, where he had relocated before composing the work.
Hill top - a place for reflection & contemplation
“Relatively new to living in New York, I am much more aware of the independent cultural plurality that exists today; it’s probably the single most dazzling facet of the city…With that in mind I set to work on Triptych in 2004. The piece was commissioned by the Choir of London, with the idea of going into Israel and the occupied Palestinian territories (continued on next page) SANTA FE DESERT CHORALE
to work with musicians from different areas and different backgrounds…That’s partly why I wanted the text to speak more universally, to people from all backgrounds. And I wanted it to be fun to sing…Fast and rhythmically influenced by the music of North Africa and its syncopations, the opening movement was the first composition that evolved entirely from my New York perspective.”
An Ode to Love In 2016 composer Jake Runestad was in residence with the Desert Chorale, and his piece Reflections was given its premiere in the American Voices concert series. This fall the Chorale will record Reflections, and is also pleased to present his cycle Hope of Loving as the centerpiece of this concert. In his notes on the piece, Runestad offers a glimpse into the inspiration for the work: “With all of the inequality, violence, and pain in our world, I continue to dwell on the importance and impact of love — love shown to others and love shown to oneself. When considering the focus for this commission, I didn’t necessarily choose the topic of love, it was a calling.
I am a hoarder of poetry and one of my favorite collections is “Love Poems From God” — mystical poems by Daniel Ladinsky inspired by famous writers from around the world. This book is a composer’s dream with colorful, powerful, and succinct writings that talk of living fully, deep spirituality, self-contemplation, and love. The work begins with the string quartet playing a descending sequence of a single musical interval — the perfect fourth. This interval appears throughout the work as a musical motive but also a sign post; acting as a sort of character or embodiment of love. The string quartet, soloists, and chorus serve equal roles throughout the work in bringing these mystical words to life. In each of the six movements, I have endeavored to capture various ways we, as humans, respond to and act on our idea of love; hopefully creating opportunities for introspection and realization. Love is our most valuable resource, our most precious possession, our doorway into fostering compassion. May you consider these texts and this music with an open mind and ask yourself, “to whom can I give more love in my life?” For it is through love, both given and received, that our world can change.” –Joshua Habermann (2017)
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OF LOVING THE HOPE OF LOVING TEXTS & TRANSLATIONS
Now as I was young and easy under the apple boughs About the lilting house and happy as the grass was green, The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, And honoured among wagons I was prince of the apple towns And once below a time I lordly had the trees and leaves Trail with daisies and barley Down the rivers of the windfall light.
And honoured among foxes and pheasants by the gay house Under the new made clouds and happy as the heart was long, In the sun born over and over, I ran my heedless ways, My wishes raced through the house high hay And nothing I cared, at my sky blue trades, that time allows In all his tuneful turning so few and such morning songs Before the children green and golden Follow him out of grace.
And as I was green and carefree, famous among the barns About the happy yard and singing as the farm was home, In the sun that is young once only, Time let me play and be Golden in the mercy of his means, And green and golden I was huntsman and herdsman, the calves Sang to my horn, the foxes on the hills barked clear and cold, And the Sabbath rang slowly In the pebbles of the holy streams.
Nothing I cared, in the lamb white days, that time would take me Up to the swallow thronged loft by the shadow of my hand, In the moon that is always rising, Nor that riding to sleep I should hear him fly with the high fields And wake to the farm forever fled from the childless land. Oh as I was young and easy in the mercy of his means, Time held me green and dying Though I sang in my chains like the sea.
All the sun long it was running, it was lovely, the hay Fields high as the house, the tunes from the chimneys, it was air And playing, lovely and watery And fire green as grass. And nightly under the simple stars As I rode to sleep the owls were bearing the farm away, All the moon long I heard, blessed among stables, the nightjars Flying with the ricks, and the horses Flashing into the dark. And then to awake, and the farm, like a wanderer white With the dew, come back, the cock on his shoulder: it was all Shining, it was Adam and maiden, The sky gathered again And the sun grew round that very day. So it must have been after the birth of the simple light In the first, spinning place, the spellbound horses walking warm Out of the whinnying green stable On to the fields of praise.
-Dylan Thomas (1914-1953)
HOPE OF LOVING 1. Yield to Love
I know about love the way the fields know about light, The way the forest shelters us. We are vulnerable like an infant. We need each other’s care or we will suffer. How will you ever find peace Unless you yield to love? -Rabi’a al-‘Adawiyya al-Qaysiyya (707-801)
2. Wild Forces
There are beautiful, wild forces within us. Let them turn millstones inside Filling bushels that reach to the sky. -St. Francis of Assisi (1182-1226)
(continued on next page) SANTA FE DESERT CHORALE
This seasonâ€™s Festival of Song features two intimate one-hour recitals with stars from the Santa Fe Opera, and a showcase of three mini-operas by Mark Adamo, Jake Heggie and Joe Illick. All performances are followed by artist receptions.
Joe Illick, music director & pianist William Florescu, stage director Sunday, July 30, 2017 4:00 pm Scottish Rite Center
Anna Christy, soprano Joe Illick, pianist Friday, August 4, 2017 4:00 pm United Church of Santa Fe
Paula Murrihy, mezzo-soprano Tanya Blaich, pianist Sunday, August 20, 2017 4:00 pm United Church of Santa Fe
For a complete listing of our 2017-2018 season or to purchase tickets: PerformanceSantaFe.org | 505 984 8759
3. Wondrous Creatures
O Wondrous creatures, By what strange miracle Do you so often not smile? -Hafiz of Shiraz (1315-1390)
4. The Heart’s Veil
(Instrumental Movement: String Quartet)
5. My Soul is a Candle
My soul is a candle that burned away the veil; Only the glorious duties of light I now have. The soul is a candle that will burn away the darkness; Only the glorious duties of love we will have. Tenderly, I now touch all things, Knowing one day we will part. -St. John of the Cross (1542-1591)
6. The Hope of Loving
Behold, how good and how pleasant it is For [people] to dwell together in unity. -Psalm 133 (King James Bible version)
2. As We Remember Them
In the rising of the sun and at its going down, we remember them. In the blowing of the wind and in the chill of winter, we remember them. In the opening buds and in the rebirth of spring, we remember them. In the blueness of the sky and in the warmth of summer, we remember them. In the rustling of the leaves and in the beauty of autumn, we remember them. When we’re weary and in need of strength, we remember them. When [we’re] lost and sick at heart, we remember them. So long as we live, they too shall live, for they are a part of us, As we remember them.
What keeps us alive, what allows us to endure? It is the hope of loving, of being loved.
-Roland B. Gittelson (1910-1955) adapted from “the Gates of Repentance”
We weep when light does not reach our hearts. We wither like fields if someone close Does not rain their kindness upon us.
And the Heav’nly Quire stood mute, And silence was in Heav’n.
My soul has a purpose, It is to love. -Meister Eckhart (1260-1328)
-John Milton (1608-1674) from “Paradise Lost” (1667)
3. From Heaven Distilled a Clemency Each shall arise in the place where their life [spirit] departs. -Bundhais-Bahman Yast (9 th century)
TRIPTYCH 1. Threnody
When death takes off the mask, [we] will know one another, Though diverse liveries [we] wear here make [us] strangers. -William Penn (1644-1718) from “Some Fruits of Solitude in Reflection and Maxims” (1682) Tremblest thou when my face appears To thee? Wherefore thy dreadful fears? Be easy, friend, ‘tis thy truest gain To be far away from the sons of men. I offer a couch to give thee ease: Shall dreamless slumber so much displease? -Muhammad Rajab Al-Bayoumi from “Death Speaks” (date unknown) To see a World in a Grain of Sand, And a heaven in a Wild Flower, Hold Infinity in the palm of your hand, And eternity in an hour.
[So] Why then should I be afraid? I shall die once again to rise an angel blest. -Jalal ad-Din Muhammad Rumi (1207-1273) from “Masnavi I Ma’navi, Book III Our birth is but a sleep and a forgetting; The Soul that rises with us, our life’s Star, Hath had elsewhere its setting. And cometh from afar. -William Wordsworth (1770-1850) from “Ode: Intimations of Immortality” (1807) Calm fell. From heaven distilled a clemency; There was peace on earth, and silence in the sky. -Thomas Hardy (1840-1928) from “And There Was a Great Calm” on the signing of the Armistice (1918)
-William Blake (1757-1827), from “Auguries of Innocence” (1808) SANTA FE DESERT CHORALE
CONCERT PROGRAM Laudibus in Sanctis .................................William Byrd
libertÉ MUSIC OF RESISTANCE AND REVOLUTION Joshua Habermann, MUSIC DIRECTOR AND CONDUCTOR
Program Sponsors: Stephen and Jane Hochberg Tuesday, August 1, 2017 at 8:00 pm The Cathedral Basilica of St. Francis of Assisi, Santa Fe
Concert Sponsored in part by: Saturday, August 5, 2017 at 8:00 pm Cathedral Church of St. John, Albuquerque Friday, August 11, 2017 at 8:00 pm The Cathedral Basilica of St. Francis of Assisi, Santa Fe
Concert Sponsored in part by: Ruth Anne and Halley Faust
Pre-concert Lecture (90 minutes before concert time) Steven Ovitsky, Executive Director, Santa Fe Chamber Music Festival Steven Ovitsky’s Pre-concert Lecture is sponsored by Janusz and Brahna Lauger Wilczynski Pre-concert Lectures are made possible in part by a grant from the New Mexico Humanities Council
Liberté Soir de Neige................................................ Francis Poulenc (1899-1963) 1. De grandes cuillers de neige 2. La bonne neige 3. Bois meurtri 4. La nuit, le froid, la solitude Liberté from Figure Humaine ............................ Francis Poulenc
Singing Revolution I Õnnis on Inimene ..............................................Cyrillus Kreek (1889-1962) Lauliku Lapsepõli ................................................. Veljo Tormis (1930-2017) Türgi Sõja Laul .................................................... Veljo Tormis Mu Isamaa On Minu Arm .............................. Gustav Ernesaks (1908-1993)
Singing Revolution II Da Pacem Domine .................................................. Arvo Pärt (b. 1935) O Salutaris Hostia ........................................... Eriks Esenvalds (b. 1977) Kalejs Kala Debesis ............................................Selga Mence (b. 1953)
Songs of Survival I Bachuri L’am Tisa ...............................................Gideon Klein (1919-1944) Eli Eli ................................................................. David Zehvi (1910-1977) Lift Thine Eyes from Elijah ............................ Felix Mendelssohn (1809-1847) Elihayu Hanavi ...................................................arr. Ullmann (1898-1944) Anu Olim ........................................................... ...........................................................arr. Ullmann
Songs of Survival II Ani Ma’amin ................................................. arr. Appelbaum (b. 1941) Motherless Child .......................... ..........................Traditional Traditional African-American My Lord What a Morning .................................... ....................................arr. arr. Burleigh (1866-1949) Walk Together Children .........................................arr. ......................................... arr. Hogan (1957-2003)
PROGRAM NOTES Music, and group singing in particular, has always played a leading role in the struggle for liberty. From South African freedom songs that accompanied the anti-apartheid crusade, to “We Shall Overcome” of the American civil rights movement, choral singing has helped to unify oppressed peoples and galvanized support for their causes. In Liberté the Desert Chorale explores choral music that has served to comfort the suffering and also to inspire resistance. We begin with a piece of William Byrd, a Catholic composer living in Protestant England, whose music we present in greater depth this summer in Music from a Secret Chapel. As a recusant Catholic who refused to convert to the state religion, Byrd faced fines, persecution and possible imprisonment. Despite his status as a leading composer of his day, he nonetheless felt compelled to leave London and retreat to the countryside where he was more able to compose and perform pieces like Laudibus in Sanctis, a joyful Latin paraphrase of Psalm 150.
Poulenc and Éluard For the remainder of the program we turn to the twentieth century, with special focus on the period 1940 -1990, a time of great political and cultural upheaval. In the darkest days of World War II with France under Nazi control, the poetry of Paul Éluard was circulated amongst the resistance. Francis Poulenc, who had used Éluard’s poetry in earlier songs, was drawn to the texts of Soir de Neige (Night of Snow), whose dark imagery captured the spirit of occupied Paris in the grim winter of 1944. Despite the bleak symbolism of these texts, there lives in them as well a seed of defiance, a sentiment which comes to fruition in Poulenc’s masterwork Figure Humaine (Human Figure), another Éluard setting. For this concert we excerpt the extraordinary final movement of this work: Liberté, a hymn to freedom so cherished that the British dropped copies of the poem from airplanes to inspire the French resistance. Éluard creates a kind of litany over 21 stanzas. Moving easily between tenderness and courage, the poem builds until finally naming in the final word liberté, the inspiration and ambition of the French people under Nazi occupation.
The Freedom Monument in Riga, Latvia
Poulenc’s musical setting is considered by many to behis greatest masterpiece. Written in a highly chromatic language for double choir in 12 parts, the technical challenges are extreme. Still, Poulenc was clear that he wanted no instrumental support, saying that this music was: “[an] act of faith to be expressed without the aid of instruments, solely through the human voice.” Concert performances are therefore rare, as few choirs are capable of managing the densely complex musical language, to say nothing of the stirring high E to be sung by one soprano in the final chord. (continued on next page) SANTA FE DESERT CHORALE
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The Singing Revolution Choral singing has long held a special place in the culture of the Baltic nations, Estonia, Latvia, and Lithuania. Sandwiched between Germany and Russia, these tiny countries, which have a combined population equal to half of New York City, have struggled to maintain their cultural and political independence from their powerful neighbors. After a brief period of self-determination in the early 20th century, the Baltic nations were invaded, and lived under both Nazi and Soviet occupations, eventually being annexed by the Soviet Union after World War II. Nonetheless, a desire for selfdetermination persisted, and with the weakening of the Soviet system in the 1980’s, Baltic patriots saw an opening. In 1987 Estonian desire for independence coalesced around singing of patriotic songs at the grounds of the National Song Festival. Founded in 1869 the Song Festival has been designated by the United Nations as a cultural treasure of humanity, and has long been a point of national pride for Estonians. The demonstrations, which took place from 1987-1988 culminated in crowds of over 300,000 Estonians singing the patriotic anthem Mu Isamaa on Minu Arm (My Fatherland is my Love), at the Song Festival grounds. A declaration of independence followed, and Estonian citizens rose up to take control of their destiny in what became known as “The Singing Revolution.” The Desert Chorale presents a screening of the documentary film that tells this dramatic story on July 29 at the Center for Contemporary Arts.
fighter Hannah Szenes, who was captured and executed in 1944, and an arrangement of Ani Ma’amim, a statement of religious faith that was sung by many Jews as they went to their deaths in the gas chambers. The poignancy of this music reflects the indomitable human spirit, and the will to create enduring works of art that will continue to speak long after the artist is gone.
American Roots Also born of struggle, the African-American spiritual is a result of a uniquely American cross-pollination of African rhythms, biblical narratives, and the musical language of 19th century protestant hymnody. Slaves could find their sorrows reflected in the Old Testament stories of the Jewish people, and the messages of the spirituals: courage in times of trial, and faith in the future, represent our common human experience. For a deeper exploration of the rich African-American musical journey, we invite you to Justice, the closing program of the 2017 Desert Chorale season. –Joshua Habermann (2017)
Singing in the Camps Choral singing also played a significant role in the life of Jewish communities in the concentration camps of World War II. Many of the prisoners were trained musicians, including the young Czech composer Gideon Klein, who entered the Terezín (Theresienstadt) camp in 1941. At the beginning of his time in Terezín, instruments were in relatively short supply, and choral singing was therefore the most practical form of music making. Klein wrote pieces such as Bachuri Le’An Tisa, and other composers such as Viktor Ullmann created arrangements of the traditional melodies Eliyahu Hanavi and the hopeful Anu Olim, which speaks to the Jews’ desire for a safe haven amidst the horrors of war. As the Nazis increased their propaganda push to represent Terezín as a “model village” for Jews, more musical performances were allowed to be organized, including Mendelssohn’s Elijah, and quite astonishingly Verdi’s Requiem, which was sung by the camp inmates to an audience of their captors. One can imagine that the irony of singing a requiem at a camp that served as a way station to Auschwitz was not lost on all those who were present. Other Jewish music on today’s program includes a setting of the prayer Eli Eli, to a text by the Hungarian resistance
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SANTA FE DESERT CHORALE
LIBERTE LIBERTÉ TEXTS & TRANSLATIONS
Laudibus in Sanctis
In Holy Praises
Magnificum Domini cantet tuba martia nomen Pieria Domino concelebrate lira Laude Dei resonent resonantia tympana summi Alta sacri resonent organa laude Dei
Let the warlike trumpet sing the great name of the Lord Celebrate the Lord with Pierian lyre Let resounding timbrels ring to the praise of the most high God Let lofty organs sound with praise of the holy God
Hunc arguta canant tenui psalteria corda Hunc agili laudet laeta chorea pede Concava divinas effundant cymbala laudes Cymbala dulcisona laude repleta Dei Omne quod aethereis in mundo vescitur auris Alleluia canat tempus in omne Deo
To him let melodious psalteries sing with finely tuned string For him let nimble feet praise with joyful dance Let hollow cymbals pour forth divine praises Sweet-sounding cymbals filled with the praise of God Let everything in the world that feeds upon the air of heaven Sing Alleluia to God for evermore
Laudibus in sanctis Dominum celebrate supremum Firmamenta sonent inclita facta Dei Inclita facta Dei cantate sacraque potentis Voce potestatem saepe sonate manus
-After Psalm 150
Soir de Neige
De grandes cuillers de neige Ramassent nos pieds glacés Et d’une dure parole Nous heurtons l’hiver têtu Chaque arbre a sa place en l’air Chaque roc son poids sur terre Chaque ruisseau son eau vive Nous nous n’avons pas de feu La bonne neige le ciel noir Les branches mortes la détresse De la forêt pleine de pièges Honte à la bête pourchassée La fuite en flèche dans le cœur Les traces d’une proie atroce Hardi au loup et c’est toujours Le plus beau loup et c’est toujours Le dernier vivant que menace La masse absolue de la mort
Celebrate the Lord most high in holy praises Let the firmament echo the glorious deeds of God Sing ye the glorious deeds of God and with holy voice Sound forth the power of his mighty hand
Night of Snow
Great scoops of snow Gather about our frozen feet And with harsh words We stumble into stubborn winter Each tree has its place in the sky Each rock its weight on earth Each stream its spring We have no fire Fine snow dark sky Dead branches torment Of the forest thick with traps Shame on the hunted beast Flight like an arrow through the heart The tracks of a terrible animal That fears no wolf And it is always the most beautiful wolf And it is always the lone survivor Stalked by the unyielding weight of death
(continued on next page) SANTA FE DESERT CHORALE
Bois meurtri Bois perdu d’un voyage en hiver Navire où la neige prend pied Bois d’asile Bois mort où sans espoir je rêve De la mer aux miroirs crevés Un grand moment d’eau froide a saisi les noyés La foule de mon corps en souffre je m’affaiblis je me disperse J’avoue ma vie j’avoue ma mort j’avoue autrui Bois meurtri bois perdu Bois d’asile bois mort La nuit le froid la solitude On m’enferma soigneusement Mais les branches cherchaient leur voie dans la prison Autour de moi l’herbe trouva le ciel On verrouilla le ciel ma prison s’écroula Le froid vivant le froid brûlant m’eut bien en main
Murdered forest Lost forest of a winter voyage A ship upon which snow takes hold Wooded sanctuary Dead forest where without hope I dream of a sea of splintered mirrors One great moment of cold water has seized the drowned The folly of my body is a torment I grow weak I fade I acknowledge my life I acknowledge my death I admit everything Murdered forest lost forest Wooded sanctuary dead forest
-Paul Éluard (1895-1952)
Night cold solitude Closed carefully in on me But the branches sought out their path in the prison Around me the grass found the sky The sky was bolted shut My prison came tumbling down The living cold the burning cold Held me firmly in its hand
Sur mes cahiers d’écolier Sur mon pupitre et les arbres Sur le sable sur la neige J’écris ton nom
On my school notebooks On my desk and on the trees On the sand on the snow I write your name
Sur toutes les pages lues Sur toutes les pages blanches Pierre sang papier ou cendre J’écris ton nom
On all the pages read On all the blank pages Stone blood paper or ash I write your name
Sur les images dorées Sur les armes des guerriers Sur la couronne des rois J’écris ton nom
On the golden images On warriors’ arms On the crown of kings I write your name
Sur la jungle et le désert Sur les nids sur les genêts Sur l’écho de mon enfance J’écris ton nom
On the jungle and the desert On the nests on the brooms On the echo of my childhood I write your name
Sur les merveilles des nuits Sur le pain blanc des journées Sur les saisons fiancées J’écris ton nom
On the wonders of the nights On the white bread of the days On the successive seasons I write your name
Sur tous mes chiffons d’azur Sur l’étang soleil moisi Sur le lac lune vivante J’écris ton nom
On all my blue ribbons On the pond with dappled sun On the lake under living moonlight I write your name (continued on next page)
SUMMER SUMMERFESTIVAL FESTIVAL
Sur les champs sur l’horizon Sur les ailes des oiseaux Et sur le moulin des ombres J’écris ton nom
On the fields on the horizon On the wings of birds And on shadows’ mill I write your name
Sur chaque bouffée d’aurore Sur la mer sur les bateaux Sur la montagne démente J’écris ton nom
On every puff of dawn On the sea on the boats On the wild mountain I write your name
Sur la mousse des nuages Sur les sueurs de l’orage Sur la pluie épaisse et fade J’écris ton nom
On the foamy clouds On the sweat of the storm On the thick and dull rain I write your name
Sur les formes scintillantes Sur les cloches des couleurs Sur la vérité physique J’écris ton nom
On the shimmering images On the many-colored bells On the physical truth I write your name
Sur les sentiers éveillés Sur les routes déployées Sur les places qui débordent J’écris ton nom
On the waking paths On the unfurled roads On the overflowing squares I write your name
Sur la lampe qui s’allume Sur la lampe qui s’éteint Sur mes maisons réunies J’écris ton nom
On the kindled lamp On the extinguished lamp On my combined houses I write your name
Sur le fruit coupé en deux Du miroir et de ma chambre Sur mon lit coquille vide J’écris ton nom
On the fruit cut in halves Of the mirror and of my room On my empty shell bed I write your name
Sur mon chien gourmand et tendre Sur ses oreilles dressées Sur sa patte maladroite J’écris ton nom
On my gourmand and tender dog On his pricked up ears On his clumsy paw I write your name
Sur le tremplin de ma porte Sur les objets familiers Sur le flot du feu béni J’écris ton nom
On the springboard of my door On familiar objects On the flood of blessed fire I write your name
Sur toute chair accordée Sur le front de mes amis Sur chaque main qui se tend J’écris ton nom
On any proffered flesh On my friends’ faces On every hand held out I write your name
Sur la vitre des surprises Sur les lèvres attentives Bien au-dessus du silence J’écris ton nom
On the window of surprises On attentive lips Well beyond the silence I write your name (continued on next page) SANTA FE DESERT CHORALE
Sur mes refuges détruits Sur mes phares écroulés Sur les murs de mon ennui J’écris ton nom
On my ruined shelters On my crumbled beacons On the walls of my boredom I write your name
Sur l’absence sans désir Sur la solitude nue Sur les marches de la mort J’écris ton nom
On absence without longing On bare solitude On the steps of death I write your name
Sur la santé revenue Sur le risque disparu Sur l’espoir sans souvenir J’écris ton nom
On health recovered On danger resolved On hope without memory I write your name
Et par le pouvoir d’un mot Je recommence ma vie Je suis né pour te connaître Pour te nommer
And by the power of a word I start my life again I was born to know you To name you
Õnnis on inimene
Õnnis on inimene, kes ei käi õelate nõu järele, halleluuja. Sest issand tunneb õigete teed, aga õelate tee läheb hukka, halleluuja. Teenige Issandat kartusega ja olge rõõmsad värisemisega, halleluuja. Väga õndsad on kõik, kes Tema juure kipuvad, halleluuja. Tõuse üles, Issand, päästa mind, mu Jumal, halleluuja. Au olgu Isale, Pojale ja Pühale Vaimule, nüüd ja igavest, aamen.
Blessed is the Man
Blessed is the man that walks not in the counsel of the ungodly, alleluia. For the Lord knows the way of the righteous: but the way of the ungodly shall perish, alleluia. Serve the Lord with fear, and rejoice with trembling, alleluia. Blessed are all they who put their trust in him, alleluia. Arise, O Lord; save me, O my god, alleluia. Glory to the Father, the Son and the Holy Spirit. now and forever, amen.
-After Psalm 1
The Singers’ Childhood
Kui ma ol’li väikokõnõ, al’leaa, kas’vi ma sis kaunikõnõ, al’leaa, ol’li üte üü vannu, al’leaa, pääle katõ päävä vannu, al’leaa, imä vei kiigu kesä pääle, al’leaa, pan’de hällü palo pääle, al’leaa, pan’de par’dsi hällütämmä, al’leaa, suvõlinnu liigutamma, al’leaa.
When I was very little, al’leaa, I grew so prettily, al’leaa, I was but one night old, al’leaa, just two days old, al’leaa, mother took my cradle to the meadow, al’leaa, put my crib on the heath, al’leaa, put a duck to rock the cradle, al’leaa, the bird of summer to push me, al’leaa.
Par’dsil ol’le pal’lo sõnnu, al’leaa, suvõlinnul liia’ laalu’, al’leaa, par’ts sääl man mul pal’lo lauli, al’leaa, suvõlindu liiast kõnõli, al’leaa.
The The The The
duck had many words, al’leaa, bird of summer had lots of songs, al’leaa, duck sang many songs to me there, al’leaa, bird of summer, it spoke to me a lot, al’leaa. (continued on next page)
Säält mina lat’s sis laulu’ ope, al’leaa, ul’likõnõ sõna’ osasi, al’leaa, kõik mina pan’ni papõrihe, al’leaa, kõik mina raiõ raamatuhe, al’leaa.
That is where this child learned the songs, al’leaa, this wild creature got to know the words, al’leaa all of them I placed on paper, al’leaa, all of them I hewed into a book, al’leaa.
Selle minol pal’lo sõnnu, al’leaa, selle laajalt laaluviisi, al’leaa
That is why I have so many words, al’leaa, That is why I have lots of tunes, al’leaa.
Türgi sõja laul
Traas, traas, tri, kali!
Song of the Turkish War One, two, three and thrash!
Vatsat let lusilsja mina, olin soldat rädavoi, lasksin püssist välja tina türgi silmi, oi, oi, oi!
Twenty years I served, was a private, shot lead from my gun straight at the Turks’ eyes, yes I did!
Teesjat türki maha lõin, nastupleeni madinas, tagda sam ja pihta sain Plevna pitva kärinas.
I slayed ten Turks advancing the fight then I was hit myself in the din of the Plevna battle.
Mind säält raanadega leiti, gospidaalis arstiti. Potom peela pilet anti, domoi ära saadeti.
Wounded, I was found there and cured in the hospital. Then they gave me a white ticket and sent me home.
Sain sin salataja raha rinda ühes ristiga. Eto orosso, ne paha, tõi mul sisse kopika.
There I got a golden medal and a cross. That’s neither good nor bad, at least I made some money.
-Traditional Estonian, edited by Paul-Eerik Rummo
Mu Isamaa On Minu Arm
Mu isamaa on minu arm, kell’ südant annud ma. Sull’ laulan ma, mu ülem õnn, mu õitsev Eestimaa! Su valu südames mul keeb, su õnn ja rõõm mind rõõmsaks teeb, mu isamaa, mu isamaa!
My Fatherland is My Love
Land of my fathers that I love I pledge to you my all. I sing to you with all my heart, beloved Estonia. With you I suffer and despair, With you I rise again with joy, My fatherland, my fatherland!
-Gustav Ernesaks (1908-1993)
O Salutaris Hostia
O salutaris Hostia, Quæ cæli pandis ostium Bella premunt hostilia Da robur, fer auxilium Uni trinoque Domino Sit sempiterna Gloria Qui vitam sine termino -St. Francis of Assisi (1225-1274)
O Saving Sacrifice O saving sacrifice Who extends the door of heaven Hostile forces surround us Give strength, help us To the three-in-one Lord Be all glory forever That life without end He may give us in our homeland
(continued on next page)
SANTA FE DESERT CHORALE
Kalejs Kala Debesis Kaléjs kala debesis Ogles bira Daugavá Saules meitai sautu kala Zeltitiemi burbuliem
The Blacksmith Forges in the Sky
The blacksmith forges in the sky Coals fall to the river Daugava He is making a brooch for the sun’s daughter with golden bubbles
Bachuri Le’an Tisa Bachuri le’an tisa? Chamudah kvar pasa La la la
My Boy, Where are you Going? My boy, where are you going? My sweetheart it’s all over. La la la…
-Gideon Klein (1919-1945)
Eli Eli Shelo yigamer le’olam Hachol vehayam Rishrush shel hamayim Berak hashamayim Tefilat ha’adam.
My God, My God
My God, my God May these things never end The sand and the sea The rustle of the water The lightning in the sky The prayer of man
-Hanah Szenes (1921-1944)
Lift Thine Eyes
Lift thine eyes to the mountains, whence cometh help Thy help cometh from the Lord the Maker of heaven and earth He hath said, thy foot shall not be moved thy Keeper will never slumber -from Psalm 121
Eliyahu Hanavi, Eliyahu Hatishbi, Eliyahu Hagiladi Bimherah yavo elenu im Mashiach ben David
Elijah the Prophet
Elijah the Prophet, Elijah the Tishbite, Elijah the Giladite May he soon come to us, with Mashiach the son of David
-from the Havdalah service
Anu olim artza beshira uvesimra La la la…
We are Coming Home
We are coming home to the land singing our songs La la la…
-Traditional Zionist song
(continued on next page) 36
Ani ma’amin, be’emunah sh’lema, beviat hamashiach V’af al pi sheyitmahmeha Im kol zeh, achake loh Veaf al pi sheyitmameiah, im kol zeh achakeh lo, b’chol yom, sheyavoh.
I believe with complete faith in the coming of the Messiah And although he may tarry I daily hope for his coming.
-from the Thirteen Principles of the Faith by Rabbi Moses Maimonides (12 th century)
Sometimes I feel like a motherless child, a long way from home. True believer, a long way from home. -African American Spiritual
My Lord What a Morning My Lord what a morning When the stars begin to fall. Done quit my worldly ways Join that heavenly band. My Lord what a morning When the stars begin to fall.
(l-r) Pre-concert speaker Steven Ovitsky, pictured with Liberté program underwriter, Stephen Hochberg; Liberté concert sponsor Halley Faust; and Rabbi Berel Levertov of Chabad of Santa Fe. Photo: Chelsea Call
-African American Spiritual
“The whole earth breaks forth into singing!”
A Summer of Sacred Song
Walk Together Children
O walk together children don’t you get weary Walk on my children don’t you get a-weary Just walk together children don’t you get weary There’s a great camp meeting in the promised land.
Santa Fe Opera Apprentices
Gonna walk and never tire, walk and never tire Walk and never tire, there’s a great camp meeting in the promised land. Gonna sing and never tire… Gonna shout and never tire… There’s a great camp meeting in the promised land! -African American Spiritual 2016 Santa Fe Opera Apprentices © Kate Russell
Every Sunday Morning from July 2nd–August 27th 10:00 AM Worship (Childcare/children’s ministry offered)
8:30 AM outdoor folk communion also available
THE UNITED CHURCH OF SANTA FE Rev. Talitha Arnold, Senior Minister Jacquelyn Helin, Steinway Artist & Music Director
1804 Arroyo Chamiso (at St. Michaels Drive) 988-3295 “Welcoming of all” • unitedchurchofsantafe.org
SANTA FE DESERT CHORALE
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New Mexico Museum of Art Lines of Thought: Drawing from Michelangelo to Now: from the British Museum
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The eighth movement of Francis Poulenc's Figure Humaine, dedicated to Pablo Picasso, gives name to the Santa Fe Desert Chorale's program Liberté: Music of Resistance and Revolution. August 1 & 11, 2017 Performances in Santa Fe August 5, 2017 Performance in Albuquerque
Clockwise from top left: Georgia O’Keeffe, Black Diagonal, 1919, charcoal on paper, 24 X × 18 ¾ in., Georgia O'Keeffe Museum, Gift of The Burnett Foundation, image © Georgia O'Keeffe Museum. ◆ Melchior Lorck, Tortoise and view of a walled, coastal town, 1555, charcoal, heightened with white on blue paper. Image © The Trustees of the British Museum. ◆ Pablo Picasso, Profil sculptural de Marie-Thérèse, 1933, etching, 12 ½ × 9 in., 020369, courtesy of LewAllen Galleries. ◆ George Burdeau (Blackfeet), Beast Series, 1964, mixed media, watercolor on paper, IAIA Museum of Contemporary Native Arts.
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2017 | 2018 SEASON AT THE LENSIC
STAY CONNECTED! The 2017–2018 season is funded in part by the Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a Division of the Office of Cultural Affairs; and the National Endowment for the Arts.
SANTA FE DESERT CHORALE
CONCERT PROGRAM PART I: Prelude to Africa Tshotsholoza .................................................arr. Jeffery Ames (b. 1969) Sorida ............................................... arr. Rosephanye Powell (b. 1962) KwaMashu ..........................................arr. Theodore Cookson (b. 1986)
JUSTICE André J. Thomas,
PART II: From the Plantation
NaGuanda Nobles, Brandon A. Boyd, Justin Bransford,
COMPOSER AND PIANO
Mark Clark, PERCUSSION Bass and Percussion sponsored by Helen and Richard Brandt. Piano sponsored by Suzanne Timble. Featuring a world premiere by Brandon Boyd Commissioned by the Santa Fe Desert Chorale and underwritten by Backshore Artists Project, Inc. Tuesday, August 8, 2017 at 8:00 pm Christ Church Santa Fe, Santa Fe
Concert Sponsors: Roxanne Howe-Murphy and James Murphy Saturday, August 12, 2017 at 8:00 pm Cathedral Church of St. John, Albuquerque
Sunday, August 13, 2017 at 4:00 pm Christ Church Santa Fe, Santa Fe
Pre-concert Lecture (90 minutes before concert time) Brandon A. Boyd, Ph.D., Composer and Pianist Pre-concert Lectures are made possible in part by a grant from the New Mexico Humanities Council
Keep Your Lamps! ...................................... arr. André Thomas (b. 1952) Beautiful City ............................................. arr. André Thomas He’s Got the Whole World in His Hand......arr. Margaret Bonds (1913-1972) This Little Light of Mine .................................arr. Moses Hogan (1957-2003) Ezekial Saw de Wheel ............................ arr. William Dawson (1889-1990) Were You There? .................................... arr. Marques Garrett (b. 1984) Ride On, King Jesus ....................................arr. Moses Hogan
INTERMISSION PART III: After Emancipation I Search .......................................................... Brandon Boyd (b. 1986) (Text: Poet “V”).............Voces de Libertad Poetry Workshops He Is Marvelous! ....................................... Rosephanye Powell Let Everything ...............................................André J. Thomas Total Praise ............................................. Richard Smallwood/ (b. 1948) Doreen Rao (b. 1950) If You’re Happy/Amen............................. arr. Marques Garrett Sanctus ........................................................André André J. Thomas I Shall Wear A Crown ..................................Thomas .................................. Whitfield (1954-1992) arr. Brandon Waddles (b. 1985) Shout Glory ........................................................ Byron Smith (b. 1960) Precious Lord .................................................. ..................................................Thomas Thomas Dorsey (1899-1993) arr. Arnold Sevier (b. 1942) I’ve Got A Robe ........................................arr. ........................................ arr. Raymond Wise (b. 1961)
PROGRAM NOTES African-American sacred music traditions are rooted in the primal world views of African American traditional religions. As a result of being captured and brought to the New World to work as slaves beginning as early as the 1500s, Africans were torn from their communities and cultures, and forced to embrace the Christian faith–forbidden to practice any other religion. As a result, the biblical story told by the preachers in the church services were paralleled to their own stories. In the story of the exile of the Jews and their captivity in Babylon, for example, they saw a mirror of their own captivity. The story of Jesus as Messiah offered slaves a dream of salvation and gave them a vision of heaven and hope for an end of their injustices during their earthly life. A significant characteristic of African-American spirituality is the concept of freedom: the freedom of God to have “God’s way” and the freedom of the people as the community of faith to respond to God’s “divine freedom” for His people. Many of the songs born out of the slave experience were songs with coded or dual messages. For example, “Follow The Drinking Gourd,” “Steal Away,” “Wade in the Water,” and many others contained messages for escape to the North. Other songs such as “Sometimes I Feel Like A Motherless Child,” “I’m Troubled In Mind,” and “Go Down, Moses,” expressed despair, hurt, and pain. These spirituals also served as critiques of slavery, using biblical metaphors to protest the enslavement of the negro people. “Ride On, King Jesus,” is an example of a negro spiritual that transcends the enslaved condition, imagining a life of freedom and protection, as in the lyrics, “no man can-a hinder me.” In addition to its place in worship, the spiritual also accompanied other activities in the lives of the slaves. Spirituals that we consider “up-tempo” typically accompanied the slaves while working, for example, “Keep Your Lamps.” The most obvious meaning is that Jesus can deliver you at any time, but slaves also sang this spiritual to communicate secretly with one another, be it to alert their fellow slaves to the possibility of escape or to pending danger. The term “spiritual” comes directly from Ephesians 5:19 (KJV), which states, “Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.” Slaves expressed the longing for spiritual and physical freedom, and for the relief of hardship from bondage. The terms negro spiritual, black spiritual, and African-American spiritual, jubilee, and African-American folk songs are all synonymous. Spirituals also gave slaves an identity which appearances seemed to belie: that of a people chosen by the Lord. Just as 1963 Civil Rights March in Washington, D.C.
(continued on next page) SANTA FE DESERT CHORALE
the Lord fought for Moses and the Israelites, just as he toppled Goliath before David, just as he appeared to Jacob on the ladder, so would he work in their lives. And if they were not delivered while yet living in this world, there remained freedom in the heavenly Canaan.
discussed the liberation of the marginalized and the injustices visited among blacks (or African-Americans) in America. Many of the songs that have come to be synonymous with struggle, empowerment, human rights, and perseverance have come from the African-American community.
Their songs summarized these beliefs, expressing in broken words the genuine spiritual realities of a world unseen, the world of Christian virtues: forgiveness, hope, faith, love, endurance, eternal life, holiness. James Weldon Johnson noted this and commented, “The negro took complete refuge in Christianity, and the spirituals were literally forged of sorrow in the heat of religious fervor. They exhibited, moreover, a reversion to the simple principles of primitive, communal Christianity.”
In the early 1900s, the spiritual was replaced by gospel music. Similar to the spiritual, gospel music was a product of the religion, culture, and history that constitute the AfricanAmerican experience. Its development coincided with– and is germane to– the development of what we call today, rhythm and blues of the South. However, gospel music did not derive as much from Protestant hymns as did negro spirituals. Gospel music was considered antithetical to blues and jazz, despite their similarity of origins, and gospel performers rarely sang in non-religious settings. Later, as all three forms became popular outside of the black community, they were less mutually exclusive.
Over time, many distinct practices and traditions of African music were either lost or incorporated with other musical traditions. Slaves on southern plantations cultivated their own musical styles that later developed into what we know now as gospel, blues, ragtime, jazz, and country or bluegrass music. One of the most pervasive elements of African music that was not lost was an emphasis on rhythm and use of complex polyrhythms still found in African music today. With the rise of Fisk Jubilee Singers in the 1870s, the spirituals began to be seen as music that revealed the beauty and depth of African-American culture. Beginning in 1871, the Jubilee Singers toured the United States and Europe performing negro spirituals for white audiences. Until they brought these songs to national and international attention, negro spirituals were widely considered crude and embarrassing holdovers from slavery. The success of the Fisk Jubilee Singers spawned a number of similar black jubilee singing groups and contributed a sense of pride to many newly emancipated blacks. In the early part of the 1900s, as a result of the work of black composers, the performance of negro spirituals became a tradition among black singers, particularly singers of classical music. Arrangers like Harry T. Burleigh (1866 -1949), Margaret Bonds (1913-1972), and Hall Johnson (1888 - 1970) set the spirituals to piano accompaniment as a means of preserving and perpetuating the beauty of this traditional black music. Other arrangers such as William Dawson (1889-1990), Undine Smith Moore (1904 -1989), and William Henry Smith (1908 -1944) helped to continue the legacy by arranging spirituals that heavily influenced the repertoire of many Historically Black College and University Choirs in the United States. For centuries, the African-American community relied on churches to serves as a means of inspiration and hope. Even when the prevailing notions of the country didn’t advocate for fair treatment of African-Americans, black theologies
A key figure in the development of gospel music was Thomas Dorsey (1899-1993), a son of a Georgia Baptist preacher. Dorsey, a blues pianist and composer, was known for blending sacred texts with the fire and power of rhythm and blues. The energetic rhythms and primal growls of secular music heavily influenced Dorsey’s sacred music compositions. His music was rejected by black religious leaders in his formative years as a gospel composer. Many associated his music with the secular style of the era such as ragtime, blues, and jazz. In 1932, Dorsey wrote his most celebrated work, “Precious Lord, Take My Hand.” Dorsey’s music, like that of many other African-Americans, continues to inspire the country whether on a concert stage or in a local church. The musical journey of many African-Americans reflects a history of survival, resistance, protest, and resilience. The spirituals and gospel music, carrying biblical themes that still resonate within the African-American community, embody that legacy. To forsake these unique songs, the gift of this music and its theology, would be to lose an important message of justice and hope that has the ability to empower our entire nation. –Brandon A. Boyd Ph.D. (2017)
JUSTICE JUSTICE TEXTS & TRANSLATIONS
Tshotsholoza (Go Forward)
Go forward, go forward on those mountains; the train is coming from South Africa. You are running away on those mountains; the train is coming from South Africa.
Sorida (A Zimbabwe Greeting) Sorida.
Greetings, my brothers. Sorida. Greetings, my sisters. Sorida. Greet ev’rybody. Sorida. Love one another. Sorida. Sorida. Wave to your brothers. Wave to your sisters. Greeting ev’rybody. Love one another.
Wenusebenza Kwamashu maye Kusethekwinima Kwamashu maye
Oh, what a beautiful city! Twelve gates to the city, Hallelu. In bright mansions above, Lord, I want to live up yonder, In bright mansions above. My mother lives up in glory, I want to live there too. My father lives up in glory, I want to live there too. My sister lives up in glory… My brother lives up in glory… The beautiful city, city of God! Oh, that city! Beautiful city! God’s lovely city! Oh, what a city! I want to be in that number. Oh, yes! Beautiful, beautiful city! Beautiful city of God. Twelve gates to the city, Hallelujah!
He’s Got The Whole World In His Hand Keep Your Lamps!
Keep your lamps trimmed and burning, The time is drawing nigh. Children don’t get weary ‘til your work is done. Christian journey soon be over, The time is drawing nigh.
Three gates in-a the east! Three gates in-a the west! Three gates in-a the north! Three gates in-a the south! Twelve gates to the city, Hallelu.
He’s got the whole world in His hand, He’s got the whole world in His hand, He’s got the whole world in His hand, He’s got the whole world in His hand.
He’s got the woods and the waters in His hand, He’s got the woods and the waters in His hand, He’s got the sun and the moon right in His hand, He’s got the whole world in His hand. He’s got the birds and the bees right in His hand, He’s got the birds and the bees right in His hand, He’s got the beasts of the field right in His hand, He’s got the whole world in His hand. He’s got you and me right in His hand, He’s got you and me right in His hand, He’s got everybody in His hand, He’s got the whole world in His hand, He’s got the whole world in His hand. (continued on next page) SANTA FE DESERT CHORALE
This Little Light of Mine
Were you there when they laid Him in the tomb? Oh, sometimes it causes me to tremble. Were you there when they laid Him in the tomb?
All through the night I’m gonna let it shine.
They crucified my Lord. They nailed Him to the tree. They pierced Him in His side. The blood came streamin’ down. They laid Him in the tomb. Then He rose that day! Now He reigns on high! Oh, were you there?
This little light of mine, I’m gonna let it shine.
My God gave it to me, I’m gonna let it shine, Oh, Lord, children. My God gave it to me, I’m gonna let it shine. Hallelujah, children, My God gave it to me, I’m gonna let it shine. In my home, let it shine, All over the world, let it shine.
Ride On, King Jesus
Ride on, King Jesus, Ride on, the conquerin’ king. Oh, ride on, King Jesus, ride on. No man can a-hinder thee.
Ezekul saw de wheel, ‘Way up in de mid’l of de air.
I was but young when I begun. No man can a-hinder thee. But now my race is almost done. No man can a-hinder thee.
De big wheel run by faith, An’ de lit’l’ wheel run by de grace of God, A lit’l’ wheel in a wheel, ‘Way in de mid’l of de air.
King Jesus rides a milk white horse… The ribber of Jordan he did cross…
Ezekiel Saw de Wheel
Better mind my brother how you walk on de cross, ‘Way in de mid’l of de air, Your foot might slip, An’ yer soul get lost, ‘Way in de mid’l of de air. Ole Satan wears a club foot shoe… If you don’ mind he’ll slip it on you… Some go to church for to sing an’ shout, Hallelu, hallelujah! Befo’ six months dey’s all turn’d out ‘Way in de mid’l of de air. Doom-a-loom-a…
Were You There?
Were you there when they crucified my Lord? Oh, sometimes it causes me to tremble. Were you there when they crucified my Lord? Were you there when they nailed Him to the tree? Oh, sometimes it causes me to tremble. Were you there when they nailed Him to the tree?
He’s the King and the Lord (of all). No man can a-hinder thee. He’s the first and the last. (Jesus is the first and he’s the last.) He’s the Lord of Lords. (Jesus is the Lord, Lord of Lords.) Jesus is the Prince of peace. No man can a-hinder thee.
INTERMISSION I Search
Behind these bricks I search for strength to overcome my addiction. Behind these bars I search for hope that there will be better days. Behind these locks I search for faith to get me through the pain. Behind these faces I search for my mother. Behind these windows I search for light to overcome the darkness. Behind these signs I search for a better future. Behind these voices I search for wisdom. Behind this pencil I search for who I really am.
(continued on next page) 44
He Is Marvelous!
He is marvelous! Jesus is wonderful! Give him glory! Shout to the Lord and proclaim: He is marvelous, oh, so wonderful! Give Him glory an’ praise. For He is King of Kings. He is the King! An’ He is Lord of all creation! Yes, he is King of Kings an’ Lord of Lord! Shout to the Lord! All the earth let us sing! Sing He woke you up this morning’ started you on your way. You oughta give Him the praise for He’s wonderful. He is marvelous! He is wonderful! Jesus is wonderful.
Let everything that hath breath praise the Lord. Praise ye the Lord, Praise God in His sanctuary. Praise Him in the firmament of His power. Praise Him for His mighty acts; praise Him for His excellent greatness. Praise Him with the sound of the trumpet; Praise Him with the psaltery and harp. Praise Him! Praise the Lord. Let everything praise the Lord.
Lord, I will lift mine eyes to the hills, Knowing my help is coming from You. Your peace, You give me in time of the storm. You are the source of my strength, You are the strength of my life. I lift my hands in total praise to you. Amen.
If You’re Happy/Amen
If you’re happy and you know it, say “Amen!” If the Spirit falls on you, makes you shout, “Hallelujah!” If you’re happy and you know it, say “Amen!” Amen! Amen! Amen! Amen! Amen! Amen! Amen! Amen! Look in the manger! See the little Baby! See Him at the temple, talking to the elders. See Him at the seaside, preaching to the people. See Him on the cross bearing all our sins.
Died to save us! Rose on Easter. Amen! Amen! Amen! If you’re happy and you know it, say “Amen!” If the Spirit falls on you, makes you shout, “Hallelujah!” If you’re happy and you know it, say “Amen!”
Above Him stood the seraphim, seraphim, seraphim. And one cried to another, “Holy, Holy, Holy, the Lord God Almighty, who was and is to come; Holy, Holy, Holy is the Lord of hosts; heav’n and earth are full of thy Glory.” In the year that King Uzziah died I also saw the Lord. He was sitting on His throne and lifted up, and His train filled the temple. Above it stood the seraphim. Each one had six wings; with two he covered his face, And with two he covered his feet, and with two he did fly. And one cried to another, “Holy, Holy, Holy, the Lord God Almighty, who was and is to come; Holy, Holy, Holy is the Lord of hosts; heav’n and earth are full of thy Glory.” Hosanna in the highest. Hosanna to the Son of David. Blessed is he who comes in the name of the Lord. Like the seraphim I want two wings to cover my face. Oh, Lord, I want two wings to fly away, So the world can’t do me no harm. We’re crying “Holy, Holy, Holy, the Lord God Almighty, who was and is to come; Holy, Holy, Holy is the Lord of hosts; heav’n and earth are full of thy Glory.”
I Shall Wear a Crown
I shall wear a crown when it’s all over. I’m going to put on my robe and tell the story how I’ve made it over soon as I get home. I shall see His face when it’s all over. I’m going to put on my robe and tell the story how I’ve made it over soon as I get home.
Where can I go? What can I do? When my road gets rocky, don’t know what to do. What can I say that will see me through? I shout glory! Glory, glory to the Lord, shout glory to You. (continued on next page) SANTA FE DESERT CHORALE
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Walking through life, Can’t find my way. Just don’t know which way to go, Don’t know what to say. Who can I turn to, to show me the way? I should glory, glory, glory to the Lord, shout glory today. He has changed my life, He has turned me around. He’s my Father and my Savior. He has turned my path into smoother ground. I can call him any day. Oh!
I’ve Got a Robe
Yeah! I’ve got a robe.
You’ve got a robe. All of God’s children got robe. When I get to heaven gonna put on my robe. I’m gonna walk around heaven all day. I’ve got shoes. You’ve got shoes… I’m gonna walk and spread the news.
Glorify the Lord. Lift His holy name. Shout glory!
When I get there how happy I will be. When I get there the Savior’s face I’ll see.
Yeah. Walk around heaven all day. Walk and tell the story. Shout of how I made it over.
Precious Lord, take my hand, lead me on let me stand. I am tired, I am weak, I am worn. Through the storm through the night, lead me on to the light. Take my hand, precious Lord, lead me home. When my way grows drear, precious Lord, linger near. When my life is almost gone. At the river, Lord, I stand, guide my feet and hold my hand: take my hand, Lord, and lead me home.
Sunday, August 13 @4PM Christ Church Santa Fe 1213 Don Gaspar Avenue
The Negro National Anthem (A Plea for Justice) Lift every voice and sing, till earth and heaven ring, Ring with the harmonies of liberty; Let our rejoicing rise high as the listening skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us. Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on till victory is won. Stony the road we trod, Bitter the chast’ning rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet Come to the place for which our fathers sighed? We have come over a way that with tears has been watered. We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, Till now we stand at last Where the white gleam of our bright star is cast.
André Thomas will be on hand following the concert to sign books. All profit from the sale of books at the event will be donated to the Desert Chorale Santa Fe’s #1 Independent Book Store 202 Galisteo St, Santa Fe New Mexico p: 505.988.4226 | www.cwbookstore.com Open 7 days a week
God of our weary years, God of our silent tears, Thou who hast brought us thus far on the way; Thou who hast by Thy might, Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest our hearts, drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land. –James Weldon Johnson
SANTA FE DESERT CHORALE
FILMS THE SINGING REVOLUTION SANTA FE DESERT CHORALE FILM SCREENINGS Sponsored by Kirk and Sheila Ellis
“The Singing Revolution” Saturday, July 29, 2017 at 4:00 pm Center for Contemporary Arts Santa Fe
“When I Rise” Monday, August 7, 2017 at 4:00 pm Center for Contemporary Arts Santa Fe
The Singing Revolution is a documentary chronicling the Estonian uprising in 1988. This film highlights the singing revolution in Estonia in which hundreds of thousands of Estonians gathered publicly between 1986 and 1991, in an effort to end decades of Soviet occupation. The revolutionary songs they created anchored Estonia’s non-violent struggle for freedom. The film will be introduced by Trustee Emerita Brahna Lauger Wilczynski, and a Santa Fe Desert Chorale octet will offer a sampling of music by Baltic composers from the Liberté: Music of Resistance and Revolution program following the screening.
WHEN I RISE Tickets $15 adults/$7.50 for students Purchase online at www.desertchorale.org or by phone at (505) 988-2282. Center for Contemporary Arts 1050 Old Pecos Trail Santa Fe
When I Rise is an award-
winning documentary on the life of the late opera singer and civil rights icon, Barbara Smith Conrad. This feature film is about a gifted University of Texas music student, who finds herself at the epicenter of racial controversy during the University’s first year of integration, struggling against the odds and ultimately ascending to the heights of an international opera career. Award-winning writer and producer Kirk Ellis moderates a panel discussion with filmmaker Don Carleton, Executive Producer of the award-winning historical video documentary When I Rise, and Alison Beck, Director of Special Projects at the Briscoe Center for American History at the University of Texas at Austin. A postscreening reception celebrating Miss Conrad’s life and legacy will be sponsored by Vivác Winery.
CENTER FOR CONTEMPORARY ARTS SANTA FE
C I N E M A T H E Q U E
1050 OLD PECOS TRAIL • SANTA FE, NM • 505.982.1338 CCASANTAFE.ORG • FIND US ON:
ASPEN SANTA FE BALLET
2017 SUMMER SEASON
ASPEN SANTA FE BALLET July 15 8pm
COMPAGNIE HERVÉ KOUBI
July 23 8pm
SANTA FE DESERT CHORALE
THE SINGING REVOLUTION
ASPEN SANTA FE BALLET
JULY 29, 2017 4:00P ADULTS STUDENTS
September 2 8pm
Sponsored by Kirk and Sheila Ellis, the Santa Fe Desert Chorale presents this documentary on “The Singing Revolution” (1987-1991), when hundreds of thousands of Estonians regained their independence from the USSR through song, without a single loss of life. Trustee Emerita, Brahna Lauger Wilczynski, introduces the screening which features a musical sampling by SFDC vocalists.
WHEN I RISE AUG. 7, 2017 4:00P
Moderated and sponsored by Kirk and Sheila Ellis, the Santa Fe Desert Chorale presents “When I Rise,” a documentary on the late opera singer and civil rights icon, Barbara Smith Conrad. The event features a talk back with filmmaker, Don Carleton, and Alison Beck, Director of Special Projects of the Dolph Briscoe Center for American History. Reception follows the film’s screening celebrating the life & legacy of Barbara Smith Conrad sponsored by Vivac Winery.
SEE EXTRAORDINARY DANCE AT
Tickets: www.aspensantafeballet.com BUSINESS PARTNER
PREFERRED HOTEL PARTNER
GOVERNMENT / FOUNDATIONS Melville Hankins
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: KARIM AMAR
SANTA FE DESERT CHORALE
April in Paris
Performance of French Repertoire by Susan Graham, Mezzo-soprano & Bradley Moore, Piano Monday, August 21, 2017 Beginning at 5 pm Evening Includes a Reception with Silent Auction, Award Presentation & Fund-A-Need
Inn and Spa at Loretto, Santa Fe $250 per guest Reserve at (505) 988-2282 or desertchorale.org
THE 2017 CIVIC LEADERSHIP AWARD will be presented to The Honorable Javier M. Gonzales, Mayor of The City of Santa Fe THE 2017 ANGEL AWARD will be presented to William H. Lynn
Photo: Benjamin Ealovega Photography
French Dinner Menu Created by Executive Chef, Arturo Urreola
JOSHUA HABERMANN JOSHUA HABERMANN MUSIC DIRECTOR
Photo: Gittings 2011, Courtesy of the Dallas Symphony Orchestra
Joshua Habermann, Music Director, is in his ninth season with the Santa Fe Desert Chorale. Since joining the Chorale he has raised the ensemble’s artistic profile and broadened its programming to include choral-orchestral masterworks as well as cutting-edge a cappella programs. He has led honor choirs and choral festivals in North and Latin America, Europe, and Asia. As a singer (tenor) he has performed with the Oregon Bach Festival Chorus (Eugene, Oregon), and Conspirare (Austin, Texas). Recording credits include three projects with Conspirare: Through the Green Fuse; Requiem, a GRAMMY® nominee for best choral recording in 2006; and Threshold of Night, a GRAMMY® nominee for best choral recording and best classical album in 2009.
In 2011, Joshua Habermann was named Director of the Dallas Symphony Chorus, the official vocal ensemble of the Dallas Symphony Orchestra, now in its 40th Anniversary Season. As Director, he prepares the 200-voice chorus for classical and pops series concerts. Highlights with the DSO include performances of Bach’s St. Matthew Passion, Verdi’s Requiem, Berlioz’ Te Deum, and Britten’s War Requiem, which was performed for the national meeting of the American Choral Directors Association in 2013. From 1996-2008 Habermann was Assistant Conductor of the San Francisco Symphony Chorus, and Professor of Music at San Francisco State University, where under his direction the SFSU Chamber Singers received international engagements in Havana, Cuba, and undertook concert tours in Germany, the Czech Republic, and China. In 2006 he led a collaboration between the SFSU Chamber Singers and the Orchestre des Jeunes de Provence in music of Poulenc and the Requiem of Maurice Duruflé in concerts throughout France. National invitations include the Waging Peace Festival in Eugene, Oregon, multiple appearances at the California Music Educators Convention, and an appearance at the American Choral Directors Association regional convention in 2008. From 2008 -2011 Habermann was Director of Choral Studies at the University of Miami Frost School of Music, where he led the graduate program in conducting and directed the Frost Chorale. Notable projects in Miami included an appearance at the Florida Chapter of the American Choral Directors Association convention, and collaborations with the New World Symphony and conductor Michael Tilson Thomas in music of Ives, Schubert, and Beethoven. During this same period Mr. Habermann led the Master Chorale of South Florida in performances of masterworks such as Mendelssohn’s Elijah, Haydn’s Creation, and Mozart’s Requiem.
Joshua Habermann conducting at the Santa Fe Sings! event (2017)
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 Dallas with his wife Joanna, daughter Kira, and son Kai.
Photo: Sean Johnson
SANTA FE DESERT CHORALE
a vibrant mexican kitchen & bar 401 South Guadalupe Street 505.467.8624 w w w. pa l o m a s a n ta f e .c o m VISIT:
ARTIST BIOGRAPHIES ARTIST BIOGRAPHIES
SOPHIE AMELKIN (2nd Season)
REBECCA MYERS (3rd Season)
Hometown: Wilmington, NC
Hometown: Cleveland, OH
Current Residence: St. Paul, MN
Current Residence: Philadelphia, PA
Upcoming Engagements: Soprano soloist,
Photo: Lu Zang Photography
world premiere of Paul John Rudoi’s oratorio Sermon on the Mount; Concert season with VocalEssence Ensemble Singers.
Past Career Highlights: Despina in Così fan tutte with Opera Wilmington; Saint Teresa of Avila in Four Saints in Three Acts with VocalEssence and the Metropolitan Symphony.
Educational Background: Master of Music (Vocal Performance), University of Minnesota; Bachelor of Music, University of North Carolina, Wilmington. Passion Outside of Singing: Great food, travel, and spending time with my fiancé Matthew and his sweet little beagle, Lucy. Special Desert Chorale Memory: “Every moment of music-making
during my first season with the Chorale. There was a particularly brilliant day when a group of us drove out to a mountain hot spring and we were able to witness a group of visiting Tibetan monks who performed a traditional ceremony of blessing the waters.”
Upcoming Engagements: Touring with The
Crossing to Harvard University, Northwestern University, and Ojai Music Festival; Performing in Monteverdi’s L‘Orfeo on an Apollo’s Photo: Ben Siegel Fire Tour to the University Musical Society (University of Michigan), Cal Performances (U.C. Berkeley), and Green Music Center (Weill Hall) in Sonoma, CA; Programming and performing with Variant Six as Founder. Past Career Highlights: One of three female soloists on the
GRAMMY®-nominated Bonhoeffer CD with The Crossing; Bach motets with Seraphic Fire; Maintaining a private voice studio in Philadelphia for students of all abilities.
Educational Background: Master of Music (Vocal Performance),
Temple University; Bachelor Westminster Choir College.
Passion Outside of Singing: Being outside and enjoying the sunshine, running, yoga, hiking, and travelling. Special Desert Chorale Memory: “Being introduced to some
SARAH HAWKEY (Debut Season) Hometown: Florissant, MO Current Residence: New York, NY Awards & Distinctions: Recipient of the
Photo: Amy Coady
National Endowment for the Humanities Grant for the study of J.S. Bach in Germany; First Place Winner of the Opera Theater of St. Louis Artistin-Training Competition
Upcoming Engagements: A collaboration with Rome Prize-winning
composer Chris Cerrone and New Vintage Baroque on a world premiere piece for period instruments and soprano; Residencies and touring with Duo Seraphim, the acclaimed viola da gamba-soprano duo, combining re-imaginings of early song with new works for gamba and voice; The Gotham Early Music Scene, Inc. debut of Perennia, an ensemble dedicated to invigorating the Lute song repertoire. Past Career Highlights: World premiere of Kverndokk’s Upon
This Handful of Earth (Role of Child), New York Opera Society & Sacred Music in a Sacred Space; Mozart’s Mass in C minor, K.427 (Soloist), The Gotham Early Music Scene, Inc., Greeley Philharmonic and Western New York Chamber Orchestra; Vivaldi’s solo motet In furore iustissimae irae RV 626. Educational Background: University of Missouri-Kansas City
Conservatory of Music.
Passion Outside of Singing: “I love nature, especially backcountry
alpine hiking and wilderness camping. In my spare time, I study the metaphysical properties of stones, dive deeper into my meditation/ trance practice, and teach both yoga and viola.”
unique and beautiful carols and having the opportunity to perform them for packed audiences at the Cathedral Basilica of St. Francis last winter in this special part of the Southwest.”
SARAH MOYER (2nd Season) Hometown: Bixby, OK Current Residence: Boston, MA Awards & Distinctions: Featured in a
2014 article in the Boston Globe Magazine for her work as a professional singing artist and critically acclaimed as “the kind of church Photo: Sarah DeNeui singer who will rock your sacred-music world.“ Recipient of the 2015 St. Botolph Emerging Artist Award. Upcoming Engagements: Numerous appearances with Seraphic
Fire: American Hymns Rediscovered, A Seraphic Fire Christmas, David Lang‘s The Little Match Girl Passion, Brahms‘ Liebeslieder Waltzes, Arvo Pärt’s Passio. Past Career Highlights: World premiere of Theofanidis‘ Four
Levertov Settings with Seraphic Fire; world premiere of Runestad‘s The Hope of Loving with Seraphic Fire; American premieres of Nørgård’s Seadrift and Nova Genitura with Lost Dog New Music Ensemble of Astoria Music Society. Educational Background: Master of Music, New England
Conservatory; Bachelor of Music, Oklahoma State University.
(continued on next page) SANTA FE DESERT CHORALE
GABRIELLE TINTO-TRESLER (7th Season)
Passion Outside of Singing: Coffee, hiking, sewing, sci-fi, being
Hometown: Syracuse, NY
Special Desert Chorale Memory: “I’ll never forget the way I felt
Current Residence: Irvine, CA
after our first performance of the Rachmaninov Vespers. I was moved to tears when we sang the alleluias at the end of the ninth movement.“
Upcoming Engagements: Engaged for
EMILY NOËL (6th Season) Hometown: Baltimore, MD Current Residence: Warwick, RI Upcoming Engagements: Release of
Photo: John Armato
Jessica Krash’s new song cycle Sulpicia on Albany Records; Program of 17th century songs with The Folger Consort; East Coast tour with folk band Floyds Row.
Past Career Highlights: Belinda in Dido and Aeneas and
Mariana in Measure for Measure at the John F. Kennedy Center for the Performing Arts; The Merchant of Venice at the Wannamaker Theatre at Shakespeare’s Globe in London; The Second Shepherds’ Play with the Folger Theatre. Educational Background: Master of Music, Peabody
Conservatory; Bachelor of Music, University of Maryland.
Passion Outside of Singing: Directing the opera productions at the Community College of Rhode Island. Special Desert Chorale Memory: “Meeting Harris Ipock during
the 2013 summer season... we were married on June 10, 2017!”
KATHLENE RITCH (8th Season) Hometown: Kerrville, TX Current Residence: Santa Fe, NM
Photo: Summer Maulden
Upcoming Engagements: SFDC Fall 2017 tour!; Radio host on Classical KHFM; Voice Faculty at Santa Fe University of Art and Design. Past Career Highlights: Sweeney Todd with
George Hearn and Patti Lupone, Lincoln Center for the Performing Arts; Hermione in Die ägyptische Helena with Deborah Voigt and the American Symphony Orchestra; Considering Matthew Shepard with Conspirare, Symphony Hall, Boston. Educational Background: Bachelor of Music Studies,
University of Texas at Austin.
Passion Outside of Singing: My family. Special Desert Chorale Memory: “My Community Engagement
appearance last winter was as part of a quartet caroling at Christus St. Vincent. The people we sang for were so appreciative and even sang along. It was a wonderful hour of healing through music and smiles.”
Photo: Abidel Thorne
a full season of concerts with True Concord Voices & Orchestra (AZ); Soprano soloist on a French Baroque program with Irvine Valley College Master Chorale.
Past Career Highlights: 2015 Lincoln Center debut as member of True Concord Voices & Orchestra; World premiere of Sheldon Curry’s Concerto Sonora with True Concord Voices & Orchestra; Two GRAMMY®-nominated albums with Seraphic Fire. Educational Background: Master of Music (Vocal Performance),
University of Miami; Bachelor of Music (Vocal Performance), Northwestern University. Passion Outside of Singing: Avid moviegoer, book reader,
audiobook listener, language lover, and writer of silly little ditties.
Special Desert Chorale Memory: “I will always remember
singing New Mexico Rain at the closing of our Santa Fe Centennial cameo concert. We clustered together around Andy Crane, the tenor soloist, and performed without a conductor. It was intensely beautiful to me, having such a heightened awareness of each other in that moment. To stay together without a director we really had to go outside ourselves, opening our ears and hearts wide to feel for those around us. Sometimes we supported Andy from the background, sometimes we swelled to the fore, but we always moved as one. The possibility for that kind of vulnerability, trust, and creative unity is one of the many reasons I love singing in this choir.”
ALTOS DIANNA GRABOWSKI (5th Season) Hometown: Humble, TX Current Residence: Selinsgrove, PA Upcoming Engagements: Alto soloist,
Voices of Light by Richard Einhorn - oratorio performed in conjunction with the silent film, The Passion of Joan of Arc with Susquehanna Photo: Jared Rey Valley Chorale; Robert Flemings’s song cycle The Confession Stone; Recording project with Variant Six featuring music of Mexican composer Antonio Juanas. Past Career Highlights: Vivaldi’s Juditha Triumphans with Venice Baroque Orchestra in Carnegie Hall; Played the role of Francesca Caccini in documentary Culture Wars in Venice and the Birth of Public Opera presented by Early Music Television; Two albums, Udite Amanti and The Rebel Queen, with Baroque ensemble Armonia Celeste for Centaur Records.
Educational Background: Master of Music and Bachelor of Music
(Vocal Performance), University of North Texas.
Passion Outside of Singing: Laughing with my husband and two
boys, Ben and Sam, cooking, gardening, and reading.
Special Desert Chorale Memory: “Singing the Rachmaninov
Vespers in the Cathedral with one of the best groups of singers (particularly the alto section!) that I have ever been a part of! Also, every season I meet amazing, inspiring, and delightful human beings who love singing choral music as much as I do.” 54
Photo: Tatiana Daubek
KATE MARONEY (Debut Season)
KEELY JEAN RHODES (7th Season)
Hometown: Toms River, NJ
Hometown: Washington, DC
Current Residence: Brooklyn, NY
Current Residence: Austin, TX
Awards & Distinctions: 2016 Virginia Best
Awards & Distinctions: Fulbright Scholar to
Adams Fellow at the Carmel Bach Festival; 2015 Vocal Fellow, Oregon Bach Festival; William G. Blair Award, The New York Oratorio Lyndon Woodside Soloist Competition.
Upcoming Engagements: Third Lady in Die Zauberflöte,
Clarion Society’s period production at the Museo del Barrio, New York; S. Reich’s The Desert Music, American Composers Orchestra Symphony Space, New York; Ambizione in 17th-century Bonaventura Alioti’s oratorio Santa Rosalia with New York Baroque at Trinity Church, New York. Past Career Highlights: World Tour of Philip Glass and Robert
Wilson’s Einstein on the Beach with the Philip Glass Ensemble from 2012-2015: over 80 performances in Amsterdam, Berkeley, Berlin, Brooklyn, Hong Kong, London, Los Angeles, Melbourne, Mexico City, Montpellier, Paris, Toronto, Reggio Emilia, and Gwangju, South Korea; Original cast of Missy Mazzoli’s first opera Song from the Uproar in the Beth Morrison Productions staging: first at The Kitchen in New York and then at LA Opera in 2015; Mezzo-soprano soloist on Clarion Society’s GRAMMY®– nominated recording of Maximilian Steinberg’s Passion Week with performances of the work in St. Petersburg, Moscow, London, and New York.
Italy; Participation on True Concord Voices & Orchestra recording Prayers & Remembrances named for Stephen Paulus’ work which received Photo: Sherre Paris a GRAMMY® Award for Best Contemporary Classical Composition; GRAMMY® Award for Best Choral Performance with Conspirare for Sacred Spirit of Russia; Austin Critics’ Award: “Best Classical Singer.” Upcoming Engagements: The 2017-2018 season holds many concert tours, solo opportunities, additional group recordings, and roles with the Austin Opera Company. She is most excited about the release of her first solo Christmas album this fall, and solo concerts during the Holiday season. Past Career Highlights: Conspirare tour of Craig Hella Johnson’s
composition, Considering Matthew Shepard.
Educational Background: Doctor of Musical Arts (Opera
Educational Background: Doctor of Musical Arts, Eastman School
Performance), University of Texas at Austin; Master of Music (Vocal Pedagogy and Opera Performance), University of Texas at Austin, Bachelor of Music (Vocal Performance), Oberlin Conservatory of Music. Passion Outside of Singing: Knitting hats for infants in need, experimenting with cooking and baking new recipes, and starting to dabble in the art of making chocolate confections.
Passion Outside of Singing: Nature, hiking, travel and exploring,
Special Desert Chorale Memory: “The camaraderie of the ensemble, along with fascinating new programming, fills each concert season with special memories. I don’t know if I could single any one thing out.”
of Music; Master of Music, Yale School of Music; Bachelor of Music, Purchase College, SUNY; Voice and Pedagogy Faculty at Mannes College, The New School, New York. art, museums, reading, good food, good conversations, theater, Irish literature, and culture.
ELISA SUTHERLAND (Debut Season)
Special Desert Chorale Memory: “I can’t wait to make some!!”
Hometown: Milwaukee, WI Current Residence: Brooklyn, NY
SARAH NICKERSON (10th Season) Hometown: Fargo, ND Current Residence: Santa Fe, NM Engagements: Tour and Recording with the Santa Fe Desert Chorale. Upcoming
Past Career Highlights: Recording of
Provenance with Kinnara Ensemble, Princeton, NJ; Duruflé’s Requiem with the Santa Fe Symphony and Chorus; Role of Mrs. Noye in Britten’s Noye’s Flood. Photo: Kate Russell
Educational Background: Master of Business Administration
(Arts Management), University of Cincinnati – College Conservatory of Music.
Passion Outside of Singing: “Nia! I am a Black-belt Nia instructor
and teach six classes a week in Santa Fe. Nia is a movement practice that offers conditioning for the body through dance, the martial arts, and the healing arts. I love sharing movement as medicine and find that it is a beautiful partner to my life as a singer.” Special Desert Chorale Memory: “I remember the first rehearsal
Photo: Charles Mueller
Awards & Distinctions: First place winner at the 2013 Handel Aria Competition in Madison, WI; 2015 District Winner of the Metropolitan Opera National Council Auditions.
Upcoming Engagements: Collaborating with New Chamber
Ballet in New York to create a new ballet based on Kaija Saariaho’s music; Performing in Monteverdi’s L‘Orfeo on the Apollo’s Fire tour to the University Musical Society (University of Michigan), Cal Performances (U.C. Berkeley), and Green Music Center (Weill Hall) in Sonoma, CA. Past Career Highlights: Recital with pianist Laura Ward for
LyricFest in Philadelphia, an Art Song concert series; appeared on multiple recordings and performances with contemporary music choir The Crossing; Dido in Dido and Aeneas in New York City. Educational Background: Master of Music, Bachelor of Arts, and
Bachelor of Music, Northwestern University.
Passion Outside of Singing: Performing with the band, Lakewhales.
with the Desert Chorale. I hadn’t sung in a chorus outside of college and that was years prior. I heard one concert of the Chorale and on a whim, auditioned. At the rehearsal, I remember sitting in the midst of my section and being completely overwhelmed by the voices around me. I don’t think I will ever forget the sensation of realizing that I was part of something so extraordinarily special.” SANTA FE DESERT CHORALE
Photo: Roberta Wong
in Bloomington, IN.
MITZI WESTRA (19th Season)
ERIK GUSTAFSON (3rd Season)
Hometown: Sioux Falls, SD
Hometown: Portland, OR
Current Residence: Indianapolis, IN
Current Residence: Durango, CO
Upcoming Engagements: Fall 2017 Soloist
Awards & Distinctions: 2015 Vocal Fellow,
for Luciano Berio’s Folk Songs with Ronen Ensemble, Indianapolis, IN; December 2017 Soloist for Handel’s Messiah with Indianapolis Chamber Orchestra; April 2018; Soloist for Respighi’s Il tramonto with Pacifica Quartet
Past Career Highlights: November 2016 premiere of Frank
Felice’s Preserve Me, O God for mezzo and string quartet (a piece he promised to write for me 23 years ago before we got married; it was worth the wait!); Singing for 4 years with the Dale Warland Singers (1992-96): the level of musical skills demanded by this group and this repertoire made me the musician I am today; ACDA performance with SFDC. Educational Background: Doctor of Musical Arts and Master
of Music, University of Minnesota, Twin Cities; Bachelor of Arts (Music and Religion) from Augustana University, Sioux Falls, SD.
Oregon Bach Festival
Upcoming Engagements: Instructor of
Voice, Fort Lewis College; Handel’s Messiah (Soloist), Musica Redemptor Orchestra, Austin, TX; True Concord Voices & Orchestra. Photo: Jon Simpson Photography
Past Career Highlights: Bach’s St. Matthew Passion (Soloist),
Colorado Bach Ensemble, Denver; Bach’s St. John Passion (Evangelist), Arizona Bach Festival; Handel’s Messiah (Tenor Soloist), Tucson Symphony Orchestra.
Educational Background: Bachelor of Music (Vocal Performance),
Arizona State University.
Passion Outside of Singing: Visiting microbreweries –
New Mexico has an EXCELLENT selection!
Special Desert Chorale Memory: “My first live audition, having
just arrived at 7,200 feet. Josh assured me I’d get used to it!”
Passion Outside of Singing: What? There’s something outside
PATRICK MUEHLEISE (5th Season)
of singing? Hiking, reading, any creature with four legs and fur.
Hometown: Kalamazoo, MI
Special Desert Chorale Memory: “Over the years, I have gained
Current Residence: Chicago, IL
so many wonderful memories of the music we have made together, but I have been equally blessed by the non-musical experiences of eating and drinking together, going to movies, road trips to Utah, and generally hanging out with some of the most incredible people and talented musicians a person could ever hope to find.”
Awards & Distinctions: GRAMMY®
Nomination with True Concord Voices & Orchestra for Best Choral Performance, Paulus’ Far In The Heavens. Upcoming Engagements: Eight different concert collaborations with Seraphic Fire in Miami, including J.S. Bach’s St. Matthew Passion; Second season with the Chicago Symphony Chorus; Bernstein’s Mass, True Concord Voices & Orchestra. Photo: Devon Cass
TENORS GEORGE CASE (6th Season) Hometown: Boston, MA
Photo: Jonathan Cole
Past Career Highlights: Monteverdi’s Vespers of 1610 led
Current Residence: Boston, MA
by Jane Glover; Three J.S. Bach cantatas, Cleveland Orchestra; Cavalli’s La Calisto (Role of Pane), Haymarket Opera Company, IL.
Upcoming Engagements: 2017-2018
Educational Background: Western Michigan University
Season with Skylark Vocal Ensemble; 20172018 Season with Boston Conservatory at Berklee Choral Ensembles; 2017-2018 Season with Newburyport Choral Society.
TYLER RAY (5th Season) Hometown: Andover, KS
Past Career Highlights: Director of Choral Activities at Boston
Conservatory at Berklee; Conductor at Carnegie Hall’s 2009 “Honor! Festival: A Celebration of African American Music,” curated by Jessye Norman; Director ad interim of Choral Conducting at Boston University. Educational Background: Doctor of Musical Arts (Conducting),
University of Michigan; Masters of Music and Bachelor of Music (Vocal Performance), Boston University.
Passion Outside of Singing: Tennis, cooking, hiking. Special Desert Chorale Memory: “My special Desert Chorale
memory is a general and recurring one: there is no other place in the world that I would rather be to sing with some of the greatest choral singers in the world and then spend so much time hiking, laughing, and deepening relationships with these extraordinary people.”
Current Residence: Bergen, Norway Awards & Distinctions: Full Scholarship to
Yale School of Music
Upcoming Engagements: New 1st Tenor
of the Edvard Grieg Kor, a professional octet based in Bergen, Norway; Tenor soloist in Handel’s Messiah at Church of the Reformation in Bergen, Norway; Chorus member in Verdi’s Otello with Bergen National Opera. Photo: Amanda Weber
Past Career Highlights: in Bach’s St. Matthew Passion (Tenor
soloist and Evangelist) with the Messiah Festival of the Arts; Handel’s Messiah (Tenor soloist) with the Charleston Symphony Orchestra; J.S. Bach’s cantata Himmelskönig, sei willkommen BWV182 (Tenor soloist) with Mountainside Baroque.
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Educational Background: Master of Music (Early Voice),
Yale University School of Music; Bachelor of Music, Friends University, KS.
Passion Outside of Singing: Cooking, hiking, running.
JAMES K. BASS (3rd Season)
Special Desert Chorale Memory: Epic hiking and camping
Hometown: Tampa, FL
adventures in Taos.
Current Residence: Los Angeles, CA
Three-time GRAMMY® nominee; Associate Conductor of Seraphic Fire; Artistic Director of the Long Beach Camerata Singers, CA. Awards & Distinctions:
STEVEN SOPH (3rd Season) Hometown: Denton, TX Current Residence: Denver, CO Awards & Distinctions: 2016 Oregon
Bach Festival Young Artist; 2014 Virginia Best Adams Fellow, Carmel Bach Festival; 2011 American Bach Soloists Academy Artist. Upcoming Engagements: Tenor Soloist, Mozart Requiem, The Cleveland Orchestra; Utrecht Early Music Festival, Cut Circle; Evangelist, J.S. Bach St. Matthew Passion, Seraphic Fire. Photo: Amanda Weber
Past Career Highlights: Tenor soloist, Stravinsky Threni, The
Upcoming Engagements: Conducting Handel’s Messiah with the Long Beach Camerata Singers and Musica Angelica period orchestra; Conducting “A Seraphic Fire Christmas;” Singing the role of Jesus in the Arvo Pärt Passio with Seraphic Fire.
Photo: Kerry Travilla
Past Career Highlights: Bass soloist in All-Stravinsky Program
with the Cleveland Orchestra; Soloist on the GRAMMY®– nominated recording The Poet Sings with Conspirare; Conducting Seraphic Fire on tour.
Cleveland Orchestra; Evangelist and arias, J.S. Bach St. Matthew Passion, Chicago Chorale; Tenor soloist, S. Reich The Desert Music, New World Symphony and Seraphic Fire.
Educational Background: Doctor of Musical Arts (Choral
Educational Background: Master of Music, Yale School of
Special Desert Chorale Memory: “Singing a concert last season
Music; Bachelor of Music, University of North Texas; Texas Boys Choir School.
Conducting), University of Miami.
Passion Outside of Singing: Hockey!!!
and watching an incredible lightning storm happening outside.”
JOHN BUFFETT (4th Season)
Passion Outside of Singing: Reading, travel, design, and
Hometown: Hudson, OH
Special Desert Chorale Memory: “George’s Olympiad
Current Residence: Los Angeles, CA
Upcoming Engagements: Appearances
with Seraphic Fire; True Concord Voices & Orchestra; and Los Angeles Master Chorale.
MATTHEW TRESLER (18th Season) Hometown: Gilbert, AZ Current Residence: Irvine, CA
Voices & Orchestra.
Past Career Highlights: Oregon Bach
Awards & Distinctions: Assistant Music
Director, Santa Fe Desert Chorale
Festival Vocal Fellow; Vocal Fellow, Tanglewood Music Center; Soloist, Bach cantatas with The Cleveland Orchestra and Seraphic Fire.
Upcoming Engagements: Engagements
Educational Background: Master of Music and Bachelor of
with Los Angeles Master Chorale; Bach Collegium of San Diego; and True Concord
Past Career Highlights: Engagements with Conspirare; Seraphic
Fire; and Vox Humana, Dallas, TX.
Photo: Lucia Gill Photography
Music, Eastman School of Music
Passion Outside of Singing: Cleveland Sports - especially our
2016 NBA Champions!
Special Desert Chorale Memory: “Playing intense games of
Hawaiian Ping Pong with Josh and other colleagues.”
Educational Background: Doctor of Musical Arts (Conducting),
University of Miami; Master of Music (Conducting), University of Miami; Bachelor of Music (Voice), Northern Arizona University.
DAVID FARWIG (20th Season)
Passion Outside of Singing: History
Current Residence: Denver, CO
Hometown: Denver, CO
Special Desert Chorale Memory: “Last summer’s performances
Awards & Distinctions: 2011/2013
of the Rachmaninov All-Night Vigil.”
Photo: Audrey Michelle
Austin Critics Table Award for solo work on the recording of compositions by Robert Kyr and Samuel Barber’s The Lovers with Conspirare.
Upcoming Engagements: Considering Matthew Shepard with
Cincinnati Vocal Arts Ensemble; Russian Masters with True Concord Voices & Orchestra; Unclouded Day with Conspirare.
(continued on next page) SANTA FE DESERT CHORALE
Past Career Highlights: 1994-2000 member of the US Air Force
Past Career Highlights: Collaborating with Japan National
Educational Background: Doctor of Musical Arts (Choral
Educational Background: Master of Music (Opera Theatre
Singing Sergeants; 2003 Virgina Best Adams Fellow, Carmel Bach Festival; Carmel (2000-03), Victoria (2003-14), and Oregon Bach Festival (2010).
Treasure Gensho Umewaka and Anúna on the No play Takahime in Tokyo, Japan; Premiering An Aísling and Songs of Rumi (Soloist) with the Dayton Philharmonic Orchestra.
Conducting), The University of Missouri-Kansas City Conservatory of Music & Dance; Master of Music (Choral Conducting), University of Denver’s Lamont School of Music; Bachelor of Music (Vocal Performance), Adams State University, Alamosa, CO.
Performance), Arizona State University; Bachelor of Music (Vocal Performance), University of Dayton.
Passion Outside of Singing: Skiing, cooking, hiking.
Special Desert Chorale Memory: “Singing Rachmaninov’s
Special Desert Chorale Memory: “Helping out a fellow singer
suffering from a migraine with what I thought was a benign little pill, but it made said singer a little loopy and - how shall I say - an enthusiastic tambourine player in our concert!”
Passion Outside of Singing: Baking with my sourdough starter
All-Night Vigil with Glenn Miller for my first time last summer. I’ve never been so shocked by a low B-flat!”
ENRICO LAGASCA (2nd Season) Hometown: Manila, Philippines
HARRIS IPOCK (10th Season)
Current Residence: Queens, NY
Hometown: Chesapeake, VA
Awards & Distinctions: Competitions in
Current Residence: Boston, MA Awards & Distinctions: Resident Conductor,
Harvard Glee Club, Harvard University.
Upcoming Engagements: October 2017
Santa Fe Desert Chorale tour to Oklahoma City, Dallas and Fort Worth and commercial recording; 2018 appearances at the American Choral Directors Conferences in Chicago and Los Angeles with the Santa Fe Desert Chorale; Yale Choral Artists; Considering Matthew Shepard tour with Conspirare; Stravinsky’s Oedipus Rex with the Harvard Glee Club and Choir of Emmanuel Music, Boston. Photo: Stefanie Moore
Past Career Highlights: Harvard Glee Club tour of East Asia:
venues in Taiwan, South Korea and Japan; performances of Craig Hella Johnson’s composition Considering Matthew Shepard with Conspirare at Symphony Hall, Boston; conducting Haydn’s Creation with the combined choirs of Boston University. Educational Background: Doctor of Musical Arts (Conducting),
Eastman School of Music; Master of Music (Voice and Conducting), East Carolina University (NC); Bachelor of Music (Music and Economics), University of North Carolina, Chapel Hill. Passion Outside of Singing: Cooking, golf, and jazz piano. Special Desert Chorale Memory: “Asking a certain Chorale
soprano to marry me.”
SAM KREIDENWEIS (2nd Season) Hometown: Cincinnati, OH Current Residence: Boston, MA Awards & Distinctions: GRAMMY® Award
for Best Choral Performance of Rachmaninov’s All-Night Vigil, Phoenix Chorale and Kansas City Chorale. Photo: Kate Lemmon Photography
Upcoming Engagements: Tours of China, Germany, the Netherlands with Anúna; Performing with Skylark Ensemble at the Holy Week Festival at St. John’s Square hosted by Tenebrae Choir; Recording projects in 2018 with Anúna and Skylark Ensemble.
Photo: Matt Maniano
Berlin, Germany at the Das Lied International Song Competition, and the 24th International Competition Le Centre Lyrique in ClermontFerrand, France.
Upcoming Engagements: 2017-2018 season as chorister and
soloist with the Choir of St. Ignatius Loyola, Bach Choir of Holy Trinity Lutheran, Musica Sacra New York, and the Cathedral Choir of St. John the Divine; A launch and recital tour of Paanyaya, an album featuring a collection of contemporary Filipino art songs; appearances with Seraphic Fire, Ensemble VIII, and the Philippine Madrigal Singers in Europe; American Opera Projects, BARE Opera in New York City. Past Career Highlights: Regular chorister and featured soloist in
New York with the Choir of St. Ignatius Loyola and Bach Choir of Holy Trinity Lutheran, Musica Sacra New York, Choir of St. Thomas Men and Boys, and the Cathedral Choir of St. John the Divine; performances with New York Philharmonic Orchestra, American Classical Orchestra, Orchestra of St. Luke’s, and concert tour of Israel and Salzburg with the Israel Philharmonic Orchestra and Thomas Hampson, led by Riccardo Muti and Zubin Mehta; World concert tours and competitions with the Philippine Madrigal Singers. Educational Background: Bachelor of Music, Mannes College,
the New School of Music, New York; Diploma in Performing Arts, University of the Philippines.
Passion Outside of Singing: Cooking and traveling. Special Desert Chorale Memory: “Pretty much the whole time
during my first season last year in the summer. Handful of picks are: the first rehearsals where we got to sing through the whole American Voices program and sob through Jake Runestad’s piece; the final Rachmaninov Vespers concert; witnessing the candlelight performance of Pergolesi’s Stabat Mater by Meredith and Helen; Sonic burger runs with Sam, Sarah, Luthien, and George; and the final NIA class with Sarah where all Chorale attendees were crying and laughing at the same time.”
GUEST ARTISTS, GUEST ARTISTS
ABOUT OUR GUEST ARTISTS ALISON BECK
(Director of Special Projects at the Dolph Briscoe Center for American History: When I Rise) has 35 years of
collecting, curatorial, and research experience with archives and special collections. Her research interest is documentary work, especially photographic and film, and she Photo: Ron Bennett is passionate about music. Ms. Beck just completed the publication of a book with UT Press featuring the retrospective work of Pulitzer Prize-winning photojournalist Eddie Adams. Other projects include co-curating the exhibit “News to History: Photojournalism and the Presidency” displayed at the LBJ Presidential Library in 2013. She co-produced the film When I Rise, about the late opera singer and UT Distinguished Alumna Barbara Smith Conrad, who performed with the Metropolitan Opera. Ms. Beck was involved in all phases of this project, from production and fundraising to publicity and outreach. She presented numerous screenings at the University of Texas, throughout Texas, and at national and international film festivals. The film aired on the PBS series Independent Lens.
BRANDON A. BOYD (Composer, Pianist, Pre-concert Lecturer, Justice; Leader, “Giving Voice to the Voiceless” Community Engagement Project) is an active composer/arranger,
conductor, pianist, and teacher. His choral works are published by Hinshaw Music and GIA Publications. His recent compositions in the spirituals tradition include: Jacob’s Ladder; Praise Him! Praise Him!; Hol’ On!; and Workin’ On A Building. As a conductor, he most recently led the 2017 University of Nebraska- Kearney’s Composer, Conductor, Teacher Choral Festival of 380 singers. His choral research areas of interest include community service partnerships and he co-directed three community Florida State University partnerships while completing his doctoral work in Tallahassee. He is a member of the American Choral Directors Association (ACDA), National Association for Music Education (NAfME), National Association of Negro Musicians (NANM), American Guild of Organists (AGO), and Chorus America. Awarded a Ph.D. in Choral Music Education at Florida State University where he studied with Dr. André J. Thomas, he earned a Master of Music in Choral Conducting from Florida State and a Bachelor of Music degree in Music Education and Piano Performance from Tennessee State University.
Justin Bransford performs both acoustic and electric bass, and has been performing music in New Mexico for over 20 years. He has worked with artists of different cultures and musical backgrounds. Justin Bransford has established a musical style that is all his own, Photo: Coad Miller bringing soul to every stage and studio he plays. Currently he performs with Alto Estilo, John Kurzweg Band, The New Mexico Gay Men’s Chorus, and many others.
DON CARLETON (Filmmaker talk back: When I Rise)
has been Executive Director of The University of Texas at Austin’s Dolph Briscoe Center for American History since its creation in 1991. From 1979 until 1991, Dr. Carleton was head of the University’s Eugene C. Barker Texas History Center. After earning his doctorate in U.S. History from the University of Houston, Dr. Carleton served as founding director of the Houston Metropolitan Research Center (HMRC), an urban history archives project sponsored by Rice University, the University of Houston, and the City of Houston. At HMRC, he established The Houston Review: A Journal of History and Culture of the Gulf Coast. Among his many published books and articles, Dr. Carleton’s Red Scare (Texas Monthly Press, 1985) won the Texas State Historical Association’s Coral Tullis Award for the most important book on Texas published in 1985. His book, A Breed So Rare: The Life of J. R. Parten, Liberal Texas Oil Man, 1896–1992 (Texas State Historical Association, 1998) received the Texas Institute of Letters award for the book written by a Texan in 1998 that has made the greatest contribution to knowledge. Dr. Carleton’s most recent book is Conversations with Cronkite (University of Texas Press, 2010). He was the Executive Producer of the award-winning historical video documentary When I Rise, which was premiered on Independent Lens on PBS (www.WhenIRiseFilm.com). He also was the Executive Producer of the recently completed documentary film, Cactus Jack: The Political Legacy of John Nance Garner (2013).
MARK CLARK (Percussion, Justice)
a native Santa Fean, is the drummer with R&B Sensation Hillary Smith, the Latin rock group Manzanares, and Jimmy Statler. A veteran of the United States Air Force Band of the Golden West, he later recorded and toured internationally with Sony/Epic recording artist, (continued on next page) SANTA FE DESERT CHORALE
Ottmar Liebert. During this same time period, Club de Musique recording artist Jono Manson and members of Blues Traveler formed a band called High Plains Drifter, taking Mark Clark as the drummer. This group toured the states promoting their A&M release Almost Home. The Jono Manson Band also toured with Blues Traveler as a regular act on The Horde Tour, and had featured songs in the movies The Postman, Eight Days a Week, and King Pin. Most recently, he can be heard on the debut of John Popper & The Duskray Troubadours CD, a new EP with Crystal Bowersox (American Idol), and the Cat Stevens (Yusuf Islam) CD The Road Singer which features a duet titled Boots And Sand with Paul McCartney, as well as duets with Chris Isaaks and Michelle Branch. Mark Clark is the primary Percussion/Drum Instructor at the Santa Fe University of Art & Design. He is also a Guest Clinician/Endorser for The Zildjian Cymbal Co./Vic Firth Drum Sticks/Aquarian Drum Heads, and The LP Music Group (Latin Percussion). The percussionist attended the Berklee College of Music and the L.A. Jazz Workshop.
KIRK ELLIS (Moderator, Filmmaker talk back When I Rise screening) won two Emmys, a Golden
Globe, a WGA Award, a Peabody, and the Humanitas Prize for his work on the HBO miniseries John Adams. He is a current Board Member of the Center for Contemporary Arts. A Trustee Emeriti of the Santa Fe Photo: Sheila Ellis Desert Chorale, Mr. Ellis served as President of the Board of Directors. In 1992, he formed Shadow Catcher Productions. A former co-governor of the writers’ branch of the Academy of Television Arts and Sciences, Kirk Ellis served for four years as chairman of the Santa Fe, New Mexico Arts Commission. He holds a graduate degree from the University of Southern California’s School of Cinema and Television.
DAVID FELBERG (Violinist - String Septet - The Hope of Loving) Albuquerque native and Conductor,
David Felberg, is Artistic Director and cofounder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is Concertmaster of the Santa Fe Symphony and Chorus and Music Director of the Albuquerque Photo: K. Mari Photography Philharmonic. He also teaches contemporary music at the University of New Mexico and is the Associate Concertmaster of the New Mexico Philharmonic. His conducting career has included engagements with the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony and Chorus, and many performances of contemporary music with Chatter. David Felberg performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in History from the University of Arizona and a Master of Music in Conducting from the University of New Mexico. The violinist has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival. Mr. Felberg plays an 1829 J. B. Vuillaume violin.
KIMBERLY FREDENBURGH (Violist - String Septet, The Hope of Loving) has been featured as a soloist across
the United States, Puerto Rico, South Africa, Brazil, Argentina, Mexico, Canada, Portugal, Spain, Germany, Italy, and Monaco. She is the Principal Violist of The Santa Fe Symphony and Chorus, the Santa Fe Pro Musica Chamber Photo: Courtesy of the New Mexico Philharmonic Orchestra, Performance Santa Fe Orchestra, and Acting Principal of the New Mexico Philharmonic. She performs regularly with the Santa Fe Chamber Music Festival. Ms. Fredenburgh is Associate Professor of Viola at the University of New Mexico, and was previously on the faculty at Arizona State University while simultaneously serving as Associate Principal of the Phoenix Symphony for seven years. She was also the Principal Violist in the New World Symphony (Miami, FL) under Michael Tilson Thomas. She has delivered papers and performed at national string conferences and viola congresses. Her interest in contemporary music has resulted in many premieres of new works for her instrument.
NICOLLE MANIACI-WITIUK (Violinist - String Septet, The Hope of Loving) is currently Principal Second
Violinist and Personnel Manager of the Santa Fe Symphony Orchestra and Chorus, and plays in the first violin section of the New Mexico Philharmonic. She was a member of the New Mexico Symphony Photo: la Bella Orchestra for eleven years. She is a founding member of the Eleganza String Quartet and Chamisa Chamber Players, and recently performed with Rahim Alhaj in Los Angeles at the Getty Museum premiering his latest album, Letter From Iraq. Her most recent project was a joint commissioning project with violinists across the United States: Stephanie Ann Boyd’s 50 State Sonata. When not performing, Ms. ManiaciWitiuk is director of the string program at The Bosque School. A new board member of the Albuquerque Youth Symphony Program, she has taught sectionals and chamber music for over twenty years and is a guest clinician and adjudicator for many student orchestras and festivals throughout the state. Nicolle Maniaci-Witiuk is also the narrator for the New Mexico Philharmonic Youth Concerts. The violinist received her performance degree and education certification at the University of New Mexico. Ms. Maniaci-Witiuk makes her home here in Albuquerque with her husband, John Witiuk and two children, Joseph and Juliana.
DEMETRIA MARTINEZ (Poet and Founder - Voces De Libertad Poetry Workshops) is an author, activist,
creativity coach, and journalist based in New Mexico. For Martinez, writing and activism are ways to explore--and bridgeborders between people of different nations, languages, spiritualities, and life experiences. Her widely translated novel, Mother Tongue, won a Western States Book Award for Fiction. The Block Captain’s Daughter won a 2013 American Book Award and the International Latino Book Award for best Latino- focused fiction the same year. (continued on next page)
Ms. Martinez has published two books of poetry, Breathing Between the Lines (1997) and The Devil’s Workshop (2002), both with the University of Arizona Press. She also co-authored a bilingual children’s book, Grandpa’s Magic Tortilla, with Rosalee Montoya. Published by the UNM Press; it received the 2011 Young Reader’s Book Award from New Mexico Book Awards. She has taught fiction at the Taos Writers Conference and memoir at the William Joiner Center for the Study of War and Social Consequences at the University of Massachusetts, Boston. She presently teaches poetry workshops at the Santa Fe County Youth Development Center as part of her work with the Coalition for Prisoners’ Rights.
BARBARA SCALF MORRIS (Violinist - String Septet, The Hope of Loving) is a violinist appearing with the
Santa Fe Symphony and Chorus, the New Mexico Philharmonic, the San Juan Symphony in Durango, and Opera Southwest. Born in Albuquerque to a musical family - her father played the violin in the Albuquerque Civic Photo: Thomas Scalf Symphony and her mother played the organ and piano – she started studying the violin at the age of six. She was Concertmaster of the Albuquerque Youth Symphony in high school and won several music scholarships to the college of her choice at the Festival of Three Cities in Vienna, Austria. She holds both a Bachelor of Music degree in Performance, and a Master’s Degree in Education (specializing in learning disabilities and full-inclusion classrooms) from the University of New Mexico. When not performing, she currently teaches at Grand Middle School in Albuquerque.
FRANK MURRY (Bass - String Septet - The Hope of Loving)
is a member of New Mexico Philharmonic and Santa Fe Symphony and Chorus, and performs as a chamber musician with Chatter and with Serenata of Santa Fe. Formerly a member of the Houston Ballet Orchestra and Baton Rouge Symphony Orchestra, he was Photo: Asmara Bhattacharya also Principal Bass of Lake Charles Symphony (LA), Rapides Symphony (LA), and Texas Opera Theatre. Mr. Murry has performed with Houston Grand Opera, Shreveport Symphony, Ebony Opera, Houston Symphony, and festivals such as American Institute of Musical Studies, Orchestre Mondial des Jeunesses Musicales, National Orchestral Institute, Aspen Music Festival, and Sarasota Music Festival. Frank Murry teaches bass at the String Lab School at University of New Mexico, and is a bass coach for the Albuquerque Youth Symphony Program. He has taught at Texas Southern University, Houston Community College, Preparatory & Continuing Education at the University of Houston, Garden Villas Elementary Magnet School for the Arts, and Suzuki Academy Spring/Klein. He loves playing jazz and composing music for jazz combo, bass ensemble, and for solo bass. After studying with David Williamson and Thaddeus Brys at Louisiana State University, he studied with Paul Ellison, earning his Master of Music degree from The Shepherd School of Music, Rice University.
(Soprano Soloist, Justice) has enjoyed
success on both the concert and opera stages. She has garnered praise for her “big, warm soprano with a lovely shimmering top that she uses to ravishing effect.” An alumna of the prestigious Pittsburgh Opera Center, Miss Nobles performed a wide range Photo: Kismet Photography of repertoire with the company: from Handel’s Atalanta in Xerxes to Puccini’s Liu in Turandot. Other opera highlights include the High Priestess in Aida at The Dallas Opera, Sister Rose in Jake Heggie’s Dead Man Walking with Austin Lyric Opera, and Clara in Gershwin’s Porgy and Bess at Atlanta and Dayton Opera companies. NaGuanda Nobles made her Boston Symphony Orchestra debut with the Lincoln Center Jazz Orchestra, as soprano soloist in Wynton Marsalis’ All Rise, under the baton of Kurt Masur. The Florida native performed as soloist in An Evening with Gershwin concert with the Tallahassee Community Chorus and Symphony and on the Soul of America tour throughout Germany with the Berlin Rundfunkchor, both conducted by Dr. André J. Thomas. First place winner in the Fritz and Lavinia Jensen Foundation Competition and the Irene Dalis Vocal Competition, NaGuanda Nobles was also named the 2008 Shreveport “Singer of the Year.” Her latest release, Homage to the Journey, is available on CD Baby, Amazon, Google Play, and iTunes. The soprano received her Bachelor and Master of Music degrees in voice performance from Florida State University, where throughout her college years she was a featured soloist in the Florida State University Singers, directed by Dr. André J. Thomas.
STEVEN OVITSKY (Lecturer, Liberte: Music of Resistance and Revolution) is Executive Director of
the Santa Fe Chamber Music Festival. For 10 years he was a regular faculty member for the Chicago Jewish Community Center’s Elderhostels teaching courses on Jewish music. He continues to speak on a wide range of Photo: Courtesy of Santa Fe Jewish music topics and was the 2016 Chamber Music Festival keynote speaker for the Albuquerque Jewish Community Center Day of Jewish Learning. Mr. Ovitsky is Music Director of the “Audie” Award-winning recordings of The Dybbuk starring Theodore Bikel, Edward Asner, and Carl Reiner; Sweeney Todd and the String of Pearls; and St. Joan. Mr. Ovitsky is the shofar soloist in a recording of Tekiatot by Weisgall with the Seattle Symphony Orchestra as part of the Milken Foundation Archive of Jewish-American Music.
CHRISTINE RANCIER (Violist - String Septet, The Hope of Loving) is a member of both the Santa
Fe Symphony and Chorus and the New Mexico Philharmonic. She has served as musician board member for both the New Mexico Symphony Orchestra and Santa Fe Symphony, and is active in the Albuquerque Photo: Kim Jew Musicians’ Union. In 2010, Ms. Rancier was a member of a small group of musicians who helped found the New Mexico Philharmonic and she continues to support the organization, serving as Executive Assistant. In addition to (continued on next page) SANTA FE DESERT CHORALE
performing with the New Mexico Symphony, past credits also include appearances with The Chamber Orchestra of Albuquerque, the Jacksonville Symphony, and the Hartford Symphony. She is also the violist for the Eleganza String Quartet, which has been performing together since 1989. Her teaching career includes a studio for private violin and viola lessons and a position as Adjunct Professor at the College of St. Catherine. Christine Rancier holds both a Doctor of Music and a Master of Music from Florida State University School of Music and a Bachelor of Music Degree from the University of Hartford Hartt School of Music.
(Pianist, The Hope of Loving) has been
featured in performances at Hill Auditorium in Ann Arbor (MI), The Kennedy Center for the Performing Arts in Washington D.C., and Carnegie Hall in New York City. He made his orchestral debut in 2004 with the New Mexico Symphony Orchestra. His musical Photo: Jeremiah Kuehne travels have taken him to England, Scotland, Italy, and Russia, as well as all over the United States. He performed in the International Festival of Spanish and Latin American Music where he worked with Teresa Berganza. In January 2014, he was invited to be a part of Marilyn Horne’s 80th birthday celebration through the series “The Song Continues” at Carnegie Hall, where he worked with Miss Horne, Martin Katz, and the legendary Christa Ludwig. He received a fellowship to Songfest in Los Angeles in 2013, where he studied with pianists Margo Garrett, Graham Johnson, and Martin Katz, and worked with composers Jake Heggie, John Musto, and Libby Larsen. He recently took part in Songfest’s first commercial recording, New American Song@Songfest. A native of Los Alamos, Nathan Salazar attended the University of Kansas, and holds a Master of Music degree in Collaborative Piano from the University of Michigan where he studied with Martin Katz.
ANDRÉ J. THOMAS
(Conductor, Justice) the Owen F. Sellers
Professor of Music, is Director of Choral Activities and Professor of Choral Music Education at Florida State University. Honored by The African Diaspora Sacred Music Program as a “Living Legend,” Dr. Thomas has curated the Justice program, Photo: Portia Thomas drawing from his recent book (Way Over in Beulah Lan’; Understanding and Performing the Negro Spiritual). He is in demand as a choral adjudicator, clinician, and director of Honor/All-State Choirs throughout the United States, Europe, Asia, New Zealand, and Australia. His international conducting credits are extensive. They include conductor/clinician for the International Federation of Choral Musicians, summer residency of the World Youth Choir in the Republic of China and the Philippines, winter residency of the World Youth Choir in Europe, and a premier performance by an American choir (Florida State University Singers) in Vietnam. He has been the guest conductor of such distinguished orchestras and choirs as the Birmingham Symphony Orchestra in England, and guest conductor for the Berlin Radio Choir in Germany. Since 1988 he has also served as Artistic Director of the Tallahassee Community Chorus. Dr. Thomas has also distinguished himself as a composer/arranger. Hinshaw Music Company, Mark
Foster Music Company, Fitzsimmon Music Company, Lawson Gould, Earthsongs, and Heritage Music Company all publish his compositions and arrangements. Dr. Thomas has produced two instructional videos: What They See Is What You Get on choral conducting, with Rodney Eichenberger; and Body, Mind, Spirit, Voice on adolescent voices, with Anton Armstrong. Dr. Thomas has conducted choirs at the state, division, and national conventions of the Music Educators National Conference (MENC) and American Choral Directors Association (ACDA). He is a past president of the Florida ACDA, and the past president of the Southern Division of ACDA.
BRAHNA LAUGER WILCZYNSKI (Presenter, The Singing Revolution)
is a Trustee Emerita of the Santa Fe Desert Chorale, and will introduce the screening of The Singing Revolution, drawing on her firsthand experience in Estonia at the time of the movement. An avid music-lover, professionally she has been a social work clinician and Photo: Emma Marzen administrator in psychiatric, medical, forensic, and school settings, while maintaining a private clinical practice. She has been a member of the faculties at Fordham and Columbia Graduate Schools of Social Work. Having served for ten years on the New York State Board of Social Work, she became national President of the Association of Social Work and she is currently completing five years on the New Mexico State Board of Social Work Examiners, of which she is now Chairman. She has taught professional ethics throughout the U.S. to social workers, psychologists, and counselors. Dr. Wilczynski continues to consult on professional clinical and ethical issues.
DANA WINOGRAD (Cellist - String Septet - The Hope of Loving) is Principal Cellist of the Santa Fe
Symphony and Chorus and a member of the New Mexico Philharmonic (formerly New Mexico Symphony). She has appeared as soloist with the Santa Fe Symphony, and in 2015, performed with the Santa Fe Desert Photo: Rhondee Graham Chorale on their tour to Denver and Salt Lake City. As a chamber musician, Ms. Winograd plays with Serenata of Santa Fe, Chatter, and the Taos Chamber Music Group. She is an orchestra mentor for the Santa Fe Public Schools, and is String Coach for the Santa Fe Youth Symphony. Prior to moving to New Mexico, Ms. Winograd led an active freelance career in New York, including performances at Carnegie Hall with the American Composers Orchestra and the American Symphony Orchestra. She appeared on Broadway (both in the pit and on stage) with The Phantom of The Opera, Cats, Beauty and the Beast, and Once Upon a Mattress. The cellist received both Bachelor and Master of Music degrees in Performance from The Juilliard School, where she studied cello with Harvey Shapiro and Channing Robbins, and chamber music with members of the Juilliard String Quartet. Dana and her husband Gil live in Santa Fe with Poco (a singing Chihuahua), Loco, and Lily.
DONOR HONOR ROLL DONOR HONOR ROLL
The Santa Fe Desert Chorale’s celebration of its 35th Anniversary Season is enriched by our generous family of donors comprised of individuals, businesses, foundations, and government agencies. With gratitude, we recognize gifts received between June 19, 2016 and June 19, 2017. VIRTUOSO Gifts of $50,000+ Nina Hinson Rasmussen and Dr. Scott Rasmussen, In Celebration of Their 50th Wedding Anniversary The Rogers Foundation Faith Strong Susie and Jerry Wilson FOUNDER Gifts of $25,000 - $49,999 David and Betsy Bueschel Habermann Koehn Foundation Stephen and Jane Hochberg FESTIVAL Gifts of $10,000 - $24,999 American Airlines Arthur and Johanna Cinader City of Santa Fe Arts Commission and the 1% Lodgers Tax David Nathan Meyerson Foundation Dorothy B. Davis Bob Gardner and Ken Marvel, LewAllen Galleries Joanna and Joshua Habermann Inn and Spa at Loretto Sheryl Kelsey and George Duncan Barry and Margaret Lyerly Marlene Nathan Meyerson Family Foundation James Murphy and Roxanne Howe-Murphy National Endowment for the Arts Rebecca Tobey MAESTRO Gifts of $5,000 - $9,999 Ann Neuberger Aceves Dr. J. Randle Adair Ann Marie Shaw Irrevocable Trust Grace Bloomfield Thomas Bloomfield Christus St. Vincent Regional Medical Center Allegra and Jim Derryberry Margie Edwards and Ellie Edelstein C. Terry Hendrix Christopher Ihlefeld David K. and Kay Duke Ingalls William H. Lynn and Russell M. Coffield Santa Fe New Mexican New Mexico Arts, Division of the Department of Cultural Affairs Charles Rountree and John Jones Janet S. Sanders, Ph.D. Bradley and Patricia Thompson
ARTIST Gifts of $2,500 - $4,999 Anonymous Deborah Avren Richard C. Bentley Lynn Bickley, M.D. and Randy Schiffer Dr. Julio R. Blanco and Dr. David J. Manno Peggy B. Bonner Helen and Richard Brandt Maureen and Christopher Carusona Douglas P. Clark, M.D. and Scott J. Allocco Mary Dudley and Greg Wortman David W. Ellwanger and Thomas F. McGuire Evelyn L. Petshek Arts Fund, Santa Fe Community Foundation Ruth Anne and Halley Faust Gruet Winery, Santa Fe Tasting Room Dora and Clinton Horn Lynn F. Lee Phil Martin Laurie and Dick Meyer New Mexico Humanities Council Mary Lou and Alex Padilla Judy and Doug Rhodes Sally and Andy Ritch Dan Rusthoi St. Paul’s Cathedral Vincent and Carolyn Stenerson The Bueschel Standley Family Foundation Suzanne Timble CHOIRMASTER Gifts of $1,000 - $2,499 Kay and John Alsip Ann and Gordon Getty Foundation Backshore Artists Project, Inc. Sharon and Robert Barton Boeckman Family Foundation Chelsea Call Photography Richard and Sharon Cooper Curtiss T. and Mary G. Brennan Foundation Sue-Ellen de Beer Susan and Conrad De Jong Fr. Robin Dodge and Mrs. Therese Saint-Andre Kirk and Sheila Ellis Jim I. and Nita T. Frank Len Goodman Susan Graham Frank and Cynthia Herr Lynne and Joseph Horning Ronald and Mary Lee Hull Jewish Federation of New Mexico Kathryn Jordan Phyllis and Thomas Keller Betty Kyle Lackner Family Endowment Fund
Donald and Jean Lamm Lucy and J. David Levy Los Alamos National Bank Robert Lynn, M.D. and Janet Braziel Rev. Hampton Mabry and Cha Foxhall Erin Mathews and Russell Davis McCune Charitable Foundation New Mexico Bank & Trust Susan and Dr. Bruce † Noel Margaret K. Norton Ailyn Pérez Reflective Jewelry Richard W. Rew Kathlene Ritch and Scott Noakes Don and Sally Roberts Alan Rolley Alex and Mary Ross Seahollow Family Gift Fund, Santa Fe Community Foundation James R. Seitz Jr. Judith and Bob Sherman Patricia B. Stanley Paul Strid Lee and David Takagi Thorne Family Fund, New Mexico Community Foundation United Church of Santa Fe, Rev. Talitha Arnold Vivác Winery Marilyn and Doug Whitehurst Larry F. Widmer, D.C. and Daniel J. Bigelow Janusz and Brahna Lauger Wilczynski PATRON Gifts of $500 - $999 Rick Andrew and Diane Buchanan John Ashcraft May R. and Larry C. Ball Penni and Charles Chambers Benjamin F. Crane George and Marcia De Garmo Isabel and Raul Delgado Dr. and Mrs. Cameron Haight Fund, Santa Fe Community Foundation El Castillo Retirement Residences Lucinda Ewing Mary and Joe Ferguson Gwen and Ralph Fuller Joel E. Gallant and Joel Meneses Guy and Catherine Gronquist Joan Hagen Thomas and Sara Hamilton Vernon and Valerie Hamilton John Haupert Prof. Patricia Henning Michelle and Douglas Hinson Richard W. Hughes Joyce Idema Jinx and Bruce Connell Foundation Steven Kerchoff Terry and Renée Kershner
Philip Kruger Lawrence Baca Studio Rita Leard Charles MacKay and Cameron McCluskey Susan and Philip Marineau William McArthur and Jennifer Martinez Janice L. Mayer Elaine W. Meyerhoffer Pamela and Don Michaelis, United Way of Central NM Elizabeth O’Brien Patricia Romer Richard and Barbara Rotto Allen and Andrea Steele Charles and Jane Stringfellow Brooke Bandfield Taylor The Metropolitan Opera The Mickey Inbody Charitable Foundation Russell Toal Robert Walker and Ernest Phinney Jerry Watts and Lorna Dyer Brenda Yates BENEFACTOR Gifts of $250 - $499 Anonymous Freda Anderson Loretta Armer Debra Ayers and Greg DePrince Craig and Mikaela Barnes Linda and Jim Beck George and Carol Burleson Patricia Carlton Coca-Cola Bottling Company of Santa Fe Bekki and John Cook Sherry and Jim Davis John and Lucy Draper Gregory J. Edwards Susan Feder and Todd Gordon Edwin Fivekiller and Corinne Gillick Georgia Restaurant Ghost Ranch Janis and Howard Gogel Wesley and Karin Granberg-Michaelson Paula A. Greer Madeleine Grigg-Damberger David and Mary Hartley Ellie and Trevor Hawkins Sarah Henderson Edward and Patricia Hymson Pamela R. Jackson Dorothy and Plato Karayanis Alan and Kathleen Davison Lebeck Anne and Bruce Legler Loomis, Sayles & Company, L.P. Los Poblanos Historic Inn and Organic Farm Steven Lustig and Jessie R. Groothuis, M.D.
SANTA FE DESERT CHORALE
Debbie and Jim Maloney Pamela McCorduck and Joseph Traub Karen and Rick McMichael David E. McNeel Mercedes Benz of Santa Fe Robert Michael Milagro Vineyards & Winery Ralph and Esther Milnes James and Sarah Nickerson Steven and Camille Ovitsky John Pakula Elizabeth Pinson Joel and Vivianne Pokorny Nyla and Larry Rasmussen Julia Rhymes and Sally Whiteley Robert Ripps and Steven Spector Ron Martinez Looking Elk Patsie Ross Carmen Salazar Mr. and Mrs. William Sandlin Santa Fe Opera Santa Fe Spa Robert Schoenthal John and Susan Shaffer William Singer and Joanne Cicchelli Andrea Slade James and Sue Sprague Karen D. Stone Walter Burke Catering Alexandra and Mike Ward Alan Webber and Frances Diemoz Kay Whitman Coralie Whitmore Marty Noss Wilder Paul and Gudrun Wright Mary Beth Yates SUSTAINER Gifts of $100 - $249 Anonymous Judith and Bill Alger Dr. Lawrence and Katherine Anderson Richard Andre Rev. Talitha Arnold Janice J. Arrott Thomas and Yoko Arthur Aspen Bodywork Center Robert Authur James Avery Connie Axton Russell Baker and Mark Corey Robert and JoAnn Balzer Mitzi and Tom Barker Marilyn and Cris Barnes Christine Bassett Doris Bato Sarah Batzli Anne E. Beckett Walter Beckham Jill Bee Linda H. Bein Doug Bellrichard and Ian Ritchie Stephen Bennett Bette Betts Sallie Bingham Joseph and Katherine Blagden Jr. Martha Blomstrom and Hugh Balaam Dmitri Bovaird and Maggie Edmondson Michael Brewer Constance Burke
Michael L. Bustamante and Cheryl Hall Nancy Byrd and Jane S. Sherborne Cafe Pasqual’s Dave and Lisa Caldwell Genevieve Ann Caldwell Janet Carlson and Charles Campbell Julie Ann Canepa Joyce Castle Jeanne C’de Baca, White Orchid Skin Care Joseph and Nancy W. Cella Chocolate Maven Bakery & Cafe Robert Clark James T. and Mary B. Coffman Charles Edward Cole Dr. Jane E. Phillips-Conroy and Dr. Glenn C. Conroy Brenda Cruzz and Michael Roybal Cutting Edge Flowers Gregory T. Davis Davis Mather Folk Art Gallery Patricia Dean Bonnie Detwiler Linda W. Dillman Ann Dilworth and John Lathrop Distinctive Weaving Gregory Dove Scott A. Dunn Earthfire Gems Douglas and Gail Fine Hollis and Candace Fitch Rick Fortner Charles and Joyce Freuden M. Charles and Mary Carol Gilbert Joann and James Gillula Lori Glassgold-Gibson and John L. Gibson Julius and Suzan Glickman Jane and Ernest Godlove Fr. Jim Gordon and Andi Shapiro Hafner Vineyard Ronald and Sandra Hanson Josette de la Harpe Harrys Inc. Cyril and Ginger Hirt David and Deborah Holloway Deirdre Howley and Ira Eisenstadt Beth Hurst-Waitz Brenda and Michael Jerome Susan Jewell and Jon Lellenberg Jay P. and Carol E. Jolly Hervey and Leslie Juris Stephanie and David Kauffman Dr. Patricia Kennedy Asenath M. Kepler and Edward Mazria Susan Kolb Catherine and Bertrand LeBlanc Jane Lipman Tom and Margaret Lopez Carol and Bob Lounsbury James Lowry Donald and Judith Machen Margaret Bost Floral Design Virginia and Ralph McCallum Saba McWilliams Michael and Frances Meier Chris and Paula Miller Jeanette (Boo) Miller Miller Stratvert P.A., United Way of Central New Mexico Suzanne Morrow Thomas and Emily Murawski
Museum Hill Cafe New Mexico History Museum Sarah Noss Dylan O’Reilly, United Way of Central New Mexico Sarah Orr Melinne Owen and Paul Giguere Cecil and Douglas Parsons Lydia Pendley Dr. John Petricciani Cynthia Piatt Robert and Mary Platt Barry V. Qualls Fred Ragsdale and Jennifer Salisbury Lee Rogaliner and Anne Gifford Bernard and Ann Rubenstein Donald and Mary Sandstrom Santa Fe School of Cooking Joel Schafer and Perry Samuels Merry Schroeder Thomas Seamon Alex Shapiro and Raymond Berger Barbara and Glen Smerage Jim and Georgia Snead Joan Snider James Sowa and John Lacombe Squeaky Clean Carwash Frances Steele Thomas and Carol Stephens Robert and Barbara Taylor TerraCotta Wine Bistro The Ranch House Lore Thorpe Kenneth Timmerman and Joan Parman Marcia Torobin Retha J. Turner Elizabeth and Mark Varhaug Vice Versa Arlyn Vik Robert and Patricia Weiler Joann and Gerald Weiss Whoo’s Donuts Bill and Janislee Wiese Jonathan Winkle John and Jean Withers Sylvia Wittels and Joseph Alcorn Kathryn Wolf Lyle York and Matthew Wilson Janet and Everett Zlatoff-Mirsky FRIEND Gifts up to $99 315 Restaurant & Wine Bar Karen Abraham Albuquerque Isotopes Celeste Alleyne Amazon Smile Inc. David Anderson Dr. Edward Angus Atrisco Cafe Mary Azcuenaga Patricia Bailey Martha Baker Camille Barnett Sue Baum Elizabeth S. Bayne Lynne Bixler Barbara Blackwell Bouche Eleanor Briggs Barbara Brooks Leslie Q. Brown Muriel Brown
John and Ann Brownlee Cafe Fina Christy Calderwood, United Way of Central New Mexico Peggy Catron Barbara Chatterjee Clafoutis French Bakery & Restaurant Laraine Clark Rebecca Clay Colin Cochran Collected Works Bookstore & Coffeehouse Kenneth Collins Companions Grooming & Downtown Doggie Daycare Margaret and John Connerly Candida and Dennis Covington Winnie DeVore Dona Durham El Farol Judy Elder Susan English Gail Evans Kenneth and Jill Ewald Suzanne Fahey Frank Farrow and Edward Jiran Anne and Reese Fullerton Galisteo Bistro Peter Garcia Carole Gardner Suzanne George Georgia O’Keeffe Museum Jeffrey and Barbara Griffith Garnis Hagen Anna Jane Hays Steven Hecht Sam and Gloria Hocking Colleen Hodges Kathy and Brad Holian Cynthia Hope Stan and Jess Hulse-Lee S Jambo Cafe Jinja Restaurant Reverdy Johnson Deborah Jones William and Kathy Kain Kakawa Chocolate House Tiia Kari and George McLaughlin Joyce Kaser Paul Kaufman Kaune’s Neighborhood Market Bill Keller Bo Keppel Robert Kyr La Fogata Grill, LLC La Unica Dry Cleaners Jan Lanterman Phyllis Lehmberg Melissa Lewis Virginia Lee and Maurice Lierz Joyce Lilly Marian Lloyd Los Alamos Concert Association Loyal Hound Ann MacVicar Ginnie Maes Lois M. Manno Richard Mariner Don McCaffrey Robert McCullough Jacqueline Melega Vera and Daniel Metzger Timothy and Mary Mitchell Thomas M. Morales
Jeanne Morris Eugene and Nancy Mroz New Earth Orchids Newman’s Nursery Anne Bateman Noss Sara Orton Laura Pancoast Paper Dosa Sam Pemberton Performance Santa Fe Piccolino Italian Restaurant Cheryl Plavnick Kirste Plunket Polyphony: Voices of New Mexico Raaga Karl and Lisa Ray Robert and Marjorie E. Reed David Reiss Restaurant L’Olivier Restaurant Martin Cardinal Rieger Juan Romero Stephanie Roybal Mary Rudd Karren Sahler Santa Fe Bar & Grill Santa Fe Capitol Grill Santa Fe Symphony and Chorus Carole and Juliett Scott-Baker Ruth Simms Dennis and Patricia Smith Susan Sprague Nadine Stafford Sweetwater Harvest Kitchen Evangeline Swift Michael and Dacia Taday Teca-Tu, A Pawsworthy Pet Emporium Tecolote Cafe The Bull Ring of Santa Fe The Compound The Pantry Toyota of Santa Fe Tribes Coffeehouse Tune Up Cafe Betty and Lloyd Van Horn Violante and Rochford Interiors Laura C. Waller Robin Ward Tobi Watson Stephen and Sarah Weld Elizabeth West Whole Hog Cafe Wild Birds Unlimited Catherine Willmott Kathleen Winslow Clara Winter Jim and Lori Winter Lynne Xavier HONORARIA In Honor of David Bueschel Robert and Sharon Barton Lydia Bueschel and Chris Fumkin The Bueschel Standley Family Foundation Susan and Philip Marineau In Honor of Mark Edw. Childers Peggy Bonner In Honor of Cheryl Graham Anonymous In Honor of Joshua, Joanna, Kira and Kai Habermann Habermann Koehn Foundation
In Honor of Sherry Kelsey Patricia Dean In Honor of Margaret and Barry Lyerly Carol and Bob Lounsbury In Honor of William H. Lynn and Russell M. Coffield Cheryl Plavnick In Honor of Janice L. Mayer Thomas and Yoko Arthur Susan Feder and Todd Gordon Laurie and Dick Meyer Margaret K. Norton Marty Noss Wilder In Honor of Laurie Meyer James T. and Mary B. Coffman In Honor of Sarah Nickerson Tom and Margaret Lopez In Honor of the 50th Wedding Anniversary of Nina Hinson Rasmussen and Dr. Scott Rasmussen Richard Bentley Janice L. Mayer Nina Hinson Rasmussen and Dr. Scott Rasmussen The Appearance of Keely Rhodes is Underwritten by Dr. J. Randle Adair In Honor of Pat Thompson Barbara and Richard Rotto
THE LEGACY CIRCLE
We salute the foresight and generosity of the following individuals who have chosen to include support for the Desert Chorale in their estate plans. Anonymous Rev. Talitha J. Arnold Dorothy B. Davis Margaret Edwards Allison Elston Dorothy Harroun Arnold and Evelyn Kupec Lynn F. Lee Nancy and Raymond Lutz Janice L. Mayer Thomas F. McGuire Jerome B. Nelson Margaret K. Norton Nina Hinson Rasmussen and Dr. Scott Rasmussen Don and Sally Roberts Nadine Stafford Brooke Bandfield Taylor Hywel White Margaret White
The Desert Chorale has been the grateful recipient of the following estate gifts which provide for the future of the Santa Fe Desert Chorale. Margaret Arrott Lawrence Bandfield John de Beer Martin Dieter James Elston Robert Fisher Ian McKee Dorothea Morgan Paul Resnick Joseph P. Schitter Ann Marie Shaw Robert C. Smith Frances White † in memoriam
We endeavor to appropriately recognize all of our donors in the program book, so please inform us if we have inadvertently omitted your name or listed it incorrectly by emailing email@example.com. Thank you. Rev. Hampton Mabry, one of our Desert Chorale
Ambassadors, greets a guest. Photo: Chelsea Call
IN MEMORIAM In Memory of Larry Bandfield Brooke Bandfield Taylor In Memory of John de Beer John Gibson and Lori Glassgold-Gibson Dora and Clinton Horn In Memory of Jim Elston Brooke Bandfield Taylor In Memory of John Greenspan Asenath M. Kepler and Edward Mazria Mary Lou Padilla In Memory of Fran Contreras Hartley David and Mary Hartley In Memory of Mickey Inbody Mickey Inbody Charitable Foundation Inc. In Memory of Bobby Lee Jane and Bill Sandlin In Memory of Dr. Teodora Konstantinova Dr. J. Randle Adair In Memory of Jeffrey Manns Margaret K. Norton In Memory of Robert J. Meyer Ken and Jill Ewald In Memory of Marlene Nathan Meyerson David Nathan Meyerson Foundation Marlene Nathan Meyerson Family Foundation
Recognized as Large Market Radio
STATION OF THE YEAR BY FEATURING Award-Winning News and Public Affairs Programs Wide Variety of Original Music Shows Streaming firstname.lastname@example.org
SANTA FE DESERT CHORALE
Joshua Habermann | Music Director
Photo: Ann Murdy
Joshua Habermann | Music Director
35th ANNIVERSARY WINTER FESTIVAL December 16 - 23, 2017 Albuquerque, Los Alamos & Santa Fe
Home for the Holidays
For more information or to purchase your tickets today, call our Box Office at (505)988-2282 or online at desertchorale.org 66
Ambassadors are individuals who have an appreciation of 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, and are positive spokespeople in the community. They share their excitement and reflect a culture of kindness and respect. 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. Thank you.
Scott J. Allocco and Dr. Douglas P. Clark Freda Anderson Deborah Avren Stephen Bellon Richard Bentley Carlos Martinez, Cathedral Basilica of St. Francis of Assisi The Rev. Chuck Jones and Maxine Thevenot, Cathedral of St. John Jason Silverman, Center for Contemporary Arts Sylvia Sims, Christ Church Santa Fe Kathy Armijo Etre, Christus St. Vincent Hospital Dorothy Massey, Collected Works Bookstore & Coffeehouse Dorothy B. Davis Sue-Ellen de Beer Betty Lou Dent Allegra and Jim Derryberry Dolph Briscoe Center for American History, University of Texas at Austin Mary and Joe Ferguson Linda Raney, First Presbyterian Church James Murphy, Good Cause Benefit Auction Len Goodman Mayor Javier M. Gonzales Justin Pichardo, Gruet Winery Jeffrey Snodgrass, Immaculate Heart of Mary Chapel David K. and Kay Duke Ingalls Christopher Curly and David Stone, Inn and Spa at Loretto Joseph Jordan-Berenis, Interfaith Community Shelter Zachary M. Benjamin, Jewish Federation of New Mexico Sherry Kelsey and George Duncan Mara Leader, La Posada de Santa Fe Lynn F. Lee Phyllis Lehmberg Robert Gardner and Ken Marvel, LewAllen Galleries William H. Lynn and Russell M. Coffield Ann MacVicar Governor Susana Martinez Mitzi and Rick Hobson, Milagro Vineyards & Winery Christine Johnson, Treasurer, NAACP Santa Fe Chapter Russell Baker and Bert Dalton, NDI-NM Max Myers and Jody Soper, New Mexico Bank & Trust Margaret K. Norton Marja Martin, Paloma Beth Koch, Quail Run Resort Drs. Ashwani and Sunita Rajput Nina Hinson Rasmussen and Dr. Scott Rasmussen Dan Rusthoi Steven Ovitsky, Santa Fe Chamber Music Festival Marcia Torobin, Santa Fe Jewish Film Festival Kathryn Lopez, Santa Fe New Mexican Marilyn Barnes and Leanne D. DeVane, Santa Fe Public Schools Aaron M. Garcia, Santa Fe County Youth Development Program Santa Fe Public Library South Side Branch Rabbi Neil Amswych, Temple Beth Shalom Mark Edw. Childers, The Church of Holy Faith Charles MacKay, The Santa Fe Opera Sally Rodgers, The Santa Fe Opera Bradley and Patricia Thompson Rebecca Carrier, Thornburg Investment Management Rev. Talitha Arnold, United Church of Santa Fe Rebecca Tobey, Ventana Fine Art Leah Vincent Michele Padberg, Vivác Winery Demetria M. Martinez, Voces de Libertad Poetry Workshops
Helene Aarons Kathy Adelsheim Shirley Anderson Barbara Anderson Acosta Ann Anthony Laurel Awishus Dr. Patricia Bacha Diana Baker Hugh Balaam Virginia Barsky J.B. Beck Linda Beck Ken Beier Kay Bird Patricia Boies Suzi Borgo Pam Brandes Lauren Breden Marty Carroll Mary Cernicek Donna Clark Chip Conway Doug Conwell Judy Costlow Coleen Davidson Colleen Davidson Betty Lou Dent Paul De Stefano Don Dietz Judy Donohue Norah Doss Patricia Emerson Doug Escue Laura Escue April Fair Susan Feiner Batsheva Fenster Mary Ferguson* Dick Forbes Margaret Forbes Cha Foxhall Kathy Fraser Douglas Fraser Rosie Fritzsche Gwen Fuller Ralph Fuller KC Garrett Pam Gilchrist Ellen Goldberg
Eileen Gorman Jim Gorman Claudia Grayson David Grayson Jeanne Grealish Ernesto Gutierrez Janet Harris Martha Heard Cyndi Heller Barbara Herrington McKayla Hicks Enid Howarth Victoria Hudimac Julia Hudson Jonathan Ice Karla Ice Rose Ann James Brian K. Johnson* Christine H. Johnson Jeff Karsh Bo Keppel Alex Klebenow Margaret Krahenbuhl Denise Kusel Barbara Kuzminska Joan Lamarque Susan Latham Marquisa LaVelle Renate Lewis William H. Lynn* Rev. Hampton Mabry Molly MacKinnon Ann MacVicar Diana Segara Mahoney Arin McKenna Arlene Mestas Barbara Michael Alia Michaels Estelle Miller Shaan Minhas Kathy Moore-Gregory William Mullen* Katherine Nelson Marie Newsom Barbara Nicholson Lib O’Brien Tom O’Brien Maggie Odell Tina Ossorgin
Carole Owens Nancy Paraskevas Linda Pasternacki Cindy Piatt Robert Pine Ross Pope Madeline Pryor Larry Rasmussen Nyla Rasmussen Donna Rigano David Rile Andy Ritch* Sally Ritch Pat Roach Laurie Romero Barbara Roush Karren Sahler Michelle Sandoval Helen Senesac Mary Jo Sharp Gretchen Shore Deb Smith-Davis Jane Snow Sandy Sparks Isa Spoonheim Jay Spoonheim Charles Spring Janet Spring Linda Stanford Patricia Stanley* Allen Steele Andrea Steele Jane Steinberg Ann Stinchcomb Dave Stinchcomb Judy Tiedmann Alice Tinkle Jolanta Tuzel Gail Twilegar Carrie Vogel Patricia Whitney Carol Widick Paul Widick Linda Wieseman Denise Wilder Jean Withers John Withers
The Santa Fe Desert Chorale depends on ambassadors, such as Christine Johnson (on right), for assistance in the office, with hospitality, community engagement, and as ushers. Photo: Chelsea Call
SANTA FE DESERT CHORALE
7787 SINCE 2015, THE SANTA FE DESERT CHORALE HAS TAKEN SIGNIFICANT
steps to initiate innovative collaborations with other leading arts and culture institutions, and increase creative engagement with a broader and more diverse audience. Partners in these artistic initiatives have included the Center for Contemporary Arts, Creativity for Peace, the Georgia O’Keeffe Museum, the International Shakespeare Center, Museum of Indian Arts and Culture, NDI-NM, New Mexico History Museum, the Santa Fe Chamber Music Festival, the Santa Fe Opera, the Santa Fe Symphony and Chorus, and the TGIF Concert Series at First Presbyterian Church, among others. Produced by the Chorale, the first annual Santa Fe Sings! sold-out with 125 participants ranging in age from eighth graders to octogenarians, singing together under the direction of Joshua Habermann. By popular demand, our second annual Santa Fe Sings! sponsored by Stephen and Jane Hochberg took place on May 13, 2017, at United Church of Santa Fe with 175 singers from across Northern New Mexico. In addition to individual singers, area choruses represented included: Coro de Cámara, the New Mexico Peace Choir, the Sangre de Cristo Chorale, Santa Fe Music Works, Santa Fe Men’s Camerata, the Santa Fe Symphony Orchestra and Chorus, and the Santa Fe Women’s Ensemble. Save the date for our third annual Santa Fe Sings! on Saturday, May 12, 2018 – Come sing with us!
Top photo: Nathan Salazar and Joshua Habermann rehearse before Santa Fe Sings! Middle photo: Santa Fe High School students participate in the Sing under choir teacher, Marilyn Barnes Bottom photo: Community Engagement Chair Roxanne Howe-Murphy and Santa Fe Sings! Sponsor Stephen Hochberg share a laugh Photos: Sean Johnson
Alongside the Chorale’s artistic partnerships are meaningful collaborations with sacred institutions and secular social service organizations. Partners from last year’s Sephardic Legacy program; Chabad Center for Jewish Life of Santa Fe, the Jewish Federation of New Mexico, the Jewish Film Festival, and Temple Beth Shalom are now working to raise awareness of this year’s Liberté: Music of Resistance and Revolution program, which features music from the Terezín concentration camp. Additionally, United Church of Santa Fe Senior Minister, Rev. Talitha Arnold, leads a discussion about the persecution of the Jewish community in World War II and the music that sustained them, augmented by a quartet of Chorale vocalists. For more information about specific community engagement programs, please visit our website at www.desertchorale.org and click on the “Community” tab.
Two films related to SFDC’s concert programming, and sponsored by Kirk and Sheila Ellis, will be shown at the Center for Contemporary Arts.
GIVING VOICE TO THE VOICELESS
• The Singing Revolution (1987-1991) is a documentary chronicling the Estonian uprising in 1988. The film will be introduced by Trustee Emerita Brahna Lauger Wilczynski, and a SFDC octet will offer a musical sampling following the screening. • When I Rise is an award-winning documentary on the life of the late opera singer and civil rights icon, Barbara Smith Conrad. Kirk Ellis moderates a panel with filmmakers Don Carleton and Alison Beck following the screening. A post-screening reception celebrating Miss Conrad’s life and legacy will be sponsored by Vivác Winery. (For more information on the film series, please see page 48.) The 2017 Community Engagement program, Giving Voice to the Voiceless, led by Composer-in-Residence and Pianist, Dr. Brandon Boyd, is a two-part collaboration: I. The creation of a new weekly choral program for guests at the Interfaith Community Shelter (Pete’s Place) with a quartet of SFDC vocalists singing with the guests in a culminating concert. Sponsored by Christus St. Vincent Regional Medical Center and McCune Charitable Foundation. II. Poetry written by participants in the Santa Fe County Youth Development Center’s Voces de Libertad Poetry Workshops led by poet Demetria Martinez, will be set to music by Composer-in-Residence Brandon Boyd. I Search, and another yet untitled work, will be performed by a Desert Chorale vocal quartet at the Center for the youth; for family and friends at the Santa Fe Public Library South Side Branch with City of Albuquerque Poet Laureate Manuel González offering spoken word; and by the full Chorale during the Justice program. Whether our community engagement audience is comprised of underserved adults or youth, The Santa Fe Desert Chorale is embracing its mission to “excite, engage and inspire diverse audiences with the beauty and power of great choral music!” We welcome your interest and encourage you to volunteer to help us better serve our community in Northern New Mexico.
LewAllen Galleries supports the Santa Fe Desert Chorale’s Community Engagement Program “Giving Voice to the Voiceless” in collaboration with the Interfaith Community Shelter, Santa Fe County Youth Development Program, and “Voces de Libertad Poetry Workshops”
Linda Stojak, “Untitled (LS15-313),” 2015, oil & mixed media on canvas, 72 x 48 in
A pioneering force with exciting exhibitions for contemporary and modern art for nearly 40 years! 1613 Paseo de Peralta, Santa Fe, New Mexico (505) 988-3250
Join us for the 35th Anniversary 2017 Summer Festival Justice Programming in August, please visit desertchorale.org or call (505) 988-2282
SANTA FE DESERT CHORALE
SUPPORT THE 2017-2018
Tour and Recording Projects
and introduce new audiences to the santa fe desert chorale! Autumn on Walden Pond
Project includes performances of the American Voices program, and a commercial recording conducted by Music Director Joshua Habermann with collaborative pianist Jeff Lankov. ections, which is set to journal Program includes a world premiere by Jake Runestad, Reflections, writings by Henry David Thoreau. Reflections was commissioned by the Santa Fe Desert Chorale and underwritten in part by Jane Clayton Oakes. 2017 KEY APPEARANCES:
2018 KEY APPEARANCES:
OCTOBER 20, 2017 Concert at St. Paul’s Cathedral, 7:00pm,Oklahoma City, OK
FEBRUARY 13, 2018 CD Launch and Concert, Cristo Rey Church, 8:00pm, Santa Fe, NM
OCTOBER 21, 2017 Concert at the Renzo Piano Pavilion, Kimbell Art Museum, 2:00pm, Fort Worth, TX
FEBRUARY 15, 2018 CD Launch and Concert, The Joan W. and Irving B. Harris Theater, Chicago, IL (as part of the American Choral Directors Association Central/North Central Joint Regional Conference)
OCTOBER 22, 2017 Concert on The David R. Davidson Tower Arts Series at Highland Park United Methodist Church, 6:00pm, Dallas, TX OCTOBER 23-24, 2017 Commercial Recording, Morton H. Meyerson Symphony Center, Dallas, TX Producer: Elizabeth Ostrow, six-time GRAMMY® Award winner. Engineer: Brad Michel, recipient of BBC Magazine Award for Technical Excellence in Recording and multiple Gramophone Awards. OCTOBER 25, 2017 Dallas Independent School District Concerts, 10:30am and 12:30pm, Highland Park United Methodist Church, Dallas, TX OCTOBER 26-27, 2017 Residency at University of North Texas College of Music, Denton, TX
MARCH 15, 2018 CD Launch and Concert, First United Methodist Church, Pasadena, CA (as part of the American Choral Directors Association Western Regional Conference)
“The variety of the American Voices program certainly displayed the ensemble’s impressive versatility. Habermann consistently got vivid performances, introspective music elegantly colored and shaped, extrovert fare delivered with great pizzazz. Individual singers got lots of solo exposure.” —Scott Cantrell, Freelance Writer on Music,
Dallas Morning News
make your tax-deductible contribution today at www.desertchorale.org 70
PHOTOS: The Fairmont Dallas, courtesy of the Fairmont Dallas; The Wine Room at Dakota’s Steakhouse, courtesy of Dakota’s Steakhouse; The Margot and Bill Winspear Opera House, courtesy of The Dallas Opera; The Kimbell Art Museum’s Renzo Piano Pavilion, South Gallery and auditorum, by Robert Polidori, courtesy of the Kimbell Art Museum; Café Modern at The Modern Art Museum of Fort Worth, courtesy of The Modern Art Museum of Fort Worth; Eagle Family Plaza, courtesy of the Dallas Art Museum; Highland Park United Methodist Church courtesy of the Highland Park United Methodist Church
JOIN US ON TOUR!
The Santa Fe Desert Chorale The Fairmont Dallas
October 20-23, 2017
TOUR ITINERARY** FRIDAY, October 20, 2017*
Wine Room at Dakota’s Steakhouse
The Margaret McDermott Performance Hall in The Margot and Bill Winspear Opera House
South Gallery of the Renzo Piano Pavilion at the Kimbell Art Museum
Café Modern, The Modern Art Museum of Fort Worth
Arrive at the Fairmont Dallas, recipient of a Wine Spectator Award of Excellence, and located in the Dallas Arts District. Attend a private opening dinner in the Wine Room at Dakota’s Steakhouse, a downtown Dallas dining icon for over 30 years. Enjoy the Dallas Opera season-opener, Camille Saint-Saëns’ Samson et Dalia, from your Orchestra Terrace seats at The Margot and Bill Winspear Opera House. Music Director Emmanuel Villaume conducts the production directed by Bruno Berger-Gorski and featuring Olga Borodina and Clifton Forbis in the title roles.
SATURDAY, October 21, 2017
Travel by motor coach to Fort Worth, Texas, for a docent-led tour of the Kimbell Art Museum. Enjoy lunch at the Café Modern at The Modern Art Museum of Fort Worth. Attend the Santa Fe Desert Chorale’s matinee concert of our American Voices program led by Music Director Joshua Habermann, in the Renzo Piano Pavilion at the Kimbell. This concert is dedicated to the memory of Marlene Nathan Meyerson. The day is capped off by a reception for patrons and artists hosted by SFDC Board Member Susie Wilson and her husband Jerry.
SUNDAY, October 22, 2017
Stroll to the Dallas Art Museum for a docent-led tour of the outstanding American collection. Attend the Santa Fe Desert Chorale performance conducted by Music Director Joshua Habermann on The David R. Davidson Tower Arts Series at Highland Park United Methodist Church. Post-concert dinner in the Fairmont Dallas’ intimate French restaurant, The Pyramid Room, acclaimed by local critics, one of whom said “The very atmosphere promises exciting dining and the promise is fulfilled.”
MONDAY, October 23, 2017
Be a fly on the wall in the Producer’s booth at the Chorale’s first-ever commercial recording session at The Morton H. Meyerson Symphony Center. Then head home after this extraordinary patron experience combining music, art, and collegiality. Auditorium, Renzo Piano Pavillion
EXCLUSIVE PATRON TOUR PRICE! $1,575 pp Single occupancy $1,250 pp Double occupancy (airfare not included)
Eagle Family Plaza, Dallas Art Museum
For more information, please visit www.desertchorale.org or call Emma Marzen at (505)988-2282 ext 1. Air travel assistance and rooming arrangements will be coordinated by Freda Anderson, Owner, A Touch of Class Travel. More information on concierge services may be found on our website.
Highland Park United Methodist Church
*Although our official patron tour package is focused on the Dallas-Fort Worth performances, The Santa Fe Desert Chorale will be appearing at St. Paul’s Cathedral in Oklahoma City on Friday, October 20th. Tickets for this performance may be purchased at www.desertchorale.org. For more information, please contact Emma Marzen, Box Office Manager. ** Tour package includes three nights at the Fairmont Dallas, performance tickets, museum tours, ground transportation on Friday night, Saturday and Sunday, a reception with artists, two dinners, and one luncheon.
SANTA FE DESERT CHORALE
r e b e c c a t o b e y. c o m
“Night Watchman” Unique Ceramic 15”h x 27”l x 8”w
400 Canyon Road • Santa Fe, NM 87501 • 800-746-8815 • info@ventanaﬁneart.com