Beethoven Schubert 2025 by LakesidePCSF

Don Scott Carpenter, Founding Music Director

Bee en Schuber &

March 2, 2025, 4 pm

DON SCOTT CARPENTER

Founding Music Director

Board of Directors

Don Scott Carpenter, President/CEO

Lakeside Presbyterian Church | Vox Humana SF

Margaret Elam, Chair City & County of San Francisco Department of Public Health

Beth Phipps, Vice-Chair City of Pacifica, Retired

Corby York, Secretary Apple, Inc.

Dan Anderson, Treasurer CBIZ SLD

Gail Hemenway

City & County of San Francisco Department of the Treasury and Tax Collector, Retired

Judith J. Murio American Bach

Cindy Young

San Francisco Unified School District, Retired

Founded in 2023, The Lakeside Symphony and Chorus, based in San Francisco, is a vibrant ensemble dedicated to bringing exceptional music to the Bay Area community. As Artists-in-Residence at Lakeside Presbyterian Church, the Symphony and Chorus unite professional and community musicians in performances that inspire, uplift, and connect people through the power of music.

Under the visionary leadership of Don Scott Carpenter, the Lakeside Symphony & Chorus is known for its artistic excellence, dynamic programming, and commitment to fostering a deep appreciation for classical and sacred music. Their repertoire spans centuries, featuring masterworks by composers such as Bach, Handel, Mozart, and Fauré, as well as contemporary compositions that resonate with modern audiences.

Each season, the Lakeside Symphony & Chorus presents a series of highly anticipated concerts including A Lakeside Christmas and landmark performances of Fauré’s Requiem and Mozart’s Requiem. These events are characterized by their musical integrity, exceptional soloists, and the welcoming spirit of collaboration that defines the ensemble.

With a mission to make classical music accessible and meaningful to the west side of San Francisco, the Lakeside Symphony & Chorus also serves as a platform for community engagement, nurturing local talent and creating transformative experiences for performers and audiences alike.

We are pleased to introduce the formation of the Lakeside Arts Academy, opening Fall 2025. In keeping with our mission, the Academy will be a catalyst for arts education for children, youth, and adults at every level. Private lessons, group theory classes, small ensembles, and more will add to our community of arts. Look for more information soon. Visit LakesideArtsAcademy.org for updates.

Join us and experience the Lakeside Symphony and Chorus as we bring timeless music to life in one of San Francisco’s most inspiring and sought-out settings.

Welcome to the Lakeside Symphony and Chorus.

We are delighted to welcome you to this afternoon’s performance, featuring two of the most powerful and evocative works in the classical repertoire: Schubert’s Mass No. 6 in E-flat major and Beethoven’s Symphony No. 5 in C minor.

Schubert’s final mass, composed in 1828, stands as a profound testament to his lyrical genius and deep spirituality. Marked by rich harmonies, soaring vocal lines, and symphonic grandeur, this masterpiece transcends the conventions of traditional sacred music, blending reverence with dramatic intensity.

In contrast, Beethoven’s Symphony No. 5 needs little introduction. From its iconic four-note opening to its triumphant finale, this symphony embodies the spirit of resilience and transformation. Its journey from darkness to light has inspired audiences for over two centuries, making it one of the most recognizable and celebrated works in Western music.

The Lakeside Symphony brings professional-caliber performances to the heart of San Francisco’s west side. With dynamic concerts, collaborative projects, and educational outreach, the symphony enhances the cultural fabric of our city while inspiring the next generation of musicians. So we are thrilled to introduce the Lakeside Arts Academy, a dynamic new center dedicated to music education, artistic development, and live performance.

If you have interest in serving on the Marketing, Communications, Academy, and/or the Development committees, or have insight to join us at the Board level, please contact me at dscarpenter@lakesidesymphony.org. We would be most pleased to have you join us on this journey.

So now, we invite you to immerse yourself in the beauty, drama, and brilliance of these extraordinary compositions. Thank you for joining us, and enjoy the performance!

Don Scott Carpenter is a respected figure in choral and orchestral music, known for his work as a composer, conductor, and organist. Based in San Francisco, he founded and directs Vox Humana SF, a group recognized for its innovative performances and detailed musical interpretations, and he founded the Lakeside Symphony & Chorus, a group created to bring professional performances to the west side of San Francisco.

Currently, Mr. Carpenter serves as Organist and Director of Music & Engagement at Lakeside Presbyterian Church. His career includes significant leadership roles, such as Executive Director of the American Bach Soloists, Music Director of San Francisco Renaissance Voices, and General Director of the Santa Fe Desert Chorale. He has also held Artist-in-Residence positions at the Cathedral Basilica of St. Francis of Assisi in Santa Fe and served as Organist/Director of Worship at Second Presbyterian Church in Louisville, where he helped create inclusive worship experiences.

Having studied with renowned conductors David Harman and Kent Hatteberg, Don Scott combines a deep understanding of score study with a diverse range of performance techniques. His choirs have performed at prestigious venues such as the Dom in Salzburg, Votivkirche in Vienna, and Carnegie Hall in New York City, earning praise for their musical depth and expression.

An advocate for contemporary choral music, Don Scott commissions and premieres works by leading composers, expanding the choral repertoire. He just collaborated with a Bay Area composer for a world premiere performance in February of this year.

Mr. Carpenter is an active member of the American Choral Directors Association, the American Guild of Organists, Chorus America, and the Hymn Society in America, reflecting his impact on the broader music community. His work continues to shape the cultural landscape of San Francisco and beyond.

Don Scott Carpenter (He/Him) Music Director and Principal Conductor

Ways to sponsor...

Season Lead Sponsor

$25,000

Become the lead sponsor of the 2025-2026 season.

Concert Lead Sponsor

$10,000

Become the lead sponsor of a concert during the 2025-2026 season.

Sponsor a Guest Artist

$2,000

Become the sponsor of a guest singer or instrumentalist in a solo appearance.

Season Sponsor

$15,000

Become a sponsor of the 2025-2026 season.

Concert Sponsor

$5,000

Become a sponsor of a concert during the 2025-2026 season.

Professional Choral Section Leader or First Chair Instrumentalist

$1,500

Become a sponsor of either a professional choral singer or first chair instrumentalist.

The Lakeside Society

BENEFACTOR • $25,000 AND ABOVE

The Philip Grisier Fund for Music

FOUNDER • $10,000-$25,000

Dan Anderson

SERAPHIM • $5,000-$9,999

Beth & Kevin Phipps

CONDUCTOR'S CIRCLE • $2,500-$4,999

Don Scott Carpenter & Luis Erick Aguirre Palafox

Margaret Elam

Sharon Mayo

Cindy Young

UNDERWRITER • $1,000-$2,499

Gail Hemenway

Sandra Tye

SUSTAINER • $500-$999

The Rev. Dr. Pamela Anderson

Judith J. Murio & Todd Jolly

PATRON • $100-$499

Judy Lindquist

George & Charlotte Masson

Helen Ong

Jane Sharp

Karen Tomczak and family in memory of Daniel Tomczak

We gratefully acknowledge the generosity of the individuals listed above who have made contributions to The Lakeside Society between January 2024 and February 2025. The Lakeside Society provides vital support for special music performances, such as today’s outreach to the San Francisco community. Contributions of any amount are greatly appreciated and can be a meaningful way to honor or remember loved ones.

Baskets will be available as you exit the Church, or you may send a check payable to Lakeside Symphony:

Lakeside Symphony & Chorus

Attn: Development Oﬃce

201 Eucalyptus Drive

San Francisco, CA 94132

Online contributions can also be made at LakesideSymphony.org.

Thank you for your support in enriching our musical community.

Program Notes

Mass in E-Flat Major, D. 950 - Schubert

Franz Schubert (1797–1828), a towering figure of the early Romantic era, composed his final Mass in E-flat Major, D. 950, in 1828, during the last months of his short but prolific life. This work, a culmination of his choral and orchestral mastery, remains one of his grandest sacred compositions. Schubert’s six masses collectively showcase his development as a composer, but the Mass in E-flat stands apart in its scope, depth, and expressiveness. While Schubert’s instrumental and vocal works are celebrated, this Mass reveals his profound understanding of sacred music and demonstrates his ability to infuse traditional liturgical forms with rich Romantic expression.

Historical Context

By 1828, Schubert was well aware of his declining health. Following years of struggles with syphilis and other illnesses, he faced his mortality with both resignation and fervent creativity. In this final year, Schubert poured his energy into several major works, including his String Quintet in C Major, the final three piano sonatas, and the Mass in E-flat. These compositions are united by a sense of urgency and an almost transcendental longing for resolution and peace.

The Mass in E-flat was written for an unknown commission, and it is unlikely that Schubert ever heard it performed. Unlike his earlier masses, which were composed for specific liturgical occasions, this work is marked by a more personal and introspective character. It reflects Schubert’s deep engagement with the sacred text and his evolving religious sensibilities, balancing the grandeur of ceremonial music with intimate expressions of faith.

Structure and Analysis

Schubert’s Mass in E-flat adheres to the traditional liturgical divisions of the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei. However, within this established framework, Schubert explores a rich palette of harmonic, melodic, and textural contrasts, creating a work that is both unified and dramatically compelling.

Kyrie

The Mass opens with the Kyrie, a movement of serene supplication. Schubert’s use of gentle chromaticism and subtle orchestral color establishes a mood of humility and devotion. The choir’s initial plea, “Kyrie eleison” (Lord, have mercy), is set against a backdrop of rich harmonic progressions, while the orchestra provides a soft, flowing foundation. The music builds gradually, with dynamic

swells that reflect the text’s earnest appeal for mercy. The interplay between choir and orchestra creates a dialogue that underscores the human longing for divine grace.

Gloria

The Gloria contrasts sharply with the Kyrie, bursting forth with jubilant exuberance. Schubert’s setting of this hymn of praise is marked by rhythmic vitality and bold harmonic shifts. The opening “Gloria in excelsis Deo” features vigorous choral statements, supported by a full, vibrant orchestration. Schubert uses dynamic contrasts to heighten the drama, moving between moments of intense celebration and more reflective passages. The central section, “Qui tollis peccata mundi” (You who take away the sins of the world), is particularly striking for its plaintive melodies and rich harmonic color, evoking a deep sense of penitence and hope.

Credo

The Credo is the longest and most structurally complex movement of the Mass. Schubert’s treatment of the Nicene Creed is both majestic and intimate, reflecting the text’s profound theological affirmations. The movement begins with a bold, declamatory statement of “Credo in unum Deum” (I believe in one God), with the choir and orchestra united in a powerful proclamation of faith. As the movement progresses, Schubert alternates between grand, triumphant passages and more introspective moments.

One of the highlights of the Credo is the setting of “Et incarnatus est” (And was incarnate). Here, Schubert employs delicate, ethereal orchestration, with shimmering strings and gentle woodwinds accompanying the choir. This section conveys the mystery and wonder of the Incarnation, offering a moment of quiet reflection amidst the broader affirmations of faith. The “Et resurrexit” (And He rose again) follows with a burst of energy, as Schubert’s music vividly portrays the triumph of the Resurrection. The movement concludes with a return to the majestic declarations of faith, affirming the eternal truths of the Creed.

Sanctus and Benedictus

The Sanctus begins with a majestic choral statement, “Sanctus, Sanctus, Sanctus” (Holy, Holy, Holy), underscoring the awe-inspiring holiness of God. Schubert’s orchestration is grand and expansive, with soaring melodies that evoke the celestial majesty of the divine. The “Hosanna in excelsis” is a lively and celebratory section, characterized by intricate choral writing and rhythmic drive.

The Benedictus, in contrast, is more lyrical and introspective. Schubert sets this text for solo voices, creating a serene and meditative atmosphere. The gentle interplay between the soloists and the orchestra conveys a sense of quiet reverence, inviting the listener to reflect on the blessing of God’s presence. The movement transitions seamlessly back to the “Hosanna”, bringing the section to a joyful conclusion.

Agnus Dei

The Agnus Dei returns to the introspective tone of the Kyrie, closing the Mass with a sense of profound supplication. The choir’s repeated pleas of “Agnus Dei, qui tollis peccata mundi” (Lamb of God, who takes away the sins of the world) are set to somber, flowing melodies, supported by rich orchestral textures. Schubert’s use of chromaticism and dynamic contrasts heightens the emotional impact of the text, conveying a deep sense of human vulnerability and hope for divine mercy.

The final “Dona nobis pacem” (Grant us peace) builds gradually in intensity, culminating in a radiant and triumphant conclusion. This closing passage, with its luminous harmonies and soaring melodies, offers a powerful affirmation of faith and a hopeful vision of peace.

Legacy and Interpretation

Schubert’s Mass in E-flat Major was not performed nor published during his lifetime, and it remained relatively obscure for many years. However, modern scholarship and performances have brought renewed attention to this masterpiece, recognizing it as one of Schubert’s most significant sacred works. Its synthesis of Classical form and Romantic expressiveness places it alongside the great liturgical compositions of Bach, Mozart, and Beethoven, while its unique harmonic language and lyrical beauty mark it as unmistakably Schubertian.

The Mass in E-flat invites performers and listeners alike to engage deeply with its spiritual and musical dimensions. Its sweeping contrasts—between grandeur and intimacy, joy and sorrow, light and shadow—reflect the universal human experience of faith, doubt, and hope. In its profound beauty and emotional depth, the Mass serves as a testament to Schubert’s enduring genius and his ability to touch the soul through music.

In performance, the Mass presents both challenges and opportunities. Its intricate choral and orchestral writing demands precision and sensitivity, while its wide-ranging emotional content calls for a nuanced interpretive approach. When performed with care and insight, the Mass in E-flat offers a deeply moving and transformative experience, drawing listeners into a timeless meditation on the sacred and the sublime.

Symphony No. 5 in C Minor, Op. 67 - Beethoven

Ludwig van Beethoven’s Symphony No. 5 in C Minor, Op. 67, stands as one of the most iconic and celebrated works in the history of Western classical music. Premiered on December 22, 1808, in Vienna, this symphony has captivated audiences for over two centuries with its dramatic power, structural ingenuity, and emotional depth. It embodies the ideals of the Romantic era while solidifying Beethoven’s reputation as a transformative force in music.

Historical Context

Beethoven began sketching the Fifth Symphony in 1804, at a time of personal and political turmoil. He was grappling with the onset of deafness, a devastating condition for a composer. The Napoleonic Wars were also reshaping Europe, and Beethoven’s feelings toward Napoleon— once an emblem of revolutionary ideals—had soured. Against this backdrop, the Fifth Symphony emerged as a testament to human resilience, struggle, and triumph.

The symphony was part of an ambitious concert that also featured the premieres of the Symphony No. 6, the Choral Fantasy, and several other works. Despite the freezing conditions in the venue and the mixed reception at the premiere, the Fifth Symphony quickly gained recognition as a masterpiece. Over time, it has come to symbolize the triumph of the human spirit over adversity.

Structure and Analysis

The Fifth Symphony follows the traditional four-movement structure but revolutionizes the symphonic form through its unprecedented cohesion and motivic development. The famous four-note motif that opens the work serves as the foundation for the entire symphony, creating a sense of unity across all movements.

First Movement: Allegro con brio

The symphony begins with one of the most recognizable motifs in all of music: three short notes followed by a long one (da-da-da-daa). Beethoven referred to this motif as “Fate knocking at the door,” though its precise meaning has been the subject of much speculation. This motif dominates the movement, appearing in various forms and registers, driving the music forward with relentless intensity.

The first movement is structured in sonata form, with an exposition, development, recapitulation, and coda. The tension between the stormy C minor and moments of lyrical contrast creates a dramatic narrative. The development section, in particular, showcases Beethoven’s mastery of thematic transformation, as the motif is fragmented, reassembled, and explored in a variety of harmonic contexts. The movement concludes with a powerful coda that reinforces the sense of inexorable fate.

Second Movement: Andante con moto

The second movement provides a striking contrast to the first, offering a moment of respite and introspection. Set in the key of A-flat major, it unfolds as a theme and variations. The opening theme, introduced by the violas and cellos, is noble and contemplative, evoking a sense of calm and order.

Throughout the movement, Beethoven varies the theme with ingenious orchestration and dynamic contrasts. The interplay between woodwinds and strings adds textural richness, while moments of dramatic intensity remind the listener of the symphony’s overarching struggle. The second movement’s sense of dignity and poise provides a counterbalance to the turbulent first movement.

Third Movement: Scherzo: Allegro

The scherzo returns to the darker, more mysterious mood of the first movement. Opening with a soft, almost ominous theme in the low strings, the movement builds in intensity as the full orchestra enters. The main theme, characterized by its rhythmic drive and dynamic contrasts, reflects Beethoven’s ability to infuse even the most playful forms with profound emotional weight.

The trio section offers a dramatic shift, featuring a bold and triumphant theme in the brass. This section’s martial character hints at the ultimate victory that will be achieved in the final movement. The scherzo then returns, but Beethoven surprises the listener by ending it quietly, with a mysterious and suspenseful transition leading directly into the finale.

Fourth Movement: Allegro

The final movement bursts forth in a blaze of C major, signaling the triumphant resolution of the symphony’s struggles. Beethoven introduces a new theme, played by the full orchestra, which radiates joy and power. This movement is a tour de force of orchestral brilliance, with intricate counterpoint, dynamic contrasts, and a relentless sense of forward momentum.

One of the most striking aspects of the finale is its use of trombones, piccolo, and contrabassoon—instruments not present in the earlier movements. Their inclusion adds a sense of grandeur and expansiveness, enhancing the movement’s celebratory character. The coda is particularly exhilarating, driving the symphony to a jubilant and emphatic conclusion.

Themes and Symbolism

The Fifth Symphony has often been interpreted as a musical embodiment of the journey from darkness to light, struggle to triumph, and despair to hope. The transition

from the stormy C minor of the first movement to the radiant C major of the finale mirrors this narrative arc. This progression has led many to view the symphony as an expression of Beethoven’s personal victory over adversity, as well as a universal statement of human resilience.

The four-note motif, with its relentless and insistent character, serves as a unifying element throughout the symphony. Its recurrence in various guises and contexts ties the movements together, creating a sense of inevitability and coherence. This motivic unity was revolutionary in Beethoven’s time and has had a profound influence on subsequent composers.

Legacy and Impact

Beethoven’s Fifth Symphony has left an indelible mark on the world of music and culture. Its opening motif has become a universal symbol of determination and resolve, appearing in countless contexts beyond the concert hall. During World War II, the motif’s rhythm was used as a symbol for the letter “V” in Morse code, representing “victory.” This association further cemented the symphony’s status as a beacon of hope and defiance.

The Fifth Symphony also marked a turning point in the history of the symphony as a genre. Beethoven expanded the symphony’s emotional range, structural complexity, and expressive power, paving the way for the Romantic symphonists who followed, such as Brahms, Mahler, and Tchaikovsky. The Fifth remains a cornerstone of the symphonic repertoire and a touchstone for performers and audiences alike.

Morning Worship Sundays, 11a

Ash Wednesday March 5

Ashes-to-Go, 11:30a-1p

Simple Supper, 6p

Communion | Ashes, 7p

Palm Sunday

April 13, 11a

Maundy Thursday

April 17, 7p

Good Friday April 18, 7p

Easter Sunday April 20, 11a

The Lakeside Symphony and Chorus

SOPRANO

Cheryl Cain*

Kathy Chaikin

Margaret Elam

Jordan Kersten

Macy Mullins

Beth Phipps

Rachel Schlesinger

ALTO

Adore Alexander*

Naomi Braun

Mira Foster

Gail Hemenway

Courtney Miller

Judith J. Murio

Sally Mouzon

Akane Ota

Judith Ostapik

Amber Zertuche

TENOR

Caleb Alexander

Sheng Feng Chan

Sam Faustine*

Kevin Gino*

Dieter Meyerhoff

Toan Thanh Nguyen

BASS

Josh Black

Asher Davison

Michael Villareal

Shawn Ying

Corby York*

* soloists

VIOLIN I

Gail Hernández Rosa Concertmaster

Pauline Kempf

Carla Moore

Maxine Nemerovski

Ava Gehlen-Williams

Joe Edelberg

VIOLIN II

Cynthia Black

Maria Caswell

Alexandra Santon

Jennifer Redondas

Christine Meals

Alicia Yang

VIOLA

Clio Tilton

Caitlin Keen

Daria D’Andrea

VIOLONCELLO

Hasan Abualhaj

Laura Gaynon

Kyle Stachnik

CONTRABASS

Daniel Turkos

Bruce Moyer

FLUTE

Lars Johansson

Alissa Roedig

PICCOLO

Vicki Melin

OBOE

Adrienne Burg

Alessandra Ramos

CLARINET

Dan Ferreira

Bruce Foster

BASSOON

Iain Forgey

Fabio Valery

CONTRABASSOON

Jay Benson

HORN

Elisabeth Axtell

Alicia Mastromonaco

TRUMPET

Dominic Favia

Charles Ryan

TROMBONE

John Thomas

Richard Hellsel

David Ridge

TIMPANI

Allen Biggs

Cheryl Cain, soprano, born and raised in SF, has sung with the San Francisco Opera since 2013, the San Francisco Symphony since 2006, as well as American Bach Soloists, Philharmonia Baroque Orchestra and Chorale, and many other professional ensembles. Recently, she made her solo debut with Pocket Opera as Rosalinde in Die Fledermaus, and as the soprano soloist in Bach’s Magnificat with the San Francisco Symphony. She can be heard on numerous recordings, including the soprano solo in ‘Veni sancte spiritus’ by Ola Gjeilo on the recording Timeless by Cappella SF, and the 2024 Best Choral Album Grammy nominated Lux Aeterna with the San Francisco Symphony Chorus. She has her Master of Music degree from the Manhattan School of Music and her Bachelor of Music degree from the San Francisco Conservatory of Music. She continued her post-graduate studies in opera in Florence, Italy. She is a member of the American Guild of Musical Artists and the National Association of Teachers of Singing. She runs the Merced Manor Music Studio in San Francisco where she teaches voice and violin.

Hailed as “exceptional...[with] a beautiful and powerful voice” by The Harlem Globe, Adore Alexander is a rising American artist known for captivating performances that blend contemporary works with classical gems. A graduate of Morehouse College (B.A. Music) and Northwestern University (M.M. Voice & Opera), he studied with Dr. Mel Foster and W. Stephen Smith. While at Morehouse, he was a featured soloist with the Glee Club and a member of the Morehouse Quartet. Alexander has performed masterworks such as Britten’s Canticle II: Abraham & Isaac, Pergolesi’s Stabat Mater, Duruflé’s Requiem, Carmina Burana, Bach’s Magnificat, and Vivaldi’s Gloria. His acclaimed recital Shelter challenged audiences with themes of the Black psyche and post-traumatic slave syndrome. Dedicated to amplifying marginalized voices, Alexander actively collaborates with composers and artists to expand the classical canon beyond its traditional focus. He believes performance is a mirror to society, fostering reflection and change by embracing all shades of human experience.

Recognized for his “strong, utterly determined” singing, Filipino-American tenor Kevin Gino performs widely in both solo and choral capacities throughout the San Francisco Bay Area. He currently studies with Cesar Ulloa, and he holds degrees from the San Francisco Conservatory of Music. An alumnus of both the Janiec Opera Company at Brevard Music Center as well as the Music Academy of the West, he has worked with some of the best, including Sir Thomas Allen, Marilyn Horne, Anthony Dean Griffey, Patrick Summers, Dean Anthony, and Jeffrey Buchman. When Kevin is not singing, he keeps busy designing and crafting new leather goods, learning a new recipe to enjoy, and window shopping on amazon and eBay. Recent performances include Peter Quint in Britten’s The Turn of the Screw, Don Ottavio in Mozart’s Don Giovanni, Don Jose in Bizet and Brook’s La Tragédie de Carmen, and tenor soloist in Beethoven’s 9th Symphony with the Peninsula Symphony. Future performances include the American Bach Soloists and in Mannequin by Night with El Portal Theater.

Sam Faustine, an award winning San Francisco born-and-raised musician and singer, performs a wide-variety of genres ranging from Baroque Opera to Modern Musical Theatre. Last season, he was a member of the first National Tour of Broadway’s A Christmas Carol and made his third appearance as a soloist with the San Francisco Symphony performing the Roasted Swan in Carmina Burana. Sam has appeared in Europe, China, and across the US in roles such as Anthony in Sweeney Todd, Tony in West Side Story, Seymour in Little Shop of Horrors, Curly in Oklahoma!, and Candide in Candide. In addition to his staged-performance career, Sam sings with many sacred music and choral ensembles across the country, most notably the internationally touring Byrd Ensemble. When not performing classical music and music theatre, Sam plays in a QUEEN cover band impersonating Freddie Mercury. @samfaustinesf and www.samfaustine.com for more!

Corby York is a San Francisco-based singer originally from Indiana. He started singing in church at a young age, which led him to study vocal performance at Ball State University. After college, Corby taught voice lessons and worked with local high schools before performing as a soloist with the Indianapolis Symphony Orchestra. In 2019, Corby moved to San Francisco and joined the San Francisco Gay Men’s Chorus under Dr. Timothy Seelig. He’s featured as a soloist on their world-premiere recording of ‘Voices Rising’, recorded at Davies Symphony Hall. Corby also sings with Vox Humana, a professional choir directed by Don Scott Carpenter and with the Lakeside Presbyterian Church Choir. Outside of music, Corby is a big Apple enthusiast and works at the Apple Store. He’s also a member of the San Francisco Victorian Alliance and a docent at the historic Brune-Reutlinger House near Alamo Square Park. Corby lives in the Fillmore District with his husband Kevin.

Sam Faustine Tenor

Corby York Bass

Cheryl Cain Soprano

Adore Alexander Countertenor

Kevin Gino Tenor

Bee en Schuber &

Cheryl Cain, soprano

Adore Alexander, countertenor

Kevin Gino, tenor

Sam Faustine, bass

Corby York, bass

Conductor

Don Scott Carpenter

Music Director

Sunday, March 2, 2025, 4 pm

FRANZ SCHUBERT (1797-1828)

Mass in E-flat Major (Missa solemnis), D. 950

c. 55 minutes

I.Kyrie

II.Gloria

i. Gloria in excelsis

ii. Domine Deus

iii. Quoniam tu solus Sanctus

iv. Cum sancto spiritu

III. Credo

i. Credo in unum Deum

ii. Et incarnatus est

iii. Et resurrexit

iv. Et vitam venturi saeculi

IV. Sanctus

V. Benedictus

VI. Agnus Dei

i. Agnus Dei

ii. Dona nobis pacem

• INTERMISSION •

Symphony No. 5 in C Minor, Op. 67

c. 37 minutes

I. Allegro con brio

II. Andante con moto

III. Scherzo - Allegro

IV. Allegro

Today’s program is sponsored by the Philip Grisier Fund for Music, Dan Anderson, Ambrosia Bakery, and individual gifts to The Lakeside Society.

If you would like to join this amazing group of donors who make sure live music happens in the Lakeside community, please find more information on sponsoring a concert on page 4 and making a general gift on page 22 of this program book.

LUDWIG VAN BEETHOVEN (1770-1827)

Chorus

Texts & Translations

Kyrie eleison. Christe eleison. Kyrie eleison.

Chorus

Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, Adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, Miserere nobis.

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

Soprano and Tenor soloists and Chorus

Credo in unum Deum, factorem coeli et terrae, visibilium omnium et invisibilium.

Credo in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem descendit de coelis.

Et incarnatus est de Spiritu Sancto, ex Maria Virgine; et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

Et resurrexit tertia die secundum Scripturas.

Et ascendit in coelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis.

Lord, have mercy. Christ, have mercy. Lord, have mercy.

Glory to God in the highest, And on earth peace to men of good will. We praise you, we bless you, We adore you, we glorify you. We give you thanks for your great glory. Lord God, King of Heaven, God the Father Almighty. Lord, only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. You who take away the sin of the world Have mercy on us. For you alone are holy, you alone are Lord, You alone are the Most High, With the Holy Spirit in the glory of God the Father, Amen.

I believe in one God, maker of heaven and earth, of all things visible and invisible.. I believe in one Lord Jesus Christ, the only-begotten Son of God, Born of his Father before all worlds. God from God, light from light, True God from true God, through whom all things were made.

Who for us men and for our salvation came down from heaven.

And was incarnate by the Holy Spirit of the Virgin Mary; and was made man. He was crucified for us under Pontius Pilate, suffered and was buried.

And He rose again on the third day in accordance with the Scriptures;

And ascended into heaven, and sits at the right hand of the Father; And He will come again with glory to judge the living and the dead: His kingdom will have no end.

Credo in Spiritum Sanctum Dominum, et vivificantem, qui ex Patre Filioque procedit, Qui cum Patre et Filio simul adoratur, et conglorificatur, qui locutus est per Prophetas.

Confiteor unum baptisma in remissionem peccatorum mortuorum [sic]

Et vitam venturi saeculi. Amen.

Chorus

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

Soloists and Chorus

Benedictus qui venit in nomine Domini. Osanna in excelsis Deo.

Soloists and Chorus

Agnus Dei qui tollis peccata mundi, miserere nobis.

Agnus Dei qui tollis peccata mundi: dona nobis pacem.

And I believe in the Holy Spirit, the Lord and giver of Life, who proceeds from the Father and the Son; Who with the Father and the Son is worshipped and glorified, who spoke through the prophets.

I acknowledge one baptism for the remission of sins of the dead [sic]

And the life of the world to come. Amen.

Holy, holy, holy Lord God of Hosts. Heaven and earth are full of your glory, Hosannah to God in the highest.

Blessed is He who comes in the name of the Lord. Hosannah to God in the highest.

Lamb of God, who takes away the sins of the world, have mercy on us.

Lamb of God, who takes away the sins of the world, grant us peace.

Adult Beginning Music Theory

Tuesdays May 6 - June 10 1pm - 2 pm

Bakery has been satisfying the taste buds and sweet tooths of San Francisco’s Lakeside neighborhood community, loyal customers, and out-of-town guests since 1988.

Ambrosia

Are you an established teacher looking for a new place to teach or are you interested in creating a music studio or other types of arts education?

Contact Don Scott Carpenter at dscarpenter@lakesideartsacademy.org.

Children • Youth • Adults

Welcome to Lakeside Performing Arts Academy – Your City’s Premier Hub for Music Education!

Whether you’re a child discovering music for the first time, a youth eager to refine your talents, a young adult pursuing a professional path, or a senior looking to reignite your passion for the arts, Lakeside Performing Arts Academy is here for you.

Our expert instructors provide comprehensive training tailored to all skill levels, from beginners to advanced musicians. We are dedicated to fostering creativity, excellence, and personal growth in a supportive and inclusive environment.

Programs for All Ages:

Children & Youth – Engaging group classes, private lessons, and performance opportunities to build confidence and a love for music.

Young Adults – Advanced training, ensemble experiences, and career development for aspiring professionals.

Mature Adults & Seniors – A welcoming space to explore music at any stage of life, whether for personal enrichment or performance.

At Lakeside Performing Arts Academy, we cultivate a lifelong appreciation for the performing arts, enriching our community through meaningful artistic expression. Join us and discover the joy of making music!

PARENTS & TOTS

Tuesdays in March, 10 am

Join us for a special gathering of songs and storytime, designed for parents and their little ones, from babies to pre-preschool age. This is a wonderful opportunity for little ones to socialize and for parents to connect with others in the community. Pastor Pamela, who was the Read Aloud Lady at Borders Bookstore for eight years, is bringing back the vibrant energy she created for parents and children. We're excited to share this oﬀering with you—and it’s completely FREE! Come have fun with us every Tuesday at 10 AM throughout the month of March. We can’t wait to see you there!

Starts March 4

Free and open to Everyone

Why support us?

Supporting the Lakeside Symphony financially ensures the continued growth of a vibrant musical community that brings world-class performances to San Francisco. Your generosity allows us to present inspiring concerts, commission new works, and provide opportunities for emerging artists.

With your support, we can maintain artistic excellence while making music accessible to all through outreach programs, educational initiatives, and low cost community performances. Contributions help sustain our talented musicians, cover operational costs, and fund exciting collaborations with guest artists and composers.

Music has the power to uplift, heal, and unite. By investing in the Lakeside Symphony, you become a vital part of preserving and expanding the rich tradition of orchestral and choral music in our city. Whether you’re passionate about classical masterpieces, innovative new works, or fostering the next generation of musicians, your financial support makes a lasting impact. Join us in ensuring the future of exceptional music-making in the Lakeside community!

To make a contribution, visit LakesideSymphony.org/giving or send a check to:

Lakeside Symphony & Chorus

201 Eucalyptus Drive

San Francicso, CA 94132

Lakeside Symphony is a 501(c)3 not-for-profit organization.