Founded in 2023, Vox Humana SF is a dynamic professional chorus dedicated to celebrating the beauty and power of the human voice within San Francisco’s vibrant and diverse cultural landscape.
With a desire for versatility and excellence, we perform a wide range of choral music, spanning centuries and genres. From the timeless masterpieces of the classical repertoire to the innovative works of contemporary composers, we offer performances that are both artistically enriching and emotionally compelling.
Our commitment to quality is evident in our meticulous preparation and the high standards of our performances. We breathe new life into beloved traditional works while embracing the future of choral music by commissioning and performing new compositions from living composers. This dedication to both tradition and innovation ensures that our programs remain fresh, engaging, and relevant.
Believing in the power of choral music to inspire, uplift, and unite, we are devoted to making our performances accessible to a broad audience and fostering a deep connection with our community. Through our concerts and collaborative projects, we aim to enrich the cultural fabric of San Francisco and beyond.
In all that we do, we seek to create transformative experiences for our audiences, celebrating the profound emotional and expressive potential of the human voice. We are not just a performing ensemble but a vibrant community of artists sharing the joy and beauty of choral music with the world.
VOX HUMANA SF, INC.
1559 Sloat Boulevard, Suite B, No. 122, San Francisco, CA 94132 | VoxHumanaSF.org | @VoxHumanaSF Vox Humana SF, Inc. is a 501(c)3 not-for-profit organization.
Vox Humana SF in Grace Cathedral, November 8, 2024
Photo credit: Erick Palafox
Welcome to Vox Humana SF’s Voyages Concert! It is my great pleasure to welcome you all to Voyages, a program that takes us on a musical journey across time, place, and emotion. As Founder and General Director of Vox Humana SF, I am continually inspired by the transformative power of choral music to connect us to one another and to the shared stories of humanity. Tonight’s performance invites you to embark on a voyage that transcends the boundaries of geography and language, exploring the universal themes of adventure, discovery, and longing.
Our program spans centuries and continents, featuring works that evoke the mysteries of the sea, the boundless skies, and the depths of the human spirit. From ancient melodies rooted in tradition to contemporary compositions that push the boundaries of choral expression, each piece has been chosen to transport and inspire you. My hope is that as you listen, you’ll find yourself immersed in a soundscape that stirs your imagination and moves your soul.
Throughout the evening, you will hear music that draws upon diverse cultural and historical influences, painting vivid landscapes and telling stories that resonate across generations. Some pieces may bring to mind the awe of standing on a vast shoreline, gazing out at an infinite horizon, while others may evoke the quiet introspection of a starry night or the exuberance of setting sail toward the unknown. Each composition offers a unique perspective on the themes of exploration and reflection, inviting you to experience the music both as an individual and as part of a collective journey.
I am incredibly proud of the dedication and artistry of our singers, whose voices breathe life into these pieces. Their hard work and passion make this journey possible, and their commitment to excellence ensures that every performance is a meaningful and memorable experience. I am also deeply grateful to our creative team, whose vision and expertise have shaped this program into a cohesive and compelling narrative.
Don
Scott Carpenter (He/Him) Founder & General Director
Hometown: Louisville, KY
Residence: San Francisco, CA
Finally, I want to extend my heartfelt thanks to you, our audience, for your support and enthusiasm. Your presence tonight is a testament to the enduring power of live performance and the unique magic that happens when we come together to share in the beauty of music. In a world that often feels fragmented, choral music has the extraordinary ability to remind us of our shared humanity and the profound connections that bind us.
Thank you for joining us on this voyage. May the music carry you to places both new and familiar, filling your heart with wonder and your spirit with joy. As we navigate this evening’s journey together, let us celebrate the boundless possibilities of the human voice and the unifying power of song.
With gratitude,
Don Scott Carpenter Founder and General Director Vox Humana SF
Don Scott Carpenter is a distinguished composer, conductor, and organist based in San Francisco. As the Founder and General Director of Vox Humana SF, he engages audiences through profound musical interpretations. Currently, he serves as the Organist and Director of Music & Engagement at Lakeside Presbyterian Church, where he leads a multi-faceted program, as well as the Lakeside Community Choir and Camerata. Mr. Carpenter’s extensive experience includes prestigious 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. His choirs have performed in celebrated venues worldwide, including Carnegie Hall and the Dom in Salzburg. He has commissioned world premieres and produced recordings including Shalom and O Sing Joyfully. With an unwavering commitment to musical excellence and innovation, Mr. Carpenter is dedicated to enriching the cultural landscape of San Francisco and beyond.
Our Supporters
With gratitude, Vox Humana SF acknowledges gifts given between February 1, 2024 - January 31, 2025.
FOUNDER’S CIRCLE
Gifts of $20,000 and above
Robert Ripps & Steven Spector
•
PRESIDENT’S CIRCLE
Gifts of $10,000-$19,999
Theodore Ueki & Philip Goward
•
CONDUCTOR’S CIRCLE
Gifts of $5,000-$9,999
Don Scott Carpenter & Erick Palafox
Margaret Elam
•
SINGER’S CIRCLE
Gifts of $2,500-$4,999
James R. Meehan
• PATRON
Gifts of $1,000-$2,499
Bob Ellis
Robert Walker & Ernest Phinney in honor of Robert Ripps
BENEFACTOR
Gifts of $500-$999
Daniel Anderson
Carolyn Clark Beedle
Naomi Braun
Cheryl Cain & Seth Ford
Marna Clark
• SUSTAINER
Gifts of $250-$499
Janet Cluff
Steven Mendoza
Judith J. Murio & Todd Jolly
Andrew S. Ripps
Cynthia A. Sawtell
• CONTRIBUTORS
Gifts up to $249
Ralph Barhydt
Elizabeth Leep
Rulon Linford
Ceil Scandone
Nadine Weil
Vox Humana SF is a not-for-profit 501(c)3 corporation. Donations may be tax-deductible, please check with your tax accountant for more information.
Strength and Wisdom
In the new Lunar New Year, the Snake is regarded as a symbol of strength and wisdom, qualities we generally need to better navigate the to be expected twists and turns of life. Since we performed our Vespers program for you back in November at Grace life has become more treacherous already for some, more precarious for many and I would dare say for all of us eventually. We’ll need every bit of fortitude we can muster to withstand and at times thwart what lies ahead. I am convinced that among the many places we can turn for strength and wisdom are the Arts, whether visual, literary, dramatic, or musical.
At Vox Humana we remain committed to the belief that music has the power to inspire, uplift, and bring people together. We strive to create a transformative experience for our audiences, celebrating the profound emotions and expressive potential of the human voice. We aim to enrich the cultural fabric of the Bay Area and beyond through our concerts and collaborative projects, inspiring, empowering, and connecting more people through choral music. We believe that diverse perspectives lead to better ideas, more effective problem-solving, and greater creativity in our artistic, administrative and board work.
We are delighted you are here this evening but must confess we are already dreaming of a new season this October and next February. To make that happen we vitally need your support right now so that our current fiscal year ends positively. Our sincere gratitude to all of you who have purchased tickets and/or contributed to date. Thanks to you we are encouraged that this goal is achievable. Surpassing our current goal would help to ensure that a new season is feasible. It’s not too early to consider sponsorships for our 2025-26 season. Available for as little as $250 to $25,000 you can a find a level of support that is meaningful to you (please see page 19).
Thank you and stay strong,
Robert Ripps President, Board of Directors
Margaret Elam (She/Her) Secretary
Treasurer
Robert Ripps (He/Him) President
Theodore Ueki (He/Him) Board Member
Steven Spector (He/Him)
Sopranos
KELLY BALLOU She/Her
Hometown: Louisville, KY
Residence: San Francisco, CA
Kelly earned a Bachelor’s in Music Performance from the University of Louisville and a Master’s in Voice and Opera from the University of Cincinnati. Specializing in Baroque opera, she has performed with groups such as Opera Lafayette and Bourbon Baroque. Career highlights include singing on the Civilization VI soundtrack and the Grammy-winning album Terry Riley: Sun Rings. Her choral credits feature performances with the San Francisco Symphony Chorus, Cappella SF, and international festivals.
KAT DEININGER She/Her
Hometown: Seattle, WA
Residence: Oakland, CA
Katrina recently moved to the Bay Area. She previously lived in Seattle for about 15 years, where she completed her Bachelor of Music at University of Puget Sound and Master of Music at University of Washington. Favorite roles include Susanna in W.A. Mozart’s Le nozze di Figaro, Pamina in Mozart’s Die Zauberflöte, Giannetta in Gaetano Donizetti’s L’elisir d’amore and Gretel in Engelbert Humperdinck’s Hansel and Gretel. She studies with Dr. Kari Ragan.
BECKY LAU She/Her
Hometown: Hong Kong
Residence: Foster City, CA
Becky is from Hong Kong and is passionate about early and contemporary choral music. She has performed with professional choirs such as 21V, San Francisco Symphony Chorus, and Volti. Currently, she is a soprano section leader and soloist at Christ Church Los Altos. Recently, Becky was a soloist for Sonic Blossom exploring the power of song in fostering social connection. She also holds a doctorate in behavioral science and is a published author in psychology research journals.
CHERYL CAIN She/Her
Hometown: San Francisco, CA
Residence: San Francisco, CA
Cheryl sings with the San Francisco Opera, San Francisco Symphony, American Bach Soloists, Philharmonia Baroque Orchestra, and others. She holds a Master of Music from the Manhattan School of Music and a Bachelor of Music from the San Francisco Conservatory of Music. She pursued post-graduate opera studies in Florence, Italy, and 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, teaching voice and violin.
RHIANNON GUEVIN She/Her
Hometown: San Francisco, CA
Residence: Sitka, AK
Rhiannon was born and raised in Northern California, she now resides in Sitka, Alaska, where she is Operations Director for the Sitka Fine Arts Camp. She also teaches voice at the camp’s summer sessions and has adjudicated Alaska’s State Solo and Ensemble Music Festival. Rhiannon graduated summa cum laude from the University of Puget Sound with a BM in Vocal Performance. She has performed various roles, including Sophie in Der Rosenkavalier and Olive in The 25th Annual Putnam County Spelling Bee
KELSEY LINNETT She/Her
Hometown: Oakland, CA
Residence: Richmond CA
A bright addition to any stage, Kelsey Linnett delights audiences with her passion and precision. Born and raised in Oakland, California, she started performing at age 4 and never stopped. She has degrees from Yale University and UC Berkeley Law and has worked as a trial lawyer and singer for over a decade. An accomplished liturgical musician, she currently sings at the Cathedral of Christ the Light in Oakland.
Altos
ADORE ALEXANDER He/Him
Hometown: Salinas, CA
Residence: Oakland, CA
Adore has been hailed as “exceptional” by The Harlem Globe, he is an artist known for captivating performances that blend contemporary literature with classic gems. A graduate of Morehouse College, he was a soloist with the Glee Club and received his Master’s in Voice and Opera from Northwestern. He has performed works including Britten’s Canticle II, Duruflé’s Requiem, and Orff’s Carmina Burana. Adore champions new narratives that amplify marginalized voices and seeks collaborations to enrich the classical music landscape.
SAM FAUSTINE He/Him
Hometown: San Francisco, CA
Residence: New York, NY
Sam is a native San Franciscan and performs a wide range of genres, from Baroque opera to modern musical theatre. He recently toured with Broadway’s A Christmas Carol and appeared as a soloist with the San Francisco Symphony in Carmina Burana. Sam has performed across the US, Europe, and China in roles such as Tony in West Side Story and Candide in Candide, and sings with ensembles like the Byrd Ensemble. He also fronts a QUEEN cover band as Freddie Mercury.
PETER KENTON HE/HIM
Hometown: Oakland, CA
Residence: Oakland, CA
Brie is equally at home performing choral, opera and musical theatre repertoire and sings consistently in all three fields. She has performed and soloed with numerous groups, including the San Francisco Symphony, Princess Cruise Lines, West Edge Opera and Vox Humana SF. Additionally, Ms. Martin holds a double Masters of Public Health and City Planning from UC Berkeley; when not onstage, she is proud to work for environmental justice in West Oakland.
SALLY MOUZON She/Her
Hometown: Herndon, VA
Residence: Belmont, CA
Sally Mouzon is a Virginia native wellknown to Bay Area audiences. She made her professional debut at the age of 16 as Cherubino in a Washington, DC production of The Marriage of Figaro. She appears frequently as a soloist in both opera and concert work, as well as being a frequent recitalist. Ms. Mouzon made her solo debut at SF Opera as a Fisherwoman in Peter Grimes, and she has created roles in three world premieres with the company. She has sung with the SF Symphony Chorus, SF Choral Artists, and SF Renaissance Voices.
BRIEANNE MARTIN She/They
Hometown: Napa, CA
Residence: Oakland, CA
Brie is equally at home performing choral, opera and musical theatre repertoire and sings consistently in all three fields. She has performed and soloed with numerous groups, including the San Francisco Symphony, Princess Cruise Lines, West Edge Opera and Vox Humana SF. Additionally, Ms. Martin holds a double Masters of Public Health and City Planning from UC Berkeley; when not onstage, she is proud to work for environmental justice in West Oakland.
LEANDRA RAMM She/Her
Hometown: New York, NY
Residence: Pittsburg, CA
Leandra performed with SFSymphony in Ecstacy at SoundBox and as a soloist in Bernstein’s Chichester Psalms and Bach’s Magnificat. Highlights include L’enfant et les Sortilèges (Pacific Symphony), West Side Story (Opera San Jose), and Cunning Little Vixen (West Edge Opera and Pocket Opera). She appears with SF Opera, Cal Performances, Philharmonia Baroque, and American Bach Soloists. International credits include Buxton Opera (UK) and London Philharmonic. She is featured on SF Opera Guild’s album of Lucinda y las Flores de la Nochebuena
William Betts HE/HIM
Hometown: Walnut Creek, CA
Residence: Oakland, CA
Will Betts studied low brass and voice while at the University of the Pacific, graduating with a degree in Music Management. As a singer, he has performed with a variety of ensembles throughout the Bay Area, including AVE, Clerestory, Volti, the Kronos Quartet, Saint Lawrence, and Del Sol String Quartets, and has toured internationally with Pacific Boychoir Academy and The Choir of Oxford. As a jazz trombonist, he has performed with such artists as Dave Brubeck, Christian McBride, Phil Woods, and Wayne Bergeron. During the day, Will works as the manager of the Palo Alto Chamber Orchestra.
EMILIO PENA He/Him
Hometown: Fresno, CA
Residence: San Francisco, CA
Emilio is a San Francisco-based singer specializing in Gregorian Chant, Renaissance, and Baroque music. Originally from Fresno, CA, he began as a trumpet player before discovering his passion for singing in college. He holds a BM in Choral/Vocal Education from CSU, Long Beach, and has served as a cantor and section leader at Christ Cathedral and St. Dominic’s. This is Emilio’s first season with Vox Humana SF, where he’s excited to join such a talented ensemble.
TIM SILVA He/Him
Hometown: Hayward, CA
Residence: Richmond, CA
Tim sings regularly with Volti, Gaude, and San Francisco Symphony Chorus. He has soloed at the Berkeley Early Music Festival with California Bach Society. Tim has worked with Bay Area choirs for over ten years, working with the San Francisco Boys Chorus, Piedmont East Bay Children’s Choirs, and Pacific Boychoir Academy. An active collaborator, he has performed and/or recorded with Artists’ Vocal Ensemble, Chalice Consort, Kronos Quartet, Marin Symphony, ODC/Dance, Russian National Orchestra, San Francisco Choral Artists, and others.
Tenors
ELIOTT ENCARNACION HE/HIM
Hometown: Livonia, MI
Residence: San Francisco, CA
Eliott is a composer and conductor specializing in choral and operatic repertoire. He has soloed with the San Francisco Symphony, California Bach Society, and Dessoff Choirs. Frequently heard in choral contexts, he collaborates with ensembles in New York, Santa Fe, and the Bay Area, and has recorded for Delos and Decca labels. Elliott has also served as Artistic Director for Opera Theater Unlimited and Prodigal Opera Theatre, and was Composer in Residence for the International Orange Chorale in San Francisco.
RYAN S. PETERSON He/Him
Hometown: Tucson, AZ
Residence: San Francisco, CA
Ryan is a San Francisco-based singer known for his performances in several Bay Area ensembles, including the San Francisco Symphony Chorus and Cappella SF. He has collaborated with the Kronos Quartet and occasionally performs with the Seattle-based Byrd Ensemble. In addition to his musical pursuits, Ryan holds a doctorate in computer science and works as a software engineer, balancing his passion for music with a career in technology.
TOAN THANH NGUYEN He/Him
Hometown: Vacaville, CA
Residence: San Francisco, CA
Toan captivates audiences with a voice admired for its warmth and clarity. A graduate of the Juilliard Pre-College program, he combines his passion for musical storytelling with emotionally rich performances. Currently immersed in advanced vocal studies, Toan performs on various stages, striving to connect deeply with audiences and share the enduring beauty of classical music.
Basses
DANIEL BRAKEFIELD He/Him
Hometown: Macomb, IL
Residence: Livermore, CA
Daniel is a Bay Area bass-baritone and AGMA member, passionate about music, food, and cocktails. He holds a bachelor’s degree from Western Illinois University and a master’s from California State University, East Bay. Brakefield has performed roles in Le Nozze di Figaro, Die Zauberflöte, and Gianni Schicchi, and appeared as a soloist in works by Haydn, Handel, and Beethoven. He has also recorded for Civilization and performed with the San Francisco Symphony, Volti, and Cappella SF.
MATTHEW PETERSON He/Him
Hometown: Roseville, MN
Residence: San Francisco, CA
Matthew specializes in new music and film/game soundtracks. Hailed by the SF Classical Voice for his “velvety baritone”, he has made 15 solo appearances with the San Francisco Symphony, and is a regular soloist with Sonoma Bach. His voice can be heard on the video game soundtracks of Lord of the Rings: Return to Moria (protagonist) and the upcoming Death Stranding 2. He is a member of the San Francisco Symphony Chorus and the Byrd Ensemble. He studied piano and voice at Santa Clara University.
CORBY YORK He/Him
Hometown: Elwood, IN
Residence: San Francisco, CA
Corby is a distinguished soloist recognized in the San Francisco Bay Area for his “powerful and expressive voice.” He currently sings with the Lakeside Symphony and Chorus and Vox Humana SF. His impressive career includes soloist roles with the San Francisco Gay Men’s Chorus, the San Francisco Symphony Orchestra, the Indianapolis Men’s Chorus, and the Indianapolis Symphony Orchestra. Corby’s artistry captivates audiences and elevates the choral and orchestral music scene throughout the region.
CLAYTON MOSER He/Him
Hometown: Charleston, SC
Residence: Oakland, CA
Clayton was born and raised in Charleston, South Carolina. He is actively involved with multiple choirs on both coasts including the San Francisco Symphony, The Byrd Ensemble in Seattle, and the Taylor Festival Choir in Charleston, SC. The SF Conservatory of Music drew him to California to study Composition with Dan Becker for his Masters. He is an active Sound healer, utilizing his certificate in Sound, Voice, and Music Healing from the California Institute of Integral Studies in his Compositional Healing endeavors with clients.
JOEY VALKEVICH He/Him
Hometown: Lafayette, CA
Residence: Martinez, CA
Joey, a native of Lafayette, CA, began his musical journey as a jazz trumpeter. He discovered choral music in high school under Bruce Lengacher and honed his vocal technique at Gonzaga University with Derrick Parker. After returning to California, he sang with the San Francisco Choral Artists under Magen Solomon for three years before joining San Francisco Renaissance Voices. A bass section leader at St. John’s Presbyterian Church since 2012, Joey is thrilled to sing with Vox Humana SF this season under Don Scott Carpenter.
VOYAGES
Conductor
Don Scott Carpenter
General Director
Voyages invites audiences on a captivating musical journey across time and cultures, exploring themes of adventure, discovery, and longing through diverse choral works spanning centuries and continents.
Friday, February 14, 2025, 7:30 pm
St. Stephen’s Episcopal Church Belvedere
Saturday, February 15, 2025, 7:30 pm
St. Mark’s Lutheran Church San Francisco
Sunday, February 16, 2025, 4:00 pm The 222 Healdsburg
Johannes Brahms
B. 1833, Hamburg
D. 1897, Vienna
Tomás Luis de Victoria B. 1548, Ávila
D. 1611, Madrid
Jose Daniel Vargas
B. 2001, Tucson
John Corigliano B. 1938, New York
Fest- und Gedenksprüche, Op. 109 • 1888
I. Unsere Väter hofften auf dich II. Wenn ein starker Gewappneter III. Wo ist ein so herrlich Volk
Alma Redemptoris Mater á 8 • c. 1581
God’s World • 2024 (World Premiere Commission)
L’invitation au Voyage • 1971
• INTERMISSION •
Jake Heggie
B. 1961, West Palm Beach
Jacob Mühlrad B. 1991, Stockholm
Gustav Mahler
B. 1860, Kaliste D.1911, Vienna arr. Lukas Haselbock (2022)
Eric Whitacre B. 1970, Reno
Stop This Day and Night With Me • 2015
Ay Li Lu (somewhere in infinity) • 2023 (US Premiere)f
Ich bin der Welt abhanden gekommem • 1901/1902
Leonardo Dreams of His Flying Machine • 2001
This concert is sponsored by Theodore Ueki & Philip Goward
Texts & Translations
Fest- und Gedenksprüche • Brahms
Unsere Väter hofften auf dich; und da sie hofften, halfst du ihnen aus. Zu dir schrieen sie und wurden errettet; sie hofften auf dich und wurden nicht zu Schanden.
Der Herr wird seinem Volk Kraft geben; der Herr wird sein Volk segnen mit Frieden.
In thee have our fathers hoped: they have hoped, and thou hast delivered them. They cried to thee, and they were saved: they trusted in thee, and were not confounded.
The Lord will give strength to his people: the Lord will bless his people with peace.
Psalm 21(22):5,6; Psalm 28(29):11
Wenn ein starker Gewappneter seinen Palast bewahret, so bleibet das Seine mit Frieden.
Aber: ein jeglich Reich, so es mit ihm selbst uneins wird, das wird wüste; und ein Haus fället über das andere.
When a strong man fully armed guards his palace, his possessions are safe.
Every kingdom divided against itself will be laid waste and house will fall against house. Luke 11:22, 17b
Wo ist ein so herrlich Volk, zu dem Götter also nahe sich tun als der Herr, unser Gott, so oft wir ihn anrufen.
Hüte dich nur und bewahre deine Seele wohl, dass du nicht vergessest der Geschichten, die deine Augen gesehen haben, und dass sie nicht aus deinem Herzen kommen alle dein Leben lang. Und sollst deinen Kindern und Kindeskindern kund tun. Amen.
For what nation is there so great, who hath God so nigh unto them, as the LORD our God is in all things that we call upon him for?
Only take heed to thyself, and keep thy soul diligently, lest thou forget the things which thine eyes have seen, and lest they depart from thy heart all the days of thy life: but teach them to thy sons, and thy sons’ sons.
Deuteronomy 4:8,9
Alma Redemptoris Mater - Victoria
Alma Redemptoris Mater, quæ pervia cæli porta manes, et stella maris, succurre cadenti surgere qui curat populo: Tu quæ genuisti, natura mirante, tuum sanctum Genitorem: Virgo prius ac posterius, Gabrielis ab ore sumens illud ave, peccatorum miserere.
Loving Mother of the Redeemer, who remains the gate by which we mortals enter heaven, and star of the sea, help your fallen people who strive to rise: You who gave birth, amazing nature, to your sacred Creator: Virgin prior and following, taking from the mouth of Gabriel that Hail! Have mercy on our sin.
God’s World - Vargas
O world, I cannot hold thee close enough! Thy winds, thy wide grey skies! Thy mists, that roll and rise! Thy woods, this autumn day, that ache and sag And all but cry with colour! That gaunt crag To crush! To lift the lean of that black bluff! World, World, I cannot get thee close enough!
Long have I known a glory in it all, But never knew I this; Here such a passion is As stretcheth me apart,—Lord, I do fear Thou’st made the world too beautiful this year; My soul is all but out of me,—let fall No burning leaf; prithee, let no bird call.
-Edna St. Vincent Millay
L’invitation au voyage • Corigliano
My child, my sister, dream How sweet all things would seem Were we in that kind land to live together And there love slow and long, There love and die among Those scenes that image you, that sumptuous weather.
Drowned suns, that glimmer there Through cloud-disheveled air
Move me with such a mystery as appears Within those other skies
Of your treacherous eyes
When I behold them shining through their tears.
There, there is nothing else but grace and measure Richness, quietness, and pleasure.
Furniture that wears the lustre of the years, Softly would glow within our glowing chamber Flowers of rarest bloom proffering their perfume Mixed with the vague fragrances of amber;
Gold ceilings would there be, Mirrors deep as the sea, The walls all in Eastern splendor hung, Nothing but should address The soul's loneliness, Speaking her sweet and secret native tongue.
There, there is nothing else but grace and measure Richness, quietness, and pleasure. See, sheltered from the swells There in the still canals
Those drowsy ships that dream of sailing forth; It is to satisfy Your least desire, they ply Hither through all the waters of the earth.
The sun at close of day, Clothes the fields of hay, Then the canals, at last the town entire In hyacinth and gold
Slowly the land is rolled Sleepward under a sea of gentle fire.
There, there is nothing else but grace and measure Richness, quietness, and pleasure.
Text by Charles Baudelaire (1821-1867)
Translated by Richard Wilbur (1921-2017)
Stop this Day and Night With Me - Heggie
Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun.... there are millions of suns left, You shall no longer take things at second or third hand.... nor look through the eyes of the dead.... nor feed on the spectres in books, you shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from yourself.
-Walt Whitman Leaves of Grass
Shlof shoyn shlof
In ziser ruh
Aaaaai lu lu lu lu lu
Sleep now my dear birdie
Close now your Kosher eyes
Sleep now sleep
In sweet rest
Aaaaai lu lu lu lu lu
Shlof main yingale shlof
Sleep my little angel sleep
Shlof doorkh di gantse nakht
Iber dayn kepele malekh’lach
Makh shoyn dayn aykelekh tsu
Ai li lu li lu
Sleep through the entire night
Over your head little angels
Close now your little eyes
Ai li lu li lu
Daybelakh, hindelakh, faygelakh
Tsigelakh, kelbelakh, shof un rinder
Shlofen un rooehn yetst aleh baynakht
Vi di klayne kinder
Doves, hens, birds
Goats, calves, sheep, and cows
Are all sleeping and resting now by night
Like the small children
Sholf shoyn mayn faygele
Makh shoyn tsu dayn aygele
Ikh bin shoyn meed atsind
Sleep now my little birdie
Close now your eyes
I am already tired now
3.14159265358979323846264338327950
Ay Li Lu - Mühlrad
Ai li lu li lu li, ai li lu li lu
Ai li lu li lu li, ai li lu li lu
Shlof shoyn mayn tayer faygele
Makh shoyn tsu dayn kosher aygelekh
-Traditional
The value of the number Pi is recited as part of the text.
Ich bin der Welt abhanden gekommen - Mahler
Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben!
Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält,
Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt. Ich bin gestorben dem Weltgetümmel, Und ruh’ in einem stillen Gebiet!
Ich leb’ allein in meinem Himmel, In meinem Lieben, in meinem Lied!
I am lost to the world
With which I used to waste much time; It has for so long known nothing of me, It may well believe that I am dead. Nor am I at all concerned If it should think that I am dead. Nor can I deny it, For truly I am dead to the world. I am dead to the world’s tumult And rest in a quiet realm! I live alone in my heaven, In my love, in my song!
-Friedrich Rückert
Leonardo Dreams of His Flying Machine - Whitacre
Leonardo Dreams of his Flying Machine...
Tormented by visions of flight and falling, More wondrous and terrible each than the last, Master Leonardo imagines an engine To carry a man up into the sun...
And as he’s dreaming the heavens call him, “Leonardo. Leonardo, vieni á volare”. (“Leonardo. Leonardo, come fly”.)
L’uomo colle sua congiegniate e grandi ale, facciendo forza contro alla resistente aria.
(A man with wings large enough and duly connected might learn to overcome the resistance of the air.)
II. Leonardo Dreams of his Flying Machine...
As the candles burn low he paces and writes, Releasing purchased pigeons one by one Into the golden Tuscan sunrise... And as he dreams, again the calling, The very air itself gives voice: “Leonardo. Leonardo, vieni á volare”. (“Leonardo. Leonardo, come fly.”) Vicina all’elemento del fuoco... Scratching quill on crumpled paper, Rete, canna, filo, carta.
Images of wing and frame and fabric fastened tightly. ...sulla suprema sottile aria.
III. Master Leonardo Da Vinci Dreams of his Flying Machine...
As the midnight watchtower tolls, Over rooftop, street and dome, The triumph of a human being ascending In the dreaming of a mortal man. Leonardo steels himself, takes one last breath, and leaps...
-Charles
Anthony Silvestri with Italian texts from the notebooks of Leonardo di Vinci
OUR MISSION
Vox Humana SF is a dynamic professional musical ensemble celebrating the beauty and power of the human voice by performing a wide range of choral music that spans centuries and genres. We strive to offer performances that are both artistically enriching and emotionally compelling within the vibrant and diverse cultural landscape of SF Bay Area.
OUR VISION
While we are passionate about presenting the finest in traditional choral music, breathing new life into beloved works, at the same time, we are deeply invested in the future of choral music, actively commissioning and performing new works by living composers. Our chorus is not just a performing ensemble; it is a vibrant community of artists committed to sharing the joy and beauty of choral music with the world, sparking empathy, deepening understanding, and bringing people together, while offering a vision of a kinder, more inclusive world. To stay relevant and thriving, we continuously listen and learn from our communities. By reflecting on our history and role in the arts world, we aim to grow and evolve, ensuring our work remains meaningful and impactful.
Program Notes
Fest- und Gedenkspruche - Brahms
Composed in 1888, Johannes Brahms’ Fest- und Gedenksprüche (Festival and Commemorative Sayings), Op. 109, stands as a masterful example of his deep engagement with choral music and his reverence for sacred texts. Written for unaccompanied mixed choir, this tripartite work was inspired by the rich tradition of German choral singing and the solemn grandeur of Lutheran chorales. Brahms’ choice of texts, drawn from the Bible, reflects themes of justice, community, and divine guidance, offering a contemplative and powerful meditation on humanity’s relationship with God and one another.
The first movement, Unsere Väter hofften auf dich (Our Fathers Hoped in Thee), begins with a noble and expansive texture, underscoring the steadfast faith of past generations. Brahms employs rich harmonic progressions and a firm rhythmic structure, evoking a sense of reverence and timelessness. The contrapuntal writing, reminiscent of Renaissance polyphony, highlights Brahms’ deep respect for historical musical traditions.
The second movement, Wenn ein starker Gewappneter (When a Strong Man, Fully Armed), shifts to a more dramatic tone. With bold dynamic contrasts and intricate voice leading, Brahms vividly depicts the struggle between good and evil. The movement’s tension and rhythmic drive reflect the composer’s ability to convey profound spiritual and psychological depth.
The final movement, Wo ist ein so herrlich Volk (Where is Such a Glorious Nation), celebrates communal unity and divine favor with jubilant and majestic music. The broad, sweeping melodies and intricate choral textures create an uplifting sense of triumph and thanksgiving.
In Fest- und Gedenksprüche, Brahms weaves together spiritual introspection and musical grandeur, creating a work that is both deeply rooted in tradition and profoundly expressive. It remains a testament to Brahms’ mastery of choral writing and his ability to convey profound human emotions through music.
Alma Redemptoris Mater - Victoria
Tomás Luis de Victoria stands as one of the greatest composers of the Spanish Renaissance, renowned for his deeply expressive sacred music. A priest and composer, Victoria spent much of his career in Rome, where he was influenced by the polyphonic style of Palestrina, yet his music possesses a uniquely Spanish intensity and fervor. His Alma Redemptoris Mater for double choir (SSAT/SATB) is a sublime setting of the Marian antiphon traditionally sung from Advent through Candlemas.
This setting, composed for eight voices, is an exquisite example of Victoria’s mastery of polychoral writing. The division into two choirs allows for rich antiphonal exchanges, creating a sense of spatial grandeur and deep devotion. Unlike the Venetian polychoral style, which often favored bold contrasts, Victoria’s approach is more seamless and flowing, with overlapping phrases that interweave in a tapestry of sound.
The text, an invocation to the Virgin Mary as the loving Mother of the Redeemer, inspires music that is both reverent and luminous. The opening is characterized by a gentle, flowing motion, reflecting the text’s supplication, while moments of imitation and carefully placed dissonances heighten the emotional intensity. The piece builds toward moments of radiant harmonic fullness, particularly at the invocation “Tu quae genuisti,” where the voices expand in a glorious plea for divine intercession.
Victoria’s setting of Alma Redemptoris Mater exemplifies his ability to blend technical precision with profound spiritual expression. The balance of clarity and warmth in the choral textures makes this work a cornerstone of the Renaissance sacred repertoire, demonstrating why Victoria remains one of the most beloved composers of the period. His Alma Redemptoris Mater is not just a musical setting of a Marian prayer—it is a deeply moving act of devotion.
God’s World - Vargas (world premiere)
Mother Earth is crying out for help now more than ever before. Providing us with seemingly endless nourishment and boundless beauty, our planet is a precious gift deserving of care and protection. Edna St. Vincent Millay’s ode God’s World portrays someone absolutely enraptured by the beauty of the world. The opening exclamations are almost painful as if the speaker is being torn to pieces by their love for the Earth. Her words resonate with the pain and frustration I feel watching wildfires and superstorms scar the surface of the Earth and destroying countless human lives. The Earth continues to provide for us even as it erodes beneath our feet, though it is anyone’s guess much longer we can afford to squander our precious gift.
- Jose Daniel Vargas
José Daniel Vargas, a dynamic and innovative composer, has gained recognition for his ability to blend contemporary techniques with emotional and spiritual depth. God’s World, commissioned for this performance and receiving its world premiere, is a setting of Edna St. Vincent Millay’s beloved poem of the same name. The piece captures Millay’s awe-inspiring imagery of the natural world and its profound connection to the divine.
Vargas’ harmonic language is rich and evocative, blending tonality with moments of dissonance to convey the tension between the fleeting nature of human experience and the
eternal grandeur of the natural world. His rhythmic choices enhance the text’s emotional contours, with flowing lines that evoke the imagery of wind, sky, and sea.
The piece unfolds as a journey, leading the listener from a quiet, personal encounter with nature to an ecstatic celebration of its splendor. Through dynamic contrasts and imaginative textures, Vargas creates a musical landscape as vibrant and awe-inspiring as Millay’s poetic vision.
L’invtiation au Voyage - Corigliano
This a capella choral work, composed in 1971, is a setting of Richard Wilbur’s translation of Baudelaire’s L’Invitation au Voyage. Wilbur’s poignant setting pictures a world of obsessive imagination — a drugged vision of heaven full of sensual imagery. The music echoes the quality of the repeated refrain found in this lush translation: “There, there is nothing else but grace and measure, richness, quietness and pleasure.”
– John Corigliano
John Corigliano, one of America’s most celebrated contemporary composers, has a remarkable ability to blend the old and the new, drawing on literary, musical, and cultural influences to create works of profound emotional and intellectual depth. L’Invitation au Voyage, written in 1971, is a prime example of Corigliano’s gift for translating evocative texts into lush, expressive soundscapes.
Inspired by Charles Baudelaire’s iconic poem of the same name, L’Invitation au Voyage is a sensuous meditation on the themes of longing, beauty, and escapism. Baudelaire’s poem, rich with imagery of idyllic landscapes and eternal serenity, speaks of a dreamlike world where “all is order and beauty, luxury, peace, and pleasure.” Corigliano’s setting captures the essence of this dream, weaving a tapestry of shimmering orchestral textures and lyrical vocal lines that evoke a journey to an idealized, otherworldly realm.
Corigliano’s L’Invitation au Voyage is scored for soprano and chamber orchestra, and its tonal language reflects his characteristic blend of lyricism and modernity. The work’s harmonic palette often shifts between moments of tender intimacy and sweeping, cinematic grandeur, drawing the listener into a world of lush colors and vibrant contrasts. The voice serves as both narrator and guide, offering an intimate connection to Baudelaire’s text while navigating the rich orchestral landscapes.
The piece also reflects Corigliano’s fascination with exploring the intersection of music and poetry, a hallmark of his compositional output. By transforming Baudelaire’s evocative imagery into a sound world that is at once timeless and deeply personal, Corigliano invites us to embark on a shared journey toward an unattainable yet irresistible vision of paradise. The result is a work of exquisite beauty and haunting allure, a true masterpiece of modern vocal music.
Stop This Day and Night With Me - Heggie
Jake Heggie, one of today’s most prominent composers of vocal and operatic music, has a remarkable ability to bring poetry to life through music. Stop This Day and Night With Me, a setting of text from Walt Whitman’s Leaves of Grass, is no exception. Composed in 1998, the piece showcases Heggie’s gift for creating richly expressive and accessible music that resonates deeply with both performers and audiences.
The text comes from Whitman’s expansive, free-spirited poetry, which celebrates the interconnectedness of humanity, nature, and the cosmos. In Stop This Day and Night With Me, Whitman invites the reader to embrace the present moment, let go of preconceived notions, and experience the world through the poet’s eyes. The text exudes a sense of wonder and transcendence, qualities that Heggie captures vividly in his music.
Heggie’s setting is both lyrical and intimate, reflecting the conversational tone of Whitman’s words. The vocal line unfolds with natural, speech-like rhythms, underscoring the poet’s direct, personal invitation. Meanwhile, the piano accompaniment provides a shimmering, atmospheric backdrop, evoking the vast, open landscapes that Whitman so often celebrated. The harmonies shift fluidly, creating a sense of forward motion and quiet revelation.
Throughout the piece, Heggie balances simplicity and sophistication, allowing the text to take center stage while imbuing it with emotional depth. The music’s gentle ebb and flow mirrors the rhythm of breath and thought, drawing listeners into a reflective, meditative state.
Stop This Day and Night With Me is a poignant and uplifting work that captures the essence of Whitman’s poetic vision. It invites us to pause, connect with the present, and embrace the profound beauty of life’s simple, fleeting moments.
Ay Li Lu (somewhere in infinity) - Mühlrad
Jacob Mühlrad, one of Sweden’s most compelling contemporary composers, creates works that blend ancient traditions with cutting-edge modernity, often exploring themes of spirituality, memory, and the human condition. Ay Li Lu (Somewhere in Infinity), composed in 2017, reflects Mühlrad’s deep engagement with his Jewish heritage and his fascination with the transcendental. The piece takes its title from the Aramaic phrase “Ay Li Lu,” meaning “Where is God?” and offers a haunting meditation on the search for the divine and the infinite.
This choral work is inspired by the mystical and liturgical traditions of Judaism, particularly the ancient cantillation techniques used in Torah readings. The piece also draws on Kabbalistic ideas about the infinite nature of God and the ineffable connection between the divine and the cosmos. Mühlrad uses the human voice as a vessel to explore these profound themes, crafting an evocative and spiritual sound world that invites listeners to reflect on their place within the vastness of existence.
Ay Li Lu unfolds as a continuous journey, with a shimmering, otherworldly opening that gradually builds in intensity. The choir’s ethereal textures and delicate dissonances evoke a sense of mystery and wonder, as if searching for something just beyond reach. The music flows seamlessly through moments of meditative stillness and dramatic urgency, creating a dynamic interplay between tension and release.
Mühlrad’s harmonic language is strikingly original, combining microtonal inflections with lush, resonant chords that seem to stretch into infinity. Rhythmic patterns emerge organically, reminiscent of ancient chants, but with a modern, almost hypnotic pulse. The text is fragmented and repetitive, enhancing its mantra-like quality and inviting the listener to lose themselves in the music’s timeless, sacred atmosphere.
The piece’s climax, marked by soaring vocal lines and dense harmonic layers, conveys a sense of spiritual transcendence, as if reaching for the infinite. However, Mühlrad leaves the ultimate question of divine presence unanswered, allowing the music to dissolve into silence—a poignant reminder of the mystery and elusiveness of the sacred.
In Ay Li Lu, Mühlrad bridges the ancient and the contemporary, offering a deeply personal reflection on themes that resonate universally. The work’s profound spirituality, coupled with its innovative use of vocal timbre and texture, makes it a compelling addition to the repertoire of modern choral music. By exploring the intersections of sound, silence, and the infinite, Ay Li Lu invites listeners on a journey of introspection and wonder, affirming the power of music to connect us with the transcendent.
Ich bin der Welt abhanden gekommem - Mahler
Gustav Mahler’s Ich bin der Welt abhanden gekommen (I Am Lost to the World) is a poignant reflection on solitude and transcendence. Originally composed in 1901 as part of his Rückert-Lieder for voice and orchestra, the piece is a setting of a deeply introspective poem by Friedrich Rückert. Mahler’s music captures the profound stillness and quiet detachment expressed in the text, offering a deeply personal statement on the composer’s yearning for escape from worldly turmoil. In Lukas Haselbock’s transcendent arrangement for 16-part unaccompanied chorus, the intimacy of Mahler’s original is retained, yet transformed. Haselbock, a pioneering arranger and conductor, reimagines the orchestral textures through intricate choral polyphony, expanding the sound world while preserving the work’s ethereal quality. The dense harmonies and sustained vocal lines create a shimmering, luminous atmosphere, drawing the listener into a realm of spiritual reflection.
The text speaks of retreat from the noise of the world into a serene, inner space, where one finds a deeper connection to eternity. Mahler’s music echoes this sentiment through its slow, meditative pace and expansive phrasing. The harmonic language, rich in chromaticism and subtle shifts, evokes a sense of timelessness and infinite stillness.
Haselbock’s arrangement heightens the intimacy and transparency of the piece, with the choir serving as both the voice of the narrator and the embodiment of the surrounding silence. The result is an exquisite interplay of individual lines, blending into a tapestry of sound that envelops the listener in Mahler’s contemplative vision.
Ich bin der Welt abhanden gekommen is a work of profound beauty and spiritual depth, offering a moment of stillness and introspection amid life’s chaos—a musical meditation on the eternal.
Leonardo Dreams of His Flying Machine - Whitacre
Eric Whitacre’s Leonardo Dreams of His Flying Machine (2001) is an evocative and imaginative choral work that brings the visionary mind of Leonardo da Vinci to life. Commissioned by the American Choral Directors Association, this piece is part of Whitacre’s “virtual theater” series, where music and storytelling intertwine to create a vivid, almost cinematic experience.
The text, by poet Charles Anthony Silvestri, is a freeform meditation on Leonardo da Vinci’s dreams of human flight, blending historical, poetic, and fantastical elements. Whitacre’s setting captures the restless, inventive spirit of the Renaissance polymath, whose sketches of flying machines are among his most iconic works. The piece portrays Leonardo as both a dreamer and a scientist, striving to transcend the limitations of his time.
Musically, Whitacre employs a kaleidoscopic array of textures, harmonies, and vocal effects to create an atmosphere of wonder and anticipation. The opening features whispered fragments, as if capturing Leonardo’s quiet musings in the dead of night. These grow into soaring, lyrical lines that suggest the grandeur of his vision. Throughout, the music alternates between moments of serene reflection and dramatic bursts of energy, symbolizing Leonardo’s struggle to bring his dreams to fruition.
A central theme of the work is flight itself, evoked through rapid, fluttering rhythms, ascending melodic lines, and the use of wordless vocalizations that mimic the sound of wind and mechanical motion. The climax of the piece, marked by ecstatic soaring melodies, vividly conveys the moment when dream and reality merge, as Leonardo imagines himself taking to the skies.
Leonardo Dreams of His Flying Machine is a masterful fusion of music and narrative, offering listeners a glimpse into the genius of one of history’s greatest minds and inviting them to share in the timeless human desire to fly.
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Don Scott Carpenter, conductor
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