2015 Summer Festival PROGRAM

2626 Arizona St NE, Albuquerque, NM
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Program
Frostiana (Seven Country Songs on Poems of Robert Frost)!
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!
The Road Not Taken
!
The Pasture
!
Come In
!
The Telephone
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A Girlʼs Garden
!
Stopping by Woods on a Snowy Evening
!
Choose Something Like a Star
Randall Thompson
(1899-1984)
INTERMISSION
Melodious Accord: A Concert of Praise!
!
!
Welcome
!
!
1.!
House of our God
!
!
2.!
Lord, I approach thy mercy-seat
!
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3.!
Come, ye disconsolate
!
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!
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!
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Old Testament
!
4.!
Be joyful in God
!
5.!
The voice of my beloved sounds
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6.!
Guide me, O thou great Jehovah
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!
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Farewells
!
10.!
!
11.!
!
12.!
!
13.!
Alice Parker
(b. 1925)
New Testament
!
7.!
When I survey the wondrous cross
!
8.!
Come, O thou traveler unknown
!
9.!
O how happy are they
That glorious day is drawing nigh
How sweet to reflect
How pleasant thus to dwell below
God moves in a mysterious way!
Ingela Onstad, soprano
Jacqueline Zander-Wall, mezzo-soprano
Jonathan Davidson, tenor
Michael Hix, baritone
The 2015 Quintessence Summer Festival Chorus
Matthew Greer, conductor
If your cell phone rings during the concert, you will be sent down a road less traveled by. Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
About the Program
We only met a week ago.
The 115 singers who comprise the 2015 Quintessence Summer Festival
Chorus gathered for the first time on July 18. We have rehearsed together
for a total of eighteen hours, and will disband after todayʼs performance.
Weʼre like a really slow-moving flash mob.
Thatʼs the fun of it, though. Rather than rehearsing once a week for a
period of months, we gather for a very short, very intense rehearsal
period, in order to put together a convincing performance of a masterwork
or two. This is the third summer Quintessence has sponsored this festival,
and itʼs been a joy to see how enthusiastically local singers have
responded to it.
The first two years we presented two great works of the European canon:
the Fauré Requiem and the Haydn Lord Nelson Mass. This year we
opted not to sing in Latin, and to present two great pieces of Americana,
both by composers from New England.
The “Seven Country Songs” of Randall Thompsonʼs Frostiana have been
well-loved and widely performed since they were premiered in 1959. The
set was commissioned to mark the bicentennial of the founding of the
town of Amherst, Massachusetts. Robert Frostʼs poetry was chosen
because of his long association with Amherst College, and because he
and Thompson were admirers of each otherʼs work. Like many
communities at that time, Amherst had separate choral societies for men
and women. In deference to the limited combined rehearsal time,
Thompson set two of the poems for the menʼs chorus, two for the
womenʼs chorus, and three for their combined forces. Thompson
conducted the premiere, and Frost was on the front row of the audience.
There are conflicting accounts of Frostʼs opinion of the settings, but the
most-repeated story has it that when the last chord of “Choose Something
Like a Star” faded, Frost leapt to his feet and shouted “Sing that
again!” (We probably wonʼt, but youʼre welcome to try.)
Alice Parkerʼs Melodious Accord: A Concert of Praise celebrates
American hymnody in general and Mennonite hymnody in particular.
Written in 1974, it is a collection of tunes and texts from Harmonia sacra,
the shape-note collection published in 1832, and considered to be the
oldest hymnal in continuous use in the states. Many of these texts
(including hymns by Charles Wesley, Isaac Watts and John Newton) are
familiar to us, but not necessarily the tunes to which they are set. In
addition to great writing for the chorus, the piece makes wonderful use of
a solo vocal quartet, as well as brass and harp.
Alice Parker will turn 90 on December 16 of this year. Many American
choruses are making a special effort to perform her music during 2015, in
celebration of her unparalleled contributions to the choral art. We are so
happy and grateful to add our voices to that celebration.
MATTHEW GREER
Matthew Greer
was appointed
Artistic Director of
Quintessence in
2009. He also
serves as Director of Music
and Worship Arts at St Johnʼs
United Methodist Church,
where he directs several
choirs and oversees a
comprehensive music
program. In 2004 and 2007,
he was a Melodious Accord
Fellow, studying song-leading
and score analysis with Alice
Parker. In recent years, he
has conducted performances
of Beethoven's Choral
Fantasy, Bach's Magnificat,
Beethoven's Mass in C Major,
Mozartʼs Requiem, Handelʼs
Messiah, and Karl Jenkinsʼ
The Armed Man: A Mass for
Peace. In 2012, he was
among the recipients of
Creative Albuquerqueʼs
Bravos! Awards, honoring
artistic innovation,
entrepreneurship, and
community impact. He has
recently served as a guest
conductor for the New Mexico
Philharmonic and for the UNM
Concert Choir. A native of
Kansas City, he has degrees
in music education and
theology from Trinity
University and Boston
University. In marrying Amy
Greer twenty-one years ago
this week, he feels like he
chose something very much
like a star.
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Frostiana — Poems by Robert Frost
The Road Not Taken
Come In
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
As I came to the edge of the woods,
Thrush music — hark!
Now if it was dusk outside,
Inside it was dark.
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I —
I took the one less traveled by,
And that has made all the difference.
The Pasture
I’m going out to clean the pasture spring;
I’ll only stop to rake the leaves away
(And wait to watch the water clear, I may):
I sha’n’t be gone long.—You come too.
I’m going out to fetch the little calf
That's standing by the mother. It’s so young
It totters when she licks it with her tongue.
I sha’n’t be gone long.—You come too.
Too dark in the woods for a bird
By sleight of wing
To better its perch for the night,
Though it still could sing.
The last of the light of the sun
That had died in the west
Still lived for one song more
In a thrush's breast.
Far in the pillared dark
Thrush music went —
Almost like a call to come in
To the dark and lament.
But no, I was out for stars;
I would not come in.
I meant not even if asked;
And I hadn't been.
The Telephone
‘When I was just as far as I could walk
From here today,
There was an hour
All still
When leaning with my head again a flower
I heard you talk.
Don't say I didn’t, for I heard you say—
You spoke from that flower on the window sill—
Do you remember what it was you said?’
‘First tell me what it was you thought you heard.’
‘Having found the flower and driven a bee away,
I leaned on my head
And holding by the stalk,
I listened and I thought I caught the word—
What was it? Did you call me by my name?
Or did you say—
Someone said “Come”— I heard it as I bowed.’
‘I may have thought as much, but not aloud.’
‘Well, so I came.’
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
A Girl’s Garden
Stopping by Woods on a Snowy Evening
A neighbor of mine in the village
Likes to tell how one spring
When she was a girl on the farm, she did
A childlike thing.
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
One day she asked her father
To give her a garden plot
To plant and tend and reap herself,
And he said, “Why not?”
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
In casting about for a corner
He thought of an idle bit
Of walled-off ground where a shop had stood,
And he said, “Just it.”
And he said, “That ought to make you
An ideal one-girl farm,
And give you a chance to put some strength
On your slim-jim arm.”
It was not enough of a garden
Her father said, to plow;
So she had to work it all by hand,
But she don’t mind now.
She wheeled the dung in a wheelbarrow
Along a stretch of road;
But she always ran away and left
Her not-nice load,
And hid from anyone passing.
And then she begged the seed.
She says she thinks she planted one
Of all things but weed.
A hill each of potatoes,
Radishes, lettuce, peas,
Tomatoes, beets, beans, pumpkins, corn,
And even fruit trees.
And yes, she has long mistrusted
That a cider-apple
In bearing there today is hers,
Or at least may be.
Her crop was a miscellany
When all was said and done,
A little bit of everything,
A great deal of none.
Now when she sees in the village
How village things go,
Just when it seems to come in right,
She says, ‘I know!
‘It’s as when I was a farmer—‘
Oh, never by way of advice!
And she never sins by telling the tale
To the same person twice.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Choose Something Like a Star
O Star (the fairest one in sight),
We grant your loftiness the right
To some obscurity of cloud—
It will not do to say of night,
Since dark is what brings out your light.
Some mystery becomes the proud.
But to be wholly taciturn
In your reserve is not allowed.
Say something to us we can learn
By heart and when alone repeat.
Say something! And it says, ‘I burn.’
But say with what degree of heat.
Talk Fahrenheit, talk Centigrade.
Use language we can comprehend.
Tell us what elements you blend.
It gives us strangely little aid,
But does tell something in the end.
And steadfast as Keats’ Eremite,
Not even stooping from its sphere,
It asks a little of us here.
It asks of us a certain height,
So when at times the mob is swayed
To carry praise or blame too far,
We may choose something like a star
To stay our minds on and be staid.
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
About the Artists
Soprano
Ingela
Onstad has
enjoyed a
varied
international career in
opera, concert work, and
contemporary music.
Operatic highlights
include performances at
Dresdenʼs
Staatsoperette,
Oldenburgisches
Staatstheater,
Landestheater
Schleswig-Holstein, UNM
Opera Theatre, and
Santa Fe Opera in roles
including Musetta in La
Boheme, Pamina in Die
Zauberflöte, Nannetta in
Falstaff, Mabel in Pirates
of Penzance, and the title
role in Suor Angelica.
She also sang the roles
of Merab and Michal in
the staged production of
Handelʼs Saul in
Oldenburg, Germany.
Highlights of her career
as an oratorio soloist
include Carmina Burana,
Charpentierʼs Te Deum,
Haydnʼs The Creation,
and Bach Cantatas 84
and 140. A sought after
interpreter of
contemporary works, she
has sung Kristine in
Bibaloʼs Fräulein Julie,
Bubikopf in Ullmanʼs Der
Kaiser von Atlantis, and
created the role of Andia
in Kampeʼs ANOIA. She
recently performed
Schoenbergʼs Pierrot
Lunaire and Joseph
Schwantnerʼs Sparrows
with New Music New
Mexico, and Morton
Feldmanʼs Rothko
Chapel with Chatter (New
Mexico). Onstad
completed her
undergraduate degree at
McGill University and her
Master of Music degree
at the University of New
Mexico where she was a
graduate teaching
assistant. She maintains
private voice studios in
Albuquerque and Santa Fe.
Founder of
the Vocal
Artistry Art
Song
Festival,
Mezzo Soprano
Jacqueline Zander-Wall
is a lover of Art Song and
has been honored to
perform at the Hugo Wolf
Gesellschaft in Stuttgart,
the Goethe Institute in
Boston and Moscow and
the Mahler Verein in
Hamburg. A proponent of
new music, she has sung
at Scala in Hamburg,
and Lʼart pour lʼart in
Frankfurt along with
numerous music festival
performances such as
the Skaneateles Music
Festival, the Aspen Music
Festival, the Warebrook
Contemporary Music
Festival, Lʼart pour Lʼart
in Frankfurt, Music in the
Mountains, and the
Britten-Pears Festival
Opera. Credits include
the Boston Lyric Opera,
the Chicago Opera
Theater, Hamburg Opera,
Arizona Opera, Duluth
Superior Symphony, New
Haven Symphony, Opera
Southwest and Hamburg
Konzertante Oper. She
has been on the Voice
Faculty of Phillips Exeter,
Phillips Academy in
Andover, the College of
Santa Fe, and the
University of New
Mexico. A past President
of the Rio Grande
Chapter of the National
Association of Teachers
of Singing, she is a
member of MTNA and
Coordinator of the Vocal
Artistry Art Song Festival. Jonathan
Davidson,
tenor, is
finishing his
Masters at
the University of New
Mexico studying choral
conducting and vocal
performance. Jonathan is
the assistant choral
director at Central United
Methodist Church where
he assists with the Menʼs
Ensemble, Womenʼs
Ensemble, Chancel Choir
and the orchestral group,
Sinfonia. Jonathan
recently performed with
Polyphony Voices of New
Mexico as soloist
for Messiah and James
MacMillanʼs Seven Last
Words of Christ. He also
performed with the New
Mexico Philharmonic as
tenor soloist for
Handelʼs Chandos
Anthems I and VI and
Schumannʼs Requiem in
D-Flat Major.
Baritone
Michael
Hix has
been
praised by
critics for his “expressive
voice” and “commanding
stage presence.” Dr
Hixʼs career highlights
include performances at
Tanglewood Music
Center, a solo
appearance with the
Boston Pops in
“Bernstein on Broadway,”
and his Carnegie Hall
debut as the baritone
soloist in Rutterʼs Mass of
the Children. Recent
European appearances
include solo
performances the
International Haydn
Festival in Vienna, Austria
and song recitals in
Dresden and Leipzig,
Germany. A frequently
sought after concert
soloist, his repertoire
includes over 40
oratorios, cantatas, and
major concert works. Hix
has been featured in
concerts with the Boston
Pops, Orlando
Philharmonic Orchestra,
Georgia Symphony, New
Mexico Philharmonic,
Montgomery Symphony,
and the Tallahassee Bach
Parley among others. Included among his over
20 stage roles are Falke
in Die Fledermaus, the
Drunken Poet in The
Fairy Queen, Grosvenor
in Patience, Germont in
La Traviata, and Noye in
Noyeʼs Fludde. His
2015-16 concert season
includes the bass arias in
Bachʼs St John Passion
at the Arizona Bach
Festival, Christmas
concerts with the Santa
Fe Desert Chorale, bass
soloist in Bachʼs Cantata
80 Ein feste Burg ist
unser Gott, and Mozartʼs
Coronation Mass with the
New Mexico Philharmonic,
and the role of Uberto in
La Serva Padrona. In
Spring 2016, Hix will
record an album of solo
cantatas for bass by
Christoph Graupner with
New York based baroque
group The Sebastians.
The album will be
released by ACIS
Productions. Dr Hix holds
degrees in Music Theory,
Historical Musicology,
and Voice performance
from Furman University
and Florida State
University. He is an
Assistant Professor of
Vocal Studies at the
University of New Mexico.
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
The 2015 Quintessence Summer Festival Chorus
SOPRANO I
Michaela Bateman
Carolyn Callaway
Joyce Ann
Carlson-Leavitt
Sue Davis
Danielle Frabutt*
Margie Homko
Arana Kalwaic
Loren Kelly*
Paula Martin
Audrey McKee
Checky Okun*
Barbara Reeback
Daphne Smith
Kris Stichman
Amy Sundermier
Marlene Willems
SOPRANO II
Jessica Aberly
Leslie Alperin
Suzanne Bauer
Karen Brown
Laurel Deming*
Carol Dolan
Norma Dye
Sharon Eastvold
Pauleta
Hendrickson*
Diana James
Heather Blair
Jones
Kay Sirco
ALTO I
Kathleen (Kate)
Austin
Mary Boehm
Chris Brady*
Suzanne Dressler*
Kit Ersfeld
Darleen Gray
Amy Greer*
Cheryl Klenner
Cynthia Lashley
Anita Lewis
Lori Nash
Cindy Noe
Wendy Orley
Sue Phelps
Kristine Purrington
Karen Schlue*
Julie Smith
Jamie Villanueva
Anna Williamson
ALTO II
Jane Bowes
Pam Brandes
Katie Crawford
Sharon Decatur
Lisa Donaghe
Marene Evans
Jane Faber
Susan Gibson
Claudia Giese
Carolyn Good
Theresa Homisak
Molly Hopkins
Anita Lee
Nancy Loper
Lynn McNatt
Frances Ricciardi
Pat Rosenak
Susan Spaven
Marjorie Spurlin
Arlene Thomas
Julianna Westcott
TENOR I
Jeffrey Allen
Billy Brown
Bryan Butler*
Douglas Hendry
Edward Hillsman
Catharine Hull
Jacob (Jake)
Rittenhouse
Mary Russell
TENOR II
Tom Crow*
Daniel Davis
Alex Dickey
George Greenlee
Jonathan Leavitt
Verne Loose
Tony Lucero
Trevor Shuman
BASS I
Mark Burak
Dalen Carr
Martin Doviak*
Ed Fancovic
Jason Gordon
Dale L Lange
George
Mozurkewich
Robert Rosenak
Daniel Selders
John Stichman
Peter Stoll
Will Wheeler*
Don Wismer
BASS II
Allen E Burns
Michael Furnish
Hank Happ
Joe Keith
Martin Kroebel
Daryl Lee
Robert McKeown
Walter Polt
Michael Rivers
Jerry Spurlin
Peter Tras
William Trimble
*Denotes member
of Quintessence
Special thanks to: Claudia Giese, Michael Garcia, Chance Polston,
Rev. John Schwarting, Brett Reece, April Ueland
The Festival Orchestra
Violin I: David Felberg, Justin Pollak, Kathie Jarrett
Violin II: Tony Templeton, Carol Swift-Matton, & Nicolle Maniaci
Viola: Shanti Randall, Erin Rolan, Andrea Rutan
Cello: Joel Becktell & Lisa Collins
Bass: Jean-Luc Matton & Mark Tatum
Flute: Valerie Potter & Danielle Frabutt
Oboe: Amanda Talley & Melissa Sassaman
Clarinet: Keith Lemmons & Allie Powell
Bassoon: Stefanie Przybylska & Denise Turner
Horn: Peter Erb, Nate Ukens, Susie Fritts & Rachael Brown
Trumpet: Tony Sadlon & Alec Blazek
Trombone: Lynn Mostoller & Bill Austell
Percussion: Jeff Cornelius
Harp: Lynn Gorman DeVelder
Rehearsal Pianist
Amy Greer
Chorus Manager
Danielle Frabutt
Quintessence:
Choral Artists of the Southwest
Board of Directors
President: Elizabeth Drotning Hartwell
Vice President: Dale L Lange
Secretary: Kris Stichman!
Treasurer: Jerry Spurlin
Appointed Members:
Tom Crow, Allison Davis, Daryl Lee
Choir President, Ex Officio: Martin Doviak
Staff
Matthew Greer, Artistic Director
Denise Crouse, Executive Director
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Quintessence Annual Fund: June 2014 to July 2015
We would like to offer our sincerest appreciation for financial support from the people & organizations listed below. We could not exist without your help.
If you would like to see your name listed below, visit our website to make your tax-deductible contribution, or drop in a basket on your way out.
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Quintessence is grateful
for these partners:
Festival Photographer:
James Sheng Photography:
www.shengimages.com
Festival Recording &
Production: Peter Stoll
Design by Studio 9 Graphic
Design: marylambert.com
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Radio advertising:
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Financial
The Quintessence
Endowment Fund (est.
2000) was created to help
ensure a future for
Quintessence, and for fine
choral arts everywhere.
Quintessence Choral
Artists of the Southwest,
Inc, is a 501(c)(3) NonProfit Organization &
gratefully accepts gifts of
cash, stocks, bonds,
mutual fund shares, real
estate or other tangible
personal property.
Quintessence may also be
named the beneficiary of a
life insurance policy or
charitable trust. All or part
of your donation may be
tax-deductible Please
contact Tom Crow at
505-243-2281 or
[email protected] for
further information.
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Emerson Susan Corley
505-400-4384 ejazzabq@gmailcom
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Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Quintessence: Choral Artists of the Southwest • 2015 Summer Choral Festival
Announcing the 2015 – 16 Quintessence Season
Wild Drums
Season Subscriptions Available
Saturday, October 3, 5 pm &
Sunday, October 4, 3 pm
at St Johnʼs United Methodist Church
Colorful and energetic music for chorus
and percussion.
Savings and convenience are yours when you
purchase a subscription package. Subscribers
save on tickets prices, enjoy preferred seating,
receive reminders of upcoming concerts, and
never have to worry about getting to the show
early to purchase individual tickets.
In addition, every subscriber will receive a
gift of gratitude — a sampling of Elixir
Boutique Chocolates, the official
Quintessence chocolatier.
Our subscription package includes
four shows: Wild Drums, Welcome, Yule!,
Musica divina: Songs of Spiritual Devotion,
and Songs of Nature.
Take advantage of the lowest subscription
rate, available today only to Festival
audience members.
Messiah Sing
Saturday, November 28, 3 pm at
Immanuel Presbyterian Church
Join your voices with ours, as we sing Handelʼs
masterwork with a professional orchestra.
Welcome, Yule!
Sunday, December 6, 3 pm at
St Johnʼs United Methodist Church
Join Quintessence for our annual holiday concert,
featuring carols and other songs of the season.
JS Bachʼs Cantata 80
(“Ein feste Burg”) with the
New Mexico Philharmonic
Friday, February 12, 7 pm at
St Johnʼs United Methodist Church
Join Q for our third collaboration with
the New Mexico Philharmonic.
Musica divina:
Songs of Spiritual Devotion
Friday, March 11, 7 pm
at Keller Hall at the
University of New Mexico
Sunday, March 13, 3 pm at
St Johnʼs United Methodist Church
Sacred devotional music from a variety of
traditions, including music by Arvo Pärt, Ola Gjeilo,
John Tavener and Samuel Barber.
Audition for Quintessence!
Matthew Greer will be hearing auditions
for all voice parts (tenors and basses are
encouraged) to join the ensemble for the
upcoming season. Singers must be able to sightread and learn challenging music on their own.
Wednesday, July 29, 5 pm-7 pm
Friday, July 31, 5 pm-7 pm
Saturday, August 1, 9 am-noon
To schedule an audition,
please email [email protected]
Put “Q Audition” in the subject line.
Songs of Nature
Saturday, May 14, 5 pm at
Immanuel Presbyterian Church
Sunday, May 15, 3 pm at
St Johnʼs United Methodist Church
Music that celebrates the natural world, including
works by Antonin Dvořák, R Murray Schafer,
Robert Kyr, Charles Hoag, and others.
Details subject to change.
PO Box 51041
Albuquerque, NM 87181
505-672-TUNE (8863)
wwwquintessence-abq.com
[email protected]
Quintessence is an Ensemble-in-Residence at St John’s United Methodist Church