GRAND MASS in C-MINOR - Sammamish Symphony Orchestra

Individual Performances by Participating Ensembles
Please hold your applause until the conclusion of each group’s program.
SAMMAMISH SYMPHONY ORCHESTRA • R. JOSEPH SCOTT, MUSIC DIRECTOR
please see orchestra information and program notes on pages 6-7
FINLANDIA .................................................................................................................Jean Sibelius (1865-1957)
PARADE OF THE CHARIOTEERS from The Ben Hur Suite ...................................Miklos Rozsa (1907-1995)
SACRED MUSIC CHORALE • MARK ADRIAN, ARTISTIC DIRECTOR
please see chorus information and program notes on pages 8-9
LET HEAVENLY MUSIC FILL THIS PLACE .................................................................................Gordon Young
DOWN IN THE RIVER TO PRAY..............................................Traditional American song, arr. Marc A. Hafso
JUBILATE DEO (O Be Joyful In The Lord) ............................................................................Glenn L. Rudolph
AVE MARIA ............................................J. Edmund Hughes (based on Latin plainsong from Liber Usualis)
GET HAPPY.......................................................................Harold Arlen and Ted Koehler, arr. Carl Strommen
NORTHWEST CHAMBER CHORUS • MARK KLOEPPER, ARTISTIC DIRECTOR
please see chorus information and program notes on pages 10-11
SANCTUS .....................................................................................................................Jan Sandström (b. 1954)
HYMN TO THE MOTHER OF GOD ............................................................................John Tavener (1944-2013)
RUTH................................................................Paul Ayres (texts from Ruth, Proverbs and Psalms) (b. 1970)
I KNOW I’VE BEEN CHANGED........................................African-American Spiritual, arr. Damon Dandridge
VASHON ISLAND CHORALE • GARY D. CANNON, ARTISTIC DIRECTOR
please see chorus information and program notes on pages 12-13
THE SNOW .................................................................................................................Edward Elgar (1857-1934)
featuring Karin Choo and Gaye Detzer, violins
DIRAIT-ON ................................................................................................................Morten Lauridsen (b. 1943)
STRAWBERRY KISSES..........................................................................................Bronwyn Edwards (b. 1955)
world premiere performance
15-minute intermission
Please hold your applause until the conclusion of each group’s program.
2
Mozart (1756-1791) • GRAND MASS in C-MINOR
To celebrate the 250th birthday of Wolfgang Amadeus Mozart, the city of Salzburg, Austria, in which he spent the first 24 years of his
life, resounded with his music in performances by world-famous musicians and conductors, including the unprecedented staging of all
22 operas in a single summer. The irony lost in this well-deserved commemoration is that the honoree left the city on bad terms in 1781
to make Vienna his permanent home. Salzburg’s Archbishop Colloredo had reduced and simplified music in reforms intended to create
the atmosphere of a “people’s church,” and he severely constricted the concertizing travels of the Mozart family. Mozart himself left without
permission from either his father, Leopold, or the archbishop and found a path-breaking freelance career in Vienna — public and private
piano performances, subscription concerts, private students, commissions, and publication of his music.
Nor did Mozart receive his father’s blessing when he married Constanze Weber in 1782. Following the birth of their first child a year later,
the couple made the week-long, 200-mile journey to Salzburg, only to receive frosty treatment from Leopold and Wolfgang’s sister, Maria
Anna (“Nannerl”) during their entire stay. Mozart coped by making a little music. He found his friend Michael Haydn (Joseph’s younger
brother) ill and overdue in his commission for six duets, and he came to the rescue, writing the last two duets in Michael’s name and style.
And to please (if not win over) his father, he directed a performance of his partially completed Mass in C-Minor, a work he had vowed to
write for Constanze when she was ill. The soprano solos, which his wife sang, were a showcase for her voice, no doubt intended to dispel
Leopold’s doubts about her musicianship.
Archbishop Colloredo’s stipulation for short, simple church music would not have permitted a work with the scope and grandeur of the
Mass in C-Minor. Oddly, as far as we know, Mozart never finished it. In the first publication in 1840, only the Kyrie and Gloria are complete,
while the score includes only two fragments of the Credo (“Patrem omnipotentem” and “Et incarnatus est”); the Sanctus and Benedictus
both lack one of their double choruses; and there is no Agnus Dei. Speculations abound as to what might have been the reason for the
gaps. Yet this Grand Mass stands as “a magnificent torso — grandiose, dramatic, and powerfully expressive.”
The Kyrie is the only movement of this mass written in the key of c-minor. This movement begins with solemn depth, using the full force
of the orchestra to lead to the soaring soprano solo. Given that Mozart was known to compose within the capabilities of his performers,
we can marvel, in retrospect, at his wife Constanze’s gifted virtuosity, range, and easy coloratura in the opening “Christe eleison.”
The Gloria extends toward the heavens with a burst of trumpets and drums over the four-part chorus. The inner movements of this
segment, in a variety of predominately minor keys, gather force from one to two to three soloists and from four- to five- to eight-part
choruses. The counterpoint and continuo textures of the soprano duet in “Domine Deus” (and later in the italianate trio in “Quoniam tu
solus sanctus”) expertly reflect Handel’s influence yet magically transform into Mozart’s own musical language. In “Qui tollis,” dotted
rhythms and a repetitive bass line portray the tension of a heart caught up in life’s trials, pleading for mercy. “Cum sancto spiritu” returns
again and again to masterful fugal action, accompanied by exuberant string passages.
The Credo opens with a burst as does the Gloria. The lively “Credo in unum Deum” depicts a confident community on a mutual spiritual
path. Engaging woodwinds introduce and underscore the breathtakingly transcendent soprano solo, “Et incarnatus est.”
The Sanctus, with its eight-part chorus, is an editorial reconstruction of about half of the surviving choral parts, yet it seems true to Mozart’s
intentions. This movement portrays the exciting ideal of universal human brotherhood that was part of Mozart’s era, the Age of Enlightenment
— an ideal he sought in Freemasonry.
The Benedictus encompasses both personal quest and timeless unity, weaving the four soloists together in expert counterpoint and ending
with an elegant, joyful double chorus singing “Hosanna.”
With its magnificent and mighty choruses, sensuous and ornate solos, large orchestral and solo instrumental segments, the Mass in CMinor was unlike any church music of its time and took its own ground apart from the “dumb it down” restrictions of the era’s “enlightened”
despots, such as Colloredo in Salzburg and Joseph II in Vienna. Mozart set the unfinished work aside, but in 1785 he reused the Kyrie
and Gloria as part of his oratorio Davidde penitente, K 469.
– by Carol Talbeck
KYRIE: Lord, have mercy. Christ, have mercy. Lord, have mercy.
CUM SANCTO SPIRITU: With the Holy Spirit, in the glory of God the Father. Amen.
GLORIA IN EXCELSIS: Glory to God in the highest, and on earth peace to all those
of good will.
CREDO IN UNUM DEUM: I believe in one God, the Father Almighty, maker of heaven
and earth, and of all things visible and invisible. And I believe in one Lord, Jesus Christ,
the only begotten Son of God, born of the Father before all ages. God from God, Light
from Light, true God from true God. Begotten, not made, consubstantial with the Father
by whom all things were made. Who for us and for our salvation came down from
heaven.
LAUDAMUS TE: We praise thee. We bless thee. We worship thee. We glorify thee.
GRATIAS AGIMUS TIBI: We give thanks to thee according to thy great glory.
DOMINUE DEUS: Lord God, Heavenly King, God the Father almighty. Lord Jesus
Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.
QUI TOLLIS: Thou who takest away the sins of the world, have mercy upon us. Thou
who takest away the sins of the world, receive our prayer. Thou who sittest at the right
hand of the Father, have mercy upon us.
QUONIAM TO SOLUS: For Thou alone art holy. Thou alone art the Lord. Thou alone
art the most high, Jesus Christ.
ET INCARNATUS EST: And was incarnate by the Holy Spirit of the Virgin Mary.
SANCTUS: Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory.
Hosanna in the highest.
BENEDICTUS: Blessed is He who comes in the name of the Lord. Hosanna in the
highest.
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Special Guest Soloists
Soprano JANEANNE HOUSTON has been praised by the Seattle Times as a “radiant
voiced and very communicative” singer, by Gramophone as “unfailingly responsive and
dedicated,” by Classical Voice of North Carolina as a “magnificent singer” with “a beautiful
voice and stunning interpretive skills” and The Journal of Singing as having “such
praiseworthy singing” and “a flawless sense of style.”
One of the region’s busiest artists, her recent opera roles have been Elisabetta in Don
Carlo, Countess Almaviva in Nozze di Figaro, Konstanze in Mozart’s Abduction from
the Seraglio, and later this year Donna Anna in Don Giovanni for Vashon Opera. Other
recent performances include Beethoven’s 9th Symphony with Oregon Symphony, multiple
performances of Verdi’s Requiem in the region, Messiah Festival of Music and Art in
Kansas, Mozart’s Mass in C Minor, and Brahms’ A German Requiem. She has been
a guest artist with many distinguished choral and orchestral organizations including
Seattle Symphony, Oregon Symphony, Northwest Chamber Orchestra, Northwest
Sinfonietta, Eugene Symphony and Opera, Great Falls Symphony, Helena Symphony,
Spokane Symphony, and Walla Walla Symphony. She has worked under the batons
of many fine conductors including, in addition to the above, Gerard Schwarz, James
DePreist, Sidney Harth, Carlos Kalmar, Dean Williamson, Charles Bontrager, Christophe
Chagnard, Fusao Kajima, British conductor Hilary Davon Wetton, Richard Sparks, Mark
Adrian, and Miguel Harth-Bedoya, with whom she sang the Mater Gloriosa in the first
Oregon performance of Mahler's Eighth Symphony.
An active recitalist, she has been a featured artist on numerous concert series programs and music festivals, She sang the role of Mary
with the late Jerome Hines near the end of his career, in his Biblical opera I am the Way, and has also shone in other operatic roles which
included Susanna in Le Nozze di Figaro, Violetta in La Traviata, Blanche in Dialogues of the Carmelites, and Micaela in Carmen.
Her recording work is featured on Naxos, Albany, Elmgrove, Deogloria, Loft, and Zimbel. Ms. Houston has been a finalist and a second
place winner in the Northwest Regional Metropolitan Opera auditions, and won a Crystal award in the Scammon vocal competition in
Denver in 2002. Born in Kansas City, Ms. Houston spent her childhood years in Myanmar, India, and the Philippine Islands. She is a
member of the voice faculty at Pacific Lutheran University, and is the founder and Managing Member of Northwest Artists, a musicians’
collective management, and Elmgrove Productions.
JENNIFER KRIKAWA (soprano) has appeared at Carnegie Hall as the soprano soloist for Scarlatti's Dixit Dominus, Vaughan William's
Benedicite, and Poulenc's Gloria. Her concert repertoire also includes the soprano soloist for Handel's Messiah, Brahms’ Ein deutsches
Requiem, Pierrot Lunaire, The Mirabai Songs, Knoxville: Summer of 1915, and numerous operatic gala concerts with orchestras such
as Connecticut Grand Opera Orchestra, The Westfield Symphony of New Jersey, Raleigh Durham Symphony Orchestra, and The
Chautauqua Symphony Orchestra. Ms. Krikawa has sung for numerous opera companies including New York City Opera, Vashon Opera,
Virginia Opera, Connecticut Opera, Sarasota Opera, Opera North, Augusta Opera,
Annapolis Opera, Central City Opera, Des Moines Metro Opera, and Israel Vocal Arts
Institute.
Ms. Krikawa's most performed roles include Fiordiligi (Così fan tutte), Mimì (La bohème),
Musetta (La bohème), Micaëla (Carmen), Gretel (Hänsel und Gretel), Pamina (Die
Zauberflöte), Antonia (Les Contes d'Hoffman), and Zerlina (Don Giovanni). Recent roles
include Tatyana (Eugene Onegin) and Giorgetta (Il tabarro).
Ms. Krikawa pursued contemporary music studies at The Banff Centre for the Arts, and
she holds a Bachelors from Northwestern University as well as a Masters degree and
Artist’s Diploma from The New England Conservatory of Music in Boston.
Her awards include First Place NATS winner, Metropolitan Opera National Council
Regional Finalist in Boston, and Metropolitan Opera National Council Honorable Mention
in Connecticut. She has recorded a CD titled "Songs of Walt Whitman" composed by
Malcolm Peyton with Centaur Records.
Jennifer has been seen as a soloist with The Vashon Island Chorale for the past six
years, including the soprano soloist for the Fauré Requiem, John Rutter’s Mass of the
Children, Bach Cantata No.4, Vivaldi’s Magnificat, and Mozart's Requiem at Benaroya
Hall. She also serves as Artistic Director of Vashon Opera and will be presenting Werther
by Massenet in May and Don Giovanni in September 2014 on Vashon Island.
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Special Guest Soloists
ZACH FINKELSTEIN (tenor) was recently hailed by Anthony Tommasini of the New
York Times as a “compelling tenor.” American-Canadian Zach Finkelstein made his New
York City Opera debut in April 2013 as Mambre in Rossini’s Mosè in Egitto, a production
dubbed by Tommasini as one of the Top 10 classical events of 2013. In the five years
since leaving his political consulting career, he has performed as a soloist at Carnegie
Hall, Sadler's Wells, Lincoln Center, the Brooklyn Academy of Music, and the New York
City Center.
In the 2013-2014 season, Zach tours Satie's monodrama Socrates – “beautifully sung,”
according to the Daily Telegraph and “impeccably done” by the Seattle Times – and
Beethoven's The Muir in London and Seattle with the Mark Morris Dance Group. Zach
will also sing Damon in their coast-to-coast tour of Acis and Galatea with Nic McGegan
conducting the Philharmonia Baroque in Berkeley, CA and the Handel and Haydn Society
in Boston, MA.
Other 2013-2014 engagements include Zach's Chicago debut with Nicholas Kraemer's
Music of the Baroque, Arvo Pärt's Stabat Mater with the Art of Time Ensemble in Toronto,
Handel's Messiah with the Kitchener-Waterloo Symphony, and Mozart's Coronation
Mass with Jordan de Souza's Ottawa Choral Society. As a recitalist, this season Zach
will perform four separate programs across North America: in Seattle with Dan Anastasio,
in Toronto with Rachel Andrist and two nights of Britten music in New York with harpist
Tomina Parvanova.
In the 2012-13 season he also toured Socrates and The Muir with the Mark Morris Dance Group in Pittsburg;, Cleveland; Purchase, NY;
Princeton; and Fairfax, VA. Other concert engagements in 2012-13 included premieres of new works for tenor and orchestra by Prix de
Rome winner Jesse Jones and John Liberatore with the Cornell Festival Orchestra and Rochester Sinfonietta; the Mozart Requiem with
the Kitchener-Waterloo Symphony, Bach’s Magnificat and Saint-Saëns’ Weihnachtsoratorium with the Toronto Classical Singers, Bach’s
Cantata 60 with Metropolitan Opera in Boston, MA , and Messiahs in Ontario and in New York at Lincoln Center.
In the media, Zach has performed opera excerpts on CBC's Saturday Afternoon at the Opera as well as Toronto's Classical 96.3 FM.
John Terauds, music critic for the Toronto Star, recently profiled him as one of Toronto’s “great tenors” on MusicalToronto.org. In their
Summer 2013 issue, Opera Canada also profiled Zach as an “Artist On Stage” and have reviewed him previously as a “lovely light tenor.”
Mr. Finkelstein is currently with Dean Artists Management and holds an Artist Diploma (Voice) from the Royal Conservatory of Music’s
Glenn Gould School in Toronto and a Bachelor of Arts (Honors) in Political Science from McGill University, in Montreal. He studies privately
with Lorna Macdonald in Toronto, Canada.,
ANDREW KRIKAWA (baritone) resides on Vashon Island, having migrated west from
New York City nearly nine years ago. While based in New York, he sang for numerous
companies including New York City Opera, Pittsburgh Opera, Virginia Opera, Cedar
Rapids Opera, Opera Festival of New Jersey, Nashville Opera, Annapolis Opera, Central
City Opera, Pensacola Opera, Eugene Opera, and DiCapo Opera Theatre. Andrew’s
most performed roles include Marcello (La bohème), Sharpless (Madame Butterfly),
Germont (La traviata), Albert (Werther), Silvio (I Pagliacci), and Guglielmo (Così fan
tutte).
Mr. Krikawa is a Sullivan Foundation award winner and a recipient of the Richard F.
Gold Career Grant. He has been seen as a soloist for The Vashon Island Chorale for
the past six years including baritone soloist in Brahms’ A German Requiem, Vaughan
Williams’ Dona Nobis Pacem, the Fauré Requiem, Rutter’s Mass for the Children and
Mozart's Coronation Mass. He recently appeared with the Pacific Lutheran University
Chorale Union as the baritone soloist for Howard Goodall’s Eternal Light - A Requiem
and Karl Jenkins’ The Armed Man, A Mass For Peace. Andrew holds both a Bachelors
and Masters degree from the New England Conservatory of Music in Boston.
Mr. Krikawa helped found Vashon Opera with his wife, soprano Jennifer Krikawa, and
participates in much of the background work for the company. He has appeared in the
Vashon Opera productions of La bohème as Marcello, The Tender Land as Top, The
Barber of Seville as Figaro, the title role in Eugene Onegin, Guglielmo in Così fan tutte,
and most recently the title role in Gianni Schicchi.
5
SAMMAMISH
SYMPHONY
ORCHESTRA
R. JOSEPH SCOTT • MUSIC DIRECTOR and CONDUCTOR
P.O. Box 1173 • Issaquah, WA 98027 • 206-517-7777
www.sammamishsymphony.org
The Sammamish Symphony Orchestra, led by Music Director and Conductor R. Joseph Scott, is the premiere symphony on the Eastside
serving Sammamish, Issaquah, Bellevue and their surrounding communities. Now in its twenty-second season, the Sammamish Symphony
began as the Providence Point Players, and has grown in size and stature to become an integral part of the Eastside artistic community.
The orchestra’s mission is to make great orchestral music accessible to all residents and to increase the public’s musical literacy through
performances and educational programs by local musicians. The orchestra is also committed to educational outreach by promoting the
involvement of young people in the performing arts and offering opportunities for learning and mentorship. This afternoon marks the
Sammamish Symphony’s fifth performance with combined ensembles at Benaroya Hall.
Music Director and Conductor, R. JOSEPH SCOTT has been a dynamic leader in the Northwest musical community for over 45 years.
He is currently celebrating his 15th year with the Sammamish Symphony Orchestra.
Mr. Scott has conducted concerts featuring a diverse array of artists, including Metropolitan Opera star Roberta Peters; violinist Pamela
Frank; cellist Julian Schwarz; the Seattle Opera Chorus; the Empire Brass Quintet; the Seattle Symphony Chorale; and vocalists Anna
Alberghetti, Lou Rawls, Maureen McGovern and Marni Nixon. He has also
Maria
featured members of the Seattle Symphony: Kimberly Russ, piano; Ben
Hausman, oboe; Simon James, violin.
Scott founded the Bellevue Philharmonic Orchestra, serving as Music Director,
Conductor and General Manager from 1967-1997, and served as Resident
Conductor of Lyric Opera Northwest from 2005-2009. He has appeared with
numerous musical ensembles, including the Bellevue Opera, and has
conducted world premieres of works by Alan Hovhaness, Vaclav Nelhybel,
and various regional composers.
Scott attended the University of Oregon, School of Music and studied
conducting with Eugene Furst and Wolfgang Martin of the Portland Opera.
After moving to Seattle, Mr. Scott continued his studies with Henry Holt of
the Seattle Opera, Mikael Scheremetiew of the Thalia Conservatory, and
Vilem Sokol of the Seattle Youth Symphony.
Scott has received the City of Sammamish SAMMI Award for the Arts, Best
of Bellevue Musical Arts Pioneer Award, and City of Sammamish Certificate
of Recognition for Dedicated Leadership & Music Appreciation.
6
FIRST VIOLIN
Dennis Helppie, Concertmaster
Tim Strait, Assistant Concertmaster
Sandy Anuras
Ian Backman
Kristin Edlund
Moira Farrel
Florian Laplantif
Donna Mansfield
Lynne Martinell
Heather Raschko
Haley Schaening
Deborah Wade
Tim Winter
OBOE
Susan Jacoby, Principal
Jim Kobe
SECOND VIOLIN
Shelby Eaton, Principal
Feather Asmussen, Assistant Principal
Cathy Grindle
Matthew Guenther
Holly Halstead
Jillian Kent-Dobias
Nancy Johnson
Paula Libes
Fran Pope
Tina Satheesan
BASSOON
Shannon Nelson, Principal
Julia Kingrey, Acting Principal
Diane Quick
ENGLISH HORN
Dennis Calvin
CLARINET
Jayne Marquess, Principal
Kathy Carr
BASS CLARINET
Linda Thomas
CONTRABASSOON
Gordon Brown
FRENCH HORN
Evelyn Zeller, Principal
Dan Chernin
Steven Dees
Craig Kowald
TRUMPET
Jonathan Feil, Principal
Shaun Pettit
James Sailors
John Wells
TROMBONE
Scott Sellevold, Principal
Matt Stoecker, Assistant Principal
BASS TROMBONE
William Goldwyn
TUBA
Mark Wiseman, Principal
Andy Abel
TIMPANI
Eric Daane, Principal
PERCUSSION
David Brooks, Principal
Brian Yarkosky,
Acting Principal
Kyle Reis
Jenna Schroeter
PIANO/KEYBOARD
Catherine Lowell,
Principal
HARP
Bethany Man, Principal
Section members are
listed in alphabetical
order.
VIOLA
Libby Landy, Principal
Jan Rider, Assistant Principal
Armand Binkhuysen
Erik Binkhuysen
Kathryn Boudreau-Stroud
Heidi Fivash
Justins Holderness
Brian Jankanish
Hans Klein
Dan Pope
Amanda Salmick
Loraine Terpening
Barb Thorne
Myrl Venter
CELLO
Shiang-Yin Lee, Principal
Gail Ratley, Assistant Principal
Kumiko Chita
Marina Fernandez
Margaret Fivash
Andy Hill
Juha Niemisto
Joyce Sanford
Joan Selvig
Dan Shade
Sandra Sultan
Vivian Yu
Patricia Zundel
BASS
Jarod Tanneberg, Principal
Natalie Johnson, Assistant Principal
Carolyn Horlor
FLUTE
Melissa Underhill, Principal
Tori Berntsen
Elana Sabovic-Matt
PICCOLO
Elana Sabovic-Matt
Friday, June 6, 2014 at 7:30 pm /
FEATURING:
Meydenbauer Theatre, Bellevue
Donizetti - Overture to Anna Bolena
Sunday, June 8, 2014 at 2:00 pm / Eastlake
Barber - Cello Concerto in A minor
Performing Arts Center, Sammamish
Audrey Chen, cello
Tickets available at the door
(2014 Youth Concerto Winner)
or online at Ticketweb.com
Mussorgsky/ Ravel - Pictures at an Exhibition
7
SACRED MUSIC
CHORALE
MARK ADRIAN • ARTISTIC DIRECTOR
P.O. Box 45783 • Seattle, WA 98145-0783 • 206-457-2993
www.sacredmusicchorale.org
Photo by Terry Rogers
The Sacred Music Chorale is a Seattle-area interdenominational community choir whose mission is to sing the great music of the Christian
church, and to give the gift of that music to our listeners. Since its founding in the fall of 1999, the Chorale has presented concerts each
Christmas and Spring at venues throughout the Puget Sound region, and today is celebrating the completion of its 15th season. This year
also marks the Chorale’s second appearance at Benaroya Hall, following up on the great success of our performance of Verdi’s Requiem
in 2011.
The members of Sacred Music Chorale demonstrate the great diversity of the region, representing many different beliefs, a broad selection
of musical talents, and a diverse array of backgrounds. What brings us together is our shared desire to join our voices as one to sing
the vast choral repertoire of the Christian Church. Recent performances have featured a diverse selection of works, including Vivaldi’s
Gloria, John Rutter’s Requiem, Théodore DuBois’ The Seven Last Words of Christ, and the locally-composed Missa Gratulationis, which
the Chorale premiered in 2008 and reprised last year.
Mark Adrian serves as Artistic Director and Conductor. Mark joined the Sacred Music Chorale in 2010, bringing with him nearly thirty years
of conducting and teaching experience. Thelma Strand, a Seattle native who has been with the Chorale since its inception, continues to
serve as the group’s accompanist.
LET HEAVENLY MUSIC FILL THIS PLACE by Gordon Young: Born in 1919, Gordon Young was an American organist and a prolific
composer of over 800 works, including many church anthems that have gone on to become standard repertoire. He was known and
respected for his ability to produce lively and memorable music that is very to musicians of all backgrounds.
DOWN IN THE RIVER TO PRAY arranged by Marc A. Hafso: Variously described as a Christian folk hymn, an African-American spiritual,
an Appalachian song, or a gospel song, this traditional tune was believed to have seen its first publication in 1835. Traditionally sung at
baptisms, it gained renewed popularity in 2000 when it was prominently featured in the movie O Brother, Where Art Thou? Terri Lundquist
and Laura York start the piece, with Valerie Casper, Colleen Harriott, Jonathan Hanneman and Craig McDonald joining in.
8
JUBILATE DEO (O Be Joyful In The Lord) by Glenn L. Rudolph: This anthem, written in 1990, takes its famous text from Psalm 100.
Mr. Rudolph has been active in choral music in the Pittsburgh area since 1978, serving as tenor soloist, choir director, and composer-inresidence for Trinity Episcopal Cathedral’s Cathedral Choir.
AVE MARIA (Hail Mary) with the traditional Latin text, arranged by J. Edmund Hughes: This version of the traditional “Hail Mary” prayer
was written by Dr. J. Edmund Hughes, who was for many years a celebrated teacher and choral director in the Phoenix area. Dr. Hughes
alternates chantlike lines with lush harmonies, building to a dramatic aleatoric ending with random tones, rhythms, and dynamics. The
composer of about 30 other pieces of music, Dr. J. Edmund Hughes currently resides in Gig Harbor.
GET HAPPY by Harold Arlen and Ted Koehler, arranged by Carl Strommen: This song was the first of many collaborations between
composer Harold Arlen and lyricist Ted Koehler. Although it premiered in 1930, it is most famously known through Judy Garland’s
performance in the 1950 film Summer Stock. You may also recognize it as the original theme music for Warner Bros. Merrie Melodies
cartoons.
MARK ADRIAN, Artistic Director and Conductor, earned his BA in Music from the
University of Washington, studying with renowned conductors Abraham Kaplan, Geoffrey
Boers, Rodney Eichenberger, James Savage, Joan Conlon, and Peter Erös. He has since
gone on to complete graduate coursework for the Doctor of Musical Arts degree,
specializing in choral conducting.
Involved in the Greater Seattle choral community since 1981, Mr. Adrian founded Northwest
Associated Arts, a family of children and adult choruses in the Burien area. For 21 years he
conducted Choral Sounds Northwest, the first of NWAA’s performing groups. Then in 2000
he originated Cantaré Vocal Ensemble in north Seattle.
Equally at home in everything from Broadway musicals to the most contemporary choral
compositions, Mr. Adrian has most recently served as guest conductor of the Bainbridge
Chorale, interim Artistic Director and conductor of the Seattle Women’s Ensemble, and is
the Artistic Director/Conductor of Cantaré Vocal Ensemble. He has led many music
programs at churches throughout the area and is currently director of music at St.
Catherine of Siena in the Maple Leaf neighborhood of north Seattle.
Since 2003, Mr. Adrian has lead many area ensembles at Benaroya Hall, conducting such
masterworks as Carmina Burana, Verdi’s and Mozart’s Requiems, Poulenc’s Gloria, and
Beethoven’s Ninth Symphony, with Seattle Bach Choir, Master Chorus Eastside, Choral
Arts, Bainbridge Chorale, Cascadian Chorale, Vashon Island Chorale, Everett Chorale, Rainier Chorale, Bellevue Chamber Chorus,
Kirkland Choral Society, Sacred Music Chorale, Sammamish Symphony Orchestra, Rainier Symphony, Northwest Symphony
Orchestra, Cascade Symphony Orchestra, and many other local and international artists.
Many churches, schools, and area conductors seek Mr. Adrian’s expertise as a choral clinician, and he frequently adjudicates at music
competitions and festivals. He is a published composer and arranger with many of his works having been performed locally. Among the
organizations in which he is active are the Greater Seattle Choral Consortium, American Choral Directors Association, Chorus America,
the Conductor’s Guild, the National Association of Pastoral Musicians, Midsummer Musical Retreat, and the American Guild of
Organists.
SOPRANO
Kim Carlson
Valerie Casper
Barbara Erickson
Eliza Fox
Sharon Gadzik
Heidi Goins
Julee Jackson
Carol Kovak
Katie Larson
Terri Lundquist
Hannah Quamme
Karin Rogers
Diane Taniguchi
Margaret Thompson
ALTO
Jennifer Anderson
Jackie Ball
Donna Cauthorn
Pam Davies
Judy Davis
Char Friis
Joy Huckle
Colleen Harriott
Laurie Larkin
Kathy Pearson
Penny Rempfer
Jean Winfield
Laura York
TENOR
Matthew Blinstrub
Dave Broweleit
Walt Davis
Trip Edgerton
Aaron Giles
Jonathan Hanneman
Craig McDonald
Marty Mullin
Terry Rogers
Jim Yragui
BASS
Zeke Chin
John Gordon
Bill Green
Randy Johnson
Richard Kovak
Ken Machtley
David Nasby
Bill Prather
Bernie Silbernagel
ACCOMPANIST
Thelma Strand
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NORTHWEST
CHAMBER CHORUS
MARK KLOEPPER • ARTISTIC DIRECTOR
P.O. Box 45312 • Seattle, WA 98145-0312 • 206-523-1196
www.northwestchamberchorus.org
Photos by Rodger Pickett
ABOUT THE CHORUS: Established in 1968, the Northwest Chamber Chorus under the direction of Mark Kloepper, has long been
recognized as one of the finest choirs in the Pacific Northwest. The 40-voice ensemble of men and women is critically acclaimed for its
compelling performances of the best classical choral music. The group's extensive repertoire ranges from Medieval and Renaissance
music to 21st century compositions.
The 2013-2014 programs by the Chorus include the Winter's Warmth Christmas concerts in December featuring songs of winter and
Christmas, Mozart's Grand Mass in C Minor at Benaroya in March, and the Vices and Virtues concert in June with songs inspired by these
timeless themes. Outreach activities in Seattle include a performance in the Greater Seattle Choral Consortium Festival at St. Mark’s
Cathedral, noon-time caroling downtown at the 4th & Madison Building and 5th Avenue Plaza Building, and the eighth appearance in the
annual Duke Ellington Sacred Concert at Town Hall.
Celebrating its 46th year of bringing great choral music to audiences in the Puget Sound region, the Northwest Chamber Chorus enjoys
large, enthusiastic audiences and extensive support and praise from the arts community. The group is a member of the Greater Seattle
Choral Consortium, and is featured often on Classical KING FM as part of the Northwest Focus program. The group offers four commercial
recordings including the 40th Anniversary Live!, Songs of the Americas, Handel Coronation Anthems, and A Ceremony of Carols CDs.
The Northwest Chamber Chorus has performed with the Seattle Symphony, the Northwest Chamber Orchestra, the Seattle Youth Symphony,
Cascadia Brass, the Spectrum Dance Company, ACT Theatre, Philharmonia Northwest, Baroque Northwest, and the Seattle Repertory
Jazz Orchestra as part of the annual Duke Ellington Sacred Concert. The Northwest Chamber Chorus receives financial support from a
variety of sources including individual donors, local businesses, an annual Spring Benefit Auction, and grants from the Seattle Office of
Arts & Culture and King County 4Culture.
TODAY’S PROGRAM: Love, faith, commitment, devotion, growth – these are only a few of the qualities embodied in our selections for
this beautiful concert hall. In total, these pieces are fitting expressions of the love and joy we feel in sharing our music and our spirit with
you and with each other. Jan Sandström’s reverential setting of the Sanctus (1994) is spacious, intimate, and deeply personal, allowing
time for personal contemplation. John Tavener’s Hymn to the Mother of God (1985) features a simple construction with the choir split in
half. Each side sings identical music, with one side slightly delayed. As the chords rub against their lagging twins, a thick sacred texture
results. As a wedding gift to his wife Ruth, Paul Ayres combined Old Testament texts from Ruth, Proverbs and Psalms, to create this richly
textured testament of love, appropriately titled Ruth (2001). “…There are … four things I do not understand: how an eagle glides through
the sky, how a snake slithers on a rock, how a ship navigates the ocean, how a man loves a woman. Such knowledge is too wonderful
for me, too great for me to know!” Damon Dandridge’s setting of the spiritual I Know I’ve Been Changed (2001) invites us all to relax into
a gentle acceptance of our own growth.
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MARK KLOEPPER, Music Director of the Northwest Chamber
Chorus since 2006, began his lifelong love of choral music at
age 7 as a boy-soprano in his church choir. He earned a Master
of Music degree in Choral Conducting from the University of
Washington, where he studied under Joan Conlon, Geoffrey
Boers, and Peter Eros. He has also received training from Rod
Eichenberger, Helmut Rilling, Alice Parker, Robert Shaw, Paul
Hillier, Moses Hogan, Anton Armstrong and Peter Philips and
has conducted internationally in Europe, Cuba, Canada, and
the USA. Having directed musical theatre, opera choruses,
church choir and school choirs, Mark now directs the vocal
music program at the prestigious Tacoma School of the Arts.
Under his leadership, the NWCC went in 2012 on a 10-day
concert tour to Slovakia and Hungary, participated in the
American Masterpieces Choral Festival with Dale Warland and
Morten Lauridsen, appeared in the St. John Concert series in
Olympia, Seattle Presents series at Seattle City Hall, in ACT
Theatre productions, and as guest artists at the Northwest
Gold Choir Festival. In addition, he premiered Carpe Deum by
Northwest composer Joan Szymko, commissioned for the NWCC in honor of the 40th Anniversary Season. He has directed the Chamber
Chorus for eight years in the annual Duke Ellington Sacred Concert presented by Earshot Jazz.
Upcoming Concert: Vices and Virtues
Are you feeling wicked or worthy? Sinful or
Saintly? Love, faith, greed and temptation are
just a few of the qualities that the Northwest
Chamber Chorus spotlights in the music for
the June concert.
Composers for this family-friendly choral romp
include Alice Parker, J.S. Bach, Claudio
Monteverdi, Randall Thompson, and Leonard
Bernstein. Come and join the fun!
Sunday, June 8, 3:00 PM
Saturday, June 14, 7:30 PM
Phinney Ridge Lutheran Church • 7500 Greenwood Ave. N., Seattle 98103
SOPRANO
Betsy Brockman
Auralee MacColl Carter
Miriam Espeseth+
Joni Hafner+
Kelsea Laegreid
Teresa Nemeth+
Catharine Reid
Dalia Taylor*+
Taryn Wagner
Amy Wimmer
ALTO
Carol Berndt**
Sheila Brown
Rachel Flamm
Susan Jenkins
Cynthia Krohn
Kristina Madayag
Deon Miyoi
Dina Myers
Sarah Pickett
Jean Robb
Wendy Roedell
Jaqueline Roessler
Rachel Turow+
Alexandra Webb+
TENOR
Hal Bennett
Gabe Cronin+
Tim Gallagher
Pete Jones
Joe Kerley
Robert Lindsey
Rodger Pickett
Ben Rider*+
Nelson Wong
+Ruth Semi-Chorus
*Section Leaders
**Singer Manager
BASS
Kit Adams
Paul Borrmann
Chip Flory+
Jim Gordon
Fred Hoffer*+
Michael Huber
John Hushagen
Jimmy Matsuura
Bryan Webb
ACCOMPANIST
Alexandra Webb
STAFF and
BOARD of DIRECTORS
Betsy Brockman,
Executive Director
Nelson Wong,
President
John Hushagen,
Vice-President
Wendy Roedell, Secretary
Debra Smiley, Treasurer
Matthew Eng
Elaine Hardin
Fred Hoffer
Cynthia Krohn
Kathy Young
11
VASHON ISLAND
CHORALE
GARY D. CANNON • ARTISTIC DIRECTOR
P.O. Box 2325 • Vashon, WA 98070
www.vashonislandchorale.org
Vashon Island Chorale at Benaroya Hall, 2010. Photo by Rick Wallace.
The Snow (1894), by Edward Elgar (1857–1934): Today Edward Elgar is perceived as simply a stodgy Edwardian moustache, but he is
also one of the greatest composers of the late Romantic age. The Snow was composed in 1894, around the same time as his early
cantatas began to establish his reputation among England's choral festivals. The text, written by the composer's wife, Alice, entreats the
human soul to emulate snow in purity and capacity for comfort, but to prove more durable. Elgar's composition is tripartite in form, with
a fast middle section to depict the melting snow. This brief but ambitious partsong was scored originally for women's voices, two violins
and piano. The present version, arranged for mixed chorus by John Pointer with the composer's permission, was published in 1909.
O snow which sinks so light,
Brown earth is hid from sight;
O soul, be thou as white,
As white as snow, as snow.
O snow, in thy soft grave
Sad flowers the winter brave;
O heart, so soothe and save
As does the snow, the snow.
O snow, thou’rt white no more,
Thy sparkling too is o’er;
O soul, be as before
Was bright the snow, the snow.
O snow which falls so slow,
Dear earth quite warm below;
O heart, so keep thy glow,
Beneath the snow, the snow.
The snow must melt, must go,
Fast, fast as water’s flow;
Not thus, my soul, O sow
Thy gifts to fade like snow.
Then as the snow all pure,
O heart be, but endure;
Through all the years full sure,
Not as the snow, the snow.
Dirait-on (1993), by Morten Lauridsen (born 1943): In the Northwest, Morten Lauridsen's story is very much one of "Local Boy Makes
Good." Born in Colfax, Washington, on the crossroads between Spokane and Pullman, he was raised in Portland and worked as a
firefighter near Mount St. Helens. Lauridsen has taught at the University of Southern California in Los Angeles for over thirty years, but
he summers on one of the more remote San Juan Islands. By some accounts, Lauridsen is the most often performed living American
composer – no mean feat for a creator of mostly choral music. Dirait-on is one of his most popular works. The text, a French poem by
the great twentieth-century German poet, Rainer Maria Rilke, describes a rose whose petals fold in upon itself narcissistically. Lauridsen
consciously evokes the simple, melodious style of a French folksong, with its repeated refrain – dirait-on ("so they say") – folding in on
itself as a rose's petals.
(sung in French) Abandon surrounded by abandon, tenderness touching tendernesses…. It is your interior which continually
caresses itself, so they say; caressing itself, by its own clear reflection. Thus you invent the theme of Narcissus fulfilled.
12
Strawberry Kisses (2013), by Bronwyn Edwards (born 1955), World Premiere Performance: Born in Australia, Bronwyn Edwards currently
lives in West Seattle. Like most professional musicians, she occupies herself in various capacities: as composer (especially of choral
music, musical theater, and popular song), pianist (you have perhaps heard her play at Sea-Tac Airport during the holidays), conductor
(at Fauntleroy Church), teacher (of piano, guitar, and music theory), and impresario (for community benefit concerts). "Strawberry Kisses"
is taken from her suite No Bridges, a newly commissioned work which will be premiered in June to celebrate the Chorale's twenty-fifth
anniversary. Bronwyn's poem is as charming as her music... and, we would say, as charming as Vashon Island!
Good morning!
It’s a beautiful summer’s day, what a day to revel outside!
What a perfectly lovely day to enjoy a bicycle ride!
We’ll go together in tandem, pedal wherever we fancy.
I’m in the mood for sangria and just a little romance!
Beaches scattered with sparkling jewels, how I love the blue in your eyes.
Let’s go paddle in tidal pools, while a heron graces the sky!
Wildflowers loving the sunshine wave as we go on our way.
Look for a glen in the shade and watch all the boats in the bay!
Oh, what wonderful bliss, your strawberry kiss, sweet berry delight!
I’ve been missing those strawb’ry kisses all winter
Waiting for sun to nurture my garden!
There’s a beautiful view, got nothing to do but take it all in,
Orcas out in the Sound, where salmon abound, are splashing their fins.
Smiling in front of the camera, memories caught in the scenery,
Breathtaking views in their grandeur, strawberry kisses ‘til evening!
Oh, what wonderful bliss…
It’s a beautiful summer’s day…
I’m in the mood for some straw’bry kisses, mmm!
GARY D. CANNON, Artistic Director, is one of the Northwest's most dynamic choral personalities,
active as a conductor, singer, composer and musicologist. He is, since 2008, Artistic Director of both
the Vashon Island Chorale and the Cascadian Chorale. Also in 2008, the Early Music Guild invited
him to found and direct a Renaissance choir, Sine Nomine. He has held posts as Principal Conductor
of Vashon Opera (2009-11), leading performances of The Tender Land and Madama Butterfly, and
as Chorusmaster for the Northwest Mahler Festival (2001-10). Mr. Cannon has conducted the Anna's
Bay Chamber Choir, Choral Arts, Earth Day Singers, Kirkland Choral Society, and several ensembles
at the University of Washington. He has also served as Secretary of the Greater Seattle Choral
Consortium (2010-12).
As a tenor, Mr. Cannon has appeared as a soloist with Pacific Northwest Ballet, Seattle Philharmonic,
and the Auburn, Eastside, Rainier, and Sammamish symphony orchestras. He has sung as a core
member of The Tudor Choir, Choral Arts, and the Byrd Ensemble, and has appeared with the Kronos
Quartet, the Seattle Opera Chorus, and members of the Tallis Scholars. Mr. Cannon is formerly an
instructor at Whatcom Community College (2004-6), where he received the Faculty Excellence Award.
His musicological research emphasizes twentieth-century British music. He holds degrees from the
University of California at Davis and the University of Washington, where he is currently researching
a doctoral dissertation on the early life and works of William Walton.
SOPRANO
Sarah Alexander
Jo Ann Bardeen **
Karen Bargelt
JR Crawford
Kathleen Farrell
Kathleen Fitch
Shannon Flora
Susan Hanson
Susan Hedrick
Angela Hodge
Amy Holmes
Heather Houston
Anna Martinsen
Adrienne Selvy Mildon
Arlette Moody
Kathy Ostrom
Jennifer Pratt
Kathleen Rindge **
Pamela Saunders-Osness
Anne Terry *
Katie Whitney
ASST. CONDUCTOR
Marita Ericksen
ALTO
Kaycie Alanis *
Jill Andrews
Karen Baer **
Amy Baldinger
Judi Burwell
Carol Butler
Mary Carhart
Patricia Casey
Mecky Chappelka
Gaye Detzer
Jeanne Dougherty
Carol Ellis
Kim Farrell
Gerry Feinstein
Sheryl Lehman
Mary Frances Lyons **
Virginia Magboo
Leslie McIntosh
Margie Morgan **
Margaret Queary
Shawn Sipe
Jan Sterling
Annie Strandberg
Susan Valenti
Harriet Van Buren
ACCOMPANIST
Linda Lee
*Section Leader
**Board Member
TENOR
George Butler **
John de Groen
Doug Drape **
Bea Enson
Joe Farmer **
Debby Jackson
Gary Koch
Dan McDevitt
Lynne Shepherd *
Marijke van Heeswijk
Kay White
Matt Wilson
Don Wolczko **
BASS
Yale Enson
Shelly Frankel
Jim Gardner *
Craig Hanson
Bill Hart
Jim Huff
Ralph Moore
Michael Pankratz
Dick Paulsen
Terry Roth
Richard Skillman
Steve Steffens
Stuart Tribble **
Armen Yousoufian
Vashon Island Chorale
Celebrates its 25th year!
The Vashon Island Chorale is
celebrating its 25th anniversary with
a special concert called
NO BRIDGES
on Sunday, June 29 at 3pm
The concert features the premiere of
a special collection of pieces by
noted West Seattle composer,
Bronwyn Edwards.
Her 45-minute, multi-movement work
celebrates the many flavors of
Vashon's colorful history and culture.
The 25th anniversary concert is funded in part
by a grant from4 Culture
Advancing Community Through Culture.
Admission for the concert on June 29
at 3pm is free as the Chorale’s gift to
the community.
The concert venue is Bethel Church
located at 14736 SW Bethel Lane,
Vashon 98070.
Join us!
13
This concert has been organized and produced by Cantaré Vocal Ensemble, under the Artistic Direction
of Mark Adrian. Now in its fourteenth year, Cantaré has secured its place as one of Seattle’s finest
This concert
has beenProviding
organizedaudiences
and produced
by Cantaré Vocal
Ensemble,
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performing
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Cantaré’s
emphasis
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20th and
finest
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ensembles.
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audiences
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favorites
while
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21st century composers, while also affirming and including the masters from all periods. The ensemble
contemporary
compositions
and the
lesser-known
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programming
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delights
in presenting
“lighter” side
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and
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sometimes humorous lyrics and subject matter into its performances.
ensemble continually delights in presenting the “lighter” side of serious music as well, incorporating
Join
Mark
Adrian
and Cantaré
Vocal
Ensemble
as they
present
“Flora
& Fauna” on April 25, 26, and
clever
and
sometimes
humorous
lyrics
and subject
matter
into its
performances.
27, in McKay Chapel at Lakeside School in north Seattle. Through appropriately chosen choral pieces,
Join Mark
Cantaré
Vocal
Ensemble
as they
present
“FloraJoin
& Fauna”
26, and
Cantaré
willAdrian
take aand
whimsical
look
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north
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men, weeds and flowers, forests and barnyards. Selections include “Jave Jive,” “The Frim Fram Sauce,”
pieces, Cantaré
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and
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that
are sure Join
to put
smile
on your
mice
and
men,
weeds
and
flowers,
forests
and
barnyards.
face and a wink in your eye. Log onto www.cantarevocalensemble.org or call 206-551-4544 for tickets
and
more information.
Cantaré
singers joining in today’s performance include Fred Alkire, Kristy Aradine, Michele Bader,
Rebecca
Bliquez,
Jim Boardman,
Darryn Brott,include
Linda Lu
Cannon,
Carruthers,
Melinda
Cantaré
singers
joining
in today’s performance
Fred
Alkire, Charlotte
Kristy Aradine,
Michele
Bader,
Crandall,
Karen
Devine,
Matt
Devine,
Fran
Eisenman,
Michael
Feldman,
Jennifer
Gavlin,
Brian
Rebecca Bliquez, Jim Boardman, Darryn Brott, Linda Lu Cannon, Charlotte Carruthers, Melinda
Gillespie,
Roger
Hanson,
Hart,Fran
Peggy
Hudson,Michael
Kristen Feldman,
Iverson, Russ
Kaake,
Llyra
de la
Mere,
Crandall,
Karen
Devine,
MattKelli
Devine,
Eisenman,
Jennifer
Gavlin,
Brian
Gillespie,
Marty
Mullin,
Laura
Murphy,
Elizabeth
Nelson,
Nathan
Oines,
Chris
Olsen,
Philip
Parham,
Maureen
Roger Hanson, Kelli Hart, Peggy Hudson, Kristen Iverson, Llyra de la Mere, Marty Mullin, Laura Murphy,
Prichard,Nelson,
Greg Smith,
Rick
Thompson,
Katie Walter,
and ClarkMaureen
Williams-Derry.
Elizabeth
Nathan
Oines,
Chris Olsen,
Philip Parham,
Prichard, Greg Smith, Rick
Thompson, Katie Walter, and Clark Williams-Derry.