Special Guests - Masterworks Chorale

Saturday, March 22, 8:00pm
u
Sunday, March 23, 4:00pm
Special Guests
Valley Concert Chorale John Bush, Artistic Director
Hillsdale High School Chamber Singers Mark Fish, Director
Ragazzi Boys Chorus Joyce Keil, Artistic Director
Sarah Bush Dance Project Sarah Bush, Artistic Director
Dr. Bryan Baker, Ar tistic Director
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www.masterworks.org
Masterworks Chorale is delighted to have you celebrate with us our 50th anniversary
season! We are proud of our history as an integral part of the Peninsula arts culture,
and we look forward to a vibrant future. Founded in 1964 by Galen Marshall and now
under the direction of Dr. Bryan Baker, Masterworks Chorale comprises 100 singers
from all over the Bay Area and from all walks of life, united in a love of wonderful music.
We perform a lively variety of music, from major works of the Renaissance and Baroque
periods, to modern masterpieces, and new works by contemporary composers. This
special golden anniversary season exemplifies the legacy that has sustained Masterworks
for the past fifty years and the vision that will propel us forward for the next fifty.
Compelling – The season launches with the ambitious production of Mendelssohn’s epic
and enthralling oratorio, Elijah. A first for Masterworks, this work is truly a masterpiece
with its emotional sweep, riveting story-telling, and musical power.
Community-minded – Our “Home for the Holidays” program in December is a
favorite occasion for embracing our audience community, featuring an uplifting selection
of seasonal music, an opportunity for the whole family to join in singing with us, and
holiday cookies for all!
Collaborative – In March Masterworks will join forces with Valley Concert Chorale,
Hillsdale High School Chamber Singers, Ragazzi Boys Chorus and the Sarah Bush
Dance Project, along with a professional orchestra and soloists, to present Carl Orff ’s
breathtakingly dynamic Carmina Burana.
Creative – The season culminates with an innovative program exploring the theme of
love with all its passion and pangs. From the lovely Liebeslieder Waltzer by Brahms to
Broadway selections from Gershwin and others, this will be a concert of the heart.
We look forward to celebrating with you throughout this landmark season –
we’re so glad you’re here!
Board of Directors
PRESIDENT
TREASURER
Lory Kitamura-Tintor
H. Alton Schick
VICE PRESIDENT
Dave Barman
Teri Boucher
Elsa Schafer
Art Mahoney
SECRETARY
Bonnie Hiller Fullerton
EX-OFFICIO MEMBER
Bryan Baker, DMA, Artistic Director and Conductor
Welcome to Masterworks
Welcome to Masterworks Chorale’s 50th Anniversary
Season. I am honored to serve as the Board President
during this landmark year.
PRESIDENT
Lory Y. Kitamura-Tintor
We invite you, our audience members, to embark on a
special journey with us. Our auditioned chorus of over
100 experienced singers, under the baton of Maestro
Dr. Bryan Baker, will perform exciting choral
masterpieces, with special guest vocal soloists
and professional orchestras, in new venues.
Many dedicated hearts and busy hands make it all
possible. The Masterworks Chorale Society is a 501c(3)
non-profit organization that supports the Chorale. The Board of Directors’
primary purpose is to ensure that the Chorale keeps singing. Our tireless singers
volunteer countless hours. The Singers Council, hard-working volunteer committees
(Budget/Finance, Fund Development, Marketing, Personnel, and Technology), and
our artistic and administrative staffs ensure that Masterworks Chorale thrives.
Singers’ dues, ticket sales, fundraisers, business sponsors, and foundation grants
cover some of our budgeted operational expenses of $180,000.00. And, we rely on
individual supporters, like you, to help meet this 50th Season’s concert costs. We
invite you to open your hearts and join hands with us. Please consider making a
tax deductible donation to Masterworks Chorale, to keep the music alive.
You help make it possible.
Thank you so very much for being an important part of our musical journey.
Now, let the celebration begin!
Lory Y. Kitamura-Tintor
President of the Board
Masterworks Chorale Society
To donate to Masterworks
Chorale, please visit us online
at www.masterworks.org or
call: 650-918-6225.
Founded in January 2008 by Dr. Bryan Baker, Serenade
is a chamber choir selected by audition, primarily
from among the members of Masterworks Chorale.
The singers are committed members of the chamber
choir, devoting many hours to rehearsal of a varied repertoire ranging from classical to popular
music. Created as an outreach ensemble of Masterworks, Serenade provides an opportunity
for the presentation of a broad variety of chamber music in smaller venues and private parties.
If you are interested in booking a performance by Serenade, please contact the Masterworks
Chorale office at [email protected] or 650-918-6225.
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www.masterworks.org
~ Congratulations Masterworks ~
50 Stellar Years!
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Holy Day Services as announced
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[ March 2014 ] Carmina Burana
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MASTERWORKS CHORALE
THANKS THE COLLEGE OF SAN MATEO
FOR THEIR ONGOING SUPPORT
...... . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . .........................
Masterworks
The first 50 were delightful;
the next will be compelling
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www.masterworks.org
Congratulations to
Masterworks Chorale
For 50 years of Choral Excellence!
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Dr. Bryan Baker
Artistic Director and Conductor
Dr. Bryan Baker is in his eleventh season as
Artistic Director and Conductor of Masterworks
Chorale. He also holds the positions of Director
of Music at the Unitarian Universalist Church
of Berkeley, Assistant Conductor of the San
Francisco Choral Society, and is Founder and
Director of Serenade Chamber Choir. He often
leads instrumental ensembles, and has conducted
the Solaris Chamber Orchestra, Masterworks
Orchestra, Peninsula Symphonic Winds, New
Millennium Strings, and the Kensington Symphony. He has led many choral
clinics, judged competitions, and frequently appeared as guest conductor in the
Bay Area. Dr. Baker most recently conducted American choirs in Hungary,
Romania, and Brazil.
An accomplished pianist, Dr. Baker has played solo concerts, chamber music, and
accompanied vocal recitals across the United States and in Europe and South
America. Locally, he has performed in Davies Symphony Hall, Herbst Theater, at
the Stern Grove Festival, on the Old First Concert Series, among others. During
recent seasons, he played concertos by Beethoven, Haydn, Saint-Saëns and
Shostakovitch, with the Kensington Symphony, New Millennium Strings, the
Community Music Center Orchestra, the California Chamber orchestra and the
San Francisco Concerto Orchestra.
Having earned Bachelors, Masters, and Doctoral degrees in music, Dr. Baker
serves on the faculty of the College of San Mateo. He formerly taught voice at
San Francisco State University and Truman University (MO), and piano at
Foothill College and Arizona State University. He continues to maintain a busy
private studio, and his students have won competitions and appeared in concerts
and opera productions in the Bay Area and across the country.
Dr. Baker has won prizes in numerous competitions, most recently first place
in the contemporary music division of the Klatzkin Keyboard Competition,
and the Living Composers category of the Bay Area Keyboard Arts Competition.
He received a grant for performances of chamber music and has played a wide
range of unusual music for small ensembles. Dr. Baker spent a good deal of time
in the theatre. He most recently directed Godspell, Company, Side by Side by
Sondheim, and The Apple Tree. In 2010 he appeared as the The Baker in
Sondheim’s Into the Woods, and last year portrayed Boolie in Driving Miss Daisy.
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www.masterworks.org
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In Celebration of the 50th Season of Masterworks Chorale
Masterworks Chorale & Orchestra Bryan Baker, Artistic Director
Valley Concert Chorale John Emory Bush, Artistic Director
Hillsdale High School Chamber Singers Mark Fish, Director
Ragazzi Boys Chorus Joyce Keil, Artistic Director
Sarah Bush Dance Project Sarah Bush, Artistic Director
Shawnette Sulker, soprano
Brian Thorsett, tenor
Igor Vieira, Bass
program
Four Songs for Women’s Voices Harp and Two Horns Johannes Brahms
1. Es tönt ein voller Harfenklang
2. Lied von Shakespeare
3. Der Gärtner
4. Gesang aus Fingal
Harp: Meredith Clark; French Horns: Leslie Hart, Loren Tayerle
Choral Fantasy, Op 80 Ludwig van Beethoven
Shawnetter Sulker, Marsha Sweeney, Leah Galbraith
Brian Thorsett, Norm DeVol, Igor Vieira
Dan Glover, piano
John Emory Bush, conductor
Carmina Burana
Carl Orff
1. O Fortuna 2. Fortune plango vulnera 3. Veris leta facies 4. Omnia sol temperat
5. Ecce gratum Uf Dem Anger
6. Tanz Sarah Bush Dance Project
7. Floret silva nobilis chorus
8. Chramer, gip die varwe mir Shawnette Sulker & chorus
9. Reie Sarah Bush Dance Project & chorus
10. Were diu werlt alle min chorus
II. In Taberna
11. Estuans interius 12. Cignus ustus cantat 13. Ego sum abbas 14. In taberna quando sumus III. Cour D'amours
15. Amor volat undique Shawnette Sulker & Ragazzi
16. Dies, nox et omnia Igor Vieira
17. Stetit puella Shawnette Sulker
18. Circa mea pectora Igor Vieira & chorus
19. Si puer cum puellula chorus
20. Veni, veni, venias chorus
21. In trutina Shawnette Sulker
22. Tempus es iocundum Shawnette Sulker, Igor Vieira, Ragazzi & chorus
23. Dulcissime Shawnette Sulker
24. Ave formosissima chorus
25. O Fortuna Sarah Bush Dance Project & chorus
I. Primo Vere
chorus
chorus
chorus
Igor Vieira
chorus
Igor Vieira
Brian Thorsett & chorus
Igor Vieira & chorus
chorus
Masterworks Chorale, Valley Concert Chorale,
Hillsdale High School Chamber Singers, Ragazzi Boys Chorus
Bryan Baker, conductor
program notes
Four Songs
for Womens
Voices, Harp
and Two
Horns
COMPOSER
Johannes Brahms
(1833-1897)
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We owe the existence of Brahms’s “Vier Gesänge für Frauenchor”
(Four Songs for Women’s Voices, Harp and Two Horns) to the
fact that as a young man, he directed a women’s choir in Hamburg and needed repertoire. While each of the four poems is of
a different character and origin, all are laments. Brahms chose his
instruments to complement the effect of the words. The quickly
decaying sound of the harp traditionally represented the transience of life, and the horn was symbolic of many things,
including destiny.
“Es Tönt ein voller Harfenklang” (The full sound of harps rings
out) is from the pen of Friedrich Ruperti (1805–1867) about
whom next to nothing is known. The poem is not much on its
own but it provided Brahms with the perfect words with which
to introduce a set of pieces featuring harp.
Shakespeare’s 1601 comedy Twelfth Night, or What You Will, is the
source for the text to No. 2, a lovely, melancholy song of unrequited love couched in 16th-century death imagery. “Komm herbei,
Tod” (Come Away Death) is the song of a court jester in Act 2,
Scene 4. The German translation of August Wilhelm Schlegel
(1767–1845) does a remarkable job of preserving the meaning
and tone of Shakespeare’s original as well as its rhyme scheme.
“Der Gärtner” (The Gardener) by Johann Eichendorff (1788–
1857) presents a tale of the almost chivalric, unrequited love of
a gardener for an unapproachable noblewoman. The expression
is beautiful, but the emotions are objectified and seem distant
rather than personal. All of this changes without warning in the
last line. By this time the reader has become accustomed to the
objectivity of the poem as well as to its rather sing-song poetic
meter. The words “and soon will dig my grave” thus come as a jolt.
The “Gesang aus Fingal” (Song from Fingal) touches on one of the
greatest literary hoaxes of all time. In 1760 a 24-year-old Scot
named James Macpherson (1736–1796) published writings by
“Ossian,” a legendary third century Gaelic bard. This was revolutionary, since Gaelic literature had been preserved solely by oral
tradition. After Macpherson’s death it was proven that Ossian was a
fraud, but the poet was laughing in his grave, for in the meantime
“Ossian” had been translated into numerous languages and had
been irrevocably absorbed into Scottish and Irish culture. The
song of mourning from Ossian’s Fingal had a universality that
obviously appealed to Brahms. The “maid of Inistore” likely
suggested his setting of the poem for women’s chorus; and the use
of horns, with their symbolism and dark color, must have seemed
particularly appropriate.
www.masterworks.org
program notes
Translation
1 Es tönt ein voller Harfenklang
The full sound of harps rings out,
Swelling one with love and yearning;
It pierces on to the heart, deeply and anxiously,
And leaves the eyes streaming.
O run, my tears, stream down;
O pound, my heart, and quiver!
Love and Happiness are buried in the grave; Lost is my life!
(trans. Emily Ezust)
2 Lied von Shakespeare
Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away, breath;
I am slain by a fair cruel maid.
My shroud of white, stuck all with yew,
O prepare it!
My part of death, no one so true did share it.
Not a flower, not a flower sweet,
On my black coffin let there be strown
Not a friend, not a friend greet
My poor corpse, where my bones shall be thrown:
A thousand, thousand sighs to save,
Lay me, O where sad true lover never find my grave,
To weep there!
(trans. August Wilhelm Schiegel)
3 Der Gärtner
Wherever I go and look, in field and forest and plain, down the hill to the
mead;
Most beautiful noble lady, I greet you a thousand times.
In my garden I find many flowers, pretty and nice,
many garlands I bind from them and a thousand thoughts and greetings I
weave into them.
Her I must not give one, she is too noble and fair; they all have to fade,
only unequalled love stays in the heart forever.
I seem to be of good cheer and work to and fro,
and, though my heart bursts,
I dig on and sing, and soon I dig my grave.
(trans. Jakob Kellner)
[ March 2014 ] Carmina Burana
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program notes
4 Gesang aus Fingal
Weep on the rocks of roaring winds,
O maid of Inistore!
Bend thy fair head over the waves, thou lovelier than the ghost
of the hills;
When it moves in a sun-beam, at noon, over the silence of
Morven!
He is fallen, thy youth is low!
pale beneath the sword of Cuthullin!
No more shall valor raise thy love
to match the blood of kings.
Trenar, graceful Trenar died,
O maid of Inistore!
His grey dogs are howling at home!
They see his passing ghost.
His bow is in the hall unstrung.
No sound is in the hall of his hinds!
(trans. James MacPherson)
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www.masterworks.org
program notes
Composed in December 1808 the Choral Fantasy is an amalgamation of all Beethoven’s characteristics. In fact, had Beethoven
lived today this Fantasy would have been the perfect material to
be used for a demo recording. He played and conducted it
himself, he showed off his improvisatory skills, he used similar
compositional means as in his Fourth Piano Concerto and finally
the work hinted at a device that he later would perfect in his
Ninth Symphony.
The story begins though in 1807 with an unsuccessful performance
of the Mass in C major. As a result Beethoven ventured to arrange
an Akademie (a benefit concert—a mammoth concert to say the
least!) in December 1808 at the Theater an der Wien. This was to
showcase the fairly recently completed compositions including
the Fourth Piano Concerto, the Fifth and Sixth Symphonies and
movements from the Mass in C major. Incidentally this was the
Viennese premier of Beethoven’s early concert aria Ah! Perfido as
well.
Beethoven
Choral
Fantasy in C
minor, op. 80
COMPOSER
Ludvig Van
Beethoven
(1770-1827)
Beethoven needed a work that would complete the concert
program. The composition of the Choral Fantasy was uncharacteristically hastily done for Beethoven. Usually he would edit
compositions so much that by the time he came to the point of
publication the work would be nearly unrecognizable in comparison to the original. The only great difference to the original Choral
Fantasy and the published work is Beethoven’s written out solo
piano introduction based on what he played at the Fantasy’s
premier.
The work divides into three larger sections: the solo piano
introduction, the set of variations and the chorale ending. The
theme that lurks throughout the work and eventually is proclaimed
by the choir is based on an early, unpublished song Gegenliebe
(Requited Love). This theme has contours that make it evidently
an ancestor of the chorale theme that came years later in the
Ninth Symphony. The author of the text of the Chorale Fantasy is
uncertain, but some suggest that it could be Christoph Kuffner.
Beethoven’s choice of text would have been uplifting to his
audience and therefore would have served as a perfect crowd
pleaser—if only it were not for the extremely long program and
the need of several restarts throughout the program due to an
under-rehearsed orchestra.
continued on next page...
[ March 2014 ] Carmina Burana
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program notes
So, what originally was part of a business enterprise for Beethoven
today gives us the opportunity to have an insight into his artistry
as the virtuosic and improvising pianist. It furthermore gives us
the opportunity to come close to the ambitious genius of the
composer that would over time revolutionize the whole of the
music industry of his time.
© 2012 Nico de Villiers with permission from Nico de Villiers
Translation
Graceful, charming and sweet is the sound
Of our life’s harmonies,
and from a sense of beauty arise
Flowers which eternally bloom.
Peace and joy advance in perfect concord,
like the changing play of the waves.
All that was harsh and hostile,
has turned into sublime delight.
When music’s enchantment reigns,
speaking of the sacred word,
Magnificence takes form,
The night and the tempest turns to light:
Outer peace and inward bliss
Reign o’er the fortunate ones.
All art in the spring’s sun
Let light flow from both.
Greatness, once it has pierced the heart,
Then blooms anew in all its beauty.
Once one’s being has taken flight,
A choir of spirits resounds in response.
Accept then, you beautiful souls,
Joyously the gifts of high art.
When love and strength are united,
God’s grace is bestowed upon Man.
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www.masterworks.org
program notes
Is there any music that grabs us from the very first chord with
the sheer visceral force of Carl Orff’s Carmina burana? Issuing
fortissimo from the depths of the orchestra and rooted in a blowto-the-gut thud of timpani, this chord is followed by a blazing
dissonance from the chorus, and we are off on a wild musical
adventure that will hold us in its grip for the next hour.
Flush with the work’s success at its premiere, a staged production at
the Frankfurt Opera on June 8, 1937, Orff wrote to his publisher:
“Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina burana, my
collected works begin.” For Orff, this was the beginning of a new
musical path. Instead of the rich harmonies of the 19th century
and the elaborate systems replacing tonality of the 20th, he had
opted for music in its purest and most elemental form—rhythm,
melody, and vocal-instrumental color—that is, music that
bypasses the brain and goes straight to the emotions. But though
he followed this path for the rest of his long career, Carmina
burana is his only work still embraced by audiences everywhere.
Carmina
Burana
COMPOSER
Carl Orff
(1895-1982)
Orff was a man of the theatre and the classroom: a born musical
communicator and proselytizer. Believing that every child was
innately musical, he developed teaching methods and an array of
simple instruments that helped children connect music to speech,
dance, and folk traditions. His method was eventually enshrined
in the Orff Institute and is still influential today. As a composer,
he initially wrote in a late-Romantic idiom and was also intrigued
by the twelve-tone system of Arnold Schoenberg. But all this
changed when in 1935 he came across Johann Schmeller’s 1847
edition of medieval poems, the “Carmina burana” or “Songs
from Beuern” (“Beuern” being a variant of the German word for
Bavaria). For Orff, their pungent earthiness demanded a radical
change of course.
The “Carmina burana” had been drawn from a collection of
poems found in a Benedictine monastery in the Bavarian Alps
near Munich and later transferred to the Bavarian Court Library.
They were created by the wandering university students and
minor clergy who flourished during the 11th, 12th, and early
13th centuries in France, England, and Germany and were
known as the golliards, for their supposed master, the mythical
Bishop Gollas, a medieval stand-in for Satan. In a religious era
that stressed denial of the flesh in preparation for the world to
come, the golliards formed a robust counterculture that uninhibitedly celebrated the earthly pleasures of wine, women, food, and
[ March 2014 ] Carmina Burana
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program notes
laughter. Hailing from many lands, they sang their poems in
the universal language of Latin or occasionally in the vernacular.
They traveled from town to town, scandalizing and delighting
the common folk with their learned spoofs of church texts,
sensuous love poems, and obscene verses that opened the door
to a forbidden world. For men living 800 or more years ago,
their orientation seems startlingly contemporary.
In setting 24 of the Beuern songs Orff consciously returned to the
primitive roots of music. Elaborate forms and complex harmonies
went out the window. Instead, he emphasized powerful rhythms
and evocative folkish melodies that work their magic through
repetition in simple strophic settings. Orff’s contemporary touch
was his dazzling exploitation of the colors of the large modern
orchestra. To emphasize his driving, heavily accented rhythms, he
wrote for a big battery of percussion instruments (played by five
percussionists), ranging from the delicate sparkle of glockenspiel
to the crude force of the bass drum. He also pushed his chorus
and especially his three soloists—soprano, baritone, and tenor —
to the extreme limits of their ranges to intensify the emotional
impact.
The songs are arranged in three broad groups: “Spring”/”On the
Green,” “In the Tavern,” and “The Court of Love.” Framing the
whole is the choral invocation to “Fortune, Empress of the
World,” which depicts humankind as helpless riders on the wheel
of fortune—now swinging upward to happiness and riches, later
plummeting down to ruin and despair. The various songs
illustrate the stages of the wheel.
The opening chorus, “O Fortuna,” epitomizes Orff’s techniques.
After that electric opening, the chorus delivers the text forcefully
in unison. As in most of the songs, a constant rhythmic ostinato
pattern in the orchestra propels the music forward. Later, harsh
blows from the bass drum and the gong accelerate the drive.
The section celebrating the coming of “Spring” provides strong
contrast with delicate, luminous vocal and instrumental timbres.
In “The Merry Face of Spring,” the tremor of high woodwind
birds introduces a simple unison melody for the chorus over the
heavy swinging of two chords. Its archaic-sounding melody, built
on a pentatonic (five-note) scale, suggests the music the medieval
poets might have actually used. An orchestral round dance for the
scene on the green plays rhythmic games with constantly
changing meters — four beats, three beats, two beats — à la
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www.masterworks.org
program notes
Stravinsky, who was an important influence on Orff. “Floret silva
nobilis” is an infectious, folksong-inspired chorus; listen here for the
musical depiction of the lover riding away in the tenors and timpani.
Only men are allowed “In the Tavern.” This raucous, ribald section
features the male chorus and the baritone soloist as an inebriated,
blasphemous priest. The most striking song here is “Olim lacus
colueram,” the “Lament of the Roasted Swan.” Singing in a squealing
high register (known as “falsetto”), the tenor is the hapless swan, “now
black and roasting fiercely.”
The voices of women and children dominate “The Court of Love,” in
which courtly odes grow quite explicit. Here the radiant tones of the
soprano soloist are introduced. Her warm lower range is exploited in
the exquisite “In trutina,” Carmina’s loveliest song, while at the very
top of her range she abandons herself totally to passion (“Dulcissime”).
The “Court of Love” ends in a grandly sonorous choral hymn to the
“glorious virgin” — but here she is not the Virgin Mary, but rather
Venus, the goddess of physical love. Its drumbeats propel us back to
the opening “O Fortuna” chorus. Fortune’s wheel has made a complete
revolution, and our medieval adventure ends where it began with a
lusty thud of timpani.
Translationa
1. O Fortuna (Oh Fortune)
O Fortune, like the moon you are changeable, ever waxing and
waning;
hateful life first oppresses and then soothes as fancy takes it;
poverty and power, it melts them like ice.
Fate - monstrous and empty, you whirling wheel, you are
malevolent,
well-being is vain and always fades to nothing, shadowed and
veiled you plague me too;
now through the game I bring my bare back to your villainy.
Fate is against me in health and virtue, driven on and weighted
down, always enslaved.
So at this hour without delay pluck the vibrating strings;
since Fate strikes down the strong man, everyone weep with me!
translations continue, please turn quietly...
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program notes
2. Fortune plango vulnera (I bemoan the wounds of Fortune)
I bemoan the wounds of Fortune with weeping eyes,
for the gifts she made me she perversely takes away.
It is written in truth, that she has a fine head of hair,
but, when it comes to seizing an opportunity she is bald.
On Fortune’s throne I used to sit raised up,
crowned with the many-colored flowers of prosperity;
though I may have flourished happy and blessed,
now I fall from the peak deprived of glory.
The wheel of Fortune turns; I go down, demeaned; another is
raised up;
far too high up sits the king at the summit - let him fear ruin!
for under the axis is written Queen Hecuba.
I. Primo Vere (Springtime)
3. Veris leta facies (The merry face of Spring)
The merry face of spring turns to the world, sharp winter now
flees, vanquished;
bedecked in various colors Flora reigns, the harmony of the
woods praises her in song. Ah!
Lying in Flora’s lap Phoebus once more smiles, now covered in
many-colored flowers,
Zephyr breathes nectar-scented breezes.
Let us rush to compete for love’s prize. Ah!
In harp-like tones sings the sweet nightingale,
with many flowers the joyous meadows are laughing, a flock of
birds rises up
through the pleasant forests, the chorus of maidens already
promises a thousand joys. Ah!
4. Omnia sol temperat (All things are tempered by the sun)
All things are tempered by the sun, so pure and fine. In a new
world are revealed the beauties of April.
To thoughts of love the mind of man is turned, and in pleasure’s
haunts the youthful God holds sway.
Nature’s great renewal in solemn spring and spring’s example bid
us rejoice; they charge us keep to well worn, and in your springtime there is virtue and honesty in being constant to your lover.
Love me truly! Remember my constancy, and with all my heart
and with all my mind, I am with you even when far away
whoever knows such love knows the torture of the wheel.
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program notes
5. Ecce gratum (Behold, the pleasant spring)
Behold, the pleasant and longed-for spring brings back joyfulness,
violet flowers fill the meadows, the sun brightens everything, sadness is
now at an end!
Summer returns, now withdraw the rigors of winter. Ah!
Now melts and disappears ice, snow and the rest, winter flees,
and now spring sucks at summer’s breast:
a wretched soul is he who does not live or lust under summer’s rule. Ah!
They glory and rejoice in honeyed sweetness
who strive to make use of Cupid’s prize; at Venus’ command
let us glory and rejoice in being Paris’ equals. Ah!
Uf Dem Anger (On the Green)
6. Tanz (Dance)
7. Floret silva nobilis (The woods are burgeoning)
The noble woods are burgeoning with flowers and leaves.
Where is the lover I knew? Ah!
He has ridden off! Oh! Who will love me? Ah!
The woods are burgeoning all over, I am pining for my lover.
The woods are turning green all over, why is my lover away so long? Ah!
He has ridden off, Oh woe, who will love me? Ah!
8. Chramer, gip die varwe mir (Shopkeeper, give me color)
Shopkeeper, give me color to make my cheeks red,
so that I can make the young men love me against their will.
Look at me, young men!
Let me please you!
Good men, love women worthy of love!
Love ennobles your spirit and gives you honor.
Hail, world, so rich in joys!
I will be obedient to you because of the pleasures you afford.
9. Reie (Round Dance)
Those who go round and round are all maidens,
they want to do without a man all summer long. Ah! Sla!
Come, come, my love, I long for you,
I long for you, come, come, my love.
Sweet rose-red lips, come and make me better,
come and make me better, sweet rose-red lips.
translations continue, please turn quietly...
[ March 2014 ] Carmina Burana
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program notes
10. Were diu werlt alle min (Were all the world mine)
Were all the world mine from the sea to the Rhine,
I would starve myself of it so that the queen of England might
lie in my arms.
II. In Taberna (In the Tavern)
11. Estuans interius (Seething Inside)
Seething inside with boiling rage in bitterness I talk to myself.
Made of matter, risen from dust, I am like a leaf tossed to play
by the winds.
But whereas it fits a wise man to build his house on a rock,
I, poor fool, am like a meandering river, never keeping to the
same path.
I drift along like a pilotless ship or like an aimless bird, carried at
random through the air.
No chains hold me captive, no lock holds me fast, I am looking
for those like me,
And I join the depraved.
The burdens of the heart seem to weigh me down; jesting is
pleasant and sweeter than the honeycomb.
Whatever Venus commands is pleasant toil; she never dwells in
craven hearts.
On the broad path I wend my way as is youth’s wont, I am
caught up in vice and forgetful of virtue.
Caring more for voluptuous pleasure than for my health, dead in
spirit, I think only of my skin.
12. Cignus ustus cantat (The Roasting Swan Sings)
Once I lived on lakes. Once I looked beautiful when I was a swan
Misery me! Now black and roasting fiercely!
The servant is turning me on the spit; I am burning fiercely on
the pyre: the steward now serves me up.
Misery me! Now black and roasting fiercely!
Now I lie on a plate, and cannot fly anymore, I see bared teeth.
13. Ego sum abbas (I am the abbot)
I am the abbot of Cockaigne
and my assembly is one of drinkers,
and I wish to be in the order of Decius,
and whoever searches me out at the tavern in the morning,
after Vespers he will leave naked
and thus stripped of his clothes he will call out:
Woe! Woe!
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program notes
what have you done, vilest Fate?
the joys of my life
you have taken all away!
14. In taberna quando sumus (In the Tavern)
When we are in the tavern, we do not think how we will go to dust,
but we hurry to gamble, which always makes us sweat.
What happens in the tavern, where money is host,
you may well ask, and hear what I say.
Some gamble, some drink, some behave loosely.
But of those who gamble, some are stripped bare,
some win their clothes here, some are dressed in sacks.
Here no-one fears death, but they throw the dice in the name of
Bacchus
First of all it is to the wine-merchant the libertines drink,
two for the prisoners, three for the living, four for all Christians,
five for the faithful dead, six for the loose sisters, seven for the footpads
in the wood,
eight for the errant brethren, nine for the dispersed monks, ten for the
seamen,
eleven for the squabblers, twelve for the penitent, thirteen for the
wayfarers.
To the Pope as to the king they all drink without restraint.
The mistress drinks, the master drinks, the soldier drinks, the priest
drinks,
the man drinks, the woman drinks, the servant drinks with the maid,
the swift man drinks, the lazy man drinks, the white man drinks, the
black man drinks,
the settled man drinks, the wanderer drinks, the stupid man drinks, the
wise man drinks,
The poor man drinks, the sick man drinks, the exile drinks, and the
stranger,
the boy drinks, the old man drinks, the bishop drinks, and the deacon,
the sister drinks, the brother drinks, the old lady drinks, the mother
drinks,
this man drinks, that man drinks, a hundred drink, a thousand drink.
Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably.
However much they cheerfully drink we are the ones whom everyone
scolds, and thus we are destitute.
May those who slander us be cursed and may their names not be written
in the book of the righteous
translations continue, please turn quietly...
[ March 2014 ] Carmina Burana
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program notes
III. Cour D'amours (The courts of Love)
15. Amor volat undique (Love Flies Everywhere)
Love flies everywhere and is seized by desire, young men and
women
Are matched together. If a girl lacks a partner, she misses all the
fun;
In the depths of her heart is darkest night; it is a bitter fate.
16. Dies, nox et omnia (Day, Night and All the World)
Day, night, and all the world are against me; the sound of
maidens’ voices
Makes me weep. I often hear sighing, and it makes me more afraid.
O friends, be merry, say what you will, but have mercy on me, a
sad man,
For great is my sorrow, yet give me counsel for the sake of your
honor.
Your lovely face makes me weep a thousand tears because your
heart is of ice,
But I would be restored at once to life by one single kiss.
17. Stetit Puella (There Stood a Young Girl)
There stood a young girl in a red tunic; if anyone touched her the
tunic rustled.
Heigho, there stood a girl fair as a rose, her face radiant, her
mouth like a flower.
Heigho.
18. Circa mea pectora (In my heart)
In my heart there are many sighs for your beauty, which wound
me sorely. Ah!
Mandaliet, mandaliet, my lover does not come.
Your eyes shine like the rays of the sun,
Like the flashing of lightning which brightens the darkness. Ah!
Mandaliet, mandaliet, my lover does not come.
May God grant, may the gods grant what I have in mind:
That I may loose the chains of her virginity. Ah!
Mandaliet, my lover does not come.
Your eyes shine like the rays of the sun,
May God grant, may the gods grant what I have in mind:
19. Si puer cum puellula (If a boy with a girl)
If a boy with a girl tarries in a little room, happy is their coupling.
Love rises up, and between them prudery is driven away,
an ineffable game begins in their limbs, arms and lips.
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program notes
20. Veni, veni, venias (Come, come, O come)
Come, come, O come do not let me die,
hyrca, hyrce, nazaza, trillirivos!
Beautiful is your face, the gleam of your eye,
your braided hair, what a glorious creature!
redder than the rose, whiter than the lily, lovelier than all others,
I shall always glory in you!
21. In trutina (In the Scales)
In the wavering balance of my feelings set against each other:
Lascivious love and modesty.
But I choose what I see, and submit my neck to the yoke;
I yield to the sweet yoke.
22. Tempus es iocundum (This is a joyful time)
This is a joyful time,
O maidens, rejoice with them, young men!
Oh! Oh! Oh! I am bursting out all over!
I am burning all over with first love!
New, new love is what I am dying of!
I am heartened by my promise,
I am downcast by my refusal
In the winter man is patient,
the breath of spring makes him lust.
My virginity makes me frisky,
my simplicity holds me back.
Come, my mistress, with joy,
come, come, my pretty, I am dying!
Oh! Oh! Oh! I am bursting out all over!
I am burning all over with first love!
New, new love is what I am dying of!
23. Dulcissime (Sweetest Boy)
Sweetest boy, I give my all to you!
24. Ave formosissima (Hail, most beautiful one)
Hail, most beautiful one, precious jewel,
Hail, pride among virgins, glorious virgin,
Hail, light of the world,
Hail, rose of the world,
Blanchefleur and Helen, noble Venus!
[ March 2014 ] Carmina Burana
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Igor Vieira
Baritone
Hailed by Opera News Magazine as “superb,” and
“show-stealing,” and as “a triumph” by the San Francisco
Chronicle, baritone Igor Vieira made his professional
debut in his native Rio de Janeiro at age 17 singing the
role of Dancaïre in Bizet’s Carmen. Subsequent roles have
included the title roles in Rossini’s Il Barbiere di Siviglia,
Mozart’s Don Giovanni and Debussy’s Pélleas et Mélisande
as well as Junius in Britten’s The Rape of Lucretia, Ford in
Verdi’s Falstaff, Lescaut in Puccini’s Manon Lescaut, and
most recently Tonio in Leoncavallo’s I Pagliacci.
Mr. Vieira is a world finalist of the 1995 Luciano Pavarotti Voice Competition in
Philadelphia, a recipient of the Margareth Tudor Award (Princeton) for two consecutive
years and the Kaplan Foundation Award (Kansas City) for outstanding artistry. He was
also awarded Second Place on the East Bay Opera League Voice Competition in 2006
and was a semi-finalist of the Competizione d’Opera in Dresden, Germany in 2008.
In the concert and oratorio fields, Mr. Vieira has performed the baritone solo parts in
Handel’s Messiah with the Rutherford’s Symphony in Vermont, Fauré’s Requiem with
the Orchestre du Provence in Villecroze (France), Orff’s Carmina Burana with the
National Symphony in Bogotá (Colombia), the Marin Symphony in California and
the Amazonas Philharmonic in Manaus (Brazil). He has also performed Mozart’s
Requiem with the Silicon Valley Symphony as well as Mozart’s C minor Mass and
Saint-Saens’s Christmas Oratorio with the Masterworks Chorale in Redwood City, CA.
Mr. Vieira holds a Bachelor of Arts Degree in Music from the Westminster Choir
College in Princeton, New Jersey, and a Master’s Degree in Voice Performance from
the University of Missouri-Kansas City.
Brian Thorsett
Tenor
Since taking to the operatic stage in 2001, tenor Brian
Thorsett has been seen and heard in over 100 diverse
operatic roles, ranging from Monteverdi to Britten, back
to Rameau and ahead again to works composed specifically
for his talents. During the 2013-14 season, Brian returns
to Acis in Acis and Galatea, and adds the roles of Arnalta in
L’Incoronazione di Poppea, Peter Quint in Turn
of the Screw as well as the title character in Handel’s
Samson.
As a concert singer Brian fosters a stylistically diversified repertoire of over 200 works,
which has taken him to concert halls across the US and Europe. An avid recitalist,
Brian has been involved in premieres and commissions of Ian Venables, Peter Josheff,
David Conte, Shinji Eshima, Gordon Getty, Michel Bosc, Noah Luna, Laurence
Lowe, Brian Holmes, Eric Davis, Robert Conrad and Nicholas Carlozzi.
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He is a graduate of San Francisco Opera’s Merola Program, Glimmerglass Opera’s Young
American Artist program, American Bach Soloists’ Academy, the Britten-Pears Young
Artist Programme at Aldeburgh, England and spent two summers at the Music Academy
of the West. Brian is currently on faculty at Santa Clara University and at UC Berkeley.
Shawnette Sulker
Soprano
Acclaimed for her “heart-breaking poignancy” and
“beautifully tuned soprano” by the San Francisco Chronicle
and for her “enchanting vocal splendor” by the Leipziger
Volkszeitung, Ms. Sulker is a sought after artist both in
the US and abroad. A consummate performer on the
operatic and concert stages, her recent performances
include Zerlina (Don Giovanni) with Opera Naples, Adele
(Die Fledermaus) with Internationale Opera Producties
(the Netherlands) and an orchestra concert of Porgy and
Bess highlights and Mendelssohn’s Psalm 42 in Leipzig’s
Gewandhaus and Prague’s Smetana Hall.
Ms. Sulker has been a soloist with the San Francisco Opera, Mark Morris Dance
Group, American Bach Soloists, and the Natchez Opera Festival to name a few. The
soprano’s roles include Die Königin der Nacht (Die Zauberflöte), Musetta (La Bohème),
and Lauretta (Gianni Schicchi). Some works on her concert repertoire list are Mozart’s
Grand Mass in C minor, Bach’s Jauchzet Gott in allen Landen and Mozart’s Exsultate,
Jubilate. Upcoming engagements will feature Handel’s Messiah with Oakland Symphony Orchestra, Haydn’s Lord Nelson Mass with Santa Clara Chorale and the US
premiere of the opera Anya 17 with Opera Parallèle.
Leah Galbraith Mezzo-Soprano
Leah Galbraith is a Mezzo-Soprano who has toured with several choirs throughout
Scotland, Ireland, Czech Republic, London, Amsterdam, Germany, the US, and many
others. She toured with the St. Louis Gospel choir as a soloist in 2010 touring all over
Czech Republic and Germany singing jazz, gospel, and contemporary Christian music.
Leah has a bachelor’s degree in Music education with a vocal emphasis from Millikin
University in Decatur, Illinois. She is currently teaching elementary school music in
Union City, and in her free time plays in a rock ’n roll cover band in Livermore.
Marsha Sweeney Soprano
Marsha Sweeney studied music at San Diego State and continued her vocal studies with
Vyna Rystell in the Bay Area for several years. She has been singing with Valley Concert
Chorale since 1985 when she moved to Pleasanton. She has been a featured soloist
over the years for Handel’s Messiah, Mozart's Requiem and Gilbert and Sullivan concert
versions of The Mikado and Trial by Jury as well as other minor works. She has been
deeply involved with “Music in the Schools," a music educational outreach program
which involves participation by the children in local elementary schools in the area.
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Dan Glover Pianist
The San Francisco Classical Voice remarked,
“Brilliant, tender, whimsical, sparkling…Glover brought
everything together into a well balanced, evenly measured
medium.” “The elegance and civility of Glover’s approach
was musically unimpeachable.” “Dazzling…golly can he
play! I kept expecting smoke to emerge from the interior of
the instrument…a flawless sense of Lisztian style incorporating its emotional depth.”
Mr. Glover has trained with Eugene List, Abbey Simon,
Jerome Lowenthal, Nancy Bachus and Thomas LaRatta.
He holds a master’s degree from New York’s Juilliard School, where he was a
scholarship student. Among his numerous competition awards is first prize in the
prestigious Liederkranz Competition in 1990.
His successful 1992 Carnegie Hall recital in New York was a result of winning
the Artist’s International Competition. Mr. Glover also appeared in Washington,
D.C.’s Corcoran Gallery and at the St. Petersburg Palaces Festival in Russia.
Recent appearances include the critically acclaimed “World Premiere” performance
of Eric Zeisl’s Concerto in C major (1952) with the Saratoga Symphony, Brahms’
Concerto No. 2 in B-flat and Ravel’s Concerto in G with the Tulare County Symphony,
Mozart’s Concerto in C minor, K. 491 with the Szeged Philharmonic (Hungary.)
Daniel Glover has served on the faculties of New York University, University of the
Virgin Islands, University of San Francisco, Notre Dame de Namur University, and
the Summer Piano Workshop of Kent State University.
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Sarah Bush
Dance Project
A contemporary dance company, Sarah
Bush Dance Project works at making the
art of dance accessible by performing in
locations as diverse as the company’s
style—from parks, nightclubs and churches
to the traditional theater environment.
A constant through SBDP’s work is the expression, emotion, and humanity in
the dancers’ performance quality. The company explores issues of identity,
gender, and sexuality within the broader themes of love, relationships, loss,
power and empowerment. Their upcoming show ‘Rocked By Women’ will
premiere May 9-11, 2014 at Dance Mission Theater in San Francisco.
www.sarahbushdance.com
Sarah Bush Dancers
Natalie Aceves, Krystal Bates, Sarah Bush, Juliann Witt
Orchestra
VIOLIN I
Carol Kutsch
(Concert Master)
Jason Totzke
David Ryther
Lisa Zadek
VIOLIN II
Marie Flexer*
Betsy London
Gordon Thrupp
VIOLA
Marcel Gemperli*
Patrick Kroboth
Rebecca Gemmer
CELLO
Paul Hale*
Krisanthy Desby
Betty Wu
CONTRABASS
Millie Martin*
TIMPANI
Kris Lou*
PERCUSSION
Kumiko lto*
Don Baker
Beverly Dorcy
Elizabeth Hall
FLUTE
Mary Hargrove*
Sarah Holzman
OBOE
Robin May*
Esther Hollander
* Principal
[ March 2014 ] Carmina Burana
CLARINET
Arthur Austin*
Tom Rose
BASSOON
Erin Irvine*
Barbara McKee
HORN
Leslie Hart*
Loren Tayerle
Ross Gershenson
TRUMPET
William Harvey*
Graham Taylor
Barbara Hull
TROMBONE
Alex Bedner*
Michael Mendelson
Douglas Thorley
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Valley Concert Chorale
About Valley Concert Chorale
For fifty years the Valley Concert Chorale has delighted music
lovers in the Tri-Valley area and beyond. Under the musical
direction of John Emory Bush, and with the accompaniment
of Daniel Glover, the Valley Concert Chorale is now celebrating its 50th Anniversary Season as the Tri‑Valley’s Premier Chorus. The Chorale continues to offer a
variety of musical performances to serve the diverse musical tastes of its audiences.
Founded in 1963 as the Livermore Civic Chorus, the Chorale is an auditioned
community chorus. The group changed its name to Valley Choral Society in 1983
to reflect its broader membership and reach, and again in 2003 to Valley Concert
Chorale.
Valley Concert Chorale’s mission is to engage audiences in the transforming power
of music by sharing their passion and joy in live performance. The group presents a
series of concerts during the year ranging from medieval to modern, from classical
to jazz and popular tunes.
Valley Concert Chorale is dedicated to excellence in singing choral music of all
genres, nurturing the next generation of singers, and supporting musical endeavors
in the Tri‑Valley community.
In conjunction with other local arts groups, the Valley Concert Chorale actively
promotes music appreciation in the community. The Chorale’s educational outreach program, Music in the Schools, presented musical performances in Tri-Valley
elementary schools for 22 years, to celebrate and demonstrate the joy of music and
singing. Presently, we are collaborating with local high schools and colleges, as well
as the Cantabella Children’s Chorus, in concert presentations.
John Emory Bush, Artistic Director and Conductor of
the Valley Concert Chorale since 1998, began musical studies at the age of seven in his native Michigan.
Trained as a conductor, pianist, organist, and harpist, he
holds a Bachelor’s degree from Albion College in Michigan and a Master’s degree from the Juilliard School of
Music. Mr. Bush has been privileged to study or coach
with the distinguished conductors Leonard Bernstein
and Robert Shaw. In 1988, he was one of five musicians
(and the only American) to be invited to study conducting with Antal Dorati in Bern and Basel, Switzerland.
He was Music Director and Conductor of the San
Francisco Concert Chorale for eighteen seasons and Director of Music and Organist at St. Matthew’s Episcopal Cathedral in Dallas from 2000-2010. He continues
to divide his time between the Bay Area and Dallas, contributing to both musical
communities.
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Valley Concert Chorale Singers
Sopranos
Marsha Sweeney
Pam Grove
Barbara Pelletier
Karine Weiller
Joanna Broda-Schunck
Carol Myllenbeck
Annette Murray
Sophie Clarke
Altos
Carol Corallo
Leah Galbraith
Jennifer Guethlein
Heidi Massie
Pattie Owens
Carolyn Ramsey
Doris Slater
Kathy Walker
Kathy Whaley
Sharon Wilson
Tenors
Martie Muldoon
Anne Bergmann
Jill Kirkwood
Bobby Jensen
Basses
Dave Brunswick
Alan Hindmarsh
Hilary Jones
Bill Leach
Stewart Patrick
Don Plondke
Nile Runge
Ray Spinosa
Hillsdale High School Chamber Chorus
Mark Fish conducts choirs and orchestras at Hillsdale
High School in San Mateo. He has studied choral
conducting with Charlene Archibeque and orchestral
conducting with Michael Senturia. He is also a composer,
arranger, and violinist, and violist. His music has been
performed in the United States, Europe, South Africa,
and New Zealand, in venues including Carnegie Hall.
This spring, his orchestrated version of Ferdinand the
Bull will be performed by the Minnesota Orchestra. He
has received commissions from groups including the San
Francisco Chamber Orchestra, the Magic Flutes, Wild
Basin Winds, the Newport Symphony, Asian American
Dance Performances, and most recently the Unitarian
Universalist Fellowship of Redwood City for a new choral work, I Wandered Lonely
as a Cloud. As a string player, he has performed with Ray Charles, Dave Brubeck, the
Moody Blues, the American Bach Soloists, and the San Francisco Opera. He is proud
to be a member of ASCAP.
The Hillsdale High School Chamber Singers have performed at the Santa Cruz Jazz
Festival, the San Jose State Invitational Choir Festival, and at many venues including
Carnegie Hall. They are now preparing for a tour of Washington, D.C. to sing in a mass
choir at the Kennedy Center under the choral director and composer Andre Thomas.
Soprano:
Anna Fessler-Hoffman
Adrianna Kantlehner
Aiko Kohara
Isabella Navari
Danica Ocampo
Alto:
Jamie Calma
[ March 2014 ] Carmina Burana
Carla Crespo-Triveno
Olivia Gingold
Charis Nixon
Genesis Purizaca
Ashlynn Rustia-Dye
Tenor:
Christian Guardado
Justin Palisoc
Jeremiah Pidlaoan
Benjamin La Mar
Bass:
Gabriel Amaro
Jericho Pidlaoan
Aidan Sevillia
Matthew Fitzgerald
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Ragazzi
About Ragazzi
Hailed by critics as “one of the Peninsula’s finest treasures,” Ragazzi Boys Chorus is one of the San Francisco
Bay Area’s premier arts organizations. Founded in 1987,
the organization is a regional center for music education
and performance for boys and young men, ages 7–18.
More than 190 singers from 86 schools in 26 Bay Area
communities including San Mateo, Santa Clara and
Santa Cruz counties participate in this internationally
recognized program.
Craig Morey earned his Bachelors Degree in Music Education from Ohio State
University where he majored in both voice and percussion and obtained his credential to teach public school music. While there, he served as president of the Ohio
State University Symphonic Choir, studied conducting and sang under the direction of Dr. Maurice Casey, who for many years assisted Robert Shaw conducting
the Cleveland Orchestra Chorus. While at Ohio State University, Craig won the
Richard DeSelm Award and Scholarship for most outstanding choral musician.
Craig has traveled extensively, performing and touring with a variety of musical
shows and has taught private voice and percussion lessons. He has studied voice
formally with several renowned teachers including Joyce Koch of the Koch Studio
in Cleveland while in high school and Bill Whitesides while at Ohio State University. Since moving to California, Craig has studied with David Rohrbaugh, director
of the San Jose Opera.
Since receiving his Juris Doctor Degree and setting up his law practice, Craig has
sung with the San Jose Opera, recorded with the San Francisco Symphony and
Chorus, and toured internationally with the San Francisco Bay Area Chamber
Choir. With his wife Kathy, Craig co-founded Kids Alive! and Lumina, two youth
choirs, based at Trinity Presbyterian church in San Carlos. He is regularly asked to
guest-conduct other choirs. For Ragazzi, he has also served as Board President and
for the last 18 years has directed summer camp.
Boys in Ragazzi Premiere:
Misha Aganin, Ethan Alderete, Max Brucato, Rory Cannon, James Carlson, Ben
Chang, Brandon Cho, JJ Cottrell, Lucas Fedronic, Justin Fung, Joe Gallagher, Matthew Gibson, Quinn Goldberg, Calvin Hansen, Thomas Harrick, Finn Heinzen,
Ian Henry, Ryan Ho, Brij Howard-Sarin, Nicholas Hu, Elliot Johnston, Laurent
Klein, John Kostka, Jamie Lim, Joseph London, Calvin Mader-Clark, Joshua McCormick, Nick McKee, Lincoln Mendenhall, Brice Miller, Christopher Mitsuda,
Johnathan Mo, Niko Muller, Jan Olshansky, Andrew Pak, William Peironnet,
Charles Pellegrin, Finn Platkin, Daulton Robinson, Axel Rosario, Nathaniel Scott,
Aydan See, Nathan Tan, James Thomas, Charlie Trainor, Louka Triant, Sebastian
Velayos, Javier Vizcardo, Alex Washburn, Joseph Williams, Justin Zhang
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Inara Morgenstern
Accompanist, Masterworks Chorale
Inara Morgenstern has taken an active role in the San
Francisco Bay Area classical music scene for more than three
decades, in both teaching and performing roles. She is on
the faculty of San Francisco State University. She also holds
a position there as staff accompanist.
In addition to performing duo performances with Dr. Baker,
Inara has long partnered with SFSU colleague Dr. Victoria
Neve on frequent programs of duo piano music. In recent years, they have performed
works for two pianos, among them: Igor Stravinsky's Petrushka and Rite of Spring,
Bela Bartok's Sonata for Two Pianos and Percussion, and Carl Orff's Carmina Burana,
arranged for two pianos and percussion.
Renowned for her facility in accompaniment, Inara is frequently heard in recitals at
the University of California in Santa Cruz and at SFSU. Inara is the accompanist for
Masterworks Chorale and is the resident pianist for San Francisco Wind Ensemble.
Recently, Inara has played for the Summer Sings programs for Schola Cantorum and
was accompanist for the master classes of Dr. Paul Gemignani ("Mr. Broadway") within
the Summer Arts Program at Cal State University, Fresno.
Norman DeVol
Tenor
Norman DeVol is an accomplished soloist, a sought-after
vocal instructor, and a long-standing singer with the San
Francisco Opera Chorus. He has enjoyed working as
Assistant Conductor for Masterworks Chorale for several
years. Norman received his B.A. in voice from San Jose
State University where he studied with Jeanne Garson. He
has performed with professional symphonies and opera
companies throughout Northern California.
Reviewing a recent performance of Mozart’s Die
Zauberflöte, the Santa Clara WEEKLY called him “the vocal standout of the evening…. His clear and flexible voice rang from beginning to end with strength,
stability, and true artistry, as one hopes to hear in a heroic Tamino. One sensed the
experience and knowledge behind every nuance, and true artistic respect for each
famous note.” Norman’s interpretation of Rodolfo in the Piccola Scala production of
La Bohème garnered him a nomination for a Sacramento regional theater Elly Award.
Norman has been associated with Masterworks for more than 40 years.
[ March 2014 ] Carmina Burana
Y
37 Z
SOPRANO I
Ellen Barton 1
Amanda Coleman 1
Senta Colombo 1
Connie Croker 15
Bonnie Fullerton 43
Robin Hansen 14
Krista Hanson q 27
Lory Kitamura-Tintor 9
Nora Mercer 1
Mary M. Metropulos 45
Erin Moore 1
Susan Mutekanga 1
Harriet Mukisa 1
Christine M. Niccoli 8
Laura Schultz 3
Sue Scott 33
F. Anne Shissler 33
Margaret Staphorsius 43
Jamie Weinstock 5
Lou Ann Wieand 12
Louise Yarnell 9
SOPRANO II
Teri Boucher 8
Helen Burns 1
Judi Cushing q 6
Barbara Du Mond 7
Nicole Fallen 1
Charlene Kranz 4
Johannah Newman 9
Lynne Reuber 15
Katie Riggs 8
Jan Robertson 8
Maggie Trinh 2
Phyllis Wright 6
ALTO I
Megan Anderson 1
Diana Berger 1
Laura A. Brownlee 34
Mary Burns 2
Jan Hardy 42
Lynn Harman q 24
Patricia Hobe 42
Rachael Hopper 35
Elin Larson 1
Ronnie Sue Leith 32
Winnifred Omodt 1
Elaine Quan 22
Debra Reiss-Bubenheim 8
Tricia Seibold 1
Chris Stuart 3
Minako Terahira 33
Karen Vitale 15
ALTO II
Laura Argento 2
Solveig Ayres 31
Becky Burad 1
Barbara Caldwell 9
Jacquelyn Chang q 11
Marina Eydel 1
Nancy Gardner 2
Phyllis Hechim 12
Jan Jensen 24
Andrea G. Julian 45
Judith Marsh 22
Tereza McNamee 7
Polly Moore 1
Diane Musgrave 5
Laura Peterhans 4
Anne Sallot 1
TENOR I
Carlin Black 1
Max Capestany 1
Malcolm C. Catchatoorian
42
Norm DeVol 21
Arthur Mahoney 4
Elsa Schafer 5
James Schwandt 1
Brandon Seeyle 1
q
DENOTES SECTION LEADER
Dr. Bryan Baker, Artistic Director & Conductor
Norman DeVol, Assistant Conductor
Inara Morgenstern, Accompanist
Robin Rodricks, Manager
Stephanie Boireau, Bookkeeper/Office Assistant
Donna Spencer 5
Jim Sudduth q 8
J. Stephen Taylor 26
TENOR II
Chip Coleman 1
George Gardiner 16
John Harrison 1
John Martin 10
Daniel Meyer 1
Brandon Miller 1
Don Pettengill 5
Paul Robles 9
Bruce Tozier 7
BASS I
Dave Barman 10
Ron Brown 8
Dave Bubenheim 8
Roger Dewes 14
Mark Fish 3
Jim Hawley 5
David Hooper q 4
Peter McNamee 9
Justin Montgomery 1
Justin Shaw 1
Colin Smith 4
BASS II
Jan Banquiles 1
Justin Daily 1
Ed Firestone 3
WilIiam K. Howland 1
Bruce Huston 10
Laurence Kueffer 3
Elmer Mangalindan 1
Al Schick 26
D. Bryant Spahn 22
Bill Welch 9
Friends of the Chorale
Masterworks would like to acknowledge the kindness of the following individuals, corporations and
foundations for their financial support in the past year. Ticket sales account for only a small portion
of our concert production income. It is because of the generosity of the following people that
Masterworks is here for your enjoyment today. Bravo! To become a Friend of the Chorale, see the
contribution form on the back cover of this concert program.
CORPORATE
Hillsdale Shopping Center — 50th Anniversary Sponsor
Borel Private Bank & Trust — Major Season Sponsor
Kern's Fine Jewelry — 50th Anniversary Sponsor
Carlmont Ace Hardware
The Revolving Closet
Schick Industrial Park
Trader Joe's
FOUNDATIONS
Barry and Lynda Keller Community Fund II of the Sacramento Region
Community Foundation — Major Season Sponsor
San Mateo County Arts Commission — Major Season Sponsor
American Endowment Foundation
Sigma Alpha Iota SF Peninsula Alumnae
INDIVIDUAL DONORS
CONDUCTOR’S CIRCLE $5,000 AND ABOVE
Anonymous
Dr. Bryan Baker & Roderick Lowe
Teri Boucher & Ron Brown
Dan & Lory Kitamura-Tintor
Margaret M. Lewis, in memory of Mary M. Lewis
Ira Ruskin & Cheryl Perlman
GOLD BATON $3,000 - $4,999
Roger Dewes
SILVER BATON $1,500—$2,999
Barbara & Charles Du Mond
Krista & Eric Hanson
Lynn & Dean Harman
Pat Hobe
Charlene Kranz
Art Mahoney & Glen Geiss
Judith Marsh & Tim McFadden
Galen & Linelle Marshall
Elsa Schafer
H. Alton & Carol Schick
Merrill & Sue Scott
Minako Terahira
BENEFACTOR $500—$1,499
Zelta Adams
Linda Avelar
Dave Barman
Ralph H. Britton, Jr.
Debra Reiss-Bubenheim
& Dave Bubenheim
Jacquelyn Chang
Ruth Finkelstein
Ed Firestone
Phyllis Hechim
David Hooper
Andrea Julian
Nancy Lewis
Mary Metropulos
Inara Morgenstern
Diane Musgrave
Johannah Newman
Laura Peterhans
Elaine Quan
Lynne Reuber
Henry & Gayle Riggs
Katie Riggs
Jan Robertson
D.B. Spahn
Margaret Staphorsius
Bill Welch
PATRON $300—$499
Yoshiko & Takeshi
Amemiya
Laura Argento
Peter Dewes
Arnold & Trudy Duncan
Jannette Engel
Bonnie & Sean Fullerton
Ruth Hammett
Ronnie Sue Leith
Mia Maddalena
John Martin
Peter & Tereza McNamee
Frances Barman-Paulson
Liane Benedict
Laurence Bernard
Laurence & Anna Marie
Boucher
Becky Burad
Mary Burns
Barbara Caldwell
Victoria Chang
Judi Cushing
Evaldo Dal Poggetto
Luana DeVol
Cosette Dudley
John Farbstein
Judy Felker
Peter Franklin
Douglas Fraser
Judith Gorman
Janice Gunderson
Melissa Harwood
Janice Jansen
Jan Jensen
Anonymous
Margie Baker
Theresa Bell
Alec Berg
Elena Bey
Judy Bianchi
John A.C. Bingham
John Blodget
Virginia Bogios
J. Shel Brandenburger
Kathleen M. Brown
Helen Burns
Martha Jo Cazenave
Christopher & Evanthia
Canellos
Rohini Chakravarthy
Senta Colombo
Marilyn Courter
Lisa D’Alencon
Marlene DeLancie
Fred DeMarse
Lynn Ewing
Marina Eydel
Pat Forsyth
T. Jack Foster
Nancy Gardner
Jean & Tom Grant
Patricia Griffin
Benjamin Hammett
Jan Hardy
Phyllis Harrison
Mary Hawker
Gene Hawthorne
Phyllis Hechim
John G. Hitchcock
John Howard
Becky Howland
William Howland
Beatrice Isaacs
Michelle Johnson
Walter P. Knoepfel
Christine Kradjian
Ruth Krusic
Jean Lipton
Julia Lobel
Virginia McMillin
Linda Meckel
Carole Melis
Diane Musgrave
Christine M. Niccoli
James Sudduth
Karen Vitale
DONOR $150—$299
James Langdell
Diana Logan
David Phillips
Barbara Ross
Ann Rounds
Josephine Royer
Carolyn Shaw
Anne Shissler
Cathy Sweetman
Phyllis Wright
CONTRIBUTOR $50—$149
Wallace Mersereau
George Metropulos
John & Sharie Meyer
Shon Miller
Mary Ann Notz
Bill & Ellen Peters
Linda Rarden
Robin Rodricks
James Ross
Philip Sankar
Mary Louise & Jim Sedin
Stephen Sosnowski
Ruth Stout
Nancy Taylor
Emily Thomann
Shawkat Tilfah
Bruce Tozier
Roxana & John Upton
Robert & Carol Way
Patricia Weissberg
Robert R. & May-Blossom
Wilkinson
Keith Wollenberg
We are very grateful for all contributions and we make every effort to ensure that our donor list is accurate. If
your name has been omitted in error or you would like to be listed differently in future programs, please call the
Masterworks office and let us know. Thanks!
HILLBARN THEATRE PRESENTS
March 14 – March 30, 2014
“Non stop laughter.”
– Variety
HillbarnTheatre.org / 650.349.6411
Hillbarn Theatre
1285 E. Hillsdale Blvd., Foster City
Masterworks Chorale
P.O. Box 5465, San Mateo, CA 94402-5465
I would like to contribute to Masterworks
Chorale. Enclosed is $____________
(Please make checks payable to Masterworks
Chorale.) All contributions are tax deductible as
provided by law.
o Conductor’s Circle$5,000+
Charge my account:
o Amex o Visa o Mastercard o Discover
o Benefactor
Card #: ________________________________
Exp Date: ____________ Security code_______
Signature: ______________________________
o Check here if you do not wish to be listed
on programs
o Gold Baton $3,000 - $4,900
o Silver Baton $1,500 - 2,999
$500 - $1,499
o Patron
$300 - $499
o Donor
$150 - $299
o Contributor
$50 - $149
o Friend
up to $49
(please print as you wish your name to be listed)
Name:_____________________________________________________________
Address:____________________________________________________________
City:___________________________ State:___________ Zip:_______________
Phone:_____________________________________________________________
Ticket income covers less than half of Masterworks Chorale’s total
expenses. Your tax deductible contributions are greatly appreciated
and help make a difference. We are a 501(c)3 nonprofit organization,
Tax ID 94-2901785.
Masterworks Chorale Legacy
The Legacy Society honors very special friends who support the Chorale with planned
gifts. These extraordinary gifts, to be made in the future, give substance to our current
activities and ensure that the Chorale will have a bright future.
Please join us to recognize and thank these visionary people who have joined
Masterworks Chorale Legacy Society:
Terri D. Homer, M.D.
J. Peter & Janice Jensen
If you have included Masterworks Chorale in your estate plan, please let us know so we can
acknowledge your generosity. For more information call (650) 918-6225.