dr. brady allred

Arvo Pärt
SATURDAY, FEB. 21, 2009, 7:30 PM
L I B B Y G A R D N E R C O N C E RT H A L L
DR. BRADY ALLRED
ARTISTIC DIRECTOR & CONDUCTOR
We Praise Thee, Oh God
classical 89 silent movie night
The Mark of Zorro (1920) with Douglas Fairbanks Sr.
See this swashbuckling silent movie classic accompanied
by Mike Ohman, premier theatre organist.
Saturday, Feb. 28, at 7:30 p.m.
de Jong Concert Hall, Harris Fine Arts Center, BYU.
Enjoy pre-movie entertainment and a sing-along that hark back to the 1920s.
Buy tickets at HFAC Ticket Office, by calling 801-422-4322, or at byuarts.com.
2-for-1 admission with a KBYU Membercard (through box office only).
MAY CONCERT
“Enemy Slayer: A Navajo Oratorio”
Saturday, May 2, 2009, 7:30 pm
Libby Gardner Concert Hall
Featuring
“Enemy Slayer: A Navajo Oratorio”
composed by Mark Grey
Soloist: Gary Sorenson, baritone
The fight for freedom. The torment of survivor’s guilt. The power of words. To live, one must slay the enemy
within and walk the path of beauty. Based on texts written by Navajo poet and professor Laura Tohe and incorporating the sound designs of composer Mark Grey, this oratorio presents a story of urgent importance, one
whose palette begins within the Navajo epic of creation, but quickly broadens to span cultures and centuries,
encompassing all of humanity. Commissioned and performed by the Phoenix Symphony for the first time in
February 2008, the work is now brought to Salt Lake City for the first time under the direction of Dr. Allred. Salt
Lake Choral Artists’ performance expresses the compelling universal message of the piece, which concludes with
humanity’s hopeful plea: “Let Peace Prevail.”
Tickets may be purchased online at www.saltlakechoralartists.org, www.kingsburyhall.org, or by calling the
Kingsbury Hall Ticket Office at 801.581.7100. The Libby Gardner Hall Ticket Office will open one hour prior to
the concert. Questions regarding tickets should be directed to [email protected].
SUMMER CHORAL INSTITUTE 2009
Check out the Summer Choral Institute ad in this program!
Visit www.saltlakechoralartists.org for information
Dr. Brady R. Allred
Artistic Director and Conductor, Salt Lake Choral Artists
Artistic Director and Conductor of the Salt Lake Choral Artists, Dr. Brady R.
Allred is committed to bringing world-class choral music to the Salt Lake valley and
beyond. During his remarkable 18-year career, his choirs have inspired musicians
and audience members around the world, and won several prestigious international
awards. In 2007, through a generous gift from Kem and Carolyn Gardner, Dr. Allred
was named the holder of a new $1.25 million endowed chair, the Ellen Nielson Barnes Presidential Endowed
Chair for Choral Studies at the University of Utah School of Music. His energy, charisma, and passion for
musical excellence have attracted talented vocal artists throughout northern Utah, and the Salt Lake Choral
Artists has doubled in size in the five years since he was appointed. Under his direction, the choir looks forward
to becoming a nationally recognized leader in the choral arts movement.
In 2003, Dr. Allred was appointed Director of Choral Conducting at the University of Utah in Salt Lake City,
where he directs two choirs, the University of Utah Singers and the University of Utah A Cappella Choir. Under
his energetic leadership, the University of Utah Singers have completed three international tours of Europe, and
recently received international acclaim as winners of the European Grand Prix for Choral Singing, the highest
attainable award for choral singing, in June 2006. In May of 2005, the University of Utah Singers won the Grand
Prize at the Florilège Vocal de Tours International Choir Competition in Tours, France, which qualified them to
compete in the Grand Prix in 2006.
|| Artistic Director
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Prior to his work in Utah, Dr. Allred was the Director of Choral Activities at Duquesne University in Pittsburgh,
PA from 1989-2003. He simultaneously served as the Artistic Director and Conductor of the Bach Choir of
Pittsburgh from 1993-2004. Through his artistic, teaching and management skills, the choir doubled in size and
a touring choir was established. He produced and conducted five CD recordings of the Bach choir. The most
recent, “Cantate Hodie: Sing Forth This Day,” received international distribution on the Clarion Label. He has
also served as the Artistic Director of the New York State Summer School of the Arts and has conducted the
School of Choral Studies in concerts at the Rockefeller Center for the Arts and at the Chautauqua Institution
In addition to his choral work, Dr. Allred was the Music Director and Conductor for the Butler Symphony
Orchestra in Butler, PA from 1997-2001. During his time in Pennsylvania, he guest conducted several symphonic
and orchestral groups such as the Schumann Chamber Orchestra in Florence, Italy; the Wroclaw Philharmonic
in Poland, the Westmoreland Symphony Orchestra, the Duquesne University Symphony Orchestra and
Contemporary Ensemble, and the Symphonic Orchestra of the Russian Ministry of Defense.
His ensembles, known around the world for exquisite choral singing, have been invited to participate in major
festivals such as the Musica Sacra Festival, Marktoberdorf, Germany; the Nancy International Choral Festival,
France; the Mica and Olomouc Summer Music Festivals, Czech Republic; and the 46th International Eucharistic
Conference, Wroclaw, Poland. The Duquesne University Chamber Singers won First Prize at the Marktoberdorf
International Chamber Choir Competition in 1997, and additional prizes for Best Interpretation of 20th Century
Music and the Conductor’s Prize.
In the United States, Dr. Allred’s choirs have toured extensively, including performances at the Eastern Division
Conventions of the American Choral Directors Association in Pittsburgh (2002) and Philadelphia (1996); the
Music Educators National Conference Eastern Division Conventions in Baltimore (1997) and New York City
(1999); the Pennsylvania Music Educators Association State Conference as Convention Headliners in Erie, PA
(1998); and at the National Convention of the American Choral Directors Association in New York City at
Avery Fisher Hall, Lincoln Center for the Performing Arts.
Twice the guest conductor for the Salt Lake Mormon Tabernacle Choir’s radio and television broadcast, Music
and the Spoken Word, he is considered “among the upper echelon of choral conductors in the country” by
Tabernacle Organist, Richard L. Elliott and rated “in the top 1% of the choral conductors/educators that I know”
by former Tabernacle Choir Music Director, Craig D. Jessop.
Education
Dr. Allred earned the degrees Master of Music and Doctor of Musical Arts in Conducting from the Eastman
School of Music and the Bachelor of Music degree in Theory/Composition and Flute Performance from Brigham
Young University. As an undergraduate flutist and composer, he was a soloist with the Utah Symphony in their
Salute to Youth Concert, winner of the Mayhew Composition Prize, and named a Karl G. Maeser Scholar. As
a graduate student at the Eastman School of Music, he was awarded the Performer’s Certificate in Flute and the
Jesse Kneisel Prize for Piano Accompanying. He has performed with the Robert Shaw Festival Singers and with
the Oregon Bach Festival Chorus. Honored in Pittsburgh Magazine for “Excellence in the Arts,” he has toured
as a conductor and performer throughout the United States, Russia, Israel, and India, and was nominated for a
Creative Achievement Award as an “Established Artist” by the Pittsburgh Cultural Trust.
Dr. Allred and his wife, soprano Carol Ann Allred, have traveled and performed in Italy, Sweden, Spain, Portugal,
the Azores, and Madeira Island as Artistic Ambassadors for the United States Information Agency. They have
four daughters and live in Salt Lake City, Utah.
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Artistic Director
||
Program
Prager Te Deum
Petr Eben
Salt Lake Choral Artists Concert Choir
Alan Sedgley, Eddie Ludema, trumpet;
John Gallacher, Danielle Dinkleman, trombone;
Tony Thackeray, percussion
Te Deum
Arvo Pärt
Choir I: SLCA Soprano/Alto; Choir II: SLCA Tenor/Bass;
Choir III: University of Utah Singers
SLCA String Orchestra; Laurel Enke, piano
Dr. Brady R. Allred, conductor
INTERMISSION
Az der rebbe zingt
Yiddish Folk Song
Victoria Morris, soloist
Janet Todd, accordion
Niška Banja
The Angel
Hoj, Hura Hoj
arr. Nick Page
Sergei Rachmaninoff
Otmar Mácha
SLCA Women’s Choir
Maureen Hatch, piano
Jane Fjeldsted, conductor
The University of Utah Singers portion of the program to be selected from:
Hungarian Motets
Pange lingua
Mundi Renovatio
György Orbán
György Orbán
Sacred Music from Slovenia
Musica noster amor
Verbum supernum prodiens
Slovenian Folk Music
Pa se sliš
Dekle ja na pragu stalo
Dajte, dajte
Jacobus Handl - Gallus
Damijan Močnik
arr. By Karol Pahor
Tomaz Habe
Aldo Kumar
The University of Utah Singers
Dr. Brady R. Allred, conductor
Kde sú krávy moje (Where are my cows?)
Teče Voda, Teče (Waters Ripple and Flow)
Slovak folk tune, arr. H.A. Schimmerling
Slovak folk tune, arr. Deems Taylor
Victoria Morris, soloist
Salt Lake Choral Artists Combined Choirs
Laurel Enke, piano
Dr. Brady R. Allred, conductor
|| Program
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SLCA String Orchestra
Violin
Meredith Campbell, concert master
Melissa Draper, Aaron Ashton, Alice Ashton, Elizabeth Nielson, Leslie Henrie, Molly Cash, Melissa Thatcher
Viola
Leslie Richards, Robert Barekyan, Danae Snow
Cello
Cassie Olson, Theresia May, Amy Leung
Bass
Corey Watson, Nathan O’Bryant
Selected Notes
Prager Te Deum, Petr Eben, composer
“During the last forty years, we in Czechoslovakia
have had no good cause for singing a ‘Te Deum.’
What I wrote in 1950 was a bitter ‘Missa Adventus
et Quadragesimae’; a mass for Advent and Lent,
which most accurately expressed our feelings; those
of a people fighting for freedom and faith, those of a
Church fighting for existence.
“When, in 1989, we suddenly achieved the freedom
so long denied us, the Gregorian melody of the ‘Te
Deum’ hymn – with its joyfully ascending ductus – just
swelled up in my soul and, despite all the turbulence
accompanying the revolutionary period, I managed to
compose the ‘Te Deum’ over New Year, 1990, as an act
of thanksgiving for all that had happened.
“For the main theme I used the first two phrases of the
Gregorian plainsong:
Te Deum laudamus, Te Dominum confitemur
each of which is followed by a refrain-like response in
a contemporary musical language. This juxtaposition
is important to me as it symbolizes the reconciling of
historical traditions and contemporary reality within
the Church. For the same reason, in the Prelude and
Interlude, the winds play two further quotations
from the ‘Te Deum’ plainsong, creating a similarly
contrasting effect.
“The text of the ‘Te Deum’ presents the composer
with one basic problem: where to find moments in
this hymn of constant praise which allow respite
from jubilation. My solution was to choose the
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‘Sanctus’ – which can be understood in terms of
divine dread and therefore be set at a low dynamic
level – and the two pleas, ‘Te ergo quaesumus’ and
‘Fiat misericordia tua’, which are further intended to
contrast with the powerful song of praise through
their intimate warmth.
“Within the framework of the text I was, of course,
also concerned with the expression of individual
moods; the praise of the angels with high female voices
accompanied by a trumpet (‘Tibi omnes Angeli’),
the drama of death, barrs 84 ff. (‘Tu, devicto mortis
aculeo’ – ‘When Thou hadst overcome the sharpness
of death’) and the severity of the Last Judgement, bars
100 ff. (‘Judex crederis esse venturis’ – ‘We believe
that Thou shalt come to be our Judge’).
“The ‘Te Deum’ was first performed in Prague on 20
April 1990, at a concert given in honour of Pope JohnPaul II on the eve of his visit, at St. Mikulas’ church.
The work was performed by members of the Prague
Wind Ensemble and the Prague Philharmonic Choir
conducted by Lubomír Mátl.”
Pärt Te Deum
Arvo Pärt was born in Paide, Estonia, on September
11, 1935. He worked as a sound director for Estonian
radio (1957 – 1967) and graduated from Eller’s
composition class at the Tallinn Conservatory in 1963.
In 1962 he took a first prize at the All-Union Yound
Composer’s competition for his children’s cantata
Meie aed (Our Garden) and the oratorio Maailma
samm (Stride of the World).
Selected Notes
||
Even though Pärt was somewhat isolated from
current trends in contemporary Western music, he
was in the vanguard among composers in the 1960s
who employed serial techniques in their music.
He then went on to explore other more highly
experimental techniques. Some of his works found
favor with Soviet authorities, but others such as his
Credo (1968) were prohibited. During the early
1970s Pärt retreated periodically into contemplative
silence and study. In 1976 he reemerged with
music that was radically different. The technique
that he invented (or discovered) and to which he
has remained loyal almost without exception he
has called tintinnabuli (“little bells” in Latin). He
describes it: “I have discovered that it is sufficient
when just one note is played beautifully. This single
note, or a moment of silence, consoles me. I work
with very few elements and I use primitive building
materials.” Having found his voice, he produced a
burst of new works and three of them, Fratres, Cantus
in Memoriam Benjamin Britten, and Tabula Rasa, are
still among his most notable. While his music was
being played in the West, Pärt was struggling against
the Soviet bureaucracy; frustrated, he left Estonia in
1980 for Vienna.
Since his migration he has concentrated on working
with religious texts. Long a cult favorite, he is
rapidly finding mainstream popularity. Mark Stryker
writes: “Deeply spiritual, the simple triads and
static minimalism of his choral music throw a life
preserver to souls drowning amid the frantic pace and
commercialism of modern life. Anyone emotionally
moved by those chart-topping monks singing
Gregorian chants or by Henryk Gorecki’s best-selling
Third Symphony should sample Pärt’s meticulously
crafted sacred works.”
The importance of religious references in the life of
the composer is plain enough, but Pärt has insisted
that listeners should not make assumptions about his
own inner life or “spirituality.” Asked what role prayer
plays in his work, he responds, “I’ve heard that Haydn
spent 45 minutes composing and then had a pause for
15 minutes. And if nothing came out of his composing
he was praying very hard for those 15 minutes. There
is something very beautiful in this story—it has
always fascinated me. But I myself haven’t reached
this yet. We need to have a special situation to be able
to speak about prayer at all. Sometimes even priests
in the church are not able to do this. We can’t have
small talk about this kind of thing…” He also brushes
aside queries about time spent in a monastery while
working on Litany: “I am not a prophet, not a cardinal,
not a monk. I am not even a vegetarian. Don’t be
confused by cheap tabloid information. Of course I
am in monasteries more often than in concert halls—
|| Selected Notes
but then again, you have no idea how many times I am
in concert halls.”
Az der rebbe zingt
This Yiddish folk song tells how the Hasidim (“pious
ones”, those who follow Hasidic traditions) copied
every move their rebbe (the dynastic leader of the
community, who combines religious and political
authority) made, by singing, dancing, and listening,
yet they fall asleep when he lectures.
Kde sú krávy moje
This is a gay and effective choral arrangement of a
well-known Slovak folk-tune. It tells the story of a girl
cowherd who awakens from a nap to find that, during
her slumber, her cows have wandered away over
the meadows. She cries out, “Where are my cows?”
and begins to hunt for them, calling them by their
individual names (Cernuša, Beluša, etc.)
Teče Voda, Teče
This is an old Slovak song from what is today the Czech
and Slovak Republics, formerly Czechoslovakia (a
country first established in 1918 after World War I and
the collapse of the Austro-Hungarian Empire). The
song was rather popular during the pre-war oppression
of the Slovaks by the Hungarians. During that time,
overt verbal criticism of the regime was not tolerated,
and the populace had to resort to more subtle means
of critique. This song, about lost freedom returning,
therefore became associated with the cause of those
who would throw off their Hungarian oppressors. It
was the favorite song of Tomáš G. Masaryk, the first
president of Czechoslovakia. When he would speak,
this song would often be used either in the background
or to introduce him – somewhat like a themesong.
Apparently some people in the Czech and Slovak
Republics today feel that this song also represents the
ideology of those who were in opposition to the more
recent Soviet “oppressors.” For that reason, it may have
been popular within some circles, but it was definitely
not a big hit on the Communist Party’s “Top Ten.”
A. Dennis Mead
Notes compiled from commentaries by Walter Buszin,
Margaret Groninger, Theodore Marier, John McClure,
Richard E. Rodda, Inés Salazar, and G. Wallace
Woodworth. Several unsigned observations come from
sheet music notes and sites such as hnh.com.
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Text Translations
Te Deum
I. We praise thee, O God;
we acknowledge thee to be the Lord.
II. All the earth doth worship thee,
the Father everlasting.
III. To thee all Angels,
the Heavens, and all the Powers,
the Cherubim and Seraphim
proclaim without ceasing:
Holy, Holy, Holy,
Lord God of Hosts!
IV. The heavens and the earth are full
of the majesty of thy glory.
V. The glorious chorus of Apostles,
the admirable company of the Prophets,
the white-robed army of Martyrs praises thee.
VI. Throughout the whole world
the holy Church gives praise to thee,
the Father of infinite majesty;
they praise your admirable, true, and only Son;
and also the Holy Spirit, our Advocate.
VII. You are the King of glory, O Christ.
You are the eternal Son of the Father.
To deliver us, you became human,
and did not disdain the Virgin’s womb.
VIII. Having blunted the sting of death, You
opened the kingdom of heaven to all believers.
IX. You sit at the right hand of God,
in the glory of the Father.
You are believed to be the Judge who will come.
X. Therefore, we beseech you,
come to the aid of your servants, whom
you have redeemed by your precious blood.
XI. Make them to be numbered with thy saints
in glory everlasting.
XII. Save your people, O Lord,
and bless your inheritance.
Govern them, and extol them
from now into eternity.
XIII. Day by day, we bless thee;
and we praise your name for ever,
yea, for ever and ever.
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XIV. Vouchsafe, O Lord, to keep us this day
without sin.
XV. Have mercy upon us, O Lord,
have mercy upon us.
Let thy mercy be upon us, O Lord,
as we have trusted in thee.
XVI. In thee, O Lord, I have trusted:
let me never be confounded.
XVII. Holy, holy, holy.
Az der rebbe zingt
The Hasidim copied every move
rebbe made by singing,
dancing, listening, yet fall asleep
when he lectures.
Niška Banja
Let us go to the baths of Niš, where we shall kiss,
kiss, kiss.
Pange lingua
Sing, O tongue, the mystery
Of the glorious Body,
And of the precious blood,
Which the king of all nations,
The fruit of a noble womb,
Poured forth as the ransom for the world.
Given to us, born for us
Of a stainless Virgin,
He abided on earth;
the seed of the word having been sown,
He concluded His earthly sojourn
In a wondrous way.
On the night of the Last Supper,
Reclining with His brethren,
Having complied fully with the law
regarding legal foods,
He gives Himself with His own hands
As Food to the group of twelve.
The Word made Flesh,
Makes true bread Flesh by His word,
And wine becomes the blood of Christ;
And, if sense fails to perceive this,
Faith alone suffices
To assure a sincere heart.
Let us therefore, bowing low,
Text Translations
||
Venerate so great a Sacrament;
And let the old Law
Give way to the new rite;
Let faith afford assistance
To the deficiency of the senses.
To the Begetter and the Begotten
Let there be praise and jubilation,
Salvation and honor,
And power and blessing;
And to the One proceeding from both
Let there be equal praise.
Mundi renovatio
The changeable fire flies aloft
And the rolling air,
Light things seek the heights,
Heavy things hold to the center,
All things are renewed!
The sky more serenely,
The sea more placidly,
While the gentle breeze blows
And our valley flourishes again,
Our valley bloomed after spring grew warm
All things are renewed!
Musica noster amor
My music, our love, be a faithful handmaid of the
poets,
being born to compose some soft cradle song.
May her incitement banish opponents, tarantara;
may Poetry live and love the camps of the Muses.
Music honours the tears, and sighs of the poets,
Caesar.
May music live as a grand tumult for the great Gods.
So that the people won’t see you
and ask you:
Where have you been,
because we can see that your shoes are wet?
I was walking cross the pastures,
and green meadows.
I was waking there, I was there
to teach the little birds how to sing.
But who are these little birds,
that they have red cheeks?
They have red cheeks and black eyes.
With them the nights are short.
Datje, datje (Give, give)
Give, give the bride what she deserves.
(because she is very poor)
We will give her what she needs.
Give the old ugly woman rope around her neck
and to our bride a golden ring.
We will give her what she needs.
We’ll tie the old ugly women around a wooden pole,
and we’ll give our bride a soft pillow.
We’ll throw the old ugly women in a hole,
and show the bride to her chamber.
Teče Voda, Teče (Waters Ripple and Flow)
Water is flowing over the Velecký* dam.
An ancient suitor left me.
I left you; you know well to whom [I left you];
To the one who brought the gossip to our home.
Pa se sliš (You can hear)
You can hear, you can hear from Saint Vid
bells sweet boom, from Saint Vid.
Come back, Dear, come back from the waters of
Kysucke*.
You have taken away from me the key to my freedom!
As soon as old Tura* turns like a wheel,**
my freedom will return to me.
You can hear, you can hear in countries far this tune,
you can hear it.
But old Tura is now turning like a wheel;
my freedom is returning to me!
You can hear, you can hear from Saint Vid
bells sweet boom, from Saint Vid.
*Name’s of cities; Tura is apparently the name of a
mountain.
** The likelihood of Tura “turning like a wheel” (which is a
description of a folk dance step) is very remote. It is similar
to the expression in English, “when hell freezes over”.
Dekle ja na pragu stalo (A girl stands on her doorstep)
A girl stands on her doorstep
and counts the stars.
The stars are slowly fading away.
She says to her darling: Now it’s time for you to
go home!
|| Text Translations
Kde sú krávy moje (Where are my cows?)
See program notes for information on text.
9
Biographies
Jane Fjeldsted has
been a resident of Fruit
Heights, Davis County,
Utah for the past 20
years. She has a Bachelor of Music degree in
Music Education as well
as a Masters of Music
in Choral Conducting, both from Brigham
Young University. She
is currently a student
at the University of Utah working on a Doctorate of Musical Arts with emphasis in choral conducting, and anticipates graduating in May 2009.
She sang in the Mormon Tabernacle Choir for
ten years during which she toured Europe (1991
and 1998), Israel, and various parts of the United
States. She is in her eighth year of directing the
Davis High School Moonlight Singers, a vocal
jazz group. She is an adjunct member of the voice
faculty at Weber State University and has taught
privately for the past 30 years. Her greatest joy in
life comes from her family, consisting of husband
David, four children, three of whom are married,
and two darling grandchildren.
Victoria Morris chose a career in Utah as a soloist with the Utah Symphony, Utah Opera and the
Mormon Tabernacle Choir, soloing at Tanglewood.
Victoria is a finalist with the San Francisco Opera
and a participant in the Merola Opera Program.
Janet Todd
Janet Todd is one of America’s premier accordionists, an international jazz champion and World “Old
Time” duet champion. She has traveled over 250,000
miles throughout the U.S., Europe, Middle East, and
Far East, playing in 23 countries and 27 states.
The University of Utah Singers
Dr. Brady R. Allred, Conductor
The University of Utah Singers, an ensemble of
approximately 45 voices organized in 2003, has
won international acclaim through convention
performances, concert tours, and participation in
prestigious festivals and competitions. In 2006,
they won the European Grand Prix International
Choir Competition in Tolosa, Spain, in which
they competed as a result of winning the Grand
Prize at the 2005 Florilège Vocal de Tours International Choir Competition in Tours, France. In
10
2007, they toured to France by invitation to perform at three different festivals: the 12th International Choir Festival en Provence, the Festival des
Choeurs Lauréats, and the 19th Festival “Choralies
de Vaison-la-Romaine”, France. They have also
been featured on French national television at the
Nancy International Choir Festival.
In addition to their international appearances, the
Singers have been featured locally at state events,
such as the inauguration of Governor Olene Walker and the 2004 opening session of the Utah State
Senate. They also collaborate regularly with other
Utah-based groups, including the 23rd Army Band,
the Salt Lake Choral Artists, Brigham Young University Singers and Concert Choir, and the University of Utah Philharmonia, Wind Ensemble, A
Cappella Choir, and Women’s Choir. They have
performed in the Salt Lake Tabernacle, the Assembly Hall on Temple Square, and the Cathedral of
the Madeleine, and at division and national conventions for the American Choral Directors Association and the Music Educators National Conference. In November 2008, they performed with the
internationally acclaimed Kronos Quartet.
The Singers have premiered several new works,
including William Hawley’s “Flos ut rosa Floruit,”
for which they received a prize for the best new
work at the Tours competition. In 2007, they
were selected by the Barlow Endowment for Music Composition to premiere Judith Bingham’s
“Ghost Towns of the American West” as part of
an international performing consortium of choirs
which included Vocal Essence and the BBC Singers. During the 2008-09 season the Singers will
premiere new works written especially for them
by Imant Raminsh, Nancy Wertsch, and Guido
Lopez-Gavilán.
The choir performs at Libby Gardner Concert
Hall several times a year and much of their repertoire has been recorded on CD, including a CD of
American folk music and several other CDs with
works ranging from the Renaissance to Broadway.
Carol of Joy is their third Christmas release. For
more information, please visit their website at
http://singers.utah.edu
Biographies
||
The U of U Singers
Rachel Hales
Stephanie Brown
Soprano I
Jennifer Smith
Halley King
Malia French
Angela Jacobsen
Melissa Heath
Erica Lovell
Soprano II
Ashley Wright
Kiersten Honaker
Ali Henriksen
Ann Williams-Hatch
Kelly Nelson
Melanie Price
Alto I
Janell Hann
Caitlin Elmer
Olivia Woolley
Marianne Mabey
Laurel Enke
Tiffany Olson
Maureen Hatch
Alto II
Emily Hackett
Karly Smith
David Martin
Andy Maughan
Tenor I
Will Perkins
Adam Griffiths
Steve Knell
Adam Johnson
Tenor II
Riley Soter
Craig Thomas
Sean Sekino
Michael Mills
Austin Thorpe
Michael Newton
Bass I
Austin Sharette
Jared Bybee
Alasdair Waddell
Jared Lesa
Curtis Lee
Joseph Cook
Bass II
John Walker
Gregory Wendell
Bronson Webb
|| The U of U Singers
Rachel Webster
Jane Fjeldsted
Daniel Emrazian
Neal Hardin
Ricky Parkinson
11
Salt Lake Choral Artists
Donors
SLCA Board of Directors
Individual Donors ($1 - $250)
Lee Bean
Gloria Bremer
Christine Clark
Lisa Cook
Donna Cragun
Ilene Ferris
Gloria Galloway
Darold & Julie Humes*
Pat & Boyer Jarvis***
Marion Klaus
Macoy McMurray
Shauna Newbold-McCormick
Kent Parry
Brian & Carol Petersen
Judy Prawitt
Pat Rathmann*
Carol Smith
Jan Smith
Shirley H. Smith
Polly Stewart
Marguerite Spute
Gigi N. & Mark S. Thorsen
Lana Walker
Gary Walton
Russell & Dorothy Williams
Raymond Wixom
California Business Systems
DL Walker Management
James Webster Associates
Marblelife of Utah
WTA
Alicia Bremer-Wharton, chair
Josephine J. Davies
Lynn DeBry
Jan VanDenBerghe Garbett
Doyle M. Johnson
Jon Johnson
Stephen Stoker
SLCA Officers and Staff
Administration
Jan Smith, Managing Director
Debra Cope, Finance Director
Kerrin Gates, SCI Manager
Artistic Directors
Brady R. Allred, Artistic Director
Aimee Frederick, Assistant Director
Jane Fjeldsted, Women’s Choir Director
Laurel Hendriksen Enke, Accompanist
Friends of Salt Lake Choral Artists ($251 - $999)
Anonymous
Alicia Bremer-Wharton & John Wharton
Jon L Johnson
Richard & Marilyn Taylor
A Cappella Society ($1000 - $9999)
Jo Davies
Lynn & DeAnna DeBry
Robert P. McComas**
Utah Arts Council
Doreen Payne
George S. & Dolores Doré Eccles Foundation
Salt Lake City Arts Council
SLCA Members
Conductor’s Circle ($10,000 or more)
Salt Lake City Zoo, Arts & Parks Fund
*Contributed in memory of Jack McKendrick
**Contributed in memory of Audrey Winters Pierce McComas
***Contributed in memory of Jay Welch
Cover and SCI Ad design by Gilberto Schaefer of Schaefer
Design, Salt Lake City, Utah.
12
Choir Officers
Jo Davies, President
Judy Prawitt, Membership/Audition Coordinator
Kathy Johnson, Attendance Coordinator
Debra Cope, Finance Secretary
Karen Setjo, Assistant Finance Secretary
Lisa Safeer, Concert Dress Coordinator
Lee Ann Crockett, Concert Dress Assistant
Jan Greenhalgh, Ticketing Manager
Valerie Christensen, Ticketing Assistant
Julie Humes, Ticketing Assistant
Anna Madry, Ticketing Assistant
Peggy Spute, Librarian
Peggy Oslund, Assistant Librarian
Ashley Wright, Assistant Librarian
Michael Gates, Recording Specialist
Kerrin Gates, Concert Program Coordinator
Renee Christian, Web Master/Database Manager
Kiersten Honaker, Membership Services
and BLOG Manager
David McMurray, Assistant Event Coordinator
Ashley Wright, Boutique Coordinator
Blaine Greenhalgh, Concert Coordinator
Support the Salt Lake Choral Artists
Visit www.saltlakechoralartists.org or send your
contribution to:
Salt Lake Choral Artists
204 DGH
1375 E. Presidents Circle
Salt Lake City, UT 84112
Salt Lake Choral Artists
||
Salt Lake Choral Artists
Dr. Brady R. Allred, conductor
Laurel Enke, accompanist
Soprano
Leslie Anderson
Sara Astle
Diane Bachman*
MaryAlice Baggaley*
Marci Bishop*
Robin Bullen
Carol Christensen
Valerie Christensen*
Janelle Davis*
Brooke Deardorff
Blythe Enke
Susan Frampton*
Aimee Frederick
Amber Gates
Kerrin M. Gates
Sharon E. Gates
Jan Greenhalgh
Beverly Harrison*
Michele Hart
Libby Hirsh
Marion Klaus*
Bohea Lee*
Marcie Alley
Karen Allred
Melinda Baros
Vicki Belnap
Jessica Benson*
Salwa Bernier*
Alicia Bremer-Wharton
Carolyn Bristol
Karla Burkhart
Jill Carlston*
Renee Christian
Debra Cope
Lee Ann Crockett
Machelle Dahl
Jo Davies
Cheryl De Haan*
DeAnna DeBry*
Karen Dick
Hillary Emmer*
Catherine Endicott*
Lisa FitzGerald*
Jan Garbett*
Jeanmarie Goodman
Joyce Hammond*
Linda Hess
Kiersten Honaker
Andrea Hoschouer*
Julie Humes
Kathy Johnson
Kimberly Johnson
Carlynn Jones*
Camille Kingman
Heidi Kunzler*
Martha Lauritzen*
Carol Leishman
Melanie Malinka
Fay Mason*
Ramona Mayer
Abrams
Bryan Baggaley
Edward Bullen
Newell Bullen
Steven W. Day
Terrill Dick
Alan Fogel
Michael Gates
Aaron Greer
Jay Harding
Trent Harrison
Dennis Harston
Michael A. Ingols
Floyd A. Jensen
Roger Baker
Anthony C. Ball
Phillip Boehmke
Rod Buhler
Bruce Burkhart
Stan Clark
Reed Coombs
Phillip Day
Darrin Doman
Harold J. Dupaix
Dave Ellis
Timothy Feil
Ryan Greer
Calder M. Hammond
Jared Hancock
Ken Handley
Darold Humes
Josh Jessop
Andrew Larson
Kristen Luck
Linda Lyon
Katie Marshall
Maesha Miller*
Deborah Neerings
Jane Nichols*
Loretta Orgill*
Judy Prawitt
Gail Richardson*
Jackie F. Robinson
Allison Roesberry*
Lisa Safeer
Ann Seamons
Karen Setjo
Emery Smith
Leonora S. Smith*
Darlene Spencer*
Polly Stewart*
Callie Stoker
Jeanine Tew*
Lana Walker*
Ashley Wright
Ruth McCune
Melanie Meinzer
Victoria Morris
Grace Murdock
Betsy Nagel
Kelly Nelson
Shauna NewboldMcCormick*
Jeanette Nielsen
Sonja Noykos
Susan Olson*
Tiffany Olson
Peggy Oslund
Joohyun Park*
Doreen Payne*
Elizabeth Petersen*
Emily Poff
Jenny Preece*
Susan Rabiger*
Pat Rathmann*
Vanessa Ruiz*
Eileen Russell
Jan Smith*
Kara M Spjute
Marguerite Spute*
Joan Steinmann
Rosalyn Summers
Amber Taylor
Jennifer Taylor
Karen Taylor
Marilyn Taylor*
Carolyn Tolman
Cathy Tucker
Susan Walles*
Becky Workman*
Marybeth Wynder
Melissa Wynder*
Doyle Johnson
Jeremy Lunt
David McMurray
John W. Nagel
Bryan Petersen
Matthew Pike
Mark Smith
Cecil Sullivan
Ivan Sullivan
Craig Thomas
Don Tripp
Raymond Wixom
Todd Wynder
Larry Leishman
Gary Morris
Shawn Petersen
Brett Rasmussen
Dave Reeder
Scott Richardson
Clayne Robison
Bryan Romney
Neal Smith
Peter Steenblik
Austin Thorpe
Keith Trickett
Jacob Turley
Alasdair Waddell
Gary Walton
Paul Walton
Trevor Webb
James Webster
Alto
Tenor
Bass
*SLCA Women’s Choir
|| Salt Lake Choral Artists
13
Who We Are
The Salt Lake Choral Artists has been organized to include a 150-voice concert choir, 80-voice women’s choir,
and a 50-voice chamber choir to allow more diversity of repertoire, to meet the individual needs of the singers,
and to allow more singers, especially sopranos and altos, to participate in a high-level artistic experience.
MISSION
The Salt Lake Choral Artists are dedicated to:
• Disciplined training and education of musicians in the art of choral singing
• Study and rehearsal of choral literature representative of a variety of significant musical traditions
• Performances of the highest artistic quality for the purpose of stimulating greater enjoyment, appreciation,
and understanding of choral music by as many people as possible
VISION
The Salt Lake Choral Artists enrich the musical life of their listeners with creative programming of new and
culturally diverse music, and continue to cultivate its legacy of producing and performing master choral works
with orchestra. We train and nurture singers at all levels, and, in so doing, develop the artistry of all participants,
from composer to conductor, soloist to instrumentalist, and singer to audience member.
BIOGRAPHY
The Salt Lake Choral Artists, under the Artistic Direction of Dr. Brady R. Allred, continue a tradition of superb
community choral singing that began as the Jay Welch Chorale, one of the Wasatch Front’s most popular choirs
for 20 years. When Dr. Welch retired, the Chorale was renamed the Legacy Chorale and was led by Dr. Brian
Bentley for five years. They continued a 20-year tradition of singing on Temple Square as well as giving concerts
throughout the city.
In the summer of 2004 Dr. Brady R. Allred was appointed as the new Artistic Director and Conductor and the
organization took on a new mission and name. Under Dr. Allred’s direction, a new group of choral singers has been
organized, including a large concert choir of 150, a 50-voice chamber choir and an 80-voice women’s choir. We
are proud to list among our ranks five local high school choir conductors, undergraduate and graduate university
students studying vocal performance and choral conducting, and talented singers from a 100-mile radius.
The Salt Lake Choral Artists have enjoyed collaborating with The University of Utah Singers and A Cappella
Choir, the Salt Lake Community College Concert Choir, the Murray Symphony, the Eastern Arts Ensemble,
Hispanos en Utah, Los Hermanos de Los Andes, the German Chorus Harmonie, the Utah Baroque Ensemble,
Ballet West, and the Salt Lake Symphony.
www.saltlakechoralartists.org.
14
Salt Lake Choral Artists
||
SUMMER INSTITUTE 09
THE THIRD ANNUAL SUMMER CHORAL INSTITUTE
Summer Choral Institute is open to individuals of all ages, families,
shower singers, professional singers and everyone in between.
June 22 – Aug 15 / 2009
SIGN UP TODAY
saltlakechoralartists.org
Choose from these Summer Institute Programs:
Sessions for Adults and Families
God Bless America: Patriotic Music for the USA
Girls Night Out: Choral Music for Women
Sacred and Secular Works by Utah Composers
Psalmfest by John Rutter
June 25-27
July 9-11
July 16-19
August 6-8
Music Workshop for Teaching Music and
Conducting Children’s Choirs
July 13-18
One Evening Sessions
South Pacific by Rogers and Hammerstein
Requiem by Mack Wilberg
Magnificat by John Rutter
SLCA 2009/10 Concert Season Sampler
July 7
July 14
August 4
August 11
Choral Conducting Workshops
Beginning – Intermediate
Intermediate – Advanced
June 22-26
July 13-18
Children and Teen Sessions
Totally Choral Camp for Children and Teens
Totally Choral Retreat for High School Madrigal
and Chamber Choirs
July 13-19
August 13-15
DR. BRADY ALLRED
Artistic Director and Conductor
For more information
contact Kerrin Gates at
[email protected]
Architects of the
Libby Gardner Concert Hall
bogue building 730 pacific avenue salt lake city, utah 84104
801-521-6186 ffkr.com