Untitled - Ensemble VIII

ensemble viii
Music from the Court of Charles V
THE PROGRAM
Quis te victorem dicat
Thomas Crecquillon
(c1505-1557)
Magnificat septimi toni
Nicolas Gombert
(1495-c1556)
Mille regretz
Josquin des Prez
(c1450-1521)
Gombert
Tous les regretz
Heroum soboles
Orlando di Lasso
(c1532-1594)
Lasso
Si qua tibi obtulerint
Intermission
Qui colis Ausoniam
Gombert
Pour ung plaisir
Petite fleur coincte et jolye
Crecquillon
Crecquillon
Missa Domine Deus omnipotens
Kyrie
Sanctus & Benedictus
Agnus Dei I & II
Crecquillon
TEXTS AND TRANSLATIONS
Quis te victorem dicat
Prima Pars
Quis te victorem dicat, qui vinceris ipse
First Part
Who can call you victor, you who are yourself
vanquished,
Invictus victo Caesar ob hoste tuo?
Si veniam victus petit hostis, protinus illi
Parcis, et errati te meminisse piget.
the unconquered Emperor, by your vanquished foe?
If your conquered foe seeks pardon, at once you
spare him, and you do not even remember his
transgression.
Secunda Pars
Non te hostis vincit, pietas te, Carole vincit,
Et ratio, cum sis victor et ipse tui.
Vincere laus ingens hostes, et parcere victis;
Vincere sed sese, Gloria maior erit.
Second Part
‘Tis not a foe conquers you, O Charles, it is your duty
and right reason, since you are victorious over self as well.
Vast praise it is to conquer enemies and spare the
conquered,
but conquest of oneself will bring glory greater still.
Magnificat
Magnificat anima mea Dominum
My soul doth magnify the Lord:
Et exultavit spiritus meus in Deo salutari meo.
and my spirit hath rejoiced in God my Saviour.
Quia respexit humilitatem ancillae suae;
ecce enim ex hoc beatam me dicent omnes
generations.
For he hath regarded: the lowliness of his handmaiden.
For behold, from henceforth: all generations
shall call me blessed.
Quia fecit mihi magna qui potens est,
sanctum nomen ejus.
For he that is mighty hath magnified me: and et
holy is his Name.
Et misericordia eius a progenie in
timentibus eum.
And his mercy is on them that fear him: progenies
throughout all generations.
Fecit potentiam in brachio suo,
dispersit superbos mente cordis sui.
He hath showed strength with his arm:
he hath scattered the proud in the imagination of
their hearts.
Deposuit potentes de sede
et exaltavit humiles.
He hath put down the mighty from their seat:
and hath exalted the humble and meek.
Esurientes implevit bonis
et divites dimisit inanes.
He hath filled the hungry with good things:
and the rich he hath sent empty away.
Suscepit Israel puerum suum recordatus
misericordiae suae,
He remembering his mercy hath holpen his
servant Israel:
Sicut locutus est ad patres nostros,
Abraham et semini ejus in saecula.
as he promised to our forefathers,
Abraham and his seed, for ever.
Gloria Patri, et Filio, et Spiritui Sancto:
Glory be to the Father, and to the Son, and to the Holy
Ghost;
Sicut erat in principio, et nunc, et semper,
As it was in the beginning, is now, and ever shall be,
et in saecula saeculorum. Amen.
world without end. Amen.
Mille regretz
Mille regretz de vous habandonner
et d’eslonger vostre fache amoureuse.
Woes a thousandfold to leave you now I feel,
distance from your loving face too soon there’ll be.
J’ay si grand dueil et paine douloureuse,
qu’on me vera brief mes jours definer.
Pain so great, such sad regret the fates decree,
death fills my thoughts, which thus my love reveal.
Tous les regretz
Tous le regretz qu’onques furent au monde,
venez vers moy quelquepart que je soye.
Prenez mon cueur en sa douleur profonde
et le fendez que soudainement la voye.
All the sadness that has ever been of this world,
come hither to me, wherever I may be.
Take my heart in its deep grief
and cleave it in twain when suddenly I see her.
Heroum soboles
Heroum soboles, amor orbis, Carole, nostri
Descendant of heroes, love of the world, Charles,
solus es afflicto Musarum tempore alumnos
qui colis et facili largiris munera dextra.
you alone nurture the pupils of the Muses in their distress
and give gifts with a ready right hand;
Propterea celebrat Musica diva libenter;
Thence the goddess Music celebrates you freely;
laudibus et meritis ad sidera tollere gestit.
with praises and rewards she longs to raise you to the stars.
Vive diu Austriacae spes optima maxima gentis. Long life, O greatest and best hope of the Austrian
people.
Si qua tibi obtulerint
Si qua tibi obtulerint culti nova carmina vates,
Ingenii voveant et monimenta sui:
Accipis haec placide, legis haec et fronte serena,
Omatusque tuis laudibus author abit.
If elegant poets present their new verses to you,
and dedicate to you the monuments of their genius,
you receive them graciously, and read them with
smiling face, and the author departs distinguished by
your praise.
Ampla quidem merces laudes meruisse merentes, Great enough recompense that those who deserve it
Maxima laudari principis ore boni.
earn praise, But the greatest recompense is praise
from the mouth of a good prince.
Cantus firmus:
Aequabit laudes nulla Camaena tuas.
Cantus firmus:
No Muse will measure up to your praises.
Qui colis Ausoniam
Prima Pars
Qui colis Ausoniam glebae felicis arator,
Qua Bacchi et Cereris munera sponte fluunt,
Qui toties fatis genuisti pressus iniquis,
Orbe alio assidue dum novus hostis adest:
Pone aras accende focos pia thura cremato,
Gaudia vox Iytui cornua sistra sonent.
First Part
You who dwell in Italy, O ploughman of her fruitful soil,
where gifts of Bacchus and Ceres flow forth spontaneously,
who, by malign fates oppressed, so often have groaned
as a new foe from yet another world comes ever upon you:
Erect altars, kindle fires, burn incense of devotion, and
let voice, cornets, trumpets, and sistra sound your joy.
Secunda Pars
Perpetuum Clemens foedus cum Caesare pacis
Sanciit, ut fessae ferret opem patriae,
Bifrontisque deam Iani conclusit in aede,
Tranquillo aeternum regnet ut haec Latio.
Quam Caroli sanctique Patris Concordia corda!
Quam bene nunc gemino tutus es imperio!
Second Part
Clement has struck with the Emperor an abiding treaty
of Peace to bring help to your exhausted homeland,
and has enclosed the goddess in two-faced Janus’ temple,
that she may reign in a Latium forever peaceful.
How united the hearts of Charles and the Holy Father!
How well protected are you now by a double dominion!
Poem by Nicolaus Grudius on the federation between Emperor Charles V and Pope Clemens VII at Bologna in 1533.
Pour ung plaisir
Pour ung plaisir qui si peu dure,
j’en ay recue pain’et travaulx,
j’en ay souffert douleur trop dure,
j’en ay recue mille maulx,
j’en ay heu de trop grans assaulx,
or dieu me doit bonne’avanture,
fortune’a faict sur moy ses saulx.
For such a fleeting pleasure,
all I received was pain and suffering.
I have suffered too hard a misery.
I have received a hundred thousand wounds.
I have endured too many blows.
God owes me a better fate.
Fortune has laughed at my expense.
Petite fleur
Petite fleur coincte’ et jolye
las dictes moy si vous maimes
avecque moy plus mattendes
car il mennuye’, ma doulce amye.
Little flower, gentle and beautiful
alas, please tell me that you love me!
If you be with me, you will no longer have to wait…
But this, my sweet flower, I can no longer bear.
Kyrie
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord have mercy.
Christ have mercy.
Lord have mercy.
Sanctus
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, Holy, Holy, Lord God of Hosts.
Pleni sunt coeli et terra gloria tua.
Heaven and earth are full of your glory.
Osanna in excelsis.
Hosanna in the highest.
Benedictus
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Agnus Dei
Agnus Dei qui tollis peccata mundi miserere nobis.
Blessed is He who comes in the name of the Lord.
Hosanna in the highest.
Lamb of God, who takest away the sins of the world, have
mercy upon us.
Agnus Dei qui tollis peccata mundi dona nobis pacem. Lamb of God, who takest away the sins of the world, grant
us peace.
PROGRAM NOTES
Tonight’s program features masterworks associated with the Chapel of Emperor Charles V of
Hapsburg (1500-1558), one of the most magnificent music patrons of his time. The Habsburgs, the
longest reigning European dynasty, who ruled Germany and many other territories from 1273 to 1806,
were often music patrons. It was with Maximillian I (ruling from 1486 to 1493), however, that they became
major music patrons in Europe. Maximillian, who was in close contact with some of the most powerful
families of the time because of dynastic reasons, was an illustrious patron strongly influenced by Dutch
and Italian tastes of the period. His domains, which included the Netherlands, Spain, Naples, Sicily, and
the American colonies, were passed on to his grandson Charles V, who became Holy Roman Emperor in
1519. Charles was an enthusiastic music lover and renowned as one of the most munificent patrons in
the history of music. Not only did he employ some of the best musicians available, including Adrien
Pickart, Thomas Crecquillon, Cornelius Canis, Nicolas Payen, and Nicolas Gombert, but he was also the
dedicatee of important compositions of the time (including Josquin’s). Even after his abdication in
1555-56, when he retired to a monastery in Yuste, he organized a musical chapel in which monks coming
from all over Spain were active.
Four pieces by Thomas Crecquillon (one of Charles V’s chapel masters) will be performed
tonight. Crecquillon spent most of his professional life at the service of Charles V for whom he composed
most of his extensive musical output (which includes 12 masses, over 200 chansons, and more the one
hundred motets). The program opens with the five-voice motet Quis te victorem dicat, which was
probably written as a celebrative piece for the Emperor’s visits to the Netherlands. It displays
Crecquillon’s typical contrapuntal style with clear imitative gestures among the voices. The Missa ‘Domine
Deus omnipotens’ for six voices has an extremely elaborate setting. Similar to other compositions of the
period, it is based on pre-existing music. It uses melodic segments of a motet by the same title and
elaborates them in a very complex manner, by exploiting the typical contrapuntal and imitative writing of
the period. The mass was likely composed in connection with the Diet of Regensburg, which Charles V
attended in 1546. It is as a composer of French chansons, however, that Crecquillon is mostly famous.
His chansons were widely published during his lifetime, and, in fact, Pour ung plaisir was among the most
widespread secular songs of the time. In his chansons, Crecquillon mixes a chordal, declamatory style
with the typical contrapuntal writing of Dutch composers.
Nicolas Gombert, a cleric with ecclesiastical benefices at Courtrai, Béthune, Lens and Metz, was
probably a pupil of Josquin Des Prez in Condé. As a tribute he composed a déploration for Josquin’s
death, which was printed in 1545. Gombert was a singer at the court of Charles V from 1526 and a maître
des infants from 1529. He was exiled from 1540 with the accusation of having abused a boy. His
Magnificats composed in the 1550s, among which there is the Magnificat septimi toni performed tonight,
were defined by his contemporary Jerome Cardan as the “swan’s songs,” which were composed to
obtain the emperor’s pardon. The Magnificat—the concluding antiphon of the Vespers, the most
important of the canonical hours as established by the Rule of St. Benedict (c. 535)—was one of the most
extensively used texts of sacred polyphony of the Renaissance for both Catholics and Protestants.
Gombert composed eighth Magnificat settings, one in each of the church modes. They are composed in
alternatim, in which short polyphonic motets alternate with the original plainchant, which is also freely
used as the basis for the polyphonic setting. The motet Qui colis Ausoniam was composed for the treaty
signed in Bologna in 1533 by Charles V and Pope Clement VII. It is an excellent example of Gombert’s
tendency to write in a polyphonic style that has been described as “pervasive imitation,” in which the
various lines of the text overlap creating a full texture of sound throughout. In his chansons, as for instance
in Tous les regrets performed tonight, Gombert uses a polyphonic writing that is imitative rather than
chordal. The different voices, however, rather than exactly repeating each other’s melodic motives,
employ the technique of thematic variation in which melodic tunes are slightly varied at each iteration.
Gombert’s teacher, Josquin Des Prez, was the most renowned and celebrated composer of his
generation to the point that several compositions were spuriously attributed to him by contemporary
publishers to influence the sales of editions. As a consequence, Josquin’s output and chronology of
works as well as his biography have often been disputed among scholars. The chanson Mille regrets is
attributed to him only in one source, while it is transmitted as anonymous or attributed to Jean Lemaire in
other sources. David Fallows suggested that Josquin dedicated this song to Charles V toward the end of
his life. The song was included in Luys de Narváez’s vilhuela anthology Los seys libros del delphin de
musica (Valladolid, 1538) and labeled as 'la cancion del emperador” (the “emperor’s song). Its simple,
almost homophonic style (with all voices proceeding with a succession of chords rather than in imitative
style) shows Josquin’s ability to keep up with the style of the younger generation of composers, a style
that will be dominating during the 1520s. It is possible that the song was presented to the emperor in
person by Josquin in Brussels. After Josquin’s death it soon became one of the most popular chansons,
and it was used as a model by several composers, including Josquin’s pupil Crecquillon.
Orlando di Lasso was also highly respected as a composer by his contemporaries. Originally at the
service of Ferrante Gonzaga, a general of Charles V, in the Low Countries, Mantua, and Sicily, he was
then active in Naples and in Rome, where he held the position of maestro di cappella at San Giovanni in
Laterano. In 1555 Lasso went to Antwerp and probably worked as corrector in Tilman Susato’s printer
shop. In 1556 he published his first book of five- and six-voice motets, in which Heroum soboles and Si
qui tibi obtulerint were included. These motets show the assimilation of the styles that were popular in Italy
during Lasso’s youth. They display virtuoso passages and contrapuntal techniques that, thanks to clear
chordal successions, however, never sacrifice the intelligibility of the text declamation.
Acknowledgements:
Luisa Nardini, Ph.D.
Associate Professor of Musicology
Butler School of Music
The University of Texas at Austin
ensemble viii
James Morrow, conductor
Gitanjali Mathur, soprano
Brenna Wells, soprano
Ryland Angel, countertenor
John Bradford Bohl, countertenor
Paul D’Arcy, tenor
Donald R. Meineke, tenor
Steven Eddy, bass
James Morrow, bass
Board of Directors
James Morrow, artistic director
Thom Sloan, president and development
Dr. Gena Tabery, immediate past president
Dr. Nell Dale, secretary
Dr. Stephen Seidman, treasurer
Meg Meo, communications
Tom Allen, business development
Carl Caricari, strategic planning
Ann Price, member at large
Staff
Melissa Good, bookkeeper
www.ensembleviii.org
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MEET THE ARTISTS
Ensemble VIII co-founder and Artistic Director JAMES MORROW is Director of
Choral Activities at The University of Texas at Austin, where he conducts the
Chamber Singers and Choral Arts Society and directs the graduate program in
choral conducting. He is Founder and Artistic Director of the Bach Cantata Project at
the Blanton Museum of Fine Arts. Dr. Morrow’s choirs have toured internationally,
singing for audiences in England, Scotland, the Netherlands, Germany, Austria, the
Czech Republic, and Brazil. Dr. Morrow performed as a choral singer with Robert
Shaw and the Robert Shaw Festival Singers in France and in the United States,
participating in several recordings for TELARC, as well as performing in concert as
baritone soloist under Mr. Shaw’s direction. He is a featured soloist on a TELARC
compact disc with the Atlanta Symphony Orchestra Chamber Chorus. A student of the late Gérard
Souzay, he has also performed as a baritone soloist with orchestras in a variety of repertoire. He was
twice selected as an Artist/Fellow at the Bach Aria Festival and Institute in Stony Brook, New York.
Prior to his appointment at UT, he served as Director of Choral Activities at the University of Florida and
at Hope College in Michigan.
The Grammy®-nominated countertenor and composer RYLAND ANGEL has built
an international reputation on both the opera and concert stage, in repertoire ranging
from the Baroque to operatic commissions at major opera houses, concert halls and
festivals. Highlights of his operatic career include Radamisto/Opera Theatre of St.
Louis, Agrippina/New York City Opera,Tolomeo/Muziektheater Transparant,
Semele/Cologne Opera, Rodelinda/Carré Theatre, Amsterdam, Julius Caesar/Utah
Opera and Opera Colorado, Il Sant’Alessio/Les Arts Florissants in New York, Paris
and London, Il ritorno d’Ulisse in patria/Toulouse Opera,Theodora/Dallas Opera, Monteverdi’s
Orfeo/Boston Early Music Festival, Acis and Galatea/Hobby Center Houston, and Doux
Mensonges/Opéra national de Paris. He has created roles in many world premieres – most recently
Gregory Spears’ Wolf-in-Skins (Philadelphia), the title role in Tesla in New York written by Phil Kline and
Jim Jarmusch (Hopkins Center, Dartmouth), and new work by Tarik O’Regan and Gregory Spears
(Opera New Jersey/American Opera Projects). Angel has performed on over 50 recordings including
music by Charpentier, Scarlatti, Stradella, Lorenzani, Peri, Händel, Monteverdi, Beaujoyeux, Purcell,
Bach, Spears, Mercurio, Rosenmüller, and Bobby McFerrin. Warner Brothers’ forthcoming
documentary The Mystery of Dante will feature his original score, as well as his voice on the title track.
JOHN BRADFORD BOHL, countertenor, is a multi-faceted musician, working as
conductor, choral singer, accompanist, organist and vocal coach in the Washington,
D.C. area and along the East Coast. Acclaimed as a “sterling countertenor” with “a
voice of clarity and dexterity,” engagements for the 2014/2015 season include
concerts with Washington Bach Consort, the Choirs of Washington National
Cathedral, and Handel’s Messiah with Chatham Baroque in Pittsburgh, PA. Recent
solo engagements include his Kennedy Center debut with The Washington Chorus
singing Bernstein’s The Lark. Other solo engagements include multiple Bach cantatas and Handel’s
Dixit Dominus with the Washington Bach Consort, Bach’s St. Matthew Passion with the Trinity Choir
at Trinity Church, Wall Street, NYC, Bernstein’s Missa Brevis and Chichester Psalms, Bach’s B-minor
Mass, St. John Passion, and numerous cantatas, Handel’s Messiah, and Haydn’s Nicholai Mass. He
can be heard as soloist on the 2013 Grammy nominated recording of Handel's Israel in Egypt with the
Trinity Choir, Trinity Church, Wall Street NYC.
PAUL D'ARCY (tenor) maintains an active career as a singer and music educator.
He resides in Austin, TX, where he regularly performs with Conspirare, ensemble viii,
and the Texas Early Music Project. Paul also performs with the Santa Fe Desert
Chorale, Vox Humana in Dallas, the Tucson Chamber Artists, the Apollo Master
Chorale in Minneapolis, and Spire in Kansas City. For the past fifteen years, Paul
has been a featured soloist with various ensembles and festivals. Works include
Bach's Magnificat, Saint John Passion, Christmas Oratorio, Easter Oratorio and
many cantatas; Mozart's Requiem, Vesperæ solemnes de Dominica, and masses;
Haydn's Stabat Mater and various masses; Handel's Messiah and Dixit Dominus;
Schubert's masses; Caldara's Stabat Mater; Saint-Saëns' Christmas Oratorio,
Monteverdi’s Vespers and Schütz's Musikalische Exequien. Paul is co-founder of Convergence, a
dynamic new music ensemble. He currently teaches voice lessons at West Lake High School in
Austin.
Praised for his “winning portrayals” (The Dallas Morning News) and “sterling musical
and physical work” (stagehappenings.com), young baritone STEVEN EDDY has
exhibited extraordinary versatility in the realms of opera, oratorio and art song. He
recently returned to the 2014 Fort Worth Opera in critically acclaimed performances
as Ponchel in Silent Night, one year following his company debut as Harlekin in
Ariadne auf Naxos. His other opera credits include Dancaïre (Carmen), Aeneas
(Dido & Aeneas), Schaunard (La bohème), Nick Shadow (The Rake’s Progress),
Ford (Falstaff), and Guglielmo (Così fan tutte).
Praised for her "skyrocketing coloratura,” "fluid and dexterous voice,” "piercingly
clear soprano" as well as for being a "natural and convincing comedic actress,”
GITANJALI MATHUR regularly performs in Austin with the Texas Early Music
Project, Convergence, and Conspirare. She also sings and records with Seraphic
Fire and is featured on their Grammy-nominated CD A Seraphic Fire Christmas. She
made her solo Carnegie Hall debut with Helmuth Rilling in J.S. Bach’s St. Matthew
Passion in 2007, and has performed in France, Italy, Germany, and Denmark, in the
Oregon Bach Festival and with the Santa Fe Desert Chorale. This year she will
debut with Bach Collegium San Diego and Tucson Chamber Artists, will sing solos for Handel's
Messiah with the Austin Symphony Orchestra, and will perform a lead role with the Austin Vocal Arts
Ensemble in John Blow's baroque opera Venus and Adonis.
Co-founder of Ensemble VIII, tenor DONALD R. MEINEKE serves as Organist and
Director of Music at the Lutheran Church of the Holy Trinity (New York), known as
“the Temple to Bach” and Artistic Director of Bach Vespers, featuring the Bach
Choir and Players. He held the post of Director of Music and Organist at Trinity
Church in Worcester, Massachusetts, where he conducted the Choir of Trinity
Church, Choristers, and was founder and Artistic Director of Vox Triniti, Worcester’s
professional early music ensemble. He has also served as Director of Music and
Organist at Austin’s First English Lutheran Church. He has sung with the Festival
Ensemble Stuttgart, Junges Stuttgarter Bach Ensemble, Oregon Bach Festival, the
Pro Arte Singers, Arcadia Players, Mon Choeur, Dresden Kammerchor, Toronto Chamber Choir and
the Holy Trinity Bach Choir (NYC). He has given recitals, lectured, and performed throughout the
United States, South America, Canada, and Europe with such conductors as Paul Hillier, Helmuth
Rilling, Maria Guinand, Matthew Halls, and Järn Andresen. He has served as Assistant Chorus Master
for Helmuth Rilling, preparing Mozart’s Mass in C minor in multiple cities throughout Venezuela and
Bach’s B minor Mass in Germany and Italy.
Critics have praised BRENNA WELLS for her “angelic”, “soaring”, and “captivating”
soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch
Purcell’s Dido and Aeneas, La Musique in Charpentier's Les Plaisirs de Versailles,
and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s
production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has
sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue
Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston,
L’Académie, and the Handel and Haydn Society. She has appeared in many
festivals world-wide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music
Festival, BBC Proms and in both 2008 and 2009, she performed at the Fondazione Giorgio Cini in
Venice, Italy. The 2013-2014 Season included solo appearances with the Handel and Haydn Society,
Boston Baroque, Collage New Music, Connecticut Early Music Festival, and the Boston Early Music
Festival’s tour of Charpentier Operas. This season’s highlights include appearances with Emmanuel
Music as their Lorraine Hunt Lieberson Fellow, Seraphic Fire, Handel and Haydn Society, Boston
Baroque, Blue Heron, Lorelei Ensemble, Ensemble Viii, and the Yale Choral Artists, among others.
2014 DONORS
AMBASSADOR: $10,000 and up
City of Austin
North Coast Brewing
BENEFACTOR: $5000-$9,999
SPONSOR: $2,500-$4,999
Austin Community Foundation
SUSTAINER: $1,000-$2,499
Mary Healy
Meg and Gary Meo
The Rev. Janne Alro Osborne
Barbara and Dr. Stephen Seidman
Thom Sloan and Jerry Lashley
PATRON: $500-$999
Rebecca Pigott and Ara Carapetyan
John Havlicek
Mary Lattimore
Cate Miller and Mike McGinnis
Margaret Miller and Carl Caricari
Mary Parse and Dr. Klaus Bichteler
Catherine Sims
DONOR: $100-$499
Sue and Tom Allen
Janis Burrow
Elizabeth Christian
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June and Bobby Dunn
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Gail Reid
Viola and Harold Rutz
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FRIEND: Up to $99
Corrie Ann Boynton
Patricia Brown
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Diane Janda
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In memory of James M. Morrow, Sr., the Board has made a special gift.
SPECIAL THANKS
This project is funded and supported in part by the
City of Austin through the Economic Development
Department/Cultural Arts Division believing an
investment in the Arts is an investment in Austin’s future.
Visit Austin at NowPlayingAustin.com
ensemble viii THANKS . . .
Drs. Shannon and John Abikhaled
John Aielli
Sue and Tom Allen
Dr. Nell Dale
First United Methodist Church, Georgetown
Sara Hessel
Andrea M. Larsen Design
Luisa Nardini
St. Louis Catholic Church, Austin
Dr. Gena and Ron Tabery
LOOKING AHEAD
Festival of Lessons and Carols
Thursday and Friday
December 18 and 19, 7:30 p.m.
Bring Them into Paradise
Thursday and Friday
March 5 and 6, 7:30 p.m.
Monteverdi 1610 Vespers
Thursday and Friday
May 21 and 22, 7:30 p.m.