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Saturday, April 21 & Sunday, April 22, 2007Trinity Episcopal ChurchSan Francisco, California

Robert Gurney, Music Director

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San Francisco Lyric Chorus Robert Gurney, Music Director

Board of DirectorsHeleneWhitson,PresidentBillWhitson,TreasurerWylieSheldon,Secretary

WelcometotheSpring�007ConcertoftheSanFranciscoLyricChorus.

Sinceitsformationin�995,theChorushasoffereddiverseandinnovativemusictothecommunitythroughagatheringofsingerswhobelieveinacommonalityofspiritandsharing.ThedébutconcertfeaturedmusicbyGabrielFauréandLouisVierne.TheChorushasbeeninvolvedinseveralpremieres,includingBayAreacomposerBradOsness’Lamentations,OhiocomposerRobertWitt’sFour Motets to the Blessed Virgin Mary(WestCoastpremiere)NewYorkcomposerWilliamHawley’sThe Snow That Never Drifts(SanFranciscopremiere)SanFranciscocomposerKirkeMechem’sChristmas the Morn,Blessed Are They,To Music(SanFranciscopremieres),andselectionsfromhisoperas,John BrownandThe Newport Rivals,aswellasour�0thAnniversaryCommissionwork,IllinoiscomposerLeeR.Kesselman’sThis Grand Show Is Eternal.

During�005-�006,wejoyouslycelebratedour�0thanniversarywithawidevarietyofchoralmusic.InFall�005,wewentfromtheEnglishRenaissancecomposerThomasTallis’sMissa Puer Natus Est Nobis to�0thcenturycomposerRalphVaughanWilliams’Fantasia on Christmas Carols,aswellasworksbyBenjaminBritten,GustavHolst,andWilliamMathias.InSpring�006,weperformedBayAreacomposersErnestBloch’sSacred Service,LudwigAltman’sChoral Meditations,andKirkeMechem’sGive Thanks Unto the Lord,aswellasourcommissionedwork.Weconcludedourwonderful�0thAnniversaryYearwith�8thcenturycomposerMichaelHaydn’srarelyperformedRequiemandRalphVaughanWilliams’deeplypowerfulDona Nobis Pacem, writtenin�936,expressinghisviewsonlife,deathandthetragedyofwar.

OurFall�006seasonwasthebeginningofourseconddecadeofchoralperformances.Wecommemoratedthe�50thbirthdayoftheincomparableWolfgangAmadeusMozart,withperformancesoftheMissa Solemnis, K. 337andKyrie in D, K. 341,aswellasoneofhismostbelovedcompositions,theAve Verum Corpus, K. 618.Inaddition,weexploredtherichnessoftheEnglishanthemtraditionfromRenaissancecomposerWilliamByrd’sSing JoyfullyandmovingAve Verum Corpus,tooneofclassicalmusic’sgiants,GeorgeFridericHandelandhissecondCoronation Athem, The King Shall Rejoice.Wealsoperformed�9thand�0thcenturyclassicsbyCharlesVilliersStanford,CharlesWood,GeraldFinziandDavidWillcocks.

Andnow,asourMusicDirector,RobertGurneysays,“Forsomethingcompletelydifferent!”Weturntomusicrepresentingdifferentareasoftheworldinourprogram,Kaleidoscope: Different Cultures/Different Voices.Eachoftheworksweperformisacomposedpiece,incorporatingtherhythm,language,energyandmoodofadifferentculture.WesharewithyouchoralmusicfromChina,Korea,Japan,Mongolia,Israel,Spain,Zimbabwe,ScotlandandtheInuit,Inca,andAztecpeoples.Inaddition,wearedelightedtoshareagainwithyouour�0thAnniversarycommissionedwork,LeeR.Kesselman’sThis Grand Show Is Eternal,asettingoftextbythewonderfulnaturalist,JohnMuir.

Please sign our mailing list, located in the foyer.

The San Francisco Lyric Chorus is a member of Chorus America.

We are recording this concert for archival purposesPlease observe the following: turn off all cell phones, pagers, and other electronic devices before the concert

No photography or audio/video taping during the performance. * No children under 5Please help us to maintain a distraction-free environment. Thank you.

JeffreyKasowitz,DirectorAndreaOgarrio,DirectorLisa-MarieSalvacion,Director

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Program

HanacpachapCusicuinnin JuanPérezBocanegra

Xicochi,Xicochi GasparFernandes CassandraForth,ErinGray,SophieHenry,HeatherIrons,Soprano CaiaBrookes,CatherineLewis,Alto KevinBaum,JeffreyKasowitz,MatthewMcClure, Tenor

Tleicantimo Choquiliya GasparFernandes CassandraForth,Soprano,CaiaBrookes,Alto,KevinBaum,Tenor

Annua Gaudia J.DavidMoore KevinBaum,Tenor,JaredPierce,Bass

Arirang ChenYi KevinBaum,Tenor

Sakura ChenYi

Words Of The Sun ZhouLong KevinBaum,Tenor

RobertTrainAdams,Conductor

Naiman Sharag(EightChestnutHorses) SeEnkhbayar KevinBaum,Tenor

Intermission 15 minutes

This Grand Show Is Eternal LeeR.Kesselman KevinBaum,Tenor

Highland Mary JamesMulholland

A Red, Red Rose JamesMulholland

Ma Navu (World Premiere) JosefSpivak, JaredPierce,Bass arr.DonBannett

Shona Mass LeeR.Kesselman Tenzi (Kyrie) JaredPierce,Bass Mbiri Kuna Mwari (Gloria) Akakomborwerwa (Benedictus) Hwayana Yamwari (Agnus Dei) KathrynSingh,Soprano

Nukapianguaq StephenHatfield CassandraForth,SophieHenry,KathrynSingh,Soprano CatherineLewis, Alto

RobertGurney,MusicDirectorRobertTrainAdams,AssistantConductor,piano

AllenBiggs,percussion

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Program NotesWesharewithyoutodaythemoodsandenergiesofdifferentcultures.Eachcomposerhasexploredtherhythmsandsoundsofaparticularcultureand/ortime,anddistillsforyouhis/hersenseofthatplace.Wetourtheworldandlearnthesoundsofdifferentlanguages,theintricaciesofdifferentrhythms,thejoysandsorrowsandlongingsofpeopletheworldover.Hearingmusicalexpressionsofcultureisanopeningtouniversalunderstanding.

San Francisco Lyric Chorus Discovery Series

OurWinterConcert�996inauguratedanewaspectoftheSanFranciscoLyricChorus’desiretofeatureunusualandinnovativeprogramming.TheDiscoverySeriesidentifiescompositionsorcomposersthatarenotwellknown,butwhichareexceptionalandofspecialinterest.

Juan Pérez Bocanegra (?1598-fl. 1631)

LittleisknownaboutFranciscanmonk,printerandcomposerJuanPérezBocanegra.HeprobablywasborninSpainaround�598.Hespent�0yearsinPeruasamissionary,servingasaparishpriestatOurLadyofBethlehemChurchinCuzco,andlaterastherectorofachurchinAndahuaylillas.HecompiledtheRitual formulario, e institucion de curas, para administrar a los naturales de este Reyno, los sanctos sacramentos del baptismo, confirmacion, eucaristia, y viatico, penitencia, extremauncion, y matrimono:con aduertencias muy necessarias(Manualofritesandceremonies,withinstructionforpriests,forministrytothenativeinhabitantsofthisrealm:theblessedsacramentsofbaptism,confirmation,Eucharist,viaticum<forthesick>,penitence,extremeunctionandmarriage,withnecessarywarnings),publishedbyGerónimodeContrerasinLima,Peru,�63�.

The Incas

TheIncaswereapeoplewhoflourishedonthewestcoastofSouthAmericafromthe12thcenturytothelate�6thcentury.OriginatinginthehighlandsofPeruinthecity-stateofCuzco,theIncascreatedanempirewhichincludedmodernEcuador,Peru,westernandsouthcentralBolivia,northwesternArgentinaandnorthcentralChile,thelargestcivilizationintheAmericas,withover�0millionpeople.Cuzco,thecapital,wascomparableinsizetoParisandLondon.

Incagovernmentwashierarchical.Theruler,theInca,wassupremeanddivine,consideredadescendantofthesun-god.Lowerlevelsofthehierarchyincludedhisimmediatefamily,aconfederationoftribes,acounciloftribalelders,clansandclanleaders,andfinally,thecommonpeopleatthebottom.WhentheIncasconqueredothergroups,theyappointedlocalleadersasproxygovernors.TheIncahierarchywasrigidandvulnerabletoassaultfromtheoutside.WhenFranciscoPizarroinvadedwith�68Spanishsoldiersin�53�,theIncaEmpirehadalreadybeendecimatedbysmallpoxbroughtbytheSpanishtoMexico,theIncaEmperorhaddiedofthedisease,andtheEmpirewasrackedbycivilwar.Throughboldnessandtreachery,PizarrocapturedandexecutedthesuccessorIncaemperor,Atahualpa,in�533.TheIncascontinuedtoresistforanother�0years,butby�57�,theSpanishhadconqueredtheIncaEmpirecompletely.

AlthoughmuchoftheIncaEmpirecontainedpoorsoil,theIncasweremastersatmakinggooduseoftheirenvironment.Theyfarmedandpracticedinventiveagriculturalmethods,usingtheirextraordinaryengineeringtalentstocreateterracesforcrops,aswellasincredibleroadsystems.Theywerewellknownfortheirarchitecture,potteryandtextiles.

Quechua

QuechuawasthetongueoftheimperialIncas,andisabranchoftheAndean-Equatoriallanguagegroup.Itstillisspokentoday,themostwidelyspokenofalltheAmericanindigenouslanguages.PossiblyoriginatinginPeru,thelanguagespreadwithIncaconquests,aswellasthroughitsusebytheCatholicChurch,whichusedittopreachtoindigenouspeoples.QuechuaisanofficiallanguageinPeruandBolivia,aswellasSpanishandAymara.Thelanguageusesonly

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threevowels:a,i,u,butcontainsamultiplicityofconsonants.

Inca Music

MusicheardinCuzcoin�63�wouldhaveincludedtraditionalindigenousmusic,aswellasmusicandmusicalstylesimportedbytheCatholicChurchfromSpain.TheCatholicChurchoftengavemusicaltrainingtomembersoftheindigenouspopulation.NativecomposersoftencreatedworksthatresultedinafusionoflocalandEuropeanstyles.Instrumentsusedincludedvarioustypesofflutes,panpipes,trumpets,drums,shakersandrattles.

Hanacpachap Cusicuinnin

JuanPérezBocanegradesignedHanacpachap CusicuinninasaprocessionalcompositiontobesungbynativeparishionersastheyenteredtheirchurchesonLady-Days.ThecompositionisfoundinBocanegra’s�63�Ritual formulario.WhetherBocanegraoranindigenousmusiciancomposedthemusic,orwhethertheworkthatwesingtodayisanarrangementofagenuineIncatextandtuneisunknown,butitmayhavebeenbasedonanearlierIncahymntoPachamama.ChristopherMoroneynotesthattheIncareligionhadincludedworshipoflife-givingMotherEarth(Pachamama),andastrongconnectionwasmadebytheSpanishmissionariesbetweenPachmamaandtheVirginMary.ThecathedralinCuzcowasbuiltonthespotwherePachamamahadbeenworshipped.ThewordsDiosparampanandDiospamamaninthesecondversereflectthefusionoftheIncan&Catholic“mothergoddess/motherofGod”concepts.Wesingthefirsttwoversesofatwenty-versecomposition.Hanacpachap CusicuinninwasthefirstpolyphoniccompositionpublishedintheNewWorld.

Hanacpachap cussicuinin Huaran cacta muchas caiqui Yu pai rurupucoc mallqui Runa cunap suyacuinin Call pan nacpa quemi cuinin Huaciascaita.

Uyarihuai muchascaita Diospa rampan Diospa maman Yuractocto hamancaiman Yu pas calla, collpascaita Hua huar quiman suyuscaita Ricuchillai. Gaspar Fernandes (ca. 1570-1629)

GasparFernandes,musicianandpriest,wasborninEvora,Portugal,between�565and�570.Littleisknownabouthisearlylifeoreducation.Hefirstcametopublicattentionin1590,listedasasingerandorganistatEvoraCathedral.Healreadywasapriest,althoughitisnotknownwhenhewasordained.PortugalatthistimewasruledbySpain,andtherewasmuchmusicalinterchangebetweenthetwocountries.ManyPortuguesemusiciansmigratedtoSpanishterritories,includingthoseintheNewWorld.MusiciansintheNewWorldhadmuchmoreopportunityforadvancementthantheyhadinEurope.

In�599,FernandesleftPortugalforapositionasorganistattheCathedralinGuatemalaCity,Guatemala.In�60�,hetookonadditionaldutiesasChapelMaster.Hefoundanexcellent,albeitdisintegrating,collectionofmusicscoresattheCathedralandhadthemallcopied.The�606deathofPedroBermúdez,ChapelMasteratPueblaCathedralinMexico,ledtheclergytoinviteFernandestotakethevacantposition,sinceBermúdezhadbeenhiscolleagueinGuatemala.Fernandesaccepted.InadditiontoservingasChapelMaster,healsowasresponsibleforteachingandcaringforthechoirboys,aswellasplayingtheorgan.In�608,hewasabletorelinquishhischoirboyresponsibility,onlytohaveitthrustuponhimagainin

Otreebearingthrice-blessedfruit,Heaven’sjoy!athousandtimesshallwepraiseyou.Ohopeofhumankind,helperoftheweak.hearourprayer!

Attendtoourpleas,Ocolumnofivory,MotherofGod!Beautifuliris,yellowandwhite,receivethissongweofferyou;cometoourassistance,showustheFruitofyourwomb!

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�6�6.PueblaCathedraldismissedhimfromserviceinJuly�6�8,becauseheandthechoirhadprovidedunauthorizedmusicforafuneral.Hewasreinstatedonemonthlater.Allofhisdutiesbegantoaffecthishealth,andin�6��,cathedralauthoritieshiredJuanGutierrezdePadillatobecomehisassistant.PadillawastosucceedFernandesatPueblaandbecomeoneofthemostnotedMexicanBaroquecomposers.Fernandesdiedin�6�9.

GasparFernandeswasoneofthefew�6thand�7thcenturyPortuguesemusicianstosucceedinLatinAmerica.Hecomposedmostofhisworkbetween�609and�6�6,incorporatinglocallanguageandrhythms.Hewrotetwomassesandover�50chanzonetasandvillancicos,sacredandsecularpoemssettoparticularmusicalforms.ThemusichecomposedforPueblaCathedralisthelargestsurvivingcollectionof�7thcenturymusicintheNewWorld.Fernandes’careerspannedthetransitionfromRenaissancepolyphonytothenewBaroquestyleintheAmericas,andhemaybeconsideredthefirstmajorBaroquecomposerintheNewWorld.

Aztecs

BythetimeGasparFernandesarrivedinPuebla,theSpanishhadruledMexicoforalmost90years.Theoriginalpeoplesofthisarea,theAztecs,hadgainedgreatpowerfromtheirhumble��th-centurybeginningstotheheightoftheirpowerinthe�5thand�6thcenturies.OnlytheempireoftheIncasinSouthAmericasurpassedtheAztecempireinsize.TheAztecsconqueredotherindigenousgroupsandabsorbedelementsofthoseculturesintotheirown.Theyhadacentralizedgovernment,asdidtheIncas,oftenallowingconqueredchiefstoretainsomeauthority.Manywhomtheyhadconqueredhatedthem.WhenSpanishconquistadorHernanCortésandhistroopsinvadedMexicoin�5�9,hefoundmanyalliesamongthosepreviouslydefeatedbytheAztecs.CortéscapturedtheAztecemperorMontezumain�5�9.Montezumawaskilledin�5�0andsucceededbyhisbrother,whodiedafewmonthslater.Bythemiddleof�5��,theSpanishconquestwascomplete,astheydestroyedtheAzteccapitalofTenochtitlanandbuiltMexicoCityontheruins.

ElementsoftheAztecculturesurvived,especiallyinlanguageandmusic.TheAztecswereskilledinagriculture,engineering,art,architecture,mathematicsandastronomy.TheAzteccalendarisamarveltodaywithits260-dayyearandits52-yearcycle.TheAztecsflourishedinthearts,includingtextiles,sculpture,metalwork,poetry,songs,musicandpictographicwriting.

Classical Nahuatl

ClassicalNahuatlwasthelanguageoftheAztecsatthetimeofCortés.Thelanguagehadmanydifferentdialectsandusedfourvowels:a,e,i,o.Spanishbecamethedominantlanguageaftertheconquest,althoughamodernversionofNahuatlexiststoday.WhentheSpanisharrived,Nahuatlwasapictographiclanguage.TheSpanishintroducedRomanscript,displacingthepictographs.

Aztec music

TheAztecslovedbothmusicanddance,andtheseartswereanintegralpartoftheirsacredandsecularcultures.Theyusedrattles,whistles,trumpets,flutes,copperbells,shells,andvariouswindinstruments.Theyalsousedmanydifferentkindsofdrums.

Xicochi Xicochi Conetzintle

Xicochiisalullabytotheholychild.Itismacaronic,i.e.,writtenintwodifferentlanguages.Inthiscase,itiswritteninSpanishandtheTlaxcalandialectofClassicalNahuatl.Itissetinthetypicalrhythmofthevillancico,a3/�or6/8meter.

Xicochi xicochi conetzintle.Caomiz huihui joco in angelos me,Aleloya.

Gentlysleep,littleChild.Crynomore,fortheangelsarehere.Alleluia.

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Tleicantimo Choquiliya

Writtenin�6�0,Tleicantimo ChoquiliyaisthefirstChristmascarolinntheAmericastobesetinanindigenouslanguage—Nahuatl.Italsoismacaronic,combiningSpanishandNahuatl.Itdemonstratesthetypicalvillancicostyleofverses(coplas)andrefrain.Thesoloistssingtheverses,andthechorussingstherefrain.Villancicosoftenhavesubtlesyncopationandhemiolasintherhythm.

Tleicantimo choquiliyaMis prasedes, mi apisión.Aleloya.

Dejal to el llando crecida,miral to el mulo y el buey.Ximoyollali, mi rey.Tlein mitztolinia, mi vida?

Jesós de mi goraçón,no lloreis, mi pantasía.

No sé por qué deneis pena,tan lindo cara de rosa.Nocpiholotzin, niño hermosa,nochalchiuh, noasojena.

Tleicantimo choquiliyaMis prasedes, mi apisión.Aleloya.

J. David Moore (1962- )

BorninBoston,Massachusettsin�96�,J.DavidMoorebegansingingwhenhewasaboutsix,andconsidershisvoicehisprimaryinstrument.Hehassungwithmajormid-westernchoralgroups,includingThePlymouthMusicSeries,DaleWarlandSingersandTheRoseEnsemble,forwhomhecomposedAnnua Gaudia.

Moorewrotehisfirstcomposition,Ave Maria,forhishighschoolchoirwhenhewasasenior.HereceivedhisBachelor’sDegreeinCompositionfromtheFloridaStateUniversitySchoolofMusicandaMaster’sDegreeinChoralConductingandCompositionfromtheUniversityofCincinnatiCollege-ConservatoryofMusic,studyingcompositionwithRoyJohnson,JohnBoda,DarrellHandelandScottHustonandconductingwithAndréThomas,JohnLemanandEarlRivers.Aftergraduation,heworkedasamusiccopyistfortheCincinnatiPopsOrchestra.

Sincefinishingcollege,Moorehaswrittenand/orarrangedawidevarietyofworks,includingchoralworks,concertanddancemusicforgroupsfromelementaryschooltoprofessional.Hehascomposedalmosttwohundredchoralpieces.Heisatwo-timerecipientoftheAmericanComposers’ForumFaithPartnerResidencies,servingascomposer-in-residenceatfiveMinnesotachurches;WestwoodLutheranChurch,AdathJeshurunSynagogue(Minnetonka),St.Michael’sCatholicChurch(Stillwater),St.Andrew’sLutheranChurch(Mahtomedi),andPlymouthCongregationalChurch,wherehecomposedforPhilipBrunelle’schurchchoir.HewasChoirDirectoratFirstPresbyterianChurchinWhiteBearLake,Minnesota,from�00�to�005.HecurrentlyistheDirectorofMusicatTheEpiscopalChurchoftheNativityinBurnside.

J.DavidMoorehasfoundedanddirectedtwoprofessionalacappellaensembles:TheVillageWaytes,inCincinnatiandDareToBreatheinSt.Paul,Minnesota,aswellasthewomen’schorus‘Muse’.DareToBreathereceivedtheprestigiousMcKnightFellowshipforPerformingArtists.Inaddition,MoorehastaughtsongwritingworkshopsandcoachedhighschoolchoirsandsmallensemblesinMinnesota,OhioandWisconsin.In�00�,theMinnesotaOperachoseMooretobecomposer-in-residenceatSt.Paul’sFourSeasonsA+ElementarySchool,whereheand

Wesingtoyou,littleflower,Mypleasures,mypassion.Alleluia.

Leavethouthegrowingcry,Beholdthemuleandtheox.Takecomfort,myking.Whatbothersyou,mybeloved?

Jesusofmyheart,Donotcry,myfantasy.

Iknownotwhatpainsyou,Suchbeautifulrosyface,Beautifulone,ofrosycountenance,Mypearl,mywhite-featheredbird.

Wesingtoyou,littleflower,Mypleasures,mypassion.Alleluia.

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agroupoftheschools’fourthgradestudentswrotea�0-minuteoperaaboutaninvasionofaliens.In�00�and�006,heworkedwithstudentsatValleyCrossingCommunitySchoolinWoodbury,Minnesota,writingandperformingbiographicalsongsaboutthelivesofNobelPeacePrizelaureatesJimmyCarterandWangariMaathai.

Annua Gaudia

Annua GaudiaisasettingofahymntoSt.JamesofCompostela,foundinVolume�ofthe��thcenturySpanishCodex Calixtinus.ThishymnisrequiredtobesungeveryyearonJuly�5,theFeastofSt.James,commemoratingthedaywhenhisrelicscametoCompostela.J.DavidMoorecomposedthisworkin�00�forTheRoseEnsemble,evokingthepaceofthelongpilgrim’swalktoSantiagodeCompostela.

St. James of Compostela

St.James,sonofZebedee,wasoneoftheoriginaldisciplesofJesus.LegendsaysthatHerodAgrippamurderedJamesinJerusalemandsomeofJames’followerstookhisbodybyboattoGaliciainnorthernSpain,whereitwasentombed.ThetombsupposedlywasdiscoveredintheNinthCentury,andachurchbuiltonthesite.ThepresentCathedralofSantiagodeCompostelareplacedthatchurch.St.Jameswasamajorfigureofvenerationduringthe12thcenturyandlater.FaithfulEuropeanChristiansattributedhealingsandblessingstohispowerandbegantomakepilgrimagestoSantiagodeCompostelatoveneratehisrelics.St.JamesalsowasanimportantfigureusedinrallyingEuropeanstofightbackagainsttheMoorswhohadconqueredSpain.TheMoorsweredrivenoutin��9�.Today,thousandsofpilgrimsstilljourneyonfoottoSantiagodeCompostela,undertakingtheCaminodeSantiago(WayofSt.James).

Codex Calixtinus

TheLiber Sancti Jacobi,orCodex Calixtinus,ishousedintheCathedralofSantiagodeCompostela.Thismanuscript,writtenbetween��30and���0,describesthehistoryofSt.JamesandhisimportanceinremovingtheMoorsfromSpain.Itisdividedintofivebooks:

1.SermonsandhomiliesaboutSt.Jamesandtheofficialliturgiesforhisveneration,aswellasincludingpoetryandpolyphonicmusicsettings.�.AdescriptionofmiraclesattributedtoSt.James.3.ThehistoryofthetransferofSt.James’bodyfromJerusalemtoSpain.�.AdescriptionofCharlemagne’sbattlesindrivingouttheMoors.5.Apilgrim’sguidetotheRoadtoCompostela.

TheCodexisconsideredtobethefirsttouristguide.

Annua gaudia, Iacobe,debita sunt biti danda,Organa dulciaconveniencia sunt resonanda.

Et tua celica factaperhennia sunt reseranda. Organa dulciaconveniencia sunt resonanda.

Hec quoque splendida seclaper omnia sunt memoranda.Organa dulciaconveniencia sunt resonanda.

Tam pia, tam bona, tam rata dogmatasunt imitanda.Organa dulcia conveniencia sunt resonanda.

Fittingsoundsofjoy,OJames,areowedtoyouyearly.Sweetsoundsofmusicfitforyourfeastmustsoundout.

Andyourheavenlydeedsmusteverberevealed.Sweetsoundsofmusicfitforyourfeastmustsoundout.

Andthesesplendorsmustberememberedthroughouttheages.Sweetsoundsofmusicfitforyourfeastmustsoundout.

Thesegoodandholydoctrinessofinemustbefollowed.Sweetsoundsofmusicfitforyourfeastmustsoundout.

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Chen Yi (1953- )

BorninGuangzhou,China,in�953toafamilyofdoctorsinterestedinclassicalmusic,ChenYibeganhermusicaleducationattheageofthree,studyingviolinandpianowithZhengRihuaandLiSuxin.DuringtheCulturalRevolutionofthe�960s,shetriedtocontinuehermusicalstudies,practicingherviolinathomewithamuteattached.Unfortunately,in�966shewassentintothecountryfortwoyearsasalaborer.Shetookherviolinwithher,entertainingfarmerswithmelodiesfromgovernmentapproved‘revolutionaryoperas’andpracticingWesternclassicalmusicwhenshewasalone.Duringhertimeinthecountryside,shelearnedaboutcountrylifeandfolkmusic,knowledgethatwouldserveherwellinherlatermusicalcareer.

WhenChenYiwas�7,shereturnedtoGuangzhou,servingasconcertmasterandcomposerwiththeBeijingOperaTroupe.ShealsobeganeightyearsofseriousresearchintotraditionalChinesemusic,aswellasstudyingWesternclassicalmusictheorywithZhengZhong.Beijing’sCentralConservatoryreopenedin�977,andChenYistudiedcompositionwithWuZu-qiangandBritishguestcomposer,AlexanderGoehr.ShecontinuedherviolinstudieswithLinYao-ji.In1983,shecomposedthefirstChineseviolaconcerto.ShereceivedherBachelor’sdegreein1983,andin1986becamethefirstwomaninChinatoreceiveaMasterofArtsdegreeinComposition.SeveralorganizationsjoinedtogethertosponsoraconcertdevotedentirelytoChen’sorchestralworks.Inthatsameyear,shecametotheUnitedStatestostudycompositionatColumbiaUniversitywithChouWen-chungandMarioDavidovsky,receivedherDoctorateofMusicalArts(withdistinction)in�993.

Uponreceiptofherdegree,shewasappointedtoathree-yeartermasComposer-in-ResidencefortheWomen’sPhilharmonic,Chanticleer,andtheAptosCreativeArtsProgram,allbasedintheSanFranciscoBayArea.InJune�996,shegavethreesold-outconcertsofherworksatYerbaBuenaCenter,presentingworkscompletedduringthatperiod—theorchestralworksGe XuandSymphony No. 2,herchoralsettingsofChinesefolksongsandherTang Poems,andtheChinese Myths Cantata,amulti-mediawork.Inthatsameyear,shejoinedthemusicfacultyofthePeabodyConservatoryatJohnsHopkinsUniversity,Baltimore.In�998,shebecametheCravens/Millsap/MissouriDistinguishedProfessorinCompositionattheConservatoryoftheUniversityofMissouri,KansasCity.In�00�-�003,shewastheKarelHusaVisitingProfessoratIthacaCollege.ShehasguestlecturedthroughoutChinaandtheUnitedStates.

ChenYicomposesinmanydifferentgenres:musicfororchestra,vocalandchoralmusic,chambermusic,musicforChineseinstrumentalensembles,andmusicforsoloinstruments.ShecombinesWesternmusicaltechniquesandChinesemusicaltraditions.Shehasreceivedmanycommissionsfrommajororganizations,includingtheSanFranciscoArtCommission,Women’sPhilharmonic,Chanticleer,SanFranciscoContemporaryMusicPlayers,Kitka,SanFranciscoCityWindsandtheSanFranciscoGirls’Chorus.Hermusicisperformedworldwide,andhasbeenrecordedonmanydifferentlabels.Shehasreceivedmanyhonorsandawards.RecentlocalperformancesofherworkshaveincludedtheworldpremiereofLooking at the Sea,premieredbythePeninsulaWomen’sChorusatStanfordinMarch�007,andNing for Violin, Cello and Pipa,bytheAdornoArtMusicEnsembleattheSanFranciscoConservatoryofMusic,alsoinMarch�007.

ChenYiismarriedtoZhouLong.

Arirang

ChenYicomposedbothArirangandSakurain�99�.Arirangisthemostpopularandbest-knownKoreanfolksong,bothinKoreaandabroad.Therearehundredsofvariationsofthesong,andtheversesvary,oftendependingonthelocalitymentionedinthesong.Thesonghas

Hec sacra commode, florida,fulgida sunt adamanda.Organa dulciaconveniencia sunt resonanda.

Thesesacredprecepts,blossoming,gleaming,shouldbeadored.Sweetsoundsofmusicfitforyourfeastmustsoundout.

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beenextantforatleast600years.ThemostfamousversioncomesfromSeoul.TheSouthKoreangovernmentdesignatedArirangtheofficialmarchoftheU.S.Army’s7thInfantryDivisionaftertheirserviceinKoreaduringtheKoreanWar.HereChenYisetsthesonginathoughtful,dreamymood.

Arirang, arirang, arario.Arirang kogayro naumaukanda.Nahrul baurigo kahsinen nimeun,Shimrido motkasau palpyongnand.

Arirang, arirang, arario.Arirang kogayro naumaukanda.Chungchun hanylyen byuldo manko,Woorinae salrimsali maldo manta.

Arirang, arirang, arario.Arirang kogayro naumaukanda.Poongnyuni on danae, poongnyuni oya yoo,I kangsan samchunri poongnyuni oya yoo.

Arirang, arirang, arario.Arirang kogayro naumaukanda.Saesang mansarul haearini,Mulwoiea doongdoong thun gupumira.

Sakura (Cherry Blossoms)

ThistraditionalJapanesefolksongdepictsSpring.ItisprobablythebestknownJapanesefolksong.Itisnotanoldsong,butcomposedduringtheEdoPeriod(�603-�867)forchildrenlearningtoplaythekoto,a�3-stringJapanesezither.ChenYidepictsthealtos,tenorsandbassesasthekoto,withthesopranossingingthemelody.

Sakura, sakuraYayoi no sorawamiwatasu kagari,kasumika kumoka,nioi zo izuru.Izaya, izaya,Miniyukan.

Zhou Long (1953- )

ZhouLongwasborninBeijingin�953.Hecamefromanartisticfamily,asdidhiswife,ChenYi.Hisparentswerepaintersandtaughtvocalmusic,andhebeganpianostudiesasayoungchild.HealsowasaffectedbytheCulturalRevolution,andin�966wassenttoastatefarminaremoteruralareawherehedroveatractor.He,too,learnedfromhissurroundings—thelandscape,thepeople,andtheharshweatherconditions.HeenrolledwhentheBeijingCentralConservatoryreopenedin�977,studyingcompositionwithWuZu-qiang,musictheory,conductingandchoralcomposition.HereceivedhisBachelor’sdegreein�983andmarriedhisclassmate,ChenYi,thatsameyear.Aftergraduation,heworkedfortwoyearsastheresidentcomposerfortheChinaBroadcastingSymphonyOrchestra.HecametotheUnitedStatesin�985,studyingwithChouWen-chun,GeorgeEdwardsandMarioDavidovskyatColumbiaUniversity,andreceivedhisDoctoratein�993.In�989,hebecametheArtisticDirectorofMusicfromChina,aNewYorkensemble.In�00�,hewastheMusicAlive!Composer-in-ResidencefortheSilkRoadProjectFestivaloftheSeattleSymphonyOrchestra.

ZhouLongisaVisitingProfessorofCompositionattheUniversityofMissouriatKansasCity.HealsohasbeenaVisitingProfessoratBrooklynCollegeandMemphisUniversity,andhas

Arirang,ArirangPassIamcrossingoverArirangPassThepersonwhoabandonedmehereWon’tbeabletowalkfarbeforehis/herfeethurt.

Arirang,ArirangPassIamcrossingoverArirangPassJustastherearemanystarsintheclearsky,Weexperiencemanytroubles.

Arirang,ArirangPassIamcrossingoverArirangPassPlentywillcome;agoodtimeiscomingAplentifultimeiscomingthroughalltheland.

Arirang,ArirangPassIamcrossingoverArirangPassIthoughtaboutworldlythings.Theyseemlikebubblesonthewater.

Cherryblossoms,cherryblossomsAsfarasIcanseeacrossthehillsandvalleysLikethemistorthecloudsThefragranceiscarriedintoThemorningsun.

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lecturedoncompositionandgivenmasterclassesatuniversitiesinChinaandtheUnitedStates.Hecomposesinavarietyofgenres,includingworksfororchestra,chambermusic,songsandchoralworks,musicforsoloinstrument,electronicmusic,andmusicforballet,theatreanddance.HecomposesfortraditionalChineseinstruments,aswellasforthoseoftheWest.Hehasreceivedmanycommissions,bothintheUnitedStatesandabroad,aswellasfellowshipsandgrantsfromprestigiousinstitutionssuchastheAmericanAcademyofArtsandLetters,theGuggenheimandRockefellerFoundations,andtheNationalEndowmentfortheArts.

ZhouLongnotes:‘Iamveryinterestedindifferentapproachestocreativity.Myownpreferenceistoabstractthequintessenceofvariousculturesandthenassimilatethemintonewworksratherthantomakescissors-and-pasteimitationswhicharesupposedto“carryonanddeveloptraditionalcultures”.’

Ai Qing,pseudonym of Jiang Haiching (1910-1996)

AiQingisconsideredoneofthefinestmodernChinesepoets.HewasborninZhejiangprovinceineasternChina.Between�9�9and�93�,hestudiedinFrance,learningaboutartandpainterssuchasRenoirandVanGogh,poetssuchasMayakovskyandVerhaeren,andphilosopherssuchasKantandHegel.Hewrotehisfirstpoemin1931,whilehewasinFrance.

In1932,AiQingreturnedtoShanghaitofightagainsttheJapanese.HewasimprisonedforthreeyearsbecauseofhisoppositiontotheKuomintang,writingmanynotablepoemswhilehewasinprison.Hewasreleasedfromprisonin�935,continuingtowritefreeform,modernisticpoetry.HejoinedtheCommunityPartyin�9�5andwasactiveinCommunistliterarycirclesinthe�9�0sand�950s.In�9�9,hewenttoBeijingtoteachattheInstituteoftheArts,aswellasbecomeaneditorforaliterarymagazine.

AiQingtraveledabroadagaininthe�950s,writingmanypoemsabouthisexperiences.In�958,hewassuspectedof‘right’leanings,andtheCommunistauthoritiesexiledhimtofarmsinManchuriaandXinjiang.Hewas‘rehabilitated’in�96�,butwasnotallowedtopublishhisworkuntil�978.In�980,hemadeasecondvisittoFrance,whereFrenchPresidentFrançoisMitterrandawardedhimthetitleof‘CommanderoftheOrderofArtsandLetters’.Hecontinuedtowriteandpublishpoems,andhislaterworkisamongthemostprofound,lookingatthefateofhumanity,andintegratingbothChineseandWesternpoetry.Hewrote�0long,lyricalandnarrativepoems,�000shortpoems,andalmost�00essaysonthearts.Hediedin�996.

Words of the Sun

AiQingwrotethislovely,lyricaldescriptionofthemorningsunin�9��.ZhouLongcomments:‘ImetAiQingin�979justafterhisreturntoBeijing,whileIwasasecond-yearstudentattheCentralConservatory.Heautographedarecentlypublishedlittlebook,whichincludedWords of the Sun,writtenin�9��.Iwasimmediatelyattractedtothispoem,expressingthethoughtsofayoungintellectualduringthedarkperiodoftheAnti-Japanesewar.Ifirstcomposedthispiecefortenorandpiano,usingtheoriginalChinesetext.TheCentralBroadcastingCorporationofChinacommissionedthechoralversionforarecordingbvtheCentralPhilharmonicChorusofChina.ThisEnglishversionwaswrittenattherequestoftheAmericanvocalensembleChanticleer’.Words of the SunisonChanticleer’sGrammyawardwinningrecording,Colors of Love.

[textcopyright-removedfromwebversionofprogram]

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Se Enkhbayar (1956- )

Thesecondsonofaherdsman,SeEnkhbayarwasbornintheAlshaAimakareaoftheInnerMongolianAutonomousRegion,People’sRepublicofChina.Hegrewupinarural,pastoralenvironmentandlearnedtraditionalfolksongs,aswellaslearningtoreverenatureandtheworldaroundhim.Bothelementsinfluencehismusicalstyle.HewasoneofthefoundersoftheMongolianYouthChoirin�987andhasbeencomposingforthegroupeversince.HeisasingerwiththeperformancetroupeoftheInnerMongolianRadioandTelevisionStation,specializingintheurtyn duu(long-songs),traditionalMongoliansongsthatcoverawiderangeoftopics—religious,philosophical,andceremonial—aswellasmoreintimatesubjects,suchasfeelingsaboutfamily,nature,home,andanimals.Hehasreceivednationalandinternationalrecognitionforhiscompositions.The Eight Chestnut Horseswonfirstprizeinthe1991BeijingInternationalChoralFestivalandwasenthusiasticallyreceivedatthe�996IFCMSymposiuminSydney,Australia.

Mongols

TheMongolsareanAsiaticpeoplewholiveinThePeople’sRepublicofMongolia,InnerMongolia(partofthePeople’sRepublicofChina),theXinjiangandQinghaiprovincesofChina,BuryatiaRepublic(partoftheRussianFederation),andalongtheVolgaRiverinRussia.Theybelongtovarioustribes.Theyfirstcametoworldattentionduringthe11thand��thcenturies,androsetoAsianandEuropeandominationin��06undertheleadershipofChinggis(Genghis)Khan.Heunifiedthesevarioustribes,andtheydevelopedasystemofgovernment,acodeoflaw,andwrittenlanguage.TheMongolempire(��06-�368)reachedfromKoreatoHungaryandGermany,fromSiberiatoIndia.By�38�,theempirehaddisintegrated,andtheMongolsbecamepartofChina.Theirinternationalpowerwanedastimeprogressed,andothersgovernedthem.Mongoliawassplitintoanindependentcountry(Mongolia)andInnerMongolia(partofChina)duringthe�9�5YaltaConference.

TheMongolswereanomadic,pastoralpeople,tendingherdsofhorses,cattle,camels,yaks,andsheep(dependingupontheirlocation),andremainsotoday,tosomeextent.Animalhusbandrystillistheirmajoroccupation.Agriculturalpracticesarelimitedanddifficultbecauseofgeographyandclimate—grassyplains,andharsh,cold,dryclimate.TherearesomeurbancentersinMongolia,suchasthecityofUlaambaatar.

Mongolian Language

TheMongolianlanguageisamemberoftheAltaiclanguagefamily.Ithasmanydifferentdialects,withafullrangeofvowelsandconsonants.

Mongolian Music

Mongolianmusicisprimarilyvocal.TraditionalMongolianmusicincludesavarietyofsongs:thelong-song;short-songs,whicharealliterativeandmoresatirical,situational,andfullofdialogue;legendsandtales;heroicepics;andsongsperformedbeforehorseraces,wrestlingmatches,andarcherycontests.Instrumentsthataccompanythosesongsincludestrings,suchasatwo-stringboxfiddleorthree-stringlute,flutes,zithers,dulcimers,andvarioustypesofdrums.

Naiman Sharag (The Eight Chestnut Horses)

Mongolianhorsesaresmall,stockyhorseswithshortlegs,ashortback,astiffmane,andalargehead.Theyresemblewildhorses,butaredomestic.Theyareusedformeat,milkandleather,aswellasforworkandforracing.Theirmaneandtailhairisusedforbraidingropes,aswellasviolinbows.Veryfewofthemwearhorseshoes,andtheyarelefttofindfoodforthemselves.Mosthorsesarelefttoroamfree.Onlyafewaretrainedforriding.

Mongoliansongsoftenpraisehorses,realandlegendary,reflectingthecloserelationshipbetweenhorsesandhumans.A�3thcenturychroniclereferstotheeightchestnuthorsesofChinggisKhan,andtheyhavethusbecomeasymbolofnationalidentitywhichembodiesthe

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Mongol’slovefortheirnativelanguageandculture.IndigenousMongolianmusicalrhythmsareoftenpatternedaftertherhythmofarunninghorse.SuchrhythmsrepresentoneofthemajorethnicfeaturesofMongolianmusic,andcanbefoundthroughoutthispiece.

Naran del ni namalsun shargad,Saran suul ni sagsalsan shargad,Delkhiin devjeed denselgesen shargad,Delger tüükheen devjüülsen shargad.Altan tuuraigaa tsavchilsan shargad,Aziig sereen jantsgaasan shargad,Agtiin suriig magtuulsan shargad,Aldriin suldiig manduulsan shargad, minu zee.

Joloo dugt’ran jirelsen shargad,Zor’giig badraan termuulsen shargad,Uudmiin kholiig tuulsan shargad,Usnii tun’l(a)giig uusan shargad.Bayar jargal khuvaaltsan shargad,Bakhdam tuuliig buteeltsen shargad,Bay’lag or’noon duursuulsan shargad,Baatar tüm’neen duuluulsan shargad, minu zee.

Ene shargad’n erdniin hölgüüd,Ezen bidnü ermiin surguud,Ekh baigaliin ertnii dursgal,Egshiglen tugekh enkhiin duulal.

Mongal mor’diin, khangal sur,Mini ardiin, shutekh, shutel,Urmiin gerch, ukhaanii och,Uragshilakh erchim, undrakh khuchin.

Teng’riin unaa, temuulekh sanaa,Domgiin gilbaa, dorniiim javkhaa,Iimel saikhan khusliin naiman shargad, minu zee.

Thesun-shapedmanesflyaswings,Themoon-shapedtailswavebehind,ThesechestnuthorsesshooktheworldsceneAndcreatedhistoryonthisearth.Theirgoldenhoovesbeatthesoil,TheirstrongvoicesawokeAsia,Makingknownthehorses’might,Earningmuchfametoourname–mychestnuthorses.

Thehorsesthatrunaheadoftime,Encouragingmywillandsoul,Arethehorsesthatcoveranydistance,Drinkingtheclearestofwaters,Sharingallmyjoyandsorrow,OriginatingproudepicsandtalesThatspreadthefameofthiscountryAndofthisheroicpeople–mychestnuthorses.

Thesechestnuthorsesareatreasuretous,Avaluablegiftofnature.Likeapeacefulsongthatsoundseverywhere,soisthetrueimageoftheMongolianhorseworshippedbymynation.

ThisimageisthesourceofmyencouragementAndtheflameofmyinsightandlearning.ThisimageistheenergythatweneedforprogressAndthemightthatleadsustoprosper.

LetuscallitthewilltoreachhighspheresAndthekeytoopenwisemyths.LiketheverybrillianceoftheEast,Soaretheeightchestnuthorsesofmydream.

Lee R. Kesselman

ComposerLeeR.KesselmanhasbeenDirectorofChoralActivitiesattheCollegeofDuPageinGlenEllyn,asuburbofChicago,since�98�.HeisFounderandMusicDirectoroftheNewClassicSingers,aprofessionalchoralensemble.HealsodirectstheDuPageChoraleandCollegeofDuPageChamberSingers.AnativeofMilwaukee,heholdsundergraduatedegreesinpianoandcompositionfromMacalesterCollegeinSaintPaul,Minnesota,andamaster’sdegreeinconductingfromtheUniversityofSouthernCalifornia.Inadditiontoteachingandcomposing,Mr.Kesselmanisactiveasaconductor,pianist,clinicianandlecturer.Heismusicdirectorforavarietyofoperaandmusicaltheatreproductions.Mr.KesselmanwaschosentheOutstandingFacultyMemberattheCollegeofDuPagefor�99�-95.

HehastaughtatDoreenRao’sChoralMusicExperienceInstitutesinceitsinceptionin�986.HehasalsotaughtinFrancefortwosummersonthefacultyoftheAcadémieInternationaldeChantChoralinParthenay.HehasaddressedstateanddivisionalconventionsofACDAinsessionsonrepertoireandperformance.Mr.KesselmanhasaccompaniedmanyofChicago’s

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finestsingersinrecital,includingMariaLagios,RobertSmith,CynthiaAnderson,andDonnaBruno.HehasperformedontheTalmanDameMyraHessMemorialConcerts,theLive!FromStudioOneseriesonWFMT-FMinChicagoandconductedArgento’s Postcard from MoroccoforOperaWorks!inMadison,Wisconsin.Mr.KesselmanisamemberoftheAmericanSocietyofComposers,AuthorsandPublishers(A.S.C.A.P.).HehasreceivedeightconsecutiveASCAPawardsforhisworks.

Mr.KesselmanhasbeenhonoredasacomposerwithprizesintheMelodiousAccord(NewYork)CompositionSearch,ChautauquaChamberSingersCompositionContest,theChautauquaChildren’sChoraleCompositionContestandtheIllinoisChoralDirectors’AssociationContest.Mr.Kesselmanisbestknownasacomposerofvocalworks,includingopera,musicforchorus,andsolosongs.LargeworksincludetheoperaThe Bremen Town Musicians(commissionedbyOperafortheYoung),The Emperor’s New Clothes(achoralopera),Love Phasesforbaritonevoiceandpiano,Nights in Armorformixedchorus,Shona MassforvoicesandAfricanpercussion,andInfinity in the Palm of Your Hand,asymphonyfortreblechorusandorchestra.The Bremen Town Musicianshasbeenperformedover300timesforWisconsinandIllinoisschoolchildren.Mr.Kesselman’smostrecentworksincludeFreedom Chimesformixedchorusandconcertband,Play on Your Harpformixedchorusandharp,Circle Songsforsoprano,doublebassandpiano,Basses Three forstringbasstrioandIn terra aliena,Hodie Christus natus est,andMirabile mysteriumformixedchorus.

Mr.Kesselman’sworksforchildrenhavebroughthimnationalattentionandhehasbeencommissionedtowriteforchildren’schoirs,middleschool,juniorschool,highschool,college,community,church,andprofessionalensembles.Boosey&Hawkes,RogerDeanMusic,ClassicArtistsPublishing,Lawson-GouldMusicPublishers,CollaVoceandPlymouthMusicCohavepublishedMr.Kesselman’sworks.HealsoservesasaneditorforBoosey&HawkesMusicPublishers.

Mr.KesselmanlivesinGlenEllyn,IllinoisandisthefatherofdaughterLindsayandson,Robin.

John Muir (1838-1914)

OnApril21,1838,JohnMuirwasborninDunbar,Scotland,asmallfishingvillageontheScottishcoast.SonofastrictCalvinisticstorekeeper,heattendedlocalschoolsuntilhewaseleven,studyingreadingandarithmetic,aswellashistory,FrenchandLatin.Becauseofhisfather’sdeepreligiousconvictions,thehouseholdwasgovernedverystrictly,andMuirandhisbrothersandsisterswererequiredtomemorizeBibleversesandhymns.Wheneverhehadthechance,Muirwouldescapetoadmireandobservethecountrysidefloraandfauna.Muir’sfatherchafedunderhislifeinScotland,andin�8�9packeduphisfamily—wifeandsevenchildren—andimmigratedtoWisconsin.AlthoughMuir’sfatherwantedtofarm,hechoselandthathadtobecleared,andallofthefamilyhadtoworkveryhardtosurvive.Muir’sfatherbelievedinasparselife—workandreligion—soyoungJohnhadlittletimeformuchelse.Hisfatherfinallygavehimpermissiontoreadbooksifhedidsobeforetheworkdaybeganat5a.m.

JohnMuirwasanaturallygiftedinventor,andinhisoff-hourswouldcreatemechanicaldevicesfromwoodormetalscrapshefoundathome.Hecreatedwaterwheels,barometers,compasses,andaningeniousalarmclockthattippedhisbedupandwokehimwhenitwastimeforwork.Hisfriendsandneighborsencouragedhimtodisplayhiscreationsatthe�860WisconsinStateFairinMadison.Muirwasamazedatthestatewideinterestshowninhiscreations.

Thatsameyear,heenrolledattheUniversityofWisconsin,emphasizingbotany,geology,andthenaturalsciences,aswellaslearningoftheworkofsuchphilosophersasEmersonandThoreau.Hewasagoodstudent,buthadtoleaveschoolin�863becauseoflackoffunds.TheCivilWarintervened,andasaconscientiousobjector,hewenttoCanadainMay�86�.Alternatingamongnaturestudy,travelinginCanada,andworkingasamechanicinafactory,hestayedinCanadauntilMarch�866.UponhisreturntotheUnitedStates,hefoundemploymentinanIndianapoliscarriagefactory.InMarch�867,hesufferedanaccidentthatwastochangehislife.Hewasadjustingsomeequipmentinthefactory,whenafileslippedandpiercedoneofhiseyes.

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Hebecametemporarilyblindinbotheyes.Hissightreturnedafteramonth,andheresolvedtospendtherestofhislifeexperiencingandappreciatingthebeautyofthenaturalworld.

InSeptember�867,hebegana�000-milewalkfromIndianatotheCedarKeysinFlorida.Afteralongsiegeofmalaria,whichhecontractedinFlorida,heheadedwestbyshipfromCubatoPanama,acrosstheIsthmusonland,andthenagainbyshipuptheWestCoasttoSanFrancisco,wherehelandedinMarch�868.Then,hewalkedacrosstheSanJoaquinValleytoYosemiteandtheSierras.Forthenextfiveyears,helivedinYosemiteValley,exploringthevalleyandthesurroundingmountains,andworkingasashepherdandinasawmillintheValleywheneverheneededmoney.Throughobservationandexperience,hebecameanexpertonSierrafaunaandgeology.HedevelopedacontroversialtheoryofYosemiteValleyglaciationthatbroughthimtotheattentionofsuchnotedscientistsandintellectualsasJosephLeConteandRalphWaldoEmerson.

Muirbeganhiswritingcareerin�87�,penningnaturearticlesforvariouspublications.Between�873and�880,hetraveledintheWest,exploringMt.Shasta,theGreatBasin,SouthernCaliforniamountains,theCoastRange,andevenAlaska,supportedbyrevenuefromhisarticles.Duringthistimehebeganactivelytothinkaboutconservation/preservationofthenaturalworld.

Inthemid-�870s,MuirbecameacquaintedwithDr.JohnStrentzel,aForty-Niner,Polishrefugee,physicianandprominenthorticulturalist,wholivedintheAlhambraValley,today’sMartinez.FriendsplayedmatchmakerbetweenMuirandStrenzel’sdaughter,LouieWanda,anaccomplishedpianistandbusinesswoman,whohelpedtomanagethefamilyfarm.AlthoughMuirdidnotlikethetrappingsofcivilization,helongedforthewarmthofafamily.HemarriedLouieStrenzelin�880andbecamethesuccessfulandfairlywealthymanageroftheStrenzelorchardsandvineyards,apositionhewouldholdforthenextsevenyears.Inthelate�880s,LouieMuirknewthatherhusbandneededtoreturntothemountainsandoutdoorsforlongperiodsoftimeandencouragedhimtodoso.Relativesandhiredworkershelpedherwithfarmmanagement,andshesoldpartoftheacreage.

Muirbegantoventurebackintothewildcountry.His�889triptoYosemiteandTuolumneMeadowswithRobertJohnson,editorofCentury Magazine,sparkedthebeginningofMuir’sinterestinnationalpreservationactivity.HenoticedhowsheepweredestroyingtheenvironmentandwrotetwoarticlesabouthowtheCalifornia-runYosemiteParkshouldbemadeanationalpark.In�903,heinvitedPresidentTheodoreRoosevelttovisitYosemitewithhim.RooseveltwasinspiredbyMuirandYosemite,andbecameanardentconservationist,establishingthefirstNationalMonumentsthroughPresidentialProclamationandmakingYosemiteaNationalPark.Muir’seffortstoprotectnationalwildlandsresultedinthecreationofYosemite,Sequoia,Mt.Rainier,PetrifiedForestandGrandCanyonNationalParks.In1892,MuirandagroupofsupportersfoundedtheSierraClub.HeservedasPresidentfrom�89�until1914.HislastgreatfightwastokeepSanFranciscofromdammingtheTuolumneRiverintheHetchHetchyValleytocreateamunicipalreservoirandhydroelectricpowersource,abattlethathelost.Hediedin�9��.

WriterandphotographerDonWeissnotes:“ButperhapsthegreatesttributeevergiventoMuirtookplaceinaprivateconversationbetweentwogreatcontemporarymountaineers.GalenRowellonceaskedReinholdMessnerwhythegreatestmountainsandvalleysoftheAlpsaresohighlydeveloped,whytheyhavehotels,funicularrailways,andveritablecitieswashingupagainstsitesthat,inAmerica,aremaintainedrelativelyunencumberedbydevelopment.Messnerexplainedthedifferenceinthreewords.Hesaid,‘YouhadMuir.’”

This Grand Show Is Eternal San Francisco Lyric Chorus Discovery Series

Thecomposerwrites:“Foracomposer,eachnewpiecerepresentstheconvergenceofthestrandsofhislife,hisears,themusichehasheard,performedandwritten,thewordshehasreadandthepeoplehehasknown.Onecanreadaresuméorabiography,butoneneverquiteseesthedetailwhichleadstothepresentmoment.“

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“Morethanadecadeago,ImetaconductornamedRobertGurneywhileIwasteachingattheAcadémieInternationaldeChantChoralinParthenay,France.Robertmadeanimpressiononme—asoft-spoken,gentlesoulwithawilltogrowandlearnandwhatappearedtobeaprofoundspirit.LittledidIknowthatinJuneof�005,heandhisSanFranciscoLyricChoruswouldbeaskingmetowriteanewpieceinhonoroftheir�0thAnniversaryseason.Iwasindeedhonored.“

“Iammostfortunatethatmylifehasbeenfilledwithgreatmodels—conductorsandteacherswhotaughtmethegloriesofperformanceandofcomposition,thegenuinejoyofthemarriageofgreatwordsandmusic.SomeofthoseteacherswereconductorsDaleWarlandandCharlesHirt,composer/pianistDonaldBetts,pianistGwendolynKoldofsky,poetRogerBlakely.MytimeatMacalesterCollegeinMinnesotawashugelyimportanttomyunderstandingofwordandmusic;sowasmytimeatUSCinLosAngeles,andthevibrantintellectuallifeofmyfamilyinMilwaukee,Wisconsin.”

“WhenIlivedinLosAngelesinthe�970’s,IdideverythingIcouldtoexploretheWest—aregionthatdrewmefromtheMidwestandfascinatedmeinitsnaturalwonders,itsethnicity,anditsmodernity.WhileinLAandenroutefromtheMidwestinthreeyearsofcross-countrydrives,wevisitedthegreatnationalparks—Zion,Bryce,RockyMountain,Yosemite,Sequoia,theGrandCanyon—andtookinsomanyotherwondersofthewest,includingthegreatCaliforniacities,thecoastdrives,themountains,andthedeserts.ItwasthenthatIfirstbecameawareofJohnMuir,hisimpactonourcountryandhiswritings.Atsomepoint,morethantwodecadesago,IjoinedtheSierraClub,increasinglyawareofthefragilityoftheworldecosystemsandthegloryofournationalgeography.”

“In�989,whilevacationinginDoorCounty,Wisconsin,Iattendedaperformanceofanoriginalfolk-musicalbytheHeritageEnsemble,anunusual‘theatreinthewoods’,sponsoredbytheWisconsinDepartmentofNaturalResources.Thetitleofthatshowwas,The Mountains Call My Name: The Life Of John Muir In Story And Song.IlearnedmuchmoreaboutthelifeofWisconsin’sfoster-sonMuirthatnight,evenasmyhomestate’slegendarymosquitoeswereenjoyingourfamilyasafeast.Isavedtheprogrambookletandtosseditintomy‘text-file’forfutureuse.”

“Abouttwoyearsago,IsetafewofMuir’swordsinanothermusicalcomposition,forchorusandorchestra.IrealizedatthetimethatIwasn’tdonewithMuir’swordsastheraw-materialforcompositions.IfindMuir’swordsgrandandeloquent,profound,ashedescribesthebeautyofthenaturalworld.Hisproseisrichandromantic,hismannerhighlyspiritualandevocativeofthehighertruthsreflectedinNature.Hislanguageismonumentalandcallsoutformusicalsetting.Muirseemspersistentlyamazedatwhathesaw,aHolinesswhichsurroundedhimonhisnow-famoustreks.Hewasuncompromisinginhisviewthatthislandshould,mustbeprotectedasrespectforthePowerthatcreatedit.”

“IhavetriedtoevokeMuir’sspiritinThis Grand Show Is Eternal.Theorganplaysanessentialroleinpaintingpictureslargerthanhuman.IhavetriedtocapturetherhythmicenergyandstrengththatMuirsensedinNature,whileretainingagroundinginthetonalfoundationofhisdeeplyheldvalues.Someofthetextispaintedwithdescriptivemusic,whileotherwordsaretreatedinamoreabstractway.”

“Likemanycompositions,thispieceaspirestosomedegreeofTruthandBeauty.Ialsotrytowritemusicthatisgratifyingtoperform.ButifIhavecapturedsomesmallshadowofJohnMuir’sloveofNatureandbeliefinitsimportance,thenthismusicwillhavebeensuccessful.”

LeeR.Kesselman

“Most people are on the world, not in it; have no conscious sympathy or relationship to anything about them, undiffused, separate, and rigidly alone like marbles of polished stone, touching but separate.”

JohnMuir

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Texts

Thecomposercontinues:“ThistonepoemforchorusandorganismeanttoevokethegrandeurofJohnMuir’sprofoundandeloquentwordsandthemonumentallandscapesheissofamousfordescribingtotheworld.Theorganplaysanessentialroleinpaintingpictureslargerthanhuman.Atthesametime,itisimportantthatthewordsareever-presentandthatacarefuleartowardbalanceismaintained.Theorganistandconductorarefreetoexperimentwithcolorfulregistrationswithinthiscontext.Muir’swordsarerichandRomantic;dynamicextremesandagreatvarietyofvocalcolorsareinorder.Rubatoshouldbeexercisedwhereitwillenhancetheromanticnatureofthetext.This Grand Show is Eternal waswrittentobepremieredatTrinityEpiscopalChurchinSanFrancisco,andtobeplayedonthehistoric�9��E.M.Skinnerorganatthatchurch.”This Grand Show Is EternalwillbepublishedbynotedmusicpublishersBooseyandHawkes.

“Thisgrandshow iseternal.Itisalwayssunrisesomewhere;thedewisneverdriedallatonce;ashowerisforeverfalling;vaporiseverrising.Eternalsunrise,eternalsunset,eternaldawnandgloaming,onseaandcontinentsandislands,eachinitsturn,astheroundearthrolls.”

“Themorningstarsstillsingtogether,andtheworld,thoughmade,isstillbeingmadeandbecomingmorebeautifuleachday.”

“Thereisamusicalideaineveryform.See,hear,howsharp,loudandclear-ringingarethetonesofthesky-piercingpeaksandspires;andhowdeepandsmoothandmassivethoseoftheswellingdomesandround-backedridge-waves;andhowquicklythemultitudeofsmallfeaturesinalandscapesuggesthurryingtrillsandripplesandwavesinmelody.Everythingbreaksforthintoform,color,song,andfragrance–aneternalchorusofpraisegoingupfromeverygardenandgrove,awiderangeofharmoniesleadingintotheinnerharmoniesthatareeternal.”

JohnMuir

James Quitman Mulholland (1935- )

BorninLaurel,Mississippiin�935,JamesMulhollandwasexposedtomusicandliteraturewhenhewasveryyoung.Hismothersangasshewentaboutherhouseholdtasks,andhisfatherwouldreadpoetryandothergreatliteraturetohim,eventhoughhedidn’tunderstandthewords.Mulhollandstartedplayingpianoatanearlyage,andbythetimeheenteredhighschool,hehadstudiedwithfivedifferentteachers.Inadditiontopiano,hestudiedtrumpet,voiceandorgan.Hebegansingingsolosinchurchwhenhewaseight.Bythetimehewasten,alocalPresbyterianchurchhadhiredhimasasoloist.Whenhewas�5,thechurchchoirdirectorleft,andhewashiredtohelptheassistantchoirdirector.Hegraduatedfromhighschoolwhenhewas�5,andattendedSouthernMississippiUniversityforayear,sothathecouldliveathome.HeenteredLouisianaStateUniversityonafullscholarshipthefollowingyear,receivinghisBachelor’sandMaster’sdegreesinvoiceandcomposition.HetookfouryearsofadvancedstudyatIndianaUniversity.In�96�,hejoinedtheButlerUniversitymusicfaculty,whereheteachescomposition,choralarrangingandmusichistory.ProfessorMulhollandishighlyregardedasachoralcomposer.Heaccepts��commissionsperyear,andhaswrittenover600choralcompositions.

JamesMulhollandcomments:‘Iconsidermymusictobeanextensionofthetext.WhenIsitdowntowrite,Iwantthewordsandmusictobecomeoneentity…Iamaromantic,andIcreateinaromanticidiomthatisneitherBaroquenorClassical.’

Robert Burns (1759-1796)

Auld Lang Syne. Comin’ Through The Rye. Flow Gently Sweet Afton. Tam o’Shanter.Thewordsofthesepoemsandsongs,andmanymore,areknownandlovedworldwide.TheywerewrittenbyRobertBurns,universallybelovedastheBardofScotland.BurnswasbornintoafarmfamilyinAlloway,Ayrshire,Scotland.Hisfatherbuiltthelittletwo-roomclaycottageinwhichtheylived.

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RobertBurnswastheeldestofsevenchildren,andallofthefamilyhadtoparticipateinthearduousfarmtasks.ThestrenuousnatureofthisworkwastoaffectBurns’healththroughouthislife.

Burnshadlittleformaleducation,buthisfather,aself-mademan,taughtthechildrenreading,writing,arithmetic,geographyandhistory.In�763,hestudiedLatin,Frenchandmathematicswithatutorwhohadopenedalocalchurch-sponsoredschool.HelearnedofShakespeare,PopeandLocke,aswellastheScottishpoets.HealsolearnedScottishtalesandlegendsfromacousin.

TheBurnsfamilystruggledandmovedfromfarmtofarm.Burnsspenttimewithworkingpeople—farmers,visitorstothelocalpubs,beggars,andothermembersofthecommonfolk.Burnswasinterestedinwriting,andwrotehisfirstsongin1774.By1781,hehadtriedseveralagriculturaljobs,butwithoutsuccess.Hebegantowritepoetryin�783.Thepoemscirculatedwidely,butwerenotpublisheduntil�786.Burns’fatherhaddiedin�78�,andBurnsandhisbrother,Gilbert,triedtokeepthefarm,buttonoavail.HethoughtofemigratingtoJamaicatoseekhisfortune,butdidnotforvariousreasons.HehadbecomeinvolvedwithJeanArmour,andshewasexpectingtwins.HerfatherrejectedBurnsasason-in-law,andBurns,inturn,rejectedJean.Inearly�786,hebecameinfatuatedwithMaryCampbell,ayoungwomanofHighlanddescent,andwantedhertogowithhimtoJamaica.InasecretGaelicritual,theyoungcouplepledgedthemselvestoeachother.BurnssentMaryawaytowaitforhimuntilhecouldraisethemoneytoleave.

In1786,Burns’publishedhisfirstbookofpoetry,anditwasahugesuccess.HewenttoEdinburghtoworkonanewedition,andbecamethetoastoffashionablecircles.Jeanalsogavebirthtotwins,andhewasdelightedwithhisnewfamily.HekeptpostponinghisdepartureforJamaica,andMaryCampbellbecameillanddiedinOctober�786,stillwaiting.Thatsameyear,BurnsmetJamesJohnson,amusicengraverandmusicseller,whowascollectingoldScotssongsandtunesinordertopreservethem.Burnsenthusiasticallyjoinedinthesearch,ultimatelycontributingmanyofthesongsinthe600-songcollection,The Scots Musical Museum.

BurnsmarriedJeanArmourin�788,andthey,withtheirfourchildren,movedtoafarmatEllisland.Thisventurefailed,however,andthefamilymovedtoDumfriesin�79�.Heworkedasanexciseman,ataxassessorforthegovernment,aswellasbecominginvolvedinlocalpolitics,andcontinuedtowriteandpublishhispoetry.Butyearsofhardworkanddissipationtooktheirtoll,andhishealthbegantodecline.Hediedin�796attheageof37.

Highland Mary

Highland Marywaswrittenin�79�todescribeBurns’relationshipwithMaryCampbell.

YebanksandbraesandstreamsaroundThecastleo’Montgomery,Greenbeyourwoods,andfairyourflowers,Yourwatersneverdrumlie!(muddy)Theresimmerfirstunfauldherrobes,Andtherethelangesttarry;ForthereItookthelastfareweelO’mysweetHighlandMary.

Howsweetlybloomedthegaygreenbirk,Howrichthehawthorn’sblossom,AsunderneaththeirfragrantshadeIclaspedhertomybosom!ThegoldenhoursonangelwingsFlewo’ermeandmydearie;FordeartomeaslightandlifeWasmysweetHighlandMary.

Wi’monieavowandlockedembraceOurpartingwasfu’tender;And,pledgingafttomeetagain,Wetoreourselvesasunder;Butoh!fellDeath’suntimelyfrost,Thatnippedmyflowersaeearly!Nowgreen’sthesod,andcauld’stheclay,ThatwrapsmyHighlandMary!

Opale,palenow,thoserosylipsIafthekissedsaefondly!AndclosedforayethesparklingglanceThatdweltonmesaekindly!Andmold’ringnowinsilentdust,Thatheartthatlo’edmedearly!Butstillwithinmybosom’scoreShalllivemyHighlandMary.

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A Red, Red RoseBurnswrotethissongin�79�,basingitontraditionalsources.

Omyluveislikeared,redrose,That’snewlysprunginJune:Omyluve’slikethemelodie,That’ssweetlyplayedintune.

Asfairartthou,mybonnielass,SodeepinluveamI;Iwillluvetheestill,mydear,Tilla’theseasgangdry.

Iwillluvetheestill,mydear,Whilethesandsoflifeshallrun.Tilltheseasgangdry,mydear,Androcksmeltwiththesun!

Asfairartthou,mybonnielass,SodeepinluveamI.Iwillcomeagain,myluve,Tho’itweretenthousandmile!

Raya and Josef (Yossi) Spivak

RayaSpivakisoneofthefoundingchoreographersofIsraelifolkdancing,aswellasaprominentdanceteacher.Sheiswellknownforherworkwithchildrenandyouth.Herhusband,Josef(Yossi)isanIsraelicomposer.

Don Bannett

DonBannettisanavocationalmusicianwhoenjoyswritingarrangementsforpiano,smallensembleandchorus.Hisson,Michael,performedasatreblesoloistwiththeLyricChorusseveraltimesbetween�000and�003.Hiswife,Barbara,hasbeenamemberoftheLyricChorusinseasonspastandhasaccompaniedthechorusonpiano.

Ma Navu (World Premiere)San Francisco Lyric Chorus Discovery Series

DonBannettcomments:

ThesongisfromabeautifuloldIsraelifolkdance,choreographedbyRayaSpivaktomusiccomposedbyYossiSpivak,withHebrewtextfromIsaiah 52:7.Myparentstaughtmethedanceasachild,andIhavealwayslovedthemusicfromit.SowhenIwasproducingmysonMichael’sfirstCD,Beautiful Soup,Iwroteanarrangementofitforhim–foraltovoice,flute,oboe,classicalguitar,dumbek,andtambourine.IncollaborationwithMichael’sgrandfather,IaddedaverseinEnglishtryingtokeeptothespiritoftheHebrew,butwithmoreemphasisonpeace.

TheHebrewtransliterationis: Ma navu al heharim raglei hamevaser Mashmi’a y’shu’a, mashmi’a shalom MyEnglishlyricsare: “Highinthehills,howbeauteousarethefeetofamessengernearingTidingsofjoyhebringstoall,andapromiseofpeacesoonappearingHopesofPeaceforall,hiswordsproclaim,HopesofpeaceforoursalvationHopesofpeacetofilltheworldthroughout,withapeacethatsaveseverynation” Michael’srecordingofMa Navubecameaperennial“top-ten”favoriteonTreble.netInternetradio,andIwasurgedbyanumberoflistenerstowriteachoralarrangementofit.IdidsofortheSanFranciscoBoysChorus,tailoringittoboys’voices.Finally,Irewroteitforanadultchorusandpiano,whichiswhattheSanFranciscoLyricChorusisnowpremiering.

whichtranslatesto:“Howbeautifulonthemountainsarethefeetofthemessengerofgoodtidings.Heproclaimssalvation,heproclaimspeace.”

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Lee R. Kesselman

Shona Mass

The Shona People

‘Shona’isthecollectivenameofseveralpeopleswholiveinZimbabweandWesternMozambique,atthesouthernpartoftheAfricancontinent.TheShonaarethemajoritygroupinZimbabwe,withtheNdebelethesecondlargest.Zimbabweisprimarilyanagriculturalnation,with�0%ofitspopulationlivingintwotwomajorcities,HarareandBulawayo.

TheShonalanguage,oneoftheofficiallanguagesofZimbabwe,alongwithNdebeleandEnglish,isoneoftheBantufamilyoflanguages.Itusesthevowelsa, e, i, o, u,plusconsonantsoftenarrangedindoubleconsonantpatterns,e.g.,mbiri, tinzwirei, nyasha, munobvisa, zvitadzo, zvepasi.Itincludes‘whistling’sounds,transcribedaszv.

TheShonaareanartisticpeople,knownfortheirstonesculpturesandtheirmusic.Theirtraditionalmusicincludesbothsoloandgroupperformance.Traditionalinstrumentsincludethembira(thumbpiano),hosho(gourdrattle)andngoma(drums).Themusicisoftencyclical,withrepetitivepatternsofvaryinglengths.Italsoispolyrhythmic,withtheuseoftwoormorerhythmsatthesametime.LeeKesselmanmakesuseofthesepatternsintheShona Mass.

Shona Mass

ThefollowingfourpieceswerecomposedinthespiritofchoralmusicLeeKesselmanheardattheEpiscopalCathedralinHarare,Zimbabweduringthesummerof�993.ThemusicisrepresentativeofthemajoritytribeandlanguageinZimbabwe,theShonatribe.Allfourpiecesarewrittenforanycombinationofvoicesandoptionalpercussionaccompaniment.

TenziistheShonatranslationoftheKyrieoftheMassOrdinary.Inthisthree-partsection,thesingersenergeticallycallupontheLordformercy,tenderlyaskChristforthesame,andreturntotheoriginalhappyrequest.Mbiri kuna MwariistheShonatranslationoftheGloria.ThesectionbeginssoftlywithitspraisetothegloryofGod,butthepetitionerscannotcontainthemselvesandferventlyglorifytheLord,stoppingforagentleappealforpeace,thencontinuingtheirrejoicing.AkakomborwerwaincorporatestheShonatranslationoftheBenedictusaswellassomeofthetraditionalLatin.Thestatelypaceofthisblessingincreasesitsrhythmicsyncopationasthesingersproclaimtheiracclamation.Hwayana yaMwari,theAgnus Dei,presentsthesolemnityofapleaformercy,followedbyajoyfulacknowledgementoftheLordandanecstaticcallforpeace.ThecomposerdoesnotuseactualShonachantsbutbaseshisworkontheShonamusicalstyle.

Tenzi (Kyrie) Tenzi tinzwirei nyasha. Kristu tinzwirei nyasha. Tenzi tinzwirei nyasha.

Mbiri Kuna Mwari (Gloria)Mbiri kuna Mwari kumosoroso rugare kuna vanhu venyu pasi pano.

Akakomborwerwa (Benedictus)Akakomborerwa uyo anouya muzita raTenzi. Hosana kumusorosoro.

Hwayana yaMwari (Agnus Dei)Hwayana yaMwari, munobvisa zvitadzo zvepasi;(Tenzi) Tinzwirei nyasha.

Kyrie eleison,Christe eleison,Kyrie eleison.

Lordhavemercyuponus,Christhavemercyuponus,Lordhavemercyuponus.

GlorytoGodinthehighestandpeacetohispeopleonearth.

Benedictus qui venitin nomine Domini.Hosanna in excelsis.

BlessedaretheywhocomeinthenameoftheLord.Hosannainthehighest.

LambofGod,whotakesawaythesinsoftheworld,(Lord)havemercyonus.

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Hwayana yaMwari, munobvisa zvitadzo zvepasi;(Tenzi) Tinzwirei nyasha.Hwayana yaMwari, munobvisa zvitadzo zvepasi;Tipeiwo rugare rwenyu.

Stephen Hatfield (1956- )

CanadiancomposerStephenHatfieldiswellknownforhisinterestinmulticulturalismandmusicalfolklore.BornintheBritishColumbiatownofSurrey,hehasspentmuchofhislifeintherainforestsofVancouverIsland.Hehadanearlyintroductiontonativecultures,sincehisfatherisabloodbrothertothenotedKwakiutltribalchief,JimmySewid.Asachild,hestudiedpiano,aswellasdevelopinganinterestintheatre.Hecomposedmusicfortheatricalproductions,aswellasactinginthem.HeattendedYorkUniversityinToronto,firststudyingelectronicmusic,andthenchangingtoEnglish.HewontheGovernorGeneral’sGoldMedalforhisresearchontherelationshipoftheartstophilosophyandphysics.

Thepullofthetheatreworldwasstrong,andHatfieldleftYorkUniversitytopresentone-manperformancesinToronto.Hewritespoetry,andhaswonArtsCouncilawardsforhiswritings.HereturnedtohiscollegestudiesattheUniversityofTorontotostudyeducation.HehastaughtUniversitycoursesinEnglishandteachingtechniques.Healsohasdevelopedcurriculaforcreativewriting,guitar,keyboard,stage,steelandreggaebands,aswellasforgeneralmusic.

StephenHatfieldisamulti-talentedartist.Heconductschoirs,bothclassicalandjazz.Hehasbeenamusicaldirector,composerandperformerfortheatricalproductions.Hisoriginalcompositionsoftenusethemoodsandrhythmsofvariouscultures.Hecontinueshisinterestineducation,literatureandmusic,bothinwritingandinservingasaclinicianandadjudicatoratvariousworkshopsandfestivals.

The Inuit

TheInuitareanindigenouspeoplewhoresideinArcticCirclelandsinAlaska,Canada,GreenlandandRussia/Siberia.Traditionallynomadichuntersandfisherman,theysurvivedusingavailablewildlifesuchaswhales,seals,caribou,andfish.Theyareknownfortheirtravelbydogsled.Morerecently,theyhavebecomesettledintopermanent/semi-permanentcommunitiesandworkinvariousoccupations,includingmining,oilandgasactivities,andconstruction.Theyareanartisticpeople,celebratedfortheirsculpture,carving,printmaking,andmusic.

Inuit Languages

TheInuitlanguagesarepartoftheInuit-Inupiaq/Eskimo-Aleutlanguagegroup.TherearemanydifferentInuitlanguagedialects.Thelanguageiscomposedofrootwordsaddedontoexpandthemeanings,e.g.,theNunavutdialectwordtusaatsiarunnanngittualuujunga(Ican’thearverywell)iscomposedoftheroottusaa(tohear),plustsiaq(well),junnaq(beableto),nngit(not),tualuu(verymuch),junga(I).InuitwordsthathavemadetheirwayintoEnglishincludeparka(ajacket),mukluk(boots)andigloo (temporarysnowhouse).

Inuit Music

Inuitmusicisusedinformalrituals,aswellasincelebratinginformalevents.Itisverymuchgovernedbythenatureand/ortopicoftheparticularritualorceremony.Inuitcomposerswillcomposesongsforevents,suchasahealingsongorawedding,songsrelatedtonature,suchasasonginwintertimewishingforthereturnofthesun,orsongsexpressingvariousemotions,suchasjoyordespair.MostInuitcomposerswillonlycomposeonesonginalifetime,andbecomeidentifiedwiththatsong.Someoneelsemaysingthatsongoccasionally,butthesong‘belongs’tothecomposer.Songphrases,lengthsandtextsvary,dependingontheregion.Inuit

LambofGod,whotakesawaythesinsoftheworld,(Lord)havemercyonus.LambofGod,whotakesawaythesinsoftheworld,(Lord)grantuspeace.

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musicmostoftenusesfiveorsixnotescales.

Thesesongsoftenaccompanydances.TheDrumDancesongandceremonyisthemostimportantone,andisusedbymostInuitgroups.Thesongshavevariousstanzas,aswellasrefrains.TimothyMcGeeinThe Music of Canadanotes,‘Thevocable“ajaija”(Ayeyaayiya)isapopularrefrain,andinsomelocationsaDrumDancesongisactuallycalledan“ajaija”’.StephenHatfieldusesthisrefraininNukapianguaq.Inuitmusicoftenisaccompaniedbyadrum,usuallyskinheaddrumswithattachedhandles.

Nukapianguaq

StephenHatfieldcomments:

Nukapianguaq(pronouncedNoo-kah-pee-ang-gwak)attemptstopresentInuitmusicinachoralsettingthatremainsasfaithfulaspossibletotheaestheticsoftheoriginaltradition.Tothisend,Ihavedoneaslittlearrangingaspossible,mostparticularlybyeschewingconceptsofharmonyandthematicdevelopmentwhich,whilestaplesofmostWesternmusic,havenoplaceinthekindofchantIwasdrawinginspirationfrom.InsteadIhavetriedtokeepthelistenerinterestedbyfocusingonthedeceptivelysimplebeautyofthechantsthemselves,aswellasbuildingincontrastsoftimbreandmood.

Inuitchantsareusuallyreflectiveinnatureandspiritualinintent.TheyfrequentlyaimatakindofinnerawarenessandharmonywithlifethatiscomparabletotheliturgicalmusicofIndiaandTibet.Amarkedexceptionisthewarchantwhichfinishesthepiece,whichshouldendinasuitablefrenzy.

Thechantsincludedheredonothavelyrics.ThesyllablesusedonthefieldrecordingsonwhichthispieceisbasedhavebeenidentifiedbyanInuitteacherasakindof‘scat’.Oftenthesingerwillimprovisewithverbalsoundsthatrhymewiththenameofthechildwhoisbeingsungtosleep,orthenameofthepersonthesingerwishestohonor.

MuchInuitmusicisintendedforthesolovoice,whichallowsforbothsubtlevariationsinrhythmandawidevarietyofunderstatedvocalornaments.Theseirregularitiesinthechant,soverymuchprizedbytheInuit,havebeentoaconsiderableextentsmoothedoutinNukapianguaq;otherwisenonebutachoirofvirtuosicouldeverhopetoperformthepiece.

TheInuitloveheterorhythms–rhythmswhichareplayedsimultaneously,butwhicharenotintendedtocohabitacommontempoortimesignature…However,itwasindeedmyintentiontocreateaunifiedwholeinthepieceintermsofplacingthechantsinsuchawaythattheycreateadefinitearchitecture,bothintermsofanemotionaldevelopment,andintermsoftherise,fall,andopeningplateausofthevocallandscape,beautifulandstern.

TheInuitbelievethatmusicisastateofgraceandarespirationofthebody.Thechantsaremeanttobequitespiritualandmeditative,withtheexceptionofthelastchant,whichisbasedonwarcries.

ManyofthesourcesforNukapianguaqcomefromthefieldrecordingscollectedbyJeanMalaurie.ThepieceisnamedforoneoftheInuit’smostprestigioussingers,andtheopeningchantwaswrittenbyhissonintribute.

Thechorusisdividedintofourpodsorgroupsthathavedifferentrhythmsaswellasdifferentvocalsounds.Therearenumeroussolos,differentcombinationsofpods,clappingrhythmswhichhallculminateinafrenzyofsoundinthewarchantattheendofthepiece.Thereisnocommontheme,noparticularharmonies,nowords,noparticularmeaningotherthananInuitcelebrationoflife.

Program Notes By Helene Whitson

�3

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Cummings,David,ed.Random House Encyclopedic Dictionary of Classical Music.NewYork:RandomHouse,�997.

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Morton,BrianandPamelaCollins,ed.Contemporary Composers.Chicago:St.JamesPress,�99�.

Nketia,J.H.The Music of Africa.NewYork:W.W.Norton,�97�.

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The ArtistsRobert Gurney, Music Director

FounderandMusicDirectorRobertGurneyisOrganist-ChoirDirectoratSanFrancisco’shistoricTrinityEpiscopalChurch,OrganistatMarinCounty’sTempleRodefSholom,andoneoftheMuseumOrganistsattheCaliforniaPalaceoftheLegionofHonor.

AresidentofSanFranciscosince�978,hehasbeenanactivechurchmusician,organrecitalist,vocalcoach,andhasservedasAssistantConductor-AccompanistfortheSanFranciscoChoralSociety,theSonomaCityOperaandtheContraCostaChorale.

AnativeofOhio,hereceivedhiseducationatYoungstownStateUniversityandtheClevelandInstituteofMusic,studyingconductingwithWilliamSlocum.AtYoungstown,heservedasStudentAssistantConductoroftheConcertChoirwhichwonfirstplaceinacollegechoircompetitionsponsoredbytheBBC.InSummer�997,hewasinvitedtoparticipateinaninternationalchoralmusicfestivalMusic Of Our Time,heldinParthenay,France,anddirectedbyJohnPoole,ConductorEmeritus,BBCSingers.HestudiedagainwithMaestroPooleinaJune�003workshopsponsoredbytheSanFranciscoLyricChorus.

RobertGurneyhasdirectedtheSanFranciscoLyricChorusininnovativeperformancesoflittle-knownworksbycomposersofexceptionalinterest.TheChorus’Discovery Serieshasintroducedaneight-partAveMariabyTomásLuisdeVictoria,theWestCoastpremiereof Four Motets To The Blessed Virgin Mary,byRobertWitt,musicofAmyBeach,includinghermonumentalGrand Mass in E FlatandthePanama Hymn,writtenforSanFrancisco’s1915Panama-PacificExposition,andpremieresofworksbySanFranciscocomposerKirkeMechem.

Robert Train Adams, Assistant Conductor & Concert Accompanist

TheSanFranciscoLyricChorusisdelightedtobeworkingwithDr.RobertTrainAdams,whojoinedusinFall�006.Dr.AdamshasbeenappointedtheAssistantConductoroftheSanFranciscoLyricChorus,aswellasourrehearsalandconcertaccompanist.InadditiontoworkingwiththeSanFranciscoLyricChorus,Dr.AdamsisMusicDirectorandOrganistatJohnKnoxPresbyterianChurchinDublin,CA,wherehedirectsChancel,Handbell,andContemporarychoirs.HeretiredfromtheUniversityofMassachusetts,Dartmouth,havingservedattheUniversityofMassachusettsandseveralotheruniversitiesasmusicprofessoranddepartmentheadfor�5years.Dr.AdamsreceivedmusicdegreesthroughthePh.D.fromtheUniversityofCaliforniaBerkeley,withcompositionstudiesattheParisandAmsterdamconservatories.Heisanactivecomposer,specializinginworksforchoralandinstrumentalchamberensembles.Thefirstvolumeofhisliturgicalpianoworks,I Come With Joy,willbepublishedinSpring�007byAugsburgPress.

�5

Allen Biggs, Percussion

AllenBiggshasaBachelor’sdegreefromSanFranciscoStateUniversity,whereheisnowaninstructor,andaMaster’sdegreefromtheSanFranciscoConservatoryofMusic.HeistheprincipalpercussionistwiththeSantaRosaSymphony.HeperformswiththeSanFranciscoOpera,theBayAreaJazzComposersOrchestra,andtheCalifornia,MarinandNapaSymphonyOrchestras.Legally Blonde,MatthewBourne’sEdward ScissorhandsandSwan LakeareBroadwayshowsMr.Biggshasworkedoninthepastyear.RecentrecordingsincludethecastalbumsofA Chorus LineandHappy End.Mr.BiggsisafoundingmemberofOrientExpress,anexcitingfour-pieceensemblewhichperformsmusicofthegypsydiaspora.HeperformedwithDaveBrubeckinMarch�007.HepreviouslyperformedwiththeSanFranciscoLyricChorusinourpresentationsofBernstein’sChichester Psalms,Hatfield’sNukapianguaq,Kesselman’s Shona Mass, andBrahms’ Ein Deutsches Requiem.

Cassandra Forth, Soprano

CassandraForthhasparticipatedinarangeofmusicalactivitiesthroughoutherlife,spanningchurchchoirs,Frenchhornwiththepublicschoolmusicprogram,bellchoir,collegechorus,andthestudyoforganandpiano.ShehassungwiththeSanFranciscoLyricChorussince�998andhasservedasamemberoftheBoardofDirectors.ShehasalsosungwiththeLafayettePresbyterianChurchConcertChoirunderDavidMorales,TheDiabloWomen’sChorale,andtheOaklandSymphonyChorusunderMagenSolomon.ShehasstudiedvoicewithAngelMichaelsandispresentlystudyingwithMiriamAbramowitsch.ShespentoneweekduringSummer,�006atBerkshireFestival�006atCanterbury,England,underDavidHill(MusicalDirectoroftheLondonBachChoirandChoirDirectorofSt.John’sCollegeChoir,Cambridge).Ms.ForthwasasopranosoloistinourFall�00�performanceofMarcAntoineCharpentier’sIn nativitatem Domini canticum, H314,andinourFall�006performanceofWolfgangAmadeusMozart’sMissa Solemnis,K.337.

Erin Gray, Soprano

ErinisenjoyingherfirstyearsingingwiththeSanFranciscoLyricChorus.InthepastshehassungwiththeUCBerkeleyAlumniChorusandBerkeleyOpera.Whenshe’snotsinging,shehaslotsoffundesigningtoys.

Sophie Henry, Soprano

SophieHenrybeganhermusicaleducationatageseven,studyingpiano.Shebegansingingin�989withtheGrenobleUniversityChorusunderthedirectionofBernardSpizzi,travelingwiththemtoSt.PetersburginRussiatosingMozart’sGreat Mass in C MinorincollaborationwiththeSt.PetersburgUniversityChorus.ShesangintheStanfordUniversityChorusforfouryearsunderthedirectionofStephenSano.ShehasbeenamemberoftheSanFranciscoLyricChorussinceFall�00�.

Kathryn Singh, Soprano

Ms.SinghstudiedvoicewithMarvinHayesandRobertaThornburgattheCaliforniaInstituteoftheArts,andstudiespresentlywithMiriamAbramovitsch.ShealsostudiedattheAliAkbarCollegeofMusic.ShesingswiththeOaklandSymphonyChorus,BellaMusica,andTheArchStreetIrregulars.ShealsoisasopranosoloistforBerkeley’sTrinityMethodistChurch.Shehasgivenasolovoicerecitalinwhichsheperformed(amongotherworks)theworldpremiereofBayAreacomposerAnnCallaway’sSpeak to me, my lovefromhermusicalcycle,The Gardener, No. 29,withtextbyRabindranathTagore.Ms.SinghplaysviolinwiththeBerkeleyCommunityOrchestraandhasplayedviolinprofessionallywiththeVenturaCountySymphony,aswellasotherSouthernCaliforniasymphonies.ShehassungsolosintheSanFranciscoLyricChoruspresentationsofGiuseppeVerdi’sQuatro Pezzi Sacri,HerbertHowells’Requiem,BenjaminBritten’sCeremony of Carols,AntonínDvorák’sMass in D,FelixMendelssohn’sHear My Prayer,

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JosephJongen’sMass,Op.�30,andWolfgangAmadeusMozart’sMissa Solemnis,K.337.

Heather Irons, Mezzo-Soprano

HeatherIronsissingingherfirsttrimesterwiththeSanFranciscoLyricChorus.Shehassungwithanumberoflocalchoruses,includingtheLafayette-OrindaPresbyterianChurchChorus,BerkeleyCommunityChorusandOrchestra,theArchStreetIrregulars,SanFranciscoChoralSociety,OaklandSymphonyChorus,BaroqueChoralGuild,UniversityofCaliforniaAlumniChorus,FestivalOperaCompany(WalnutCreek)andtheUniversityofCaliforniaChamberChorus.Inaddition,shehassungwiththeBachSocietyofBaltimore,theBaltimoreChoralArtsSociety,PeabodyRenaissanceEnsemble,GuilfordCamerata(Baltimore),Hardin-SimmonsUniversityConcertChoir(AbileneTexas),AriaChamberChorus(Dallas,Texas),CellarSingers(Orillia,Ontario,Canada),andNotaBene(Huntsville,Ontario,Canada).ShestudiedvoicewithKathrynNealeinOakland,CarolWestcottinBaltimore,andcurrentlystudieswithKeciaAshfordinAbilene,Texas.Shealsoplayspianoandvioladagamba.

Caia Brookes, Alto

CaiaBrookeshasbeensingingwithvariousensemblesandchorusesintheBayAreaforthepasttenyears,includingacappellagroupsFlying Without Instrumentsand5 to the Bar,BerkeleyJazzschoolvocaljazzensemblePassatempoandtheSanFranciscoLyricChorus.Caiasingsanythingfromsopranototenor.Shearrangesacappellaversionsofpopsongs,andshehasalsobeenDirectorforFlying Without InstrumentsastheyfinishuptheirsecondCD,dueoutinJune2007.BydaysheworksasaBusinessSystemsAnalystatafinancecompanyinSanFrancisco.ShejoinedtheSanFranciscoLyricChorusinFall�006.

Catherine Lewis, Alto

Ms.LewisjoinedtheSanFranciscoLyricChorusinSummer�003,participatingintheweek-longJohnPooleFestivalandinourSummerconcertofselectionsfromKirke Mechem’s Operas.ShealsohasservedasamemberoftheBoardofDirectors. SheisstudyingvoicewithKristinWomack.ShehasbeenanaltosoloistintheSanFranciscoLyricChorus’performancesofBenjaminBritten’sCeremony of Carols,AntonínDvorak’sMass in D, JosephJongen’sMass, Op. 130 andMarcAntoineCharpentier’s In nativitatem Domini canticum, H314.

Kevin Baum, Tenor

KevinBaumiscurrentlytenorsectionleaderatChurchoftheAdvent,acantoratSt.IgnatiusChurch,andamemberoftheensemblesSchola Adventus, Schola Cantorum andAVE. He isa�6-yearveteranoftheensembleChanticleer. Mr.Baum hasbeenthetenorsoloistintheSanFranciscoLyricChorusperformancesofMarcAntoineCharpentier’sIn nativitatem Domini canticum, H314, Joseph Haydn’sHarmoniemesse,MichaelHaydn’sRequiem,AntonBruckner’sMass No. 1 in D minor, ThomasTallis’Missa puer natus est nobis,RalphVaughanWilliams’Fantasia on Christmas carols,LudwigAltman’s Choral Meditation, WolfgangAmadeusMozart’s Missa Solemnis, K. 337andtheWorldPremiereofLeeR.Kesselman’s This Grand Show Is Eternal.

Jeffrey Kasowitz, Tenor

ThisisJeff ’ssecondconcertwiththeSanFranciscoLyricChorus.OriginallyfromNewYork,JeffhaslivedintheBayAreaforroughlyfiveyearsandcurrentlylivesinHayesValley.HeisaHealthCareConsultantbyday.AtUnionCollege,hewasmanagerofthemen’sacappellagroup,TheDutchPipers.HealsoattendedUCBerkeley,wherehereceivedagraduatedegreeinhealthmanagement.Jeffisaloverofmusicofallkindsandspendsmanyeveningsplayingguitarandsingingwithfriends.

Matthew McClure, Tenor

BorninBoston,grewupontheeastcoast,wenttoPhillipsAcademy,Andoverforprepschool.GraduatedfromStanfordin�968withaB.A.inHistory.Livedontheworld’s’largest

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hippiecommunefortwelveyears.OnlymusicalbackgroundissingingwiththeSanFranciscoLyricChorusoffandonsincethefirstconcertofBradOsness’Hiroshimamemorialpiece(Lamentations,�995):Letusnotrepeattheevil.

Jared Pierce, Bass

JaredPiercehasbeensingingsincehewasaboutsevenyearsold.BorninYokohama,Japan,hespenthisearlychildhoodinNewJersey,wherehesanginachurchboy’schoir.HisfamilymovedtoHongKongwhenhewas�0,andhetooka“singinghiatus,”learningtoplaythetrumpetwhileattendingHongKongInternationalSchool.UponmovingtoCaliforniaatage�5,hejoinedhislocalhighschool’sa cappellasinginggroupforhisfinaltwohighschoolyears.

Duringhiscollegeyears,Mr.PiercesangwiththeHumboldtStateUniversityChorusandtheVocalJazzEnsemble,theSanFranciscoStateUniversityChorusandtheSanFranciscoStateUniversityChamberSingers.Healsostudiedvoiceprivately.Aftergraduatingfromcollege,Mr.Piercehasdevotedmuchofhissparetimetocomposingmusic.HejoinedtheSanFranciscoLyricChorusinFall�003andwasoneofthesoloistsinourmedievalcarol,Nova, Nova,aswellasabasssoloistinourSpring�00�performanceofAntonínDvorák’sMass in D,theSummer�00�performanceofJosephJongen’sMass, Op. 130,theFall�00�performanceofMarcAntoineCharpentier’s In nativitatem Domini canticum, H314,andtheFall�006performanceof WolfgangAmadeusMozart’s Missa Solemnis, K. 337 Mr.PiercealsosingswiththeInternationalOrangeChorale.

Financial SupportTheSanFranciscoLyricChorusischarteredbytheStateofCaliforniaasanon-profitcorporationandapprovedbytheU.S.InternalRevenueServiceasa50�c(3)organization.Donationsaretax-deductibleascharitabledonations.

Weareanindependent,self-supportingcommunitychous,withanaverageannualbudgetofabout$�0,000.Approximately�5%ofourincomeisfrommembershipdues,35%comesfromticketsales,and�0%comesfromcontributionsbymembersandfriends.Thuswerelyheavilyoncontributionsoverandaboveduesandticketsales,andneedyourfinancialsupport.

TheSanFranciscoLyricChorusisnowtwelveyearsold,andwehavegrowntremendouslyinmusicalabilityduringtime.Wewillcontinuetoprovidebeautifulandexcitingmusicforouraudiences.Wewouldlikemoreoftentoperformworkswithchamberorchestraandothercombinationsofinstruments,andemployaparttimestaffpersontohandlesomeoftheoperationalwork.Continuedgrowthanddevelopment,however,willrequireustofindincreasedfinancialsupportfromfriends,audiencesandotheragencies.

Monetarygiftsofanyamountaremostwelcome.Allcontributorswillbeacknowledgedinourconcertprograms.Forfurtherinformation,e-mailinfo@sflc.orgorcall(415)721-4077.Donationsalsomaybemailedto:SanFranciscoLyricChorus,950FranklinStreet,#�9,SanFrancisco,California9��09.

Adopt-A-Singer

Foraslittleas$�0,youcansupporttheSanFranciscoLyricChorusbyadoptingyourfavoritesinger.For$�00,youcansponsoranentiresection(soprano,alto,tenor,orbass!)For$�50,youcanadoptouresteemedMusicDirector,RobertGurney.

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AcknowledgementsTheSanFranciscoLyricChorussendsawarm,specialthanksto: ReverendJamesR.Tramel TrinityEpiscopalChurch,itsvestryandcongregation

Assistant ConductorRobertTrainAdams

Rehearsal and Concert AccompanistRobertTrainAdams

Chorus Section RepresentativesCassandraForth,SopranosBarbaraGreeno,AltosMatthewMcClure,TenorsJaredPierce,Basses

Professional TenorKevinBaum

Concert Day ManagerEricHamilton

Concert Day Volunteer StaffEvieChenCyrilChongPatriciaFurlongValerieHowardJoshuaLenhertKatiNagySimonaNassKathyO’ConnorMollieSchneiderTandyVanDoren

Program PreparationHeleneWhitson

Program LayoutBillWhitson

Graphic DesignPostcard/Poster/Program CoverDonated by CyrilChong,www.CYRILCHONG.comSanFrancisco,California

Chorus Website Design SophieHenry

Website MaintenanceJaneRegan

Chorus Member VolunteersAlAldenShirleyDrexlerCassandraForthLoisKelleyAndreaOgarrioPeggyTrimbleLisa-MarieSalvacion

Language CoachLindaHiney

Mailing List Database MgtBillWhitson

Ticket Sales & Treasurer SupportCassandraForth

Audio RecordingBillWhitsonWhitsonProfessionalServicesBerkeley,California

Video RecordingJimGranatoAutonomy16Film&VideoProductionshttp://autonomy�6.netSanFrancisco,California

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Contributions (May 2006-April 2007)

Sforzando ($900+)Hartley&MaryLou(Myers)CravensKarenMcCahillWylie&JudySheldonHelene&BillWhitson

Fortissimo ($300-$899)DidiBoringCarolineCrawfordCassandra&DavidForthSophieHenryJim&CarolynLoseeMaryLouMyersJaneRegan

Forte ($100-$299)JulieAldenDavidBaker&RodneyOmandamBernadetteBarberiniJamesCampbellRev.Robert&AnneCromeyNanetteDuffyBarbaraGreenoElizabethHendricksonJohnLeeFundJeffreyKasowitzLoisKelleySharon&KennethLevienSimonaNassAndreaOgarrioRobertOutisAlbert&MaryPierceMartin&MariaQuinnSteve&MarySandkohlSuzanneTaylor

Mezzoforte ($20-$99)LindseyAngelatsBarbara&DonBannettKristineChaseChristineCrawfordShirleyDrexlerJackFongBrianForthErinGrayZulfiqarHaider&ClaudiaSieferFlorenceHaimesConnie&EdHenryValerieHowardCatherineLewisRuthK.NashBarbaraOgarrioRobert&RosemaryPattonMargePooreRev.Ted&ShirleyRidgwayKenricTaylorNancyA.Zimmelman

Adopt-A-Singer Contributions (Spring 2007)

LoisKelleyadopts theSopranoSectionJaneReganadopts theAltoIISectionCathyLewisadopts theTenorSection

JulieAldenadopts theBassSectionShirleyDrexleradopts CathyLewis,“aflowerofthealtos”

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Trinity Episcopal Church, San FranciscoTrinityEpiscopalChurch,foundedin�8�9,wasthefirstEpiscopalcongregationwestoftheRockyMountains.SomeoftheparishpioneerswereamongthemostprominentSanFranciscansoftheirday:McAllister,Turk,Eddy,Austin,Taylor,andmanyothers.

Theparish’ssignificantroleinthehistoryofSanFranciscocontinuestoday.NotableamongTrinity’smanycommunityandsocialprogramsisthefoundingofProjectOpenHandbyRuthBrinkerin�985.

Thepresentchurchstructure,builtin�89�,wasdesignedbyArthurPageBrown,whowasalsothearchitectofSanFranciscoCityHallandtheFerry

Building.InspiredbytheNorman-RomanesquearchitectureofDurhamCathedral,itisbuiltofroughhewnColusasandstoneandfeaturesamassivecastle-likecentraltower.

TheTrinityorganwasbuiltin1924byErnestM.Skinnerandisoneofthefinestremainingexamplesofhisartistry.BuiltafterhissecondtriptoEurope,itreflectstheinfluenceofhislong,creativeassociationwiththegreatEnglishbuilderHenryWillis,III.Theinstrument’sfourmanualsandpedalcontainmanyofthenumerousorchestralimitativevoicesperfectedbySkinner.Amongthem,theTrinityorgancontainstheFrenchHorn,OrchestralOboe,Clarinet,TubaMirabilis,andeightranksofstrings.Thiswealthoforchestralcolorprovidesarangeofexpressivenessevocativeofasymphonyorchestra.

Therestoredhistoric�896SohmerninefootconcertgrandpianoisusedoccasionallyinLyricChorusperformances.Thisfineinstrument,builtduringaneraofexperimentationinpianobuilding,boastssomeuniquefeatures,suggestingthatthisinstrumentwasashowpiecefortheSohmerCompany.Theentirepianoisbuiltonalargerscalethanmoderninstruments.Thereareextrabracesintheframeforincreasedstrength.Eachnotehasanadditionallengthofstringbeyondthebridgetodevelopmoreharmonicsinthetone.Thetreblestringsareofaheaviergaugeandthusstretchedunderhighertensionthanmodernpianos,andthereareadditionalstringsatthetopthatdonotplay--addedsolelytoincreasethehighharmonicresonanceinthetreble(producingthatdelightful“sparkle”).

Duetoitssuperbacoustics,magnificentorgan,andthecommitmentofalongsuccessionofmusicians,TrinityhaspresentedawealthofgreatmusictotheCity.TheSanFranciscoLyricChorushasbecomeapartofthistradition,thankstothegenerousencouragementandnurturingofthisvibrantcongregation.

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Lyric Chorus Thank-you’s

Cathy LewisThanks, Peggy, for sticking with the altos!

Jane ReganBarb Greeno—Thanks for coming to practice even tho’ you couldn’t be here for the concert!

Peggy TrimbleThanks, Tom, for listening to me try to sing Red Red Rose at home without tearing up!

Jane ReganThanks, Sophie, for making our new web site so easy to update and ready for audio files!

The AltosThanks to Heather for coming from Texas to sing.

AnonThanks to Helene & Bill – BECAUSE!

Cassandra ForthThanks to Kevin Baum – great voice – great person

Sophie HenryThanks to Evelyne for being my inspiration: xicochi xicochi conetzintle.

Matthew McClureLeela – Thanks for everything!

Erin GrayThanks for always coming to my concerts, Riki & Steve. I love having you here.

Erin GrayHappy Birthday, Josh!

Helene WhitsonWhat a marvelous trimester we have had! Thank you, Robert, for your inspired conducting and fabulous choice of music! Thank you, Bill, for EVERYTHING you do for the Chorus! Thank you, Robert Adams, for your wonderful keyboard and conducting skills! Thank you, Linda Hiney, for your language expertise and patient coaching. Thank you, choristers, for working so hard on this program. Without you, we wouldn’t have a chorus. Thank you to our generous donors and contributors and our wonderful audiences, who make our concerts possible. I want to offer a special thanks to Trinity Episcopal Church and the Trinity family for allowing the San Francisco Lyric Chorus to call Trinity ‘home’ and create music in this beautiful place.

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33

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Robert Gurney

Organist

plays

the magnificent

E. M. Skinner Organ

regularly

on the

second weekend

of every month

at the

California Palace

of the

Legion of Honor

Lincoln Park,

San Francisco

Saturday, May 12 andSunday, May 13, 4 pm,

Dietrich Buxtehude Cesar Franck

Scott Joplin

Saturday, June 9 and Sunday, June 10, 4 pmJohann Sebastian Bach

George GershwinJohn Philips Sousa

3�

Advertisements

For audition and other information, contactMusic Director Robert Gurney

phone: 415-775-5111 email: rgurney@sflc.orgwebsite: http://www.sflc.org

We are a friendly, SATB, 35-voice auditioned nonprofessional chorus dedicated to singing beautiful, interesting classical choral music with passion, blended sound and a sense of joy and fun!

Rehearsals: Mondays, 7:15-9:45 pmTrinity Episcopal ChurchBush & Gough Streets, San Francisco

Performances:Saturday, August 25, 2007, 8 pmSunday, August 26, 2007, 5 pm

Rehearsals Begin Monday May 14, 2007

Sing This Summer 2007 with theSan Francisco Lyric Chorus!

This Summer, we will sing

Amy Marcy Cheney BeachGrand Mass in E Flat Major

Herbert HowellsA Hymn for St. Cecilia

Henry PurcellSelections from Ode on St. Cecilia’s Day

George Frideric HandelSelections from Ode on St. Cecilia’s Day

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San Francisco Lyric Chorus2007-2008 Concerts

2007 Summer ConcertAmy Marcy Cheney Beach Mass in E Flat Major

Herbert Howells A Hymn For St. CeciliaHenry Purcell Selections from Ode on St. Cecilia’s Day

George Frideric Handel Selections from Ode on St. Cecilia’s Day

Saturday, August 25, and Sunday, August 26, 2007Trinity Episcopal Church, Bush & Gough Streets, San Francisco

2007 Fall ConcertFranz Schubert Mass in A Flat Major

Gerald Finzi In Terra PaxAntonin Dvorák Te Deum

Saturday, December 1, and Sunday, December 2, 2007Trinity Episcopal Church, Bush & Gough Streets, San Francisco

Annual New Year’s Pops ConcertRobert Gurney, Organ

with the San Francisco Lyric ChorusChoruses from Die Fledermaus, by Johann Strauss, Jr.,

San Francisco; holiday favorites

Saturday, December 29, 2007, 4 pm & Sunday, December 30, 2007, 4 pmCalifornia Palace of the Legion of Honor, Lincoln Park, San Francisco

2008 Spring Concert

Contemporary American Choral ComposersRobert Adams It Will Be Summer—EventuallyDaniel Gawthrop Sing Me To HeavenZ. Randall Stroope Amor de mi almaDan Locklair Break AwayRene Clausen Set Me As A SealJ. David Moore How Can I Keep From Singing

Saturday, April 26, and Sunday, April 27, 2008Trinity Episcopal Church, Bush & Gough Streets, San Francisco

Stephen Paulus Old ChurchJean Belmont Sand CountyStephen Sametz I Have Had SingingSamuel Barber The Monk And His CatEric Whitacre Sleep

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Sopranos

Cassandra ForthSimi GeorgeErin GraySophie HenryLinda HineyLois KelleyMary Lou MyersAndrea OgarrioLisa-Marie SalvacionKathryn SinghLynn TaoHelene Whitson

Altos

Caia BrookesShirley DrexlerHeather IronsCathy LewisJane ReganPeggy Trimble

Tenors

Kevin BaumJeff KasowitzBrian MarkMatthew McClure

Basses

Al AldenBen NoggleJared PierceTerry SheaBill Whitson

The Chorus