Choral Classics with Joseph Flummerfelt

Cantata Singers
David Hoose, Music Director
2015-2016 Season
Choral Classics with
Joseph Flummerfelt
Saturday • October 10, 2015 • 8 p.m.
New England Conservatory’s Jordan Hall
Thank you to our generous concert underwriters:
Guest Conductor Sponsor
Charles and Nancy Husbands
Post-Concert Reception Sponsor
Robert Henry
Pre-Concert Talk Sponsor
Mary Beth and Robert Stevens
CANTATA SINGERS
Artistic Staff
David Hoose, Music Director
Allison Voth, Music Director, Chamber Program
Amy Lieberman, Assistant Conductor
Eliko Akahori, Rehearsal Pianist
Luellen Best, Chorus Personnel Manager
Joan Ellersick, Orchestra Contractor
Administrative Staff
Jennifer Ritvo Hughes, Executive Director
Emily Kirk Weddle, Development and
Marketing Manager
Michelle Rush, Education and
Production Manager
Bridget Dennis, Operations Manager
Board of Trustees
John C. Ball
Lori Cote
Peter Cote
Robert Henry
James Liu
Mary MacDonald, Vice-Chair
Emily Walsh Martin, Treasurer
Marcia Nizzari, Chair
Dwight E. Porter
Felicity Salmon, Chorus Vice-President
Richard Simpson
Epp K.J. Sonin
Mary Beth Stevens
Christine Swistro, Secretary
Joseph Taylor
Dana Whiteside
Andrea Wivchar, Chorus President
Majie Zeller, Secretary
CANTATA SINGERS & ENSEMBLE
David Hoose, Music Director
Joseph Flummerfelt, Guest Conductor
Leadership Circle
Robert Amory
John and Diana Appleton
David Berman
Blair and Carol Brown
Julian and Marion Bullitt
Richard M. Burnes, Jr.
Katie and Paul Buttenwieser
Dr. Loring and Rev. Louise Conant
Nancy and Laury Coolidge
David J. Cooper
Carey Erdman and Carl Kraenzel
Elizabeth D. Hodder
Margaret Hornady-David and
Donald David
Charles and Nan Husbands
Kathryn and Edward Kravitz
Peter Libby and Beryl Benacerraf
Ann Marie Lindquist and
Robert Weisskoff
Donald J. Lindsay
Peter MacDougall
David S. MacNeill
Peter Owens
Sheila Perry
Robert Powers
Harold I. Pratt
Robert O. Preyer
Frank Reitter
David and Susan Rockefeller, Jr.
John R. Scullin
Joseph L. Solomon
Elizabeth H. Wilson
Cantata Singers
729 Boylston Street, Suite 405
Boston, MA 02116
617.868.5885
www.cantatasingers.org
Saturday, October 10, 2015, 8 p.m.
Jordan Hall at New England Conservatory
Jameson Marvin, pre-concert speaker
PROGRAM
Tomás Luis de Victoria
(1548-1611)
Pablo Casals
(1876-1973)
O vos omnes
Peter Maxwell Davies
(b. 1934)
Maurice Duruflé
(1902-1986)
Igor Stravinsky
(1882-1971)
The Lord’s Prayer
Giuseppe Verdi
(1813-1901)
Ave Maria
Benjamin Britten
(1913-1976)
Irving Fine
(1914-1962)
Samuel Barber
(1910-1981)
The Evening Primrose
from Flower Songs
The Hour-Glass
from The Hour-Glass
The Coolin’
from Reincarnations
Aaron Copland
(1900-1990)
Long Time Ago
At the River
The Promise of Living
from The Tender Land
O vos omnes
Notre père
Pater noster
Eliko Akahori, piano
Jenny Tang, piano
Intermission
Johannes Brahms
(1833-1897)
Liebeslieder Walzer, op. 52;
Neue Liebeslieder Walzer, op. 65,
Zum Schluß
Jennifer Webb, mezzo-soprano
Michael Merullo, tenor
Following the performance, please join us for a reception in Williams Hall.
Welcome to the Season
This Evening’s Concert
Designing a Cantata Singers season is exhilarating. Much of the process, one always
in motion, is sheer enjoyment—gathering ideas and revisiting older ones from the
enormous sea of marvelous music out there, both ancient and newly minted. That
sounds easy. At various points, though, things do get tough—so much music meeting
so little time. So, how do we choose? How shall we craft programs that make
compelling, meaningful wholes? How might we create seasons true to the spirit of
Cantata Singers and true to you, our curious and engaged listeners?
When we’re planning, questions appear again and again, some practical (whither
the resources?), but most more searching. Is this music we need to hear now? Not,
Is this the greatest masterpiece ever composed, but How richly does this music
engage? Even more importantly, Do these works next to each other (Bach, Webern,
Brahms—or Machaut, Janequin, Berio, Castelnuovo-Tedesco—or Pärt, Bach),
suggest vital interactions, dynamic relationships that reach beyond any one
composition?
Of course, monolithic programs (Handel) don’t present these challenges or
opportunities, but they can suggest larger connections. Do we hear “Israel in Egypt”
in the future voice of Mendelssohn (the chamber series, as well as Elias of two
seasons ago) or Brahms? In short, How does each program (in this season, seven of
them!) anticipate, respond to, and inform the others? This planning is intuitive, since I
think the mechanical designing of concerts, often called “thematic” programming,
may offer hooks, but little more.
Thank goodness there’s no formula for this process. The search for the illusive
and the ephemeral is inspiring. It is one of imagining relationships hanging in the air,
stimulating thought, and blossoming in the heart. These are qualities and values I
have always heard in Cantata Singers, a voice that, through the familiar and unfamiliar,
and—we hope—in performances shot with life, strives to share with you music’s
power to enrich the human spirit.
Welcome to this Cantata Singers season. We are very pleased that you are here!
Through its years, Cantata Singers has enjoyed a number of distinguished guest
conductors, all of whom have brought fresh—and sometimes unusual—musical
thinking to the programming and, therefore, to the ensemble and audience. Among
the guest conductors, Iva Dee Hiatt and Blanche Honegger Moyse represented
philosophical and musical poles: Ms. Hiatt, the director of the Cambridge Society for
Early Music, an energetic progenitor of a fledgling movement, and Mrs. Moyse, a
profoundly searching musician whose approach reached deep into her years as a
leader of Marlboro Music. Some guest conductors have brought to the ensemble
their vital ears as composers—Earl Kim, Leon Kirchner, and John Harbison.
Unexpected guests’ names include Joseph Silverstein, past concertmaster of the
Boston Symphony Orchestra, and Michael Tilson Thomas, then assistant conductor
of the BSO. Educators who have led the group also stand out: G. Wallace
Woodworth, beloved leader of choruses at Harvard and Radcliffe; Benjamin Zander,
now music director of the Boston Philharmonic; James Olesen, former director of
choruses at Brandeis University and music director of the Orpheus Singers; and
Péter Erdei, now director of the Kodály Institute of the Liszt Academy in Hungary.
And, for two seasons, Craig Smith, the founder of Emmanuel Music whose own love
David Hoose
Music Director
Photo Credit: James Luo
Rachmaninoff’s All-Night Vigil, January 24, 2015
This Evening’s Concert
Guest Conductor Joseph Flummerfelt
of Bach played a crucial role in bringing that music alive in Boston, shared the podium
with me and then music director John Harbison.
All of these conductors have brought their personal stamps both to the Cantata
Singers programming and to the ensemble’s performances, and their work has
played an important role in what makes Cantata Singers the organization it is today.
Joseph Flummerfelt, guest conductor for this evening, undoubtedly brings many of
these qualities to our 2015-16 season. He represents a deep and, in many ways
unsurpassed, knowledge of the art of choral singing, having founded the New York
Choral Artists and having led, for over three decades, the Westminster Choir College
choruses, ensembles that frequently appear with the New York Philharmonic, as well
as with other major visiting orchestras performing in New York City.
Dr. Flummerfelt’s program this evening, too, gives the ensemble and our listeners
a different perspective. This evening’s concert is a remarkable compendium of some
of the gems of the a cappella tradition, reaching from a motet of the Renaissance
composer Tomás Luis de Victoria, through music of Giuseppe Verdi and Igor
Stravinsky, to mid-20th century composers Benjamin Britten, Samuel Barber, Irving
Fine and Aaron Copland. Some of this music has been heard on past Cantata
Singers concerts, although in very different contexts, but some of it is new to the
organization, particularly the three settings of the Lord’s Prayer. And the waltzes of
Johannes Brahms (whose music reappears this season, both in the Chamber Series
and April Jordan Hall concert), while loved by audiences everywhere, are new to our
concerts.
Whether the music is familiar or not, it is context, that ineffable interaction of
pieces, that brings a program alive and reveals personality. This concert is no
exception, for it shows the heart and mind of the program’s architect, the conductor. It
is unsurprising generosity that Joseph Flummerfelt brings both to tonight’s concert
and to our season, and we are admiring and grateful.
Named Musical America’s 2004 Conductor of the Year,
Joseph Flummerfelt is founder and musical director of
the New York Choral Artists, and for thirty-three years
was Conductor of the Westminster Choir. For the last
forty-five years, he has been responsible for most of the
choral work with the New York Philharmonic.
As an orchestral conductor, Flummerfelt made his
debut conducting Haydn’s The Creation in 1988, with the
New York Philharmonic. In 2001, he conducted the world
premiere of Stephen Paulus’ Voices of Light with the
Philharmonic and the Westminster Choir. He has also
appeared as guest conductor with the New Jersey
Symphony Orchestra, Orchestra of St. Luke’s, the Juilliard Symphony Orchestra, and
the San Antonio and Phoenix symphonies. He has also conducted over sixty choralorchestral performances with the Spoleto Festival Orchestra in the United States and
Italy.
Over the past four decades, Dr. Flummerfelt has collaborated in the preparation
of hundreds of choral-orchestral performances and recordings with Claudio Abbado,
Leonard Bernstein, Daniel Barenboim, Pierre Boulez, Ricardo Chailly, Colin Davis,
Carlo Maria Giulini, Lorin Maazel, Kurt Masur, Zubin Mehta, Riccardo Muti, Seiji
Ozawa, William Steinberg, and others. His choirs have performed with the New York
Philharmonic and Philadelphia Orchestra, and also many European orchestras such
as the Berlin Philharmonic, Vienna Philharmonic, Gewandhaus Orchestra, and the
Royal Concertgebouw Orchestra.
For thirty-three years, Joseph Flummerfelt served as artistic director and
principal conductor of Westminster Choir College of Rider University in Princeton,
New Jersey, a position from which he retired in 2004. He began his academic career
as director of choral activities at his alma mater, DePauw University, and he served in
the same capacity at Florida State University before joining the faculty of
Westminster Choir College. He has held numerous visiting professorships and led
performances at the Eastman School of Music, University of Texas, New England
Conservatory, University of Illinois, Kansas City Conservatory of Music, and DePauw
University, among others. For thirty-seven years he served as director of choral
activities for the Spoleto Festival U.S.A. in Charleston, South Carolina, from which he
retired in 2013, and for twenty-three years was Maestro del Coro for the Festival dei
Due Mondi in Spoleto, Italy. Many of Dr. Flummerfelt’s former students hold major
choral positions throughout the United States.
Dr. Flummerfelt’s many honors include Grammy awards and nominations, and Le
Prix du President de la Republique from L’Academie du Disque Francais. He holds
honorary doctorates from Westminster Choir College of Rider University, Purdue
University, Vincennes University, Ursinus College, and DePauw University, from
which he received DePauw’s two highest alumni awards, the Old Gold Goblet and
the DePauw Gold Medal.
—David Hoose
Texts & Translations
Victoria and Casals: O vos omnes
O vos omnes qui transitis per viam,
attendite et videte:
Si est dolor similis sicut dolor meus.
Attendite, universi populi, et videte
dolorem meum.
Si est dolor similis sicut dolor meus.
Stravinsky: Pater noster
O all ye that pass by the way, attend and
see:
If there be any sorrow like to my sorrow.
Attend, all ye people, and see my sorrow:
Pater noster, qui es in caelis,
sanctificetur nomen tuum:
adveniat regnum tuum:
fiat voluntas tua, sicut in caelo et in terra:
If there be any sorrow like to my sorrow.
panem nostrum quotidianum da nobis
hodie:
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus
nostris:
et ne nos inducas in tentationem:
sed libera nos a malo.
Amen.
Maxwell Davies: The Lord’s Prayer
Our Father, which art in heaven,
Hallowed be thy name.
Thy kingdom come.
Thy will be done in earth,
As it is in heaven.
Give us this day our daily bread.
And forgive us our trespasses,
As we forgive them that trespass against
us.
And lead us not into temptation;
But deliver us from evil.
Amen.
Our Father, which art in heaven,
Hallowed be thy name.
Thy kingdom come.
Thy will be done in earth, as it is in
heaven.
Give us this day our daily bread.
And forgive us our trespasses,
As we forgive them that trespass against
us.
And lead us not into temptation;
But deliver us from evil.
Amen.
Verdi: Ave Maria
Ave Maria, gratia plena,
Dominus tecum,
benedicta tu in mulieribus,
et benedictus fructus ventris tui, Jesus.
Duruflé: Notre Père
Notre Père, qui es aux cieux,
que ton nom soit sanctifié,
que ton règne vienne,
que ta volonté soit faite sur la terre
comme au ciel.
Donne-nous aujourd’hui notre pain de ce
jour,
pardonne-nous nos offenses,
comme nous pardonnons aussi à ceux
qui nous ont offensés.
Et ne nous soumets pas à la tentation,
mais délivre-nous du mal.
Texts & Translations
Our Father, who art in Heaven,
hallowed be Thy name.
Thy kingdom come;
Thy will be done on earth as it is in
Heaven.
Give us this day our daily bread,
and forgive us our trespasses
as we forgive those who trespass
against us.
And lead us not into temptation,
but deliver us from evil.
Sancta Maria, mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae.
Amen.
Hail Mary, full of grace,
the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb,
Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death.
Amen.
Britten: The Evening Primrose
When once the sun sinks in the west,
And dewdrops pearl the evening’s breast;
Almost as pale as moonbeams are,
Or its companionable star,
The evening primrose opes anew
Its delicate blossoms to the dew;
And, hermit-like, shunning the light,
Wastes its fair bloom upon the night,
Who, blindfold to its fond caresses,
Knows not the beauty it possesses;
Thus it blooms on while night is by;
When day looks out with open eye,
Bashed at the gaze it cannot shun,
It faints and withers and is gone.
Texts & Translations
Fine: The Hour-Glass
Do but consider this small dust,
Here running in the glass by atoms
moved;
Could you believe that this
The body ever was
Of one that loved?
Copland: The Promise of Living
And in his mistress’ flame, playing like a
fly,
Burned into cinders by her eye?
Yes, and in death, as life, unblest,
to have it exprest.
Even ashes of lovers find no rest.
Barber: The Coolin’
Come with me, under my coat,
And we will drink our fill
Of the milk of the white goat,
Or wine if it be thy will.
And we will talk,
until Talk is a trouble, too,
Out on the side of the hill;
And nothing is left to do,
But an eye to look into an eye;
And a hand in a hand to slip;
And a sigh to answer a sigh;
And a lip to find out a lip!
What if the night be black!
And the air on the mountain chill!
Where the goat lies down in her track,
And all but the fern is still!
Stay with me, under my coat,
And we will drink our fill
Of the milk of the white goat,
Out on the side of the hill!
Copland: Long Time Ago
On the lake where droop’d the willow
Long time ago,
Where the rock threw back the billow,
Brighter than snow.
Rock and tree and flowing water,
Long time ago,
Bird and bee and blossom taught her
Love’s spell to know.
Dwelt a maid beloved and cherish’d
By high and low,
But with autumn leaf she perish’d,
Long time ago.
While to my fond words she listen’d
Murmuring low,
Tenderly her blue eyes glisten’d
Long time ago.
Copland: At the River
Shall we gather by the river,
Where bright angel’s feet have trod,
With its crystal tide forever
Flowing by the throne of God.
Yes, we’ll gather by the river,
The beautiful, the beautiful river,
Gather with the saints by the river
That flows by the throne of God.
Texts & Translations
Soon we’ll reach the shining river,
Soon our pilgrimage will cease,
Soon our happy hearts will quiver
With the melody of peace.
Yes, we’ll gather by the river,
The beautiful, the beautiful river,
Gather with the saints by the river
That flows by the throne of God.
The promise of living with hope and
thanksgiving
is born of our loving our friends and our
labor.
The promise of growing with faith and
with knowing
is born of our sharing our love with our
neighbor.
Give thanks there was sunshine, give
thanks there was rain.
Give thanks we have hands to deliver the
grain.
Come join us in thanking the Lord for his
blessing.
O let us be joyful. O let us be grateful to
the Lord for His blessing.
The promise of ending in right
For many a year we’ve known these fields
understanding
and known all the work that makes
is peace in our own hearts and peace with
them yield.
our neighbor.
Are you ready to lend a hand? We’ll bring
in the harvest, the blessings of harvest. O let us sing our song, and let our song be
heard.
We plant each row with seeds of grain,
Let’s sing our song with our hearts, and
and Providence sends us the sun and
find a promise in that song.
the rain.
The promise of living.
By lending a hand, by lending an arm,
The promise of growing.
bring out from the farm,
The promise of ending is labor and sharing
bring out the blessings of harvest.
our loving.
Brahms: Liebeslieder Walzer, op. 52
No. 1
Rede, Mädchen, allzu liebes,
Das mir in die Brust, die kühle,
Hat geschleudert mit dem Blicke
Diese wilden Glutgefühle!
Speak, dearest maiden,
you whose glance has hurled
into my cool heart
these wild, passionate feelings!
Willst du nicht dein Herz erweichen,
Willst du, eine Überfromme,
Rasten ohne traute Wonne,
Oder willst du, daß ich komme?
Don’t you want to soften your heart?
Do you want, you overly pious one,
to rest without true delight?
Or do you want me to come?
Rasten ohne traute Wonne—
Nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.
Rest without true delight—
I don’t want to suffer so bitterly.
Do come, you dark-eyed maid;
come when the stars appear!
Texts & Translations
No. 2
Am Gesteine rauscht die Flut,
Heftig angetrieben:
Wer da nicht zu seufzen weiß,
Lernt es unterm Lieben.
Upon the rocks the high tide breaks,
hurled by a mighty force.
The one who knows not how to sigh
learns it by loving.
No. 3
O die Frauen, o die Frauen,
Wie sie Wonne tauen!
Wäre lang ein Mönch geworden,
Wären night die Frauen!
Oh women, oh women,
how they do delight!
I would’ve become a monk long ago
were it not for women!
No. 4
Wie des Abends schöne Röte
Möcht’ ich arme Dirne glühn,
Einem, Einem zu gefallen,
Sonder Ende Wonne sprühn.
Like the evening’s beautful sunset,
I, poor maid, would like to glow;
I’d like to please one and one alone,
to shower her with endless delight
No. 5
Die grüne Hopfenranke,
Sie schlängelt auf der Erde hin—
Die junge, schöne Dirne,
So traurig ist ihr Sinn—
The green hop-vine
creeps toward the ground.
The beautiful young maiden—
so sorrowful is her heart!
Du höre, grüne Ranke!
Was hebst du dich nicht himmelwärts?—
Du höre, schöne Dirne!
Was ist so schwer dein Herz?
Listen, green vine,
why don’t you climb toward the heavens?
Listen, beautiful maiden,
why is your heart so heavy?
Wie höbe sich die Ranke,
Der keine Stütze Kraft verleiht?—
Wie wäre die Dirne fröhlich,
Wenn ihr das Liebste weit?—
How can a vine climb
that has no support for strength?
How could the maiden be happy
if her lover is far away?
No. 6
Ein kleiner, hübscher Vogel nahm den
Flug
Zum Garten hin, da gab es Obst genug.
Wenn ich ein hübscher, kleiner Vogel
wär,
Ich säumte nicht, ich täte so wie der.
A very pretty little bird flew
Leimruten-Arglist lauert an dem Ort;
Der arme Vogel konnte nicht mehr fort.
Treacherous, sticky sap lies in ambush;
the poor bird could not escape.
to the garden where fruit was plentiful.
If I were a pretty little bird,
Texts & Translations
Wenn ich ein hübscher, kleiner Vogel
wär,
Ich säumte doch, ich täte nicht wie der.
If I were a pretty little bird,
Der Vogel kam in eine schöne Hand,
Da tat es ihm, dem Glücklichen, nicht
and.
Wenn ich ein hübscher, kleiner Vogel
wär,
Ich säumte nicht, ich täte doch wie der.
The bird was freed by a lovely hand;
no harm came to the happy little bird.
I’d definitely delay; I’d not do as he did.
If I were a pretty little bird,
I’d not delay; I’d certainly do as he did.
No. 7
Wohl schön bewandt
War es vorehe
Mit meinem Leben,
Mit meiner Liebe;
Durch eine Wand,
Ja, durch zehn Wände,
Erkannte mich
Des Freundes Sehe;
Doch jetzo, wehe,
Wenn ich dem Kalten
Auch noch so dicht
Vorm Auge stehe,
Es merkt’s sein Auge,
Sein Herze nicht.
How very pleasant
it used to be,
both with my life
and with my love;
through a wall,
even through ten walls,
my friend’s eye
noticed me.
Yet now, alas,
even if I stand
right in front
of the cold one’s eye,
his eye, his heart
notice me not.
No. 8
Wenn so lind dein Auge mir
und so lieblich schauet—
Jede letze Trübe flieht,
Welche mich umgrauet.
When your eyes so gently
and so fondly gaze on me,
every last sorrow flees
that once had troubled me.
Dieser Liebe schöne Glut,
Laß sie nicht verstieben!
Nimmer wird, wie ich,so treu
Dich ein Andrer lieben.
This beautiful glow of our love—
do not let it die!
Never will another love you
as faithfully as I.
No. 9
Am Donaustrande, da steht ein Haus,
I’d not delay; I’d do just as he did.
Da schaut ein rosiges Mädchen aus.
Das Mädchen, es ist wohl gut gehegt,
On the Danube’s bank there stands a
house,
and there a rosy maiden gazes out.
The maiden is quite well protected;
Texts & Translations
Zehn eiserne Riegel sind vor die Türe
gelegt.
ten iron bars are blocking her door.
Zehn eiserne Riegel das ist ein Spaß;
Die spreng ich, als wären sie nur von
Glas.
Ten iron bars—that’s a joke!
I’ll break them as if they were only glass.
No. 10
O wie sanft die Quelle sich
Durch die Wiese windet;
O wie schön, wenn Liebe sich
Zu der Liebe findet!
Oh how gently the stream
winds through the meadow!
Oh how beautiful when one love
finds itself another!
Nein, es ist nicht auszukommen
Mit den Leuten;
Alles wissen sie so giftig
Auszudeuten.
No, it is impossible to get along
with such people;
they know how to interpret everything
so maliciously!
Bin ich heiter, hegen soll ich
Lose Triebe;
Bin ich still, so heißts, ich wäre
Irr aus Liebe.
If I’m merry, I’m said to have
frivolous desires;
if I’m silent, then it means I’m
mad with love.
No. 12
Locksmith, come and make locks,
innumerable locks,
because I want to close their evil mouths
once and for all!
No. 13
Vögelein durchrauscht die Luft,
sucht nach einem Aste;
und das Herz, ein Herz,
ein Herz begehrts, wo es selig raste.
A little bird flies through the skies,
searching for a branch;
thus does one heart seek another,
where it might rest in bliss.
No. 14
Sieh, wie ist die Welle klar,
Blickt der Mond hernieder!
Die du meine Liebe bist,
Liebe du mich wieder.
See how clear the waves are,
when the moon shines down!
You, my dearest love,
love me in return.
No. 15
Nachtigall, sie singt so schön,
Wenn die Sterne funkeln –
Liebe mich, geliebtes Herz,
Kü.e mich im Dunkeln!
when the stars are sparkling –
Love me, dear heart,
kiss me in the dark!
No. 16
Ein dunkeler Schacht ist Liebe,
Ein gar zu gefährlicher Bronnen;
Da fiel ich hinein, ich Armer,
Kann weder hören, noch sehn.
Nur denken an meine Wonnen,
Nur stöhnen in meinen Wehn.
Love is a dark pit,
an all too dangerous well;
I tumbled in, alas,
can neither hear nor see,
can only recall my rapture,
and only bemoan my grief.
No. 17
No. 11
Schlosser auf, und mache Schlösser,
Schlösser ohne Zahl!
Denn die bösen Mäuler will ich
Schließen allzumal.
Texts & Translations
The nightingale sings so sweetly,
Nicht wandle, mein Licht, dort außen
Im Flurbereich!
Die Fü.e würden dir, die zarten,
Zu naß, zu weich.
All überstr.mt sind die Wege,
Die Stege dir,
So überreichlich tränte dorten
Das Auge mir.
Do not wander, my love, out there
in the fields!
The ground would be too wet
for your tender feet.
The paths and tracks
are all flooded out there,
so abundantly have my eyes
been weeping.
No. 18
Es bebet das Gesträuche,
Gestreift hat es im Fluge
Ein Vöglein.
In gleicher Art erbebet,
Die Seele mir erschüttert
Von Liebe, Lust und Leide,
Gedenkt sie dein.
The foliage trembles,
where a bird in flight
has brushed against it.
And so my soul
trembles too, shuddering
with love, desire and pain,
whenever it thinks of you.
Brahms: Neue Liebeslieder Walzer, op. 65
Zum Schluß
Nun, ihr Musen, genug!
Vergebens strebt ihr zu schildern,
Wie sich Jammer und Glück wechseln
in liebender Brust.
Now, you Muses, enough!
In vain you try to describe
how grief and happiness alternate
in a loving heart.
Heilen könnet die Wunden ihr nicht,
Die Amor geschlagen;
Aber Linderung kommt einzig,
Ihr Guten, von euch.
You cannot heal the wounds
that Cupid has inflicted,
but relief comes solely,
dear Muses, from you.
Cantata Singers & Ensemble
Pianists and Soloists
Chorus
Pianist Eliko Akahori has appeared as a recitalist, chamber musician, and
collaborative pianist to great acclaim in the United States, Europe, and Asia. Recent
performances include a live broadcast of Brahms’ Clarinet Trio on WGBH radio in
Boston, and a series of recitals in the U.S, Austria and Spain with Vienna
Philharmonic principal flutist Karl-Heinz Schütz. In 2003, Ms. Akahori won first prize,
the Coleman-Barstow Award, in the 57th Coleman Chamber Ensemble Competition.
Past collaborators in recitals, chamber music concerts, recordings, and radio and
television broadcasts include members of the Berlin Philharmonic, the Chicago and
Boston Symphony Orchestras, among others. She is currently on the faculty at
Wellesley College, where she is also director of the music performance program, and
she has been the pianist for Cantata Singers since 2013.
Ms. Akahori holds a Doctorate of Music in Collaborative Piano and Master’s
degree in Music Theory, both from the New England Conservatory of Music, along
with a Bachelor’s degree in Composition from the Kunitachi College of music in
Japan. While studying in Japan, she was the winner of both the Yamaha Young
Artist’s Award and the Yomiuri Musician’s Award in the same year, graduating with
Academic Honors and Highest Distinction in Performance. In 1996, Ms. Akahori
performed for the Japanese Emperor’s Family in the Imperial Palace in Tokyo.
Soprano
Tenor
Luellen Best
Kathryn Carlson
Kumi Donaghue
Angelynne Hinson
Kathy Howard
Nancy Kurtz *
Lisa Lynch
Juana Monsalve
Susan K. Navien
Kynesha Dawn Patterson
Felicity Salmon
Epp Sonin
Mary Beth Stevens
Christine Swistro
Brian Bennett
Carey D. Erdman
Daniel Mahoney
Michael Merullo
Peter A. Owens
Eric Christopher Perry
Jason Sabol
Richard Simpson *
Stephen Williams
Alto
Bass
Louise Bécam
Elaine Bresnick *
Bonnie Gleason
Elise Krob
Amy Lieberman
Deborah Cundey Owen
Diane Sokal
Jennifer Webb
Andrea Wivchar
Sara Wyse-Wenger
Mark Andrew Cleveland
James Frens
Robert Henry
James Liu
Alan McLellan
Will Prapestis
Stefán Sigurjónsson
Scott Street *
Charles Turner
* Section Leader
Tenor Michael Merullo is a singer and educator active in the musical theatre and
opera communities. His 2015-16 season will include, in addition to his appearances
with Cantata Singers, a concert series presenting musical theatre scenes to
retirement communities and performances with the Boston Pops in its Holiday Pops
performances. He will also be featured by the Boston Opera Collaborative in its
program of ten-minute operas, “Opera Bites.”
Mr. Merullo has worked with Boston Lyric Opera, Lowell House Opera, Concord
Players, and OperaHub, among others. Recent highlights include Basilio in Mozart’s
Le nozze di Figaro, Chekalinsky in Tchaikovsky’s The Queen of Spades; Hortensio in
Cole Porter’s Kiss Me, Kate, and Rinuccio in Puccini’s Gianni Schicchi. He was
awarded second place at the 2014 Piccola Opera Vocal Competition, and he
received the Chancellor’s Talent Award at his alma mater during all four years of his
studies. Mr. Merullo also teaches voice and is music director for a local YMCA.
Jenny Tang, pianist, has frequently performed as soloist and chamber musician in
venues that include Jordan Hall, Sanders Theatre, Symphony Hall, Berklee College
of Music, Wellesley College, and the Kennedy Center for the Performing Arts in
Washington, DC. Ms. Tang was born in Hong Kong and began her musical studies
with her mother. Awarded the Licentiate Diploma from the Royal Schools of Music
(UK) in piano performance, she was also honored as a Fellow of the Trinity College
of Music in London. Ms. Tang received her Master of Music degree, with academic
honors and distinction, in piano performance from the New England Conservatory
of Music, where she studied piano with Veronica Jochum, conducting with Tamara
Brooks and Frank Battisti, and chamber music with Leonard Shure and Bernard
Greenhouse. She was a Doctor of Musical Arts candidate in piano performance with
Pianists and Soloists
Pre-Concert Speaker
Randall Hodgkinson.
Ms. Tang is a lecturer at Wellesley College, where she teaches theory and piano,
and she is the assistant director of Wellesley College Chamber Music Society. She
has also been music director of the Theatre Department’s productions of “The
Unsinkable Molly Brown” and, this past April, an original musical, “The Home Front.”
Jameson Marvin was Director of Choral
Activities, Senior Lecturer on Music at Harvard
University for thirty-two years, during which
time Harvard’s choral program garnered a
distinguished national reputation. He led the
Harvard Glee Club, Radcliffe Choral Society,
and the Harvard-Radcliffe Collegium Musicum,
ensembles that appeared at nine Eastern
Division and seven National Conventions of the
American Choral Directors Association. During
his tenure, the Harvard choral program was
named by the magazine Classical Singer the
top United States collegiate choral program.
Dr. Marvin’s musicianship, comprehensive
knowledge of style and performance practices
of historical eras, and acknowledged mastery of
ensemble music making have been the
trademark of his insightful, communicative, and inspiring performances. Dr. Marvin’s
work with the choruses at Harvard included more than eighty choral-orchestra
masterworks, ranging from Monteverdi’s Vespers of 1610 to Paul Moravec’s Songs of
Love & War, and including repertoire for men’s, women’s and mixed voices that
reached from the fifteenth to the twenty-first century.
While Dr. Marvin’s performances of the masterpieces of the Renaissance and
Baroque enjoy a distinguished national reputation, it is his unique knowledge of a
cappella gems from the early 15th century through newly commissioned works of the
21st century, for men’s, women’s, and mixed choruses that reveal the full range of his
comprehensive choral artistry.
Dr. Marvin has published significant articles on choral style, performance
practice, and scholarly performing editions of Renaissance compositions. He has
also created many folk song arrangements and compositions for mixed, men’s and
women’s choirs, works that frequently appear on concerts throughout this country.
Many of Dr. Marvin’s former Harvard students now hold significant choral positions in
the United States. After retiring from formal teaching, he founded the sixty-voice
mixed choral ensemble, Jameson Singers, many of whose members are his former
students.
Mezzo-soprano Jennifer Webb joined Cantata Singers in 2011. With the ensemble,
she has been soloist in Mendelssohn’s Elias, Bach’s cantatas BWV 6 and BWV 195,
and the Magnificat, and as part of the Chamber Series. This season, she will appear
in Berio’s Cries of London, in selections from Irving Fine’s Mutability (in the Chamber
Series), and as soloist in Handel’s Israel in Egypt. Highlights of her 2015-16 season
will also include the first-ever staged performance of Elena Ruehr’s Cassandra In the
Temples, with Cappella Clausura. Ms. Webb is also a member of the King’s Chapel
choir and has performed with the Oriana Consort.
Past solo appearances by Ms. Webb have included programs of German and
Italian Baroque rarities, recitals of songs by Copland, Ives, Britten, De Falla, and
Poulenc, and performances of Copland’s In the Beginning, and Brahms’ Alto
Rhapsody. She also appears on two recordings as a member of the Christmas Revels
Chorus. Ms. Webb graduated from Oberlin College, where she sang in the Oberlin
Collegium Musicum. She currently studies voice with Mary McDonald Klimek. Ms.
Webb is also a librarian at Cary Memorial Library in Lexington.
Classroom
Cantatas
Online Library
Launch Party
Thurs, Nov 12 / 6pm
Bostonia Public House
Celebrate the launch of the
Classroom Cantatas Online Library with
cocktails, hors d’oeuvres, and raffle prizes.
Tickets: $30
Table Sponsorship: $100
can ta ta
singers
For tickets and more information:
617.868.5885
cantatasingers.org
ABOUT US
HISTORY
Through vital performances of works old and new, familiar and unfamiliar, Cantata
Singers engages and shares with the community the power of music to enrich the
human spirit.
In 1964, a group of friends, colleagues and classmates came together with a common
goal—to explore and perform music they were not hearing anywhere else, the cantatas
of J.S. Bach. Only a few of the cantatas had been recorded, and even those few seldom
appeared in live performances. That early commitment to the exploration of unfamiliar
music has guided Cantata Singers for the past 52 years, and the same desire to explore
and share unique and powerful musical experiences remains the core of Cantata
Singers’ mission today.
By the early 1970s, Cantata Singers, under the baton of John Harbison, took its
place as an innovative leader, and the repertoire broadened to include both earlier and
much later music. Never straying from the goal of giving Boston’s audiences fresh
musical experiences, the chorus and ensemble soon took to exploring the complex ways
old and new music can interact onstage. Cantata Singers also began to record
commercial albums, preserving and sharing expertly performed music of all times, from
Bach cantatas to new works by Mr. Harbison himself.
In 1982, Cantata Singers began an era of growth and exploration. With music
director David Hoose, Cantata Singers began to redefine the choral-orchestral canon,
presenting treasured icons alongside both new music and historic gems that might
otherwise be lost to obscurity. He has led the organization in the commissioning and
premiering fourteen significant choral-orchestral works, the first of which, The Flight
Into Egypt, won the 1987 Pulitzer Prize in Music, and the most recent of which
received its world premiere on the first concert of our 2014-15 season. In 1990,
Cantata Singers commissioned Donald Sur to compose his Slavery Documents, the
first of three large choral-orchestral works based on texts that focus on the scourge of
slavery. Donald Sur’s, T.J. Anderson’s and Lior Navok’s subject matter and music
continue to resonate with the group, just as the words and music of Bach have since
1964. With Hoose, the group has recorded works of Bach, Schütz, Schein,
Schoenberg and Stravinsky, as well as music of the American composers Irving Fine,
Seymour Shifrin, Peter Child, Charles Fussell, and John Harbison.
Twenty years ago, Cantata Singers launched Classroom Cantatas, an education
initiative in Boston’s underserved schools that marries music-making and the
academic core curriculum to help children find their creative voice. Teaching Artists—
performers from Cantata Singers’ acclaimed ensemble—work directly with
elementary-school students, guiding them to compose and perform original songs
about subjects they are studying in class. Since its inception, Classroom Cantatas
has helped develop the creative potential of thousands of young people in Boston.
The organization’s commitment and dedication to challenging programming,
including the commissioning of new works, was acknowledged in 1995, when the
group was awarded the ASCAP/Chorus America Award for Adventurous
Programming of Contemporary Music.
Cantata Singers audiences have come to believe in the organization for its values:
the strength of its original artistic offerings and for its highest standards of
performance.
A singular desire to bring to Boston’s listeners music that isn’t being heard anywhere
else has inspired Cantata Singers’ programming for fifty-two years. In 1964, that
music included the cantatas of J.S. Bach. Today, it may be hard for us to believe, but
when Cantata Singers was founded in 1964, live performances of Bach cantatas
were quite a rarity. In fact, Cantata Singers’ early concerts featured first Boston
performances of many of the cantatas.
Bach’s music, from the cantatas to the B-minor Mass to the Passions, remains an
essential part of Cantata Singers’ repertoire. However, the ensemble’s repertoire has
expanded to include music from the 17th century to today. Cantata Singers has
commissioned fourteen works for choir and orchestra—including one that was
awarded the Pulitzer Prize in Music—and has presented more than fifty Boston
premieres of music both old and new.
Many of Boston’s most talented musicians perform regularly with Cantata
Singers. The chorus is made up of singers who have careers as musicians,
educators, doctors, and architects. Many of these members appear as soloists with
Cantata Singers, as well as with other highly respected organizations; some conduct
other choruses and orchestras in the area. Although many of our musicians perform
actively as solo singers, they choose to sing with Cantata Singers because of the
reward they find in performing music of the choral canon at the highest possible level.
Cantata Singers has always focused on the music—be it Bach, Verdi, Harbison,
or Pärt—and its audiences do, too. Our audiences return year after year to hear fresh
visions of iconic music, or an intriguing unfamiliar work that is—in fact—quite
approachable. Each Cantata Singers concert is often surprising, sometimes
challenging, always beautiful, and ultimately inspiring.
Commissioned Works
Elena Ruehr, Eve, 2014
John Harbison, The Supper at Emmaus, (co-commissioned with Emmanuel Music), 2014
Yehudi Wyner, Give Thanks for All Things, 2010
Andy Vores, Natural Selection, 2009
Lior Navok, Slavery Documents 3: And The Trains Kept Coming..., 2008
Stephen Hartke, Precepts, (co-commissioned with Winsor Music), 2007
John Harbison, But Mary Stood: Sacred Symphonies for Chorus and Instruments, 2006
James Primosch, Matins, (co-commissioned with Winsor Music), 2003
T.J. Anderson, Slavery Documents 2, 2002
Andy Vores, World Wheel, 2000
Andrew Imbrie, Adam, 1994
Donald Sur, Slavery Documents, 1990
Peter Child, Estrella, 1988
John Harbison, The Flight Into Egypt, (winner of 1987 Pulitzer Prize in Music), 1986
DAVID HOOSE, MUSIC DIRECTOR
CLASSROOM CANTATAS
David Hoose is in his thirty-third year as Music Director of Cantata Singers. Through
his musical guidance, the organization has renewed its commitment to the music of
J.S. Bach, deepened its repertoire to embrace music from the 17th century to today,
commissioned fourteen choral-orchestral works, and given numerous premieres of
both of new and of older, unknown works, often programmed in revealing and
engaging contexts.
Mr. Hoose is also Music Director of Collage New Music, and since 1987, has been
Director of Orchestral Activities at the Boston University School of Music, where he is
Professor of Music. For eleven years he was also Music Director of the Tallahassee
Symphony Orchestra.
Mr. Hoose has appeared as guest conductor of the St. Louis Symphony, Utah
Symphony, Chicago Philharmonic, Singapore Symphony, Korean Broadcasting
Symphony, Orchestra Regionale Toscana, Quad Cities Symphony Orchestra, Ann Arbor
Symphony, and the Opera Festival of New Jersey, as well as at the Tanglewood,
Monadnock, Warebrook, and New Hampshire music festivals. He has also conducted the
new music ensembles Dinosaur Annex, Fromm Chamber Players, Auros, and Alea III. In
Boston he has appeared as guest conductor with the Boston Symphony Chamber
Players, Handel & Haydn Society, Back Bay Chorale, Chorus pro Musica, and numerous
times with Emmanuel Music and with Pro Arte Chamber Orchestra.
He has conducted the orchestras of the Manhattan School, Shepherd School at Rice
University, University of Southern California, Eastman School, and several times at New
England Conservatory. From 2006 to 2010, he served on the faculty of the Rose City
International Conducting Workshop, in Portland, Oregon. Many of his former students
now hold significant conducting positions with professional orchestras, universities and
schools of music, and opera companies.
This year, he was honored by the Ballets Russes Arts Initiative for his contributions to
the understanding and appreciation of culture from Eastern Europe, Russia, and the
former USSR, as exemplified by his performances of the music of Jan Dismas Zelenka,
Igor Stravinsky, Dmitri Shostakovich, Alfred Schnittke, Sofia Gubaidulina, and Arvo Pärt.
With Cantata Singers, Mr. Hoose also received the ASCAP/Chorus America Award for
Adventurous Programming and, because of his work with this and other ensembles, was
given both the Choral Arts New England’s 2008 Alfred Nash Patterson Lifetime
Achievement Award, and the 2005 Alice M. Ditson Conductors Award for the
Advancement of American Music. He was recipient of the Dmitri Mitropoulos Award at the
Tanglewood Music Center and, as a founding member of the Emmanuel Wind Quintet,
co-recipient of the Walter W. Naumburg Chamber Music Award. His recording with
Collage New Music of John Harbison’s Motetti di Montale was a Grammy Nominee for
Best Recording with Small Ensemble, and his recordings appear on the New World,
Koch, Nonesuch, Delos, Composers’ Recordings (CRI), GunMar, and Neuma labels.
Mr. Hoose studied composition at the Oberlin Conservatory with Walter
Aschaffenburg and Richard Hoffmann, and at Brandeis University with Arthur Berger and
Harold Shapero. He studied horn with Barry Tuckwell, Joseph Singer, and Richard
Mackey. His conducting studies were with Gustav Meier at the Tanglewood Music Center.
In 1992, Cantata Singers had commissioned and was preparing to perform Donald
Sur’s Slavery Documents. The oratorio’s focus was American slavery, what Mr. Sur
called the “unadressed Achilles heel of United States culture.” Presenting this
performance required unusual effort, since Mr. Sur asked that the work include a chorus
more than twice Cantata Singers’ normal size, as well as one that was racially diverse. In
the midst of the organization’s planning, talking with community leaders, and recruiting
guest choristers, Executive Director Ann Marie Lindquist and others began to see that,
in order for this work to resonate lastingly, the organization must find ways to reach
beyond that Symphony Hall performance. Sur’s impassioned musical look at racial
inequality and discrimination only reminded the organization’s leaders of the crying
need for meaningful arts education in the schools, particularly disadvantaged ones.
Out of this time, Classroom Cantatas emerged. Ms. Lindquist asked composer
Paul Brust, and chorus member and educator Judy Hill Bose to design and develop a
residency program far more challenging to produce than the typical “come, talk, sing,
leave.” It was one that had the potential to guide Boston’s schoolchildren in finding and
harnessing their creative voices. Classroom Cantatas now flourishes in the Boston
public schools and, over its twenty-two years, has touched the lives of thousands of
children.
Classroom Cantatas guides young students in creating their own musical
compositions, “cantatas,” even though most of their schools offer no other music
programs and most of the students have no formal musical training. In residencies that
range from four-week, after-school workshops to eighteen-session, semester-long
classes, students from participating schools work with the Teaching Artists—musicians
from Cantata Singers—to compose and perform original songs about subjects they are
studying in class or about larger cultural and historical issues. Past cantata topics have
included the American Revolution, weather, Mexican culture, immigration, the Civil
Rights Movements, mathematics, poetic devices, and the antebellum religious
treatment of African Americans.
With the Teaching Artists, the students of participating schools explore ways that
music can powerfully communicate words, images and ideas. Together, they choose or
even create texts for their compositions. In small groups, they compose their songs, the
resident artists translating the students’ ideas into standard music notation. The songs
are then assembled into larger cantatas, and each group begins to prepare for
performances of their compositions. The program culminates in a performance with all
the participating schools presenting their work to an enthusiastic audience of teachers,
families and friends. Students graduate from Classroom Cantatas with bound copies
and audio recordings of their compositions. More importantly, they graduate with newly
developed tools for creative and artistic expression.
Over the past twenty-two years of Classroom Cantatas, students have composed
and performed over 300 songs. This music is proof that all children—regardless of
background or circumstance—possess artistic potential, and they simply need the tools
to express their creative voices.
CANTATA SINGERS CONTRIBUTORS
Cantata Singers is delighted to recognize the following donors for their generosity
between July 1, 2014 and June 30, 2015.
Foundation, Corporate, Government
Support
Bloomberg Philanthropies
Boston Cultural Council
Cambridge Trust Company
Choral Arts New England
Clipper Ship Foundation
IBM International Foundation
Melick & Porter, LLP
Massachusetts Cultural Council
Rhoda Ross and Joseph Solomon Fund
of the New Hampshire Charitable
Foundation
Schrafft Charitable Trust
State Street Matching Gift Program
Uno Restaurant Holdings LLC
Maestro’s Circle • $10,000+
Dr. Robert Henry
Charles and Nancy Husbands
David and Susan Rockefeller
Epp K.J. Sonin
Composer Circle • $5,000+
Dr. Loring and Rev. Louise Conant
Carey Erdman and Carl Kraenzel
David Hoose and Amy Lieberman
Margaret Hornady-David and
Donald David
Kathryn and Edward Kravitz
Marcia Nizzari
Conductor Circle • $2,500+
Nick and Margaret Brill
Jim and Annie Feil
Emily Walsh Martin and Gregory Martin
Robert and Janie Powers
Harold I. Pratt
Diane Ricard
David Rockefeller
John Scullin
Mary Beth and Robert Stevens
Chris Swistro
Majie Zeller and David Kravitz
Virtuoso • $1,000+
Anonymous
Tom and Luellen Best
Fay Chandler
David Cooper and
Adelaide MacMurray-Cooper
Peter and Lori Cote
Bonnie Gleason
David and Harriet Griesinger
Elizabeth and Melville Hodder
Laurence and Gloria Lieberman
Ann Marie Lindquist and
Robert Weisskoff
Dr. James Liu and Ms. Alexandra Bowers
Lorraine Lyman
Marjorie Merryman
Allison Voth and Richard Nunes
Seth Rice
Joseph Taylor
Lynn Torgove
Elizabeth H. Wilson
Norma Wyse and Mark Ramseyer
Martha Zeller
Associate • $500+
Gordon and Christa Bennett
David Berman and Margaret Bell
Christopher and Tracy Berns
Paul and Katie Buttenwieser
Farah Lewis and Peter Cipriani
Terry Decima
Kathy Fay and Glenn KnicKrehm
Carola Emrich-Fisher and Colin Fisher
Christina and George Gamota
John and Rose Mary Harbison
Lorna Jane
Bernard E. Kreger, MD
Robert G. Kunzendorf and
Elizabeth A. Ritvo
David and Marguerite Levin
Anil and Rosann Madan
Alan McLellan and Janelle Mills
Chi Nguyen and Ada Vaidya
Dr. Adrian Patterson
Dianne Pettipaw
Jessica Piemonte
Frank and Gail Linzee Reitter
Colette and Spensley Rickert
Richard and Johanna Hill Simpson
Geoffrey Steadman and
Danielle Maddon
Scott and Mary Street
Lloyd and Joyce Torgove
Andrea Wivchar
Patron • $250+
Walter and Beth Chapin
Mrs. Catherine Chvany
Barbara Chvany and Kenneth Silbert
Mark Andrew and Lisa Ann Cleveland
Chris and Janice Cundey
Mike Deignan
Paula Dickerman and David Broido
Charles and Sheila Donahue
Kate Sides Flather
Eugene Gover and Lidia Eidous
John and Gretchen Graef
Philip and Mary Hamilton
Dr. Cyrus Hopkins
Diana and Lee Humphrey
Barbara Imbrie
Henry and Martha Jacoby
Nancy C. Kurtz
Donald and Andrea Lindsay
James and Alice Loehlin
Robert and Gwyneth Loud
Barbara and George Miller
Michele Millon
Virginia Mills
Peter Owens and John Fitzgerald
Sheila Perry
Dwight Porter
John and Suzanne Pratt
Warren Pyle and Lisl Urban
Christine Ryan
Karyl Ryczek and Larry Compiano
Felicity Salmon and Nathaniel Hansen
Diane Sokal and Randolph Meiklejohn
Nathan and Zelda Sokal
James Swanson
Ingodwe Trust
Rosamond B. Vaule
Jonathan and Stephanie Warburg
T. Walley Williams, III
Sponsor • $100+
Anonymous
Christine Ammer
T.J. and Lois Anderson
Dorothy Anderson
Nancy Armstrong and Steve Finch
Kees Bakker and Rebecca Clarke
Edward Balmelli and Michael Horgan
Lois Beattie
Alan Benenfeld
Eric and Myev Bodenhofer
Paulette Bowes
Elaine Bresnick
Dana Brooks and Sandra Cramer
Blair and Carol Brown
Jane Bryden and Christopher Kruger
Richard and Mary Cheever
Robert L. Cochran
Bruce and Susan Creditor
Frank Cunningham and Anne Black
Bill Cutter
Fay Dabney
Alice Daniel
Judith and John Dowling
Roy Farmer
Charles Felsenthal
Jerzy Gajewski
Sarah Gates
Mary Lou Gauvin
Winifred P. Gray
Alice Wick Hall
Joan and Michael Hass
Richard and Doris Held
Marshall and Carol Henrichs
Ellen and Philip Krevsky
Ronald Lacro and Jon Schum
Jerry D. Levine
Elizabeth Linzee
Priscilla Loring
Mary MacDonald
Peter MacDougall
Joseph and Rachel Martin
Harriet McGraw
Kenneth and Peggy McIntosh
David and Dorothy Merrill
Stephen and Mary Lou Miller
William Miniscalco and Sarah Guilford
Mary Morgan and David Wunsch
Mark and Susan Murphy
David Nadworny
Ellen Nestervich and John Maynard
James Olesen and Lynn Nowels
David and Carol Patey
Dr. Joseph L. Pennacchio
William and Lia Poorvu
Bill and Maureen Prapestis
Weldon and Rebecca Pries
Paul and Lynne Rahmeier
Allan and Carolyn Rodgers
Ruth Rosensweig
Nandini and Arjun Roy
Marie Royea
Elena Ruehr and Seward Rutkove
Phyllis and Dennis Sabol
William Slights
Joan Soble and Scott Ketcham
Barbara Sparks
Robert and Toni Strassler
Joshua Taylor
Charles Turner and Nancy Rexford
Anne Watson Born
Elizabeth and Kincade Webb
Susan Colton Weisel
James Winston
Elizabeth Wood
Julia and Sarkis Zerounian
Friend • Up to $100
Anonymous
Andrea K. Agresta
Robert and Jane Alcarez
Anne Andrea
Michael and Lee Behnke
Jane Bestor
Richard and Ruth Butler
Kim Cate
Leo and Joan Collins
Lawrence and Nancy Coolidge
Judith and Richard Corsetti
James and Beverly Davies
Carl and May Daw
Erin Doherty
Beatrice and Tony Edgar
Joan Ellersick and Thomas Berryman, III
Kenneth and Jessica Forton
Robert and Susan Goldberg
Ron and Elizabeth Goodman
Frieda Grayzel
Ruth S. Greenberg
Judith and Samuel Greenblatt
Courtney Greene
Suzanne and Easley Hamner
Anne Hanrahan
Ivan J. Hansen
Jennifer and Marcus Hughes
Jane Jackson
Harsha Kalidindi and Anisha Datla
Michael Kerpan and Patricia Suhrcke
Rudolph Lantelme
Georgia Luikens
Fred MacArthur
Jameson Marvin
Suzanne McAllister and Ralph Engstrom
Renee Meshel
Jeffrey and Mary Mitchell
Jane D. Myers
Hazel O’Donnell
Harry Powers
Larry Pratt
Tracey Robinson
Victor Rosenbaum
JoAnn and Richard Roy
Philip Sbaratta
Paul Schierenbeck
Bob and Alice Schneider
Mary Ann Seymour
Jane Stewart Wilcox
John Strecker
Stewart and Sondra Vandermark
Rosalind Walter
Charles Warren
Carolyn West
Bill and Melissa West
Martin and Phyllis Wilner
Betty and Bill Wolfe
June Johnson-Wolff and
Richard H. Wolff
Randall Wong
Lawrence Yu
George Zeliger
Honorary and Memorial Gifts
In memory of Lawrence P. Chvany and
in honor of Catherine V. Chvany
Barbara Chvany and Kenneth Silbert
In honor of Paula Dickerman and
Jennifer Hughes
Joan and Michael Hass
In memory of Buffy Dunker
Jane D. Myers
In honor of David Hoose
Barbara Imbrie
Jameson Marvin
In honor of Jennifer Ritvo Hughes
Randall Wong
In honor of Jennifer Ritvo Hughes and
Lynn Torgove
Courtney Greene
In honor of Charles Husbands
Richard and Ruth Butler
William Slights
In honor of Nan and Charles Husbands
Carolyn West
Bill and Melissa West
Betty and Bill Wolfe
In honor of Mary and David Jackson
Jane Jackson
In honor of Alan McLellan
Ruth S. Greenberg
In honor of Kynesha Patterson
Dr. Adrian Patterson
In honor of Will Prapestis
Maureen Prapestis
In honor of Gail Reitter
Elizabeth Linzee
In honor of Karyl J. Ryczek
Andrea K. Agresta
Michael Kerpan and Patricia Suhrcke
In memory of Ezra Sims
Richard and Doris Held
In honor of Karl Dan Sorenson
Mark Andrew and
Lisa Ann Cleveland
In memory of John W. Sparks
Barbara Sparks
In honor of Mary Beth Stevens
Dorothy Anderson
Kim Cate
Judith and Richard Corsetti
Bob and Alice Schneider
In honor of Mary Beth and
Robert Stevens
Robert and Susan Goldberg
In memory of Donald Sur
Michele Millon
In honor of Lynn Torgove
Judith and Samuel Greenblatt
In honor of Jennifer Webb
Elizabeth and Kincade Webb
In memory of Mary Ellen and
Martin Wohl
Dr. Loring and Rev. Louise Conant
In honor of Sara Wyse-Wenger
Weldon and Rebecca Pries
Norma Wyse and Mark Ramseyer
In honor of Majie Zeller and David Kravitz
Allison Voth
Special Acknowledgements
Cantata Singers is grateful to those who have provided their time, energy and expertise:
Frank Cunningham, Recording Engineer
James Luo, Concert Photographer
Al Anzola, Shira Bleicher, Adam Hug, and Claire Kinton, Concert Volunteers
Luellen Best, Chorus Personnel Manager
Stefán Sigurjónsson, Rehearsal Snack Coordinator
Charles Turner, Stage Manager
Jennifer Webb, Chorus Librarian
Nancy Kurtz, Chorus Notes Editor
Gloria and Larry Lieberman, Board Meeting Hosts
Dwight Porter, Technology and Website Development
We gratefully acknowledge our funders and partners
for the 2015-16 season:
Peggy Pearson, Artistic Director
C HA M B E R SE R I E S I I
La Fenice
2015 -s1o6n
Sea
15 16
Monday, November 23, 2015 at 7pm
St. Paul’s Church, Brookline
u Haydn:
Quartet in G major, Op. 54, No. 1
each to each impart
u Schuller:
Sonata for Oboe and Piano
u Fauré:
Piano Quartet in C minor, Op. 15
The Bach Institute
C HA M B E R SE R I E S I I I
C HA M B E R SE R I E S I V
January 24, 2016 at 7:00 pm
(Snow Date, Jan. 25)
Emmanuel Church, Boston
Apple Hill Quartet
April 24, 2016 at 7:00 pm
St. Paul’s Church, Brookline
Young Artist: George Li, piano
May 24, 2016 at 7:00 pm
St. Paul’s Church, Brookline
winsormusic.org
Saturday, November 7, 2015, 8 PM
Steven Stucky Partita Pastorale After J.S.B.
Sunday, November 8, 2015, 4 PM
Witold Lutoslawski Partita for violin & piano
First Church in Boston
Maria Lambros, cello; Catherine Cho, violin; Diane
Walsh, piano; Peggy Pearson, oboe; Marcy Rosen, cello
u
Felix Mendelssohn Sonata No. 2 in D Major for cello & piano
Goethe-Institut, Boston
Heitor Villa-Lobos Bachianas Brasileiras No. 6 for flute & bassoon
Wolfgang Amadeus Mozart Piano Quartet No. 2 in E-Flat Major
The Brandenburgs
J.S. Bach The Complete Brandenburg Concertos, BWV 1046-1051
Saturday, December 5, 2015, 8 PM
Sunday, December 6, 2015, 4 PM
First Church in Boston
“an all-star lineup of chamber musicians”- The Boston Globe
“a spectacular, shattering rendition” - The Arts Fuse
www.chameleonarts.org • 617-427-8200
781-863-2861
JORDAN HALL
AT NEW ENGLAND
CONSERVATORY
G I L R O S E , A RT I S T I C D I R EC TO R
OCT 18
Resilient Voices: 1915-2015
sun 3pm In collaboration with Friends of Armenian Culture Society
Komitas/Aslamazyan | Hovhaness | Shostakovich | Mansurian
NOV 22
Gunther Schuller Memorial Concert
sun 3pm In collaboration with Odyssey Opera
Journey Into Jazz and The Fisherman and His Wife
JAN 22
The New Brandenburgs
fri 8pm Kernis | Wagner | Davies | Theofanidis | Hartke | Moravec
MAR 25
Child Alice
fri 8pm David Del Tredici: Child Alice (complete)
BOSTON MODERN ORCHESTRA PROJECT | 781.324.0396 | BMOP.org
BRIDDES WORLD
Adams, McKinley, 13-16c. English Song
Novemer 7, 8p | 808 Gallery, BU
November 8, 3p | Marsh Chapel, BU
First Church (Congregational)
OF SUCH VIRTUE
11 Garden Street, Cambridge
A world premiere by Richard J. Clark and
works of Gerald Finzi, Carson Cooman,
James Woodman, and others give voice to
poetry by George Herbert, John Donne,
and Hildegard of Bingen.
St. Cecilia Parish
18 Belvidere Street, Boston
Beth Willer, Artistic Director
with HEINRICH CHRISTENSEN, organ
LOVE FAIL
First Church (Congregational)
David Lang
January 10, 1:30p | Isabella Stewart
Gardner Museum
11 Garden Street, Cambridge
A trio of twentieth century compositions—
Distler's Totentanz, Pizzetti's Requiem, and
Fissinger's Lux aeterna—meditate on human
frailty in the face of mortality and the hope
for eternal rest.
St. Paul’s Episcopal Church
15 St. Paul Street, Brookline
with TIMOTHY MACRI, flute
MASQUED
Boston Percussion Group
Reiko Yamada
May 13 & 14, 8p | venue TBD
Trinity Episcopal Church
81 Elm Street, Concord
Reflections on the splendor of this fragile
earth, with works by Johannes Brahms, Petr
Eben, Patricia Van Ness, Abbie Betinis,
Gwyneth Walker, and a commissioned
work from Polina Nazaykinskaya.
Takach, Christian, Simon, Selden Carol Book
December 18, 8p | Marsh Chapel, BU
December 19, 8p | Marsh Chapel, BU
Mission Church
1545 Tremont Street, Boston
Tickets available at
www.LoreleiEnsemble.com
lorelei.ensemble@gmail.com
Featuring world premiere compositions
from classical contemporary and jazz to
singer song-writing and the avant-garde.
November 12, 2015: Club Night David Wells Roth, Painter Sarah Bob, Director February 4, 2016: Dark Landscapes www.newgalleryconcertseries.org Deb Todd Wheeler, Multi-­‐Media Artist Jeffrey Means, Photographer New Music. New Art. Come Celebrate the Now! Night Reflections by David Wells Roth May 12, 2016: Blend Thursdays at 7pm Community Music Center of Boston 34 Warren Avenue in Boston's South End “Every one of your concerts reminds
us what music and art is supposed
to be about.”
OCTOBER 23, 2015 AT NEC’S JORDAN HALL
A one-night-only performance
of Vivaldi’s only surviving
oratorio featuring the Boston
debut of Daniela Mack and
favorites Amanda Forsythe
and Leah Wool.
DANIELA
MACK
mezzo-soprano
(Juditha)
LEAH
WOOL
mezzo-soprano
(Holofernes)
AMANDA
FORSYTHE
soprano
(Vagaus)
SONJA DUTOIT
TENGBLAD
soprano
(Abra and Ozias)
SINGLE TICKETS FROM $30! BUY TODAY: CALL 617.987.8600 OR VISIT
BOSTONBAROQUE.ORG
Scott Metcalfe Music Director
17 th SeaSon openS october 17
Ockeghem@600 (Concert 3): Missa L’homme armé
8:00 pm, Saturday, October 17, 2015
First Church in Cambridge, Congregational, 11 Garden St.
(617) 960-7956 • www.blueheronchoir.org
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Greater Boston Choral Consortium
www.bostonsings.org
Visit our website for a
complete Concert
Calendar, Chorus
directory, and links for
all our member groups
A Cappella Singers, www.theacappellasingers.org
Andover Choral Society, www.andoverchoral.org
Arlington-Belmont Chorale, www.psarlington.org
Back Bay Chorale, www.bbcboston.org
Belmont Open Sings, www.powersmusic.org
The Boston Cecilia, www.bostoncecilia.org
Boston Choral Ensemble, www.BostonChoral.org
Boston City Singers, bostoncitysingers.org
Boston Gay Men's Chorus, www.bgmc.org
Boston Saengerfest Men's Chorus,
www.saengerfest.org
Braintree Choral Society, www.braintreesings.org
Broadmoor Chamber Singers,
www.broadmoorsingers.org
Brookline A Cappella, www.brooklineacappella.com
Calliope; www.calliopemusic.org
Cambridge Chamber Singers,
www.cambridgechambersingers.org.
Cambridge Community Chorus, www.cccchorus.org
Cantata Singers, www.cantatasingers.org
Cantemus Chamber Chorus, www.cantemus.org.
Cantilena, www.cantilena.org
Cappella Clausura, www.clausura.org
Capriccio Chorus, riversschoolconservatory.org
Choral Art Society of the South Shore,
www.choralartsociety.org
Chorus Boston, www.chorusboston.org
Chorus pro Musica, www.choruspromusica.org
Concord Chorus, www.concordchorus.org
Concord Women's Chorus,
www.concordwomenschorus.org
Convivium Musicum, www.convivium.org
Coolidge Corner Community Chorus,
www.cccchorus.org
Coro Allegro, www.coroallegro.org
Coro Dante groups.yahoo.com/groups/Coro-Dante/
Dedham Choral Society: www.dedhamchoral.org
Fine Arts Chorale, www.fineartschorale.org
Golden Tones, www.goldentones.org
Greater Boston Intergenerational Chorus,
www.bostonchorus.net
Halalisa Singers, www.halalisa.org
Handel and Haydn Society,
www.handelandhaydn.org
Harvard Pro Musica, www.harvardpromusica.org
Harvard-Radcliffe Choral Groups
www.fas.harvard.edu/~holchoir/
Heritage Chorale, www.heritagechorale.org
Highland Glee Club, www.highlandgleeclub.com
In Choro Novo, www.inchoronovo.com
King's Chapel Concert Series, www.kings-chapel.org
Koleinu, www.koleinu.org
Labyrinth Choir, www.labyrinthchoir.org
Lexington Pops Chorus,
www.LexingtonPopsChorus.org
The Master Singers of Lexington,
www.themastersingers.org
Masterworks Chorale www.masterworkschorale.org
Metropolitan Chorale www.metropolitanchorale.org
MIT Women's Chorale,
web.mit.edu/womensleague/womenschorale
Musica Sacra, www.musicasacra.org
The Mystic Chorale www.mysticchorale.org
Nashoba Valley Chorale, www.nashobachorale.org
Neponset Choral Society, www.ncschorus.org.
New England Classical Singers,
www.newenglandclassical.org
New School of Music (Cambridge),
newschoolofmusic.org/ensembles/choir-ensembles/
New World Chorale, www.newworldchorale.org
Newton Choral Society www.newtonchoral.org
Newton Community Chorus,
www.newtoncommunictychorus.org
The Newton Singers, newtonsingers.org
The Oriana Consort, orianaconsort.org
The Orpheus Singers www.orpheussingers.org
Paul Madore Chorale, www.paulmadorechorale.org
Pilgrim Festival Chorus, pilgrimfestivalchorus.org
Polymnia Choral Society, www.polymnia.org
Quincy Choral Society, www.quincychoral.org
Reading Community Singers,
www.readingcommunitysingers.org
St. Paul Choir School: www.bostonboychoir.org
Schola Amicorum jwsrjwsr@yahoo.com
Seraphim Singers, www.seraphimsingers.org
Sharing A New Song, www.sharinganewsong.org
SingPositive www.singpositive.org
Somerville Community Chorus,
www.somervillechorus.com.
The Spectrum Singers, www.spectrumsingers.org
Stämbandet- The Scandinavian Vocal Ensemble,
www.stämbandet.org
Sounds of Stow Chorus and Orchestra,
www.soundsofstow.com
Treble Chorus of New England,
www.treblechorusne.org
Tremble Clefs, nmazonson@jfcsboston.org
Voices of MetroWest www.VoicesofMetroWest.com
Voices Rising, www.voicesrising.org
Wakefield Choral Society,
www.wakefieldchoralsociety.org
Wellesley Choral Society,
www.WellesleyChoralSociety.org
Youth pro Musica, www.youthpromusica.org
Zamir Chorale of Boston, www.zamir.org
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