Karen P. Thomas, Artistic Director and Conduc-tor of Seattle Pro Musica, has conducted at international festivals in Europe and North America, including the Berkshire Choral Festival and the Bergen International Festival. She has lectured for Chorus America, the American Guild of Organists, the American Choral Director’s Association, and the Seattle Symphony, and has received awards from the NEA, American Academy and Institute of Arts and Letters, and ASCAP among others. She was awarded the 2015

Dale Warland Singers Commission Award from Chorus America and the American Composers Forum. Named the Washington State “Outstanding Choral Director” for 2012, she has been lauded for her “charismatic...magnetic podium presence.”

A prize-winning composer, her numerous commissions include works for the Grand Jubilee in Rome, the American Guild of Organists, and the Association of Anglican Musicians. Her compositions are regularly performed internationally by groups such as The Hilliard Ensemble and have been praised as “superb work of the utmost sensitivity and beauty.” She currently serves on the Seattle Music Commission and on the boards of Chorus America, the American Choral Directors Association (NW Region), and the Greater Seattle Choral Consortium.

a b o u t s e a t t l e p r o m u s i c a

Seattle Pro Musica is a critically acclaimed choral organization whose mission is to enrich and inspire our audiences, singers, and community through the experience of choral artistry, and to increase access to and appreciation of choral music. Though our membership comes from all walks of life and spans generations, we are united by our desire to make beautiful music together for ourselves and our audiences.

Seattle Pro Musica is comprised of four performing ensembles: the 80-voice Seattle Pro Musica choir; Vox, the mixed-voices chamber ensemble; Chroma, the select SSAA ensemble; and Orpheon, the select TTBB ensemble. Recipient of the Margaret Hillis Award for Choral Excellence and the ASCAP/Chorus America Award for Adventurous Programming, Seattle Pro Musica is ranked by American Record Guide as “among America’s very best choirs.”

Under the baton of Artistic Director and Conductor Karen P. Thomas, Seattle Pro Musica has received international acclaim for its CD recordings and live performances. Choir and Organ writes: “Seattle Pro Musica presents a cappella singing at its best.” Fanfare Record says: “This is truly an extraordinary choir.” Seattle Pro Musica has appeared by invitation for numerous international and national festivals, and has performed with Jane Eaglen, Andrea Bocelli, Josh Groban, Pacific MusicWorks, and Seattle Symphony. In 2014, members of Seattle Pro Musica appeared on the GRAMMY Award-winning album Winds of Samsara.

Seattle Pro Musicasopr aNo i

Stephanie GrayAnnie HudsonHeidi Kim *+Teresa NemethJoy PortellaKatie Skovholt *+Jenny Spence *+Jennylynn Vidas *

sopr aNo ii

Emory AndersonLillian BalmforthTess BrandonMarilyn Colyar *+Jonna FarleyErin Gabriel *Fiona HatfieldElaine Lee Paoliello Jenn NewlandAda Ng *+Christa PhillipsonCatherine RobertsJan Strand *+Judy Williams

alto i

Deborah ForrestAllison Freel *Amy Godwin *Emily JordanLiz LangelandTeena Littleton *+Rose Morrison +Sarah Ruuska *+Marit TrelstadJanelle Walhout

alto ii

Shirley BeresfordJacque Deerr-Lord *+Mara Forster SmithKaren ManemanLiz Reed Hawk *+Elizabeth Sanders *+Katy Sarff +Karen SegarAnna ThelenHannah Won +

teNor i

Chris BurchJacob Buys *^David Horton *^Jim Howeth *^Will Myers ^

teNor ii

Ben Flynn Grégoire Lurton ^Michael MendelowJonathan SiehlDanny Szydlo *^Fred Williams

bass i

Jim Bartscher *^Peter HemmenRick Johnson *^Wes Kim *^Glenn NielsenJosh Smith

bass ii

Mike Engh *^Daniel FroehlichPeter Lifland *^Thomas LinLee Maneman *^Jon Repp *^Chris Rule *^

Staff MembersKaren P. Thomas, Artistic Director & ConductorKatie Skovholt, Executive DirectorWill Myers, Administrative AssistantDwight Beckmeyer, AccompanistHeidi Kim and Kevin Kralman, Section Leaders

Board of Directors

Joy Portella, PresidentWes Kim, Vice PresidentJosh Smith, Treasurer Katy Sarff, Corporate Secretary Beth AlleyJeannine BlackAnne ClamoungouRick JohnsonLaura Patton-BallardMary RedmanHannah Won

Advisory Board

Dean ArnoldKeith AxelsenMona DworkinSam DworkinMike EvansPhil HaasNoreen KingTeena LittletonTerri LordsJohn SchillingDale Whitehead

*Vox+Chroma^Orpheon

Acknowledgments

Jennifer Newland, Stage Manager Gail Broder, Hebrew diction coaching Jacob Buys, Afrikaans diction coaching Joseph Crnko, Music Director, Northwest Choirs

Soloists

As water ascends to a cloud – Jenny Spence, soprano

Chichester Psalms – Jennylynn Vidas, soprano; Liz Reed Hawk, alto;

Jacob Buys, tenor; Lee Maneman, bass

Ubi caritas ...................................................................................................................................................................... Ola Gjeilo (Norway, b. 1978)Lux aeterna ................................................................................................................................................................ Brian A. Schmidt (US, b. 1980)

Laudate pueri, Dominum (world premiere) ...................................................................................Levente Gyöngyösi (Hungary, b. 1975)Litanies à la Vierge Noire .......................................................................................................................... Francis Poulenc (France, 1899-1963) Joseph Adam, organ

Offertorium ....................................................................................................................................................James MacMillan (Scotland, b. 1959)

Die Onse Vader .................................................................................................................................................Zander Fick (South Africa, b. 1991)Peace, I leave with you........................................................................................................................................... Dominick DiOrio (US, b. 1984) Os justi ............................................................................................................................................................ Anton Bruckner (Austria, 1824-1896)O Lord, increase my faith ....................................................................................................................Bern H. Herbolsheimer (US, 1948-2016)As water ascends to a cloud ............................................................................................................................................................. HerbolsheimerDeep River ...........................................................................................................................................................Karen P. Thomas, arr. (US, b. 1957)

Cantos Sagrados .............................................................................................................................................................................................. MacMillan Identity Virgin of Guadalupe Sun Stone Joseph Adam, organ

Meditation ....................................................................................................................................................................................................... MacMillan

Chichester Psalms ..........................................................................................................................................Leonard Bernstein (US, 1918-1990) I. Psalm 108:2; Psalm 100 II. Psalm 23; Psalm 2 : 1-4 III. Psalm 131; Psalm 133 : 1

Alex Zuniga, alto solo

Joseph Adam, organ John Carrington, harp Bonnie Whiting, percussion

S e AT T l e P r o M u S i c AK A R E N P. T H O M A S , C O N D U C T O R

W I T H J O S E P H A D A M , O R G A N

Seattle Pro Musica is a resident ensemble of St. James Cathedral.

These performances are supported in part by ArtsFund, 4Culture, Classical KING FM 98.1, and the City of Seattle, Office of Arts & Cultural Affairs.

Please turn off all cell phones and electronic devices. No photography during performances. Thank you. Restrooms including are located off the north vestibule. The performers will be happy to meet with guests in the chapel following the performance.

chichester psalms

SE AT T LE PR O MUSI C A

VOX

i N T e r M i S S i o N

CH R O M A

O R PH EO N

Pr o G r A M

February 25 & 26, 2017

The performers kindly ask that you kindly hold your applause until the end of each half of the program.

SE AT T LE PR O MUSI C A

“Behold how good, and how pleasant it is, for brethren to dwell together in unity.”

This closing sentence from Leonard Bernstein’s beloved Chichester Psalms perfectly encapsulates the theme for these concerts—our desire for people of all nations and faiths to live in peace and understanding. The psalm texts which Bernstein chose to set run the gamut from praise to humility, and from comfort in adversity to the recognition that nations continue to fight useless wars. With this important work as the focal point, I chose music for the rest of the program to further explore the ideas in these texts. The works on the first half of the concert all center around peace (Deep River and Peace, I leave with you), comfort (Ubi caritas, Lux aeterna, Litanies à la Vierge Noire), and praise (Laudate pueri, Dominum and Os justi).

On the second half of the concert, just preceding Chichester Psalms, is James MacMillan’s deeply moving Cantos Sagrados, which centers on the theme of liberation – expressing the desire of humankind to seek social justice. The riveting texts for Cantos Sagrados are drawn from Latin American liberation theology poetry, addressing contemporary issues of political repression and the disappearances of politi-cal prisoners in Latin America, as well as the historical genocide of indigenous peoples. We conclude the concert with Bernstein’s Chiches-ter Psalms, which speaks so eloquently of humanity’s capacity for compassion and tolerance.

Sincerely,

Karen P. ThomasArtistic Director and Conductor

Program notes, texts, and translations

2

A message from conductor Karen P. Thomas

The music of Norwegian composer and pianist ola Gjeilo has been performed and recorded around the world in venues such as New York’s Carnegie Hall and the Copenhagen and Oslo Opera Houses. Of his Ubi caritas, the composer writes:

“The first time I sung in a choir was in high school; I went to a music high school in Norway and choir was obligatory. I loved it from the very first rehearsal, and the first piece we read through was Maurice Duruflé’s Ubi Caritas. It will always be one of my favorite choral works of all time; to me, it’s the perfect a cappella piece. So when I set the same text myself a few years later, it was inevitable that the Duruflé would influence it, and it did. While Duruflé used an existing, traditional chant in his piece, I used chant more as a general inspiration, while also echoing the form and dynamic range of his incomparable setting of the text.”

ubi caritas

Ubi caritas et amor, Deus ibi est.Congregavit nos in unum Christi amor.Exultemus, et in ipso jucundemur.Timeamus, et amemus Deum vivum.Et ex corde diligamus nos sincero.

Brian A. Schmidt is a composer and choral conductor working at Duke University, and is also the Artistic Director of the professional South Dakota Chorale. The composer writes:

“Lux aeterna was dedicated to my grandmother…who was heavily responsible for my career in music. You see, I was a farm kid and an athlete, but music played a huge role in our family life. My dad is a great singer, but I’m the first person on any of my family trees to pursue a career in music. Grandma Margaret encouraged my piano lessons when I was young and bought me a piano (electric) for my dorm when I decided to take a music class as an elective in college—I was an agronomy major who planned on working as a plant scientist and farming with my dad. Grandma Margaret seemed to always know what I needed to keep the musical spark alive. Interestingly enough, she passed away before the piece was ever performed. I wrote it one evening when she had a nasty spell and was in the hospital. She didn’t pass away that night, but I think we knew it might be soon. I wrote the piece in one sitting and haven’t really altered anything, except for making the TTBB arrangement. It’s a little love song to her for pushing me into music.”

Where charity and love are, God is there.Christ’s love has gathered us into one.Let us rejoice and be pleased in Him.Let us fear, and let us love the living God.And may we love each other with a sincere heart.

lux aeterna

Lux aeterna luceat eis, Domine,cum sanctis tuis in aeternum,quia pius es.Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

levente Gyöngyösi is a Romanian-born composer who moved to Hungary as a teenager. He studied at the Bartók Conservatory and the Liszt Academy. Laudate pueri, Dominum was commissioned by Seattle Pro Musica along with ten other women’s choirs from around the US. We are excited to premiere this piece in these concerts.

laudate pueri, Dominum

Laudate pueri, Dominum; laudate nomen Domini.Sit nomen Domini benedictum ex hoc nunc et usque in saeculum.A solis ortu usque ad occasum laudabile nomen Domini.Excelsus super omnes gentes Dominus, et super caelos gloria ejus.Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in caelo et in terra?Suscitans a terra inopem, et de stercore erigens pauperem:ut collocet eum cum principibus, cum principibus populi sui.Qui habitare facit sterilem in domo, matrem filiorum laetantem.Alleluia.

Francis Poulenc was the youngest member of the group of Parisian composers known as Les Six who came to prominence in the 1920s. Early in his career, Poulenc was primarily known as a hedonistic and cheeky bon vivant whose music (primarily for piano and voice) was terse, acerbic, easily accessible, and sometimes frivolous. A profound change in outlook took hold of Poulenc in 1936 with the tragic death of his close friend and fellow composer Pierre-Octave Ferroud. Poulenc later said, “The horrible snuffing-out of this musician so full of vitality had absolutely stupefied me. Ruminating on the frailty of our human condition, I was once again attracted to the spiritual life...You now know the true source of inspiration for my religious works.” Immediately following Ferroud’s death, Poulenc made a pilgrimage to the shrine of the Black Virgin at Rocamadour, in the mountainous area of southern France from which his father’s family originated. He experienced a re-awakening of his Catholic faith and responded by composing his first sacred work, the Litanies à la Vierge Noire. From this point on, choral music (and especially sacred choral music) formed a central part of his compositional output. In fact, Poulenc remarked on his body of work shortly before his death, “I think I’ve put the best and most genuine part of myself into my choral music. If anyone is still interested in my music in fifty years’ time, it will be for my choral rather than my piano music.”

litanies à la Vierge Noire

Seigneur, ayez pitié de nous. Lord, have pity on us.Jésus-Christ, ayez pitié de nous. Jesus Christ, have pity on us.Jésus-Christ, écoutez-nous. Jesus Christ, hear us.Jésus-Christ, exaucez-nous. Jesus Christ, grant our prayers.

Dieu le père, créateur, ayez pitié de nous. God the Father, creator, have pity on us.Dieu le fils, rédempteur, ayez pitié de nous. God the Son, redeemer, have pity on us.Dieu le Saint-Esprit, sanctificateur, ayez pitié de nous. God the Holy Spirit, sanctifier, have pity on us.Trinité Sainte, qui êtes un seul Dieu, ayez pitié de nous. Holy Trinity, who are one single God, have pity on us.

Sainte Vierge Marie, priez pour nous. Holy Virgin Mary, pray for us.Vierge, reine et patronne, priez pour nous. Virgin, queen and patron, pray for us.Vierge que Zachée le publicain nous a fait connaître et aimer, Virgin, whom Zacchaeus the tax-collector made us know and love,Vierge à qui Zachée ou Saint Amadour éleva ce sanctuaire, Virgin, to whom Zacchaeus or Saint Amadour raised this sanctuary,Priez pour nous, priez pour nous. Pray for us, pray for us.

3

Let perpetual light shine upon them, O Lord, with your saints forever, for you are merciful. Grant them eternal rest, O Lord, and let perpetual light shine upon them.

Praise, ye servants, praise the Lord, praise the name of the Lord.Let the name of the Lord be praised from now on forever.From the rising of the sun to its setting, the name of the Lord is to be praised.The Lord is exalted above all people, and his glory above the heavens.Who is like the Lord our God, who lives on high,and who looks down on the heavens and the earth,Lifting the needy from the ground, and raising up the poor from the dungheap:that they may be seated with princes,with the princes of his people.who made the barren woman to live at home,a joyful mother of children.Alleluia.

Reine du sanctuaire, que consacra Saint Martial, Queen of the sanctuary, which Saint Martial consecrated,Et où il célébra ses saints mystères, And where he celebrated his holy mysteries,Reine, près de laquelle s’agenouilla Saint Louis Queen, before whom knelt Saint LouisVous demandant le bonheur de la France, Asking of you good fortune for France,Priez pour nous, priez pour nous. Pray for us, pray for us. Reine, à qui Roland consacra son épée, priez pour nous. Queen, to whom Roland consecrated his sword, pray for us.Reine, dont la bannière gagna les batailles, priez pour nous. Queen, whose banner won the battles, pray for us.Reine, dont la main délivrait les captifs, priez pour nous. Queen, whose hand delivered the captives, pray for us. Notre-Dame, dont le pélerinage est enrichi de faveurs spécials, Our Lady, whose pilgrimage is enriched by special favours,Notre-Dame, que l’impiété et la haine ont voulu souvient détruire, Our Lady, whom impiety and hate have often wished to destroy,Notre-Dame, que les peuples visitent comme autrefois, Our Lady, whom the peoples visit as of old,Priez pour nous, priez pour nous. Pray for us, pray for us. Agneau de Dieu, qui effacez les péchés du monde, pardonnez-nous. Lamb of God, who wipes out the sins of the world, pardon us.Agneau de Dieu, qui effacez les péchés du monde, exaucez-nous. Lamb of God, who wipes out the sins of the world, grant our prayers.Agneau de Dieu, qui effacez les péchés du monde, ayez pitié de nous. Lamb of God, who wipes out the sins of the world, have pity on us.Notre-Dame, priez pour nous, Our Lady, pray for us,Afin que nous soyons dignes de Jésus-Christ. To the end that we may be worthy of Jesus Christ.

Zander Fick started playing the violin at age five, and became a choral singer at age ten. Fick has written 113 a cappella choral arrange-ments for various universities and ensembles, and is a member of the Horizons Project Choir in Pretoria, South Africa, which specializes in the performance of new music by young South African composers.

Die onse Vader

Ons Vader wat woon in die hemel,geheilig sy U naam.Laat U ryk kom,U wil geskiedsoos in die hemel so ook op die aarde.Gee ons vandag ons daaglikse brooden vergeef ons al ons skulde,net soos ons vergewe die wat teen ons sondig.Laat kom ons nie in die versoeking, maar verlos ons van die bose.Van U is die ryk en die sterkte en die ere, vir ewig en ewig, amen.

The music of young American composer Dominick Diorio has been called “a tour de force of inventive thinking and unique colour” (Gramophone). DiOrio’s music is widely performed and published, and he serves as Treasurer for the National Collegiate Choral Organiza-tion and as a member of the Board of Directors for Chorus America. Peace, I leave with you was originally written as part of a summer retreat at the Norfolk Music Festival and was premiered in 2007 by the Harvard Choral Fellows.

Peace, i leave with you

Peace, I leave with you; my peace I give you. I do not give to you as the world gives. Do not let your hearts be troubled and do not be afraid.

Anton Bruckner was born in Ansfelden where his father was schoolmaster and the church organist. Bruckner’s initial studies followed those of his father; as a boy, he attended the church school at St. Florian as a chorister where he studied organ, piano, and music theory. He later became a cathedral organist and closely studied the music of Renaissance Italian polyphonic masters like Palestrina, and German Baroque composers, especially J.S. Bach. The text of Os justi comes from Psalm 37: 30-31.

4

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 trespassesas we forgive them that trespass against us.And lead us not into temptationbut deliver us from evil.For Thine is the kingdom, the power, and the gloryfor ever and ever, amen.

os justi

Os justi meditabitur sapientiam, The mouth of the righteous utters wisdom,et lingua ejus loquetur judicium. and his tongue speaks what is just.Lex Dei ejus in corde ipsius: The law of his God is in his heart;et non supplantabuntur gressus ejus. Alleluia. and his feet do not falter. Alleluia.

Bern Herbolsheimer received recognition throughout the United States and Europe for over 500 works ranging from ballet to sym-phonic, operatic, chamber, and choral works. His numerous major commissions and premieres included ballets for the Frankfurt Ballet, the Atlanta Ballet, the Pacific Northwest Ballet, and the Eugene Ballet. His vocal and choral works have been performed in Portugal, Spain, Germany, France, Italy, Australia, South America, Canada, Norway, Russia, Hungary, Japan, and throughout the United States. According to Seattle Weekly, who named him as Best (Classical) Composer in 2005, “no Seattle composer has a more assured and polished craft than Herbolsheimer. His choral writing—and there’s a lot of it—is luminous and subtle.” A frequent award winner, Herbolsheimer was Seattle Artist-in-Residence, Washington State Composer of the Year, and winner of numerous awards and commissions. His works appear on dozens of CDs. As a pianist, Herbolsheimer accompanied at the Bergen International Music Festival, the Schloss Elmau Festival, and on concert series in the US, Asia, and Europe.

In the early 1980s, Archbishop Hunthausen commissioned Herbolsheimer to compose a Mass for Peace that would be sung throughout the Archdiocese of Seattle. Herbolsheimer began by composing a beautiful, intense setting of the ancient prayer from the Anglican tradition, O Lord, increase my faith. He felt strongly that this prayer was the way to achieve peace. The short composition held all of the musical elements he went on to use in the much larger and complete St. James Mass for Peace—the tritone in the tenor part, the melodic gestures, and the harmony would all be used to unify the Mass. O Lord, increase my faith became for him the musical source of his own prayer for peace.

o lord, increase my faith (from the St. James Mass for Peace)

O Lord, increase my faith, and strengthen me and confirm me in Thy true faith;Endue me with wisdom, charity and patience in all my adversities.Sweet Jesus, say Amen.

As water ascends to a cloud was commissioned by the Seattle choral ensemble Opus 7 for a concert that featured music from the three great monotheistic faith traditions: Christianity, Islam, and Judaism. Herbolsheimer’s radiant musical language perfectly captures the transcendent nature of Rumi’s poem, which describes the ascent of the individual to God through the Beloved, the ever upward-reaching voice of the soprano soloist continually striving to break free of the more staid, earthbound choral part. The translation of Rumi’s poem is by Herbolsheimer himself.

As water ascends to a cloud

May your love lift me beyond the sky,And from these two worlds, may my soul rise.May the sun of your love touch my rain,That I may ascend with you, like a cloud.

Karen P. Thomas (see bio on inside front cover) arranged Deep River for Seattle Pro Musica in 1996, in honor of former Board Presidents and long-time Pro Musica members Sam and Mona Dworkin.

Deep river

Deep river, my home is over Jordan.Deep river, Lord, I want to cross over into campground.Oh, don’t you want to go to that gospel feast,that promised land where all is peace?Oh, deep river, Lord,I want to cross over into campground.

5

Seattle Pro Musica’s performances of O Lord, increase my faith and As water ascends to a cloud are part of the Herbolsheimer Festival 2017, a year-long celebration of the musical legacy of the late composer Bern Herbolsheimer. Many regional and national choruses and instrumental ensembles are presenting concerts featuring his compositions as part of their 2016-17 season. For a complete list of the participating groups and events, please visit www.bernherbolsheimer.com.

Scottish composer James MacMillan says this about Cantos Sagrados:“In writing this work, I wanted to compose something which was both timeless and contemporary…the three poems are con-cerned with political repression in Latin America and are deliberately coupled with traditional religious texts to emphasize a deeper solidarity with the poor of that sub-continent. It was my interest in Liberation Theology which made me combine the poems of the Mothers of the Plaza de Mayo in Argentina with the texts of the Latin mass in Búsqueda (an earlier music-theater work) and has now led me to attempt a similar synthesis of ideas in Cantos Sagrados. The voices in Ariel Dorfman’s poems belong to those who suffer a particular type of political repression: the ‘disappearance’ of political prisoners. And María Mendoza’s poem about the Virgin of Guadalupe tackles the same problem by asking a more fundamental cultural and historical question.”

The poet Ariel Dorfman’s website provides this background on his poetry:“In the world of these poems, men and women can be forced to choose between leaving their country or dying for it. The living risk losing everything, but what they hold on to—love, faith, hope, truth—might change the world… (These) poems bear witness to the resilience of the human spirit in the face of personal and social damage in the aftermath of terror.”

Cantos Sagrados was commissioned by the Scottish Chamber Choir and was premiered in 1990. MacMillan’s strongly held religious and political beliefs coupled with social concerns inform both the spirit and subject matter of his music. Deeply impressed by Latin American liberation theology, he has explored ways in which a Roman Catholic faith and socialist sympathies could be united in music, using a directly expressive style.

cantos Sagrados

i - identity What did you say—they found another one?—I can’t hear you—this morninganother one floating in the river?talk louder—so you didn’t even dareno one can identify him?the police said not even his mothernot even the mother who bore himnot even she could – they said that?the other women already tried—I can’t understand what you’re saying,they turned him over and looked at his face, his hands they looked at,right,they’re all waiting together,

Libera animas omnium fidelium defunctorumde poenis inferni, et de profundo lacu: Libera eas de ore leonis ne absorbeat eas tartarus, ne cadant in obscuram.

ii - Virgin of GuadalupeSweet Virgin of Guadalupe,oh virgin of the gentle eyes,dark-eyed virgin, good Lady, my love,painted by God’s own handon the cloak of the Indian Juan Diego,Sweet virgin, my love,who commanded the bishopto build you a shrine,where my brothers the Indians livedin Tapeyepac in Mexico,outside the city.Flogged and burnedwere these poor little ones,

6

I N T E R M I S S I O N

Deliver the souls of all the faithful departed fromthe pains of hell and from the depths of the pit:deliver them from the lion’s mouth, that helldevour them not, that they fall not into darkness.

silent, in mourning, on the riverbank,they took him out of the waterhe’s naked as the day he was born,there’s a police captain and they won’t leave until I get there?He doesn’t belong to anybody, you say he doesn’t belong to anybody?if the captain’s the same one as last time he knows what will happenthat body will have my name - my son’s my husband’s my father’s nameI’ll sign the papers tell them, tell them I’m on my way,wait for me and don’t let that captain touch himdon’t let that captain take one step closer to him.Tell them not to worry: I can bury my own dead. Ariel Dorfman

despised, deceived and mocked,my brothers the Indians.A thousand times mistreated,a thousand thousand killed.What did you say to the bishop?“You will build me a houseoutside the city, where I will wait ,where I can hear the cries,the pleas of my Indian children.”Sweet Virgin of Guadalupe,oh virgin of the gentle eyes,dark-eyed virgin, my girl,my love, I want to ask you

this question, dear mother:Why is it that in Spain,on the far side of our hills and valleys,across the sea,why is there another Virgin of Guadalupe,Patron Saint of the Conquerors?men with great beards, men on horses,men with swords and fire,who crush and burn our homes,and the Indians, your children, still inside?Why is it. Sweet Virgin, sweet mother,why is there another Virgin of Guadalupe,‘Patroness of the Conquerors’? Ana Maria Mendoza

Salve Mater coeli porta Virga florenset exorta David ex prosapia.

iii - Sun StoneEt incarnatus est de spiritu sancto.Ex Maria Virgine, et homo factus est.Crucifixus etiam pro nobis. They put the prisoner against the wall.A soldier ties his hands.His fingers touch him strong, gentle, saying goodbye.Forgive me, compañero, says the voice in a whisper.The echo of his voice and of those fingers on his armfills his body with light, I tell you his body fills with lightand he almost does not hear the sound of the shots. Ariel Dorfman

Chichester Psalms is one of leonard Bernstein’s most popular pieces, filled with his trademark lively rhythms, asymmetrical meters, angular melodies, surprising accents, and use of speech rhythm in song. The fluidity with which he moves between concert music and vernacular idioms such as jazz, blues, and the Broadway musical creates an indelibly American musical style. Chichester Psalms was com-missioned by Dr. William Hussey, dean of Chichester Cathedral, for the 1965 choral festival with choirs from Chichester, Winchester, and Salisbury Cathedrals. Dean Hussey indicated that Bernstein needed to write for small orchestra, due to space restrictions in Chichester Cathedral, and noted that “many of us would be delighted if there was a hint of West Side Story about the music.” Bernstein obliged by including music removed from West Side Story and the aborted musical, The Skin of Our Teeth, giving the work a decidedly Broadway sound. Bernstein admitted this to Hussey in a letter in May 1965: “It is quite popular in feeling…and it has an old-fashioned sweetness along with its more violent moments.”

The second movement is the most theatrical of the three movements, combining two contrasting psalm texts. The opening melody is set to the text of Psalm 23—sung by boy alto accompanied by harp, representing the youthful David the psalmist. The peace of Psalm 23 is interrupted by Psalm 2’s angry “Why do the nations rage,” depicting the violent warring of nation against nation. The music for this section was originally intended for the “Prologue” of West Side Story. The two ideas are then combined, with an indication in the score stating that the women singing the 23rd Psalm are “blissfully unaware of the threat” of war, as sung by the men.

At the end of the third movement, Bernstein recaps the opening music of the first movement in a passage for the unaccompanied choir. This final text states: “Behold how good and pleasant it is, for brethren to dwell together in unity.” Thus, the overarching theme of Chich-ester Psalms shows the contrasts inherent in the human condition—aggression, conflict, and inhumanity on the one hand, and compas-sion, understanding, and tolerance on the other.

chichester Psalms

i. Psalm 108:2; Psalm 100Urah, hanevel, v’chinor! A-irah shahar! Hari’u l’Adonai kol ha’arets.Iv’du et Adonai b’simha

7

Hail Mother, portal of heaven Flowering Virgin,sprung from the line of David.

He became incarnate of the Virgin Mary, and was made man.For our sake he was crucified.

Awake, psaltery and harp:I will rouse the dawn!Make a joyful noise unto the Lord all ye lands.Serve the Lord with gladness.

Come before His presence with singing.Know that the Lord, He is God.He made us, and we are his.We are His people and the sheep of His pasture.Come unto His gates with thanksgiving,And into His court with praise.Be thankful unto Him and bless His name.the Lord is good, His mercy everlastingAnd His truth endureth to all generations.

The Lord is my shepherd, I shall not want.He maketh me to lie down in green pastures,He leadeth me beside the still waters,He restoreth my soul,He leadeth me in the paths of righteousness,For His name’s sake.Yea, though I walkThrough the valley of the shadow of death,I will fear no evil,For Thou art with me.Thy rod and Thy staffThey comfort me.

Why do the nations rage,And the people imagine a vain thing?The kings of the earth set themselves,And the rulers take counsel togetherAgainst the Lord and against His anointed.Saying, let us break their bands asunder,And cast away their cords from us.He that sitteth in the heavensShall laugh, and the LordShall have them in derision!

Thou preparest a table before meIn the presence of my enemies,Thou anointest my head with oil,My cup runneth over.Surely goodness and mercyShall follow me all the days of my life,And I will dwell in the house of the LordForever.

Lord, Lord,My heart is not haughty,Nor mine eyes lofty,Neither do I exercise myselfIn great matters or in thingsToo wonderful for me to understand.Surely I have calmedAnd quieted myself,As a child that is weaned of his mother,My soul is even as a weaned child.Let Israel hope in the LordFrom henceforth and forever. Behold how good, and how pleasant it is,for brethren to dwell together in unity.

8

Bo’u l’fanav bir’nanah.Du ki Adonai Hu Elohim.Hu asanu v’lo anaḥnu.Amo v’tson mar’ito.Bo’u sh’arav b’todah,Ḥatseirotav bit’hilah,Hodu lo, bar’chu sh’mo.Ki tov Adonai, l’olam ḥas’do,V’ad dor vador emunato.

ii. Psalm 23; Psalm 2:1-4Adonai ro-i, lo eḥsar.Bin’ot deshe yarbitseini,Al mei m’nuḥot y’nahaleini,Naf’shi y’shovev,Yan’ḥeini b’ma’aglei tsedek,L’ma’an sh’mo.Gam ki eilechB’gei tsalmavet,Lo ira ra,Ki Atah imadi.Shiv’t’cha umishan’techaHemah y’naḥamuni.

Lamah rag’shu goyimUl’umim yeh’gu rik?Yit’yats’vu malchei erets,V’roznim nos’du yaḥadAl Adonai v’al m’shiḥo.N’natkah et mos’roteimo,V’nashlichah mimenu avoteimo.Yoshev bashamayimYis’ḥak, AdonaiYil’ag lamo!

Ta’aroch l’fanai shulchanNeged tsor’raiDishanta vashemen roshiCosi r’vayaḥ.Ach tov vaḥesedYird’funi kol y’mei ḥayaiV’shav’ti b’veit AdonaiL’orech yamim.

iii. Psalm 131; Psalm 133:1 Adonai, Adonai,Lo gavah libi,V’lo ramu einai,V’lo hilachtiBig’dolot uv’niflaotMimeni.Im lo shivitiV’domam’ti,Naf’shi k’gamul alei imo,Kagamul alai naf’shi.Yahel Yis’rael el AdonaiMe’atah v’ad olam.Hineh mah tov, umah naim, Shevet ahim gam yahad.

9

Joseph Adam has been Cathedral Organist at St. James Cathedral since 1993, and a member of the faculty at the University of Puget Sound in Tacoma since 1998. As Resident Organist at Benaroya Hall for the past nine seasons, he performs regularly with the Seattle Symphony; in recent seasons, he has performed concertos by Handel and Hanson under the direction of Nicholas McGegan and Gerard Schwarz. He received First Prize at the 1991 St. Albans International Organ Competition, the most recent American to take top honors in this prestigious competition. He was one of three organists invited to perform on the new Rosales/Glatter-Götz organ at Disney Hall in Los Angeles as part of the 2004 National Convention of the American Guild of Organists; this performance has been featured on the nationally syndicated radio program Pipe Dreams.

St. James cathedral The Most Reverend J. Peter Sartain, Archbishop of SeattleThe Very Reverend Michael G. Ryan, Pastor, St. James CathedralDr. Paul Thornock, Director of MusicJoseph Adam, Associate Director of Music and Cathedral OrganistMarjorie Bunday, Administrative Assistant for Music and Concert ManagerCorinna Laughlin, Director of Liturgy

Herbolsheimer Festival 2017James B. Savage, Aidar Galeev, Philip Tschopp

DoNors ($100 –$249)

Amazon.comKeith AxelsenLillian BalmforthTrevor BlanarikRalph and Catherine BrandTess BrandonReid BransonGakyung Chung and Robert KirkmanLauren CreeAngela de OliveiraNancy DearbornMichael Dryfoos and Ilga JanssonsBrendan FarleyDrew FitchetteChristopher Irle and Allison FreelErin GabrielKathryn GardowKerstin GleimAmy GodwinLouisa GowenChristina GrahamStephanie and Tim Gray

Diane GroverPaul HendersonRoger HerrickRandolph HokansonDean IshikiHannah KaneRosalie LangJoel Bodansky and Anne LeavittMeaghan Leferink and Becca GuestKathleen McLaughlinAda Ng and John SantinoLisa ParkEric Jain and Isabelle PhanChrista Miklin PhillipsonMike and Penny RedmanLiz Reed Hawk and Michael HawkJulia & Russell ReidSarah RuuskaKaty and Mike SarffDolores SchuhKaren SegarRoger Berger and Eileen SimmonsFelix Simonovsky

Karla StanwickWilliam Cole StevensLevi StraussJanet SyferdDan TemkinMarjorie ThomasVineet WahiSteve WhitnerMarsha WienerBen WilliamsonRusty Wycoff and Steve Knipp

coNtributors ($50 –$99)

Barbara and Pru BalateroRamona BarberRichard and Madeline BersaminaJ. Howard BoydGail BroderDaniel CurdaRuth EllerBill and Lee EllisPolly FreemanDaniel FroehlichElizabeth Hale

f r i e N D s of s e a t t l e p r o m u s i c a

The members of Seattle Pro Musica are grateful for the support of our many contributors. Donations are vital to the success of our organization, providing the critical extra funding which makes our concerts and outreach programs possible. Our profound thanks to all of our supporters.

Donor recognition includes donations received between Februarry 1, 2016, and February 1, 2017. If you have any corrections to report, please call us at 206-781-2766.

leaDersHip GiViNG ($5,000 +)ArtsFundBoeing Matching GiftsMicrosoft Matching GiftsBrian and Lynn GrantElly Hale and Brad RodgersPaulette MurphyJohn SchillingPeter Hemmen and Jan Strand

coNDuctor’s circle ($2,500 +)4CultureOffice of Arts & Cultural AffairsLiz Adams and Brian NordwallDeb ArnoldHolly Boone and Pat BrausGeoff and Adrian CunardJacque Deerr-Lord and Bob LordBob and Bev DockstaderSam and Mona DworkinMike and Barbara EvansThe K FoundationCarole Jones and Bernard JalbertTeena and Kent LittletonKaren ManemanJim Ballard and Laura Patton BallardKaren P. Thomas

beNefactors ($1,000 –$2,499) AetnaDean and Barbie ArnoldJane and Peter BarrettSarah and Kevin BeshlianBruce and Jill BjerkeChristopher BrandonMike and Karen BrugatoAnnette ButcherMarilyn and Lance ColyarRuth Conn and Dawn StremelAvery and Kristin GuestWerner and Carol HennAnonymousRoxanne KenisonWes KimGlenn Lux

Dan McGrawElizabeth NewlandPeter Newland and Robyn JohnsonJenn NewlandJoy Portella and Mark FirmaniMelinda Moree and Elizabeth SandersJosh and Laura SmithRuth Conn and Dawn StremelHannah Won

patroNs ($500 –$999)Beth AlleyAnonymousDhruv BhattAnne and Ganga ClamoungouDelta DentalPaul Drayna and Cole Arden PeakeMark Falstein and Megan CampbellNick FedericiNancy A. FedericiBenjamin and Laura FlynnSeattle FoundationTravis Jo Cufley and Anthony GromkoPhil and Eda HaasPaul and Jennie HendrieRick JohnsonRich KempHeidi KimCharlie Butler and Kevin KralmanHelen Lafferty and Mark GunningTeresa and George NemethKatie Oman and Kevin FraryMary RedmanJohn Atcheson and Doane RisingBriana SchwartzJenny and Ted SpenceWendy ThomasDoug Winnie and Kenn SebastianGrace Won

spoNsors ($250 –$499)

Bank of America Matching GiftsShirley BeresfordJeannine Black

Irene G. BrayJacob BuysAlice ByersJohn Carroll and Richard LiedlePaul CondratGerald and Jonna FarleyCathy FedericiRyan GaoMiriam Gnagy and Cory CalhounJohn GreggKira Hicks and Michael BlonskyJim HowethChris Grass and Carolyn JorstadBeatrice KennedyNoreen KingJiri KremlickaBill LeveyPeter and Brooke LiflandMolly McGeeRaymond E. Mencke, Jr.Rose and Royce MorrisonGlenn Nielsen and Wendy WooleryJon and Krista ReppLavina SadhwaniKelly SanderbeckPatricia SiggsDivya SinghKatie SkovholtCynthia and Neil SkovholtDan SmithDaniel SzydloVesteinn ThorssonLynn and John TissellJanelle WalhoutDonna WardFred and Judy WilliamsPeggy WolffMaureen Stone & Douglas WyattFred and Judy WilliamsPeggy Wolff

James HarringtonWendy HarrisFiona HatfieldTuri HendersonAllison L. HiltnerLane InmanEmily JordanJill Kimball and Ian BishopJohn LeeLee ManemanDeborah and Ron MyersStephanie Nelson-PenlandVerna NessAnn OsterbergRuth PettisMark and Cindy PiennettAbby and Bethel BlakesleyCynthia RichardsonKacey ShiffletThomas StantonAllan TysonConstance WentzelGretchen WenzlNancy Zylstra

supporters ($10 –$49)

Emory AndersonKathryn BouchardJanet BowersoxMarissa BurkeyShekhar DadlaniDeborah ForrestVictoria GraylandWendy JacksonElizabeth LangelandLucy LauterbachJacqueline LeferinkEvelyn LesterNancy LuedickeMargaret OkamotoCorina RahmigDouglas SchneiderJennifer SherleyAnna ThelenSusan TomlinsonMarit TrelstadNicole Van BatenburgMaritess Zurbano

10

Sterling circle – The Sterling Circle acknowledges donors at the $250 level and above. We are especially grateful for their generous gifts.

seattlepromusica.org

f r i e N D s of s e a t t l e p r o m u s i c a

Branding

Logos

WeB sites

annuaL reports

Brochures

capitaL campaigns

neWsLetters

event materiaLs

graphic design for good causes

i help nonprofits connect with their community through

distinctive and dynamic branding and marketing design tools.

How can I help your organization?

TEL 206.718.2000 WEB davidowenhastings.com

in-Kind Donors

• Carole Jones Design• Chris Burch Photography• Classical KING FM 98.1• David Owen Hastings• Jenn Newland• John Carroll • Law Offices of Paul Steven Drayna

Be a part of our vision!

There are many ways to contribute to the vibrant musical tradition created by Seattle Pro Musica over the last 40-plus years. Nothing compares to the experience of sitting in a concert hall, sharing in the emotional and intellectual intensity that comes from listening to choral music performed at the highest level of artistry. Another way to join our family, one that helps to make our work possible, is to support Seattle Pro Musica’s concert season and education outreach projects with a donation.

Subscriptions and ticket sales cover only a third of our concert expenses, so we rely on arts supporters like you to help make our music accessible to all kinds of audiences. Seattle Pro Musica is a registered 501c3 organization, and your gift can be considered a charitable donation for tax purposes. Your gift will be gratefully acknowledged in all our concert programs. Many employers will match charitable gifts – check with your employer and you may be able to double your donation!

Please know that there are several donation options that may offer special advantages both to you and to Seattle Pro Musica, includ-ing stocks, properties, and annuities. If these or other options interest you, we encourage you to discuss them with your financial and tax advisors, and contact us for further information.

We’re thrilled to have you in our audience, and we thank you for considering taking the next step. We look forward to welcoming you into our giving family!

11

Planned Giving

Are you a loyal fan and supporter of Seattle Pro Musica’s exciting choral sound? Do you want our artistry to continue and flourish for generations to come? If you answered yes to these questions, consider including Seattle Pro Musica in your will.

It’s easy. When it’s time to talk with your financial advisor or at-torney, ask about setting up a bequest to designate a portion of your estate to Seattle Pro Musica . We’ve already received multiple gifts through planned giving that have allowed us to expand our repertoire, reach out to new audiences, and try new musical endeavors.

This support is critical and provides an amazing musical legacy. If you want help getting started, check out the Seattle Foundation’s helpful resource “Charitable Giving through Your Will” for more information or email us at admin@seattlepromusica.org.

seattlepromusica.org

We thank these generous Fund-a-Dream donors from our 2016 Auction. Their donations will help to fund the costs associated with our performances of the Vaughan Williams’ Dona Nobis Pacem with orchestra and soloists in May 2017.

Beth Alley • Deb Arnold • Keith Axelsen • Shirley Beresford • Richard and Madeline Bersamina • Dhruv Bhatt • Trevor Blanarik • Christopher Brandon • Tess Brandon • Gail Broder • Mike and Karen Brugato • Annette Butcher • Jacob Buys • Anne and Ganga Clamoungou • Marilyn and Lance Colyar • Paul Condrat • Lauren Cree • Geoff and Adrian Cunard • Bob and Bev Dockstader • Sam and Mona Dworkin • Mark Falstein and Megan Campbell • Jonna and Gerald Farley • Cathy Federici • Drew Fitchette • Ben and Laura Flynn • Deborah Forrest • Christopher Irle and Allison Freel • Kathryn Gardow • Amy Godwin • Brian and Lynn Grant • Travis Jo Cufley and Anthony Gromko • Paul Henderson • Turi Henderson • Paul and Jennie Hendrie • Michael Blonsky and Kira Hicks • Lane Inman • Rick Johnson • Peter Newland and Robyn Johnson • Bernard Jalbert and Carole Jones • Rich Kemp • Roxanne Kenison • Beatrice Kennedy • Wes Kim • Charlie Butler and Kevin Kralman • Liz Langeland • Becca Guest and Meaghan Leferink • Teena and Kent Littleton • Jacque Deerr-Lord and Bob Lord • Glenn Lux • Kelly Maneman • Karen Maneman • Dan McGraw • Larissa Min • Rose and Royce Morrison • Paulette Murphy • Jenn Newland • Elizabeth Newland • Ada Ng • Lizbeth Adams and Brian Nordwall • Kevin Frary and Katie Oman • Jim Ballard and Laura Patton-Ballard • Paul Drayna and Cole Peake • Eric Jain and Isabelle Phan • Christa and Chris Phillipson • Mary Redman • Mike and Penny Redman • Liz Reed Hawk • Jon and Krista Repp • John Atcheson and Doane Rising Elly Hale and Brad Rodgers • Sarah Ruuska • Kelly Sanderbeck • Melinda Moree and Elizabeth Sanders • Mike and Katy Sarff • Briana Schwartz • Douglas Winnie and Kenn Sebastian • Divya Singh • Cynthia and Neil Skovholt • Katie Skovholt • Josh and Laura Smith • Dan Smith • Erin Gabriel and Rich Stearns • Cole Stevens • Peter Hemmen and Jan Strand • Ruth Conn and Dawn Stremel • Karen P. Thomas • Wendy Thomas • Aaliyah Gupta and Vesteinn Thorsson • Donna Ward • Gretchen Wenzl • Steve Whitner • Fred and Judy Williams • Ben Williamson • Peggy Wolff • Grace Won • Nicholas Corey and Hannah Won • Glenn Nielsen and Wendy Woolery

12

s e a t t l e p r o m u s i c a ’ s e D u c a t i o N a N D o u t r e a c H p r o G r a m

Follow us on Facebook, Twitter, and YouTube. check our website for the latest on performance dates and venues.

Seattle Pro Musica is committed to building audiences and sing-ers of the future. Through our Education and Outreach Program, we support music educators in their effort to inspire their students to develop a lifelong love for choral music.

Annually, Seattle Pro Musica partners with several local music teachers to invite their most promising young singers to rehearse and perform with us in concert. Dozens of elementary and middle-school children performed with the members of Seattle Pro Mu-sica during our Christmas with Seattle Pro Musica Family Holiday Concert on December 11.

This program offers student singers the invaluable opportunity to sing with an adult choir in a professional setting with a master conductor, receive valuable advice and encouragement in the company of other talented young people, and to inspire their entire school choir program with the insights and experience they gain.

Additionally, this season Seattle Pro Musica will collaborate with the Seattle Symphony to reach hundreds of elementary school children through their Link Up education program. Students will learn to sing and play orchestral repertoire through the Link Up curriculum, then perform along with the Seattle Symphony and members of Seattle Pro Musica in a highly participatory concert at Benaroya Hall.

The Education and Outreach Program is always seeking new partnerships and participants, and we invite you to help us make new connections for future seasons. It is our goal to reach out to student singers of all backgrounds, but we especially appreciate the opportunity to touch the lives of young people who would otherwise be unable to attend high quality choral events. If you have an interest in Seattle Pro Musica’s Education and Out-reach Program, would like to suggest a school or music program for a future partnership, or would simply like to learn more, please contact us at education@seattlepromusica.org.

This choir is a proud member of the

Access the rich variety of excellent performances available in our

online calendar at

www.seattlesings.orgor scan the image below.

Rachmaninov Vespers A timeless masterpiece of choral orchestration based on ancient Russian chants.

American Masterpieces Works by American composers Lauridsen, Bernstein, Barber, Whitacre, Hogan, and more!

Music of the Spirit Including Martin’s Mass for Double Choir, Allegri’s Miserere, Stanford’s Beati quorum via and the world premiere recording of Karen P. Thomas’ Lux Lucis.

Peace in Our Time This highly evocative live recording includes Vaughan Williams’ Dona Nobis Pacem for choir and orchestra, Howells’ sublime Requiem, and Britten’s Missa Brevis.

Alnight by the Rose Lush choral works on the themes of divine love and earthly passion including Lauridsen’s Madrigali. (Digital download only.)

Horizons A live recording of contemporary a capella choral works from North America and Europe, featuring the world premiere of I sing of love by Bernard Hughes. Lively, engaging, and evocative music. (Digital download only.)

In Dulci Jubilo Crosscultural seasonal music — a beautiful narrative of the winter season from different parts of the world. A perfect holiday gift!

Navidad: Christmas in the New World Music from eight Latin American countries, from the 16th century to the present. The infectious rhythms will have you dancing!

A German Christmas Recorded in the reverberant acoustic of Seattle’s St. James Cathedral, this CD features magnificent German choral works for the holiday season.

Celtic Christmas Recorded live in concert at Bastyr Chapel, Celtic Christmas features the lively sounds of traditional Celtic choral music for the Christmas season.

Northern Lights Recorded live in concert at Bastyr Chapel and St. James Cathedral during our 2015-16 season, Northern Lights showcases music that evokes the shimmering beauty of the aurora borealis.

Available on iTunes, Amazon.com, Spotify, cDBaby, and seattlepromusica.org