Paul Salamunovich Music Director LOS ANGELES

MASTER CHORALE & Sinfonia Orchestra

SUNDAY, MAY 2, 1993 at 7:30P.M. VOLUNFEER RECOGNfl'ION N!Glfl'

CURTAIN RAISER PREVIEW AT 6:30P.M. WITH DR. ALAN CHAPMAN

DOROTHY CHANDLER PAVILION

From Across the Pond PAUL SALAMUNOVICH, CONDUCTOR

William Beck, Organist Robert Hunter, Pianist

Holly Ristuccia, Soprano Virenia Lind, Soprano

Women's Voices from St. Charles Borromeo Choir, North Hollywood

CORONKnONANTHEMS

I. Zadok The Priest II. The King Shall Rejoice

ODE TO DEATH Opus38

BLEST PAIR OF SIRENS

PERfORMING ARTS

Kings I: 39,40 Psalm 21: 1,5,3

INTERMISSION

G. F. Handel (1685-1759)

Gustav Holst (1874-1934)

C. Hubert H. Parry ( 1848-1918)

Roger Wagner Fou11du

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TEDEUMINC Holly Ristuccia, Soprano

THE FALCON Women's Voices from St. Charles Borromeo Choir

BENEDICITE

Virenia Lind, Soprano

Benjamin Britten (1913-1976)

John Rutter (1945-)

Ralph Vaughan Williams ( 1872-1958)

The Rodgers Organ model 940, used in tonight's perfonnance, is made available through the courtesy of Robert Tall and Associates, Inc., San Dimas, California.

CURTAIN RAISER PREVIEW SPONSORED BY GREAT WESTERN FINANCIAL CORPORATION

This evening's concert is made possible, in part, by BWIS - The original Texas B.B.Q. & Grill

The Los Angeles Master Chorale gratefully acknowledges 91.5 KUSC FM for its outstanding service to the cultural community of Southern California.

The Los Angeles Master Chorale Association sponsors the Los Angeles ~laster Chorale and Sinfonia. It docs this through the generosity of its volunteer Board of Directors and all those 11ho con · tribute to The Master Chorale and to The Music Center Unified Fund of the ~lusic Center of Los Angeles County. The Los Angeles Master Chomle Associates, a \'olunteer orgamzation, provides substantial support to the Master Chorale's activities. The activities of the Master Chomle are made possible, in part, through the SJlOnsorship of the Los Angeles County Board of Supen1sors and the Los Angeles County Music and Performing Arts Commission, and through gmnts from the California Arts Council and the National Endowment for the Arts.

Latecomers \viii not be seated until the first convenient pause in the performance. I lm1tPd guesl~ arc welcome backstage after the performance use the ArtisCs EntrJnce at 135 North Gmnd Avenue. I Use of tape recorders, telephones, beepers and/or cameras prohibited in auditorium. I Your use of a ticket constitutes acknowledgement of \villingness to appear in photographs taken m public areas of The Music Center and releases The Music Center Operating Co., its lessees and all others from liability resulting from use of such photographs I Progmms and artists subject to change I Patrons cannot be paged during a performance.

PERFORMI;o.G ARTS

PROGRAM NOTES by Richard H. Trame, S.J., Ph.D.

This evening's concert affords the opportunity to enter into the

grandeur of the English choral tradition so strongly initiated by her 17th century composers and Henry Purcell and contin­uing unabated to the present.

Handel was selected on very short notice by King George II and Queen Caro­line to compose four ceremonial anthems for their coronation which was to take place in Westminster Abbey on October 11 , 1727. Zadoc the Priest was sung dur­ing the King's anointing; The King Shall Rejoice during the actual coronation. Zadoc is generally recognized as "the greatest public ceremonial music of its kind ever composed." "It was," as H.C. Robbins Landon asserts, "designed to cre­ate an enormous effect in an enormous space and it succeeded brilliantly." Indeed, the anthem has been sung ever since at every coronation of a British monarch. The King Shall Rejoice, while being even more elaborate and poly­phonic than Zadoc, matches it in the splendor of its five movements, manifest­ing the surprising varied aspects of Han­del's choral art.

Sir Charles Hubert Parry's (1848-1918) setting in 1887 of John Milton's poem "At a Solemn Music" (Blest Pair of Sirens) marked, as famed musicologist Donald Tovey has observed, an epochal work in British musical history. "It represents classical choral writing at the height of maturity and natural resource ... " In

C. Hubert H. Parry

PERFORMING ARTS

Gustav Holst

essence, Parry viewed Milton's 1637 poem of 28 lines in the totality of its three basic subdivisions. He gave to his music a sweeping, unencumbered phrasing per­fectly matching the poem's structure and thought content. Parry's massive eight­part choral harmony united to his beauti­ful romantic accompaniment sweeps through the poem's first 16 lines without hindrance or interruption to the words "singing everlasting." He now reduces the chorus to four parts and in the next eight lines he emphasizes their nostalgic long­ing for a restoration of that erstwhile God-directed harmony destroyed through disobedient and disproportionate sin. Parry now sets the last four lines exten­sively, balancing in their musical thought the whole of the previous poetirlmusical elaboration. The initial cantabile devel­ops into a stirringfugato, rising from cli­max to climax until the organ crowns the last chords by the third and final allusion to the opening theme.

Holst composed his Ode to Death in 1919 in memory of his friends killed in World War I. It followed immediately after his masterly Hymn of Jesus and exhibits many of the extraordinary har­monic and melodic characteristics of that earlier work. Regarded as one of his finest works, it is puzzling why it has lan­guished in neglect. Albert Coates directed the first performance of the Ode at the Leeds Festival in 1922. The words of the Ode are taken from Walt Whitman's Mem­ories of President Lincoln as excerpted from When Lilacs Last in the Dooryard Bloom'd, in turn from Leaves of Grass. The composition's opening invitation

"Come lovely, soothing death," drew from Holst a serene response. He builds to a characteristic ostinato procession for the words "When thou must indeed come, come unfalteringly," which is expanded through praises of death. The dolce tune for "Over the tree tops I float thee a song" leads inevitably to the final hushed "Come." Here the gesture of supplication is transformed into the surrender of acceptance as the sound dissolves into silence. This description is a briefer form of Imogen Holst's resume of the work.

Benjamin Britten (1913-1976) stands tall in a constellation of English 20th cen­tury composers who have made their country one of the century's most musi­cally productive. Admiring that period in music history when "music served things greater than itself. .. the glory of God as greatest of all," Britten always found stim­ulation for his musical imagination through poetic words as in his 1962 War Requiem and his 1935 Th Deum in C. Thus, inspired by the majestic words of the centuries-old hymn of thanksgiving, at the age of 22 he composed the first of two Th Deums to the English translation used in the Anglican liturgy. While the later and better known Festival Th Deum of 1945 was composed for chorus and organ, this earlier setting also includes a soprano solo. Britten dedicated it to Mau­rice Vinton and his Choir of St. Mark's Church, London. Constant Lambert, the famed British conductor, considered this work to be characterized by extremely mature and economical methods. Indeed, Britten has in his customary manner pen­etrated into the more mystical aspects of

Benjamin Britten

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the text and set them with an under­standing of its more contemplative mood.

John Rutter's ( 1945-) The Falcon stands as his first large-scale choral work. The Cambridge Musical Society, under Sir David Willcocks, premiered the work on December 4, 1969. The insertion of various Gregorian chants into the second and third movements manifest the influ­ence which Benjamin Britten's War Requiem exercised on Rutter who was a member of the boys' choir at an early per­formance of the work. Rutter notes that the kernel of the composition is the medieval English poem "The Falcon," rich with symbols of the Eucharist, the Grail legend and the Glastonbury Thorn. "Out of the poem," he notes, "grew the idea of a larger work moving from the images of a warlike Old Testament Jehovah (Psalm 97, 1-9) via the sacrifice of Christ as por­trayed in The Falcon poem to the vision­ary prospects of peace (in the heavenly Jerusalem) found in the Book of Revela-

tion. In the second movement the Easter antiphon Surre:cit Dominus (The Lord has arisen) is sung by a distant treble choir. Similarly inserted into the third movement are the 7th century chant Urbs Jerusalem beata (Blessed City, Jerusalem) and theAgnus Dei (Lamb of God ... grant us peace).

Benedicite was one of three works Vaughan Williams (1872-1958) composed for the jubilee in 1930 of the famed English Leith Hill Musical Festival at Dorking near London. He conducted the performance there on May 2 of that year. The work's text is that of the Canticle of the Three Young Men in the Fiery Fur­nace (Daniel 2/57ff) to which Vaughan Williams interpolated the Song of the Three Holy Children, a poem by the 17th century recusant John Austin. He con­cluded the work with Austin's doxology to the Trinity and a repetition of several key verses of the Canticle. A jubilant instru­mental introduction launches the chorus

into a forthright proclamation of praise to the Most High. Creation in all its ele­ments is repeatedly called upon to "Bless ye the Lord," as the chorus reaches a cli­max of exaltation. After the organ enters varying the phrase connected with the leitmotiv-like "Bless ye the Lord," the soprano soloist enters. Her advent softens the character of the music and embel­lishes the quiet choral singing with her melismatic phrases. Over chords in the accompaniment, soloist and chorus end this beautiful section with even more softly waning phrases of praise. A flute­like accompaniment again introduces the soprano on the first verse of Austin's poem as she floats above the lively coun­terpoint of the chorus. It takes up the melody for the second verse as the soloist weaves her counter-melody above them. Austin's third verse is the Trinitarian dox­ology, sung in chorale-like fashion as Benedicite's opening section is recapitu­lated to conclude in a blaze of jubilation.

--------PROFILES--------

PAUL SALAMUNOVICH was appointed Music Director of the Los Angeles Master Chorale in 1991 and is only the third mae­stro to lead the chorus since its inception. The 1992-93 season marks his second at the helm of the renowned choir.

His association with the Los Angeles Master Chorale dates from the organiza­tion's founding. A Los Angeles native, he became a charter member of the Los Angeles Concert Youth Chorus in 1946, which evolved into the Roger Wagner Chorale in 1949. When Wagner estab­lished the Los Angeles Master Chorale in

1964, he was appointed Assistant Con­ductor and served in that capacity until 1977. He also appeared as guest conduc­tor with the chorus in 1975 and 1986.

During his career, Salamunovich has conducted choruses throughout North America, Europe, and Australia and has prepared choirs for such notable conduc­tors as Stravinsky, Shaw, Ormandy, Nel­son, Wallenstein, Solti and Mehta.

He also arranged and conducted choral segments for the soundtracks of such motion pictures as The Great Imposter, Universal, 1960; Trouble with Angels, Columbia, 1965; Angel in My Pocket, Universal, 1965; The Last of Sheila, Warner Brothers, 1973; True Con­fessions, Chartoff and Winkler, 1981; Flat­liners, Columbia, 1990; Grand Canyon, Columbia 1991; and the 1992 Francis Ford Coppola production of Dracula.

An esteemed music educator, Sala­munovich was on the faculty of Loyola Marymount University in Los Angeles for 27 years, and was promoted to Professor in 1980, a position he held until his recent appointment to Music Director of the Chorale. In 1991, he received an honorary doctorate from the University of Saint Thomas in Minnesota.

In addition to his work with the Chorale, Salamunovich continues to serve as Director of Music at Saint Charles Bar­romeo Church in North Hollywood, a posi­tion he has held since 1949. Under his direction the choir has made numerous recordings and has been featured in sev­eral televised Christmas specials. In 1988, the Saint Charles Borromeo Choir became the first American choir to be invited to sing the Mass for the Feast of Saints Peter and Paul at the Vatican where they performed the Vaughan Williams Mass in G Minor for an investi­ture ceremony for new cardinals and archbishops from throughout the world.

Salamunovich also continues to lead the Saint Charles Children's Choir which has performed with the Los Angeles Mas­ter Chorale, the Los Angeles Philhar­monic, the San Francisco and Los Angeles Opera Companies, and for NBC-TV with the late Lucille Ball. Under his aegis, the choir recorded the classic Walt Disney album "It's a Small World."

Salamunovich is a voting member of the American Choral Directors Associa­tion, an Honorary Life Member of both the Southern California Vocal Association and the Choral Conductors Guild of Cali-

PER FORMING ARTS

fornia, an organization that recently rec­ognized him "for excellence in choral music at a national level."

He resides in North Hollywood with his wife, Dorothy, and has four sons and four grandchildren.

WILLIAM BECK, Organist, is Organist and Director of Music at St. Cyril of Jerusalem Church in Encino where he directs a prestigious concert series. He has performed with the Los Angeles Phil­harmonic, Los Angeles Chamber Orches­tra, Los Angeles Master Chorale, Roger Wagner Chorale, Jaffrey Ballet, Pasadena Chamber Orchestra, Long Beach Sym­phony and the William Hall Chorale. He has taken five concert tours of Europe and England and has been presented in recitals across the United States. He has performed for religious leaders all over the world including Pope John Paul II, Cardinal Roger Mahony and the Dalai Lama. Beck, who studied in Paris with Marcel Dupre and Andre Marchal, was three times the winner of the Organ Play­ing Competition of the Los Angeles Chap­ter of the American Guild of Organists. He was the winner in 1969 of the Far­Western Regional Competition. His recording career includes a solo perfor­mance with Luciano Pavarotti on the London label, recordings on Delos with Roger Wagner and numerous recordings for OCP Publications. He is organist at Wilshire Boulevard Temple in Los Ange­les, accompanist for the Paulist Boy Cho­risters and organist for the Los Angeles Master Chorale.

ROBERT HUNTER, Pianist, is the accom­panist for the Los Angeles Master Chorale.

PERFORMI NG ARTS

He was for many years the pianist for the Roger Wagner Chorale and toured exten­sively with that chorus throughout the United States, Europe, the then Soviet Union, and the Near East. For twelve years he conducted for Carol Channing in New York and London, and also conducted for Nelson Eddy's final tour of Australia and New Zealand. Hunter is pianist/coach for the well-known soprano Claudine Carlson and has achieved distinction as a com­poser/arranger of choral music. As Associ­ate Organist at St. Charles Borromeo Church in North Hollywood, Mr. Hunter accompanied the Choir during both their 1985 and 1988 European tours, the Men's appearance at the International Male Choral Festival in Vancouver, British Columbia in 1990, and on innumerable other occasions.

HOLLY RISTUCCIA, Soprano, is the for­mer Holly Shaw Price. She entered Ober­lin Conservatory as a violinist and soon realized she wanted to pursue the study of voice exclusively, obtaining a Bache­lor's degree in vocal performance. She then went on to obtain a Masters in voice from the University of Southern Califor­nia. She has studied with Gwendolyn Koldofsky, Pierre Bernac in Paris and with Harold Heiberg at the American Institute of Musical Studies in Graz, Aus­tria. Ms. Ristuccia has appeared with the Atlanta and Sacramento Symphonies and has been featured as a soloist with the Los Angeles Master Chorale. She was a district Metropolitan Opera finalist in both Los Angeles and Dallas in 1984 and 1985, and appeared as soloist in the NBC production of "Easter is for Everyone" in 1985. In 1988 she toured with the St.

Cere Festival of Music with Robert Shaw in the South of France. She also serves on the Voice Faculty of the Chapman Uni­versity School of Music. She continues her solo career throughout Southern Cal­ifornia and appears annually with the Los Angeles Bach Festival.

VIRENIA LIND, Soprano, is currently in her second season with the Los Angeles Master Chorale. Recent solo engage­ments include Mabel in a staged version of The Pirates of Penzance with the San Diego Symphony, Isaure in Bluebeard with the Long Beach Opera and the Con­necticut Opera, The Mozart Requiem with the Ventura Symphony, Haydn's Cre­ation and Carmina Burana of Orff with the Ventura Master Chorale, and Laetitia in The Old Maid and the Thief with the South Bay Light Opera. Ms. Lind has also appeared as a soloist in works by Handel and Bach with the Carmel Bach Festival, Los Angeles Baroque Orchestra, Los Angeles Camerata and the Riverside Opera. Also at home in musical theatre, Ms. Lind made her New York debut as Glinda the Good Witch in The Wizard of Oz at Radio City Music Hall and per­formed the same role in the subsequent national touring company. She sang in the German production of Andrew Lloyd Weber's Starlight Express and has per­formed leading roles with Kansas City's Theatre Under the Stars, the Light Opera Company of Massachusetts, and the Showboat Theatre.

The SAINT CHARLES BORROMEO CHOffi has been directed by Paul Salamunovich for the last forty-four years and has per­formed as an antiphonal choir with the Los

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Angeles Master Chorale on several occa­sions. The last time the choir appeared with the Master Chorale, the women were featured in the opening concert of the 1991-1992 season, Maestro Salamunovich's first as Music Director. In 1973, the choir was featured on the NBC-TV Christmas Eve special and in 1986 appeared with Andy Williams on stage in his popular Christmas show. They have recorded for numerous motion pictures, including the sound tracks for True Confessior/$ and Columbia's 1990 releaseFlalliners.

They have twice been invited by the American Choral Directors Association to perform at its national convention: 1981 in New Orleans and in 1991 in Phoenix. They have been privileged to sing for Pope John Paul II on three occasions: in 1985 at a private audience in the Vatican Palace; in 1987 at St. Vibiana's Cathedral for his official welcome to Los Angeles; and in 1988, as the only American choir so invited, at Mass for the Solemnity of Sts. Peter and Paul at the Vatican with the Pope presiding. This occasion marks one of only four times a choir other than the Sistine has been accorded this honor.

The human voice raised in song is, per­haps, the most powerful and compelling instrument ever created. Lauded for its dis­tinctive sound and incredible capacity to express emotions, the 124-voice LOS ANGELES MAm'ER CHORALE has evoked smiles, tears and awe from audiences around the globe for 29 years and has been described by critics with such celestial terms as otherworldly, transcendent and ethereal. The ensemble was recently hon­ored by Los Angeles Magazine and KCOP­TV (channel 13) as "The Best Choir in Los Angeles."

During its 1992-93 season at the Dorothy Chandler Pavilion the Chorale will present ten concerts. Highlights will include the world premiere of Cantares Argentinas by Lalo Schifrin commissioned by the Master Chorale and the Los Ange­les premiere of Th Deum by Dominick Argento. During the 1992-93 season, the Chorale will also make several appear­ances with the Los Angeles Philharmonic and will serve as the chorus in the Los Angeles Music Center Opera productions of 1bsca and Lucia di Lamrnerrrwor. In March, the Chorale was the featured choir at the biennial convention of the Ameri-

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can Choral Directors Association, which was held in San Antonio, Texas, and drew some 6,000 people. Other engagements included appearing as part of the cultural series at the Point Lorna Nazarene Col­lege in San Diego, and, in June 1993, the Los Angeles Master Chorale will host the prestigious Chorus America National Con­ference marking the first time the confer­ence has been held in Los Angeles in more than a decade.

Founded in 1964 by Conductor Roger Wagner with the assistance of local busi­nessmen z. Wayne Griffin and Louis D. Statham, and the Los Angeles Junior Chamber of Commerce, the Chorale gained instant recognition as one of the nation's premiere professional choirs. It became one of the first resident compa­nies of the Los Angeles Music Center and helped Los Angeles establish a reputation as a cultural capital when it opened its own series at the Dorothy Chandler Pavil­ion on January 27, 1965 with its critically­acclaimed performance of Bach's Mw;s in BMinor.

Since its inception, the choir has con­tinuously presented a concert series at the Music Center and has given world premieres to more than a dozen works. It also serves as the chorus for the Los Angeles Philharmonic and the Music Cen­ter Opera, and has appeared with many of the world's leading orchestras during tours of the United States and the Soviet Union. In 1973, the Chorale was invited to sing with Eugene Ormandy's Philadelphia Orchestra at the Presidential Inaugura­tion Concert at the Kennedy Center.

In addition to its touring engagements, the Chorale has brought to its own podium such renowned guest conductors as Aaron Copland, Margaret Hillis, John Nelson,

Robert Page, Helmuth Rilling, Robert Shaw, Alfred Wallenstein, Albert McNeil and Richard Westenburg. Under Maestros Zubin Mehta, Carlo Maria Giulini and Andre Previn, the Chorale produced six recordings with the Los Angeles Philhar­monic and has produced two recordings with the Hollywood Bowl Orchestra under John Mauceri. It also provides extensive education and outreach programs which serve more than 15,000 youths in the Southland's public schools each year, including the largest annual High School Choir Festival in the state and a special in­school touring program.

Roger Wagner, the Chorale's first Music Director, served in the post unti11986 and was the Music Director Laureate until his recent death in September, 1992. Paul Salamunovich was appointed Music Director in 1991 and is only the third maestro to lead the venerable organiza­tion. An eminent choral clinician and music professor, he has also arranged and conducted the choral segments of numer­ous motion picture soundtracks for such studios as Columbia, Universal and Warner Brothers. He was a member of the faculty of Loyola Marymount University in Los Angeles for 27 years and was pro­moted to Professor in 1980, a position he held until his appointment to the Chorale.

Maestro Salamunovich succeeded John Currie of Edinburgh, Scotland who served as Music Director from 1986-1991. During his tenure, Currie conducted such master­pieces as Benjamin Britten's War Requiem and Beethoven'sM?$aSolemnm. Under his leadership, the Chorale also achieved dis­tinction performing with such acclaimed conductors as Simon Rattle, Zubin Mehta, Pierre Boulez, Andre Previn, Esa-Pekka Salonen and Kurt Sanderling.

PERFORMING ARTS

LOS ANGELES MASTER CHORALE PERSONNEL SOPRANO Marti Pia Eileen Holt Jack Golightly Albert Eddy Mary Dunn Baxter Cecilia Ramirez Kyra Humphrey Jody Golightly Jim Ellfeldt Samela Aird Beasom Holly Ristuccia Joan Keesey Tim Hewitt Michael Freed Vicky Y. Brown Linda Sauer Sarah Minton John Klacka Bruce Goldes Renee Burkett Janet Searfoss Anita Nardine Greg Koppenhaver Stephen Grimm Kelly Calhoun Bonnie Smith Nancy OBrien Charles Lane John Hiigel Pamela Chapin Christine Sorenson Carol Reich Stephen Madaris Paul Hinshaw JamieChoi Gina Surratt Cheryl Anne Roach Sean McDermott Lewis Johnson Marilyn Colyar Duanna Ulyate Claudia Sobol Larry Minton Edward Levy Martha Cowan Nancy von Oeyen Mary Stark Ken Neufeld Robert Lewis Rose Harris Kathryn Stewart Marvin Neumann Roger Lindbeck Saundra Hill ALTO Nancy Sulahian Jay Pearce Paul Linnes Marie Hodgson Natalie Beck Barbara Wilson Daniel Plaster Bob McCormac Janet Hook Kimberly Bernhardt Diana Zaslove George Sterne Ray McLeod Elissa Johnston Helen Birch John St. Marie Lee Oliver Laura Anne Keverian Sarah Bloxham TENOR Gary Walker Jim Raycroft Cathy Larsen Leanna Brand Lenard Berglund Mallory Walker John Reinebach Pamela Lefko Sue Christman Scott Blois William Roberts Lesley Leighton Kathleen Corcoran Chris Bowman BASS Phil Saunders Emily Lin Che1yll Desberg Edward Bruner Mark Beasom David Schnell Virenia Lind Sally Etcheto Mark Burroughs Andrew Black Paul Stephenson Phoebe O'Brien Amy Fogerson Agostino Castagnola William Campbell Burman Timberlake Marian O'Keefe Michelle Fournier John French Alfred Chan Arthur Wand Frances Pampeyan Carol Gentry Paul Gibson James Drollinger Roland Wedgwood

THE LOS ANGELES MASTER CHORALE GRATEFULLY ACKNOWLEDGES THE VOLUNTEERS WHO CONTRIBUTE SO SELFLESSLY TO OUR ORGANIZATION

Ann Louise Adamson Charlotte and Richard Aseltine Edie Bato Judy Behr Susan and Steven Bernfeld Shannon Biszantz Marlene C. Black Kimberly Bodnar Marilyn and David Breeding Ann and Vince Caiazzo Kathy and Ted Calleton Lynette Campbell Anne Collins Suzanne Collins Eleanor and Ted Congdon Teresa Courville Lonnie and J..yle Cunningham Carole and James Davis Anne Eastwood Robin Felsen Bennetta and George Fenimore Claudia and Mark Foster Bonnie and Hugh Grinstead Mary Lou and

Stephen Harbison

Mary Kay and Boyd Hight Elizabeth and Howard Hirsch Gayle Kelley Terry Knowles Michael Kormanski Richard Kuller Christine and Peter Kuyper J..ynne LaFleur Dr. G. Bruce Loganbill Anthony Lupica Alice and Brandon MacA!ler Irene S. Marquard Jane and Ted McAniff Nancy McCook Sara McFerrin Frank R. McKown Helen and Albert McNeil Michele and Rick McNeil Carole and Everett Meiners Judith and Clifford Miller Nancy and Robert W. Miller Gloria and John Moore Robert A. Morris Hugh Morton Carl Nachtrieb

Linda Naney Joyce and Donald Nares Mary Agnes O'Donnell Irene Orme Georgia Otto Helen Pashgian Charles Perkins Rita and Mark Phillips Diane and Daniel Plaster Anne and Harrison Price John P. Reagan Susan and George Reardon Phyllis and Bill Reed John M. Regan Elba and Dr. Hugo Riffel Vincent L. Riojas Judy Rosen Phyllis and Larry Rothrock Catherine and Bill Ruddy Marshall A. Rutter Dorothy Salamunovich Meredith Salamunovich Debbie Samovar Barbara and Chuck Schneider Dona and David N. Schultz

OUR THANKS TO PARTNERS FOR

Jennifer Schultz Mary Ellen Scott Claudeis and David Selby Marguerite and Ed1vin Selwig Maria Bernard Shaw Michele and Dr. Russell Spoto Raymond J. Staton Ann Stone Nancy and Robert Swanson Elayne and Thomas Techentin Richard H. Trame, S.J., Ph.D. Elda and Robert D. Turnacliff Madge and

Dr. Stephan van Adelsberg Dorothy and Richard Vanderveld Victoria Van Trees Penelope von Kalinowsky Mary B. Waldo Shoshana Wertheim Ellen Whelan Dottie Windoffer Bob Wright Bernie Wilson Eden Zigman

The strength of the Music Center is central to the quality of life in our community. The Los Angeles Master Chorale is grateful to the hundreds of Partners For volunteers raising money through the Music Center Unified Fund to support our four resident companies.

PERFORMING ARTS

Please support their efforts!

FOR FOURTEEN YEARS OF OUTSTANDING SERVICE Jean Laubenfels, Ph.D.

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- ----- - CIRCLE OF FRIENDS- - - - ---

We honor the founding members of our CIRCLE OF FRIENDS - individuals who not only share a love of the Master Chorale's won­drous music making but also a commitment to support what they love. Through their extraordinary generosity, members of the

MAESTRO CIRCLE and the IMPRESARIO CIRCLE are leading the way to bringing the Master Chorale to the attention of the Southern California community and the world.

MAESTRO CIRCLE ($1,000 and above) IMPRESARIO CIRCLE ($500 and above)

Linda and H. Douglas Cus­tance Jenny and William Dull Claudia and Mark Foster Elizabeth and Howard Hirsch Don Howarth

Ted McAniff Kevin E. McNurney John D. Moore

Dawn and David Baudistel Virginia and James Beasom Helen Birch

Clifford A. Miller Debra C. Neil Marshall A. Rutter Frank J. Sherwood Susan L. Stamberger

Christine Kuyper Dr. G. Bruce Loganbill Alice and Brandon MacA!ler

Susan Erburu Reardon Elba and Hugo Riffel Vincent L. Riojas Cathi and Bill Ruddy Pippa Scott Suzelle M. Smith

Kathy and Ted Calleton J. Lyle Cunningham Rita Mae Gurnee Dolores and Bob Hope

Elayne and Thomas Techentin James A. Thomas

We invite you to join with these supporters and enjoy the benefits afforded to liJs Angeles Master Chorale contributors.

The Los Angeles Master Chorale wishes to acknowledge and thank the following donors who have contributed generously in support of the Chorale. This list reflects gifts made from November 1, 1991 through April1, 1993

GRAND SPONSOR ($25,000 to $49,999) Los Angeles Turners

SPONSOR ($10,000 to $24,999) The Ahmanson Foundation Susan McLane and Steven Bernfeld BRAVO, Arts & Entertainment, United Artists Cable, Galavisi6n Frank J. Sherwood, Stage Environment Donna Mariash and Dennis Tito, Season Announcement Party Hosts

PATRON ($5,000 to 9,999) Dan Murphy Foundation

ASSOCIATE ($1,000 to $4,999) Kathy and Ted Calleton Eleanor and Ted Congdon Linda and H. Douglas Custance Lonnie and Lyle Cunningham Jenny and William Dull Benetta and George Fenimore Claudia and Mark Foster Great Western Financial Corp. Ann and Gordon Getty Foundation Mary Lou and Stephen Harbison Mary Kay and Boyd Hight Elizabeth and Howard Hirsch Bob and Dolores Hope Charitable Foundation Don Howarth Christine and Peter Kuyper Dr. G. Bruce Loganbill Alice and Brandon MacAller Jane and Ted McAniff Sara McFerrin Helen Katherine and Albert McNeil Kevin E. McNurney Carole and Everett Meiners Raymond Neevel Joyce and Don Nares

Anne and Harrison Price Susan Erburu Reardon and George Reardon Vincent L. Riojas Phyllis and Lawrence Rothrock Cathi and Bill Ruddy Marshall A Rutter and Terry S. Knowles Barbara and Chuck Schneider Dona and David Schultz Pippa Scott Claudeis and David Selby Suzelle M. Smith Elayne and Thomas Techentin Beverly and Larry Thrall Penelope and Julian von Kalinowski

CONTRIBUTOR ($500 to $999) Virginia and James Beasom Helen Birch Rita Mae Gurnee Dolores and Bob Hope Judith and Clifford A Miller Nancy and Robert Miller Debra C. Neil Susan L. Stamberger James A. Thomas

FRIEND ($200 to $499) Marilyn and David Breeding Kathy and Terry Dooley Howard B. Drollinger Shirley and Robert Gowdy Nancy Holland Sara Maloney Porter John M. Regan John H. Scott Raymond J. Staton Stephen J. Yoder Selim K. Zilkha

SUPPORTER ($100 to $199) Kathleen Bice Susan and Jack Bierman William Cernot Amy and William Childress Dr. Robert A. De Stefano Julie Farr and Stan Dorobek Lois and Robert Erburu Stephen Fraider Mr. and Mrs. Luke Fratello Stafford R. Grady Dr. Jester Hairston Joan Hanley Harriet and Albin Koch Patricia and Edward Lansberg Norman Leaf, M.D. Dawn Malcolm Betty Hale McLaughlin Dr. Rudolf X. Meyer Gordon Paine John P. Reagan Carol and John Richards William B. Roberts Joan and Reade Ryan, Jr. Hector B. Schonberger Barbara and Edward Silver Kerstin and Thomas Stempel Frederick Swann Mr. and Mrs. Richard Vanderveld R.T. Vogels Mary B. Waldo Wendy and Geoffrey Waring Leila and Earl Webster Catherine and Lawrence White Dianne and Sherman Wintrob Stephanie Joan Wright Hanan Yaqub

PERFORMING ARTS

LOS ANGELES ~TERCHORALEASSOC~ON

BOARD OF DIRECTORS 1992-1993

EXECUTIVE COMMITI'EE Marshall A Rutter, Chairman of the Board Clifford A Miller, Chairman oj the Board, FJmeritus Edward J. MeAn iff, President/ChUif Executive OjJ'zcer Mark Foster, Vzce President/Chair, DIIVelopment Committee Elizabeth Levitt Hirsch, Vice President/Chair, Bentifi/, Committee Everett F. Meiners, Vice Presilieni/Secretary!Legalllffairs William M. Ruddy, Vzce Presilienl/l'reasurer/Chair, Finance Committee Theodore G. Congdon, Chair, Board Orientation Committee Mrs. Boyd Hight, Chair, Nominating Committee, Co-Chair,

Education Committee Sara McFerrin, Co-Chair; Education Committee Donald J. Nores, Historian Mrs. Harrison A Price, Chair; Program Committee Mrs. David Selby, Chair, Marketing Committee Mrs. Larry B. Thrall, Chair, Long-Range Planning Committee

DIRECTORS Susan McLane Bernfeld Theodore E. Calleton J. lu'le Cunningham, Jr. George W. Fenimore Stephen F. Harbison Mrs. Peter W. Kuyper Albert McNeil Helen Pashgian Hugo Riffel, M.D. Susan Erburu Reardon Mrs. Charles I. Schneider Mrs. David N. Schultz Mrs. Thomas Techentin

HONORARY DIRECTORS Mrs. Geraldine Smith Healy Mrs. Bob Hope Charles Luckman Mrs. Frank Roger Seaver Mrs. Meredith Willson

EX-OFFICIO MEMBERS Paul Salamunovich, Music Director Maurice Staples, General Manager Mrs. Lawrence Rothrock, President, Master Chorale Associates Shannon Biszant7/Victoria Van Trees, Co-Chairs, Junior Society

ADMINISTRATION Maurice Staples, General Manager Rae Macdonald, Production Manager Mark Praigg, Assistant to the General Manager James J. Johnson, Marketing Associate Susan Starn berger, Development Director Jo LaBrecque, Public Relations George Sebastian, Marketing Consultant Robert Hunter, Rehearsal Accompanist Dale R. Jergenson, Director of1buring Outreach

The Los Angeles Master Chorale is a member of Chorus America, American Arts Alliance, Downtown Arts Partnership, American Council for the Arts, Association of California Symphony Orchestras, California Confederation of the Arts.

The Box Office is staffed by members of l.AT.S.E. Local 857, Treasurers and Ticket Sellers.

PERFORMING ARTS

Dear Friends of the Master Chorale,

Welcome to another exciting concert of the Los Angeles Master Chorale. The Los Angeles Master Chorale Associates, a volunteer support group

of the Los Angeles Master Chorale, has provided continuous service to the renowned choir since its beginning in 1964. The Master Chorale Associates offers its members numerous volunteer opportunities related to the choir's concert and educational outreach programs as well as to its general opera­tions.

For the past six years, the Associates have provided the Curtain Raiser Preview Dinners which feature lectures by distinguished musicians and musicologists in the Dorothy Chandler Pavilion prior to Chorale concerts. The Associates also host receptions in private homes throughout the year thus providing its members the opportunity to meet Maestro Sala­munovich, singers from the Master Chorale and special guest artists.

Membership in the Los Angeles Master Chorale Associates is open to all season subscribers. Annual dues are a modest $35.00. Join and experience the joy and pride of contributing to the Los Angeles Master Chorale con­certs.

Enjoy tonight's concert!

Phyllis L. Rothrock, President Los Angeles Master Chorale Associates

LOS ANGELES MASTER CHORALE ASSOCIATES 1992193 Board Members

Phyllis L. Rothrock, President Barbara Schneider, Vzce Presideni/Unijied F'und/l'ribute Chair

Bonnie Grinstead, Vwe President/Hospitality/Ways & Memzs!Educational Outreach Ann Louise Adamson, Vzce President/Membership

John P. Reagan, Vzce Presilient/I'icket Sates Gloria Moore, Treasurer

Anne Eastwood, Recording Secretary Irene Marquard, Corresponding Secretary

Madge van Adlesberg, Volunteer Coordinator Dottie Wind offer, Historian

Members at Large Carole Davis, Frank R. McKown, Anne Shaw Price, Nancy Cock ley Swanson,

Beverly Thrall Nancy Miller, Elda Thrnacliff, South Bay Chapter Co-Chairs,

Dorothy Salamunovich, Advisor Maurice Staples, General Manager, Los Angeles Master Chorale (Ex officio)

MEMBERSHIP FORM (Please print) NAME: ___________________________ (Dr., Mr., Ms., Miss)

ADDRESS:-----------------CIIT: ____________________ ___

STATE: ZIP:------------TELEPHONE: (Day) ( ) ___________ _

(Evening) ( ) ______________ _

Dues are $35.00 per year. Please make your check payable to: Los Angeles Master Chorale Associates. Please return this completed membership form with your check to:

Los Angeles Master Chorale Associates 135 North Grand Avenue Los Angeles, CA 90012 213-972-7282

Thank you! We are delighted you are joining us.

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