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The Mystic& the Story teller

f e a t u r i n g

The Little Match Girl Passion

b y D a v i D L a n g

2009-2010 eighteenth season

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Thursday, May 6, 7:30 pmSt. Mary’s Catholic Church, Fredericksburg

Friday, May 7, 8:00 pm

Saturday, May 8, 8:00 pm

Sunday, May 9, 2:30 pmSt. Martin’s Lutheran Church, Austin

Craig Hella Johnson, Artistic Director & Conductor

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COVer PHOtO BY LeOn ALesi

The Mystic& the Story teller

f e a t u r i n g

The Little Match Girl Passion

We thank the Fredericksburg

Friends of Conspirare

whose generous gifts

support the May 6 performance:

Fischer & Wieser Specialty Foods

Mary & Jim Hatchette

Carolyn Keating

Timothy Koock

Susan & Frosty Rees

Dian & Harlan Stai

Jack Swanzy

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PROGR AM NOTESThe Little Match Girl PassionI wanted to tell a story. A particular story – in fact, the story of The Little Match Girl, by the Danish author Hans Christian Andersen. The original is ostensibly for children, and it has that shocking combination of danger and morality that many famous children’s stories do. A poor young girl, whose father beats her, tries unsuccessfully to sell matches on the street, is ignored, and freezes to death. Through it all she somehow retains her Christian purity of spirit, but it is not a pretty story.

What drew me to The Little Match Girl is that the strength of the story lies not in its plot but in the fact that all its parts—the horror and the beauty—are constantly suffused with their opposites. The girl’s bitter present is locked together with the sweetness of her past memories; her poverty is always suffused with her hopefulness. There is a kind of naive equilibrium between suffering and hope.

There are many ways to tell this story. One could convincingly tell it as a story about faith or as an allegory about poverty. What has always interested me, however, is that Andersen tells this story as a kind of parable, drawing a religious and moral equivalency between the suffering of the poor girl and the suffering of Jesus. The girl suffers, is scorned by the crowd, dies, and is transfigured. I started wondering what secrets could be unlocked from this story if one took its Christian nature to its conclusion and unfolded it, as Christian composers have traditionally done in musical settings of the Passion of Jesus.

The most interesting thing about how the Passion story is told is that it can include texts other than the story itself. These texts are the reactions of the crowd, penitential thoughts, statements of general sorrow, shock, or remorse. These are devotional guideposts, the markers for our own responses to the story, and they have the effect of making the audience more than spectators to the sorrowful events onstage. These responses can have a huge range—in Bach’s Saint Matthew Passion, these extra texts range from famous chorales that his congregation was expected to sing along with to completely invented characters, such as the “Daughter of Zion” and the “Chorus of Believers.” The Passion format—the telling of a story while simultaneously commenting upon it—has the effect of placing us in the middle of the action, and it gives the narrative a powerful inevitability.

My piece is called The Little Match Girl Passion and it sets Hans Christian Andersen’s story The Little Match Girl in the format of Bach’s Saint Matthew Passion, interspersing Andersen’s narrative with my versions of the crowd and character responses from Bach’s Passion. The text is by me, after texts by Han Christian Andersen, H. P. Paulli (the first translator of the story into English, in 1872), Picander (the nom de plume of Christian Friedrich Henrici, the librettist of Bach’s Saint Matthew Passion), and the Gospel according to Saint Matthew. The word “passion” comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus—rather the suffering of the Little Match Girl has been substituted for Jesus’s, elevating (I hope) her sorrow to a higher plane.

Notes by David Lang, composer

PROGR AM

Chorale: O Haupt voll Blut und Wunden J. S. Bachfrom St. Matthew Passion (1685-1750)

Requiem: Missa Pro Defunctis Tomás Luis de Victoria (1548-1611)

1. Introit2. Kyrie3. Graduale4. Offertorium5. Sanctus6. Agnus Dei7. Communio

Versa est in luctum Tomás Luis de Victoria

intermission

The Little Match Girl Passion David Lang (b. 1957)

Plorate filii Israel Giacomo Carissimi from Historia di Jephte (c.1605-1674)

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PROGR AM NOTES CONTiNuED

“O Haupt voll Blut und Wunden” from St. Matthew PassionJ. S. Bach’s St. Matthew Passion was composed for Good Friday at St. Thomas Church in Leipzig in 1729. A traditional Passion like Bach’s tells the story of Jesus’s suffering (Latin passio) and death. It does not end in the triumph of Christ’s resurrection, but with his entombment and the mourning of his disciples – not a happy story. In the Passion narrative, the chorale “O Haupt voll Blut und Wunden” is inserted after the scene in which Pilate’s soldiers strip Jesus, mockingly dress him in a scarlet robe and crown of thorns, spit on him, and strike his head. Here the listener in Bach’s church would have joined in the singing of the familiar chorale, stepping personally into the drama and reacting to it as a member of the faithful Christian congregation. The chorales, even if new to one’s ears, seem familiar in their regular, foursquare phrases and simple melodies, although adorned in Bach’s poignant harmonies. The multiple musical forms Bach employs in the St. Matthew Passion include dramatic settings of the words from the Bible, masterfully artistic arias commenting on these words, and stunning double choruses forcefully advancing the action – yet the strongest emotional responses may come from these superficially simple four-part chorales.

Requiem: Missa Pro DefunctisThe great late-Renaissance Spanish composer Tomás Luis de Victoria was a native of the province of Ávila, where he received his early musical training. His music is often described as embodying the mysticism of St. Theresa, another great figure of the Counter-Reformation from Ávila. After studying in Rome, possibly as a student of Palestrina, Victoria became a priest and served with distinction as an organist and chapelmaster. He returned to Spain in 1587 and spent the rest of his life as chaplain to the Dowager Empress Maria, sister of King Philip II and widow of Emperor Maximilian II, at the convent to which she and her daughter had retired in Madrid. Victoria composed the Requiem (Mass for the Dead) for Maria’s funeral in 1603. Victoria’s music is stylistically similar to that of Palestrina, whose restrained polyphony was embraced by the Roman church as a centerpiece of the Counter-Reformation. The preponderance of long notes and the slowly-moving harmony allow the words of the text to be intelligible, and the sonorities created in a resonant church setting create a mystical and ethereal atmosphere perfectly in tune with the eternal subjects of the Requiem text. One short motet by Victoria is also on today’s program.

“Plorate, filii Israel” from Historia di JephteJephte by Giacomo Carissimi is one of the earliest examples of an oratorio: a musical drama, usually on a religious theme, performed without costumes, scenery, or stage action. Working his entire career in Rome, Carissimi was an important teacher and a composer of wide fame. His oratorios trend toward an operatic style that emphasizes solo arias more than choruses. Usually performed during the penitential season of Lent, they emphasize themes of suffering and obedience. The Jephte (1648) libretto, a paraphrase and elaboration of the words from the Hebrew Book of Judges, tells of the warrior judge who rashly promised to sacrifice whatever first came out of his house to meet him upon his return from victory over the Ammonites. This greeter turns out to be his only daughter. Unnamed, like Hans Christian Andersen’s little match girl, this daughter likewise becomes a father’s victim when Jephte fulfills his vow. He first allows the daughter two months to “bewail her virginity,” which she does in a solo with a haunting echo in which all of nature shares her lamentation. This solo is followed immediately by the concluding chorus “Plorate, filii Israel,” as the people of Israel mourn the daughter’s death.

Notes by Eric Leibrock

TExTS AND TR ANSlATiONS O Haupt voll Blut und WundenO Haupt voll Blut und Wunden, O Head full of blood and wounds,voll Schmerz und voller Hohn, full of pain and full of derision,O Haupt, zu Spott gebunden O Head, in mockery boundmit einer Dornenkron; with a crown of thorns,O Haupt, sonst schön gezieret O Head, once beautifully adornedmit höchster Ehr’ und Zier, with the most honour and adornmentjetzt aber hoch schimpfieret: but now most dishonored:gegrüßet seist du mir! let me greet you!

Du edles Angesichte, You noble countenance,dafür sonst schrickt und scheut before which once shrinks and cowersdas große Weltgerichte, the great might of the world,wie bist du so bespeit! how you are spat upon!Wie bist du so erbleichet! How you are turned pallid!Wer hat dein Augenlicht, Who has treated those eyesdem sonst kein Licht nicht gleichet, to which no light is comparableso schändlich zugericht’? So shamefully?

Requiem: Missa Pro Defuncto1. Introitus 1. IntroitRequiem æternam dona eis, Domine, Eternal rest grant unto them, O Lord,et lux perpetua luceat eis. and let perpetual light shine upon them.Te decet hymnus Deus, in Sion, A hymn becomes you, O God, in Zion,et tibi reddetur votum in Ierusalem. and to you shall a vow be repaid in Jerusalem.Exaudi orationem meam; Hear my prayer;ad te omnis caro veniet. to you shall all flesh come.Requiem æternam dona eis, Domine, Eternal rest grant unto them, O Lord,et lux perpetua luceat eis. and let perpetual light shine upon them.

2. Kyrie 2. O LordKyrie eleison; Lord have mercy upon us;Christe eleison; Christ have mercy upon us;Kyrie eleison Lord have mercy upon us.

3. Graduale 3. GradualRequiem æternam dona eis, Domine: Eternal rest grant unto them, O Lord:et lux perpetua luceat eis. and let perpetual light shine upon them.In memoria æterna erit justus, He shall be justified in everlasting memory,ab auditione mala non timebit. and shall not fear evil reports.

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The Little Match Girl Passion

1. Come, daughterCome, daughter / Help me, daughter / Help me cry Look, daughter / Where, daughter / What, daughter / Who, daughter Why, daughter Guiltless daughter / Patient daughter Gone

2. It was terribly cold It was terribly cold and nearly dark on the last evening of the old year, and the snow was falling fast. In the cold and the darkness, a poor little girl, with bare head and naked feet, roamed through the streets. It is true she had on a pair of slippers when she left home, but they were not of much use. They were very large, so large, indeed, that they had belonged to her mother, and the poor little creature had lost them in running across the street to avoid two carriages that were rolling along at a terrible rate. One of the slippers she could not find, and a boy seized upon the other and ran away with it, saying that he could use it as a cradle, when he had children of his own. So the little girl went on with her little naked feet, which were quire red and blue with the cold. So the little girl went on. / So the little girl went on.

3. Dearest heart Dearest heart / Dearest heart / What did you do that was so wrong? Dearest heart / Dearest heart / Why is your sentence so hard?

4. In an old apron In an old apron she carried a number of matches, and had a bundle of them in her hands. No one had bought anything of her the whole day, nor had any one given her even a penny. Shivering with cold and hunger, she crept along; poor little child, she looked the picture of misery. The snowflakes fell on her long, fair hair, which hung in curls on her shoulders, but she regarded them not.

5. Penance and remorse Penance and remorse / Tear my sinful heart in two My teardrops / May they fall like rain down upon your poor face May they fall down like rain / My teardrops Here, daughter, here I am / I should be bound as you were bound All that I deserve is / What you have endured Penance and remorse / Tear my sinful heart in two My penance / My remorse / My penance

4. Offertorium 4. OffertoryDomine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory,libera animas defunctorum deliver the souls of the dead de poenis inferni, from punishment in the inferno,et de profundo lacu. and from the infernal lake.Libera eas de ore leonis, Deliver them from the mouth of the lion,ne absorbeat eas tartarus, lest the abyss swallow them up,ne cadant in obscurum. lest they fall into the darkness.Hostias et preces tibi, Sacrifices and prayers to thee, Domine, laudis offerimus. O Lord, we offer with praise.Tu suscipe pro animabus illis O receive them for the souls of those quarum hodie memoriam facimus. whom today we commemorate.Fac eas, Domine, Make them, O Lord,de morte transire ad vitam, to pass from death to life,quam olim Abrahae promisisti, as thou of old hast promised Abraham et semini eius. and his seed.  5. Sanctus 5. HolySanctus, Sanctus, Sanctus, Holy, Holy, Holy,Dominus Deus Sabaoth; Lord God of Hosts;pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory,Osanna in excelsis. Hosanna in the highest.Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord.

6. Agnus Dei 6. Lamb of GodAgnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world,dona eis requiem, grant them rest,Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world,dona eis requiem sempiternam. grant them eternal rest.

7. Communio 7. CommunionLux aeterna luceat eis, Domine, Let everlasting light shine upon them, Lord,cum sanctis tuis in aeternum, with Thy saints for ever,quia pius es. for Thou art merciful.Requiem aeternam dona eis Domine, Grant them eternal rest, Lord,et lux perpetua luceat eis, and let perpetual light shine upon them,quia pius es. for Thou art merciful.

Versa est in LuctumVersa est in luctum cithara mea, My harp is tuned for lamentation,et organum meum in vocem flentium. and my flute to the voice of those who weep.Parce mihi Domine, Spare me, O Lord,nihil enim sunt dies mei. for my days are as nothing.

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10. She lighted another matchShe lighted another match, and then she found herself sitting under a beautiful Christmas-tree. It was larger and more beautifully decorated than the one which she had seen through the glass door at the rich merchant’s. Thousands of tapers were burning upon the green branches, and colored pictures, like those she had seen in the show-windows, looked down upon it all. The little one stretched out her hand towards them, and the match went out. The Christmas lights rose higher and higher, till they looked to her like the stars in the sky. Then she saw a star fall, leaving behind it a bright streak of fire. “Some one is dying,” thought the little girl, for her old grandmother, the only one who had ever loved her, and who was now dead, had told her that when a star falls, a soul was going up to God.

11. From the sixth hourFrom the sixth hour there was darkness over all the land until the ninth hour. And at the ninth hour she cried out: Eli, Eli.

12. She again rubbed a matchShe again rubbed a match on the wall, and the light shone round her; in the brightness stood her old grandmother, clear and shining, yet mild and loving in her appearance. “Grandmother,” cried the little one, “O take me with you; I know you will go away when the match burns out; you will vanish like the warm stove, the roast goose, and the large, glorious Christmas-tree.” And she made haste to light the whole bundle of matches, for she wished to keep her grandmother there. And the matches glowed with a light that was brighter than the noon-day, and her grandmother had never appeared so large or so beautiful. She took the little girl in her arms, and they both flew upwards in brightness and joy far above the earth, where there was neither cold nor hunger nor pain, for they were with God.

13. When it is time for me to goWhen it is time for me to go / Don’t go from me When it is time for me to leave / Don’t leave me When it is time for me to die / Stay with me When I am most scared / Stay with me

14. In the dawn of morning In the dawn of morning there lay the poor little one, with pale cheeks and smiling mouth, leaning against the wall; she had been frozen to death on the last evening of the year; and the New-year’s sun rose and shone upon a little corpse! The child still sat, in the stiffness of death, holding the matches in her hand, one bundle of which was burnt. “She tried to warm herself,” said some. No one imagined what beautiful things she had seen, nor into what glory she had entered with her grandmother, on New-year’s day.

6. Lights were shining Lights were shining from every window, and there was a savory smell of roast goose, for it was New-year’s eve – yes, she remembered that. In a corner, between two houses, one of which projected beyond the other, she sank down and huddled herself together. She had drawn her little feet under her, but she could not keep off the cold; and she dared not go home, for she had sold no matches, and could not take home even a penny of money. Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the roof to cover them, through which the wind howled, although the largest holes had been stopped up with straw and rags. Her little hands were almost frozen with the cold.

7. Patience, patience! Patience. Patience!

8. Ah! perhaps Ah! perhaps a burning match might be some good, if she could draw it from the bundle and strike it against the wall, just to warm her fingers. She drew one out – “scratch!” how it sputtered as it burnt! It gave a warm, bright light, like a little candle, as she held her hand over it. It was really a wonderful light. It seemed to the little girl that she was sitting by a large iron stove, with polished brass feet and a brass ornament. How the fire burned! and seemed so beautifully warm that the child stretched out her feet as if to warm them, when, lo! the flame of the match went out, the stove vanished, and she had only the remains of the half-burnt match in her hand. She rubbed another match on the wall. It burst into a flame, and where its light fell upon the wall it became as transparent as a veil, and she could see into the room. The table was covered with a snowy white table-cloth, on which stood a splendid dinner service, and a steaming roast goose, stuffed with apples and dried plums. And what was still more wonderful, the goose jumped down from the dish and waddled across the floor, with a knife and fork in its breast, to the little girl. Then the match went out, and there remained nothing but the thick, damp, cold wall before her.

9. Have mercy, my God Have mercy, my God. / Look here, my God. See my tears fall. See my tears fall. Have mercy, my God. Have mercy. My eyes are crying. / My heart is crying, my God. See my tears fall. / See my tears fall, my God.

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ARTiSTiC PERSONNElCraig Hella Johnson, Artistic Director & Conductor

Rick Gabrillo, Assistant Conductor

Company of Voices

SopranoJulie Keim*Abigail H. LennoxGitanjali MathurStefanie Moore*Kathlene RitchSonja Tengblad AltoWendy BloomJanet Carlsen Campbell**Cina Crisara **Pam ElrodStella Hastings

TenorDaniel BuchananPaul D’Arcy*Carr HornbuckleJustin MeyerJos Milton

BassCameron Beauchamp*David FarwigRick GabrilloRobert HarlanJohn Proft

Rehearsal Pianist Faith DeBow

15. We sit and cry We sit and cry / And call to you / Rest soft, daughter, rest soft Where is your grave, daughter? / Where is your tomb? Where is your resting place? Rest soft, daughter, rest soft Rest soft … You closed your eyes. / I closed my eyes. Rest soft

Plorate, filii IsraelPlorate filii Israel, Weep, you children of Israel, plorate omnes virgines, weep, all you virgins, et filiam Jephte unigenitam in and for Jephthah’s only daughter, carmine doloris lamentamini. lament with songs of anguish.

*Soloist, The Little Match Girl Passion**Soloist, Requiem: Missa Pro Defunctis

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Harmonia Mundi also released Requiem in Europe in 2009, and it has just received an Edison nomination in the Choral Music category. The prestigious Edison Award is the Dutch equivalent of the U.S. Grammy; winners will be announced in June 2010.

A third recording, Threshold of Night, was released worldwide in September 2008 on the Harmonia Mundi label, Conspirare’s first title for the distinguished recording company. Threshold of Night received two Grammy nominations, Best Choral Performance and Best Classical Album. In October 2008, in cooperation with Austin’s public television station KLRU, Conspirare filmed a PBS television special, “A Company of Voices: Conspirare in Concert,” that was broadcast nationally in March 2009 and is available on both CD and DVD. “A Company of Voices” received a Grammy nomination as Best Classical Crossover Album.

Conspirare has performed at New York’s Carnegie Hall and Lincoln Center. In 2005 the organization received the Margaret Hillis Award for Choral Excellence, presented by national service organization Chorus America. In 2007, as one of the select choruses in the country to receive a grant from the National Endowment for the Arts under its American Masterpieces initiative, Conspirare presented a choral festival entitled “Crossing the Divide: Exploring Influence and Finding Our Voice.” The four-day festival featured a distinguished gathering of composers and conductors, performances of three world premieres, and a gala closing concert with a choir of 600 singers. In July 2008 Conspirare represented the United States at the Eighth World Symposium on Choral Music in Copenhagen, joining invited choirs from nearly forty countries.

The Conspirare ensembles’ 2009-2010 season consists of 25 performances of eight different programs, in Austin, Wimberley, Fredericksburg, San Antonio and Victoria. In February 2010 Conspirare was an invited, featured choir at the annual convention of the American Choral Directors Association/Eastern Division in Philadelphia.

ABOuT CONSPiR AREThe word “conspirare” derives from the Latin “con” and “spirare”

translated as “to breathe together.”

Conspirare was founded in 1991 as the New Texas Festival to present a summer classical music festival in Austin, Texas. Since then, the organization has grown rapidly to become an internationally recognized, professional choral organization that combines outstanding vocal artistry with innovative programming. Led by founder and artistic director Craig Hella Johnson, Conspirare is comprised of two performing ensembles and an educational program. A chamber choir (“Conspirare”) of extraordinarily talented singers from around the country is presented in an annual concert series in Austin, other Texas communities, and locations in the U.S. and abroad. The Conspirare Symphonic Choir of both professional and volunteer singers performs at least one large choral/orchestral work annually. The Conspirare Youth Choirs is an education and performance program for singers ages 8-16, who learn and perform in two separate ensembles, Kantorei and the Conspirare Children’s Choir.

Conspirare produced its first commercial recording, through the green fuse, in 2004 on the Clarion Records label. A second CD, Requiem, also on Clarion and since reissued by Harmonia Mundi, was released in 2006 and received two Grammy® nominations (Best Choral Performance and Best Engineered Album, Classical).

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Johnson served as Director of Choral Activities (1990-2001) at the University of Texas in Austin where he led the graduate program in conducting. He was artistic director of San Francisco-based Chanticleer (1998-1999) and has served as guest conductor with the Austin Symphony, San Antonio Symphony, Santa Fe Symphony, Chicago’s Music of the Baroque, and the Berkshire Choral Festival. In September 2009 Johnson travelled to Taiwan to conduct the Taipei Male Choir.

Praised by audiences and critics, Johnson’s programs are hailed as thought-provoking musical journeys. One unique aspect of Johnson’s programming is his signature “collage” style: through-composed programs that marry music and poetry to seamlessly blend sacred and secular, classical and contemporary, classical and popular. In 2006 he was engaged to create a special peace-themed collage program for the North Central ACDA convention. He was also engaged by the St. Olaf Choir to create and conduct a collage program during a five-week residency with the choir in spring 2007.

A composer and arranger, Johnson works with G. Schirmer Publishing on the Craig Hella Johnson Choral Series, featuring specially selected composers as well as some of his original compositions and arrangements. His works are also published by Alliance Music Publications. Also an accomplished vocalist and pianist, he released his first solo CD, “Thorns on the Rose,” in 2008 on the Booker Music label.

Johnson’s distinctive style and commitment to the choral art have led him to be honored with several awards, including 2008 induction into the Austin Arts Hall of Fame and the 2009 Louis Botto Award for Innovative Action and Entrepreneurial Zeal, given by Chorus America.

A native of Minnesota, Johnson studied at St. Olaf College, the Juilliard School, and the University of Illinois and earned his doctorate at Yale University. As the recipient of a National Arts Fellowship, Johnson studied with Helmuth Rilling at the International Bach Academy in Stuttgart, Germany.

ABOuT CRAiG HEllA JOHNSON

Renowned as one of the most influential voices in choral conducting in the United States, Craig Hella Johnson brings a depth of knowledge, artistic sensitivity, and imagination to his programs. As founder and artistic director of Conspirare, Johnson has assembled some of the finest singers in the country to form a world-class, award-winning organization committed to creating dynamic choral art.

In addition to his work with Conspirare, Johnson also serves as Creative Director and Conductor of the Victoria Bach Festival, an annual event that draws musicians and critical praise from around the country. Of Johnson’s performance of Beethoven’s Missa Solemnis, Mike Greenberg of the San Antonio Express-News wrote: “Through all the amazing ebbs and flows of dynamics, the radiant balances, the seamless connection of episodes, the theatrically astute tempo relations, the unified structural arc, the music shone forth with organic naturalness. Nothing sounded fussed over. Everything just sounded right.”

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CONSPiR ARE AuDiO & ViDEO RECORDiNGS

“A Company of Voices: Conspirare in Concert” – available on CD and DVDPBS show, nationally broadcast in March 2009; 2010 Grammy nomination

“Thorns on the Rose” – Craig Hella Johnson’s first solo CD

“Threshold of Night” – Two 2009 Grammy nominationsConspirare sings the music of Tarik O’Regan

“Requiem”– Now reissued on the Harmonia Mundi LabelTwo 2007 Grammy nominations

“through the green fuse” – A favorite collection featuring several spirituals

“Angel Be” (2 CDs) – A collection of favorite live recordings by Cynthia Clawson and Craig Hella Johnson, including four previously unreleased selections

“Crossing the Divide: Exploring Influence and Finding Our Voice” (2 CDs) – Recorded during the NEA sponsored American Masterpieces Festival in January 2007

Christmas at the Carillon “Here Comes the Light” (2009) “Lay Me Low” (2008)

“Love Again” (2007)“Love Calls You” (2006)“I Still Love You” (2 CDs - 2005)“Always” (2 CDs - 2004)“Nearer” (2003) “Where Does Morning Lie?” (2002) “Back to the Garden” (2001) “Home” (2000)

American Choral Directors Association National Convention (New York, 2003) Concert CDConcert DVD

American Choral Directors Association-North Central Division Convention (Omaha, 2006) “Peace Concert” CD (2 CDs)Closing Concert CDClosing Concert DVD

“Hidden Music” (2006 - mono)

To order, please call (512) 476-5775; hear samples at www.conspirare.org.

BOARD OF DiRECTORSFran Collmann, ChairRobert J. Karli, Vice ChairBernadette Tasher, TreasurerRobert Harlan, SecretaryJack BrannonDavid ClarkLarry CollmannJeri DeAngelisPatrick L. DeLauneTom DriscollAnn FieldsLou Ann LasherEric LeibrockHope MorganLouise MorseE. Stuart PhillipsHon. Bea Ann SmithMary StephensonMarion Lear SwaybillCatherine WildermuthSheila Youngblood

ADViSORy BOARDStephen AechternachtJohn AielliSue BarnesMark BiernerRay Brimble David BurgerDavid ClaflinVirginia DupuyMaydelle FasonJoLynn FreeBilly GammonVance GeorgeHelen HaysDan HerdWilliam B. HilgersWayne Holtzman Cassandra JamesJudith JellisonBob MurphyLynn MurphyGayle Glass RocheNancy ScanlanRussell SchulzAngela SmithLouann TempleEva Womack

ARTiSTiC & ADMiNiSTRATiVE STAFFCraig Hella JohnsonArtistic Director

Ann Hume WilsonExecutive Director

Katie AppleExecutive Assistant to the Artistic DirectorDirector of Special Projects

Tamara BlankenTicketing & Online Services Manager

Cynthia DensmoreFinance Manager

Melissa J. EddyCommunications & Grants Manager

Rick GabrilloProduction ManagerDirector, Conspirare Youth Choirs

Wravan GodsoeOperations/Ticketing Assistant

David HammondOperations Manager

Robert HarlanProduction Coordinator

Meri KruegerArtist Relations

Nina ReveringDirector, Conspirare Youth Choirs

Nicki TurmanHouse Manager

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Conspirare is funded and supported in part by the City of Austin

through the Cultural Arts Division, the Texas Commission on the Arts,

and the National Endowment for the Arts, which believes that

a great nation deserves great art.

SPONSORS

Media Sponsors

Business & Foundation Sponsors

Public Funding Agencies

Russell Hill Rogers Fund for the Arts

STill TO COME iN THE 2009-2010 SEASON

Conspirare Youth Choirs: Invitation to the VoyageThe words of French poet Charles Baudelaire and the music of Romantic composer Henri Duparc meet in the beloved French art song “L’invitation au Voyage,” the inspiration and framework for this unique spring concert. Also featuring music by David Childs, Imant Raminsh, and Eleanor Daley.

Friday, May 14, & Saturday, May 15, 7:00 p.m. at St. Martin’s Lutheran Church

Dynamic ConvergenceThe Conspirare Symphonic Choir and organists Judith and Gerre Hancock perform the popular Duruflé Requiem and Cantos Sagrados (Sacred Songs), a powerful, dramatic work by brilliant Scottish composer James MacMillan.

Saturday, June 5, 8:00 p.m. at University Presbyterian Church, Austin.Sunday, June 6, 6:00 p.m. at Corpus Christi Cathedral, Corpus Christi

J. S. Bach – Mass in B minorBach’s crowning achievement delivers a profound listening experience every time you hear it. Conspirare and a period-instrument orchestra from the Victoria Bach Festival perform the iconic work with soloists from the ensemble.

Saturday, June 12, 8:00 p.m. at Our Saviour’s Lutheran Church, VictoriaSunday, June 13, 7:00 p.m. at The Long Center for the Performing Arts

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leadership Circle

Maestro CircleCity of Austin

Cultural Arts DivisionFran & Larry CollmannThe Kodosky FoundationNational Endowment

for the ArtsSouth Texas Money

Management

Impresario CircleWilliam R. DicksonRobert & Lara HarlanGayle Glass RocheCarolyn & Marc SeriffTescom, Inc.Texas Commission on the Arts

Benefactor CircleAnonymousAustin Community FoundationRay & Karen BrimbleKen & Joyce Beck Family FundJoe & Cynthia CainJeri DeAngelisGE FoundationHelen & Bob HaysRobert & Trish KarliCarolyn J. KeatingJeff & Gail KodoskyCaren ProthroRussell Hill Rogers

Fund for the ArtsRick & Jill SalwenStill Water Foundation

Platinum Baton CircleCenTex BeverageDavid & Catherine ClarkThomas Driscoll

& Nancy QuinnMary Nell FrucellaKeating Family FoundationCynthia KeeverWendi & Brian KushnerKGSR – 93.3 FMKMFA – 89.5 FMKUT – 90.5 FMMid Atlantic Arts Foundation

Perkins-Prothro FoundationSusan & Forest ReesLouise ReeserShoehorn DesignThe Rachael & Ben F. Vaughan

FoundationBen & Daphne Vaughan

Golden Baton CircleAnonymousCindy & Chic BainWilliam C. Bednar

& Flo Ann RandleClark, Thomas & WintersCrutch & Danna CrutchfieldPatrick DeLaune & Sadaf Khan

In honor of Robert HarlanThe Fetzer InstituteCindy KeeverLouise MorseE. Stuart PhillipsLinda RamseySara & Scott ReichardtDonna & Christy SalinasWilliam Schleuse

& Virginia McDermotHonorable Bea Ann SmithTexas Commission on the Arts

Silver Baton CircleAnonymous (2)Eva AndriesMargaret & Robert AyresRobert & Pat BrueckAmelia Bullock & Bill

KrumpackDan Bullock & Annette CarlozziDavid BurgerRichard CampbellJanet Carlson CampbellPablo CardenasJanis & David ClaflinJerry CraftRena & Richard D’SouzaBryan DunkinRobert & Virginia DupuyMelissa Eddy

& Tracy SchiemenzJenelle EdwardsRev. Dr. Ann FieldsSteve GilbertBalie J. & Beverly Griffith

Tom Grimes & Karen KiblerCarolyn Harris-HynsonRichard Hartgrove

& Gary CooperJane HilferJohn HoganJoan & Tom KobayashiTimothy KoockJohn & Katie LavendoskiJodi Lazar

& Michael NussbaumEric LeibrockLee ManfordJoyce MayerKevin & Debe McKeandJanet MillerHope MorganBob & Lynn MurphyAnne Nagelkirk & Jason OrrWilliam NemirChristopher Novosad, tiki2.comCarlisle PearsonAnn Praderus & Tony VanceNancy ScanlanGene Alice & Max ShermanAngela & Charles SmithDavid C. SmithDian & Harlan StaiMary StephensonJames StolpaSyzygy MarketingBernadette TasherKerry Tate & Susan RieffAnne & William WagnerWaxmanCavnerLawsonCatherine

& David WildermuthEva & Marvin WomackLucia & Paul WoodruffSheila Youngblood

Circle of Friends

SponsorsJulie ArendSusan BarnesKen & Joyce BeckKlaus Bichteler & Mary ParseKaren & Mike BlizzardJeff & Ann BomerJack Brannon & Brian MillerJohn & Trina Braun

DONORSGifts to Conspirare provide financial support for concerts, recordings, educational programs, and outreach activities. The following roster of donors includes cash and in-kind gifts received from individuals, family and private foundations, businesses, and government agencies between July 1, 2008 and April 23, 2010. We express our gratitude to each and every one of our donors.

enclosed is my tax-deductible gift in the amount of $

-or- i pledge a gift of $ to be paid in full by june 30, 2010.

choose one:

please charge my credit card $ per month for # months, begininning / / date

i will pay by check $ per month for # months

need a different pledge plan? please call us at (512) 476-5775 to arrange.

Payment information:❑ check payable to conspirare

credit card ❑ discover ❑ mc ❑ visa ❑ amex

name on card

card number

security code expiration date

signature must be signature of cardholder

name as you wish to be acknowledged in conspirare publications

address

city state zip

daytime phone ( )

e-mail

employer

Does your employer support the arts with matching gifts? If so, please enclose the completed form along with your payment.

Mail to Conspirare, 1033 La Posada Drive, Suite 130, Austin, TX 78752. Conspirare is a non-profit 501(c)(3) organization. Donations are tax-deductible to the fullest extent of the law. Thank you for your generous support of Conspirare.

leadership CircleMaestro Circle ....................................$25,000+Impresario Circle ...............$15,000 — $24,999Benefactor Circle ...............$10,000 — $14,999Platinum Baton Circle ...........$5,000 — $9,999Golden Baton Circle ..............$2,500 — $4,999Silver Baton Circle .................$1,000 — $2,499

Circle of FriendsSponsors.......................................$500 — $999Patrons .........................................$250 — $499Sustainers .....................................$100 — $249Donors ...............................................Up to $99

SuPPORT CONSPiRAREConspirare invites you to join our family of donors by supporting the 2009-10 season. Your contribution supports our gift of music through performances of the highest artistic quality and through educational and outreach programs, including the Conspirare Youth Choirs.

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Becky & Cory CoxLisa & Eric CravenCina M. CrisaraJames & Glenda CroutKarel DahmenMela Sarajane Dailey & Peter BayPaula D’ArcyRichard J. DavisFaith DeBowDellRobin & Karl DentPaul Dlabal M.D.Derrick DodgeDianne Donovan

& Mitch WatkinsRobert M. DraperSharon DuboiseJames DunnBarbara DurhamJames ElrodMary FarabeeJanet FaulknerJerry FolsonMerle & Ginna FrankeJoetta & Gregg FreebyDana Friis-Hansen

& Mark HolzbachCaroline FrommholdAnneliese & Robert GeisSue GeorgeMary GiffordMarlene & William GladeDavid & Kay GoffGraves, Dougherty, Hearon

& MoodyAndrew GrayJames & Jo GreenGary GreenblumSam & Suzanne HaddadSally HamiltonLewis HoffackerBetty HolmesJeffrey Hudson & Robert BlodgettMelissa HuebschB.J. & Constance IhlenfeldtCassandra James & Mark Bierner

In memory of Karen KuykendallRobert JensenTodd JermstadEllen JockuschCraig Hella Johnson

& Phil Overbaugh Elizabeth JuddStan & Biruta KearlMarguerite KellyEllen KingCecilia KittleyAnn & Bill KleinebeckerElinor KliewerJacqueline LainEva & Chris LaskarisElaine Doherty LeachKaren & Paul LeekeCatherine & David Light

Virginia LivesayKathryn & Don LougheedChien-Chun & Hui-Lan LuCynthia LuxJerome MalekDell MarcouxManuel & Anne MartinezAmanda MastersonBradley & Elizabeth MaximJim MaxwellMarsha McCaryDavid McClellanSandra McKenzieConnie McMillanRicky McSwainVicki L. MoffattJohn & Elizabeth Hansing MoonNancy MooreJanice & Chip MorrisAndy MozisekJudith MunyonRosie & John NiemanAdrian NewcombNona NilandMargaret H.

& Philip J. OverbaughJim ParrishCathie ParsleyPete & Elizabeth PaulThom PavlechkoDebbie Peden & Dean Perkins Jeff PettitJim & Nicole PizzitolaAlex & Karen PopeMary PozorskiCheryl & Gary PyleKatherine RaceEdwin Ramos

& Elaine SalazarGail RandallCliff ReddNina & Dean ReveringHamilton & Joanne RichardsCheryl RidallGayle & Mike Roche

In memory of Dottie WeltonGayle & Mike Roche

In memory of Miriam KayeGayle & Mike Roche

In memory of Helen LeaLeilani RoseBeverly RossArthur & Donna RutherfordSafeway, Inc.Mary SangerNona & Andrew SansomDennis SchaffferRhonda SchleicherThomas & Claudia SchurrDavid SchwarzJoan & Lindsay SharpeMarilyn SharrattAmy & Norman ShipherdTerry Shook

Ted SmithDan SpenceD. C. (Don) & Nancy SpencerRobyn SperlingCindy & Bryan SperryBarbara & Bruce StevensonVirginia StottsKeith StuckyJoe & Rose SullivanWilliam & Mary Ellen SullivanMarion Lear SwaybillGayle & Thomas TolerMollie TowerNancy TownsendNicki & Scott TurmanMarie Van RoekelCynthia VanderbergFred ViehwegDebra & Alan WaldropCarol WalkerJeannette G. WalkerBen WearKendra WeltonAlex & Veda WhiteMarianne & Stewart WilkinsonJean Rogers WinchellBarbara YarbroughHilary & Stan YoungJoyce Zehr & Marvin BurkeDavid Zersen

Conspirare also thanks all donors of gifts under $100 and regrets that space does not permit the listing of each name. Your support is equally appreciated.

We strive to publish an accurate donor list. If an error or omission is noticed, please let us know.

2010 Spring FundraiserHidden Music VConspirare appreciates all 225 attendees (a new record) at our spring fundraiser “Hidden Music V.” Our generous table sponsors, single ticket buyers, auction bidders, and “Paddles Up” donors raised $108,000 to support Conspirare’s world-class concerts, recordings, and educational activities! Participants will be thanked by name in the June concert programs.

Chez ZeeKathy & David ClemGwen & Dean CollmannNatasha & David CollmannMarie Crane & Bill KellyRobert DaileyNell & Al DalePaula & Stewart DamoreRena & Richard D’SouzaPam ElrodGreg Edens & Dorothy Drummer

In honor of the Hon. Bea Ann SmithCassandra EwerSam & Maydelle FasonGwen & Bruce FloryR. John & Susan FoxGregory & JoLynn FreeCheryl FullerGerre & Judith HancockWalter & Ann HerbstVan & Jeanne HoisingtonRobert E. HollingsworthNancy & Bobby R. InmanDiane IresonJane JacksonBill & Lou Ann LasherEric Leibrock

In memory of Helen LeaMark LevyKati LewisSheila LummisTrish MerrillMicro-Bac InternationalMilton D. Miller IIIvan Milman & Janie KeysLinda MonkJerele & Elizabeth NeeldTom & Mary Sue Koontz NelsonKaren Ann NorrisRichard E. OrtonRobert Patterson & Diana SellersHonorable Robert PitmanThe Prodicus GroupMilbrey & Bev RaneyJerome RavelDick & Lynn RewJonathan & Kari RiemerSally & Andy RitchRikky Rivers & Jim SchultzJack & Susan RobertsonMichal RosenbergerLarry Sager & Jane CohenPieter & Frances SchenkkanNan SeidenKay SherrillMary Smith & Walter StewartAnna SorensenPatty Speier & Charles WoodruffBrenda & Larry SmithJames StolpaLaFern & Virgil SwiftLois VanLaninghamEvan & Ann Hume WilsonJames Winkle

PatronsAnonymousSandi AitkenBob & Marcia BaileyAnne BertholfMark Biemer

& Cassandra JamesLinda Ball & Forrest PreecePatrick & Cindy BehlingOla BellLeah BillingsleyPat BlackNancy BowmanEvelyn BoyerChip BuergerPierre & Nancy BulhonToni & Paul BurnsJudy CardinaleRita & Merrill CarlsonPeggy DanielNancy & Jimmy DavisNina Di Leo

In memory of Dottie WeltonWill Dibrell & Beverly BajemaDoor Number 3Susan Nash FeketySteve GilbertGlenda GoehrsStephen & Stefanie GriffithTom Grimes & Karen KiblerLynette HeckmannJohn Griffin & Lynn KnauppPaul GuttreyJanet HarmanLeroy & Karen HaverlahAnne & Jim HesterJoan & Wayne HoltzmanCarr Hornbuckle & Jack LeiferH. David & Jan Hughes

In honor of the Hon. Bea Ann SmithIBMJudith Jellison & Robert DukeMorris & Marge JohnsonSteve Kahle

In honor of Glenda GoehrsMartha KopraCynthia & Greg KozmetskyFrances & Robert KushingNicole LamartineJill & Roger LaneMay LatsonJosh LauerNora LiebermanW. Jackson & Carolyn LongThomas & Alaire LowrySue & Mike MaineMary MatusArthur & Patricia McCormick

In honor of the Hon. Bea Ann SmithVance McMahanMargaret Menicucci &

Michael WhellanGlenn MillerBonnie Mills

Ann MoodyLaura MooreRebecca A. MunizDouglas NelsonLip & Cinnie NorvellPatty OlwellBrian & Lynn PowellFlo Ann RandleSandra & Smith RayLari & Tom RoggeBrian Sands HQ83

In memory of Rick ReynoldsPeter Schram & Harry UllmannRussell E. SchulzKatharine B. & Gregory ShieldsSuzanne & John ShoreJames Shultz MDBrenda SmithMargo SmithJim SotirosJanice & John SpencePaul StoneMary StumbergMartha TerryMeredith Thomas & Walter StroupThomas GraphicsJoy TurmanErich VollmerAlan & Debra WaldropConnie & Robert WebbFrankie WestbrookRichard Zansitis

& Suzanne Mitchell

SustainersClaudia & Stephen AechternachtShannon ArmstrongAnn BahanBrick & Laura BalvanzJanette BarlowRoss & Kristin BassingerSteven BeebeBridgette BeineckeAmy BlairWendy BloomBette & Whitney BodmanPam BoerstJohn BriggsBillye Jean BrownJo & George BrownTracy BrunoBette-Jo BuhlerAmy BumpusBarbara J. Burnett

In memory of Jake FosterSarah & Ernest ButlerJudy BushJames CampbellChris & J. Dennis CavnerPatricia ChericoThomas CollinsRalph Coonrad Maria CorbettCheryl Cosway

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THANK yOu

Andrew Yates PhotographyAustin American Statesman – Jeanne Claire van RyzinAustin Chronicle – Robert FairesBruce BiermannBlanton Museum of ArtLinda BuehlmannCherie BurtAnne & Sam Byars*Ann ByrdJulie CartersonChez ZeeClark, Thomas & WintersFran & Larry Collmann*Peggy CooperEileen DolanAnne & Ray EllisonDale and Carolynn ElmshaeuserJames ElrodMarion Elrod*Michelle FisherDick & Janet FunderburkKim Gerber*Mary GiffordKathryn GovierGene HauerHelen HaysJeanne HenryEd & Sara Hill*Will Hornaday Design KGSR-FM – Sommer Novak, Gary WeaverKMFA-FM – Joan Kobayashi, Dianne Donovan, Jeffrey BlairKUT-FM – John AielliEd & Eileen Lundy*Nancy MichalewiczLaura Moore & Steve Sadler*Kristin NarcowichBill Nemir* Christopher Novosad, Tiki2.comPhilip OverbaughJane ParsonsDiana PhillipsNina & Dean Revering*Verla Shelar St. Martin’s Lutheran Church – Thom PavlechkoSt. Matthew’s Episcopal Church, Austin – Jean FullerSouth Texas Money Management – Jeanie Wyatt, Josie CoinerSteelSMBology – Amy West

Tarrytown United Methodist ChurchBernadette Tasher *TesCom, Inc.Texas Choral ConsortTexas Performing Arts at UT-AustinVeryan & Greg ThompsonLois VanlaninghamVictoria Bach FestivalCarol WalkerKenneth WilsonLinda Zander

* Special thanks to Artist Hospitality Volunteers

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The Bach Cantata Project proudly supports the artistry of Conspirare Listen to the awe inspiring sound of Bach in The Blanton Museum’s Rapoport Atrium. Performances include a connection with an artwork in the museum’s galleries. Held the last Tuesday of selected months, the program is included with the price of admission, and free to Blanton Members and current University of Texas students, faculty, and staff. 2010-2011 performances will be announced soon.

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CONSPiR ARE PERFORMiNG NOTEConspirare has the privilege of performing in a variety of beautiful venues. We seek out acoustical and aesthetic environments that can best enhance choral performances and we are deeply grateful to our hosts. While our performing venues may represent specific traditions and the texts of some of our repertoire may also be representative of specific traditions, it is in no way intended to be exclusive of any individual whose experience or set of beliefs is not represented.

Conspirare respects and celebrates the great diversity of religious, artistic, and human experiences represented among our singers and audience members. Our shared musical experiences are intended to bring us together as we all seek to be inspired by the power of great choral music. The audience creates the space in which the music is held.

Michael Long Photography

www.MichaelLongArt.com

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