Program booklet

MAY 31Songs of the Soul
& The Cloud of Unknowing
JUNE 9 Beethoven:
Missa Solemnis
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Songs of the Soul
Pages 4-19
& The Cloud of Unknowing
Friday, May 31, 2013, 8:00 pm
St. John Neumann Catholic Church, Austin
Pre-concert talk by composer Robert Kyr
Performance and recording made possible by the generous
support of the Aaron Copland Fund for Music, National Endowment
for the Arts, Nancy Scanlan, and an anonymous patron.
Pages 20-32
Beethoven:
Missa Solemnis
Sunday, June 9, 2013, 4:00 pm
Long Center for the Performing Arts, Austin
Pre-concert talk by Margaret Perry,
Director, Armstrong Community Music School
Conspirare is a Resident Company of the Long Center
S e as o n S u s ta i n i n g Un d er w r i t er
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PROGRAM SONGS OF THE SOUL
The Cloud of Unknowing (2013) world premiere
For Soprano, Baritone, Chorus & Strings
Part I:
i.
ii.
iii.
iv.
Part II:
i.
ii.
iii.
iv.
v.
vi.
PROGRAM NOTES
Robert Kyr (b. 1952)
Songs of Night
unknowing (soloists & chorus)
fearing (soloists)
forgetting (chorus)
longing (soloists & chorus)
The Cloud of Unknowing plants the seeds that grow into its complement, Songs of the Soul, both textually and musically. As featured in
The Cloud of Unknowing, the work of St. Teresa of Ávila (1515-1582)
inspired St. John of the Cross (1542-1591) to write Noche oscura/Dark
Night, which is the primary narrative text of Songs of the Soul. The evolution of their literary and spiritual relationship is expressed through the
blossoming of the first into the second cantata.
Songs of Dawn
waiting (soloists)
thinking (chorus)
beseeching (soloists)
piercing (chorus)
surrendering (soloists & chorus)
enduring (soloists & chorus)
INTERMISSION
Songs of the Soul (2011) I. Descending: From the Abyss (chorus)
II. Venturing: On a Dark Night (soloists)
III. Hoping: Toward Dawn (chorus)
IV. Transforming: Beloved into Lover (soloists)
V. Arising: A Time for Song (chorus)
VI. Uniting: Leaving My Cares (soloists)
VII. Transcending: And Love Remains (chorus)
Estelí Gomez, soprano
David Farwig, baritone
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Overview
Tonight’s concert features two cantatas—The Cloud of Unknowing and
Songs of the Soul—that explore the relationship between human and
divine love. Both works are scored for the same musical forces: soprano
and baritone soloists, chorus, and strings.
Robert Kyr
The Cloud of Unknowing
Part I of the work is entitled Songs of Night and it consists of four movements. In the first movement (unknowing in English), the soloists and
chorus describe the “cloud of unknowing” as a hindrance to experiencing
divine love. The second movement (fearing on a Castillano text of St. Teresa of Ávila) is a dialogue between the soprano and baritone, who pose
existential questions, such as, “And what do you most fear in yourself?,”
while in the third movement (forgetting in English), the listener is asked
to “Love the One for itself alone.” The final movement is a psalm of lamentation (longing, Psalm 42 in Latin), which ends with a serene prayer.
Part II of the cantata (Songs of Dawn) reflects Part I (Songs of Night) in
its alternation of Castillano and English texts. The first and third movements (waiting and beseeching on texts of St. Teresa of Ávila) feature
a refrain: “I am Yours; I was born for You./What do You wish to make
of me?” In the manner of “call and response,” the soprano and baritone
respond to the question by offering to surrender to divine love, in spite of
life’s challenging dualities (sickness/health, war/peace, etc.).
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In stark contrast, movements 1 and 3 alternate with the English texts
of movements 2 (thinking) and 4 (piercing). The listener is told that
thinking about love is not enough, but one must act: “Pierce the darkness above you!/Strike with a single word of love!”
Movement 5 (surrendering on a text of St. Teresa of Ávila in Castillano) demonstrates the result of this action, maintaining, “Whoever has God/Lacks nothing:/Only God is enough.” The cantata
concludes with an ecstatic choral dance (enduring, Psalm 136 in
Latin) that features a joyous, repeated acclamation: “For his steadfast love endures forever!”
Songs of the Soul
I composed the second work on tonight’s program as a cantata in
the manner of J. S. Bach. As in a Bach cantata, the music is primarily
contrapuntal (“line against line” as opposed to “chordal”) and consecutive movements are composed for contrasting musical forces (soloists
or chorus). Moreover, it features an ongoing spiritual narrative.
The work traces the journey of the soul from its most despairing and
earthbound condition to its most joyful and transcendent state of being. The text of the work sets out seven stages of development in the
life of the soul, as reflected by the first word of each of its movement
titles: Descending; Venturing; Hoping; Transforming; Arising; Uniting; and Transcending.
In this cantata, the odd-numbered movements (1, 3, 5, 7) are for chorus and strings, and the even-numbered ones (2, 4, 6) are for soprano,
baritone and strings. The solo/duo movements constitute a setting of
Noche oscura/Dark Night, a deeply mystical eight-verse poem by St.
John of the Cross, who also wrote a commentary on it. My texts for
the choral movements were selected from scriptural passages that he
cites during his discussion. Thus, all of the movements are directly
connected through a single source that powerfully unifies the work,
both textually and spiritually.
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The first movement begins in the depths of despair with a lament,
Descending: From the Abyss (in Latin and English), in which the
soul cries out to God to save it from emotional and psychological
chaos. The second stage of the journey is Venturing: On a Dark
Night (in Castillano), in which the baritone sings about starting
out on a “happy venture” on a “dark night/aflame with fervent
love,” while the soprano sings a haunting wordless song from afar.
Throughout the cantata, the baritone represents the earthly personality, while the soprano personifies the soul.
The chorus—embodying the community—responds with an anthem,
Hoping: Toward Dawn (Mvt. III in Latin and English), followed
by an ecstatic duet sung by the soloists, Transforming: Loved into
Lover (Mvt. IV in Castillano), and another choral response, which is
a quick, dance-like movement, Arising: A Time for Song (Mvt. V).
After the soloists express love’s blissful nature in an extended lyrical setting (Uniting: Leaving My Cares, Mvt. VI in Castillano), the
final phase of the journey is Transcending: And Love Remains (Mvt.
VII in Latin), a fugal motet that is a setting of the revered text from
Corinthians I “Love is patient,/Love is kind…Faith, hope, love; these
three, but the greatest of these is love.”
With my deepest gratitude, I dedicate The Cloud of Unknowing and
Songs of the Soul to Craig Hella Johnson, David Farwig, Abigail
Haynes Lennox, Estelí Gomez, and Conspirare Company of Voices,
who never fail to inspire me through the vibrant musicality that they
infuse into their art.
–Robert Kyr
F or
expanded program notes , please visit conspirare . org .
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Texts & Translations
The Cloud of Unknowing
For Soprano, Baritone, Chorus & Strings
S = soprano; Br = baritone; C = chorus; Duo = S + Br
I. Songs of Night
i. unknowing –The Cloud of Unknowing; English
C: There is a cloud of darkness
That you cannot imagine;
Not a cloud in the air,
Nor the absence of light.
It is all that you do not know,
All that you have forgotten,
All that you do not see
With your spiritual eye.
This is the cloud of unknowing
Between you and the One.
ii. fearing –St. Teresa of Ávila; Spanish
S: Si el amor que me tenéis,If the love You have for me,
Dios mío, como el que os tengo,My God, is like the one I have for You,
decidme, en qué me detengo?Tell me, what is holding me back?
o Vos, en qué os detenéis?Or You, what is keeping You?
Br: “Alma, qué quieres de mi?“
“Soul, what do You want from me?”
S: “Dios mío, no más que verte.”“My God, just to see You.”
Br: “Y, qué temes más de ti?”“And what do you most fear in yourself?”
S: “Lo que más temo es perderte.”“What I fear most is losing You.”
Duo: Un amor que ocupe os pido,I ask You for a love that fills,
Dios mío, mi alma os tenga,My God: let my soul have You,
para hacer un dulce nidoTo make a sweet nest
adonde más la convenga.Wherever it be best for her.
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iii. forgetting –The Cloud of Unknowing; English
C: Whatever you think about
Is above you for awhile,
Pushing you further from the One.
Beneath, and between you
And all creatures ever made,
Put a cloud of forgetting.
Hide them all,
Hide even angels and saints,
Under the cloud of unknowing.
And think only about
The pure being of the One:
Love the One for itself alone.
iv. longing –Psalm 42: 1-3, 8-9, 12; Latin
Quemadmodum desiderat cervus As a hart longs for flowing streams,
ad fontes aquarum
ita desiderat anima mea ad te Deus
So longs my soul for thee, O God.
sitivit anima mea ad Deum fortem: vivumMy soul thirsts for the living God.
quando veniam et parebo ante faciem DeiWhen shall I come and behold
the face of God?
abyssus absyssum vocat Deep calls to deep
in voce cataractarum tuarumAll the thunder of thy cataracts;
omnes gurgites tuiAll thy waves and thy billows
et fluctus tui super me transieruntHave gone over me.
per diem mandavit DominusBy day, the Lord commands
misericordiam suamHis steadfast love;
et in nocte canticum eiusAnd at night, his song is with me,
mecum oratio Deo vitae meaeA prayer to the God of my life.
quare tristis es anima meaWhy are you cast down, O my soul,
et quare conturbas meAnd why are you disquieted within me?
spera in Deum quoniam adhuc:Hope in God;
confitebor illiFor I shall again praise him,
salutare vultus mei et: Deus meusMy help and my God.
II. Songs of Dawn
i. waiting –St. Teresa of Ávila; Spanish
Duo: Vuestra soy, para Vos nací,
I am Yours; I was born for You.
qué mandáis hacer de mí?
What do You wish to make of me?
Br:vuestra soy, pues me criastes;Yours I am, for You created me;
S: vuestra, pues me redimistes;Yours, for You redeemed me;
Br:vuestra, pues que me sufristes;Yours, for You suffered me;
S: vuestra, pues que me llamastes;Yours, for You summoned me;
Duo: vuestra, porque me esperastes;Yours, because You waited for me;
vuestra, pues no me perdí.Yours, for You did not lose me.
C: Vuestra soy, para Vos nací,
I am Yours; I was born for You.
Qué mandáis hacer de mí?
What do You wish to make of me?
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ii. thinking –The Cloud of Unknowing; English
B: How shall I think about the One?
S: I have no idea.
B: And what is the One?
S: I do not know.
Duo: You may reach the One
And hold it close through love,
But never through thinking.
Find the One by loving the One.
iii. beseeching –St. Teresa of Ávila; Spanish
C: Vuestra soy, para Vos nací,
I am Yours; I was born for You.
qué mandáis hacer de mí?What do You wish to make of me?
Br:Dadme muerte, dadme vida,Give me death, give me life,
S: dad salud o enfermedad,Give me health or sickness,
Br:honra o deshonra me dad,Give me honor or dishonor,
S: dadme guerra o paz crecida,Give me war or full-grown peace,
Duo: flaqueza o fuerza cumplida,Frailty or robust strength;
que a todo digo que sí.I say yes to them all.
C: Vuestra soy, para Vos nací,
I am Yours; I was born for You.
qué mandáis hacer de mí?What do You wish to make of me?
Br:Dadme riqueza o pobreza,Give me wealth or poverty.
S: dad consuelo o desconsuelo,Give me comfort or distress.
Br:dadme alegría o tristeza,Give me joy or sadness.
S: dadme infierno o dadme cielo,Give me hell or give me heaven,
Duo: vida dulce, sol sin velo,Sweet life, unveiled sun,
pues del todo me rendí.I have left all behind.
iv. piercing –The Cloud of Unknowing; English
C: With great courage and resolve,
Step above the cloud of forgetting.
With a single word of love,
Beat upon the darkness above you!
Strike the cloud of unknowing!
Strike with a sharp arrow!
Pierce the darkness above you!
Strike with a single word of love!
And never retreat ,
No matter what you face.
v. surrendering –St. Teresa of Ávila; Spanish
All:Nada te turbe,Let nothing upset you,
nada te espante.
Let nothing startle you.
Todo se pasa,
All things pass;
Dios no se muda.God does not change.
La paciencia
Patience wins
todo lo alcanza.All it seeks.
Quien a Dios tiene,Whoever has God
nada le falta:
Lacks nothing:
Sólo Dios basta.Only God is enough.
vi. enduring –Psalm 136: 1-9, 26; Latin
V1:Confitemini Domino quoniam bonusO give thanks to the Lord for he is good;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V2:confitemini Deo deorumO give thanks to the God of gods;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V3:confitemini Domino dominorumO give thanks to the Lord of lords;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V4:qui facit mirabilia magna solusWho alone does great wonders;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V5:qui fecit caelos in sapientiaWho made the heavens in wisdom;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V6:qui firmavit terram super aquasWho laid out the earth above the
waters;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V7:qui fecit luminaria magnaWho made the great lights;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V8:solem in potestatem dieiThe sun to rule over day;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V9:lunam et stellas in potestatem noctisThe moon and stars to rule over night;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V10: confitemini Deo caeliO give thanks to the God of heaven;
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
V11: confitemini Domino dominorumO give thanks to the Lord of lords!
R: quoniam in aeternum misericordia eius For his steadfast love endures forever!
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Songs of the Soul
III. Hoping: Toward Dawn
I. Descending: From the Abyss
Salve me Deus
Save me, O God!
quoniam venerunt aquae
For the waters have risen unto my soul.
usque ad animam
–Psalm 69: 1-2
salve me Deus
veni in profundum aquarum et flumen operuit me
Save me, O God!
I have come into deep waters
And the flood sweeps over me.
–Psalm 69: 1, 3
clamavi de tribulatione mea ad DominumOut of my distress, I cry to you, O Lord,
et proiecisti me in profundumFor you cast me into the deep,
in corde maris et flumen circumdedit meInto the heart of the sea, and the flood
omnes gurgites tui et fluctus tui
Enveloped me; all your waves
super me transierunt
And your billows washed over me,
circumdederunt me aquae usque
The waters swirled about me,
ad animam abyssus vallavit me
Threatening my life;
The abyss swallowed me.
ad extrema montium descendi
I descended to the roots of mountains;
terrae vectes concluserunt me in aeternumThe world was closing in
Around me forever,
et sublevabis de corruptione vitam meam But you brought up my life from the pit,
Domine Deus meus
O Lord, My God;
salve me Deus
Save me, O God.
–Jonah 2: 3-4, 6-7
II. Venturing: On a Dark Night
En una noche oscura
On a dark night
con ansias en amores inflamada,
Aflame with fervent love,
!oh dichosa ventura!
Oh happy venture!
sali sin ser notada
I set out unespied
estando ya mi casa sosegada.
My house then being quiet.
A oscuras y segura,
Safe and in shadows
por la secreta escala disfrazada,By the secret stairs, disguised,
!oh dichosa ventura!
a oscuras y en celada,
estando ya mi casa sosegada.
Oh happy venture!
In shadows and stealthily,
My house then being quiet.
De profundis clamavi ad te Domine
Out of the depths, I cry to you, O Lord;
Domine exaudi vocam meum
Lord, hear my voice; Out of the depths,
I cry to you, O One.
fiant aures tuae intendentes
Let thine ears be attentive
in vocem deprecationis meae
To the voice of my supplications.
Si iniquitates observaveris DomineIf thou, O Lord, should mark iniquities;
Domine, quis sustinebit
O Lord, who shall stand?
O One: Who shall remain?
Quia apud te propitiatio est
For there is forgiveness with you,
et propter legem tuam And on account of Thy law,
sustinui te DomineI wait for you, O Lord;
There is forgiveness.
I wait for you; I wait.
sustinuit anima mea in verbo tuus
My soul waits upon your word;
speravit anima mea My soul hopes.
sustinui te Domine
I wait for you, O Lord;
sustinui
I wait.
–Psalm 130, adapted
IV. Transforming: Beloved into Lover
En la noche dichosa,
en secreto, que nadie veía,
ni yo miraba cosa,
sin otra luz y guía
sino la que en el corazón ard”ia.
Aquesta me guiaba
Más cierto que la luz del melodía,
adonde me esperaba
quien yo bein me sabía,
en parte donde nadie parecía.
On the happy night
In secret, when no one spotted me
And I saw nothing
With no light or guide
But what was burning in my heart.
This guided me
Surer than midday light
To where he awaited me
Whom I knew full well
In a place where no one came.
!Oh noche que guiaste!
Oh night, such escort!
!Oh noche amable mas que el alborada!Oh night, dearer than dawn!
!Oh noche que juntaste
Oh night you joined
Amado con amada,
Lover to beloved,
amada en el Amado transformada!
Beloved transformed to lover!
–Noche oscura, San Juan de la Cruz
–Dark Night, St. John of the Cross
–Noche oscura, San Juan de la Cruz–Dark Night, St. John of the Cross
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V. Arising: A Time for Song
VI. Uniting: Leaving My Cares
Pone me ut signaculum super cor tuumSet me as a seal upon your heart;
Arise, my love, my beautiful one,
And come away;
ut signaculum super brachium tuum
As a seal upon your arm.
For lo, winter is past,
The rain is over and gone.
quia fortis est ut more dilectio duraFor love is strong as death,
sicut inferus aemulatioJealousy as cruel as the grave.
Flowers cover the earth,
Now is the time for song!
lampades eius lampades ignis Its flashes are flashes of fire,
atque flammarum
A most vehement flame.
!Oh noche que quiaste!
Oh night, such escort!
!Oh noche amable mas que el alborada!Oh night, dearer than dawn!
!Oh noche que juntasteOh night you joined
Amado con amada,
Lover to beloved,
Amada en el Amado transformada!Beloved transformed to lover!
Set me as a seal upon your heart,
As a seal upon your arm;
surge propera amica mea
Arise, hasten, O my love,
formonsa mea et veni
My beautiful one, and come away!
Come away!
Set me as a seal upon your heart;
flores apparuerunt in terra
Flowers cover the earth.
vidi speciosam
I saw the fair one
sicut columbam ascendentem
Like a dove rising
desuper rivas aquarum
Above the streams of water.
cuius inaestimabilis
Whose incomparable fragrance
odor erat nimis in vestimentis eius;
Was strong in her garments,
et sicut dies verni circumdabant eam And as on a spring day,
She was circled about by
flores rosarum et lilia convallium
Flowers of roses and lilies of the valley.
Set me as a seal upon your arm;
Set me as a seal upon your heart.
Amado con amada,Lover to beloved,
Amada en el Amado transformada!Beloved transformed to lover!
Come away!
En mi pecho florido,On my flowering breast,
que entero para él solo se guardaba,
Kept whole for him alone,
allí quedó dormido,There he fell asleep,
y yo le regalaba,
And I regaled him,
y el ventalle de cedros aire daba.
And cedars fanned the air.
El aire de la almena,
The breeze from the ramparts
cuando yo sus cabellos esparcía,
With my fingers through his hair,
con su mano serena
Grazed my neck
en mi cuello hería,
With its gentle hand
y todos mis sentidos suspendía.
And held all my senses still.
Quedéme y olvidéme,
I stayed, forgot myself,
el rostro recliné sobre el Amado,
My face bent over my lover,
cesó todo y dejéme,
All things ceased, I left myself,
dejando me cuidado
Leaving my care
entre las azucenas olvidado.
Forgotten among the lilies.
–Noche oscura, San Juan de la Cruz
–Dark Night, St. John of the Cross
VII. Transcending: And Love Remains
Caritas patiens estLove is patient,
benigna estLove is kind.
omnia suffert
It bears all things,
omnia credit
Believes all things,
omnia sperat
Hopes all things,
omnia sustinet
Endures all things.
videmus enim nunc
For now we see
per speculum in aenigmate In a mirror, dimly,
tunc autem ad facie ad faciem
But then we will see face to face.
nunc cognosco ex parte
Now I know only in part;
tunc autem cognoscam
Then I will know fully,
sicut et cognitus sum
Even as I have been fully known.
nunc autem manet
So now remain
fides spes caritas
Faith, hope, love;
tria haec
These three,
maior autem his est caritas
But the greatest of these is love.
–I Corinthians 13: 4-7, 12-13)
–Texts from Songs of Songs, an anonymous responsory for the Assumption of the Virgin,
and Noche oscura (Dark Night) by St. John of the Cross
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SONGS OF THE SOUL
Artistic Personnel
GUEST ARTISTS
Craig Hella Johnson
Artistic Director & Conductor
Robert Kyr (b. 1952) is
considered to be one of the most prolific
composers of his generation; he is also
a writer and filmmaker. His output
features a wide range of music for vocal
ensembles of all types, as well as twelve
symphonies, three chamber symphonies,
three violin concerti, and works for
diverse chamber ensembles. Luminous
and sometimes ecstatic in effect, Kyr’s
music is basically tonal and modal, and
he often combines music with other
media in order to explore important
intercultural themes, such as peacemaking (conflict and reconciliation)
and the environment (living in harmony
with nature). His Songs of the Soul was
premiered by Conspirare Company of
Voices in 2011 and hailed in the Wall Street Journal as “a powerful new
achievement in American music that vividly traces a journey from despair to
transcendence.”
Company of Voices
SOPRANO
Mela Dailey
Julie Keim
Gitanjali Mathur
Rebecca Muñiz
Kathlene Ritch*
Sonja DuToit Tengblad
Shari Alise Wilson
ALTO
Janet Carlsen Campbell
Cina Crisara
Pam Elrod Huffman*
Sarah Ihlefeld
Helen Karloski
Emily Lodine
TENOR
Paul D’Arcy
Brian Giebler
Bodie Gilbert
Jos Milton*
Tracy Jacob Shirk
Steven Soph
BASS
Cameron Beauchamp
Rick Gabrillo*
Bradford Gleim
Robert Harlan
Harris Ipock
Glenn A. Miller
John Proft
*Section Leader
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Victoria
Bach Festival
String Ensemble
VIOLIN
Stephen Redfield
Corinne Stillwell
Katherine Wolfe
Sasha Ferreira
VIOLA
Suzanna Giordano-Gignac
Melissa Brewer
Greg Luce
CELLO
Greg Sauer
Barbara George
Benjamin Westney
DOUBLE BASS
Melanie Punter
Four compact discs of Kyr’s music are currently available: Violin Concerto
Trilogy (Third Angle New Music Ensemble); Unseen Rain (Ensemble
Project Ars Nova), The Passion according to Four Evangelists (Back Bay
Chorale), and A Time for Life (Capella Romana). His work is featured on
two Conspirare discs on Harmonia Mundi: Samuel Barber—An American
Romantic (his chamber version of The Lovers) and Sing Freedom! (his
original spiritual, Freedom Song). In addition, Kyr’s music has been
featured on several compilation discs including Faces of a Woman (MDG
344-1468), Celestial Light: Music by Hildegard von Bingen and Robert Kyr
(Telarc CD 80456), and The Fourth River: The Millennium Revealed (Telarc
CD 80534).
Over the past three decades, Kyr has received commissions from numerous
music organizations, and from choruses in particular, including Conspirare,
Cappella Romana (Portland/Seattle), Chanticleer (San Francisco), Austin
Vocal Arts Ensemble (Chorus Austin), Yale Camerata, Harvard-Radcliffe
Collegium Musicum, University of Chicago Choruses, Cappella Nova
(Scotland), Revalia (Estonia), Putni (Latvia), Moscow State Chamber Choir
(Russia), Harvard Glee Club, Radcliffe Choral Society, Ensemble Project
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Ars Nova, Back Bay Chorale (Boston), Oregon Repertory Singers, Pacific
Youth Choir, and San Francisco Symphony Chorus, among many others.
Kyr holds degrees from Harvard (Ph.D.), University of Pennsylvania
(M.A.), and Yale (B.A.). He has held teaching positions in composition and
music theory at Yale, UCLA, Hartt School of Music, Aspen Music School,
and the Longy School of Music. Currently, he is Philip H. Knight Professor
of Music and Chair of the Composition Department at the University of
Oregon School of Music and Dance. In addition to teaching, Kyr directs the
Oregon Bach Festival Composers Symposium, the Music Today Festival,
and the Vanguard Concert and Series. He is also President of the University
of Oregon Senate (2011-2013). Robert Kyr’s website is www.robertkyr.com
and he can be contacted at [email protected].
David Farwig has been hailed
as a lyric baritone with a unique and
beautiful sound, clarity, flexibility, and
deep expressivity. As a solo and professional choral artist, he has performed
with various companies throughout the
U.S. and Europe including Conspirare,
the U.S. Air Force Singing Sergeants,
the Carmel, Oregon and Victoria Bach
Festivals, Santa Fe Opera, Baroque
Chamber Orchestra of Colorado, Santa
Fe Desert Chorale, Choral Arts Seattle,
Santa Fe Symphony, Seraphic Fire, and
Santa Fe Pro Musica.
Estelí Gomez Praised for
her “effortless, spun-silk timbre” (Lucid
Culture) and “artistry that belies her
young years” (Kansas City Metropolis),
soprano Estelí Gomez enjoys a varied
career of solo and ensemble singing
throughout North America and Europe. In 2011 Estelí was awarded first
prize in the Canticum Gaudium International Early Music Voice Competition in
Poznań, Poland, and extended her time
in Europe to perform additional concerts in Munich and The Hague. After
graduating from Yale College in 2008,
she earned her master’s in voice at
McGill University, studying with Sanford Sylvan. While in Montreal, Estelí
performed the title role in Handel’s
Agrippina with Opera McGill and recorded a CD of Spanish Baroque music
with Ensemble Caprice, which was nominated for a Juno Award. Estelí has
recently performed with Conspirare, Roomful of Teeth, Trinity Wall Street,
Clarion Music Society, Seraphic Fire, Santa Fe Desert Chorale, Ensemble
1729, and Les Violons du Roy. Recent and upcoming engagements include
teaching/performance residencies at Yale, Princeton, and Wellesley; participation in Helmuth Rilling’s final season with the Oregon Bach Festival;
and tours of a program celebrating Britten’s centennial with guitarist Colin
Davin, featuring works of Britten, Dowland, and 2013 Pulitzer prize winner
Caroline Shaw. esteligomez.com
Farwig has sung on several Grammy®nominated albums with Conspirare,
including Requiem, on which he sang
the bass solo passages in Herbert Howells’ Requiem; Threshold of Night,
featuring music by Tarik O’Regan; and A Company of Voices – Conspirare
in Concert. In May 2011 he was nominated for the Austin Critics Table
Award for his solo work in Robert Kyr’s A Time for Life, and won the same
award in 2012 for his solo work in the world premiere of Kyr’s Songs of
the Soul. His most recent critically acclaimed solo work can be heard in
Samuel Barber’s masterwork, The Lovers, recorded with Conspirare in 2011
on the Harmonia Mundi record label.
Currently Farwig is pursuing a Doctoral of Musical Arts degree in conducting at the University of Missouri in Kansas City, where he is now based.
18
19
PROGRAM MISSA SOLEMNIS
Missa solemnis op. 123
Ludwig van Beethoven (1770-1827)
Kyrie
Gloria
Credo
Sanctus and Benedictus
Agnus Dei
Mary Wilson, soprano
Emily Lodine, mezzo-soprano
Dann Coakwell, tenor
Kevin Deas, bass*
Conspirare Symphonic Choir
Conspirare Company of Voices
Craig Hella Johnson, director
Texas State Chorale, Joey M. Martin, director
Victoria Bach Festival Chorus
Duane Roth, director
Victoria Bach Festival Orchestra
Craig Hella Johnson, conductor
*represented by Dispeker Artists Inc.
20
PROGRAM NOTES
Many who know and love Ludwig van Beethoven’s Symphony No. 9, Op.
125 (“Choral”) are surprised to discover his even greater choral work,
Missa Solemnis, Op. 123. Beethoven himself acknowledged it to be his
masterpiece. Colossal, profound, virtuosic and sublime, it is relatively little
known because it is rarely performed—due largely to its famously challenging parts for soloists and chorus.
This mass was truly a labor of love for Beethoven, who wrote it in honor of
his dear friend and pupil Archduke Rudolph of Austria, to be performed on
the occasion of Rudolph’s installment in 1820 as Archbishop. Always the
perfectionist reviser, the composer became so absorbed in producing this
most essentially personal work that it was not completed until two years
after the Archbishop’s ceremony.
“From the heart—may it go to the heart,” he wrote on the first page of the
manuscript he finally gave to the Archbishop, simultaneously a personal
message to his friend and a wish for the whole world as he released this gift
to all. His great attention to detail is shown in the determination to give musical expression to every word of the text. (The active listener is reminded
to repay this care by reading the translation of the text beforehand and by
following it as closely as possible throughout the performance.)
Beethoven’s personal Christian faith, little displayed in outward devotion
during his life, is evidenced by his determined study of the Latin text so as
to convey its full meaning to the listener most powerfully. His stated mission with Missa Solemnis was “to arouse and establish permanent religious
feeling in both the singers and the audience.” Thus he marked the opening
Kyrie “with devotion” and the Dona nobis pacem section of the Agnus Dei
as “a prayer for inward and outward peace.” Peace was notably lacking in
Beethoven’s own life, as he was afflicted by the time of this composition
with almost total deafness. On top of that, he was embroiled in lawsuits
over the guardianship of his nephew and in petty feuds with his servants.
The contemporary accounts by Beethoven’s long-suffering friends suggest
strongly that a lot of the disruption was brought on by his own eccentric
and irascible behavior. As his earliest biographer Anton Schindler reported
about one of these days of household uproar, “Surely no work of art of such
magnitude has ever been created in more unpleasant living conditions than
was the Missa Solemnis.”
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The composer never heard his mass performed complete. A partial performance in Vienna during his lifetime was in 1824, in a concert that presented
the Kyrie, Credo and Agnus Dei, titled simply “Hymns.” Since the work had
been composed without a commission, the only income Beethoven received
was from a few paid subscriptions to copies of the score. After Beethoven
had offered these to ten European courts, its first performance was in St.
Petersburg in 1823.
Beethoven’s only other mass had been the Mass in C of 1807, composed on
a commission from Prince Esterházy in celebration of his wife’s name-day.
The composer, unwilling to follow the Classic mass style of Mozart and
Haydn—expected for such events—stepped out into a more personal expression of the mass text. This innovation was criticized by the patron and
later made it difficult to sell the work to publishers. Nevertheless Beethoven
continued along this same path with the highly inventive setting of Missa
Solemnis. His evangelistic mission creates music that is always dramatic,
engaging, and entertaining. In this he paved the way for the highly-dramatic and operatic Requiem of Giuseppe Verdi (1874), the fully-staged and
choreographed Mass of Leonard Bernstein (1971), and the dance-inspired
Missa Latina of Roberto Sierra (2006).
The stately Kyrie movement is in striking contrast to the sudden exultant
rush of the Gloria, where the Gloria in excelsis text returns, unconventionally, at the end to send the music hurtling into space. The Credo movement
goes furthest toward Beethoven’s personal expression of each phrase and
word of the list of beliefs, ending in a virtuosic double-time fugue and quiet
ascending prayer. Another extraordinary touch is the magnificent violin
solo in the Benedictus section of the Sanctus, when the violin descends to
earth from the stratosphere of its range to represent “he who comes in the
name of the Lord.” The melody returns again and again, as if to testify to
Beethoven’s faith in the relentless love of Christ. The Agnus Dei contains
increasingly anxious cries for mercy, interrupted by disruptive war fanfares
that only gradually die away under hushed prayers for peace.
The persistent image of Beethoven is of a tortured and isolated Romantic,
plagued by deafness and illness, forced to turn inward for consolation and
to reach his highest artistic expression through suffering. This Christlike
image (belied by the many reports of him as a world-class curmudgeon) is
hard to resist when experiencing the unexcelled beauty of Missa Solemnis.
Like an actor donning a costume, Beethoven cloaks his difficult personality
in the grandeur of sublime music, yet at the same time dramatizes the essence of his private and profound personal faith.
-Eric Leibrock
22
Text & Translation
Kyrie
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
Gloria
Gloria in excelsis Deo,
et in terra pax
hominibus bonae voluntatis.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
Gratias agimus tibi
propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens:
Domine fill unigenite Jesu Christe:
Domine Deus, Agnus Dei, filius Patris:
Glory to God in the highest
and on earth peace
to men of good will.
We praise thee, we bless thee,
we adore thee, we glorify thee.
We give thanks to thee
for thy great glory.
Lord God, King of heaven,
God the Father omnipotent:
Lord Jesus Christ, only begotten son:
Lord God, Lamb of God, son of the Father:
Qui tollis peccata mundi,
miserere nobis. Qui tollis peccata mundi,
suscipe deprecationem nostram. Qui sedes ad dexteram Patris,
hand, miserere nobis. Quoniam tu solus sanctus,
tu solus Dominus, tu solus altissimus, Thou who takest away the world’s sins,
have mercy upon us.
Thou who takest away the world’s sins,
receive our prayers.
Thou who sittest at the Father’s right
have mercy upon us.
For thou alone art holy,
thou alone art the Lord,
thou alone art most high,
Jesu Christe, cum sancto Spiritu
Jesus Christ, with the holy Spirit
in gloria Dei Patris. Amen.
in the glory of God the Father. Amen.
Credo
Credo in unum Deum,
Patrem omnipotentem,
factorem coeli et terrae,
visibilium omnium et invisibilium:
I believe in one God,
Father almighty,
maker of heaven and earth,
of things visible and invisible:
Et in unum Dominum Jesum Christum,
And in one Lord Jesus Christ,
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24
Filium Dei unigenitum.
et ex patre natum ante omnia saecula:
Deum de Deo, lumen de lumine,
Deum verum de Deo vero,
genitum, non factum,
consubstantiatem Patri,
per quem omnia facta sunt:
Qui propter nos homines
et propter nostram salutem
descendit de coelis:
only-begotten Son of God,
born of the Father before all time:
God of God, light of light,
very God of very God,
begotten, not made,
and consubstantial with the Father,
by whom all things were made:
Who for us men
and for our salvation
descended from heaven:
Et incarnatus est de Spiritu sancto
ex Maria virgine, et homo factus est:
Crucifixus etiam pro nobis sub
Pontio Pilato, passus et sepultus eat:
And was made incarnate of the holy Spirit
by the virgin Mary, and was made man:
He was crucified for us under Pontius
Pilate, suffered and was buried:
Et resurrexit tertia die,
secundum Scripturas,
Et ascendit in coelum,
sedet ad dexteram Patris;
et iterum venturis est cum gloria
judicare vivos et mortuos,
cujus regni non erit finis:
And rose again on the third day,
according to the Scriptures,
and ascended into heaven,
and sitteth at his Father’s right hand;
and will come again with glory
to judge the quick and the dead,
of whose reign there shall be no end:
Et in Spiritum sanctum,
Dominun et vivificantem,
qui ex Patre Filioque procedit;
qui cum Patre et Filio
simul adoratur et conglorificatur,
qui locutus est per Prophetas:
I believe in the Holy Spirit,
the lord and giver of life,
which proceedeth from the
Father and the Son;
which equal with the Father and Son
shall be worshipped and glorified,
as it was spoken by the prophets:
Et unam sanctam catholicam
et apostolicam ecclesiam.
Confiteor unum baptisma
in remissionem peccatorum;
et expecto resurrectionem mortuorum
et vitam venturi saeculi. Amen.
And in one holy catholic
and apostolic church.
I trust in one baptism
for the remission of sins;
and I look for the resurrection of the dead
and the life everlasting. Amen.
Sanctus and Benedictus
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis
Holy, Holy, Holy
is the Lord God of Hosts
Heaven and earth are full of thy glory.
Hosanna in the highest
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis!
Blessed is he who comes
in the name of the Lord.
Hosanna in the highest!
Agnus Dei
Agnus Dei qui tollis peccata mundi:
mundi,
the world’s sins,
miserere nobis.
Agnus Dei qui tollis peccata mundi:
mundi,
dona nobis pacem.
Missa Solemnis
Agnus Dei, qui tollis peccata
Lamb of God, who takest away
have mercy upon us.
Agnus Dei, qui tollis peccata
Lamb of God,
who takest away the world’s sins,
grant us peace.
supertitles underwritten by
Eric L eibrock
25
MISSA SOLEMNIS
Craig Hella Johnson
Artistic Director & Conductor
Janeene Williams
Shari Alise Wilson
SOPRANO
Susan Anderson
Rebecca Atkins
Erika Bacon
Janice Beavers
Mackenzie Carlson
Cina Crisara*
Amy Crouch
Rebecca Ellis
Susan Fernandez*
Caroline Frommhold
Estelí Gomez
Millicent Garza Jardine
Monica Johnson
Nicole Greenidge Joseph
Julie Keim
Eva Laskaris
Zoe Littleton
Virginia Luehrsen
Cynthia Lux
Gitanjali Mathur
Kari McDonald
Susan Meitz
Suzanne Mitchell
Elizabeth Moyle
Rebecca Muñiz
Sara Pavliscak
Adrienne Pedrotti
Kathryn Quirk
Kathlene Ritch
Lena Salha
Senaida San Miguel
Lisa Solomon
Megan Starkey
Sonja DuToit Tengblad
Jen Tiller
Allison Tucker
Kirsten Watson
Anna Welch
ALTO
Louise Avant
Wendy Bloom
Fran Collmann
Mary Anne Connolly
Dorea Cook*
Alicia Denney
Melissa Eddy
Pam Elrod Huffman
Karen Fincher
Rebecca Frazier-Smith
Cheryl Fuller
Wravan Godsoe
Glenda Goehrs
Kristen Graeter
Helen Hays
Sarah Ihlefeld
Helen Karloski
LouAnn Lasher
Kathy Leighton
Katie Lessley
Kendra Welton Lipman*
Mim Luetje
Laura Martin
Laura Mercado-Wright
Linda Blair Ramsey*
Keely Rhodes
Heather Rosen
Deborah Rupp
Christy Salinas
Cecilia Kittley Shinn
Agatha Torku
Chandi Wagner
Katherine White
TENOR
Ken Beck
Anne Bertholf
Daniel Buchanan
Howard Burkett
Jack Byrom
Bob Clagett
Paul D’Arcy
Michael Feris
Gary Goethe
Loel Graber
Cole Hildebrand
Timothy Hissam
William Hulsey
Daniel Jackson
Robbie LaBanca*
Bill Lasher
Jon-Michael Lees
Jim Maxwell
Jos Milton
Wilson Nichols
Bev Raney
Stefan Reed
Louis Renaud
Dick Rew
Jonathan Riemer*
Eli Salazar
Steven Soph
Dan Spence
Chris Tuggey
James Volkema
Raymond Votolato
Steve White
Eric Hungate
Harris Ipock
Jake Jacobsen*
Scott Johnson
Bob Karli
Ben R. King*
Richard Knox
Michael Kriese*
Robert Kyr
Jack Leifer
Joe Loukotka
Glenn A. Miller
Will Pearson
John Proft
Gary W. Pyle
Miguel Roberts*
Thann Scoggin*
Reed Starnes
Paul Max Tipton
Jerry Young
MISSA SOLEMNIS
26
Conspirare Symphonic Choir & Company of Voices
*Symphonic Choir section leader
BASS
Roland Barrera
Cameron Beauchamp
Klaus Bichteler
Marshal Crenshaw
David Farwig
Rick Gabrillo
Gary Godfrey
Bradford Gleim
Robert Harlan*
Bruce Haufler
Bob Hayden
Robert Hays
27
MISSA SOLEMNIS
Victoria Bach
Festival Chorus
Joey M. Martin
Director
Duane Roth
Director
SOPRANO
Bethany Cowan
Catherine Clarke
Deanna Errisuriz
Tristi Tobias
SOPRANO
Janet Born
Ann Herbst
Jo Ann Hoffman
Cora Jo Hummel
Sara Sawey
ALTO
Katy Whitbeck
Kristen Simpson
Bo Sicking
TENOR
Seth Lafler
Beau Vandertulip
Joshua Contreras
André Jackson
BASS
Jason Gallardo
Brandon Perry
Richard Vandertulip, Jr.
JJ Wren
ALTO
Sallye Allen
Elisa Coffey
Rebecca DiGangi
Reba Graham
Ann Kapp
Kelley Moody
Billie Southern
Shirley Williamson
TENOR
James Grumman
Brandon Waters
BASS
Keith Cox
Jeff Hubbard
Victoria Bach Festival Orchestra
Craig Hella Johnson
Artistic Director & Conductor
VIOLIN
Stephen Redfield, Concertmaster
Katie Wolfe, Principal Violin II
Paula Bird
Beth Blackerby
Joan Carlson
Bruce Colson
Jann Cosart
Dominika Dancewicz
Susan Doering
Boel Gidholm
Juan Jamarillo
Richard Kilmer
Kana Kimura
Gesa Kordes
Anna Luce
Nina Mavrinac
Corinne Stillwell
Elise Winters
VIOLA
Bruce Williams, Principal
Ames Asbell
Melissa Brewer
Suzanna Giordano-Gignac
Michalis Koutsoupides
Greg Luce
CELLO
Greg Sauer, Principal
Barbara George
Chris Haritatos
Frank Jenkins
Shawn Sanders
Dieter Wulfhorst
FLUTE
Adah Toland Jones, Principal
Adrienne Ingles
OBOE
Ian Davidson, Principal
Jennifer Bernard
MISSA SOLEMNIS
Texas State
Chorale
CLARINET
Vanguel Tangarov, Principal
Alan Olson
BASSOON
Nathan Koch, Principal
Laura Miller
Daniel Chrisman, Contrabassoon
HORN
Pat Hughes, Principal
Margaret Ayres
Anne-Marie Cherry
Lauren Piccione
TRUMPET
Brian Shaw, Principal
Bob Cannon
TROMBONE
Nathaniel Brickens, Principal
Phil Arno
Owen Homayoun
TIMPANI
Thomas Burritt, Principal
DOUBLE BASS
Melanie Punter, Principal
Jessica Gilliam-Valls
Andrew Potter
28
29
GUEST ARTISTS
Soprano Mary Wilson is acknowledged
as one of today’s most exciting young
artists. Cultivating a wide-ranging
career singing chamber music, oratorio, and operatic repertoire, her “bright
soprano seems to know no terrors,
wrapping itself seductively around every
phrase.” (Dallas Morning News) In the
2012-2013 season, Wilson joins the Singapore Symphony, Boston Baroque and
American Bach Soloists for Handel’s
Messiah, as well as the Cincinnati Symphony and Boston Baroque for
Haydn’s Lord Nelson Mass. Additional performances during the season are
with the Bach Festival of Winter Park (Florida), San Francisco Girls Choir,
Springfield Symphony, and Santa Fe Symphony. In addition, she performs
Mozart’s c-Minor Mass with the Charlotte Symphony, Brahms’ Requiem
with Master Singers of Raleigh-Durham, and Silete Venti and Apollo et
Daphne with American Bach Soloists. Engagements in recent previous seasons have included Messiah with the University Musical Society, Memphis
Symphony Orchestra, and American Bach Soloists, Boise Philharmonic for
Brahms’ Requiem, and the Buffalo Philharmonic and Chorus Pro Musica for
Haydn’s Creation. She joined Music Angelica for Bach’s Wedding Cantata,
Richmond Symphony Orchestra for Poulenc’s Gloria, Delaware Symphony
for Strauss’ Four Last Songs, and the Memphis Symphony Orchestra for
Mahler’s Symphony No. 2.
Mezzo Emily Lodine has performed
with many of the world’s finest conductors, including Hugh Wolff, Paul Hillier,
Nicholas McGegan, Leonard Slatkin,
Jane Glover, Bernard Labadie and James
Levine. She has also appeared with the
Chicago Symphony Orchestra, St. Paul
Chamber Orchestra, and the Phoenix,
Detroit, Milwaukee, Indianapolis, and
Minnesota orchestras, Santa Fe Sym30
phony, and Philip Glass Ensemble. Recent engagements include Mahler’s
Symphonies No. 2 and No. 3 with the South Dakota Symphony, Bach’s
Mass in B Minor with the Peninsula Music Festival, Handel’s Messiah with
the Wisconsin Chamber Orchestra, Johann Friedrich Bach’s cantata Cassandra with Lyra Baroque Orchestra of Minneapolis, and a well-received
recording of Harbison’s Book of Hours and Seasons with the Chicago
Chamber Musicians. Equally at home in opera, Ms. Lodine created the role
of Verena Marsh in the world premiere of Stephen Paulus’ opera Summer
with Berkshire Opera. Other opera credits include Britten’s The Rape of
Lucretia with Lyric Opera Cleveland, The Marriage of Figaro with Opera
Grand Rapids, and Gluck’s Orfeo ed Euridice with Anchorage Opera. A
magna cum laude graduate of Indiana University with a Bachelor of Music
in music theory, Ms. Lodine teaches at three colleges and loves playing Julia
Child in Lee Hoiby’s musical monologue “Bon Appétit” for mezzo-soprano.
Tenor Dann Coakwell has been praised
by The New York Times as a “clearvoiced and eloquent … vivid storyteller,” and The Dallas Morning News
has commended his “gorgeous lyric
tenor that could threaten or caress on the
turn of a dime.” Having performed as a
soloist internationally and domestically
under such conductors as Helmuth Rilling, Masaaki Suzuki, William Christie,
Nicholas McGegan, Matthew Halls, and
Craig Hella Johnson, Coakwell has appeared multiple times in New York’s
Carnegie Hall, and with organizations such as Bachakademie Stuttgart in
Germany, Philharmonia Baroque Orchestra in San Francisco, and Oregon
Bach Festival. Prominent roles he has performed include those of Evangelist and tenor arias in all of J.S. Bach’s major oratorios (St. Matthew
Passion, St. John Passion, Christmas Oratorio, Mass in B-Minor) and many
of Bach’s cantatas; solo tenor in Britten’s Canticles II-IV and Serenade for
Tenor, Horn, and Strings; Medelssohn’s Elijah; Handel’s Alexander’s Feast,
Messiah, and the title roles of Judas Maccabaeus and Samson; and Almaviva in Rossini’s Il Barbiere di Siviglia. Coakwell holds an Artist Diploma
in Vocal Performance from Yale University and the Yale Institute of Sacred
Music, an M.Mus. from Texas Tech University, and a B.Mus. from the University of Texas at Austin. danncoakwell.com
31
Bass Kevin Deas has gained international acclaim as one of America’s
leading basses. He is perhaps most renowned for his signature portrayal of the
title role in Porgy and Bess, having sung
it with such orchestras as the New York
Philharmonic, Philadelphia Orchestra, National Symphony, the St. Paul
Chamber Orchestra, the San Francisco,
Atlanta, Houston, Baltimore and Montreal symphonies, and at the Ravinia
and Saratoga festivals. His 2012-2013 season is full of prestigious engagements. It started with Missa Solemnis at the Berkshire Choral Festival,
continued with Beethoven’s Ninth Symphony with the National Arts Centre
Orchestra in Ottawa, Canada, followed by Messiah performances with the
Kansas City Symphony, National Philharmonic and Seattle Symphony, and
culminates with the concert version of Porgy and Bess with the Vancouver
Symphony and Milwaukee Symphony and Missa Solemnis with Conspirare.
Kevin Deas’ list of recordings is as varied as it is impressive. He has recorded Die Meistersinger for Decca/London with the Chicago Symphony under
the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble
under the baton of Ricardo Chailly. Other releases include Bach’s B minor
Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To
Hope! with the Cathedral Choral Society on the Telarc label.
Performing Note
Conspirare has the privilege of performing in a variety of beautiful venues that
best enhance choral performances. While our performing venues and the texts
of some of our repertoire may 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. The audience creates the space in which the music is held.
32
About Conspirare
The word “conspirare” derives from the Latin “con” and “spirare”
translated as “to breathe together.”
Founded in 1991 to present a summer classical music festival in Austin,
Texas, Conspirare has become an internationally recognized, professional
choral organization now celebrating its twentieth season. Led by founder
and artistic director Craig Hella Johnson, Conspirare is comprised of two
performing ensembles and an educational program. A professional chamber
choir (“Conspirare” or “Company of Voices”) 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 large
choral/orchestral works, often in collaboration with other organizations such as
the Austin Symphony. The Conspirare Youth Choirs is an educational program
for singers ages 8-17, who learn and perform in two separate ensembles,
Kantorei and Allegro (former Conspirare Children’s Choir).
Conspirare made its first commercial recording, through the green fuse, in 2004
on the Clarion Records label. A second CD, Requiem, also on Clarion and since
33
reissued by Harmonia Mundi, was released in 2006 and received two Grammy®
nominations. Harmonia Mundi released Requiem internationally in 2009, and
it received the Netherlands’ prestigious 2010 Edison Award in the choral music
category. The Edison is the Dutch equivalent of the U.S. Grammy.
About Craig Hella Johnson
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.
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.” The program was broadcast nationally in March 2009, is available
on both DVD and CD, and received a Grammy nomination. Conspirare’s latest
recordings Sing Freedom! African American Spirituals and Samuel Barber:
An American Romantic were released in September 2011 and September 2012
respectively, both on Harmonia Mundi, and its next release will feature works
by Pulitzer-winning composer Kevin Puts.
In 2005 Conspirare received the Margaret Hillis Award for Choral Excellence
from national service organization Chorus America. In 2007, as one of the
select choruses to receive a grant from the National Endowment for the Arts
under its American Masterpieces initiative, Conspirare presented a fourday festival with a distinguished gathering of composers and conductors,
performances of three world premieres, and a gala closing concert with a
600-voice choir.
In July 2008 Conspirare represented the U.S. at the Eighth World Symposium
on Choral Music in Copenhagen, joining invited choirs from nearly forty
countries. The choir has performed at the American Choral Directors
Association annual convention and for several regional ACDA conventions.
Conspirare received the 2010 Dale Warland Singers Commission Award
from Chorus America to support the commission of a new work by Seattle
composer Eric Banks, to be premiered in the 2013-14 season. In February 2011
Conspirare gave three invited performances in New York City under auspices
of the Weill Music Institute of Carnegie Hall. In March 2012 the ensemble
toured several Midwestern states, and in fall 2012 traveled to France for six
invited performances at the Polyfollia Festival and a public concert in Paris.
Conspirare became a Resident Company of the Long Center for the Performing
Arts in 2013.
Craig Hella Johnson brings unparalleled depth of knowledge, artistic sensitivity, and rich imagination to his programs. As founder and artistic director of the
five-time Grammy®-nominated, Austin-based professional choir Conspirare,
Johnson assembles some of the finest singers in the country to form a worldclass ensemble. In addition to his work with Conspirare, Johnson is artistic
director of the Victoria Bach Festival, a major regional summer festival that
attracts audiences from all over the state, and will become music director of the
Cincinnati Vocal Arts Ensemble in January 2014. He has also served as guest
conductor with the Austin Symphony, San Antonio Symphony, and others in
Texas, the U.S., and abroad. Through these activities as well as Conspirare’s
recordings on the internationally distributed Harmonia Mundi label and performances in multiple Texas communities and beyond, Johnson brings national
and international recognition to the Texas musical community.
Beloved by audiences, lauded by critics and composers, and revered by vocal
and instrumental musicians, Johnson is known for crafting musical journeys
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that create deep connections between performers and listeners. A unique aspect
of Johnson’s programming is his signature “collage” style: programs that marry
music of many styles from classical to popular to create profoundly moving
experiences. The Wall Street Journal has praised Johnson’s ability to “find the
Supporters
Season Sustaining Underwriter
emotional essence other performers often miss.” Distinguished composer John
Corigliano wrote, “I believe that [Johnson] has understood my music in a way
that I have never experienced before. He is a great musician.” Composer and
collaborator Robert Kyr observed, “Craig’s attitude toward creating a community of artists … goes beyond technical mastery into that emotional depth and
spiritual life of the music.”
Johnson was Director of Choral Activities at the University of Texas at Aus-
Business & Foundation Supporters
The Aaron Copland
Bain
Fund for Music
Consulting
tin (1990-2001) and remains an active educator, teaching and giving clinics
statewide, nationally, and internationally at conferences and universities. In
fall 2012 he became the first Artist in Residence at the Texas State University
The Ann & Gordon
Getty Foundation
The Keating
Family
Foundation
School of Music. As composer, arranger, and music editor, Johnson works with
The Kodosky
Foundation
G. Schirmer Publishing and Alliance Music Publications; his works have sold
thousands of copies.
The Mattsson McHale
Foundation
Russell Hill Rogers
Fund for the Arts
Johnson’s accomplishments have been recognized with numerous awards. Most
recently, the Texas Legislature named him the Texas State Musician for 2013.
The Still Water
Foundation
Scott Van Osdol
Photographer
Other honors have included 2008 induction into the Austin Arts Hall of Fame,
The Rachael &
Ben F. Vaughan
Foundation
Chorus America’s 2009 Louis Botto Award for Innovative Action and Entrepreneurial Zeal, and the 2011 Citation of Merit from international professional
music fraternity Mu Phi Epsilon. Johnson studied at St. Olaf College, the
Juilliard School, and the University of Illinois, and earned his doctorate at Yale
University. He has been a Texas resident since 1990.
Public Funding Agencies
This project is funded and supported in part by a grant from the
Texas Commission on the Arts and the City of Austin through the
Cultural Arts Division, believing an investment in the arts is an
investment in Austin’s future. Visit Austin at NowPlayingAustin.com.
This project is also supported in part by an award from the National
Endowment for the Arts. Art Works.
Media Sponsors
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Board of Directors Staff
Craig Hella Johnson
Robert J. Karli, Chair
Artistic Director
Mary Anne Connolly, Secretary
Larry Collmann, Treasurer
David C. Smith
Doug Bain
Interim Managing Director
Ken Beck
William C. Bednar
Tamara Blanken
Fran Collmann
Online Services Manager
Patrick DeLaune
Toya Cirica Haley
Rená Carvelho
Robert Harlan
Accounting
Richard Hartgrove
Eric Leibrock
Melissa J. Eddy
Hope Morgan
Publications & Grants Manager
E. Stuart Phillips
Acting Marketing & PR Manager
Marion Lear Swaybill
Sheila Wojcik
Rick Gabrillo
Sheila Youngblood
Associate Conductor
In memoriam: David Clark
Production Team
Advisory Board
Wravan Godsoe
Office Manager
Robert Harlan
Stephen Aechternacht
Stage Manager
John Aielli
Sue Barnes
Ben King
Mark Bierner
Production Assistant
Ray Brimble
David Burger
Meri Krueger
David Claflin
Artist Relations
Virginia Dupuy
Maydelle Fason
Ann McNair
JoLynn Free
Executive Assistant to the Artistic Director
Billy Gammon
Director of Artistic Operations
Vance George
Helen Hays
Nina Revering
Dan Herd
Director, Conspirare Youth Choirs
William B. Hilgers
Wayne Holtzman
Jennifer Tynan
Judith Jellison
Manager, Conspirare Youth Choirs
Bob Murphy
Lynn Murphy
Nicki Turman
Gayle Glass Roche
House Manager
Nancy Scanlan
Angela Smith
Evan Wanserski
Bernadette Tasher
Production Manager
Louann Temple
Eva Womack
In memoriam: Cassandra James
38
Donors
Gifts to Conspirare provide financial support for concerts, recordings, tours, 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 January 2012 and May 2013. We
express our gratitude to each and every one of our donors.
MAESTRO CIRCLE
Anonymous
City of Austin Cultural Arts Division
Fran & Larry Collmann
Helen & Bob Hays
The Kodosky Foundation,
Jeff & Gail Kodosky
The Mattsson McHale Foundation
The National Endowment for the Arts
South Texas Money Management
Still Water Foundation
Sheila & Ryan Youngblood
IMPRESARIO CIRCLE
Robert & Pat Brueck
The Aaron Copland Fund for Music
Robert & Lara Harlan
Richard Hartgrove & Gary Cooper
Michael & Jeanne Klein
Wendi & Brian Kushner
Gayle Glass Roche & Mike Roche
Marc & Carolyn Seriff
BENEFACTOR CIRCLE
Mark Bierner & Cassandra James
JoLynn & Gregory Free
Eric Leibrock & Ellen Justice
The Georgia B. Lucas Foundation Fund
of the Austin Community Foundation for the Capital Area
Jack & Susan Robertson
Nancy Scanlan
TesCom
PLATINUM BATON CIRCLE
Anonymous
Bain Consulting
Ken & Joyce Beck
Vera Bowen
Catherine & David Clark
Crutch & Danna Crutchfield
Patrick DeLaune & Sadaf Khan
The Fetzer Institute
Ann & Gordon Getty Foundation
Robert & Trish Karli
Carolyn J. Keating
Joyce Mayer
Dawn Moore & Kerry Tate
Louise Morse
Red Bird Foundation
Louise N. Reeser
Dick & Lynn Rew
M. Ann Riopel
Russell Hill Rogers Fund for the Arts
Rick & Jill Salwen
Jeffrey L. Taylor & Janelle Curlin-Taylor
University Federal Credit Union
The Rachael & Ben Vaughan Foundation
Jeanie & Bill Wyatt
Janice & Spencer Youngblood
GOLDEN BATON CIRCLE
Shannon Armstrong
William C. Bednar & Flo Ann Randle
Jeri DeAngelis
Beth & Mark Doty
Thomas Driscoll & Nancy Quinn
Joanne & John Earls
Susanna & Richard Finnell
Mary Nell Frucella
Cheline Jaidar
Timothy Koock
Jerele & Elizabeth Neeld
Doug & Suzi Nelson
Carlisle Pearson
E. Stuart Phillips
Rebecca & Phil Powers
Claire Proft
Rebecca Rooney
The Honorable Bea Ann Smith
Stephanie Smith
Dian & Harlan Stai
Marion Lear Swaybill
Susanne Tetzlaff & Eric Tiblier
Texas Commission on the Arts
Sandi & Bob Tomlinson
William & Anne Wagner
Sheila Wojcik
Eva & Marvin Womack
Patricia Yost
SILVER BATON CIRCLE
Anonymous
Debra Alexander
Nancy & Randy Baden
Eric & Suzanne Batchelder
Andrew Bowman & Rachel Lomas
Katherine Brooks
Dan Bullock & Annette Carlozzi
Ernest & Sarah Butler
Chris & J. Dennis Cavner
David & Janis Claflin
Joe Cloud
Mary Anne Connolly
Jerry Craft
Marie Crane
Lori & Francis Fey
Rev. Dr. Ann Fields
Fischer & Wieser Specialty Foods
R. John & Susan Fox
Frost Bank
Rick & Evelyn Gabrillo
Susan & Jerry Gatlin
Kim & Steve Gilbert
Jeanne & Van Hoisington
Carr Hornbuckle & Jack Leifer
Melissa Huebsch
Impact Austin
Lisa & Mark Jennings
Cynthia Keever
Julie Keim
Mary Kevorkian
Joan & Thomas Kobayashi
Claire & Tony Korioth
Daryl Kunik
Angie & Steve Larned
Lou Ann & Bill Lasher
Emily Little
Thomas Lukens
Sheila Lummis
Lee Manford
Julie & Benton Maples
Mary Matus & Carole Taxis
Phil & Sue Maxwell
John & Marcy Melanson
Janet Miller
Milton D. Miller II
Hope Morgan & Mike Taborn
Andy Murphy and Panda Productions
William Nemir
Dan & Kim Peterson
Jan & Gary Pickle
Brian & Lynn Powell
Claire Proft
Linda & Robert Ramsey
Jean Rather
Forest & Susan Rees
Scott & Pam Reichardt
Karin Richmond
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Peter & Alice Rose
William Schleuse & Virginia McDermott
Peter Schram & Harry Ullmann
Max & Gene Alice Sherman
Angela & Charles Smith
David C. Smith
Dr. Anna Sorensen & Mr. Don Sorensen
Michael & Carol Stehling
James Stolpa
Bernadette Tasher
Jennifer & Scott Tiller
Ben & Daphne Vaughan
Erin Verducci
Kathleen & Jim Wicoff
Catherine & David Wildermuth
Patrick & Julia Willis
Marc & Suzanne Winkelman
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SPONSORS
Anonymous
Robert & Patricia Ayres
Pauline & Steve Barbaro
Bobbie Barker
Ross Bassinger
Ann & Jeff Bomer
Frank Bean & Carolyn Boyd
Janet Carlsen Campbell
Becky Beaver & John Duncan
Klaus Bichteler & Mary Parse
Mike & Ginger Blair
Mary & Elliott Bray
Kyle Bryson
Richard Campbell
Pablo Cardenas
David & Nathasha Collmann
Robert F. Dailey
Stuart & Paula Damore
Dorothy Drummer & Greg Eden
Melissa Eddy & Tracy Schiemenz
Jay Farrell
Maydelle & Sam Fason
Cheryl Fuller
Jane Good
Susan Gregerson
Milton Guiberteau
Harvey & Kathleen Guion
Toya Cirica Haley & Stephen Bell
David & Martha Harrington
Janet Hendricks
Dr. & Mrs. Walter E. Herbst
Hornaday Design
Diane Ireson
Morris & Marge Johnson
Ellen Key
Eva & Chris Laskaris
Lawrence Lawver
Karen & Paul Leeke
Mary Ann Lees
Mark & Lauren Levy
Kati Lewis
Carolyn & Jack Long
Kelly Loudenslager & Christopher Goodpastor
Susan & Craig Lubin
Mim Luetje & Garrett Beauvais
Marjorie McClurg
Debe & Kevin McKeand
Vance McMahan
Ivan Milman & Janie Keys
Suzanne M. Mitchell & Richard A. Zansitis
Linda Monk
Ann Moody
Mary Moody
Stefanie Moore & Todd Keister
Michele Morrison
Cynthia Norvell
Oregon Community Foundation
Graydon Parrish
Marilyn & Jeff Rabkin
Sandy Pearson
Elizabeth Pecore
Kaylie & Sam Reed
Anna Renken Lafrenz
David Romine
Augustin Rubio
Lena Salha & F. Keith Busse
Donna & Christy Salinas
Amy Shipherd
Derald Skeen
Margo Smith
Chris & Chesney Szaniszlo
Patti Troth Black
Lois VanLaningham
William Wood & Elsa Vorwerk
PATRONS
Molly Anderson
Laura Avery
Bob & Marcia Bailey
Brenda Berstis
Anne Bertholf
Pat Fatter Black
Teresa Tice Boggs
Casey Boyter
Karen Brinkmann & Fred Johnsen
Greg Buis
Joe & Cynthia Cain
Rita Carlson
Nathaniel & Elizabeth Chapin
Sandy Chase
Dean & Gwen Collmann
Eric & Lisa Craven
Beryl Crowley
Karel Dahmen
Paula D’Arcy
Andrew Deskins
Dr. Paul Dlabal
Rena & Richard D’Souza
Sharon Duboise
Valerie Ellis
Rebecca Esposito
Susan Nash Fekety
Gwen & Bruce Flory
Billy & Regan Gammon
Barbara Gibbs & John Driggers
Glenda Goehrs
Helen “Chica” Greenlee
Joan & Michael Hamrick
Carolyn Harris-Hynson
Brian Hencey & Chuck Ross
Wayne & Joan Holtzman
Debbie Horne
Melissa Marse Hopwood
Larry Huang & Susie Lee
Jeffrey Hudson & Robert Blodgett
Karen & Peter Jakes
Craig Hella Johnson & Phil Overbaugh
Bobbie Kaye Jones & David Gilliam
Tom Grimes & Karen Kibler
David Kendrick
Ann & William Klock
Greg & Cynthia Kozmetsky
Sam Kuninger
Al Lambert
Roberta Lang
Bonnie & Sidney Lanier
Nora Lieberman
Catherine & David Light
Shanny Lott
Thomas & Alaire Lowry
Drs. Krzysztof & Teresa Lyson
Peter Martino
Marsha McCary
Ann McNair
Bert & Phyllis McNelly
Lexi Meece
Sharon Miller
Sean & Beverly Moore
Evan Morgan
Weston Noble
Jim & Joyce Parrish
Steven & DeeAnne Paulson
Patrice Pike
Anne Praderas & Tony Vance
Denise Prince
Elaine Salazar & Edwin Ramos
Randalls
Bev & Milbrey Raney
Louis Renaud
Hamilton & Joanne Richards
Andy & Sally Ritch
Kathlene Ritch & Scott Noakes
Martha P. Rochelle
Michal Rosenberger
Karen Sachar
Dan Seriff
Marilyn Sharratt
Carole & Charles Sikes
Jeffrey & Sandy Smith
John & Janice Spence
Elizabeth Stewart
Robert & Eileen Sudela
Grant & Margot Thomas
Nancy Townsend
Nicki & Scott Turman
Barbara Vervenne
Ben Wear
Patricia “Pinky” Wilson
Meg Youngblood
Susan Zolla-Pazner
SUSTAINERS
Anonymous
Peter & Jonnet Abeles
Joe & Peggy Annis
Cliff Avery
Brent Baldwin
Scott Ballew
Janette Barlow
Steven Beebe
Andrea Black
Grace Blair
Wendy Bloom
Julie Bowman
Carolyn Brinkman
Billye Brown
George Brown
Betsy Busby
Dean Bushmiller
Jack Byrom
Nancy Campbell Cise Hanchett
Grayson Cecil
Fleur Christensen
Janet Cobb
Terry & Barbara Collier
Cina Crisara
Patricia Culver
Brad Cummins
Donald Davis
Richard J. Davis
Stephen Davis
Mary Alice & Michael J. DeBow
Peter & Carol Deninno
Lory & Fred Denson
James Deskins
Nina & Jeffrey Di Leo
Sandy Dunn & Paul Harford
Carl & Kathryn Ehlert
Scott Elkin
Pam Elrod Huffman & Rick Huffman
Bert & Elaine Enriquez
Lot Ensey
Sally Estes
Mary Anne Flournoy
Jill & Terry Frisbie
Caroline Frommhold
Christa Burns
Nelsa Gidney
Mary Gifford
Dr. & Mrs. David Goff
Kathryn Govier
Jim & Jo Green
James & Mary Louise Gwynn
Karen Hale & Al Lindsey
Randy & Suzie Harriman
Jane Hembree
Robert Hollingsworth
Martin & Celeste Hubert
Meta Hunt & Trent Miller
Todd Jermstad
Caroline Jones
Beth & Greg Judd
James Kelly & Mariam Noland
Dina Kuntz
Thomas & Necya Lawnsby
Michael Levy
Emily Lodine & Gary Overgaard
Steve & Diane Loeschen
Jane-Elizabeth Madison & Judd Rogers
Devra Marcus & Michael Horowitz
McAllister Piano Studio
Karen McLaughlin
Mary McLeod
Connie McMillan
Janis McSwain
Phyllis Miller
Betty Shelton Mills
Susan & Jerry Mitchell
Elizabeth Hansing Moon
Nancy Moore
Susan Morgan
Chip & Jan Morris
Rebecca Muniz
Judith & William Munyon
Christopher Novosad & Tiki2.com
Richard Orton
Thomas Overbaugh
Paul & Barbara Park
Cathie Parsley
Karen Pope
Diane Post
Anita Prewett
Rose Taylor & Russ Prickett
Gary & Cheryl Pyle
Melissa Rae
B.M. Ray
Daniel Ray & Ellen Gould
Gerhild B. Rogers
Leilani Rose
Deborah Rupp
John & Jacqueline Schmidt
Tom & Claudia Schurr
April Schweighart
Jackie & Bob Shapiro
John & Carol Sharp
Beverly Spicer
Don & Karen Stabeno
Scott & Carol Stine
Eva & Roy Strasburger
Katherine Sutherlin
John C. R. Taylor III & Peter Flagg Maxson
Emily Tracy & Berthold Haas
Susan Trautmann
Kathryn Turpin
John Uglum
Carla Umlauf & Cass Cheesar
Cynthia & Mark Vanderberg
Debra Watkins
Kendra Welton-Lipman
Doreen Wheeler
Ginny & Geoff Willig
Martin Wojciechowski
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.
LEGACY OF SOUND
Conspirare thanks these donors for their generous
gifts and pledges to A Legacy of Sound, made over
and above ongoing annual giving. For more information about this program, please visit Conspirare.
org/support.
Anonymous
Bain Consulting
William C. Bednar & Flo Ann Randle
Robert & Pat Brueck
David & Catherine Clark
Fran & Larry Collmann
Danna & Crutch Crutchfield
Patrick DeLaune & Sadaf Khan
Thomas Driscoll & Nancy Quinn
Robert & Lara Harlan
Helen & Bob Hays
Robert & Trish Karli
The Kodosky Foundation
Wendi & Brian Kushner
Lou Ann & Bill Lasher
Eric Leibrock
The Mattsson McHale Foundation
Louise Morse
E. Stuart Phillips
Rebecca & Phil Powers
Jack & Susan Robertson
Nancy Scanlan
The Hon. Bea Ann Smith
Still Water Foundation
William & Anne Wagner
Catherine & David Wildermuth
Sheila Wojcik
Sheila & Ryan Youngblood
HONORARY & MEMORIAL GIFTS
Received between January 7, 2013 and May 10, 2013
In memory of David Clark
Beth Ann Bryan
Hamilton & Joanne Richards
In honor of Craig Hella Johnson
Susan Duncan
In honor of Suzanne Mitchell
Robin Chapman
In honor of Sheila & Ryan Youngblood
Andrea Olsen-Condon
41
Thank You
Austin American-Statesman
Austin Chronicle
Roland Barrera
Cameron & Beth Beauchamp*
Taja Beekley
Bruce Biermann
Pat Black
Darrell Blandford*
Blanton Museum of Art
Mark Canfield & Mike Burroughs*
Chris Cavner
Chez Zee
Robert Claggett*
Catherine Clark*
Larry & Fran Collmann*
Michelle Crawford
Anne & Ray Ellison
Dale Elmshaeuser
James Elrod
Marion Elrod*
Joey & LisaDiane Etheridge*
Yasser Farra & Meri Krueger
Susanna & Richard Finnell*
Michelle Fisher
Caroline Frommhold
Mary Gifford
Glenda Goehrs*
Kathryn Govier
Cyndi Griesser
Helen Hays
Jeanne Henry
Sara Hilgers
Ed & Sara Hill*
Hornaday Design
Rod Howard
William & Donna Hulsey*
Virginia Hyde
Stan & Biruta Kearl*
Ben King
42
Support Conspirare
KMFA-FM
KUT-FM
Eric Leibrock & Ellen Justice*
Kathy Leighton
Rachel Lomas & Andy Bowman*
Joy and Lewis Lucke
Ed & Eileen Lundy*
John & Jill McFarland*
Deborah Meleski
Nancy Michalewicz
Susan Morgan
Bill Nemir*
Christopher Novosad, Tiki2.com
Philip Overbaugh
Betsy Pharis
Jack & Susan Robertson*
Gerhild Rogers*
Karen Sachar Photography
Herbert & Naneene Schwetman*
Alan & Linda Seeliger*
Bea Ann Smith*
South Texas Money Management –
Jeanie Wyatt, Joie Dorris
Christina Tannert
Bernadette Tasher*
TesCom, Inc.
Veryan & Greg Thompson
Teresa Tice-Boggs*
University Federal Credit Union
Victoria Bach Festival – Nina Di Leo
Carol Walker
Inspired by the power of music to change lives,
conspirare engages audiences in extraordinary musical experiences
through world-class choral performances and recordings.
YOUR ANNUAL FUND GIFT AT WORK
Your Annual Fund gift will help bridge the gap between ticket sales and operating expenses.
Your contribution is a sound investment:
• Over 70 cents of every dollar contributed goes directly towards programming
• Allows Conspirare to offer $10 tickets to any student
• Keeps ticket prices affordable for all lovers of choral music in our community
Conspirare’s Revenue Sources
* A rtist host
Special thanks to Eric Leibrock for
program notes and supertitle underwriting
GIVE TODAY at Conspirare.org/Support
See the insert in this program or visit us online for more information about giving levels and benefits.
43
Tuesday, January 29 | 12pm
Ach Gott, wie manches Herzeleid BWV 3
Tuesday, February 26 | 12pm
Sei Lob und Ehr dem höchsten Gut BWV 117
Tuesday, March 26 | 12pm
Missa Brevis in F BWV 233
Tuesday, April 30 | 12pm
Freue dich, erlöste Schar (St. John Baptist
June 24) BWV 30
Media sponsor:
The University of Texas at Austin | MLK at Congress
Austin, TX 78701 | blantonmuseum.org | (512) 471-7324
facebook.com/BlantonMuseumofArt
in simultaneous performances
throughout the museum. Featuring
music by young composers who
transcend distinctions between
classical and rock.
Brass Ensemble: Renaissance
Sunday, March 3 | 2pm
Scott Hanna conducts an ensemble
from the Butler School of Music
performing compositions from the
Renaissance era.
Jazz Trio: Expressionism
Sunday, May 5 | 2pm
Jeff Hellmer leads a faculty trio from
the Butler School of Music through
improvisations inspired by the
expressionist era in art and music.
Presenting the Cantata Project
2013-14 programs to be announced soon
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Sneak Preview 2013-14 Season
Calibration Services
™þä¯Y”T[GI
•
Moving Closer,
Reaching Out
~Óíðò‚
”§mMOýÝT ™þä¯Y”T[GI ~Óíðò‚ ”§mMOýÝT
• Local Pickup & Delivery
™þä¯Y”T[GI ~Óíðò‚
”§mMOýÝT
™þä¯Y”T[GI
As we enter our third decade,
Conspirare is moving closer
to our
• Expedite Service Available
circle of friends with performances you’ll love and reaching out to
~Óíðò‚ ”§mMOýÝT
™þä¯Y”T[GI ~Óíðò‚
new audiences in Texas and the world through touring, recording,
• Accredited to ISO/IEC 17025:2005 &
ANSI/NCSL Z540.1.1994
and online. Here’s a sneak ~Óíðò‚
peek at the season’s first ”§mMOýÝT
half:
”§mMOýÝT ™þä¯Y”T[GI
• Repair Depot
™þä¯Y”T[GI ~Óíðò‚ ”§mMOýÝT ™þä¯Y”T[GI
Summer
• Sale of New & Refurbished Equipment
™þä¯Y”T[GI
~Óíðò‚ ”§mMOýÝT
™þä¯Y”T[GI
~Óíðò‚
CD release,
Music of Kevin Puts
~Óíðò‚
Austin and worldwide
”§mMOýÝT ™þä¯Y”T[GI
”§mMOýÝT ~Óíðò‚ ”§mMOýÝT
• Certified Metrologists
Since 1999
Conspirare
Youth Choirs
Offering a comprehensive
treble choir program for
boys and girls, ages 9-18.
Find out more at
conspirare.org/youth-choirs
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September 5
™þä¯Y”T[GI
Big Sing
~Óíðò‚
Austin
”§mMOýÝT
September 26-29
™þä¯Y”T[GI
Season Opening Concert
~Óíðò‚
Victoria, Houston, Austin
”§mMOýÝT
December
™þä¯Y”T[GI
CD release, Sacred Spirit of Russia
~Óíðò‚
Austin (worldwide in February 2014)
”§mMOýÝT
December 5-9
™þä¯Y”T[GI
Conspirare Christmas with special guest Ruthie Foster
~Óíðò‚
Victoria, San Antonio, Austin
”§mMOýÝT
December 13-14
™þä¯Y”T[GI
Conspirare Youth Choirs Holiday Concert
~Óíðò‚
Austin
™þä¯Y”T[GI
”§mMOýÝT
December 17
~Óíðò‚
™þä¯Y”T[GI
Holiday Big Sing
~Óíðò‚
Austin
”§mMOýÝT
™þä¯Y”T[GI ~Óíðò‚
”§mMOýÝT
January 23-25
™þä¯Y”T[GI
~Óíðò‚
”§mMOýÝT
™þä¯Y”T[GI
Joby Talbot’s Path of Miracles (back by popular demand)
~Óíðò‚
~Óíðò‚
”§mMOýÝT
™þä¯Y”T[GI
Houston, Austin, San Antonio
Also to be recorded for Harmonia Mundi
”§mMOýÝT
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~Óí
”§mMOýÝT ™þä¯Y”T[GI ~Óíðò‚ ”§mM
And more in spring 2014!
™þä¯Y”T[GI ~Óíðò‚
”§mMOýÝT ™þä¯
~Óíðò‚ ”§mMOýÝT
™þä¯Y”T[GI ~Óí
Sign up at Conspirare.org, like us on Facebook, and follow
on Twitter to receive all the exciting 13-14 details soon.
”§mMOýÝT us™þä¯Y”T[GI
~Óíðò‚ ”§mM
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