Central City Chorus

Sunday– 8 pm April 9,2000

central presbyterian church 593 park avenue new york city · 10021 Central City Chorus

David Friddle, music director

Classic Cole Porter Cole Porter 1. From This Moment On 1891–1964 2. Now You Has Jazz 3. True Love 4. Let’s Do It 5. Anything Goes 6. Ev’ry Time We Say Goodbye Arranged by Mac Huff

intermission

Three Sacred Concerts Duke Ellington 1. In the Beginning God 1899–1974 2. Is God a Three-letter Word for Love?— My Love 3. Ain’t Nobody Nothin’ 4. Father Forgive 5. Almighty God 6. Somethin’ ‘Bout Believing 7. Come Sunday 8. Heaven Arranged by Phil Mattson Catherine Thorpe, soprano this program is made possible by a grant from the cornell fund 3 Central City Chorus Notes on the Program

Sopranos Altos orn Albert Porter on June 9, 1891 The years following Cole’s graduation in the heartland of America, Cole saw him attempt to study law at Charlotte Sheane Denis Jamelyn Boxwill B Porter created his professional Harvard. The man who paid all of Cole’s Trish Eckert Keri Chryst identity by combining the surnames of bills, his grandfather J.O. Cole, disap- Clara Fagan Katherine Cohn his mother (Kate Cole) and his father proved of men choosing careers in the Elizabeth Hay Robin Frye (Sam Porter). Cole studied violin and arts; Grandfather Cole tried hard to con- Nancy Poor Jill Hamilton piano starting at age six; he continued his vince Cole to become a lawyer. Even Sharon Proctor Sally Porter Jenks musical education through college. Cole when Cole was young, J.O. tried to Marjorie Scott Ramirez Lois Morgan joined the Yale Glee Club and sang with instill a sense of rough individualism Deborah Reynolds Nicole Possin it from 1909–1913, eventually becoming and business savvy that was lost on the pampered young Porter. Nancy Rogers Susan LeVant Roskin its director. Cole’s Yale years were adventurous: he Although Cole started Harvard Law, Laura Smid Wendy Zuckerman produced a number of student musicals his primary attention was always on Tenors Basses and he also forged several important music (including writing musicals for his Lou Reda John Bischoff relationships that remained with him Yale friends). Although his mother Jeffrey Silverman Michael Boonstra throughout his life. Most Yale classmates knew, Cole’s grandfather didn’t learn Kai Toen Jim Dittmer came to know him for the fight songs he that Cole switched from the law school to the school of arts and sciences at Todd Weeks Doug Holt composed, many of them are Yale clas- sics still. Harvard in order to pursue music. A. Jordan Wright Matt Hoptman Tristan Marciano Joseph Palladino Alex Quinn Noel Werrett PleasedtoHelp Andrei Yermakov The Central City Chorus Orchestra Make a Joyful Noise! Piano Synthesizer Jonathan Oblander Tomoko Ohno Farnham

Guitar Trumpets Roni Ben-Hur Jon-Erik Kellso Randy Sandke Bass David Finck Woodwinds Patience Higgins Drums Grisha Alexiev Trombone 4 5 Larry Farrell Eventually, Cole abandoned Harvard York by the Swedish Ballet—that was Shakespeare’s The Taming of the Shrew. altogether and moved to the Yale club in one of the century’s first expressions of Musically, Porter was one of the most New York to seriously began his music symphonic jazz. thoroughly trained popular songwriters career. 1929 saw the production of Wake Up of the 20th century. He was perhaps Porter’s initial efforts on Broadway— and Dream in London, along with Fifty even better known as a lyricist; his texts including his first big show in 1916, See Million Frenchmen in New York. Gay were in the height of fashion—seldom America First—were failures. The follow- Divorce with Fred Astaire followed in sentimental, filled with double-entendres ing year he moved to Paris where he 1932, with Anything Goes in 1934. Stage and witty rhymes, often referring to sex DELI & RESTAURANT joined the French Foreign Legion. He legend Ethel Merman starred in Panama and drugs. 807 Lexington Avenue served three years, remaining in Paris Hattie during the 1940 season. Although his songs were considered at between 62nd + 63rd after his 1919 discharge; he then mar- Despite the riding accident in 1937 first rather too shocking for the theater, New York City ried a society lady. The newlywed couple that crippled one leg—eventually neces- today they retain much of their fresh- hosted glamorous parties in Paris, sitating its amputation—Porter contin- ness and are classics, comprising a size- Come join Venice and the Rivera. ued to write songs for Broadway with able portion of the repertoire of every Cole frequently performed his own his trademark witty and often cynical popular singer. us after music at these parties; indeed, the songs words. Some of his most famous songs Porter broke ground in his composi- matched the chic esoteric mood of his date from this period: Let’s Do It, Night tion with his use of innovative rhythmic the concert! social circle. Nevertheless, his music was and Day, I Get a Kick Out of You, Begin the elements and by extending his melodies, slow to find acceptance on the stage. Beguine, Just One of Those Things, You’re and hence the length of the individual 212.755.0122 During the 1920s, his luck began to the Top, It’s Delovely and others. His song songs. He made clever use of word paint- 212.755.0123 turn. In 1923 he composed a ballet writing success culminated in 1948 with ing (think of the haunting turn in “Every score—performed both in Paris and New his masterpiece Kiss Me, Kate, based on Time We Say Goodbye” when the lyrics speak of “…major to minor…”). Porter also possessed an especially fine ear for the pronunciation, natural Best speech patterns and rhythms of the English language. One example is the hop -scotching syncopations in “Anything Goes”—the words skipping Wishes! by our ears like pebbles across a pond. Comfortable in almost any form or style, Cole’s musical legacy is vast, diverse and COMPANY, INC. impressive.  Porter died in 1964. In accordance with his wishes, he is buried between his A TRADITION Craft OF FINE PRINTING wife Linda and his father. The populari- SINCE 1909 ty of his songs has long outlasted knowl-  edge of the man himself. Many of his Cleaners 237 WEST 54TH STREET most famous songs were presented to NEW YORK, NY 10019 the public only in the context of musi- TEL (212) 333-3033 212·838·5097 1065 Third Avenue New York City cals or movies—works that also con- FAX (212) 333-3036 tained non-Porter songs. Still, until the 1950s Porter created the most theatrical- 6 ly elegant, sophisticated and musically 7 complex songs of American 20th-centu- ry popular music. dward Kennedy Ellington—one of finest music imaginable. Strayhorn, formed at Grace Cathedral in San Three-letter Word for Love?”—the the most significant figures in jazz openly homosexual, was taken into the Francisco, Westminster Abbey and matrix of Ellington’s personal theology. E history—was born in 1899. His Ellington apartment in Harlem and numerous German churches. Romantic love as doxology continues father, a White House butler, intended lived there as family. (Indeed, the gene- Phil Mattson, jazz performer and peda- into “My Love,” where Duke’s lyrics young Edward to become an artist from sis for “Take the A Train” were came gogue, arranged selections from contain phrases such as “…Oh say my the beginning of his life. He began study- from Ellington’s travel directions to Ellington’s Three Sacred Concerts into a love, I pray, my love, we stay as we ing piano at age seven—influenced by Strayhorn.) The unparalleled intimacy compilation that effectively demonstrates are…” and “…Of all the lovely love I the prevailing ragtime style—and made between Duke—a notorious womaniz- the breadth and the depth of Ellington’s love, Love is the loveliest.” his professional debut in 1916, aged sev- er—and Billy fueled speculation that musical language. The first movement, Performed tonight by a small ensem- enteen. there was a sexual component to their “In the Beginning God” incorporates a ble, “Ain’t Nobody Nothin’ ” is a classic Ellington was already known as Duke many-faceted, prodigious partnership. variety of rhythmic elements. Smooth close-harmony swing tune, that, save for for his sartorial elegance and immaculate The band grew continually during the legato choral singing gives way to Samba, its underlying religious connotations appearance when he first came to New 1940s, even as it suffered from disconti- which then becomes swing. This move- could well be sung in the Cotton Club. York in 1922. He found no success then nuity of personnel. Starting in 1950, ment sets the stage for the remainder of Built over the vocal equivalent of a pizzi- but on the advice of jazz legend Fats Ellington began to expand the scope of the work, which is equally diverse in com- cato string bass, the soprano solo and the Waller, he moved to Manhattan in 1923 his compositions; the advent of LP positional techniques. (The spoken narra- bass frame the accompanimental “doo- with his Washington band. Between recording allowed him to compose and tion—as with all verbal parts in this ops” of the choir. The text proclaims, 1923–27, he transformed this small record longer, multi-movement works. work—is by Ellington.) albeit without judgment, the futility of ensemble into a full orchestra whose first His foreign tours were even more fre- The second and third movements life without the presence of God. recordings proved startlingly original. quent and successful; he also composed consider God’s love for humans and our “Father Forgive” is composed in a From 1927–1932, Ellington and his his first movie score, Anatomy of a love of God in quasi romantic terms, completely different style yet. Slow and orchestra, performing regularly at the Murder, to critical acclaim. outlined by the title alone, “Is God a sustained, it repeats again and again the Cotton Club in Harlem, shared leader- He received multitudinous honors, ship with Louis Armstrong of the jazz including degrees from Howard Liz Munro & Russ Jones’ world. Mood Indigo, released in 1930, University and Yale as well as the received worldwide acclaim, further Presidential Medal of Honor; he was establishing Ellington’s fame. The years inducted into the National Institute of Flights of Fancy 1932–1942 were Ellington’s most cre- Arts and Letters in 1970 and subsequent- ative; his enlarged band toured the ly, in 1971, became the first jazz musi- United States and Europe. cian member of the Royal Music In 1939 Billy Strayhorn began his life- Academy in Stockholm. long collaboration with Duke, com- In his last decade Ellington devoted mencing a professional and personal himself to liturgical music. Three Sacred relationship that produced some of the Concerts (1965, 1968, 1973) were per- Isn’t it comforting to know that style, New York’s Creative Gift & Candle Connection sophistication and classic design. 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8 9 simple phrase “Father forgive” with biguous conclusion—reinforced by a increasingly dramatic and tense har- sequence of upward, repeated monies. Narrators, using Ellington’s own motives—that “I’ll see God!” words, enunciate his vision of the ills of “Come Sunday,” another smooth, society (at least in the late 1960s and harmonically lush prayer for God’s sus- early 1970s). The most tonal of all the taining power, incorporates extreme movements, “Father Forgive” builds to a chromaticism with traditional jazz har- strong, passionate conclusion. monies. The concert closes with “Almighty God” is a lovely ballad “Heaven,” comprised of arpeggiated that details Ellington’s view of heaven, chords that accompany the soloist as she replete with angels “…up there weav- extols the beauty and comfort of heav- in’ sparkling fabrics just for you and en— “…the ultimate degree to be.” me to love.” “Something ‘Bout Even though these sacred works are Believing” is a medium swing tune rarely performed, Ellington considered with the catchiest rhythms of the set, them the most important of his com- filled with bee-bop motives and synco- positions. Inasmuch as the Three pations designed to throw off the Sacred Concerts synthesize Ellington’s most obdurate toe-tapper. The text is a world-view of spirituality—one filled quasi Credo from the Roman mass, with compassion, tolerance and for- describing Duke’s faith-principle in giveness—with his ground-breaking uncomplicated terms such as achievements in jazz composition and “…believing that’s better than pleas- promotion, these compositions make ure, Something ‘bout believing that is a satisfying capstone to a career and Deliver a great performance, and host of other honors. It’s also why greater than any treasure.” All the life whose reverberations are still felt the audience will ask you back for Xerox is a worldwide leader in more. Xerox knows. It’s how we document solutions, with innova- while Ellington builds the work to an today—three decades after his death. made the top 10 list in managing tive copiers and printers for busi- inevitable, and theologically unam- and delivering customer service in nesses of every size. Contact your the U.S. And how we won two local Xerox Sales Representative Malcolm Baldridge Awards and a for an audition.

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10 11 From this moment on, you and I you, the sweet of you, the pure of you, Texts babe, we’ll be riding high, babe, every the eyes, the arms, the mouth of you, care is gone from this moment on. the east, west, north and the south of CLASSIC COLE PORTER painting the town, we’d have been The overture is about to start, you you. aware cross your fingers and hold your heart, I’d love to gain complete control of I. From This Moment On that our love affair was too hot not to It’s curtain time and away we go, from you, and handle even the heart and From this moment on, you for me cool down. So goodbye, dear, and this moment on! soul of you. So love, at least, a small dear, only two for tea dear from this Amen, here’s hoping we’ll meet now percent of me, do. For I love all of you. moment on. From this happy day, and then. It was great fun, but it was II. Now You Has Jazz Take some skins, jazz begins. Take a no more blue songs, only whoopdee- just one of those things. I’ve got you under my skin. I’ve got bass, steady pace. Take a box, one that doo songs. For you’ve got the love I Another op’nin’, another show, you deep in the heart of me. So deep rocks. Take a blue horn, New Orleans need in Philly, Boston or Baltimoe, a chance in my heart, you’re really a part of me. born. Take a stick, with a lick. Take a so much, got the skin, I love to touch, for stagefolks to say, “Hello,” another I’d sacrifice anything, come what bone, Dixie grown. Take a spot, cool got the arms to hold me tight, got the op’nin’ of another show. Another might, for the sake of having you near, and hot! Now you has jazz! sweet lips to kiss me good night. From job that you hope will last, will make in spite of a warning voice that comes I love Paris in the springtime. I love this moment on you and I babe, we’ll your future, forget your past, another in the night and repeats and repeats in Paris in the fall. I love Paris in the win- be riding high, babe. Every care is pain where the ulcers grow, another my ear, “Don’t you know little fool, ter, when it drizzles. I love Paris in the gone from this moment on. op’nin’ of another show. you can never win. summer, when it sizzles. I love Paris It was just one of those things, just Four weeks you rehearse and Use your mentality, wake up to real- ev’ry moment, ev’ry moment of the one of those crazy flings, one of those rehearse, three weeks and it couldn’t ity.” But each time I do, just the year. I love Paris. Why, oh why do I bells that now and then rings, just one be worse, one week will it ever be thought of you makes me stop, before love Paris? Because my love is near. of those things. If we’d thought a bit right? Then out of the hat it’s that big I begin, ‘cause I got you under my You’d be so easy to love, so easy to of the end of it, when we started first night. skin. idolize all others above. So worth the I like the looks of you, the lure of yearning for, so swell to keep ev’ry To The Central City Chorus— RAYFIELD & LICATA From one non-profit Certified Public Accountants to another…  Best wishes & Break a leg! Joseph A. Licata, Sr., cpa Robert R. Ross, cpa Joseph A. Speranza, cpa Joseph A. Licata, cpa Christopher D. Licata, cpa N e w Yo r k Yo u t h T h e a t e r, I n c . CPC’s Resident Family Theatre Company

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12 13 homefire burning for. It’s too darn hot! I’d like to sup with number, Darling, when I say to you, was looked on as something shocking, We’d be so grand at the game, so my baby tonight, and play the pup “Do you love me as I love you? Are now heaven knows, anything goes. carefree together, that it does seem a with my baby tonight, but I ain’t up you my life to be, my dream come Good authors too who once knew bet- shame, that you can’t see your future to my baby tonight ‘cause it’s too darn true?” Or will this dream of mine fade ter words now only use four letter with me, ‘cause you’d be so easy to hot. out of sight like the moon growing words, writing prose, anything goes. love. dim, on the rim of the hill in the chill, The world has gone mad today and You can’t know how happy I am III. True Love still of the night. good’s bad today and black’s white that we met. I’m strangely attracted to I give to you and you give to me true today and day’s night today, when you. There’s someone I’m trying so love. So on and on it will always be IV. Let’s Do It (Let’s Fall in Love) most guys today that women prize hard to forget. Don’t you want to for- true love. For you and I have a When the little bluebird, who has today, are just silly gigolos. So though get someone too? guardian angel on high with nothing never said a word, starts to sing, I’m not a great romancer I know that It’s the wrong time and the wrong to do But to give to you and you give “spring, spring.” When the little blue- I’m bound to answer when I propose, place, though your face is charming, to me, love forever true. bell, in the bottom of the dell, starts to anything goes! it’s the wrong face. It’s the wrong song Strange, dear, but true, dear, when ring, “ding, ding.” When the little You’re the top! You’re the coliseum, in the wrong style tho’ your smile is I’m close to you, dear, the stars fill the blue clerk, in the middle of his work, you’re the top! You’re the Louvre lovely it’s the wrong smile. sky, so in love with you am I. Even starts a tune to the moon up above. It museum, I’m a worthless check, a total You’d be so nice to come home to. without you, my arms fold about you, is nature, that’s all, simply telling us to wreck, a flop, but if baby, I’m the bot- You’d be so nice by the fire. While the I’m yours till I die, so in love with fall in love. tom, you’re the top! breeze on high sang a lullaby, you’d be you, my love, am I. And that’s why birds do it, bees do The night is young, the skies are all that I could desire. Under stars In the still of the night, as I gaze it, even educated fleas do it. Let’s do it, clear and if you want to go walking chilled by the winter, under the August from my window, at the moon in its let’s fall in love. In Spain, the best dear, it’s delightful, it’s delicious, it’s moon, burning above. You’d be so nice, flight, my thoughts all stray to you. In upper sets do it, Lithuanians and Letts delovely. I understand the reason why you’d be paradise to come home to and the still of the night, while the world do it. The Dutch in old Amsterdam do you’re sentimental, ‘cause so am I, it’s love. is in slumber, oh, the times without it, not to mention the Finns, Folks in delightful, it’s delicious, it’s delovely. Siam do it, think of Siamese twins. It’s delightful, it’s delicious, it’s delec- Some Argentines without means do it, table, it’s delirious, it’s dilemma, it’s people say in Boston, even beans do it, delimit, it’s deluxe, it’s delovely. let’s do it, let’s fall in love. We’re all alone no chaperone can Electric eels, I might add, do it, get our number, the world’s in slum- Wishing a Happy though it shocks them I know. Why ber, let’s misbehave. They say the ask if shad do it? Waiter, bring me spring means just one thing to little shad roe. In shallow shoals, English love birds, we’re not above birds, let’s & Healthy Year soles, do it, goldfish in the privacy of misbehave. bowls, do it, let’s do it, let’s fall in love. While tearing off a game of golf, I may make a play for the caddy, but V. Anything Goes when I do, I don’t follow through, to all the members of InLICENSED olden days a KEYglimpse MAKER of stocking ‘cause my heart belongs to (212) Daddy. 838-5386 Yes, G.E. AND IMPORTED LAMPS

Central City Chorus LEXINGTON HARDWARE & ELECTRIC CORP. 797 LEXINGTON AVE. AT 62 STREET N.Y.C. 10021 Varsity Plumbing & Heating 718.358.5400 HOUSEWARES · TOOLS · APPLIANCES · HARDWARE · PAINTS 14 15 my heart belongs to Daddy, so I sim- strange the change from major to get to heaven sinning twenty four and 6. Something ‘Bout Believing ply couldn’t be bad. Yes, my heart minor, every time we say goodbye. seven. Ain’t nobody nowhere, nothin’ Somethin’ ‘bout believing that keeps belongs to Daddy. So I want to warn without God. unfolding, somethin’ ‘bout believing you, laddie, though I know you’re per- THREE SACRED CONCERTS makes my soul sing. Somethin’ ‘bout fectly swell, that my heart belongs to 4. Father Forgive believing keeps me holding unto God Daddy, ‘cause my Daddy he treats me 1. In the Beginning God Father, forgive. Almighty, Mighty God. so well. In the beginning God, no heaven, no There’s somethin’ ‘bout believing There’s something wild about you earth, no nothing. In the beginning 5. Almighty God that helps my mending, Somethin’ child that’s so contagious, let’s be out- God, no one else but God. No heaven, Almighty God has those angels away ‘bout believing there’s no ending. rageous, let’s misbehave. no earth, no nothing. up there above, up there a weavin’ Believing all the way ‘cause I’m Be a clown, all the world loves a sparkling fabrics just for you and me to depending on the God Almighty. clown. Act the fool, play the calf, and 2. Is God a Three-Letter Word for love. I don’t light a lamp, no lamp! To see you’ll always have the last laugh. If Love/My Love Almighty God has those angels up in the sun, see it, wow! Don’t need proof you become a doctor, folks’ll face you Is God a three-letter word for love? Is the proper place, waiting to receive of God because I know there ain’t with dread, if you become a dentist, love a four-letter word for God Almighty? and to welcome us and remake us in gonna be but one, just one. they’ll be glad when you’re dead, When love is in the air do you know that grace. Somethin’ ‘bout believing in the cre- you’ll get a bigger hand if you can God is there? When roses bloom in May Wash your face and hands and ation, Somethin’ ‘bout believing the stand on your head. Be a clown. didn’t God plan it that way? hearts and soul, ‘cause you wash so information. Somethin’ ‘bout believing If you’re ever in a jam, here I am. If Whether former or latter really does- well. God will keep you safely where there’s just one nation under Almighty you’re ever in a mess, S.O.S. If you n’t matter. ‘Cause love is of God and there’s no sulphur smell. God! ever feel so happy you land in jail, I’m God is above, is the King of Love. Almighty God has those angels as Somethin’ ‘bout believing that’s your bail. It’s friendship, just a perfect My love, the love of my life. It’s love ready as can be, waiting to dress, much better than pleasure, Somethin’ blendship. When other friendships of love that brings me love, the love of caress, and bless us all in perpetuity. ‘bout believing that is greater than any have been forgot, ours will still be hot. Heaven above. Oh say my love, I pray, treasure. Somethin’ ‘bout believing When they begin the beguine, it my love, we stay as we are. Of all the brings back the sound of music so ten- lovely love I love, Love is the loveliest. Soloists der. It brings back a night of tropical splendor, when they begin the 3. Ain’t Nobody Nothin’ I’ve got you under my skin In the beginning beguine. If you haven’t felt the need yet to fix Laura Smid Todd Weeks & Sharon Proctor Night and day you are the one, only upon a creed yet, listen to the message You’d be so easy to love you beneath the moon and under the of Sir Duke! There ain’t nobody Nancy Rogers & Kai Toen Father Forgive sun. Whether near to me or far, it’s no nowhere nothin’ without God. Ain’t So in love Trish Eckert matter, darling, where you are I think nothin’ sunshine, ain't nothin’ rain, A. Jordan Wright Noel Werrett of you, night and day. Night and day nobody crazy, ain’t nobody sane. In the still of the night Jamelyn Boxwill under the hide of me, there’s an oh, Nobody short or long, Nobody prays Charlotte Sheane Denis Jim Dittmer such a hungry yearning, burning or sings a song. No rich, no poor, Let’s do it, let’s fall in love Susan LeVant Roskin inside of me. And its torment won’t be nobody next door. No apple, no core, Matthew Hoptman & Nancy Andrei Yermakov through ‘til you let me spend my life no cooked no raw. No gold, no whore, Rogers Katherine Cohn making love to you, day and night, no game, no score. Nothin’ for living Anything goes night and day. and nothin’ to live for. Tristan Marciano Somethin’ ‘bout believing If you’re livin’ without God’s bless- Let’s misbehave Sharon Proctor VI. Every Time We Say Goodbye ing nothin’ will be with you. Livin’ a Nicole Possin & Matthew Kai Toen Every time we say goodbye, I die a lit- life with no blessing, messing around Hoptman tle. Every time we say goodbye, I won- where you shouldn’t be messing. The Friendship der why a little, why the gods above life you live and life you love is given Katherine Cohn & Jeffrey me, who must be in the know, think you on a lease. You have no right to Silverman Begin the beguine 16so little of me, they allow you to go. forsake it. It belongs to the God of 17 When you’re near there’s such an air peace! Ain’t nobody nowhere, nothin’ A. Jordan Wright of spring about it, I can hear a lark without God. somewhere begin to sing about it There ain’t no believer nowhere There’s no love song finer, but how dressed in denim or in mohair gonna’ that’s beyond measure. Just one God Almighty. The Artists I wanna be hip, so hip! I wanna be cool, cooly, cool boy! I gotta be with it The Central all the way ‘cause I ain’t ‘bout to be no Hailing from Denmark to record another new work fool! City Chorus New Paltz, New written for her. Somethin’ ‘bout believing keeps me York, Catherine The jazz idiom, especially that of goin’, Somethin’ about believing that Thorpe made a Duke Ellington and his contemporaries my faith is growin’. Somethin’ ‘bout David Friddle debut with the in Big Band music, is particularly well believing keeps me knowin’ I’ll see music director Baltimore Opera known to Thorpe. Her father Roger God! at age 24 with Thorpe was a three time winner on the Jonathan Oblander conductor Leon Ted Mack Amateur Hour. He also 7. Come Sunday accompanist Fleischer. She has played trumpet with the Glenn Miller, Sunday, oh come Sunday. since gone on to Woody Herman, and Les & Larry Elgart Lord, dear Lord above, God perform opera at orchestras and now directs the Sammy Almighty, God of Love. Please look the Kennedy Kaye Orchestra. down and see my people through. Center, Lincoln Catherine sang the standard Big I believe that God put sun and Center’s Alice Tully Hall and Juilliard Band rep with her father’s different jazz moon up in the sky; I don’t mind the Opera Theatre, and Boston’s Jordan and club bands beginning at age 11 grey skies ‘cause they’re just clouds Hall. and performed as the Girl Singer for passing by. Her operatic work includes three the Kaye band for many years, touring I believe God is now, was then, and world premieres, including Robert throughout the country. Tonight’s con- always will be. With God’s blessing we Ceely’s The Automobile Graveyard. Ms. cert will be a very warm homecoming can make it to eternity. Thorpe has appeared as a guest per- for her, to a style that she has known all former and soloist with the Baltimore her life. 8. Heaven Board of Consort for Early Music, Boston’s Heaven, my dream, Heaven, divine; Chorus Pro Musica, Coro Allegro, The Heaven supreme, Heaven combines Directors Women’s Composers Orchestra, and By the age of four, David Friddle knew every sweet and pretty thing life The Mark Morris Dance Company. She that music was his destiny. Armed with a would love to bring. Michael Boonstra has been a featured soloist with portable elec- Heavenly Heaven to be is just the Charlotte Sheane Portland Symphony Orchestra, and tric chord ultimate degree to be. with the Boston Pops under the baton organ, David Denis of Keith Lockhart. She is currently a prowled the Jim Dittmer member of Auros Group for New Sans Souci Music. community in Trish Eckert She debuted with New York City Greenville, SC, Katherine Larson Opera’s National Company in the title giving concerts role of Donizetti’s The Daughter of the for passersby. Nancy Poor Regiment and at Caramoor as Lisette in This same Sharon Proctor Puccini’s La Rondine last fall. She made self-starting her international performing debut in determination Susan LeVant Roskin Japan singing Handel’s Messiah and enabled David Alex Quinn Carmina Burana in Tokyo with the to pursue his career goal, following a Tokyo Philharmonic and Bach’s meandering path that began in his Wendy Zuckerman Christmas Oratorio with the Telemann hometown of Greenville and led ulti- Chamber Orchestra in Osaka, Japan. mately to New York City and The 18 Last fall marked the release of a new Juilliard School. 19 oratorio on the ZCRecords label by Along the way, David studied in Charles Osborne, featuring Ms. Charleston, South Carolina, earned a Thorpe, and next fall she will travel to B. Mus. cum laude from Baylor soprano Gale Limansky; and the Magnificat of John Rutter. All three children, older adults and people with works were accompanied by orches- hiv/aids. University and worked for two years as tra. We then began our tradition of Requiem of Brahms in the composer’s Our diverse congregation also a church musician, boy choir director, adjourning to the sidewalk for festive arrangement for piano duet; and engages in mission outreach to many pool manager and graduate teaching holiday carols with brass and the ever- Hindemith’s Frau Musica; Fauré’s social and church agencies in the city, assistant in Fort Worth, Texas. popular lighting of the Park Avenue Requiem; Handel’s psalm Laudate pueri; and it sponsors numerous community He earned his Master of Music from Christmas Trees. Haydn’s Seven Last Words of Our Savior activities within its walls. Founded in The Juilliard School in 1985, support- The 1998–99 season began on the Cross; Alessandro Scarlatti’s St. 1821, Central Church celebrated its ed by the generosity of several December 6 with a concert featuring Cecilia Mass; Messiaen’s Trois petites 175th anniversary in 1996. The beauti- businessmen in North and South three sacred pieces of Heinrich Schütz: liturgies; Britten’s St. Nicolas, Hymn to ful Gothic sanctuary, along with the Carolina. He went on to win the pres- Jubilate Deo, Das Vaterunser and Ave Saint Cecilia and the New York pre- adjoining church house, was complet- tigious Valentine Memorial Maria; Lauda per la Natività del Signore miere of The Company of Heaven; Chris ed in 1922; the 84-rank Möller Scholarship—the Wrst organist to do by Ottorino Respighi; and A Consort of DeBlasio’s The Best Beloved, and organ—currently undergoing major so—in order to complete his Doctor of Choral Christmas Carols by P.D.Q. Copland’s In the Beginning. The chorus renovation— was installed in 1950. Musical Arts from Juilliard in 1988. Bach. The season continued with an presented a series of Purcell operas in The congregation of Central During the past seven years, Dr. Dave all-Liszt concert on March 30, 1999. concert versions, beginning with Dido Presbyterian Church extends to you a (as he is known by some) founded two CCC performed both the obscure Via and Aeneas in 1987 and continuing cordial invitation to worship with us gay men’s choirs, one of them in crucis (Way of the Cross), with contem- with The Færy Queen, King Arthur and on Sundays at 11:00 am. Greenville, South Carolina, to help cel- porary meditations by poet/ Dioclesian; and also performed the ebrate the city’s Wrst gay pride march in theologian Henri Nouwen, and the composer’s Te Deum and Jubilate Deo 1997. Most recently, David founded “Stabat Mater” from Liszt’s magnum in D and Ode for St. Cecilia’s Day 1692, Cantaría in Asheville, North Carolina— opus Christus. “Hail! brightentral Cecilia Presbyterian.” Church is once again to take part in the state’s gay The final concert of our eighteenth an active and committed con- pride festivities. season featured an all-unaccompa- C gregation of the Presbyterian He also lived in Florence for several nied concert of modern composers. Church (USA). It is a Christian commu- months, concentrating on learning Included were Patricia Van Ness, nity of people busy with their Italian, absorbing the vast collections whose Cor mei cordis was given its New ministries, both here at 64th and Park of Renaissance art and mastering York premiere; Kennth Fuchs joined and throughout the city. In addition to Tuscan cuisine. (By the way, he has the in the New York premiere of his cycle its historically recognized ministry of world’s Wnest recipe for tiramisù.) of Robert Frost poems, In the clearing. music, Central Presbyterian Church is David’s choral and organ composi- Soprano Gale Limansky made her active in ministry to underprivileged tions are published by MorningStar debut performance with Central City Music ofhe St. Central Louis andCity Yelton Chorus Rhodes is a Chorus in David Friddle’s Requiem in Music ofnonsectarian Los Angeles. amateur choral d: Faces of aids, in its world premiere. T society distinguished by its The 1997–98 season began with a small size and its dedication to per- sold-out performance in December of The Central City Chorus forming a wide range of choral Vaughan Williams’ Fantasia on repertoire. Founded in 1981 with the Christmas Carols and Hodie and depends on your financial support of Central Pres byterian Poulenc’s Quatre motets pour le temps de Church, the chorus has a history of Noël. The season continued with contributions varied and adventurous program- Haydn’s Missa brevis Sancti Joannis de ming, often performing works that are Deo (“Kleine Orgelmesse”) and Stabat rarely sung by New York’s larger cho- Mater in March; it concluded in June Please make a tax-deductible donation ruses. with Stravinsky’s Mass, Arvo Pärt’s Our nineteenth season began on Miserere and the world premiere of December 5, 1999 with a concert fea- David Clark Isele’s Come, Holy Spirit. Thank you! turing the Christmas Cantata of Daniel Highlights of other seasons include Pinkham; Cantilena pro Adventu by performances of Bach’s complete 20Franz Joseph Haydn, showcasing Christmas Oratorio; Ein deutsches 21 Contributors

The members and friends of the Central City Chorus thank the following for their generous support. (March 1, 1999 through March 30, 2000)

Angels Benefactors Patrons Central Presbyterian Nancy Poor In memory of Church Rayfield & Licata Robert S. Cook Sally Porter Jenks Showstoppers, Inc. Alex Quinn Chloe & Paul Jamie & Price Langston Snedaker Mim Warden Wendy Zuckerman

Sponsors Friends In memory of Elizabeth Allen Helene Blue Sally Anderson William G. Connelly Joe C. Benson, Jr. Anita Fletcher Anna E. Crouse Lois K. Giblin Jim Dittmer Benita & Bob Gillespie John C. Koster Gordon & Constance Robin Pinkham Hamilton Ginger Potter Maria Hollenbeck Susan LeVant Roskin In loving memory of Mae Barbara & Ira Sahlman Holt Jimmie Lynn Saylor Diane Howell Joanne Howell Carol Jacobs In honor of Sally Porter Jenks Elaine Jurumbo Tom & Ruth Klipstein Katherine M. Larson Jan Maier Dr. & Mrs. John Maier Nathanael Mullener Alan & Jane Pilling J. Sheppard Poor Austra Root Teresa Mahazi Roundtree William J. Stokes Dorothy A. Straub Susan Ulseth

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