FINLANDIA

Saturday, May 19, 2018 8:00 pm Vashon United Methodist Church Vashon, Washington

Sunday, May 20, 2018 4:00 pm Nordic Heritage Museum Seattle, Washington

Dr. Gary D. Cannon Artistic Director Emerald Ensemble

Our Mission: The Emerald Ensemble enlightens the mind, uplifts the heart, and enriches the soul through great choral music presented with passion and skill. We envision a world made better through great choral music.

performing Artists Sopranos: Altos: Tenors: Basses: Erika Chang Christine Knackstedt David Hendrix J. Scott Kovacs Lisa Pontén Kathryn Weld Dustin Kaspar Jonathan Silvia Maria Männistö, Language Coach

Leadership and Guidance Jo Ann Bardeen, Board Secretary Michael Monnikendam, Board Member Jennifer Carter, Board President John Muehleisen, Artistic Advisor James Savage, Board Member

Dr. Gary D. Cannon, Artistic Director J. Scott Kovacs, Executive Director

Concert Volunteers

Kaycie Alanis, Holly Boaz, & Members of the Vashon Choral Boosters PROGRAM

FINLANDIA Saturday, May 19th, 2018 Sunday, May 20th, 2018

Double, double, toil and trouble (1984) Jaakko Mäntyjärvi (b.1963) Maamme (1848) Fredrik Pacius (1809–1891) Auringon noustessa (1910) Toivo Kuula (1883–1918) Virta venhettä vie (1907) Toivo Kuula Minun kuitani kaunis on (1904) Toivo Kuula Smoking can kill (2008) Jaakko Mäntyjärvi Drömmarna (1917) (1865–1957) Credo (1972) Einojuhani Rautavaara (1928–2016) Och glädjen den dansar (1993) Einojuhani Rautavaara

intermission

Finlandia-hymni (1900/1948) Jean Sibelius Venematka (1893/1914) Jean Sibelius Sydämeni laulu (1898/1904) Jean Sibelius Suite de Lorca (1973) Einojuhani Rautavaara Vier Galgenlieder (1960) (1911–2006) El Hambo (1996) Jaakko Mäntyjärvi Isänmaalle (1900) Jean Sibelius

3 texts and translations

Double, double toil and trouble from Four Shakespeare Songs (1984) Jaakko Mäntyjärvi (born 1963)

Thrice the brinded cat hath mew’d. Scale of dragon, tooth of wolf, Thrice and once the hedge-pig whin’d. Witches’ mummy, maw and gulf Harpier cries: ‘Tis time, ‘tis time. Of the ravin’d salt-sea shark, Round about the cauldron go; Root of hemlock digg’d in dark, In the poison’d entrails throw: Liver of blaspheming Jew, Toad, that under cold stone Gall of goat, and slips of yew Days and night had thirty-one Sliver’d in the moon’s eclipse, Swelter’d venom sleeping got, Nose of Turk and Tartar’s lips, Boil thou first in the charm’d pot. Finger of birth-strangl’d babe Double, double toil and trouble, Ditch-deliver’d by a drab, Fire burn, and cauldron bubble. Make the gruel thick and slab: Add thereto a tiger’s chaudron, Fillet of a fenny snake For ingredients for our cauldon. In the cauldron boil and bake, Double, double toil and trouble, Eye of newt and toe of frog, Fire burn, and cauldron bubble. Wool of bat and tongue of dog, Adder’s fork and blind-worm’s sting, By the pricking of my thumbs, Lizard’s leg and owlet’s wing, Something wicked this way comes. For a charm of powerful trouble, Open, locks, whoever knocks! Like a hell-broth boil and bubble. Double, double toil and trouble, — William Shakespeare (1564–1616) Fire burn, and cauldron bubble. Macbeth (1606?), Act IV, Scene 1

Maamme [originally Vårt land] (1848) Fredrik Pacius (1809–1891)

Oi maamme, Suomi, synnyinmaa, Oh, our land, Finland, land of our birth, soi, sana kultainen! ring out, the golden word! Ei laaksoa, ei kukkulaa, No valley, no hill, ei vettä, rantaa rakkaampaa no water, shore more dear kuin kotimaa tää pohjoinen, than this northern homeland, maa kallis isien. precious land of our fathers.

Sun kukoistukses kuorestaan Your splendor from its shell kerrankin puhkeaa; one day will bloom; viel’ lempemme saa nousemaan from our love shall rise sun toivos, riemus loistossaan, your hope, glorious joy, ja kerran laulus, synnyinmaa and once your song, native land, korkeemman kaiun saa. higher still will echo.

— after Johan Ludvig Runeberg (1804–1877)

4 Auringon noustessa [“Sunrise”] from Seven Songs, op.11 (1910) Toivo Kuula (1883–1918) Nää, oi mun sieluni, Behold, O my soul, auringon korkea nousu, the rising of the Sun ylitse kivisen kaupungin kattojen, katuin, over the rooftops and streets of the stone city, ylitse vuossatain valheen ja tuntien tuskan, over centuries of lies and hours of pain, koittava kirkkaus! a dawning glory! Nää, oi mun sieluni, Behold, O my soul, katoovan elämän autuus! the bliss of our mortal days! niinkuin ääretön temppeli on se sun eessäs, Like an infinite temple it stands before thee: alla sen holvien on ikiaikojen ääretön under its vaults lies the eternal devout silence hartaus mestarin hengen. of the spirit of the Master. Nää, oi mun sieluni, Behold, O my soul, yössäkin korkehin kirkkaus, in darkest night the greatest brightness, tuskassa tummien hetkien rauha ja riemu, in darkest moments of peace the joy and joy, vuossatai valheessa, in centuries of lies, eiämän valheessa valkein, ijäisin totuus! in a life of lies, the purest, most eternal truth!

— Veikko Antero Koskenniemi (1885–1962)

Virta venhettä vie from Seven Songs, op.4 (1907) Toivo Kuula (1883–1918) Virta venhettä vie, The current carries the boat; mihin päättyvi tie? where will the road end? Lyö kuohut purren puuta ja talkaa, The foam hits the bark’s wood and keel; mikä ihminen on? what is man? Virvaliekki levoton. A restless will-o’-the-wisp. Ja hiekka heljä riiteleepi jalkaa. Already smooth sand caresses the floor. Yksi syntyy riemuun ja toinen murheeseen, One of us is born into joy, another into sorrow, ja kullakin on kellonsa pohjass’ sydämen. and each of us has a clock in our hearts. Kun se seisahtaa niin kuolon aika alkaa. When it stops, the time of death begins. Virta venhettä vie, The current carries the boat; mihin päättyvi tie? where will the road end? Ei tiedä sitä ihmisistä kenkään. There’s not a single man who knows. Meri, talvas ja maa, The sea, sky, and earth, kaikki, kaikk’ katoaa— all, all disappear— kuinka säilyisi sielu ihmisenkään? how should the soul of a man persist, either? Mutt’ unessa niin armas on ajatella noin, But in dreams it’s darling to think so: viel’ kerran kevät saapuu ja koittaa uusi koi, Once more the spring arrives and a new dawn breaks ja huomentuulet tuntureilta henkää. and the winds of tomorrow sigh from the hills. Vaiko venhetta lie? Or could it all just be a lie? Virta venhetta vie. The current carries the boat.

— Eino Leino (1878–1926) 5 Minun kuitani kaunis on (1904) Finnish folksong, arranged by Toivo Kuula (1883–1918)

Minun kuitani kaunis on, My bonnie lass is beautiful, vaikk’ on kaitaluinen. though she’s somewhat lanky. Hei juulia illalla, Hey ho, hey nonny no, vaikk’ on kaitaluinen! though she’s somewhat lanky.

Silmät sill’ on siniset, Her eyes are of the fairest blue, vaikk’ on kieronlaiset. though they’re a bit askew. Hei juulia illalla, Hey ho, hey nonny no, vaikk’ on kieronlaiset! though they’re a bit askew.

Suu on sillä supukka, Her mouth is red and puckered up, vaikk’ on toista syltä. though it’s three feet wide. Hei juulia illalla, Hey ho, hey nonny no, vaikk’ on toista syltä! though it’s three feet wide.

Kun minä vien sen markkinoille, When I take her to market, niin hevosetkin mauraa. the horses burst out laughing. Hei juulia illalla, Hey ho, hey nonny no, hevosetkin mauraa! the horses burst out laughing.

— Traditional Finnish folksong

Smoking can kill Modern Madrigal No. 3 (2008) Jaakko Mäntyjärvi (born 1963) Finnish proverb: Smoking can kill. Smoking clogs the arteries and causes heart attacks “Ei kannata mennä merta and strokes. edemmäs kalaan.” Smoking seriously harms you and others around you. Smoking can cause a slow and painful death. Not worth it to go further than the sea for fish. Smoking by pregnant women may result in fetal injury and premature birth.

— Anonymous (miscellaneous warnings on • cigarettes and other tobacco products)

Drömmarna [“Dreams”] (1917) Jean Sibelius (1865–1957)

Släktena födas, och släktena gå, Generations are born and generations die; släktena glida som strömmar, generations glide like streams. dö och försvinna och slockna, ändå They die and disappear and are extinguished; but still dö ej de lockande drömmar: the enticing dreams never die. leva i sol och i sorg och i storm, They live in sunshine and sorrow and storm, 6 domma och läggas på båren, they go numb and are laid upon the bier, uppstå ånyo i skimrande form, they are reborn in shimmering form, följa varandra i spåren. and follow in each other’s tracks. Hur än de komma och hur än de gå, However they come and however they go, glida som speglande strömmar, they glide like mirroring streams; hur de försvinna och slockna ändå however they may disappear and die out, leva de eviga drömmar. the eternal dreams stay alive.

— Jonathan Reuter (1859–1947)

Credo (1972) Einojuhani Rautavaara (1928–2016)

Credo in unum Deum, patrem omnipotentem, I believe in one God, omnipotent father, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all things visible and invisible; Et in unum Dominum Jesum Christum, and in one Lord Jesus Christ, filium Dei unigenitum only begotten son of God, et ex patre natum ante omnia saecula. and from the father born before all worlds, Deum de Deo, lumen de lumine, God from God, light from light, Deum verum de Deo vero, true God from true God, genitum, non factum, begotten, not made, consubstantialem patri, of one substance with the father, per quem omnia facta sunt. by whom all things were made, Qui propter nos homines et propter nostram salutem who for us men, and for our salvation, descendit de coelis. descended from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. through the virgin Mary, and was made man. Crucifixus etiam pro nobis: He was crucified for us: sub Pontio Pilato passus et sepultus est. under Pontius Pilate he died and was buried. Et resurrexit tertia die And he rose again on the third day secundum scripturas. according to the scriptures. Et ascendit in coelum, And he ascended to heaven, sedet ad dexteram patris. seated at the right hand of the father. Et iterum venturus est cum gloria And he will come again in glory judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. whose kingdom will have no end. Et in Spiritum Sanctum, Dominum et vivificantem, And in the Holy Ghost, Lord and giver of life, qui ex patre filioque procedit, who proceeds from the father and the son, qui cum patre et filio who with the father and the son simul adoratur et conglorificatur, is worshipped and glorified, qui locutus est per prophetas. who spoke through the prophets; Et unam sanctam catholicam et apostolicam ecclesiam. and one holy, catholic, and apostolic church. Confiteor unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins, Et expecto resurrectionem mortuorum, And I expect the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the coming world. Amen.

7 Och glädjen den dansar [“With joy we go dancing”] (1993) Old Finnish wedding tune, arranged by Einojuhani Rautavaara (1928–2016) Och glädjen den dansar With joy we go dancing bland blommor och strå. through meadows and fields. Ken en de komma The summer comes in och åren de gå. and to autumn it yields. Då blir det så stilla Our peace and contentment bring vännerma två. from friendship we’ll draw, Men liljorna de växa upp om våren. And lilies they bloom in the springtime. Och världen är så vider The world it is long och världen är så stor, and the world it is wide, och sorgerna de komma från sunnan and sorrows are borne on the winds och från nord. and the tide, Då är det gott i stugan, but here in our cottage, där kärleken bor, our love it will flower, men liljorna de växa upp om våren. and lilies they bloom in the springtime. Och mänskorna födas All good folk are born och mänskorna do and all good folk they die som gångande vågor like white-crested waves på villande sjö. on the billowing tide. de fallende blomstren The drooping flowers are soon ska täckas av snö. covered with snow, Men liljorna de växa upp om våren. but lilies will bloom in the springtime. — Alexander Slotte (1861–1927)

Finlandia-hymni (1938/1948) based on Finlandia, op.26 (1900) Jean Sibelius (1865–1957) Oi, Suomi, katso, Sinun päiväs koittaa, O Finland, look, your dawn approaches, yön uhka karkoitettu o jo pois and the night is dispersed, dark and long; ja aamun kiuru kirkkaudessa soittaa hear how the voice of the lark mixes with sighs, kuin itse taivahan kansi sois, soon the skies will be filled with jubilation. yön vallat aamun valkeus jo voittaa See how the night flees and you breathe freely again. sun päiväs koittaa, oi synnyinmaa. Your morning dawns, O country dear. Oi nouse, Suomi, nosta kortkealle Rise high, our country, newly raised from darkness. pääs seppelöimä suurten muistojen Meet the waiting day, free and open, oi nouse Suomi, näytit maailmalle with the same power you showed sa että karkoitit orjuuden when you broke asunder the yoke of slavery. ja ettet taipunut sa sorron alle Repression never bowed you to the ground. on aamus alkanut, synnyinmaa. Your day has dawned, O country dear.

— Veikko Antero Koskenniemi (1885–1962)

8 Sydämeni laulu [“Song of My Heart”] (1898/1904) from Six Partsongs, op.18 Jean Sibelius (1865–1957) Tuonen lehto, öinen lehto! Tuoni’s* grove, the grove of night! Siell’ on hieno hietakehto, There the sand is soft under foot, sinnepä lapseni saatan. there I would take my child. Siell’ on lapsen lysti olla, There it is good for the child to be, Tuonen herran vainiolla, there in Tuoni’s master’s meadows, kaitsea Tuonelan karjaa. tending Tuonela’s herds. Siell’ on lapsen lysti olla, There the child can sleep so sweetly, illan tullen tuuditella there when the dusk comes, can sink, helmassa Tuonelan immen. rocked by Tuonela’s maid. Onpa kullan lysti olla, There the child can sleep so sweetly, kultakehdoss’ kellahdella, rocking in the golden cradle, kuullella kehrääjälintuu. dreaming to the song of the birds. Tuonen viita, rauhan viita! Tuoni’s halls, the halls of peace! Kaukana on vaino, riita, Far from hatred and struggle, kaukana kavala maailma. far from the world’s confusion.

— (1834–1872) * Tuoni = the Finnish god of Tuonela, the underworld

Suite de Lorca, op.72 (1973) Einojuhani Rautavaara (1928–2016) 1. Canción de jinete Song of the Horseman Córdoba. Córdoba. Lejana y sola. Distant and lovely. Jaca negra, luna grande, Black pony, large moon, y aceitunas en mi alforja. in my saddlebag, olives. Aunque sepa los aminos Well as I know the roads, yo nunca llegaré a Cordoba. I shall never reach Córdoba. Por el llano, por el viento, Over the plain, through the wind, jaca negra, luna roja. black pony, red moon. La muerte me está mirando Death keeps a watch on me desde las torres de Córdoba. from Córdoba’s towers. ¡Ay, qué camino tan largo! Oh, such a long way to go! ¡Ay, mi jaca valerosa! And, oh, my spirited pony! ¡Ay, que la muerte me espera, Ah, but death awaits me antes de llegar a Córdoba! before I ever reach Córdoba. Córdoba. Córdoba. Lejana y sola. Distant and lovely.

9 2. El grito The Scream

La eclipse de un grito The arc of a cry va de monte travels from hill a monte. to hill. Desde los olivos, From the olive trees será un arco iris negro a black rainbow sobre la noche azul. over the blue night. ¡Ay! Ay! Como un arco de viola, Like the bow of a viola el grito ha hecho vibrar the cry has set the wind’s largas cuerdas del viento. long strings to vibrating. ¡Ay! Ay! (Las gentes de las cuevas (The people of the caves asoman sus velones.) bring out their oil lamps.) ¡Ay! Ay!

3. La luna asoma The moon rises Cuando sale la luna At the rise of the moon se pierden las campanas bells fade out y aperecen las sendas and impassable paths impenetrables. appear. Cuando sale la luna, At the rise of the moon el mar cubre la tierra the sea overspreads the land y el corazón se siente and the heart feels like an island isla en el infinito. in the infinite Nadie come naranjas No one eats oranges bajo la luna llena. in the full moon’s light. Es preciso comer, Fruit must be eaten fruta verde y helada. green and ice-cold. Cuando sale la luna At the rise of the moon de cien rostros iguales, with its hundred faces alike, la moneda de plata silver coins solloza en el bolsillo. sob away in pockets.

“... the work of art is unpredictable and creates its own laws. When it’s complete, then there is nothing to add, nothing to take away.”

—Einojuhani Rautavaara

10 4. Malagueña La muerte Death entra y sale goes in and out de la taberna. of the tavern. Pasan caballos negros Black horses y gente siniestra and sinister people por los hondos pass along the sunken roads de la guitarra. of the guitar. Y hay un olor a sal There’s an odor of salt y a sangre de hembre and female blood en los nardos febriles in the feverish spikenard de la marina. along the shore. La muerte Death entra y sale goes in and out, y sale y entra out and in le muerte of the tavern goes de la taberna. death. — Federico García Lorca (1898–1936) Vier Galgenlieder [“Four Gallows Songs”], op.51b (1960) Erik Bergman (1911–2006)

1. Das große Lalula The Big Lalula

Kroklowafzi? Semememi! This nonsense poem is meant to depict an endgame Seiokrontro – prafriplo: of chess. Some of the words and even punctuation marks Bifzi, bafzi; hulalemi: are derived from traditional written abbreviations quasti basti bo… of chess moves. Lalu lalu lalu lalu la! Hontraruru miromente zasku zes rü rü? Entrepente, leiolente Klekwapufzi lü? Lalu lalu lalu lalu la! Simarat kos malzipempu silzuzankunkrei (;)! Marjomar dos: Quempu Lempu Siri Suri Sei []! Lalu lalu lalu lalu la!

2. Tapetenblume Wallpaper Flower

‘Tapetenblume bin ich fein, ‘A fine wallpaper flower am I, kehr’ wieder ohne Ende, my season never palls: doch, statt im Mai’n und Mondenschein, be it December or July, auf jeder der vier Wände. I bloom on your four walls. Du siehst mich nimmerdar genung, You never see me quite enough, so weit du blickst im Stübchen, however far you stare: und folgst du mir per Rösselsprung — steal upon me with your knight’s move— wirst du verrückt, mein Liebchen.’ and you’ll go mad, my dear’ 11 3. Igel und Agel Hedgehog and Hedgesow Ein Agel saß auf einem Stein A Hedgehog sat upon a stone und blies auf einem Stachel sein. and blew a spine, one of his own. Schalmeiala, schalmeialü! Shawmala, shawmaloo! Da kam sein Feinslieb Agel Came Kedgesow his sweetheart, und tat ihm schnigel schnagel her sniggly-snaggly part zu seinen Melodein. she played beside his tone. Schnigula schnagula Sniggly snaggly schnaguleia lü! snaggle-eye loo! Das Tier verblies sein Flötenhemd… The best blew off his fluting-coat… ‘Wie siehst Du aus so furchtbar fremd!?’ ‘How can you look so damned remote!?’ Schalmeiala, schalmeiaü —. Shawmala, shawmaloon —. Feins Agel ging zum Nachbar, ach! Sweet Hedgesow went next door, oh dear! Den igel aber bat der Bach Bu the brook washed the Hedgehog clear zum Weiher fortgeschwemmt. to the fishpond to float. Wigula wagula Wiggly waggly waguleir wü waggleeye woo tü tü… too too… 4. Unter Zeiten Among Tenses

Das Perfekt und das Imperfekt The Perfect and Imperfect tranken Sekt. clinked, Sie steißen aufs Futurum an toasting the Future in champagne (was man wohl gelten lassen kann). (nobody so far can complain). Plusquamper und Exaktfutur Pluperfect and Future Perfect blintzen nur. winked. — Christian Morgenstern (1871–1914)

El Hambo (1996) Jaakko Mäntyjärvi (born 1963)

The nonsense text mimics (and gently mocks) a traditional Swedish folk dance.

“Music is, for me, like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.”

—Jean Sibelius

12 Isänmaalle [“To the Fatherland”] (1900) Jean Sibelius (1865–1957) Yks’ voima sydämehen kätketty on, A single strength is concealed in my heart, se voima on puhdas ja pyhä. that strength is pure and holy. Su tuttuko on vai tuntematon, Whether familiar or unfamiliar, niin valtaa se mieliä yhä. it dominates the mind. Salamoina se tuntehet saa palamaan, Like lightning, it burns, sa taivaast; on kotoisin kerrotaan, it is said to emanate from heaven, ja isänmaa on sen nimi. And its name is the fatherland. Se tunnussana se Suomenmaan Its nomenclature, Finland, vei urohot kuolon teille, has led brave men to their deaths, vei nälkää, vaaroja voittamaan, led them to hunger, to conquer dangers, vei valoa voittamaan meille, led them to achieve victory, ja rauhan töissä se ollut on and it as been present at work done in peace, se tiovon tähti sammumaton, an inextinguishable star of hope, joka tien vapautehen viittaa. which shows the way to freedom. Niin aina olkohon Suomenmaass’ Let there always be on Finnish soil ain’ uljuutt’ uskollisuutta! great courage and steadfastness! Kun vaara uhkaa, ne luokohot taas When danger threatens, they will create vapautta ja valoa uutta. new freedom and light, Tää maa ei koskaan sortua saa, this country may never be vanquished; eläköön tämä muistojen, toivojen maa, long live this land of memories and hopes, eläköön, kauan eläköön Suomi! long live Finland!

— Paavo Cajander (1846–1913)

Acknowledgements Cascadian Chorale, Artistic Partner Chris Fraley, Recording Engineer Nordic Heritage Museum, Artistic Partner Seattle Bach Choir, Artistic Partner Maria Männistö, Language Coach Saint Stephen’s Epsicopal Church & Michael Monnikendam,Rehearsal Facility Sine Nomine, Artistic Partner Trinity Episcopal Parish & Jo Baim, Rehearsal Facility Turi Henderson, Season Graphics Vashon Island Chorale, Artistic Partner

13 ARTISTIC DIRECTOR

Dr. Gary D. Cannon is one of the Seattle area’s most versatile choral personal- ities, active as conductor, musicologist, and singer. He is co-founder, Artistic Director, and conductor of the Emerald Ensemble.

Since 2008, Dr. Cannon has served as conductor and Artistic Director of two prominent community choirs. The Cascadian Chorale, a chamber choir based in the Eastside suburb of Bellevue, performs a breadth of mostly unaccompanied repertoire including many pre- mieres of works by local composers. The Vashon Island Chorale, numbering 80–100 singers, is a focal point of its island’s arts community. At the invitation of the Early Music Guild, he founded and directed a Renais- sance choir, Sine Nomine (2008–15). He has three times conducted for Vashon . Equally comfort- ably directing professional and volunteer ensembles, Dr. Cannon has also conducted Anna’s Bay Chamber Choir, Choral Arts, Earth Day Singers, Kirkland Choral Society, Northwest Mahler Festival, Seattle Praetorius Singers, several choirs at the University of Washington, and others. OUTREACH

Dr. Cannon lectures for Seattle and has Beyond traditional concerts and recordings, the Emerald Ensemble brings provided written program notes for choirs across the music directly to locations were the arts rarely extended, such country. His research and writing topics span music of as schools, prisons, hospice care facilities, and homeless shel- nine centuries, with special emphasis on William Wal- ters. Our mission is to help all people through great choral mu- ton and other twentieth-century English composers. sic presented with passion and skill. By freely providing choral mu- He taught at Whatcom Community College (2004–6), sic to underserved groups, we hope to enrich and enliven a broad where he received the Faculty Excellence Award. As a scope of listeners. tenor, he has appeared as a soloist with Pacific North- west Ballet, Seattle Philharmonic, and the Auburn, If you are affiliated with a facility or group that may benefit from the Emerald Eastside, Rainier, and Sammamish Symphony Orches- Ensemble’s singing, please contact Scott Kovacs, [email protected]. tras, as well as Byrd Ensemble, Canonici, Les Chante- We aim to provide these services at little or no cost. relles, Choral Arts, Master Chorus Eastside, St. James Cathedral Cantorei, Seattle Bach Choir, and Tudor Choir. A California native, Dr. Cannon holds degrees Our Outreach Partnering Organizations: from the University of California at Davis and the Uni- Bailey-Boushay House versity of Washington. Silver Glen Retirement Community Christ Our Hope Catholic Community Saint Mark’s Choir School

14 OUR DONORS founder’s circle (Extraordinary Gifts: $1,000 or more) Gary D. & Marnie J. Cannon Karen and Gary Cannon Beverly Efishoff

SEASON SUSTAINERS (Enthusiastic Gifts of Support: $250 -$999)

Anonymous Kipton & Deanna Kennedy Karen Baer & Richard Wallace Eva and Heikki Männistö Jo Ann & Tom Bardeen David & Sherri Nichols Doug & Conni Clarke Terry Polen & Casey Self Heather Houston & Bob Gibbs Alix Wilbur & Andrew Himes

Friends (Gifts of Friendship and Appreciation up to $249)

Barbara Adams & Kenneth Miller Joyce C. Kling adorationsong.com Barbara Leigh Kaycie & Bob Alanis Linera Lucas Ron Anderson Mary Fran Lyons & James Roy Karen Bargelt Jocelyn Markey Al & Janet Berg Kathy Ostrom Adam & Lorraine Burdick Cynthia Perkins & Michael Shook Mary & Whit Carhart Marta Schee Christine Carlson & Charles R. Stephens Steve Shelton & Karen Harvey Philip & Kathy Demaree Donald Skirvin Peter & Kathy Dorman Anne Tiura Marita Ericksen Judy Tsou Jon Flora & Shannon Williams Mary Van Gemert Anita Gross Robert Weitzen David Horiuchi

You can support the Emerald Ensemble’s mission to improve lives through choral music performed with passion and skill by providing financial resources for the organization’s operations. The Emerald Ensemble is a 501(c)3 corporation (EIN: 81-3116149) and your gift is fully tax deductible. Emerald Ensemble accepts corporate matching through Benevity: check with your employer to see if you qualify! If you’d like to support a specific project or outreach, please contact us at [email protected]. To donate online visit: www.emeraldensemble.org/donate.

15 The Performing Artists

Erika Chang J. Scott Kovacs Soprano Bass-Baritone

David Hendrix Lisa Pontén Tenor Soprano

Dustin Kaspar Jonathan Silvia Tenor Bass-Baritone

Christine Knackstedt Kathryn Weld Mezzo-Soprano Mezzo-Soprano

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