Seattle Pro Musica Seattle Pro Musica

Staff Members Karen P. Thomas Artistic Director & Conductor Katie Skovholt Executive Director Joshua Gailey Operations & Administrative March 7 & 8, 2020 Associate Dwight Beckmeyer Accompanist Kelly Foster Griffin Vocal Coach A message from conductor Karen P. Thomas Jenn Newland Stage Manager

Board of Directors “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. Congress shall have power to enforce this article by appropriate legislation.” Wes Kim —Amendment XIX of the United States Constitution President Seattle Pro Musica Soloists Anne Clamoungou SOPRANO I ALTO I TENOR I It is no stretch of the imagination to note that we live in historic times. Against the backdrop of active assaults upon Vice President Sorida: Kelly Sanderbeck, soloist; Helen Anderson, Helen Anderson + Sarah Bergquist Peter Aldrich *^ Liz Reed Hawk, Sarah Bergquist, Emily Jordan, ensemble the basic tenets of our democracy, there are signs of hope, such as the Equal Rights Amendment inching closer to Rick Johnson Jordan Berg *+ Jacque Deerr-Lord *+ Jacob Buys *^ Treasurer Lauren Carr Allison Freel *+ Neal Champagne Hark, I Hear the Harps Eternal: Ashley Mialon, soprano reality after languishing for decades. And while this concert honors the 100th anniversary of the Nineteenth Amend- Hannah Won Fiona Hatfield ment, we cannot overlook the ways in which America has failed in the last 100 years to deliver on the promise of one Marisa Dahlman *+ Matt Li On a dark night: Kaelee Bolme, tenor; Robin Wyatt-Stone, Corporate Secretary Ann Gilcrease Nancy Haver + Will Myers baritone person, one vote. We hope that this collection of music from American women composers will serve as inspiration for Beth Alley Stephanie Gray Emily Jordan Arvind Narayanan *^ the power and beauty that emerge when voices from all corners are heard from. Sangeetham: Arvind Narayanan, tenor Jordan Berg Ashley Mialon * Teena Littleton *+ TENOR II Meaghan Leferink Katie Skovholt *+ Rose Morrison + Daniel, Daniel, Servant of the Lord: Robert Wade, tenor; Indeed, this program abounds with musical riches. The greeting song Sorida by Rosephanye Powell sounds a joyful, Briana Schwartz Kaelee Bolme *^ Jenny Spence *+ Corina Rahmig + Ryan Gao (March 7), Chris Rule (March 8), bass Kacey Stevens David Dodman *^ welcoming note to begin our performance. We honor choral pioneers Undine Smith Moore and Alice Parker with Sarah Ruuska Jan Strand SOPRANO II Jonathan Siehl mid-century works by these beloved creators. The vision of America as a welcoming country for immigrants is ex- Alice Tang *+ Mary Clementi Danny Szydlo *^ plored in Her beacon-hand beckons by Pulitzer Prize-winner Caroline Shaw, as she responds to “The New Colossus” Marit Trelstad Acknowledgements Marilyn Colyar *+ Vésteinn Þórsson Advisory Board Janelle Walhout Isabelle Phan, French language coach by Emma Lazarus, the poem mounted on the pedestal of the Statue of Liberty. Young composers Reena Esmail and Jonna Farley Robert Wade Dean Arnold Arvind Narayanan, Sanskrit language coach Shruthi Rajasekar offer us thrilling pieces that blend the sounds and complex rhythms of classical Indian music with Miriam Gnagy *+ ALTO II Fred Williams Keith Axelsen Seetha Narayanan, Sanskrit translation Elly Hale + Liz Adams Western classical music. We recognize the exploratory spirit of pioneering composer Meredith Monk with her wordless Mona Dworkin BASS I Deb Arnold Samuel F. Dworkin Carole Jones Jim Bartscher *^ Astronaut Anthem. And we salute Northwest composers with works from Melinda Bargreen, Sheila Bristow, Carol Sams, Gail B. Broder Land Acknowledgement Mike Evans Sophia Jung *+ Peter Budny ^ and myself. Cathy Federici * Seattle Pro Musica acknowledges that our performances take Phil Haas Shadia Kawa David Carpman Noreen King Helen Lafferty place on Indigenous land: the traditional territory of Coast Emi Nakamura *+ Ben Flynn These and other rewarding works await you in Shall Not Be Denied. On behalf of Seattle Pro Musica, I thank you for Teena Littleton Liz Langeland Salish peoples, specifically the Dkhw’Duw’Absh, or Duwamish, Teresa Nemeth Ryan Gao *^ joining us. I trust that you will find this music as inspiring as we have. Terri Lords “The People of the Inside.” Jenn Newland Liz Reed Hawk *+ Katie Oman Rick Johnson *^ Ada Ng *+ Kelly Sanderbeck Joy Portella Robin Wyatt-Stone *^ Jan Strand + Elizabeth Sanders *+ John Schilling Mark Yeary ^ Sincerely, Dale Whitehead Erica Weisman *+ Karen Segar Judy Williams Anna Thelen BASS II Peter Hemmen Catherine Wolff Tom Lin *^ Lee Maneman *^ Follow us on Facebook, Twitter, YouTube and Instagram. *Vox Check our website for the latest on performance dates and venues. Jon Repp *^ +Chroma Karen P. Thomas Chris Rule *^ ^Orpheon Artistic Director and Conductor Shall Not be Denied ORPHEON TTBB Ensemble On a dark night A setting of a sensual poem by St. John of the Cross, a 16th-century Sheila Bristow (b. 1969) Spanish mystic. Composed in 2019.

SEATTLE PRO MUSICA Sangeetham Sangeetham (“music” in Sanskrit) uses elements from both the Western Shruthi Rajasekar (b. 1996) classical and Carnatic (South Indian classical) traditions. The final line Sorida A joyful greeting song in the Shona language of Zimbabwe. Composed captures the core message of the text: "The shining truth is that the Rosephanye Powell (b. 1962) in 2002. core of my being is music." Composed in 2019.

Her beacon-hand beckons The composer’s response to the 1883 sonnet “The New Colossus” by Caroline Shaw (b. 1982) Emma Lazarus, which is on a plaque at the Statue of Liberty. Composed CHROMA in 2016. SSAA Ensemble Lux Lucis Three motets on texts by the 12th-century mystic Hildegard von Bingen Ophelia Based on passages from Hamlet, in which Queen Gertrude brings news Karen P. Thomas (b. 1957) that explore themes of light, hope, and purity. Composed in 2003. Jocelyn Hagen (b. 1980) of the death of Ophelia. Composed in 2014. Tuttarana “Tuttarana” combines two words: the Italian word ”tutti” meaning ”all” Still wie die Nacht A lushly chromatic setting of the famous 19th-century Romantic Reena Esmail (b. 1983) or ”everyone,” and the term ”tarana”, a specific Hindustani (North Indian) Mari Esabel Valverde (b. 1987) love poem. Composed in 2009. musical form whose closest Western counterpart is the ”scat” in jazz. Composed in 2014. Hark, I Hear the Harps Eternal A beloved arrangement of the tune originally found in The Southern Alice Parker (b. 1925) Harmony, a shape note compilation of hymns, tunes, psalms, and songs from 1834. Composed in 1967. SEATTLE PRO MUSICA

VOX Astronaut Anthem This excerpt from The Games: a science fiction opera celebrates the spirit Mixed Ensemble Meredith Monk (b. 1942) of exploration. Composed in 1986.

Blue Phoenix This moving text is from an interview with Iraqi artist Esam Pasha, Sunflower (from The Earthmakers) From The Earthmakers, this oratorio about the beginnings of the world Kala Pierson (b. 1977) describing his experience of creating art during the bombing Carol (Kia) Sams (b. 1945) presents the creation myths of different cultures. Composed in 1987. of Baghdad. Composed in 2009. Raw Heart “She sends out her raw heart. When she stands her full height, Choral de Bêtes Four evocative character studies of animals: Shruthi Rajasekar (b. 1996) the world goes mute. She encompasses everything.” Composed in 2016. Christina Whitten Thomas (b. 1979) the fierce lion, the vulnerable lamb, the peaceful whale, the spirited gazelle. Composed in 2006. Stella splendens Sumptous harmonies envelop the listener in this beautiful setting of a 1. Prière du Lion Melinda Bargreen (b. 1957) 14th-century Spanish pilgrimage text. Composed in 2009. 2. Prière de l’Agneau 3. Prière de la Baleine Daniel, Daniel, Servant of the Lord A fiery setting of the Biblical story of Daniel surviving the lion’s den un- 4. Prière de la Gazelle Undine S. Moore (1904-1989) harmed. Composed in 1952.

INTERMISSION

These performances are supported in part by ArtsFund, 4Culture, Classical KING FM 98.1, and the City of Seattle, Office of Arts & Cultural Affairs.

Please turn off all cell phones and electronic devices. No photography during performances.T hank you.

2 3 Her beacon-hand beckons Program notes, texts, and translations [text by Caroline Shaw, responding to the 1883 sonnet The New Colossus by Emma Lazarus, which was mounted on the pedestal of the Statue of Liberty in 1903] Her beacon-hand beckons: your tired fighters fleeing flying Rosephanye Powell’s music is characterized by beautiful melodies, strong rhythmic emphasis, give from the and rich harmonies, often derived from African-American popular styles. She serves as Professor give to me from the of Voice at Auburn University, and her research has focused on the art of the African American those yearning to breathe free from spiritual and the art songs of William Grant Still. In 2009, Dr. Powell received the “Living Legend tempest-tossed they cannot see let them Award” presented by California State University African Diaspora Sacred Music Festival in Los what lies beyond the olive tree i will be your refuge Angeles. whose branch was lost amid the pleas i will be your refuge Sorida is a term of greeting in the Shona language of Zimbabwe, Africa, similar to shalom in for mercy, mercy i will be Hebrew or jambo in Swahili. give i will be give to me we will be The composer writes: we will “Sorida is an original work rather than an arrangement. While serving at Philander Smith College in Little Rock, Arkansas, my husband, Dr. William C. Powell, director of the PSC Collegiate Choir, wanted an African song for the choir’s CD project. However, at the time, the music department could not afford to pay royalties for a published work. So I decided to research Jocelyn Hagen composes music that has been described as “simply magical” (Fanfare) and “dra- the possibility of arranging an African folksong… matic and deeply moving” (Star Tribune, Minneapolis/St. Paul). Her commissions include Con- “I came upon the word ‘Sorida’ which is an African greeting of brotherhood and unity. Additionally, I found an African chil- spirare, The Minnesota Orchestra, Cantus, and The Houston Chamber Choir, among others. Her dren’s song that plays on the syllables of the word ‘sorida.’ So, utilizing the syllables as a foundation (so-ri-da, ri-da, ri-da), music has been performed widely, including Carnegie Hall and Lincoln Center in New York City. the song developed. I composed my own lyrics, melody, and harmonies that might represent the meaning and far-reaching Ophelia is based on passages from Hamlet (Act IV, Scene 7) in which Queen Gertrude brings scope of Sorida.” news of the death of Ophelia to her brother, Laertes. Laertes’ response to the news concludes Sorida the work: “Too much of water hast thou, poor Ophelia, / And therefore I forbid my tears.” Greetings, my brothers. Greetings, my sisters. The composer writes: Greet ev’rybody. Love one another. “I’ve always been fascinated by the character of Ophelia and her tragic story. I was also very inspired by a painting I saw at Wave to your brothers. Wave to your sisters. the Louvre—The Young Martyr by Paul Delaroche. It’s a bittersweet story and a bittersweet work. I want the audience to hear her beauty and also her tragedy. My favorite moment is when the choir sings ’her clothes spread wide.’ I’m especially proud of my text painting at that moment. “The stories of women have been marginalized for centuries. Ophelia’s character is such an intriguing part of Hamlet, but Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who not the star of the show. It is fitting in this concert to bring light to these characters, stories, and different viewpoints along performs in solo and collaborative projects. She was the youngest recipient of the Pulitzer Prize with the female composers and writers who are being showcased on this concert.” for Music in 2013 for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Recent commissions include new works for Renée Fleming with Inon Ophelia Barnatan, Dawn Upshaw with Sō Percussion and Gil Kalish, the Orchestra of St. Luke’s with John Lithgow, the Dover Quartet, TENET, The Crossing, the Mendelssohn Club of Philadelphia, the There is a willow grows aslant a brook, Calidore Quartet, Brooklyn Rider, the Baltimore Symphony, and Roomful of Teeth with A Far That shows its hoar leaves in the glassy stream; Cry. Recent premieres include the Seattle Symphony, Anne Sofie von Otter with Philharmonia There with fantastic garlands did she come Photo - Kait Moreno Photo Baroque, the LA Philharmonic, and Juilliard 415. Of crow-flowers, nettles, daisies, and long purples, There, on the pendent boughs her coronet weeds Her beacon-hand beckons is a movement from To the Hands, commissioned by The Crossing as a response to Ad Clambering to hang, an envious sliver broke; manus from Dieterich Buxtehude’s 17th century masterpiece, Membra Jesu Nostri. The piece’s core ideas are the suffer- When down her weedy trophies and herself ing of those around the world seeking refuge, and our role and responsibility in these global and local crises. The third Fell in the weeping brook. Her clothes spread wide, movement is a riff on Emma Lazarus’ sonnet The New Colossus, famous for being displayed at the base of the Statue And mermaid-like a while they bore her up: of Liberty. The poem’s lines “Give me your tired, your poor,/ Your huddled masses yearning to breathe free” and its Which time she chanted snatches of old tunes, (Tomorrow is Saint Valentine’s reference to the statue’s “beacon-hand” present a very different image of a hand from the Buxtehude piece—one that As one incapable of her own distress, Day, And I a maid at your is open, beckoning, and strong. No wounds are to be found there—only comfort for those caught in a dangerous and Or like a creature native and indued window, To be your Valentine. complex environment. Unto that element: but long it could not be You promised me to wed.) Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death. Too much of water hast thou, poor Ophelia, And therefore I forbid my tears. 4 5 Mari Esabel Valverde is a composer, singer, and voice teacher. Her music has been featured at the Chorus America conference, the Oregon Bach Festival, the Association of British Choral Di- Kala Pierson is a composer and sound artist. Based in the U.S., she works worldwide, in venues rectors, and the Texas Music Educators Association. She holds degrees from St. Olaf College, the ranging from Lincoln Center and the Guggenheim Museum to warehouses and forests. Pierson’s European American Musical Alliance in Paris, France, and San Francisco Conservatory of Music. music is vivid, full-throated, and rooted in the joy and urgency of communication. Whether writ- ing boundary-pushing music for The Crossing and American Opera Projects, installing audio in The composer writes of Still wie die Nacht: an abandoned fortress, or performing endurance art at the Guggenheim Museum, she works “When I was a student at St. Olaf, the American Boychoir came by on their tour, and I heard them sing from her own meditative and sensory/sensual experience, producing deeply embodied music a choral version of Carl Bohm’s Lied. I admired the words and had the fortune to have choir friends that challenges while luxuriating in the performers’ best qualities. She’s a self-taught santur sing my original setting of the text as one of the choral works in my senior composition recital. - DanielPhoto McKleinfeld (Persian hammered dulcimer) player and a laptop/audio performer. “Still wie die Nacht is a dramatic work, certainly compared to my recent compositions. It is not performed often, perhaps Her career-long love for finding and setting meaningful, recent texts has led her to settings of American journalist Mu- because of how demanding it is to sing. The true moment of climax is quiet and introspective yet still full of enchantment.” mia Abu-Jamal and others writing from death row; Cameroonian gay rights martyr Roger Mbede; texts in honor of the Still wie die Nacht blacklivesmatter movement; and the many writers in her Axis of Beauty project (in which, since 2004, she has collected and set to music a broad range of texts by living Middle Eastern writers). Still wie die Nacht As quiet as the night und tief wie das Meer, and deep as the sea, The text for Blue Phoenix is from an interview (in English) with Iraqi artist Esam Pasha, used with kind permission of soll deine Liebe sein! your love should be! warnewsradio.org. Wenn du mich liebst, If you love me Blue Phoenix so wie ich dich, the same as I love you, will ich dein eigen sein. I want to be yours. When the bombs were falling, I was crazy enough to get on the roof. I felt I should see this, Heiß wie der Stahl As hot as steel because artists are the eyes of the culture. It was beautiful—you know? und fest wie der Stein and as firm as a rock, When all the stores were closed, and Baghdad was really a hot spot, I kept on doing art until I ran out of pigment. soll deine Liebe sein! your love should be! There was nothing to paint with, except boxes of crayons. So I mixed up wax paint, using heat. The blue one is my favorite. You see the blue color taking over everything, but also reds and yellows penetrating the blues, like flashing rockets penetrating the calm sky.

Alice Parker is an internationally-recognized composer, conductor and teacher. A graduate of Smith College and the Juilliard School of Music, she first became known in collaborations with Robert Shaw. Their many settings of American folk songs, hymns, and spirituals form an endur- Christina Whitten Thomas’s works have been performed throughout the United States, includ- ing repertoire for choruses all around the world. Through the years she has continued compos- ing at Carnegie Hall, Lincoln Center, and Disney Concert Hall. Her choral cycle Choral de Bêtes ing in all choral forms from opera to cantata, from sacred anthems to songs on texts by distin- can be heard on Musica Sacra’s 2012 CD release Messages to Myself. Her music is published by guished poets. She travels in the United States and abroad, conducting workshops, concerts, E.C. Schirmer and Hal Leonard, and is also available through MusicSpoke.com. Thomas holds a and sings in which all participants, children or adults, professional or amateur, learn to make M.M. in composition from the University of Southern California’s Thornton School of Music and music with remarkable joy and clarity. Her techniques have encouraged a generation of music resides with her family in Sierra Madre, California, where she is also an active teacher teachers and choral conductors to think in new ways about creating and re-creating music. and vocalist. Hark, I Hear the Harps Eternal is Parker’s arrangement of the tune originally found in The Southern Harmony, a compi- Of Choral de Bêtes, the composer writes: lation of hymns, tunes, psalms, and songs published by William Walker in 1834. “When I was in graduate school, my mother revealed that she had been a music minor in college and had once attempted to set a few poems by French poet Carmen Bernos de Gasztold (1919–1995). She brought out an old, beat up book of poetry, Hark, I Hear the Harps Eternal her maiden name on the cover, her 20-year-old notes on the pages. Inside were these sweet yet passionate texts all from the Hark, I hear the harps eternal And my soul though stained with sorrow, point of view of an animal, each contemplating the trials and joys they face in life. I found their strengths and weaknesses Ringing on the farther shore, Fading as the light of day, completely relatable and was instantly charmed. As I near those swollen waters, Passes swiftly o’er those waters The music is intended to capture the character of each animal: the fierce lion, the vulnerable lamb, the peaceful whale, the With their deep and solemn roar. To the city far away. Hallelujah… spirited gazelle. On a deeper level, one might connect with the lion’s desire to lead with strength and justice, the lamb’s need Hallelujah, hallelujah, hallelujah, Souls have crossed before me, saintly, for comfort, the whale’s longing for quiet and solitude, or the gazelle’s delight in her unbounded freedom. These poems Praise the Lamb, To that land of perfect rest; traveled across the world, through three generations of women, to reach your audience in this form. The animals themselves Hallelujah, hallelujah, And I hear them singing faintly contemplate issues we all experience. Each animal is desirous of the right to live as she chooses, and to live that life free from Glory to the great I AM. In the mansions of the blest. Hallelujah… oppression. The lion understands the responsibility that comes with power. The lamb wants to live a life free from fear. The whale wants to be comfortable with who she is and not deal with persecution. We all want to be as free as the gazelle to follow our hearts as we choose."

6 7 Prière du Lion Prayer of the Lion Prière de la Gazelle Prayer of the Gazelle Seigneur, je suis roi, c’est un fait. Lord, I am King, that is the law. Rapide, légère, Quick, light, Vous savez comme il est difficile de porter la crinière. You know that it is difficult to wear a crown. le cœur enlacé de crainte sauvage, my heart surrounded by savage fears, Certains, dans leur gouvernement, Some people, in their leadership, toujours prête à bondir à la suite du vent, everyday ready to spring up in pursuit of the wind, préconisent l’amour. recommend love. au moindre bruit, au moindre cri, at the smallest noise, at the softest cry, Quelle naïveté! How naïve! je Vous bénis, Seigneur, de ne pas m’avoir mesuré l’espace. I bless You, Lord, for not limiting my space. Moi je sais à quoi m’en tenir avec la créature, I know how to rule over the creatures, Et si je fuis sur mes pattes graciles So that I may escape on my slender legs elle n’a de respect que pour la force. they have respect only for strength. dans un élan de flèche and bound away like an arrow, Disons que la crainte est salutaire. Let us say that fear is good. mes petits sabots effleurant à peine le sol, my little hooves barely touching the ground. Et pour moi faire trembler la savane And for me to make the plain tremble je ne méprise pas la paix de Vos points d’eau. It is not that I scorn the peace of Your waterhole. d’un rugissement, quel délice! with my roar, how delightful! Mais que ma vie, Seigneur, But my life, Lord, Pourtant loin de moi la bassesse Yet I would not do anything baseless soit toujours la course en ligne droite will always race along the pathway et la mesquinerie. or mean. vers le refuge de Votre amour. towards the refuge of Your love. Je sais le prix d’un cœur noble. I know the price of a noble heart. C’est pourquoi, Seigneur, That is why, Lord, j’aime tant Votre grâce pour pouvoir m’y mesurer. I love Your grace and try to measure up to it. INTERMISSION Prière de l’Agneau Prayer of the Lamb

Quenouille à quatre pattes A spindle on four legs Sheila Bristow is a church musician, accompanist, and composer living in Tacoma, Washington. qui s’effiloche aux buissons, which frays on the bushes, She serves as Organist & Choirmaster at Episcopal Church of the Redeemer, Kenmore, and Associ- Seigneur, je suis Votre agneau Lord, I am Your lamb ate Organist at Blessed Sacrament Parish, Seattle. She is also an Affiliate Artist at Pacific Lutheran dans ma douceur de laine. in the softness of my wool. University, Tacoma. She received her MM in organ performance from the University of Washing- Mon bêlement fait sa note grêle My bleating sends its high pitched sound ton, where she studied organ and harpsichord with Carole Terry, and church music with J. Melvin dans le cœur des brebis, into the heart of the ewe. Butler. Her conducting experience includes a year as Interim Music Director of the Northwest ma toison sa tache frisée My fleece throws its curly shadow Chamber Chorus and three years directing the high school ensemble of Pacifica Choirs. As an sur l’herbe rase. on the cut grass. Affiliate Artist at Pacific Lutheran University, Bristow works with young singers in recital and on Voyez, Seigneur, ma joie cabriole, Look, Lord, my joy leaps, the opera stage, and performs in collaborative faculty recitals. She works with professional singers mais veille en moi but I need preparing for auditions and competitions, and has been a regular accompanist for Seattle Opera Guild previews, Ta- l’inquiet besoin de ma mère. the care of my mother. coma Opera, and Vashon Opera. She currently plays for Seattle Chamber Singers, and is keyboardist with their partner Que je coure vers elle, Let me run towards her, ensemble, Orchestra Seattle. Composition highlights include a commission for the 10th anniversary of Pacific Choirs, hesitant de mon petit pas cassé, hesitating with my wavering footsteps, and an anthem composed for the Bishop’s visitation at the Episcopal Church of the Redeemer. Other choral works have cueillir un peu sa tendresse. so I might gather some of her tenderness. been performed by Choral Union (Pacific Lutheran University), Medieval Women’s Choir, and Seattle Pro Musica. Ah! Ne permettez pas, Seigneur, Ah! Do not allow, Lord, qu’un triste jour elle me manque! that one sad day I will miss her! The composer writes of On a dark night: “I really like the poetry of St. John of the Cross, a 16th-century Spanish mystic. His writing is a fascinating mix of direct emo- Prière de la Baleine Prayer of the Whale tional intensity and oblique imagery, and I felt that the rich texture of tenor/bass close harmony singing would serve both Qui pourrait me contenir, What could contain me, of these qualities. The poem demonstrates that the human qualities of desire and devotion stretch across time, place, and Seigneur, si ce n’est Votre océan? Lord, if not Your ocean? religious tradition.” Sans doute une plaisanterie divine cette démesure. Without a doubt a divine joke is my size. On a dark night Ne suis-je pas quelque peu ridicule Am I not a little bit ridiculous avec mes airs de baudruche? with my blubbery appearance? On a dark night, anxious and aflame with love, O delightful chance! Paisible léviathan, mon jet d’eau sur le nez, A peaceful leviathan, with a fountain on my nose, As I slipped out unnoticed, my house lying quiet at last. je me nourris de régime. and a nourishing diet. One joyful night, in secret: no one could see me, no one could I see, Dans mon cas tout le problème In my case the only problem no other light to guide but the fire burning in my heart. est de choisir entre l’air et les eaux. is to choose between the air and the water. O night that drives me on, O night, kinder than the dawn, Chassée pour mon onction intérieure, Chased for my body oil, O tender night that tied together the loved one and the lover, je redoute ces baleiniers et leurs harpons de fer I dread the whalers and their harpoons of iron each to the other, O night! qui me poursuivent sans merci. who pursue me without mercy. On my flowering breast, saved, untouched, for him alone, Je n’ai pas demandé d’avoir tant de surface. I did not ask to have such a large body. he was falling asleep, and I caressed him while fans of cedar stirred the air. Où me cacher de la convoitise des hommes? Where can I hide from the desires of these men? On the castle walls, I ruffled his hair, Ah! Seigneur, que quelque heureux plongeon Oh! Lord, That some fortunate dive the air striking my neck with its gentle hand, suspending all my senses. me fasse déboucher dans l’éternelle paix. would allow me to emerge into eternal peace. I stayed; I surrendered, leaning my face on my Beloved. Ceasing, all abandoned; leaving my cares forgotten among the lilies. 8 9 Shruthi Rajasekar is an Indian-American composer and vocalist. Trained in the Carnatic (South Lux Lucis Indian classical) and Western classical idioms, she creates music that explores intersections in O virtus Sapientie O energy of Wisdom cultural and musical identity. Composition honors include the 2018 Composers Guild of New Jersey Award, commissions from VocalEssence, and more than a dozen plays on Classical MPR. O virtus Sapientie, O energy of Wisdom! As a soprano and Carnatic vocalist, Shruthi has been recognized by the National Association of que circuiens circuisti, You circled, circling, Teachers of Singing (NATS) and the internationally-televised Carnatic Music Idol USA. A disciple comprehendendo omnia encompassing all things of her mother, veena player and vocalist Nirmala Rajasekar, Shruthi has been studying Carnatic in una via que habet vitam, in one path possessed of life. music for the past sixteen years, specializing in vocal and theory studies. She has also received tres alas habens, Three wings you have: Photo - Alia Rose Photography Photo guidance from the late Shri B. Sitarama Sharma, veteran musicologist Dr. B.M. Sundaram, and quarum una in altum volat one of them soars on high, mridangam vidwan Thanjavur Shri K. Murugaboopathi. A graduate of Princeton University, et altera de terra sudat the second exudes from the earth, Shruthi is currently living and studying in the UK as a Marshall Scholar. et tercia undique volat. and the third flutters everywhere. Laus tibi sit, sicut te decet, o Sapientia. Praise to you, as befits you, O Wisdom! The composer writes:

“The message behind Sangeetham (which means music in Sanskrit)—that it takes vulnerability to be a singer, but that O lucidissima apostolorum turba O most luminous band of apostles your vulnerability and openness is a source of strength—was something gifted to me by educators and mentors in my life, including my high school choir directors. I think it’s a lifelong lesson and one we can remind ourselves of at every stage of O lucidissima O most luminous music-making... apostolorum turba, band of apostles, surgens in vera agnitione et aperiens arising in true knowledge and opening Because of its international path to conception, Sangeetham uses elements from both the Western classical and Carnatic clausuram magisterii diaboli, the enclosure of the devil’s teaching, (South Indian classical) traditions, thus celebrating the power of the voice in lifting us up and bringing us together. I hope abluendo captivos washing his captives that the listener is invigorated and recharged by the power of conviction. In this piece, it's encapsulated by the final line: in fonte viventis aque, in a font of living water: "The shining truth is that the core of my being is music." tu es clarissima lux you are the most radiant light Sangeetham in nigerrimis tenebris, in the blackest darkness. fortissimumque genus columnarum, You are a mighty row of pillars bAloham mAthru bhakthOham I am a young man with high regard for my mother sponsam Agni sustentans supporting the Lamb’s bride sangeetha kalayAm preethOham who worships the art of music. in omnibus ornamentis ipsius: in all her beauty. shrOthOham athi balaheenam Though the path is long and hard, per cuius gaudium Through his joy, samastha guru kripa purnOham I have the blessings of my gurus ipsa mater et virgo est vexillata. she is mother and standard-bearing virgin. nyAthOham parashrama vAnOham to persevere and succeed Agnus enim immaculatus For the immaculate Lamb jeethOham kOvida gAnoham such that my music is known to all. est sponsus ipsius sponse immaculate. is the bridegroom of his immaculate bride. neythOham lOka prasidhOham The shining truth is that

mama balasyamUlam sangeetham the core of my being is music. O nobilissima viriditas O most noble greenness —Dr. B. M. Sundaram —translated by Nirmala Rajasekar O nobilissima viriditas O most noble greenness, que radicas in sole you are rooted in the sun, et que in candida serenitate luces in rota and you shine in bright serenity in a sphere Read about Karen P. Thomas on page 16. quam nulla terrena excellentia comprehendit: no earthly eminence attains. Lux Lucis is a collection of three motets for treble voices, on texts by Hildegard von Bingen. The Tu circumdata es You are enfolded title translates as “light”, and especially refers to the light of life or the light of day—it can also amplexibus divinorum ministeriorum. in the embraces of divine ministries. translate as “hope” or “elucidation” in certain contexts. The texts by Hildegard for these three Tu rubes ut aurora You blush like the dawn motets contain numerous references to light, the sun, flame, life, and radiance. et ardes ut solis flamma. and burn like a flame of the sun. Thomas uses shimmering harmonies, cascading polyphonic lines, and the combination of rich and simple textures to illuminate the textual themes found in the poetry—themes of light, hope, and purity. Musically, the motets make some references to Hildegard’s compositions— particularly in the use of the interval of the ascending fifth, which is found in many of Hildegard’s songs, and also in the extended chant which opens the third motet—however, there are no direct quotes of Hildegard’s melodies. Lux Lucis was composed for Seattle Pro Musica.

10 11 Indian-American composer Reena Esmail works between the worlds of Indian and Western Arts, and an inaugural USA Prudential Fellow award in 2006. In 2015, she was awarded the National Medal of Arts by classical music, and brings communities together through the creation of equitable musical President Barack Obama. spaces. Esmail’s work has been commissioned by ensembles including the Los Angeles Master Astronaut Anthem is a section from The Games: a science fiction opera by Meredith Monk and Ping Chong, which was Chorale, Kronos Quartet, Imani Winds, Richmond Symphony, Town Music Seattle, San Francisco originally created for the Schaubühne Ensemble of West Berlin. Set on an imaginary planet, The Games takes place in Girls Chorus, Juilliard415, and Yale Institute of Sacred Music. Upcoming seasons include new a post-nuclear future where survivors and their descendants are involved in the repetition of ritual games re-enacting work for Seattle Symphony, Baltimore Symphony Orchestra, Santa Fe Desert Chorale, Amherst Earth’s culture in order to preserve the shards of civilization. Coming near the end of the opera, Astronaut Anthem College Choir and Orchestra, Santa Fe Pro Musica, and Conspirare. She was named a 2019 celebrates the colonization of the planet as well as the spirit of exploration. The Games won the National Music Theatre United States Artist Fellow in Music, and was a 2017–18 Kennedy Center Citizen Artist Fellow. Award in 1986. Esmail received a Fulbright-Nehru grant to study Hindustani music in India. Her Hindustani mu- (No lyrics for this piece.) sic teachers include Srimati Lakshmi Shankar and Gaurav Mazundar, and she currently studies and collaborates with Saili Oak. Her doctoral thesis, entitled Finding Common Ground: Uniting Practices in Hindustani and Western Art Musi- cians explores the methods and challenges of the collaborative process between Hindustani musicians and Western composers. She is currently an Artistic Director of Shastra, a non-profit organization that promotes cross-cultural music Carol (Kia) Sams studied with Darius Milhaud at Mills College, and received a DMA from the connecting music traditions of India and the West. University of Washington in 1975, making her one of the first American women to receive a The composer writes of Tuttarana: doctorate in composition. She has composed numerous operas and oratorios, as well as hun- “The title of this piece is a conglomeration of two words: the Italian word ‘tutti’, means ‘all’ or ‘everyone’, and the term dreds of choral works. ‘tarana’ designates a specific Hindustani (North Indian) musical form, whose closest Western counterpart is the ‘scat’ in jazz. The composer writes: Made up of rhythmic syllables, a tarana is the singer’s chance to display agility and dexterity. While a Hindustani tarana Sunflower is from The Earthmakers, a full-length oratorio about the beginnings of the world, which is a solo form, I wanted to bring the tarana into an ensemble setting. Tuttarana was commissioned by the Mount Holyoke premiered in 1986. In lieu of the Biblical tradition story, this oratorio presents different cultures’ ver- College Glee Club for their 2014-15 season, and has since been performed across the US, also in arrangements for SATB and sions of creation, together with poems that reflect something of each idea, and purely instrumental brass quintet. works. The poems bring together the universal ideas of creation and the personal experience of cre- “An addendum: Three years after I wrote this piece, the #metoo movement, created by Tarana Burke broke on social media. ation: each one dealing with something of what it is to create. These are the most personal works of the oratorio; certainly, It occurred to me that the title of this piece, if read a different way, literally means ’We are all Tarana.’ I couldn’t believe the they were for me the centers of the work. incredible coincidence that this work, a powerful 3-minute tidal wave of sound, written for an all-female ensemble from the Sunflower (poem by Jackie Leven) oldest women’s college in the country, bore this name. I’m so grateful for what this movement has done to move the discus- sion forward about the horrors we face as women, and how we can begin to change and heal our society.” What sower walked over earth? for the sake of a sunflower that you haven’t seen, Which hands sowed our inward seeds of fire? or a thistlehead or a chrysanthemum. (No lyrics for this piece.) They went out from his fists like rainbow curves to Let the long rain of tears fall. frozen earth, young loam, hot sand. Let the calm hands of grief come, They will sleep there greedily and drink up our lives it’s not all as evil as you think. and explode them into pieces, Meredith Monk is an American composer, singer, director/choreographer and creator of new opera, music-theater works, films and installations. Recognized as one of the most unique and influential artists of our time, she is a pioneer in what is now called “extended vocal technique” and “interdisciplinary performance.” Monk creates works that thrive at the intersection of music Read about Shruthi Rajasekar on page 10. and movement, image and object, light and sound, discovering and weaving together new modes of perception. Her groundbreaking exploration of the voice as an instrument, as an elo- Of Raw Heart, the composer writes: quent language in and of itself, expands the boundaries of musical composition, creating land- “In Danielle Sosin’s beautiful novel The Long-Shining Waters, this quiet excerpt spoke to me the most: the character has scapes of sound that unearth feelings, energies, and memories for which there are no words. faced several difficulties and, in the process, has lost sight of herself. This scares her more than anything; she wakes up feel- Photo - Julieta Cervantes Photo She is primarily known for her vocal innovations, including a wide range of extended tech- ing especially low. But by focusing on the light dancing on the lake and its calm waters, the smell of the pine trees, and the niques, which she first developed in her solo performances. In 1978 Monk formed Meredith Monk and Vocal Ensemble energy in her own body, she is able to calm herself in that moment. Her external stressors are very real, and won’t necessarily to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures. go away, but by meditating—by giving herself the gift of the present—she finds her own peace. Since the 1960s, Monk has created multi-disciplinary works that combine music, theatre, and dance, recording ex- Raw Heart tensively for ECM Records. Her music has been used in films by the Coen Brothers (The Big Lebowski, 1998), Terrence Malick, David Byrne, and Jean-Luc Godard. Trip hop musician DJ Shadow sampled Monk’s “Dolmen Music” in the The sun is warm, the horizon soft and vague. The air is cool. She sends out her raw heart. song “Midnight in a Perfect World.” Monk’s numerous honors and awards include the prestigious MacArthur “Genius” Circling rings expand with light. Award, two Guggenheim Fellowships, three “Obies” (including an award for Sustained Achievement), and two “Bes- She feels open and sore as she stands before the light, the Great Spirit, the essence, the mystery. sie” awards for Sustained Creative Achievement. More recently Ms. Monk was named one of National Public Radio’s 50 Legs and feet tingle as she stretches tall. Pine-filled air, rhythm of prayer, slightly swaying. Great Voices, the 2012 Composer of the Year by Musical America, and an Officer of the Order of Arts and Letters by the As she stretches, heat rises. When she stands her full height, the world goes mute. She encompasses everything. Republic of France. She also received a 2012 Doris Duke Artist Award, a 2011 Yoko Ono Lennon Courage Award for the — Excerpts from The Long-Shining Waters © Danielle Sosin, 2011

12 13 Melinda Bargreen is a Seattle-based composer and writer, who was classical music critic of The Daniel, Daniel, Servant of the Lord is Moore’s fiery arrangement of the traditional African-American spiritual. Seattle Times from 1977 to 2008, and now writes freelance reviews and articles for the Times and for Classical KING FM 98.1, as well as for several national and international publications. Her Daniel, Daniel, Servant of the Lord compositions have won national awards and have been performed from Belgium to China, as Oh, the king cried, Now the King in his sleep was troubled well as on PBS. Oh, Daniel, Daniel, oh! And early in the morning he rose The composer writes: That Hebrew Daniel, To find God sent His angels down “If a soprano hadn’t gotten laryngitis nearly 40 years ago, I might never have encountered the text Servant of the Lord. To lock the Lion's jaws. of Stella splendens... In the mid-1970s, a Seattle-based early-music ensemble called the Western Wynde Consort asked me to join them for two performances of a concert program…. On the pro- Among the Hebrew nation, Oh, the king cried, gram was Stella splendens, one of the songs of pilgrimage from the 14th-century Spanish collection, the ’Libre Vermell de One Hebrew Daniel was found Oh, Daniel, Daniel, oh! Montserrat‘ (Red Book of Montserrat). As I sang this Latin text and studied the translation of its many verses, I was struck by They put him in the lion's den That Hebrew Daniel, their beauty. Wouldn’t it be wonderful to hear those words in a new way—a way that was less of a marching song and more He stayed there all night long. Servant of the Lord of a radiant reverie on the ’resplendent star‘ lighting the pilgrims’ path? “In Stella splendens, the rapturous and joyous text calls forth the pilgrim in us all—the rich and the poor, the young and the old—to journey onward in the light of the ’resplendent star.’ The substantial divisi of the score (six parts, including some very deep bass lines) reflects the diverse humanity that joins us all on our path toward enlightenment. I hope that this piece is the first of several that will set the remaining verses of this lovely text.” Stella splendens Stella splendens in monte A bright star miraculously For more insights from the composers about their pieces, visit ut solis radium shining on the mountain seattlepromusica.org/shall-not-be-denied-composers miraculis serrato like sunshine. exaudi populum Hark the mass concurrunt universi assembling, gaudentes populi all people rejoicing, divites et egeni the rich and the poor, grandes et parvolis the greatest and the pettiest, ipsum ingredientur are gathering as well ut cernunt occuli as we are self-witnessing, et inde reventuntur let’s all herald once more hic ave Maria. this: Hail Mary.

Undine Smith Moore, called the “Dean of Black Women Composers,” was a notable and pro- Statement on Cultural Equity lific American composer and professor of music in the twentieth century. Moore was originally trained as a classical pianist, but developed a compositional output of mostly vocal music—her Everyone deserves equal access to a full and vibrant creative life, and this access is essential to a free and healthy preferred genre. Much of her work was inspired by black spirituals and folk music. A renowned society. To support the creative life of our community, Seattle Pro Musica commits to policies and practices of cultural teacher, she stated that she experienced “teaching itself as an art.” The works of Undine Smith equity that foster equal access, inclusion, and justice. Moore range from arrangements of spirituals, to large works for chorus, soloists, and orchestra. We recognize cultural equity as a framework of values, policies, and practices that ensures arts institutions serve the Although she composed more than one hundred pieces between 1925 and 1987, only twenty- needs of all people, especially those who have historically been underserved based on race/ethnicity, age, disability, six were published during her lifetime. size, sexual orientation, gender, gender identity, socioeconomic status, geography, citizenship status, or religion. In 1981, Moore’s Pulitzer Prize-nominated oratorio Scenes from the Life of a Martyr was premiered As we pursue our artistic mission, we will hold ourselves accountable to cultural equity. By acknowledging and chal- at Carnegie Hall. The 16-part oratorio for chorus, orchestra, solo voices and narrator is based on the life of Dr. Martin lenging inequities, both as an individual arts organization and in partnership with others, we can and will make Luther King, Jr. Moore considered it her most significant work. Undine Smith Moore was outspoken on her thoughts change happen. surrounding the Civil Rights Movement and the impact it had on her music. In later life, she stated: “One of the most evil effects of racism in my time was the limits it placed upon the aspirations of blacks, so that though I have been ‘making up’ and creating music all my life, in my childhood or even in college I would not have thought of calling my- self a composer or aspiring to be one.” Moore was a strong advocate for the promotion of black music and art: in her opinion, art could be used as “a powerful agent for social change.”

14 15 About Seattle Pro Musica

Seattle Pro Musica is a critically acclaimed choral organization whose mission is to enrich and inspire our audiences, singers, and community through the experience of choral artistry, and to increase access to and ap- preciation of choral music. Though our membership comes from all walks of life and spans generations, we are united by our desire to make beauti- ful music together for ourselves and our audiences. Seattle Pro Musica is comprised of four performing ensembles: the 80-voice Seattle Pro Musica choir; Vox, the mixed-voices chamber en- semble; Chroma, the select SSAA ensemble; and Orpheon, the select TTBB ensemble. Recipient of the Margaret Hillis Award for Choral Excellence and the ASCAP/Chorus America Award for Adventurous Programming, Seattle Pro Musica is ranked by American Record Guide as “among America’s very best choirs.” Under the baton of Artistic Director and Conductor Karen P. Thomas, Seattle Pro Musica has received international acclaim for its CD recordings and live performances. Choir and Organ writes: “Seattle Pro Musica presents a cappella singing at its best.” Fanfare Record says: “This is truly an extraordinary choir.” Seattle Pro Musica has appeared by invita- tion for numerous international and national festivals, and has performed with Jane Eaglen, Andrea Bocelli, Josh Gro- ban, Sarah Brightman, Pacific MusicWorks, the Seattle Symphony, and Jónsi (of Sigur Rós). In 2014, members of Seattle Pro Musica appeared on the GRAMMY Award-winning album Winds of Samsara.

Karen P. Thomas, Artistic Director and Conductor of Seattle Pro Musica, has conducted at international festivals in Europe and North America, including the Berkshire Choral Festival and the Bergen International Festival. She has lectured for Chorus America, the American Guild of Summer Music Organists, the American Choral Director’s Association, the Seattle Symphony, and has received awards from the NEA, American Academy and Institute of Arts and Letters, and ASCAP, among others. She was awarded the 2015 Dale Warland Singers Commission Award from Chorus Amer- Day Camp ica and the American Composers Forum, and received the Seattle 2018 Mayor’s Arts Award. Named the Washington State “Outstanding Choral Director” for 2012, she has been lauded for her “charismatic...magnetic podium presence” and her “sweeping vision.” SEATTLE GIRLS CHOIR A prize-winning composer, her numerous commissions include works for the Harvard/Radcliffe Choirs, the Grand Jubilee in Rome, the American Guild of Organists, and the Association of Anglican Musicians. Her compositions are regularly performed internationally by groups such as The Hilliard Ensemble, The Vocal Consort of Brussels, NOTUS, and Cathedra of the Washington National Cathedral, and have been praised as “superb work of the Full Day Camp utmost sensitivity and beauty.” She currently serves on the boards of Chorus America, the American Choral Directors Association (NW Region), and was a founding member of the Greater Seattle Choral Consortium. July 20-24 for girls entering grade 2-5 Musical Morning July 20-24 or July 27-31 for girls ages 4-6 seattlegirlschoir.org

16 17 Friends of Seattle Pro Musica Friends of Seattle Pro Musica

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18 19 Seattle Pro Musica’s Education and Engagement Program WAYWARD SISTERS Seattle Pro Musica seeks to inspire singers and audiences of the future. Every year, we partner with local music teachers who invite their students to rehearse and perform with SUN APR 26 | 2:00pm us. In the fall, dozens of elementary and middle-school kids sing with our members in our Nordstrom Recital Hall at Benaroya Hall annual Family Holiday Concert. The advice and encouragement they get while singing with other talented young people can be brought back to their school choir programs. In this way, they can inspire others with the insights and experience they gain as they Karen P. Thomas’s DOUBLE HEART for continue their journey towards a lifelong love of choral music. sopranos and dancers, choreographed For the past two seasons, we participated in Seattle Symphony’s “Link Up” program. Thou- by Anna Mansbridge, interwoven sands of students took part in composing, singing, and playing, and the program ended with brilliant 17th-century works for with a series of six concerts at Benaroya Hall. Seattle Pro Musica members acted as vocal leaders for the student chorus, modeling joyful and healthy choral singing. high voices. In March 2017, we also worked with Seattle Symphony’s “Path with Art” program. People recovering from homeless- ness, addiction, and other trauma were given the chance to use the power of creativity to foster community and sta- bility, working with teaching artists to create an original community composition. Seattle Pro Musica joined a chamber ensemble of Seattle Symphony musicians and “Path with Art” students to premiere this work at Benaroya Hall. Sopranos Tess Altiveros, Tess Wakim, The Education and Engagement Program is always seeking new partnerships and participants. Our goal is to connect Danielle Sampson and Arwen Myers, with student singers of all backgrounds, but we especially appreciate the chance to reach young people who may not otherwise have access to high quality choral events. For more information about our program, please contact us at and PMW’s house ensemble [email protected]. Tickets and more information: pacificmusicworks.org

A project of the Greater Seattle sea es gs Choral Consortium

This choir is a proud member of the

View all upcoming choral performances or find a choir to sing with by visiting www.seattlesings.org or scan the code below.

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