sign in sign up
<<
Home , Anthracite Fields, Beijing Music Festival, Du Yun, Ellen Reid (composer), Fly with the Wind, Julian Wachner

SYMPHONY No.5 No.5

PHILIP GLASS Symphony No. 5 , Bardo, Nirmanakaya NOVUS NY

THE OF TRINITY WALL STREET 1. Movement I, Before the Creation DOWNTOWN VOICES 2. Movement II, Creation of the Cosmos TRINITY YOUTH CHORUS 3. Movement III, Creation of Sentient Beings Julian Wachner, conductor 4. Movement IV, Creation of Human Beings 5. Movement V, Love and Joy Heather Buck, 6. Movement VI, Evil and Ignorance Katherine Pracht, mezzo-soprano 7. Movement VII, Suffering Vale Rideout, 8. Movement VII, Compassion Stephen Salters, 9. Movement IX, Death David Cushing, 10. Movement X, Judgement and Apocalypse 11. Movement XI, Paradise Recorded May 17 - 20, 2017 12. Movement XII, Dedication of Merit Trinity Church in New York City

I. BEFORE THE CREATION II. CREATION OF THE COSMOS There was neither non-existence nor existence then; When He decrees a thing, “White clouds shall float there was neither realm of space nor the sky which is He but says to it, from the great waters at the border of the world beyond. “Be,” and it is. clustering about the mountain terraces. What stirred? Where? In whose protection? They shall be borne aloft and abroad —The Qur’an 2:117 by the breath of the surpassing -beings, Was there water, bottomlessly deep? In the beginning by the breath of the children, There was neither death nor immortality. when God made heaven and earth, they shall be hardened and broken by your cold, There was no sign of night nor of day. the earth was without form and void, shedding downward, in rain-spray, the water of life That One breathed, windless, by Its own impulse. with darkness over the face of the abyss; into the hollow places of my lap.” Other than that there was nothing beyond. and a mighty wind that swept over the surface of “Not only you shall help our children!” Darkness was hidden by darkness in the beginning; the waters. And he spread his hand out with the palm with no sign, all this was water. And God said, “,” and there was light; spread downwards. The life force that was covered by emptiness, And God saw that was good; Into all the wrinkles and crevices That One arose through the power of heat. and He separated light from darkness. he set things looking like shining yellow corn-grains; Desire came upon That One in the beginning; He called the light day, and the dark night. in the dark of the early world-dawn they gleamed like that was the first seed of mind. So God said: sparks of fire. Poets seeking in their heart with wisdom found “Let there be a vault, They moved as his hand moved over the terraces, the bond of existence in non-existence. to separate water from water.” shining up from below, Their cord was extended across. and so it was; moving in the depths of the water. Was there below? Was there above? and God called this vault Heaven. There were seed-placers; there were powers. “And as these grains gleam up from the water, —Genesis 1:1-8 There was impulse beneath; there was giving-forth so shall seed grains like them, but numberless, above. spring up from your bosom Who really knows? Who will here proclaim it? When space turned around, the earth heated, when touched by my waters Whence was it produced? Whence is this creation? When space turned over, the sky reversed, to nourish our children.”

The gods came afterwards, with the creation of the When the sun appeared standing in the shadows —Zuñi Creation Story universe. To cause light to make bright the moon, Who then knows whence it has arisen? When the Pleiades are small eyes in the night, Whence this creation has arisen – From the source in the earth was earth formed. perhaps it formed itself, or perhaps it did not – From the source in the dark was darkness formed. the one who looks down, in the highest heaven, From the source in the night was night formed. only he knows —or perhaps he doesn’t know. From the depths of darkness, darkness so deep;

—The Rig Veda 10.129 Darkness of day, darkness of night, of night alone.

—The Kumulipo

III. CREATION OF SENTIENT BEINGS IV. CREATION OF HUMAN BEINGS Izanagi no Mikoto and Izanami no Mikoto stood on the Zambe, the son of the One Who Bears the World, The dawn has approached floating bridge of Heaven and held counsel dipped his hands in the water, and sprinkled hair all Preparations have been made together, saying, over the body of the chimpanzee and said to and the morning has come “Is there not a country below?” him, moreover, “You will always live in the forests.” for the provider, the nurturer Thereupon they thrust down the jewel spear of Heaven, born in the light —Bulu Creation Story and groping about found the ocean. begotten in the light The brine which dripped from the point of the spear Still Bumba our Creator was in pain. Morning has come for humankind came together He strained once again and from his mouth for the people of the face of the earth and became an island. This island was named nine living creatures came forth: The Creators went on thinking in the darkness, in the night Ono-goro-jima, the leopard named Koy Bumba, as they searched and they sifted and they made Ono-goro-jima the pillar of the center and Pongo Bumba the crested eagle, they thought and they wondered of the land. the crocodile, Ganda Bumba, and here their thoughts came out in clear light Now the male god circled to the left, and one little fish named Yo; they sought and discovered what was needed for and the female god circled to the right, next, old Kono Bumba, the tortoise, human flesh they went round the pillar separately. and Tsetse, the lightning, swift, deadly, beautiful like the yellow corn When they met the leopard, the white corn they united as husband and wife. then the white heron, Nyanyi Bumba, from the Split Place They gave birth to the islands, the sea, the rivers, also one beetle, from the Bitter Water Place the mountains, and the goat named Budi. the corn became the human flesh the ancestor of the trees, the ancestor of the herbs. The creatures themselves then created all the creatures. the water became the human blood the making, the modeling of our first mother-father —The Nihongi The heron created the birds of the air, The crocodile made the serpents and the iguana, This was done by the Bearer, Begetter

The goat produced every beast with horns. Sovereign Plumed Serpent In the lead the whales proceed, Yo, the small fish, brought forth all the fish —The Popul Vuh Mingling beneath the sea; of all the seas and waters. The ‘opule fish advance in the distance; Surely We created man of clay The beetle created insects. They fill the deep ocean; of molded mud Then the serpents in their turn made grasshoppers Like kumimi crabs clustered on the reef; and before man, We created the jinn and the iguana made the creatures without horns. the youngest is carried by the current into darkness. of flaming fire. Black as night the opaque sea. —Boshongo Creation Story And your Lord said to the angels, “See, I am creating a mortal of clay —The Kumulipo of molded mud.

When I have shaped him, and breathed My spirit in him, fall down, and bow before him!” Then the angels bowed save Iblis;

IV. CREATION OF HUMAN BEINGS cont’d V. LOVE AND JOY

God said, “What ails you, Iblis, that Come to the orchard in spring. life to the living – you are not among those bowing?” There is light and wine and sweethearts so you to me. “I would never bow in the pomegranate flowers. But tell me, before a mortal If you do not come Mãdhava, beloved, whom You have created of a clay these do not matter. who are you? of molded mud.” If you do come Who are you really? “Then go forth from here; these do not matter. Vidyâpati says, they are one another. you are accursed. — —Vidyâpati Upon you shall rest My curse, till

The Day of Doom.” My beloved speaks and says to me: At the first note of his flute Said Iblis, “My Lord, respite me till the day “Arise, my love, my fair one, down came the lion gate of reverence for elders, they shall be raised.” and come away! down came the door of dharma, Said He, “You are among those for lo, the winter is past. my guarded treasure of modesty was lost, that are respited unto the day The flowers appear on I was thrust to the ground as if by a thunderbolt. of a known time.” the earth, Ah, yes, his dark body Said he, “My Lord, since you have seduced me the time of has come, shot the arrow that I shall tempt mankind on earth.” and the voice of the turtledove is heard in our land.” pierced me; —The Qur’an 15:26-37 Awake, O north wind, and come, O south wind! no more honor, my family Blow upon my garden, let its fragrance be wafted abroad. lost to me, Let my beloved come to his garden, and eat its choicest Only my life is left —and my life too fruits. is only a breath that is leaving me. I come to my garden, my sister, my bride, —Jagadãnanda-dãsa I gather my myrrh with my spice,

I eat my honeycomb with my honey, Come, come, whoever you are! I drink my wine with my milk. Wanderer, worshipper, lover of leaving. —The Song of Songs 2:10-12, 4:16, 5:1 Come. This is not a caravan of despair. As the mirror to my hand, It doesn’t matter if you have broken your vows a the flowers to my hair, thousand times. kohl to my eyes, Still come, and yet come again! tambul to my mouth, —Rumi necklace to my throat, ecstasy to my flesh, heart to my home – as wing to bird, water to fish,

VI. EVIL AND IGNORANCE VII. SUFFERING Thoughts came into existence and they gazed Lost souls of little understanding and fierce deeds My God, my God, why have you forsaken me? Their vision came all at once rise as the enemies of the world for its destruction. Why are you so far from helping me, Perfectly they saw, perfectly they knew “This have I gotten today, from the words of my groaning? everything under the sky, wherever they looked and that desire I will fulfill. O my God, I cry by day, but you do not answer, Everything was seen without obstruction This wealth is mine, and that also shall be mine. and by night, but find no rest. As they looked, their knowledge became intense That enemy I have killed —Psalm 22:1-3 Their sight passed through trees, through rocks, and others I will kill. through lakes, I am the lord of all. My limbs fail and my mouth is parched. through seas, through mountains, through plains I enjoy, I am mighty and happy. My body is shaken and my hair stands on end. they saw everything under the sky perfectly I am rich, of high birth. The bow Gandiva slips from my hand they understood everything perfectly. Who is equal to me? I cannot hold myself steady; “We have understood everything!” they said, I will offer sacrifice, I will give, enjoy.” my mind seems to whirl. though they were only works and designs. Thus, deluded by ignorance, —The Bhagavad Gitã 1:29-30 And so the Bearer took back their knowledge. entangled in the

They were blinded as the face of a mirror is breathed on. meshes of desire, Let the day perish wherein I was born, Their vision flickered. addicted to pleasure and the night which said, They could only see clearly close up. they fall into loathsome hell. ‘A child is conceived.’ Such was the loss of understanding, —The Bhagavad Gitã 16:9, 13-16 Let that day be darkness! with the means of knowing everything. May God above not seek it, —The Popul Vuh nor light shine upon it. Let gloom and deep darkness claim it. All things, O monks, are on fire. Let clouds dwell upon it; And what are all these things that are on fire? let the blackness of day terrify it. The eye is on fire, forms are on fire That night —let thick darkness seize it! the ear is on fire; sounds are on fire Why did I not die at birth, the nose is on fire, odors are on fire come forth from the womb and expire? the tongue is on fire, tastes are on fire Why did the knees receive me? the body is on fire, things touched are on fire Or why the breasts, that I should suck? the mind is on fire, thoughts are on fire. For then I should have lain down and been quiet; The fire of passion I should have slept; then I should have been at rest. Fire of hatred Why is light given to him that is in misery, Fire of infatuation with birth, old age and death. and life to the bitter in soul, —The Fire Sermon, from The Mahã-Vagga 1:21

VII. SUFFERING cont’d VIII. COMPASSION who long for death, but it does not come, All people have the heart May I be protector for those without one, they search for it more than hidden treasure, which cannot bear to see the sufferings of A guide for all travelers on the way; who rejoice exceedingly, and are glad, others. a bridge, a boat and a ship when they find the grave? —Mencius 2.A.6 For all who wish to cross the water. Why is light given to a man whose way is hidden, May I be an island for those who seek one whom God has hedged in? Gladly do I rejoice And a lamp for those wishing light, For my sighing comes as my bread, In the virtue that relieves the misery a bed for all who wish to rest and my groanings are poured out like water. Of all those who suffer And a slave for all who want a slave. For the thing that I fear comes upon me, And places them in happiness. May I be a wishing jewel, a magic vase, and what I dread befalls me. Thus by the virtue collected Powerful mantras and great medicine, —Job 3:2-6, 11-13, 20-25 Through all that I have done, a wish-fulfilling tree May the pain of every living creature And a cow of plenty for the world. Just like space There is no faithfulness or kindness, Be completely cleared away. And the great elements such as earth, and no knowledge of God in the land; May I be the doctor and the medicine May I always support the life there is swearing, lying, stealing, And may I be the nurse Of all the boundless creatures. they break all bounds and murder follows murder, For all sick beings in the world And until they pass away from pain Thus the land mourns, Till everyone is healed. May I also be the source of life and all who dwell in it languish, May a rain of food and drink descend For all the realms of varied beings and the beasts of the field, To clear away the pain of thirst and hunger That reach unto the ends of space. and the birds of the air, And during the aeons of famine and even the fish of the sea are taken away. May I myself change into food and drink. —Bodhicaryãvatãra 3:18-22 May I become an endless treasure Sãntideva —Hosea 4:1-3 For those who are poor and destitute; May I turn into all the things they could need I was hungry and you gave me food, And may these be placed close beside them. I was thirsty and you gave me drink, I was a stranger and you welcomed me, —Bodhicaryãvatãra 3:1, 7-10 Sãntideva I was naked and you covered me, I was sick and you visited me, The heart of compassion I was in prison and you came to me. Is the seed of benevolence. Truly I say to you, as you did it for the least of my brothers and sisters —Mencius 2.A.6 You did it for me.

—Matthew 25: 35-36, 40 IX. DEATH X. JUDGEMENT AND APOCALYPSE People seldom find their way My foes will become nothing. When heaven is split open, To this wide and desolate plain. My friends will become nothing. when the stars are scattered, Except for my grave, there is nothing here, I too will become nothing. when the seas swarm over, Only wild beasts roaming about Likewise all will become nothing. when the tombs are overthrown, And quarreling over my bones. Just as in a dream then a soul shall know its works, the former and the latter. The wandering ghosts that haunt this tomb whatever I enjoy Fly with the wind over the pines, will become a memory, —The Qur’an 82:1-5 Quick as a lightning flash before the eye, whatever has passed will not be seen again. And brief as the morning dew. Leaving all I must depart alone. When the sun shall be darkened, the mountains set moving, Must I remain forever hidden beneath the moss, —Bodhicaryãvatãra 2:35-36, 34 Here in these shadows of grass? Sãntideva when the stars shall be thrown down, I would rather be buried once and for all, when the pregnant camels shall be neglected, in dark oblivion! when the savage beasts shall be mustered, Such pains of desire burn my soul! when the seas shall be set boiling, when the souls This is my dwelling, the Burning House, shall be coupled, This is my dwelling, the Burning House! when the buried infant shall be asked for what sin she was slain, —The Sought-for Grave Kanze Kiyotsugu Kan’ami when the scrolls shall be unrolled, when heaven shall be stripped off, In this world when Hell shall be set blazing, the living grow fewer, when Paradise shall be nigh, the dead increase then shall a soul know what it has produced. how much longer must I carry this body of grief? —The Qur’an 81:1-14

How sad, Upon that day men shall issue in scatterings to see to think I will end their works, as only and who has done an atom’s weight of good shall see it, a pale green mist and who has done an atom’s weight of evil shall see it. drifting the far fields. —The Qur’an 99:5-6 —Ono no Komachi

On a journey, ill And over fields all withered Dreams go wandering still.

—His Death Haiku Bashõ Matsuo X. JUDGEMENT AND APOCALYPSE cont’d XI. PARADISE That you are suffering so comes from your own actions; Then all these earthly beings perish completely through It is the time of union, it is not due to anybody else. oppression. It is the time of vision, it is by your own actions. And so Lord Vishnu, who abides in himself, It is the time of resurrection, The good spirit born with you, Appears as terrifying Shiva and destroys all creatures. It is the time of grace, will come now and count out your good deeds with Through the sun’s seven rays, he drinks up all the water. It is the time of generosity, white pebbles, Then seven rays become seven suns The treasure of gifts has arrived, and the evil spirit born with you, and, blazing, ignite all three worlds. The brilliance of the sea has flashed forth. will come now and count out your evil deeds with black These worlds then blaze like a frying pan. The dawn of blessing has arisen. pebbles. All things are consumed by flames. —Rumi Then you will be frightened, awed and terrified. Dreadful clouds arise.

The Lord of Death Like elephants they fill up the sky. As was the man of dust, will place round your neck a rope and drag you along; Roaring loudly, pouring down rain, so are those who are of dust; he will cut off your head, extract your heart, pull out They completely extinguish this dreadful fire. as is the man of heaven, your guts, When the fire is thoroughly quenched, so are those who are of heaven. lick up your brain, eat your flesh, and gnaw your bones, The clouds, raining day and night, Just as we have borne the image of the man of dust, but you will not die. Overwhelm the entire world with water. we shall also bear the image of the man of heaven. Although your body be hacked to pieces, it will live again. When everything has perished in the watery darkness, Then shall come to and cause great pain and . Rain pours down for another hundred years. pass the saying that is written: But be not frightened and terrified, So it is at the end of every Eon. “Death is swallowed up in victory.” And fear not the Lord of Death. —The Vishnu Purãna —First Corinthians 15:48-49, 54 Your body is the nature of emptiness, you need not be afraid. On that shore is a city, where the rain of nectar Emptiness cannot injure emptiness. never ceases. That is the emptiness of your true nature, There the sky is filled with music. before which your mind shines clearly and lucidly, The strings jingle and there the drums beat. and at which you feel awe, There is no rising and setting of the sun; emptiness by nature luminous, In this ocean of love, day and night are one. luminous light inseparable from emptiness. There I have seen joy filled to the brim. —The Tibetan Book of the Dead There falls the rhythmic beat of life and death: Rapture wells forth, space is radiant with light. At the end of four ages Millions of lamps of sun and of moon are burning; The earth’s surface is wasted. There the drum beats, and the lover swings in . There arises a dreadful drought that lasts for a hundred There love-songs resound, and the light rains in showers. years. —Kabir XII. DEDICATION OF MERIT May I be a protector for those without one May those who find themselves in trackless, fearful a bridge, a boat, a ship wilderness – for all who wish to cross the water. the children, the aged, the unprotected, May the forest of razor-sharp leaves those stupefied and the insane – become a beautiful pleasure grove, be guarded by beneficent celestials. and may the trees of knives and swords And may the land everywhere be pure, grow into wish-fulfilling trees. smooth and devoid of any rock, May the regions of hell become places of joy level like the palm of the hand with vast and fragrant lotus pools and of the nature of lapis lazuli. beautiful with exquisite calls May celestials bring timely rain of wild ducks, geese and swans. so that harvests may be bountiful. May the heaps of burning coals change to heaps of jewels, May kings act in accordance with Dharma may the burning ground become a polished crystal floor, And the people of the world always prosper. and may the mountain of crushing hells By the merits I‘ve accumulated, become celestial palaces of worship filled with Buddhas. May every single being May the rains of lava, blazing stones and weapons abandon all forms of evil become a rain of flowers, and forever engage in virtue. and may all battling with weapons For as long as space endures become a playful exchange of flowers. and as long as living beings remain, May the naked find clothing, ‘til then may I too abide the hungry find food; To dispel the misery of the world. May the thirsty find water —Bodhicaryãvatãra 3:18, 10:6-9, 19-27, 35, 39, 31, 55 and delicious drinks. Sãntideva May the poor find wealth, those weak with sorrow find joy; May the forlorn find new hope, constant happiness and prosperity. May all who are sick and ill Quickly be freed from their illness, and may every disease in the world never occur again. May troubled travelers who have lost their way meet with fellow travelers, and without any fear of thieves or tigers May their going be easy without fatigue. PROGRAM NOTES

Glass’s notes on the symphony: The symphony was commissioned and conceived as a millennium celebration work for the Salzburg Festival. My plan has been for the symphony to represent a broad spectrum of many of the world’s great “wisdom” traditions. Working together with the Very Reverend James Parks Morton of the Interfaith Center of New York and Professor Kusumita P. Pedersen of St. Francis Col- lege, we synthesized a vocal text that begins before the world’s creation, passes through earthly life and paradise, and closes with a future dedication. We are looking at the moment of the millennium as a bridge between the past (represented by the Requiem and embodying the first nine movements up to the moment of Death) the present (the Bardo representing the “in between”) and culminating in Nirmanakaya (the future manifestation of enlightened activity).

We have elected to present the original texts (Greek, Hebrew, , Arabic, Chinese, Japanese and indigenous languages) in one language, English, to show the commonalties with which all these traditions resonate. For a work of this scale it seemed fitting to add chorus, children’s choir and soloists to the usual symphonic ensemble, thereby giving it ample breadth and dramatic capabil- ity.

Besides being a compendium of reflection on the process of global transformation and evolution, it is hoped that the work will serve as a strong and positive celebration of the millennium year.

—Philip Glass, 1999

“It was my intention to provoke a flow of attention for the listener which would be based on the world’s Wisdom Traditions – their commonalities, differences, and eccentricities.

Now two decades after its premiere, this new recording by Trinity Wall Street and all the collected forces of , and singers under Julian Wachner, make these commonalities, differences, and eccentricities appear even more pronounced than was initially imagined”.

—Philip Glass, 2019 Katherine Pracht Mezzo-soprano

Mezzo-soprano Katherine Pracht’s engagements in 2018- 2019 season included Stravinsky's Requiem Canticles with Leon Botstein and The Orchestra NOW as well as the role Heather Buck of Dunyasha in Rimsky-Korsakov’s The Tsar’s Bride in Rus- Soprano sian at The Bard Festival; she reprised Prokofiev’s Alex- Heather Buck’s operatic roles range widely, from creating Alma in Wuo- ander Nevsky with York Symphony, and sang role debuts with Madison as rinen’s Brokeback Mountain at Madrid’s , and Haroun in Wuou- Charlotte in A Little Night Music, Florentine Opera as Ottavia in L’Incoronazione rinen’s Haroun and the Sea of Stories; to US stage premieres of di Poppea, and Kate Julian in Little Opera Theater of New York’s Owen Wingrave Lachenmann’s Little Matchgirl, Rihm’s Proserpina (title role), and Dusapin’s by . Most recently, Pracht sang Duruflé’s Requiem with The Faustus, the Last Night (Angel); to standard repertoire such as Glass’ Or- Washington Chorus and Christopher Bell. Upcoming performances in 2019- phee (Princesse), L’Elisir d’Amore (Anina), Pearl Fishers (Leïla), and A Mid- 2020 include the role of Linetta in Opera ‘s The Love for Three Or- summer Night’s Dream (Tytania). She appeared as the Marquise de anges, mezzo-soprano solos in ’s Voices of Light with the Na- Merteuil in Francesconi’s Quartett, Joan of Arc in Dello Joio’s Trial at tional Philharmonic Orchestra and Chorale, and Beethoven’s Symphony No. 9 Rouen, the title role in Argento’s Miss Havisham’s Wedding Night, and with the York Symphony. The Maid in Adès’ Powder Her Face. In 2016-17, Pracht made her Kennedy Center debut as soloist in Philip Glass' Heather appeared both at the Kennedy Center and Trinity Wall Street in Symphony No. 5 with The Washington Chorus, then recorded the piece in NYC Glass’ Symphony No. 5, Marinsky Theater in ’s Water Passion after with Trinity Wall Street for release this summer (2019). Ms. Pracht sang the US St. Matthew, the Concertgebouw in Dusapin’s Faustus, the Last Night, premiere of Richard Wernick's ...and a Time for Peace with Leon Botstein and the Boston’s Symphony Hall in Handel’s , Ottawa’s National Arts Cen- American Symphony Orchestra at , and created several roles in tre in Mozart’s Mass Minor, and Avery Fisher Hall and Carnegie Hall workshops of new : Florence Williams in a workshop of Susan Kander’s with the American Symphony Orchestra. Other repertoire includes Bern- The News From Poems, Hester Prynne in Eric Sawyer's The Scarlet Professor, and stein’s Songfest (Trinity Time’s Arrow Festival), Salonen’s Five Images After in Julian Wachner and Cerise Jacobs’ Rev 23 for the . Ad- Sappho (Utah Symphony Orchestra), Druckman’s Counterpoise (Los An- ditionally, Ms. Pracht performed Bernstein’s and Barcarolles accompanied geles Symphony New Music Group), and the US premiere of Saariaho’s by Bright Sheng and Michael Barrett for The Intimacy of Creativity 2017 Festival Leino Laulut (League of Orchestra). in Hong Kong, and then again for her debut with New York Festival of Song with Barrett and Steven Blier. Pracht sang the role of Lady Wang in Bright Sheng's Dream of the Red Chamber on tour in , the role of Mariam in Sheila Silver's A Thousand Splendid Suns in workshop for American Opera Projects, a world premiere of Karl Jenkins' Sing! The Music was Given and a reprisal of The Armed Man at Carnegie Hall with Distinguished Concerts International New York, and her critically-acclaimed title role debut in Elizabeth Cree for Chicago Opera The- ater by and Mark Campbell. Vale Rideout Stephen Salters Baritone Tenor Stephen Salters regularly performs in all musical mediums—recital, , Vale Rideout enjoys a career on the opera and concert stage. He has opera, and orchestral soloist. He created the title role in Elena Ruehr’s dance sung major roles with (Alfred in Die Fledermaus), opera Toussaint Before the Spirits presented by Opera Boston where Richard Palm Beach Opera (Don Ottavio in Don Giovanni), Boston Lyric Opera Dyer of called his performance “Astounding... Salters is a fear- (Quint in The Turn of the Screw), Kentucky Opera (Roméo in Roméo et less and exhaustingly honest performer and a thrilling singer.” Past highlights of Juliette), Central City Opera (Edgardo in Lucia di Lammermoor), Tulsa his career include orchestra concerts for children in Monaco with the Orchestre Opera (Tamino in The Magic ), and Nashville Opera (Frank Shallard Philharmonique de Monte-Carlo; Fortune’s Bones: The Manumission Requiem in Elmer Gantry). He has sung with major including the written for Mr. Salters by Dr. Ysaye Barnwell of the famed Sweet Honey in the (Maazel/), Los Angeles Philhar- Rock; the world premiere of Dan Sonenberg’s The Summer King as the lead monic (War Requiem), (Messiah), Jacksonville Sym- baseball player Josh Gibson, as well as Orfeo in Orvieto, Italy. phony (War Requiem), Nashville Symphony (Messiah), Detroit Sym- phony (Beethoven Symphony No. 9), Washington Chorus (Missa Mr. Salters has worked with leading conductors including James Conlon, Chris- Solemnis), New Orleans Philharmonic (Messiah, Christmas Oratorio), toph Eschenbach, , Robert Spano, Bobby McFerrin, Nicholas McGe- Trinity Church Wall Street (Britten Serenade, Stravinsky Les Noces) and gan, and Keith Lockhart. He received praise in the role of the Minotaur in the Toledo Symphony (Verdi Requiem). He can be heard on World Pre- world premiere of Philippe Fénelon’s Les Rois for Opera National in Bordeaux miere recordings of Elmer Gantry, Prince of Players & Wuthering and has been acclaimed in roles of Shostakovich’s The Nose (Kovalyov); Weill’s Heights (Floyd), Rio de sangre (Davis), The Inspector (Musto), as well as Rise and Fall of the City of Mahagonny; Gluck’s Alceste (Hercules); Mozart’s Don recordings of Philip Glass’ Symphony No. 5 (Trinity Wall Street), The Bal- Giovanni (Count Almaviva), Le nozze di Figaro, and Così fan tutte (Guglielmo); lad of Baby Doe (Central City Opera), Beethoven's Symphony No. 9 (De- and as Captain Balstrode in Britten’s Peter Grimes at on the occa- troit Symphony), (New Jersey Symphony) and his first sion of the 50th anniversary of the piece’s American premiere. Mr. Salters has re- solo CD of Britten and Finzi songs on the ACIS label. leased several CDs including Spirit Are You There? You Are There (2016), William

Bolcom’s Billy in the Darbies written for Mr. Salters and The Lark (2014), and Elena Ruehr’s Averno and Gospel Cha Cha (2014). David Cushing Bass-Baritone

David Cushing’s versatile bass-baritone range is effortlessly demon- strated in a variety of roles including recent appearances in the title roles Julian Wachner of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Ju- Trinity Church Wall Street Director of Music liette, and Bottom in A Midsummer Night’s Dream. Of a recent perform- ance, the Boston Herald exclaimed, “his portrayal of hoodwinked old Multi-GRAMMY®-nominated conductor, , and keyboardist Julian Pasquale, filled with pathos and unself-conscious humor, was a rev- Wachner—named one of Musical America’s Top 30 Professionals for 2018— elation. He could easily specialize in Italian opera’s wealth of foolish-old- serves as director of music at Trinity Church Wall Street, overseeing an annual season of hundreds of events. Besides serving as principal conductor of NOVUS man roles and become the basso buffo of his generation.” This season, NY, The Choir of Trinity Wall Street, and the Trinity Baroque Orchestra, Wachner Mr. Cushing returns to Boston Lyric Opera for their production of The was recently appointed as Artistic Director of the Grand Rapids Bach Festival. Handmaid’s Tale performing the role of The Commander and performs as Colline in La bohème with the Boston Youth Symphony Orchestra. He Wachner also enjoys an active schedule as a guest conductor including recent will also perform Basilio in Il barbiere di Siviglia with Mobile Opera and and upcoming performances with the Los Angeles Opera, San Francisco Opera, Mr. Peachum in The Beggar’s Opera with Emmanuel Music. , The Shed, Philharmonia Baroque, Apollo’s Fire, Kansas City Symphony, All-Stars, Presents, Utrecht Early Music Festival, Metropolitan Museum, Carnegie Presents, and the Prototype Fes- tival. As a leading impresario of new music, Wachner collaborated on the devel- opment, performance and recording of three Pulitzer Prize winning works: ’s Angels Bone (2017), ’s Fields (2015), and ’s (2019).

Wachner’s own compositions have been variously described as “jazzy, ener- getic, and ingenious” (Boston Globe), “a compendium of surprises” (Washington Post) and “bold and atmospheric,” demonstrating “an imaginative air for allusive text setting” (). He is published exclusively by E.C. Schirmer and represented world-wide by Opus 3 Artists.

NOVUS NY Trinity Church Wall Street’s new music orchestra, NOVUS NY, is a key player NOVUS NY has forged strong links with many of today’s leading contem- on the contemporary music scene. Under the leadership of Julian Wach- porary composers, collaborating with Daniel Felsenfeld, Paola Prestini, ner, its “expert and versatile musicians” () perform new Sarah Kirkland Snider, Jonathan Newman, and Julian Wachner on Trinity’s music from all corners of the repertoire, meeting “every challenge with an “Mass Reimaginings” commissioning project, and giving world premiere impressive combination of discipline and imagination” (New York Classical performances of both Laura Schwendinger’s opera Artemisia and Prestini’s Review). The orchestra’s Carnegie Hall debut, made with a formidable pair- interdisciplinary Hubble Cantata, which drew an open-air audience of ing of Ives and Ginastera, prompted The New York Times to declare “ad- thousands to Brooklyn’s Prospect Park. The ensemble also gave the U.S. venture and ambition go hand in hand at Trinity Wall Street.” premiere of Tarik O’Regan’s A Letter of Rights, presented an all- program at Brooklyn’s , and performed selections by In its annual appearances at the Prototype Festival, New York’s premier Hannah Lash, Stewart Copeland, Sheila Silver, and Bright Sheng at Opera celebration of contemporary opera, NOVUS NY has helped pioneer sev- America’s New Opera Showcase. In 2019, the orchestra gave concert per- eral major new operas. These include Du Yun’s Angel’s Bone, winner of the formances of new Trinity co-commissions by Daniel Schlosberg and Nico for Music; Missy Mazzoli and ’s Breaking Muhly, and reprised a fully staged Artemisia at Trinity’s annual Time’s Arrow the Waves, named “Best New Opera for 2016” by the Music Critics Associ- festival. ation of North America; and Ellen Reid’s Winter’s Child. Winter’s Child was revised in collaboration with librettist Roxie Perkins and retitled p r i s m. It The ensemble’s recent recordings include Prestini’s The Hubble Cantata, won the in 2019 after the orchestra presented its Du Yun’s Angel’s Bone, Trevor Weston Choral Works, Elena Ruehr: Averno, East Coast premiere at New York’s LaMama as part of the Prototype festi- and a three-CD set of Wachner’s orchestral works on the Musica Omnia val. This season’s Prototype highlights also included the ensembles East label. soon to be released will feature new operas Anna Christie Coast premiere of Reid’s Dreams of the New World and world premiere of and Ellen Reid’s p r i s m, as well as music by Terry Riley, David T.Little, Ju- David T. Little’s revised Am I Born. lian Wachner, and Luna Pearl Woolf.

NOVUS NY

VIOLIN 1 VIOLONCELLO CLARINET/ TUBA Katie Hyun, Michael Nicolas, E-flat Clarinet Andrew Baker concertmaster principal Paul Cho Anna Elashvili Ashley Bathgate PERCUSSION Melissa Tong Michael Katz BASS CLARINET Jared Soldiviero, Ben Russell Michael Haas Benjamin Fingland principal Grace Park Andrew Yee Victor Caccese Pauline Kim Claire Bryant John Ostrowski Adda Kridler Brad Balliett, Ian Rosenbaum Emily Smith BASS principal Terry Sweeney Arthur Moeller Doug Balliett, Christopher Wickham Karla Donehew principal CELESTA Kris Saebo HORN Charity Wicks 2 Brian Ellingsen Laura Weiner, Karen Kim, Max Zeugner principal HARP principal Steve Sherts Ashley Jackson Henry Wang FLUTE Patrick Pridemore Maureen Murchie Melissa Baker, Will DeVos Amy Schroeder principal Conor Hanick Bryan Hernandez-Luch Jessica Han Saerom Yoo Chris Coletti, Lily Holgate PICCOLO principal Kenneth Trotter John Romeri Brandon Ridenour

Caleb Hudson Nathan Schram, Stuart Breczinski, principal principal Thomas Hutchinson, Kyle Miller Nick Masterson principal Andrew Gonzalez Achilles Liarmakopoulos Jessica Meyer CLARINET Stephanie Griffin Romie de Guise-Langois, BASS TROMBONE Aekyung Kim principal J.J. Cooper

Isabel Kim

The Choir of Trinity Wall Street

Peerless, Grammy-nominated interpreters of both early and new music, The Choir of Trinity Wall Street has changed the realm of 21st-century vocal music, breaking new ground with an artistry described as “blazing with vig- our…a choir from heaven” (The Times, London). This premier ensemble, under the direction of Julian Wachner, can be heard in New York City and around the world in performances alternately described as “thrilling” (The New Yorker), “musically top-notch” (), and “simply superb” (The New York Times).

The choir leads the liturgical music on Sundays at Trinity Church and St. Paul’s Chapel, while performing in Bach at One, Compline by Candlelight, and many other concerts and festivals throughout the year, often with the Trinity Baroque Orchestra, NOVUS NY, and the Trinity Youth Chorus. Criti- cally acclaimed annual performances of Handel’s Messiah are part of its long and storied tradition, many New Yorkers attend the choir’s perform- ances at Trinity’s annual Time’s Arrow Festivals year after year.

The choir has toured extensively throughout the , making ap- In addition to its Grammy-nominated CD, The Choir of Trinity Wall pearances at Carnegie Hall, Lincoln Center, the Metropolitan Museum of Street has released several recordings on Naxos, Musica Omnia, VIA Recordings, Art, the Berkeley Early Music Festival, BAM Next Wave Festival, and the Pro- ARSIS, and Avie Records. Trinity’s long-term commitment to new music is evident totype Festival. The choir is also increasingly in-demand internationally, on these recordings, just as it is in collaborations with living composers including and recent seasons have seen performances at Paris’s Théâtre des Ellen Reid, Du Yun, Paola Prestini, Ralf Gawlick, Elena Ruehr, and Julia Wolfe, Champs-Élysées and London’s Barbican Theatre. The choir has been fea- whose 2015 Pulitzer Prize-winning and Grammy-nominated work, Anthracite tured with the Bang on a Can All-Stars, the New York Philharmonic, and Fields, was recorded with the choir. The choir also collaborated on and recorded with on their 50th anniversary tour. In 2017, the choir both Du Yun’s Pulitzer Prize-winning work, Angel’s Bone, and Ellen Reid’s Pulitzer was featured in the 150 Project, performing at the Utrecht Festival Prize-winning work, p r i s m , with the participation of NOVUS NY, conducted by and Lincoln Center’s White Light’s Festival. Julian Wachner.

The Choir of Trinity Wall Street

SOPRANO ALTO TENOR BASS Elizabeth Bates Melissa Attebury Andrew Fuchs Paul An Sarah Brailey Luthien Brackett Brian Giebler John Bischoff Megan Chartrand Kate Maroney Timothy Hodges Charles Wesley Evans Linda Lee Jones Clifton Massey Scott Mello Steven Hrycelak Molly Quinn Timothy Parsons Stephen Sands Thomas McCargar Elena Williamson Edmund Milly Downtown Voices Praised by The New York Times for its “incisive, agile strength,” town Voices’ fourth season included similarly ambitious pro- Downtown Voices is a semiprofessional choir made up of volun- gramming, with two “Community Carol Sing” concerts, a cele- teer singers from the New York metro area and members of the bration of the past hundred years of Estonian composition, and Grammy-nominated Choir of Trinity Wall Street. Directed by a season-closing finale featuring Orff’s Carmina Burana. Stephen Sands, Downtown Voices has performed works by Beethoven, Brahms, Rachmaninoff, Webern, Britten, Ginastera, Philip Glass, and James MacMillan, in addition to premiering Spire and Shadow by Zachary Wadsworth, a large-scale com- mission for the 250th anniversary of St. Paul’s Chapel. Down- Downtown Voices

SOPRANO ALTO TENOR BASS Ariana Baurley Mary Kathryn Bessinger Sam Bellafiore Stanley Figaro Kate Bullock Annmarie Errico Tony DiTaranto Stephen Foster Maria Caputo Martha Guenther Scott Pashman Charles Hagaman Chloe Davis Erin Halpin Michael Savino Ryan John Angelina Garavente Jessica Lightfoot Erol Tamerman Bennett Mahler Celia Gavett Elena McEntire Neil Vasan Tom O’Toole Jennifer Joyce Nanette Pezzutti Jonathan Yaeger Inge Konther Leighanne Saltsman Rachel L’Heureux Luana Lewis Sarah Longstreth

Pamela Mosley Hillarie O’Toole Carolyn Poehner Julie Reumert Carrie Sheeran Sandy Sobey

Trinity Youth Chorus Trinity Youth Chorus brings together talented youth ages 5 to 18 from the five bo- roughs of New York City. Choristers receive both group and individual training in vocal technique, music theory, sight-reading, and performance skills from a group of dedicated professionals led by Melissa Attebury, Trinity Church Wall Street’s as- sociate director of music.

The choristers provide musical leadership at Sunday services alongside The Choir of Trinity Wall Street and offer concerts throughout the season. The Trinity Youth Chorus presents Benjamin Britten’s Ceremony of Carols each December, and the 2019 season included a winter concert with with the New Jersey Youth Chorus, Du- rufle’s Missa Cum Jubilo, Britten’s Friday Afternoons, and the season final concert of Carmina Burana. Past events include Bach’s Tilge, Höchster, meine Sünden, Ellen Reid’s Winter’s Child at Prototype Festival, Ginastera’s Turbae ad Passionem Grego- rianam at Carnegie Hall, Mahler Symphony No. 8 at Carnegie Hall, Britten War Re- quiem with the Queens College Choral Society, and Bernstein’s Chichester Psalms at Trinity Church, and a fully staged production of Noye’s Fludde. Recording projects include Symphony No. 5 by Philip Glass at Trinity Church and Lisa Bielawa’s My Out- stretched Hand with The San Francisco Girls Chorus and Brooklyn Knights.

The chorus is featured in the films Love is Strange and Doubt, and the made-for-TV opera Vireo. The choirsters have sung backup for Josh Groban, The Rolling Stones, and Bobby McFerrin, and have been heard on Public Radio International and CBS’s The Early Show. Trinity Youth Chorus

Luna Taylor Elliott Willa McAbee Elisa Sikula Sophie Bomeisler Katie Fountian Laine Messier Luna Stacy Alexis Brown Mollie Garcia Ella Nield Carolina Tapia Ophelia Burden Alex Grant Bonnie Nygard Lili Vahtra Erica D’Ancona Victoria Lee Lauren Pehlevanian David Yao Lucy Edelstein Tiffany Lin Marcella Roy Josie Zenger TRINITY CHURCH WALL STREET STAFF: The Rev William Lupfer, Rector The Rev Phillip A Jackson, Vicar

MUSIC STAFF: Julian Wachner, Director Melissa Attebury, Associate Director Melissa Baker, Senior Artistic Administrator Anne Damassa Graff, Music Education Steven Hrycelak, Downtown Voices Administrator Harrison E. Joyce, Production Manager and Music Librarian Thomas McCargar, Choral Contractor Stephen Sands, Downtown Voices Conductor Avi Stein, Associate Organist & Chorus Master John Thiessen, Orchestral Contractor James Blachly, Cover Conductor

MEDIA PRODUCTIONS & COMMUNICATIONS & MARKETING STAFF: PRODUCTION STAFF FOR OPERATIONS STAFF: Lisa Jaycox, Director of Content Strategy PHILIP GLASS INTERVIEW: Michael McGuinnes, Video Director James Melchiorre, Director of Content Leah Reddy, Multimedia Producer Luke Mess, Technical Video Director Kara Araujo, Associate Director of Communications Cohen, Video Director Casey Savage, Audio Recording Engineer and Marketing Dror Piekielny, Camera Operator Mike Levine, Assistant Audio Recording Engineer Paul Brower, Website Manager Mike Levine, Josh Deeter, Production Manager Tiani Jones, Media Relations Enrique Mancia, Audio Engineer Christopher Trice, Chief Engineer 21C, Trinity Music PR Firm Alex Pyle, Utility Jamahl Richardson, Stage Manager Thomas Durack, Audio Post Production Anthony Indelicato, Video Post Production

“To listen seriously to music and to perform it are among our most potent ways of learning what it is to live with and before God.” —Rowan Williams, former Archbishop of Canterbury, A Ray of Darkness

Music at Trinity is a ministry for all who seek cultural enrichment and spiritual renewal. Trinity offers an unparalleled array of free, inspiring programming by world-class performers in historic spaces throughout the year, in addition to liturgical music at worship services. There is always something to dis- cover that stirs the soul and lifts the spirit, whether it be hymns sung on Sunday mornings, a Bach cantata experienced during lunch hour, or the world premiere of an opera. Trinity’s music program incorporates high quality music education and outreach to children and youth in New York City, offering the opportunity to be part of a serious music program devoted to disciplined music-making and fostering the formation of character and engaged cit- izenship.

Learn more at trinitywallstreet.org/music @MusicTrinityWallStreet @MusicAtTWS Audio Disc 1 1. Movement I, Prologue; Before the Creation 6:42 Recorded live at Trinity Church in New York City 2. Movement II, Creation of the Cosmos 6:24 May 17 - 20, 2017 3. Movement III, Creation of Sentient Beings 7:57 Recording produced by Soundmirror 4. Movement IV, Creation of Human Beings 7:28 Producer: Blanton Alspaugh 5. Movement V, Joy and Love 8:05 Recording engineers: 6. Movement VI, Evil and Ignorance 5:53 Brandon Johnson, John Newton 7. Movement VII, Suffering 7:51 Mixing and Mastering engineer: Audio Disc 2 Mark Donahue 1. Movement VIII, Compassion 9:15 2. Movement IX, Death 8:03 3. Movement X, Judgement and Apocalypse 8:34 4. Movement XI, Paradise 7:58

5. Movement XII, Dedication 10:07

Video Disc 3 Video of the live performance from May 20, 2017 and interview with Philip Glass Philip Glass interview video can also be accessed at trinitywallstreet.org

Orange Mountain Music Head of A and R: Richard Guerin Creative Director: Don Christensen

Dunvagen Music Publishing Director: Jim Keller Associate Director: Drew Smith

Ⓟ©2019 Orange Mountain Music 2 Captains Walk, East Hampton, NY 11937. Philip Glass’s music is published by Dunvagen Music Publishers, Inc. All Rights Reserved, no unauthorized performance, copying or rental. Executive publishers for OMM: Philip Glass, Kurt Munkacsi and Don Christensen

www.orangemountainmusic.com www.philipglass.com