COMPASSION a festival of musical passions JUNE 5–15 GREAT ARCHETYPAL STORIES OF SUFFERING, EMPATHY, AND HOPE

CONSPIRARE.ORG 1 COMPASSION Diversify your Assets: FESTIVAL Invest in the Arts. PIETÀ JUNE 5-7, FREDERICKSBURG & AUSTIN CONSIDERING MATTHEW SHEPARD DURUFLÉ – REQUIEM JUNE 8, AUSTIN A GNOSTIC PASSION JUNE 10, AUSTIN J.S. BACH – ST. MATTHEW PASSION JUNE 14-15, AUSTIN We applaud the artists and patrons who invest in our community. Artistic Director & Conductor & JOHN MUEHLEISEN Composers & Speakers

SEASON SUSTAINING UNDERWRITER tm

2 3 TABLE OF CONTENTS FROM THE ARTISTIC DIRECTOR: WELCOME AND INTRODUCTION WELCOME AND INTRODUCTION ...... 5-6 PROGRAM: PIETÀ...... 7 ARTISTS: PIETÀ...... 8 PROGRAM NOTES: PIETÀ...... 9-10 PROGRAM: CONSIDERING MATTHEW SHEPARD/REQUIEM...... 11 Welcome to the Conspirare comPassion Festival. ARTISTS: CONSIDERING MATTHEW SHEPARD/REQUIEM...... 12 Whether you find yourself in the middle of a PROGRAM NOTES: CONSIDERING MATTHEW SHEPARD/REQUIEM...... 13 performance or at a workshop, I invite you to PROGRAM: A GNOSTIC PASSION...... 14 take this time to deeply experience the breadth ARTISTS: A GNOSTIC PASSION...... 15 of what this two-week festival encompasses. PROGRAM NOTES: A GNOSTIC PASSION...... 16-17 PROGRAM: ST. MATTHEW PASSION...... 18-20 I invite you to think about our comPassion ARTISTS: ST. MATTHEW PASSION...... 21-23 Festival as a Great Conversation, a vibrant PROGRAM NOTES: ST. MATTHEW PASSION...... 24-25 exchange, and a meaningful dialogue with beautiful, important works COMPASSION DIALOGUES...... 26 of art and with each other. The musical performances are the core of COMPASSION SINGERS...... 27-29 our exploration together, the “fire around which we gather.” In addi- ABOUT THE COMPOSERS...... 30 tion, we are opening our doors to all kinds of opportunities for you to ABOUT CONSPIRARE...... 31-32 come closer to the music: open rehearsals, pre-concert talks, a post- ABOUT CRAIG HELLA JOHNSON...... 33-34 concert conversation, forums for the creation of new Passion settings, SUPPORTERS...... 35 workshop readings of a provocative new work, and a CD release party CONSPIRARE BOARD & STAFF...... 36 (complete with from Amy’s!). DONORS ...... 37-40 Robert Kyr, a brilliant composer and gifted teacher, will invite interac- THANK YOU...... 41-42 tion throughout the festival, through the fabric of comPassion, with ADVERTISERS...... 43-48 pre-concert conversations and a special opportunity to engage with his Passion-in-progress for the Conspirare Symphonic Choir. This is all in addition to the one-on-one conversations we hope you will enjoy with Texts and translations are provided separately for each concert. other listeners, with Conspirare musicians, with composers and col- You are welcome to keep them if you wish, or turn them in after leagues and with me. I am keenly interested in listening to this music the performance for reuse or recycling. together and then learning from your perspective. What do you hear? What do you experience? Performances are being recorded for possible later broadcast. Your care to minimize extraneous sound by refraining from page Our primary focus for this comPassion Festival is that of musical turning and other motion during performance will be greatly Passion settings. In this context we use the word passion not in its modern day usage (strong emotion or intense sexual love) but rather in appreciated. Please turn off cell phones and other electronic devices. th Cough drops are available at the ticket table. its pre-14 century meaning that refers to suffering. Compassion is to “be with” another’s suffering and this is the theme that surrounds our performances and dialogues.

4 5 The festival’s centerpiece and culmination is J.S. Bach’s monumental PROGRAM: PIETÀ masterpiece, the St. Matthew Passion. Along with many musicians and listeners who know and have experienced the St Mathew Passion, I return to it with immense gratitude to be once again the beneficiary Pietà...... John Muehleisen (b. 1955) of it all it has to offer on so many levels. The St Matthew Passion was formative in my musical life, and it is a special privilege for me – and Prologue Processional my distinguished musical colleagues who gather here from around the Exhortation and Questions: “Do not let your hearts be troubled” nation – to share this work with you. We say a very special welcome to those of you for whom this is a first opportunity to hear it. Scene One (The Son) Passion Interlude (The Son) “Today the Master of Creation stands before Pilate” Leading up to the St Matthew performances, we are eager to share with Jack Kipling’s Final Letter: “Just a hurried line…” you several modern Passion settings and to engage with you around Song: “Just before the battle, Mother” these listening experiences. John Muehleisen’s beautiful recent work Chorale: Soldier’s Dream (“I dreamed kind Jesus fouled the big-gun gears”) Pieta is a compelling passion setting, comprised of a rich variety of texts and musical styles and a broad range of source materials including an Scene Two (The Mother) intriguing collection of borrowed music. The dazzling twin composers Passion Interlude (The Mother): “Today the blameless Virgin saw Thee suspended upon the Cross” Brad and Doug Balliett have created a dynamic and provocative Gnostic My Boy Jack Passion, inspired by the apocryphal “secret gospel” The Acts of John. This Chorale: At a Calvary near the Ancre “One ever hangs where shelled roads part” is a wonderfully fresh and radical work. The brothers state that their influences for this collage-like mélange are Stravinsky, Berlioz, Verdi, Scene Three (Calvary) the Beatles, and the Dirty Projectors. Passion Interlude (The Crucifixion): “Today He who hung the earth upon the waters is hung upon the cross” Additionally, the Conspirare singers and I present a workshop perfor- The Passion of the Son mance of a work I will be composing in the coming months, Consider- Lament ing Matthew Shepard. We will close that evening with a performance of The Passion of the Mother Maurice Duruflé’s much-cherished Requiem. Chorale 3: On Another’s Sorrow (“Can I see another’s woe?”) Scene Four (Pietà) Please consider joining us for as many of the festival events as possible. Passion Interlude (The Descent from the Cross) Your listening and participation will add meaning and presence to the “Give me this Stranger” music-making and will strengthen the experiences greatly. As we listen “…in her waiting arms” together to the many expressive voices we will hear, both composers and Lullaby (Mary’s Song) musicians alike, perhaps we can share stories with each other of how Duet: “Do not lament me, O Mother” this music moves us, where it touches us. I hope we can all find our way Passion Interlude (Burial): “The Noble Joseph” into an ever-deepening listening with each other. Resurrection: “Show us Thy Glorious Resurrection” Chorale: “Let me arise and open the gate” Thank you for your presence. We are singing for you. Epilogue

Answers and Exhortations Alleluia Closing Hymn: “God of Love, King of Peace” (audience sings along) Craig Hella Johnson Please refer to Texts & Translations handout for movement numbering as referenced in program notes. 6 7 ARTISTS: PIETÀ PROGRAM NOTES: PIETÀ

Nicole Greenidge Joseph, soprano Jonathan Riemer Tenor Ross Hauck lives in the Eli Salazar greater Seattle area with his wife Ross Hauck, tenor Johnathan M. Salinas and four children. Ross’s training The word “pieta”—in addition to its association with the Michelangelo statue—is Bo Sicking was at Cincinnati-College Conser- frequently translated as “pity.” The modern use of that word has sadly acquired a CONSPIRARE Chris Tuggey vatory of Music, with studies at negative meaning; consequently, in this oratorio I have focused on its more pro- Craig Hella Johnson Tanglewood, Ravinia, Aspen, and artistic director & conductor BASS Wolf Trap. He has appeared with found connotations of “compassion” and “mercy.” The word “compassion” literally Roland Barerra the symphonies of Seattle, Chica- means to “suffer with” others in an empathetic way by supporting them in humility SOPRANO Marshal Crenshaw go, Phoenix, Grand Rapids, Kansas Melissa Givens Bruce Haufler City, Cleveland, and Cincinnati, and love. It might be considered the opposite of “abandonment.” This mutual love Estelí Gomez Robert Karli and the National Symphony, and is Keim Ben R. King and compassion is the life to which Pietà calls us. a regular with Pacific MusicWorks Julie McCoy Michael Kriese (Seattle) and Apollo’s Fire (Cleve- Stefanie Moore Joseph Loukotka The oratorio presents various aspects of compassion and mercy in a way that pro- Rebecca Muñiz W. Pyle land). He is a cellist and professor Kathlene Ritch Duane Roth of voice at Seattle University, fre- vokes listeners to consider how we manifest those qualities in our lives, lives filled quently collaborates with churches Sonja DuToit Tengblad with both joy and suffering. We embrace joy, but struggle with suffering. Ulti- Shari Alise Wilson on faith-based arts programs, and CONSPIRARE YOUTH leads a ministry for Christians in mately, Pietà offers answers to suffering and loss, and a path to healing. My hope is the arts. rosshauck.com ALTO CHOIRS CHAMBER that Pietà will be both a collective and a personal journey that provides a musical Janet Carlsen Campbell ENSEMBLE Tynan Davis Nina Revering, conductor Soprano Nicole Greenidge Joseph experience of emotional and spiritual intensity that transforms hearts and minds. Sarah Ihlefeld holds degrees in voice from the Helen Karloski Urvi Alamela University of Michigan and Pa- Emily Lodine Elena Alcala cific Lutheran University. Her opera Pietà was commissioned by conductor Robert Bode and Choral Arts in Seattle, Laura Mercado-Wright Chiara Alvisi credits include Lauretta (Gianni WA and premiered in March 2012. I’m deeply indebted to them for choosing to Keely J. Rhodes Lexi Schicchi), Susanna (Figaro) and partner with me in bringing to life Pietà’s message of hope and healing, which Lauren Datres Musetta (La Bohème). Nicole has TENOR Claire Dugan been heard as a concert soloist is so desperately needed in our world today. I’m also extremely grateful to Craig Dann Coakwell Clare Edgar with Flint Symphony, Oakland Uni- Hella Johnson and to Conspirare for including Pietà and its timely message in this Paul D’Arcy Simone Heim versity, Detroit Chamber Winds & Carr Hornbuckle Sarah Helmbrecht Strings and Southern Great Lakes comPassion festival. Scott Mello Nikhil Lyles Symphony. She has also performed Jos Milton Juliana Marshall with McCall SummerFest, Siletz Pietà uses the central image of the relationship between mothers and sons as a met- Eric Neuville Sesha McMinn Bay Music Festival, Walla Walla Wilson Nichols Carolyn Nuelle Symphony, Portland Chamber aphor for exploring the ways in which the virtues of compassion, mercy, and love Libby Rayos Orchestra, and Victoria Bach Fes- BASS Adi Sankaran can lead to healing our brokenness. Rather than playing out a single thread, the tival. She has won or placed in Cameron Beauchamp Arielle Sher numerous competitions including work exists simultaneously on multiple levels, cutting between them using musical Dashon Burton Abigail Stewart Charles Wesley Evans Alyssa Wixson the 2013 National Bel Canto Vocal transitions akin to cinematic techniques such as sudden cuts and gradual fades. David Farwig Foundation Competition. Harris Ipock INSTRUMENTALISTS A. Miller Pietà unfolds across three different timelines: John Proft OBOE Paul Max Tipton Ian Davidson • The Present (Prologue and Epilogue) Beth Sanders CONSPIRARE SYMPHONIC • World War I (Scenes One and Two) CHOIR CHANTERS CHORUS PERCUSSION • Biblical Times: The end of the life of Jesus: His passion, burial, and Rick Gabrillo, conductor Tom Burritt Matt Teodori resurrection (the Passion Interludes and Scenes Three and Four) TENOR Howard Burkett ORGAN, REHEARSAL Robbie LaBanca PIANIST Seth A. Lafler Faith Debow 8 9 In parallel with these three timelines, Pietà plays out the notion of mutual compas- PROGRAM: sion and love in three concentric circles, radiating out from the center. CONSIDERING MATTHEW SHEPARD/REQUIEM 1. The outer circle (Prologue and Epilogue) is where we enter and exit the work. After stating John 14:1 (“Do not let your hearts be troubled”), we are immediately confronted with difficult questions about why our hearts should not be troubled. In the Epilogue those questions are answered, To be selected from the following and we are given a message of compassion and hope that balances the despair of the Prologue. These two sections allow listeners to enter into Considering Matthew Shepard ...... Craig Hella Johnson (b. 1962) the message of Pietà on a personal level. (a music and poetry concert workshop)

2. The middle circle (Scenes One and Two) concerns the relationship Most Noble Evergreen...... Hildegard of Bingen (1098-1179) between Jack Kipling and his mother by way of Jack’s death during WWI and the loss felt by Carrie. By extension it concerns the mutual Psalm of Life...... Craig Hella Johnson love of all mothers and sons, which naturally extends to all parents and their children. The Gospel of Matthew: An Elegy for Matthew Shepard...... Lacey Roop (b. 1986)

3. In the center circle, the relationship between Mary and Jesus is played out Texts from October Mourning: A Song for Matthew Shepard ..... Lesléa Newman (b. 1955) in Scenes Three and Four, which occur during Biblical times, encom- passing Jesus’ time in Pilate’s custody through His crucifixion, burial, and The Fence (before) resurrection. In Chorale 4 “Let me arise…,” Jesus’ resurrection is mir- The Fence (that night) rored in our personal rebirth, which transitions into the more universal The Wind message of the Epilogue. Stars Scared to Death The form of Pietà is based on the Passion oratorio, borrowing from Bach’s St. Mat- Heartfelt Apology thew and St. John Passions. The plaintive oboe and English horn passages in several The Fence (one week later) A Protester of the movements of (1.2, 3.2, 5.2, and 6.1) are variations on the opening Pietà The Fence (after) music from the St. John Passion. Even Mary’s textless soprano solo and subsequent Pilgrimage duet with Jesus (the tenor) in Scene 4 is based on that music; its mournful, dirge- OCTOBER MOURNING: A SONG FOR MATTHEW SHEPARD. Copyright © 2012 by Lesléa Newman. Reproduced by permission of the publisher, like quality is perfectly suited to expressing the pathos and sense of compassion in Candlewick Press, Somerville, MA. Selections used by permission of Curtis Brown, Ltd. Copyright © 2012. All Rights Reserved. the scenes in which it is used. In addition, the first three chorales in draw on Pietà Considering Matthew Shepard is a work in progress and tonight we are honored chorales from the St. Matthew Passion, but with texts by World War I poet Wilfred to share it with you, our listeners, in its early, evolving form. You will find your- Owen in the first two and by William Blake in the third. self in the midst of the creation process, and you are invited to experience this evening in that spirit. Considering Matthew Shepard is part performance, part musical dialogue, part conversation. Thank you for your presence. One other unique feature of Pietà is the use of the Passion Interludes—Byzantine and Russian Orthodox hymns—which wrench us back to Biblical times, remind- INTERMISSION ing us of the Passion oratorio roots of Pietà. The stark juxtapositions of the Passion Interludes with the other two timelines weave the thread of compassion throughout Requiem...... Maurice Duruflé (1902-1986) history, both blurring the historical distinctions and unifying them so that the I. Introït passions of Jesus and Mary and of Jack Kipling and his mother symbolize our own II. Kyrie lives—our “passions,” our sufferings—making the message of compassion and hope III. Domine Jesu Christe IV. in Pietà all the more universal and applicable to all people at all times in all places. Sanctus V. Pie Jesu VI. -John Muehleisen VII. Lux Aeterna VIII. Libera me IX. In Paradisum 10 11 ARTISTS: PROGRAM NOTES: CONSIDERING MATTHEW SHEPARD/REQUIEM CONSIDERING MATTHEW SHEPARD/REQUIEM

Lacey Roop, slam poet Slam poet Lacey Roop’s work explores varying Since the mournful month of October 1998 when Matthew Shepard was Austin Haller, organ topics from gender to magical realism. She placed beaten and died, I have had a strong sense that I would be involved musically sixth at the 2011 Women of the World Poetry Slam CONSPIRARE and has been ranked Austin’s number one female with his story in some way. I have held that with me ever since, and the light Craig Hella Johnson poet for three years. Lacey has represented Austin of that notion has never diminished for me. I have occasionally sketched things artistic director & conductor twice at the Individual World Poetry Slam and has over the years and have held it close in my heart, but tonight’s workshop- been a two-time member of the renowned Austin performance represents the first step in developing a personal musical response. SOPRANO Poetry Slam. She has authored three self-published Melissa Givens chapbooks and is the highest selling author of I will continue to shape what you hear tonight to create a passion for Matthew Estelí Gomez Timber Mouse Publishing with her full-length book Shepard, whose life and story are sacred to me. Julie Keim of poetry And Then Came the Flood. Julie McCoy The texts for tonight’s workshop come mostly from two poets: Lesléa Newman Stefanie Moore Organist Austin Haller is also a collaborative pia- Rebecca Muñiz nist, conductor, and vocal coach. He accompanies and Lacey Roop. Lesléa’s October Mourning: A Song for Matthew Shepard is a Kathlene Ritch Conspirare Youth Choir’s Allegro chorus and is Or- beautifully written, profound, and truly important collection. In a blog for the Sonja DuToit Tengblad ganist and Associate Director of Music at St. David’s online periodical The Huffington Post, she wrote, “I was inspired to write about Shari Alise Wilson Episcopal Church in Austin, where he plays for over Matt’s death from the imagined perspectives of the ‘silent witnesses’ to the 130 services and concerts a year and conducts the ALTO St. David’s Singers. He performs with Choral murder. I wanted the stars, the fence, and the wind to symbolically bear wit- Janet Carlsen Campbell Consort, Austin Cabaret Theatre, and Amphion Youth ness to the tragedy spawned by hatred, and to deliver a message of hope.” The Tynan Davis Choir, and has played with many other Central Texas poems featured tonight are from the fence section. Her introduction to October Sarah Ihlefeld choirs and ensembles. Austin also frequently works Mourning, reproduced in the text handout, is also revealing. Helen Karloski as music director for regional theatre productions Emily Lodine and plays jazz locally with singer Kara Bliss and Laura Mercado-Wright her band. For listeners who were with us for the Fusion series in spring 2013, slam Keely J. Rhodes requiem mezzo-soprano soloist poet Lacey Roop will be a familiar presence. She has created an original text especially for tonight. In this outpouring from her heart I know you’ll rec- TENOR Dann Coakwell ognize Lacey’s unique craft and art – the shapeliness, textures, and colors of Paul D’Arcy her words. She approached this poem by considering what the earth saw and Carr Hornbuckle felt on the night of Matthew’s death. Her words also evoke the kindness and Scott Mello beauty of Matthew. Jos Milton Eric Neuville Wilson Nichols Maurice Duruflé’sRequiem is an iconic, chant-based choral masterwork that is cherished by choral singers and audiences alike. Duruflé’s requiem setting, like BASS that of Brahms, is often associated with bringing comfort through its musical Cameron Beauchamp Dashon Burton expression. Tonight it is performed in Duruflé’s setting for chorus and organ. Charles Wesley Evans This work is one of the fourteen that encompass his entire compositional David Farwig requiem baritone soloist output. It seemed the perfect offering for reflection after the powerful story of Rick Gabrillo Matthew Shepard. Harris Ipock Glenn A. Miller John Proft -Craig Hella Johnson Thann Scoggin Paul Max Tipton

12 13 PROGRAM: A GNOSTIC PASSION ARTISTS: A GNOSTIC PASSION

Estelí Gomez, soprano Soprano Estelí Gomez holds music degrees from Yale A Gnostic Passion...... Douglas Balliett and Bradley Balliett (b. 1982) Melissa Givens, soprano University and McGill University, and is recognized as a stylish interpreter of early and contemporary Part 1 CONSPIRARE music. She received a 2014 Grammy® as a member Craig Hella Johnson of contemporary vocal octet Roomful of Teeth, and in artistic director & conductor 2011 won first prize in the Canticum Gaudium In- Prologue Part 1 ternational Early Music Vocal Competition in Poland. SOPRANO She is heard on the recording Salsa Baroque with Prologue Part 2 Melissa Givens Montreal-based Ensemble Caprice and on Roomful 1. And As They Drove Julie Keim of Teeth’s self-titled debut album for which composer Interlude 1 Julie McCoy Caroline Shaw was awarded the 2013 Pulitzer Prize. Stefanie Moore Estelí also performs with Seraphic Fire and Oregon 2. Litany Rebecca Muñiz Bach Festival. esteligomez.com 3. No Footprint Kathlene Ritch Sonja DuToit Tengblad Soprano Melissa Givens moves audiences and crit- 4. I am Not the Man Shari Alise Wilson ics alike with a rich, powerful tone, crystalline clarity, Interlude 2: Ballet and intelligent musical interpretations. She performs ALTO repertoire from Baroque through 21st century; recent Ballet II: Sicilienne Janet Carlsen Campbell appearances include soprano soloist in a recreation Ballet III: Life in a Small Town Tynan Davis of the historic Leipzig New Year’s concert of 1813 Sarah Ihlefeld with Mercury: The Orchestra Redefined. Most recently Ballet IV: Menuet Helen Karloski Assistant Professor of Voice at Houston Baptist Uni- Emily Lodine versity, Givens is in demand as a concert and recital Laura Mercado-Wright artist throughout the . A champion of col- Part 2 Keely J. Rhodes laborative music, she performs with various chamber music groups including Grammy® nominated groups TENOR Ars Lyrica Houston and Conspirare. 5. Scene on the Cross/Prayer Paul D’Arcy Interlude 3 Robbie LaBanca 6. Round Dance Prayer Scott Mello Jos Milton 7. Strange Feats Eric Neuville 8. The Dance Part 2 Wilson Nichols BASS Part 3 Cameron Beauchamp Dashon Burton Charles Wesley Evans 9. In the Beginning David Farwig Rick Gabrillo Interlude 4 Harris Ipock 10. I Didn’t Suffer Glenn A. Miller John Proft 11. Chorale Thann Scoggin 12. Ghost Dance-Finale PIANO Sheryl Stack Whitmore A Gnostic Passion is performed this evening in a new version with four-hand piano, created by the Ballietts especially for Conspirare.

14 15 Part 3 is more reflective than the others. Number 9 is a gloss on the opening of the PROGRAM NOTES: canonical Gospel According to John, which is much closer to gnostic philosophy than A GNOSTIC PASSION the synoptic gospels. It tells the story of the creation of the Word (which, as John’s gos- pel points out, came first), and considers the Word to be one big motion that catalyzes the creation of the universe. It is set as a Stravinskyan series of canons and interludes. One of the most interesting aspects of a collaborative composition is the process of Number 10 is an aria drawn from Jesus’s speech to John in the cave, and is particularly discovering the stylistic meeting point – that place where two different composers (even indebted to the pop world. Number 11 is a Stravinsky/Bach-style chorale, in which identical twins, like us) find a mutual spark of inspiration. We found that spark in John exhorts his listeners to worship not with the body and not with the mouth, but examining twists on tradition – musically, of course, (each movement of A Gnostic Pas- with “the disposition of the soul.” Number 12 is a last haunting injunction from Jesus sion exists in its own sound world), but also spiritually. through John – an extension of the message in Number 11: Worship is private! Don’t make a big thing about it unless you have something to say. Our attraction to the apocryphal, gnostic text The Acts of John was related to the incon- gruous details in the gospel stories we all know so well. Believed to have been written in The composition of this piece was a journey of discovery for us. To discover the wildly the early second century, The Acts of John is often associated with, although not part of, divergent notions of Jesus’s message for early Christians, many of which have been lost the fifty-odd apocryphal gospels and religious texts found in 1945 in Egypt. We com- today, was fascinating from a historical viewpoint. Conversely, discovering something posed the libretto of A Gnostic Passion with an aim to dramatize and magnify some of deeply human and universal in these gnostic messages brought many of Christianity’s the most surprising aspects of the gospel as told in The Acts of John. The work’s musical more arcane and obscure ideas into sharp relief and helped us understand how these style is heavily influenced by our favorite composers and musicians, with a collage-like messages are relevant to us today. We are deeply grateful to Cantori and Mark Shapiro melange of Stravinsky, Berlioz, Verdi, the Beatles, and the Dirty Projectors. for commissioning the piece, John Bowen and Emmanuel Church for their new pro- duction, and Conspirare for sharing the piece with new audiences. The storytelling is not linear - our working title for this piece was “Broken” or “Frac- tured” Passion, referring in part to the feeling that one is looking at scattered pages, out -Brad and Doug Balliett of order, or examining the story through a prism. There are moments of simultaneity – for instance, at the beginning Jesus appears to John in a remote cave at the exact mo- ment that Jesus is crucified in the city. The opening music, sung by the dazzled John in a duet for soprano and chorus, recalls Saul’s conversion in Shutz’s Saul. The line “to the dancer belongs the universe,” reminiscent of Nietzsche, is set ironically, being prayed even as his feet are being nailed to the cross.

Picking up this imagery, Number 2 “Litany” is a list of all the parts of the hand/wrist that a nail would pass through. The music is inspired by the texture of a Baroque trio sonata, mixed with elements of Romantic-era music. The text that inspires Number 3 belongs to a collection of insights and reminiscences about Jesus that John experiences during the revelation in the cave. Number 4, the finale of part 1, returns to Jesus’s voice in the cave, in which he reflects on his own nature, the legacy he’ll leave, and that he will be misunderstood. Parts 1 and 2 are separated by a full-scale ballet in sonata da chiesa form, with a typical “form smashing” that we love to explore.

Part 2 presents the crucifixion and the Round Dance. Number 5 shows Jesus on the cross, and is the movement most inspired by gnostic philosophy. Here, Jesus responds to taunts from the crowd with laughter and cryptic messages about discovering the Word. As his last words on the cross, he says a prayer found in the Gospel of the Egyptians – a PERFORMING NOTE strange, unearthly prayer to honor “the great, invisible, unnameable, virginal, un-call- able Spirit, and his male virgin.” Conspirare has the privilege of performing in a variety of beautiful venues that best enhance choral performances. While our performing venues and the texts of Number 6, a litany of Glorias, is the first part of the Round Dance, a long sung and some of our repertoire may be representative of specific traditions, it is in no way danced poem from The Acts of John. Number 7 is another reminiscence (or flash of intended to be exclusive of any individual whose experience or set of beliefs is not insight) about the strange activities and feats of Jesus. This movement covers several of represented. Conspirare respects and celebrates the great diversity of religious, the stories, and is something of a halting recitative. Number 8 is the completion of the artistic, and human experiences represented among our singers and audience Round Dance, and recalls movement 1. members. The audience creates the space in which the music is held.

16 17 PROGRAM: INTERMISSION ST. MATTHEW PASSION Part II

Matthäus-Passion (St. Matthew Passion).....Johann Sebastian Bach (1685-1750) 30. Aria (alto) and Chorus II: Ach, nun ist mein Jesus hin! – Wo ist denn dein Freund hingegangen Part I 31. Evangelist: Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriest 32. Chorale: Mir hat die Welt trüglich gericht‘t 1. Chorus & Chorale: Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig 33. Evangelist, Witnesses, High Priest: Und wiewohl viel falsche Zeugen herzutraten, funden sie doch keins. 2. Evangelist, Jesus: Da Jesus diese Rede vollendet hatte 34. Recitative (tenor): Mein Jesus schweigt zu falschen Lügen stille 3. Chorale: Herzliebster Jesu, was hast du verbrochen 35. Aria (tenor): Geduld, Geduld! Wenn mich falsche Zungen stechen (see No. 34) 4a. Evangelist: Da versammleten sich die Hohenpriester und Schriftgelehrten 36a. Evangelist, High Priest, Jesus: Und der Hohenpriester antwortete 4b. Chorus I & II: Ja nicht auf das Fest 36b. Chorus I & II: Er ist des Todes schuldig! 4c. Evangelist: Da nun Jesus war zu Bethanien 36c. Evangelist: Da speieten sie in sein Angesicht und schlugen ihn mit Fäusten 4d. Chorus I: Wozu dienet dieser Unrat? 36d. Chorus I & II: Weissage uns, Christe, wer ists, der dich schlug? 4e. Evangelist, Jesus: Da das Jesus merkete, sprach er zu ihnen 37. Chorale: Wer hat dich so geschlagen 5. Recitative (alto): Du lieber Heiland du 38a. Evangelist, Maid, Peter, Maid II: Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd 6. Aria (alto): Buß und Reu 38b. Chorus II: Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich. 7. Evangelist, Judas: Da ging hin der Zwölfen einer mit Namen Judas Ischarioth 38c. Evangelist, Peter: Da hub er an sich zu verfluchen und zu schwören 8. Aria (soprano): Blute nur, du liebes Herz! 39. Aria (alto): Erbarme dich, mein Gott, um meiner Zähren Willen! 9a. Evangelist: Aber am ersten Tage der süßen Brot 40. Chorale: Bin ich gleich von dir gewichen 9b. Chorus I: Wo willst du, daß wir dir bereiten das Osterlamm zu essen? 41a. Evangelist, Judas: Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat 9c. Evangelist, Jesus: Er sprach: Gehet hin in die Stadt 41b. Chorus I & II: Was gehet uns das an? Da siehe du zu! 9d. Evangelist: Und sie wurden sehr betrübt 41c. Evangelist, High Priests: Und er warf die Silberlinge in den Tempel 9e. Chorus I: Herr, bin ich‘s? 42. Aria (bass): Gebt mir meinen Jesum wieder! 10. Chorale: Ich bin‘s, ich sollte büßen 43. Evangelist, Pilate, Jesus: Sie hielten aber einen Rat und kauften einen Töpfersacker 11. Evangelist, Jesus, Judas: Er antwortete und sprach 44. Chorale: Befiehl du deine Wege 12. Recitative (soprano): Wiewohl mein Herz in Tränen schwimmt 45a. Evangelist, Pilate, Pilate’s wife: Auf das Fest aber hatte der Landpfleger – Chorus I & II: Barrabam! 13. Aria (soprano): Ich will dir mein Herze schenken 45b. Chorus I & II: Laß ihn kreuzigen! 14. Evangelist, Jesus: Und da sie den Lobgesang gesprochen hatten 46. Chorale: Wie wunderbarlich ist doch diese Strafe! 15. Chorale: Erkenne mich, mein Hüter 47. Evangelist, Pilate: Der Landpfleger sagte 16. Evangelist, Peter, Jesus: Petrus aber antwortete und sprach zu ihm 48. Recitative (soprano): Er hat uns allen wohlgetan 17. Chorale: Ich will hier bei dir stehen 49. Aria (soprano): Aus Liebe will mein Heiland sterben 18. Evangelist, Jesus: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane 50a. Evangelist: Sie schrieen aber noch mehr und sprachen 19. Recitative (tenor) and Chorus II: O Schmerz! – Was ist die Ursach aller solcher Plagen? 50b. Chorus I & II: Laß ihn kreuzigen! 20. Aria (tenor) and Chorus II: Ich will bei meinem Jesu wachen – So schlafen unsre Sünden ein 50c. Evangelist, Pilate: Da aber Pilatus sahe, daß er nichts schaffete 21. Evangelist: Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete 50d. Chorus I & II: Sein Blut komme über uns und unsre Kinder. 22. Recitative (bass): Der Heiland fällt vor seinem Vater nieder 50e. Evangelist: Da gab er ihnen Barrabam los 23. Aria (bass): Gerne will ich mich bequemen, Kreuz und Becher anzunehmen 51. Recitative (alto): Erbarm es, Gott! Hier steht der Heiland angebunden. 24. Evangelist, Jesus: Und er kam zu seinen Jüngern und fand sie schlafend 52. Aria (alto): Können Tränen meiner Wangen 25. Chorale: Was mein Gott will, das gscheh allzeit 53a. Evangelist: Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich 26. Evangelist, Jesus, Judas: Und er kam und fand sie aber schlafend 53b. Chorus I & II: Gegrüßet seist du, Jüdenkönig! 27a. Aria (soprano, alto) and Chorus II: So ist mein Jesus nun gefangen – Laßt ihn, haltet, bindet nicht! 53c. Evangelist: Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt. 27b. Chorus I & II: Sind Blitze, sind Donner in Wolken verschwunden? 54. Chorale:O Haupt, voll Blut und Wunden 28. Evangelist, Jesus: Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus 55. Evangelist: Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus 29. Chorale: O Mensch, bewein dein Sünde groß 56. Recitative (bass): Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein

18 19 57. Aria (bass): Komm, süßes Kreuz, so will ich sagen (see No. 56) 58a. Evangelist: Und da sie an die Stätte kamen mit Namen Golgatha ARTISTS: ST. MATTHEW PASSION 58b. Chorus I & II: Der du den Tempel Gottes zerbrichst 58c. Evangelist: Desgleichen auch die Hohenpriester spotteten sein Dann Coakwell, tenor TENOR 58d. Chorus I & II: Andern hat er geholfen und kann ihm selber nicht helfen. Paul Max Tipton, baritone Paul D’Arcy Noah Horn 58e. Evangelist: Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren CONSPIRARE Scott Mello 59. Recitative (alto): Ach Golgatha, unselges Golgatha! Craig Hella Johnson, Jos Milton 60. Aria (alto) and Chorus II: Sehet, Jesus hat die Hand uns zu fassen ausgespannt, kommt! –Wohin? artistic director & conductor Blake Morgan 61a. Evangelist, Jesus: Und von der sechsten Stunde an war eine Finsternis über das ganze Land BASS 61b. Chorus I: Der rufet dem Elias! CHOIR I Jason Awbrey 61c. Evangelist: Und bald lief einer unter ihnen, nahm einen Schwamm Dashon Burton 61d. Chorus II: Halt! Laß sehen, ob Elias komme und ihm helfe. SOPRANO David Farwig 61e. Evangelist: Aber Jesus schriee abermal laut und verschied. Melissa Givens John Proft Stefanie Moore Thann Scoggin 62. Chorale: Wenn ich einmal soll scheiden Esteli Gomez 63a. Evangelist: Und siehe da, der Vorhang im Tempel zerriß Mela Dailey ROLES 63b. Chorus I & II: Wahrlich, dieser ist Gottes Sohn gewesen. Sonja DuToit Tengblad Evangelist: Dann Coakwell 63c. Evangelist: Und es waren viel Weiber da, die von ferne zusahen Jesus: Paul Max Tipton ALTO Peter: Thann Scoggin 64. Recitative (bass): Am Abend, da es kühle war Janet Carlsen Campbell High Priest I: Bradford Gleim 65. Aria (bass): Mache dich, mein Herze, rein Tynan Davis High Priest II: Cameron Beauchamp 66a. Evangelist: Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand Sarah Ihlefield Witness 1: Helen Karloski 66b. Chorus I & II: Herr, wir haben gedacht, daß dieser Verführer sprach Laura Mercado-Wright Witness II: Wilson Nichols Elizabeth Petillot Maid I: Julie Keim 66c. Evangelist, Pilate: Pilatus sprach zu ihnen Maid II: Kathlene Ritch 67. Recitative (bass, tenor, alto, soprano) and Chorus II: Nun ist der Herr zur Ruh gebracht. – TENOR Judas: Harris Ipock Mein Jesu, gute Nacht! Eric Neuville Pilate: Dashon Burton 68. Chorus I & II: Wir setzen uns mit Tränen nieder Brian Giebler Pilate’s Wife: Melissa Givens Carr Hornbuckle Wilson Nichols OTHER SOLOS IN ORDER OF APPEARANCE BASS 5. Recitative & 6. Aria: Janet Carlsen Campbell Cameron Beauchamp 8. Aria: Shari Alise Wilson Charles Wesley Evans 12. Recitative & 13. Aria: Stefanie Moore Rick Gabrillo 19. Recitative & 20. Aria: Eric Neuville Bradford Gleim 22. Recitative & 23. Aria: Dashon Burton Harris Ipock 27. Aria: Melissa Givens & Tynan Davis 30. Aria: Sarah Ihlefeld CHOIR II 34. Recitative & 35. Aria: Brian Giebler 39. Aria: Laura Mercado-Wright SOPRANO 42. Aria: David Farwig Julie McCoy 48. Recitative & 49. Aria: Sonja DuToit Tengblad Julie Keim 51. Recitative & 52. Aria: Emily Lodine Rebecca Muñiz 56. Recitative & 57. Aria: Harris Ipock Kathlene Ritch 59. Recitative: Elizabeth Petillot Shari Alise Wilson 60. Aria: Helen Karloski 64. Recitative & 65. Aria: Charles Wesley Evans ALTO 67. Recitative: Mela Dailey, Keely Rhodes, Scott Mello, Wendy Bloom John Proft Cina Crisara Helen Karloski Emily Lodine Keely Rhodes

20 21 ARTISTS: ST. MATTHEW PASSION ARTISTS: ST. MATTHEW PASSION

CONSPIRARE YOUTH CHOIRS OBOE Tenor Dann Coakwell made his solo debut at in 2010 in the lead role of Andrey in the premiere CHAMBER ENSEMBLE Marc Schachman, Principal of Prokofiev’s newly discovered and reconstructed opera act Dalyekie Morya (Distant Seas). He has recorded Nina Revering, artistic director & conductor Lani Spahr with Conspirare and performed as a soloist internationally and stateside with such acclaimed conductors as Helmuth Rilling, Masaaki Suzuki, Matthew Halls, Craig Hella Johnson, and former King’s Singers Simon Car- Urvi Alamela BASSOON rington and Gabriel Crouch. He holds an Artist Diploma in Vocal Performance from Yale University, an MM from Elena Alcala Danny Bond Texas Tech University, and a BM from the University of Texas. danncoakwell.com Chiara Alvisi Lexi Anderson HARPSICHORD Baritone Paul Max Tipton performs repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He Lauren Datres Keith Womer has been a soloist under notable conductors and performed with Bach Collegium Japan, New York Philhar- Claire Dugan monic, Apollo’s Fire, Seraphic Fire, and Orchestra of St. Luke’s. Recent engagements include Britten’s War Clare Edgar VIOLA DA GAMBA Requiem, Rameau’s La Lyre Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, which earned a Simone Heim Mary 2012 Grammy nomination. His singing of the Bach Passions is noted for strength and sensitivity. He studied Sarah Helmbrecht at the University of Michigan and Yale University, and is a Lorraine Hunt Lieberson Fellow at Emmanuel Music Nikhil Lyles ORCHESTRA II in Boston. paulmaxtipton.com Juliana Marshall Sesha McMinn VIOLIN Carolyn Nuelle Gesa Kordes, Principal Violin I Libby Rayos Boel Gidholm, Principal Violin II Adi Sankaran Susan Doering Ari Sher Joan Carlson Abigail Stewart Matthew Detrick Alyssa Wixson Juan Jaramillo

VIOLA VICTORIA BACH FESTIVAL Melissa Brewer ORCHESTRA Andrew Justice Craig Hella Johnson, conductor CELLO ORCHESTRA I Christopher Haritatos Jane Leggiero VIOLIN Stephen Redfield,C oncertmaster DOUBLE BASS Karen Clarke, Principal Violin II J. Tracy Mortimore Bruce Colson Jann Cosart FLUTE Kana Kimura Lars Johannesson, Principal Maria Lin Emi Ferguson

VIOLA OBOE Suzanna Giordano-Gignac Margaret Owen, Principal Renata van der Vyver MaryAnn Shore

CELLO BASSOON Myron Lutzke Kate van Orden Dieter Wulfhorst ORGAN DOUBLE BASS Thomas Pavlechko Melanie Punter

FLUTE Stephen Schultz, Principal Mindy Rosenfeld

22 23 Crowd chorus. These are integral with the Evangelist’s part, flowing seamlessly in and PROGRAM NOTES: ST. MATTHEW PASSION out of his narration and requiring the singers to instantly summon up adoration, rage, confusion, contrition, and bloodlust.

The daunting challenge of learning quickly about a monumental work like J. S. Bach’s Grand chorus. Three choral pillars provide a somber frame at the beginning, middle, St. Matthew Passion may best be met with an “executive summary” of the top things to and end of the Passion. Immense in scale and intricately constructed, they are human- know before listening: ized by intimate touches like the final chorus’s touching “lullaby” for Jesus, introduced by the soloists’ four preceding farewell recitatives (No. 67). Follow the text. The listener could get bewildered unless she or he follows along during the performance. There are almost 5,000 words, including two complete chapters from Chorale: compassion for us. In the chorales, Bach’s Lutheran congregation could have the Bible, interpolated texts by Christian Friedrich Henrici (“Picander”), and chorale joined in singing the familiar four-part hymns, involving it viscerally in the drama. The texts. Sometimes the drama advances quickly; often it stops for an intense musical carefully chosen texts often give the faithful Christian’s poignant answers to questions expression of particular emotions. posed by the preceding Gospel or aria texts, as when the disciples ask Jesus who will betray him (“Is it I?”) and the subsequent chorale answers, “It is I” (Nos. 9-10). An unsurpassed masterpiece. The St. Matthew Passion is the crowning achievement of one of the greatest composers of all time and the culmination of a long tradition of Starring instruments. This performance is on period instruments, with the orches- musical Passion settings performed during Holy Week, the week before Easter. The first tras tuned to a lower pitch than modern orchestras. Each aria and duet is distinctly performance—with a sermon in the middle—was in 1727, at Good Friday vespers in orchestrated in illustration of its poetic text, usually with a solo instrument playing a Leipzig’s St. Thomas Church. The Passion’s heartfelt expression of Bach’s deep Christian colorful obbligato. For example, the tenor aria “Geduld (Patience)” (No. 35) features a faith also reveals him as one of the greatest evangelists of all time. viola da gamba (a cello-like instrument with six strings). In the soprano aria “Aus Liebe (Out of love)” (No. 49), the extremely spare orchestration includes only a solo flute ac- No resurrection here. “Passion” is from the Latin Passio, “suffering and death.” The companied by two oboes, expressing the sinner’s emptiness in the face of Jesus’s supreme story begins in the turmoil of Jesus’s last days in Jerusalem and ends with his crucifixion sacrifice. and burial. The bleak drama is brought to life by Bach’s near-cinematic characterizations and softened by his constant musical expression of the Christian tenets of love, grace, Sleeper, awake! Active listeners frequently note that the three-hour Passion seems to and salvation. have gone by in a flash. The great variety of music in thePassion is entertaining in itself, and surprises abound, for example the startling interjections by Chorus II in the It’s BIG. Bach composed the Passion for two orchestras and two choruses, plus chil- quietly-flowing duet “So is my Jesus captured now” followed by an eruption of antipho- dren’s chorus. The Evangelist has the longest role, reciting the bulk of Chapters 26 and nal thunder and lightning from both choruses (No. 27). Venture outside this summary 27 of the Gospel According to Matthew. Vocal soloists sing Picander’s interpolated aria to puzzle out Bach’s word painting, or to name the particular emotion expressed in texts, and other soloists sing the character roles of Jesus, Peter, Pilate, and others. The each aria (like the attempt above for No. 49, “Aus Liebe”). It will become evident that two choruses sing the crowd roles from Matthew, including Jesus’s disciples, the people Bach’s message is clear, but the words of any language other than that of music itself are of Jerusalem, and the Jewish leaders. In antiphonal sections of several choruses, Chorus inadequate to describe it. II asks questions and Chorus I gives the answers. They also play the role of “us” (as the faithful Christian) in the chorales. These big forces express themselves in a variety -Eric Leibrock of configurations ranging from near-speech to extremely elaborate choral forms, often combined or blurred in fascinating ways:

Recitative/arioso. The Evangelist’s recitative (quasi-spoken declamation), permeating and unifying the entire Passion, is accompanied by harpsichord and cello continuo. In contrast, Jesus’s recitative is surrounded by a glowing halo of strings with organ. In the Last Supper scene (No. 11), Jesus’s recitative grows ever more impassioned until it becomes a lyrical arioso ending with an aria-like cadence. All the recitatives and crowd choruses connected to them are filled with musical word painting: individual words of the text illustrated with a distinctive motif or harmonic turn.

Aria/duet. Recitatives also introduce the formal da capo arias, which offer extended expression of particular emotional moments in the story. These are of an A-B-A form: the opening melody is repeated, often with ornamentation, after a middle contrasting section.

24 25 COMPASSION DIALOGUES COMPASSION SINGERS

Craig Hella Johnson Rick Gabrillo Experience the creative process and the meaning of the comPassion music and texts ARTISTIC DIRECTOR & CONDUCTOR ASSOCIATE CONDUCTOR in your own life. All comPassion Dialogues are free (pre- and post-concert Dialogues included in ticket price).

Compassion and Pietà Pre-concert talk with composer John Muehleisen, introduced by fellow composer Robert Kyr. Thursday, June 5, 6:15 pm, St. Mary’s Catholic Church, Fredericksburg Friday, June 6, 6:45 pm, St. Martin’s Lutheran Church, Austin Saturday, June 7, 6:45 pm, St. Martin’s Lutheran Church soprano soprano soprano soprano Mela Dailey Melissa Givens Estelí Gomez Nicole Greenidge Joseph Pietà Talkback AUSTIN, TX HOUSTON, TX WATSONVILLE, CA BIRMINGHAM, MI Post-concert conversation with John Muehleisen, Craig Hella Johnson, and the artists. Friday, June 6, 9:45 pm

A Passion Walk for Our Time Robert Kyr, Craig Hella Johnson, and Conspirare Symphonic Choir shape the libretto for Kyr’s work-in-progress The Passion According to an Unknown Witness. Saturday, June 7, 11:00 am, Grace United Methodist Church, Austin

The Passion as Text for Music soprano soprano soprano soprano Julie Keim Julie McCoy Stefanie Moore Rebecca Muñiz Robert Kyr talks about how the Passion text has inspired some of history’s greatest music. NORTH POTOMAC, MD FORT WORTH, TX BALTIMORE, MD AUSTIN, TX Saturday, June 7, 2:00 pm, St. Martin’s Lutheran Church

Passion as Requiem, Requiem as Passion Pre-concert creative conversation with Robert Kyr and Craig Hella Johnson about the connection between the two genres, particularly as related to Johnson’s Consider- ing Matthew Shepard and Duruflé’s Requiem. Sunday, June 8, 7:00 pm, St. Matthew’s Episcopal Church, Austin

soprano soprano soprano alto Songs of the Soul CD Release Party Kathlene Ritch Sonja DuToit Tengblad Shari Alise Wilson Wendy Bloom Celebrate Conspirare’s upcoming release of Robert Kyr’s Songs of the Soul and enjoy SANTA FE, NM JAMAICA PLAIN, NY WATERTOWN, MA SOUTH LYON, MI ice cream by Amy’s! Tuesday, June 10, 7:15 pm, St. Martin’s Lutheran Church

St. Matthew Passion as the Embodiment of Compassion Robert Kyr discusses J.S. Bach’s St. Matthew Passion and its relationship to the theme of compassion. Saturday, June 14, 7:00 pm, St. Martin’s Lutheran Church Sunday, June 15, 2:00 pm, St. Martin’s Lutheran Church

alto alto alto alto Janet Carlsen Campbell Cina Crisara Tynan Davis Sarah Ihlefeld Please visit Conspirare.org for information about open rehearsals. OMAHA, NE AUSTIN, TX NEW YORK, NY SANTA FE, NM

26 27 COMPASSION SINGERS COMPASSION SINGERS

alto alto alto alto tenor bass bass bass Helen Karloski Emily Lodine Laura Mercado-Wright Elizabeth Petillot Wilson Nichols Jason Awbrey Cameron Beauchamp Dashon Burton NEW YORK, NY MAGNOLIA, MN PFLUGERVILLE, TX EAU CLAIRE, WI NEW HAVEN, CT DALLAS, TX AUSTIN, TX NEW YORK, NY

alto tenor tenor tenor bass bass bass bass Keely J. Rhodes Dann Coakwell Paul D’Arcy Brian Giebler Charles Wesley Evans David Farwig Rick Gabrillo Bradford Gleim HOME, WV NEW HAVEN, CT AUSTIN, TX NEW YORK, NY NORTH BAY VILLAGE, FL KANSAS CITY, MO AUSTIN, TX BOSTON, MA

tenor tenor tenor tenor bass bass bass bass Ross Hauck Noah Horn Carr Hornbuckle Robbie LaBanca Harris Ipock Glenn A. Miller John Proft Thann Scoggin ISSAQUAH, WA ANN ARBOR, MI SAN ANTONIO, TX AUSTIN, TX CAMBRIDGE, MA BIRMINGHAM, MI SACRAMENTO, CA AUSTIN, TX

tenor tenor tenor tenor bass Scott Mello Jos Milton Blake Morgan Eric Neuville Paul Max Tipton LEIDEN, THE NETHERLANDS OXFORD, MS DETROIT, MI SEATTLE, WA BOSTON, MA

28 29 COMPASSION COMPOSERS CONSPIRARE

John Muehleisen holds music degrees from California State University-Sacra- mento and University of Washington. He specializes in works for choir and solo voice. Since 1996, he has served as composer-in-residence and artistic advisor for Seattle-based Opus 7 Vocal Ensemble, directed by Loren Pontén, and has writ- ten more than fifteen works for the group. John’s works have been performed and recorded by numerous ensembles in the U.S., Canada, and Europe, including Bel- levue Chamber Chorus, Choral Arts (Seattle), Choral Arts Ensemble (Rochester, MN), Conspirare, the Dale Warland Singers, The Esoterics, Musa Horti (Belgium), Northwest Girlchoir, Opus 7, The Richard Zielinski Singers, Seattle Girls Choir, Seattle Pro Musica, Vocal Arts Ensemble (Cincinnati), numerous college and university choirs, and the Louisville Orchestra. Nearly half of his 30+ choral works have been commercially recorded and released or are pending release. Commissions and performances of his works have been supported by grants from the American Music Center, Meet the Composer, the Jerome Foundation, the M. Ditson Fund of Columbia University, and the National Endowment for the Arts. John served as composer-in-residence for the Dale Warland Singers for their final season (2003-2004) and for Conspirare’s American Masterworks Choral Festival (2007).

New York-based musicians Doug and Brad Balliett are identical twins born in 1982. They co-host radio show The Brothers Balliett on New York City WQXR’s Q2 new music channel, and describe themselves as fiercely competitive.

Bassoonist, composer, and teaching artist Brad Balliett holds degrees from The word “conspirare” is from the Latin “con” and “spirare,” Harvard and Rice, and is known for innovative performance, composition, and meaning “to breathe together.” programming. He is principal bassoon of the Princeton Symphony and appears regularly with numerous groups in and around NYC including Decoda, of which Founded in 1991 to present a summer classical music festival in Austin, Texas, he is a founding member and artistic planner. Brad has also performed as principal Conspirare has become an internationally recognized, professional choral bassoonist of Houston Symphony and American Ballet Theater. As a composer, he organization now in its twenty-first season. Led by founder and artistic director has been composer-in-residence with the Chelsea Music Festival and a Spotlight Craig Hella Johnson, Conspirare is comprised of two performing ensembles Artist at the Lucerne Festival. A devoted teaching artist, Brad frequently performs and an educational program. A professional chamber choir (“Conspirare”) of creative community-based projects in hospitals, prisons, and shelters. extraordinarily talented singers from around the country is presented in an annual concert series in Austin, other Texas communities, and locations in the U.S. and Double bassist and composer Doug Balliett holds degrees from Harvard and Juil- abroad. The Conspirare Symphonic Choir of both professional and volunteer liard, and his career spans composition, conducting, and performance. As a double singers performs large choral/instrumental works, often in collaboration with bassist he has performed with Ensemble Modern, San Antonio Symphony, Handel other organizations such as the Austin Symphony. The Conspirare Youth Choirs is & Haydn Society, Pink Martini, and more. As a member of the band Oracle Hys- an educational program for singers ages 8-17, who learn and perform in two separate terical he and his collaborators have presented hip-hoperas, art rock song cycles, ensembles, Kantorei and Allegro (formerly Conspirare Children’s Choir). rap cantatas, and other genre-bending works all over America and Europe. Recent composition projects include a song cycle based on The Brothers Grimm and rap Conspirare made its first commercial recordingthrough the green fuse in 2004 cantatas based on Ovid. Upcoming premieres include a work for the San Antonio on the Clarion Records label. A second CD, Requiem, also on Clarion and since Symphony and a work for brass trio to be performed in Carnegie Hall. reissued by Harmonia Mundi, was released in 2006 and received two Grammy® nominations. Harmonia Mundi released Requiem internationally in 2009, and it received the Netherlands’ prestigious 2010 Edison Award in the choral music category. The Edison is the Dutch equivalent of the U.S. Grammy.

30 31 Threshold of Night was released worldwide in 2008 on the Harmonia Mundi label, Conspirare’s first title for the distinguished recording company, and received two CRAIG HELLA JOHNSON Grammy nominations. In 2008, in cooperation with Austin’s public television station KLRU, Conspirare filmed the PBS television special “A Company of Voices: Conspirare in Concert,” which was broadcast nationally in 2009, is available on both DVD and CD, and received a Grammy nomination. Conspirare’s next recordings were Sing Freedom! African American Spirituals and : An American Romantic, released in 2011 and 2012 respectively. Its latest CD in September 2013 features two world premiere works by Pulitzer-winning composer Kevin Puts.

In 2005 Conspirare received the Margaret Hillis Award for Choral Excellence from national service organization Chorus America. In 2007, as one of the select choruses to receive a grant from the National Endowment for the Arts under its American Masterpieces initiative, Conspirare presented a four-day festival with a distinguished gathering of composers and conductors, performances of three world premieres, and a gala closing concert with a 600-voice choir.

In July 2008 Conspirare represented the U.S. at the Eighth World Symposium on Choral Music in Copenhagen, joining invited choirs from nearly forty countries. The choir has performed at the American Choral Directors Association annual convention and for several regional ACDA conventions. Conspirare received the 2010 Dale Warland Singers Commission Award from Chorus America to support the commission of a new work by Seattle composer Eric Banks. In February 2011 Craig Hella Johnson brings unparalleled depth of knowledge, artistic sensitivity, Conspirare gave three invited performances in New York City under auspices of the and rich imagination to his programs. As founder and artistic director of the Weill Music Institute of Carnegie Hall. In March 2012 the ensemble toured several ® Midwestern states, and in fall 2012 traveled to France for six invited performances five-time Grammy -nominated, Austin-based professional choir Conspirare, at the Polyfollia Festival and a public concert in Paris. Conspirare became a Johnson assembles some of the finest singers in the country to form a world- Resident Company of the Long Center for the Performing Arts in 2013. class ensemble. In addition to his work with Conspirare, Johnson is artistic director of the Victoria Bach Festival, a major regional summer festival that attracts audiences from all over the state, and music director of the Cincinnati Vocal Arts Ensemble. He has also served as guest conductor with the Austin Symphony, San Antonio Symphony, and others in Texas, the U.S., and abroad. Through these activities as well as Conspirare’s recordings on the internationally distributed Harmonia Mundi label and performances in multiple Texas communities and beyond, Johnson brings national and international recognition to the Texas musical community.

Beloved by audiences, lauded by critics and composers, and revered by vocal and instrumental musicians, Johnson is known for crafting musical journeys that create deep connections between performers and listeners. A unique aspect of Johnson’s programming is his signature “collage” style: programs that marry music of many styles from classical to popular to create profoundly moving

32 33 experiences. The Wall Street Journal has praised Johnson’s ability to “find the SUPPORTERS emotional essence other performers often miss.” Distinguished composer John Corigliano wrote, “I believe that [Johnson] has understood my music in a way that I have never experienced before. He is a great musician.” Composer and SEASON SUSTAINING UNDERWRITER collaborator Robert Kyr observed, “Craig’s attitude toward creating a community of artists … goes beyond technical mastery into that emotional depth and spiritual life of the music.”

Johnson was Director of Choral Activities at the University of Texas at Austin (1990-2001) and remains an active educator, teaching and giving clinics BUSINESS & FOUNDATION SUPPORTERS statewide, nationally, and internationally at conferences and universities. In fall 2012 he became the first Artist in Residence at the Texas State University Bain Consulting The Aaron Copland School of Music. As composer, arranger, and music editor, Johnson works with Fund for Music G. Schirmer Publishing and Alliance Music Publications; his works have sold thousands of copies. The Keating Family The Ann & Gordon Foundation Getty Foundation Johnson’s accomplishments have been recognized with numerous awards. Most recently, the Texas Legislature named him the Texas State Musician for

2013. Other honors have included 2008 induction into the Austin Arts Hall The Kodosky The Mattsson McHale Russell Hill Rogers Fund Foundation Foundation for the Arts of Fame, Chorus America’s 2009 Louis Botto Award for Innovative Action and Entrepreneurial Zeal, and the 2011 Citation of Merit from international professional music fraternity Mu Phi Epsilon. Johnson studied at St. Olaf The Still Water Scott Van Osdol The Rachael & Foundation Photographer Ben F. Vaughan Foundation College, the Juilliard School, and the University of Illinois, and earned his doctorate at Yale University. He has been a Texas resident since 1990.

PUBLIC FUNDING AGENCIES

This project is funded and supported in part by a grant from the National Endowment for the Arts, Texas Commission on the Arts, and the City of Austin through the Cultural Arts Division, believing an investment in the arts is an investment in Austin’s future. NowPlayingAustin.com.

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34 35 CONSPIRARE BOARD & STAFF DONORS Cash and in-kind gifts received from individuals, foundations, businesses, and government agencies between July 1, 2013 and May 21, 2014. We express our gratitude to each and every donor.

BOARD OF DIRECTORS ARTISTIC & MAESTRO CIRCLE ($25,000+) GOLDEN BATON CIRCLE ($2,500-$4,999) Robert J. Karli, CHAIR ADMINISTRATIVE STAFF City of Austin Dian Graves Owen Foundation, Toya Cirica Haley, VICE CHAIR City of Austin Cultural Arts Division Dian Graves Owen and Harlan Stai Craig Hella Johnson Mary Anne Connolly, SECRETARY Kodosky Foundation, Gail & Jeffrey Kodosky The Fetzer Institute Larry Collmann, TREASURER Artistic Director Doug Bain South Texas Money Management William Bednar & Flo Ann Randle Paul Melroy Ken Beck Estate of Jerry Craft Joyce & Ken Beck Managing Director William C. Bednar Fran & Larry Collmann Casey Blass & Lee Manford Michael Blair Tamara Blanken Robert Kyr Catherine Clark Fran Collmann Online Services Manager Robert Harlan Janis & David Claflin Hope Morgan Melissa J. Eddy IMPRESARIO CIRCLE ($15,000-$24,999) Paula D’Arcy Dan Seriff Director of Marketing Kathy & David Clem Joanne & John Earls David C. Smith Marion Lear Swaybill Rick Gabrillo Lara & Robert Harlan Susanna & Richard Finnell Sheila Youngblood Associate Conductor Sheila & Ryan Youngblood Helen & Bob Hays Manager, Conspirare Youth Choirs Carolyn Keating Wravan Godsoe BENEFACTOR CIRCLE ($10,000-$14,999) Carolyn & Marc Seriff ADVISORY BOARD Office Manager Ellen Justice & Eric Leibrock Suzanne & John Shore Stephen Aechternacht Robert Harlan Richard Hartgrove & Gary Cooper David C. Smith John Aielli Stage Manager Sue Barnes Mike & Gayle Glass Roche Anne & William Wagner Mark Bierner Ben King Patricia & Chris Yost Production Assistant Ray Brimble PLATINUM BATON CIRCLE ($5,000-$9,999) David Burger Meri Krueger Getty Foundation SILVER BATON CIRCLE ($1,000-$2,499) David Claflin Artist Relations Russell Hill Rogers Fund for the Arts Fischer & Wieser Specialty Foods Tom Driskoll Rachael & Ben F. Vaughan Foundation Frost Bank Virginia Dupuy Kathy Leighton Maydelle Fason House Manager Ginger & Michael Blair Nancy & Randy Baden JoLynn Free Elle Mahoney Dixie Camp Suzanne & Eric Batchelder Billy Gammon Production Manager Danna & Crutch Crutchfield Pat & Robert Brueck Vance George Ann McNair Lynne Dobson & Greg Wooldridge Sarah & Ernest Butler Helen Hays Executive Assistant to the Artistic Director Bryan Dunkin Annette Carlozzi & Dan Bullock Dan Herd Director of Program Fulfillment Trish & Robert Karli Shelley Carter William B. Hilgers & Artistic Operations Wayne Holtzman Elizabeth & Jerele Neeld Chris & J. Dennis Cavner Judith Jellison Nina Revering Louise N. Reeser Mary Anne Connolly Bob Murphy Director, Conspirare Youth Choirs Jill & Rick Salwen Robin & Malcolm Cooper Lynn Murphy Loren Riemer Dan Seriff Sandy Dunn & Paul Harford Gayle Glass Roche Grants and Annual Fund Manager Julie & Patrick Willis Ann Fields Nancy Scanlan Angela Smith Christa Schmidt Gwen & Bruce Flory Bernadette Tasher Artistic Operations Intern Mary Nell Frucella Louann Temple Christina Tannert Kim & Steve Gilbert Eva Womack Administrator, Conspirare Youth Choirs Carr Hornbuckle & Jack Leifer Joan & Paul Hudson Rená Thoe Financial Manager Mary Kevorkian Timothy Koock Meredith Thomas Director of Development 36 37 & Steve Larned Al Lambert Nancy & Dale Lowe Gary Greenblum & Desi Koome Kathy & Henry Leighton Lou Ann & William Lasher Linda Monk John Hartman Thomas Lukens Emily Little Cynthia Norvell Jane Hembree Sheila Lummis Rachel Lomas & Andrew Bowman Phil Overbaugh & Craig Johnson Tiburcio Herrera Marcia Manhart Vance McMahan Joyce & Jim Parrish Stuart Hersh Virginia McDermott & William Schleuse Robyn & Bob Metcalfe DeeAnne & Steven Paulson Robert E. Hollingsworth Suzanne Mitchell and Richard Zansitis Suzi & Douglas Nelson Milbrey & Bev Raney Jeffrey Hudson & Robert Blodgett Hope Morgan & Mike Taborn Jan & Gary Pickle Joanne & Jerome Ravel Melissa Huebsch William Nemir Debra & Kevin Reed Rose Reyes Meta Hunt & Trent Miller E. Stuart Phillips Lynn & Dick Rew Joanne & Hamilton Richards Nancy & Bobby Inman Susan & Forest Rees Duane Roth Michal Rosenberger Karen & Peter Jakes Lynn & Dick Rew Augustin Rubio Brigid Shea & John Umphress Chris Jimmerson & Wayne Bockman Judy & Douglas Rhodes Donna & Christy Salinas Carole & Charles Sikes Todd Jermstad Susan & Jack Robertson Brian Sands Genie & Wayne Sorenson Beth & Greg Judd Nancy Scanlan Peter Schram & Harry Ullmann Julie Tereshchuk & Trevor Richards Karen Kirmis Gene Alice & Max Sherman Anthony Senecal & Mark Ashby Faith & Don Trapp Roberta Lang Carol & Michael Stehling Jackie & Bob Shapiro Ashley & Baron Unbehagen Dell Lawhead James Stolpa Ofer Shaul Meg Youngblood Cynthia Lux Marion Lear Swaybill Bernadette Tasher Jane-Elizabeth Madison & Judd Rogers Kerry Tate & Dawn Moore Sandi & Bob Tomlinson SUSTAINERS ($100-$249) Suzanne McAllister Kathleen & Jim Wicoff Lois VanLaningham Dell Giving Program Barbara Miller Eva & Marvin Womack Doreen Wheeler Safeway, Inc. Elizabeth Hansing Moon Blaine Zeiler Bill Wood & Elsa Vorwerk Jonnet & Peter Abeles Beverley & Sean Moore Eva King Andries Nancy Noret Moore SPONSORS ($500-$999) PATRONS ($250-$499) Angela Atwood & Jace Graf Evan Morgan Margaret & Robert Berdahl Jessica Agneessens Jim Austin Janice & Henry Morris Pat Black Jeff & Beth Atherton Brett Barnes Rob Moshein & Bob Atchison George Brennan Cynthia & Patrick Behling Chuck Barnett Judith & William Munyon Kyle Bryson James Bryant & Greg Easley Sally Beaudette Thomas Overbaugh Judy & John Bush Marsha & Tom Caven Tammy & Merritt Belisle Brittan Pasloske & Mary Lea McAnally Kay Delcher Elizabeth and Nathaniel Chapin Anne & Robert Bertholf Nancy Podio Tracy & Michael DiLeo Jane Cook George Brown Diane Post Deborah Dobbs Lisa & Eric Craven Chris Brown Anne Praderas & Tony Vance Beth & Mark Doty Karel Dahmen James Copeland Celeste Prince Melissa Eddy & Tracy Schiemenz Sharon Duboise Monica & Mark Cravotta Leilani Rose Maydelle & Sam Fason Jeffrey Wayne Dyer Cina Crisara Mary Sheppard Cheryl Fuller Susan Nash Fekety Richard Davis Mark Skrabacz Evelyn & Rick Gabrillo Mary Anne Flournoy Sid Davis Jim Sotiros Joe & Sally Grenard-Moore Glenda Goehrs Mary Alice & Mike DeBow Spicer Toya Cirica Haley & Stephen Bell Carolyn Harris Hynson Doug Dempster Catherine Sullivant Martha & David Harrington Jon Kelly Robin & Karl Dent Susan Trautmann Michael Kentor Janie Keys & Ivan Milman Nina & Jeffrey Di Leo Cathy White James Kettlewell Richard Knox Rick & Pam Elrod Huffman Patricia Wilson Karen Kibler & Tom Grimes Diana & Sam Kuninger Glenda Flanagan Brenda & Harold Wright Dina Kuntz Lawrence Lawver Jill & Jeff Frank John Yeaman

38 39 Conspirare also thanks all donors of gifts under $100 and THANK YOU regrets that space does not permit listing of each name. Your support is equally appreciated. We strive to publish CONSPIRARE AMBASSADORS an accurate donor list. If an error or omission is noted, Deshon Aaron Ed & Eileen Lundy* please let us know Julie Adams Michael & Judy Matula* Bryce Beasley Margaret Menninger* LEGACY OF SOUND DONORS Taja Beekley Ray & Kathy Moore* Bain Consulting Lisa Belli Susan Morgan The Kodosky Foundation Catherine Bingle* Robert Moshein & Bob Atchison* The Mattson McHale Foundation Pat Black Rebecca Muniz* The Still Water Foundation Darrell Blandford* Bill Nemir* Anonymous (2) Andy Bowman & Rachel Lomas* Kay Nunn William Bednar & Flo Ann Randle Sam & Anne Byars* Marilynn Pagano Ginger & Michael Blair Mark Canfield & Mike Burroughs* Betsy Pharis Pat & Robert Brueck Joan Carlson* Diana Phillips Catherine Clark Mike Carpenter Robert Pitman* Fran & Larry Collmann Julie Carterson Jack & Susan Robertson* Mary Anne Connolly Chris Cavner Christy Salinas Danna & Crutch Crutchfield Catherine Clark* Alan & Linda Seelinger* Susanna & Richard Finnell Celinda Coakwell* Mary Simon Toya Cirica Haley Larry & Fran Collmann* Mary Stephenson* Lara & Robert Harlan Bruce Colson* Tenaya Sunbury Richard Hartgrove & Gary Cooper Mary Anne Connolly* Bernadette Tasher* Helen & Bob Hays Carl & Kathryn Ehlert Greg & Veryan Thompson Ellen Justice & Eric Leibrock Ann & Ray Ellison Carol Walker Trish & Robert Karli Dale Elmshaeuser Patrick & Julie Willis* Robert Kyr Joey & LisaDiane Etheridge* Ryan & Sheila Youngblood* Wendi & Brian Kushner Rick & Jeanne Farleigh* *Artist host Lou Ann & William Lasher Yasser Farra & Meri Krueger* Craig & Susan Lubin Tim & Vivian Ferchill Conspirare Ambassadors volunteer as Louise Morse Richard & Susanna Finnell* ushers, CD sales associates, artist hosts, and for other concert functions. We invite Elizabeth and Jerele Neeld Michelle Fisher new volunteers who would enjoy meeting E. Stuart Phillips Caroline Frommhold the public and contributing to Conspira- Nancy Quinn & Thomas Driscoll Cheryl Fuller re’s operations to contact House Manager Susan & Jack Robertson Mary Gifford Kathy Leighton at kleighton@conspirare. Nancy Scanlan Glenda Goehrs* org to learn more. Dan Seriff Cyndi Griesser Bea Ann Smith Ben & Colby Hall* David C. Smith Georgina Hudspeth Marion Swaybill Lily Karsanow Ann & William Wagner Stan & Biruta Kearl* Julie & Patrick Willis Chris & Eva Laskaris* Sheila Jo Wojcik Eric Leibrock & Ellen Justice* Sheila & Ryan Youngblood Henry Leighton

40 41 CONSPIRARE PRODUCTION TEAM Rachel Atkinson Roland Barrera Viera Buzgova Gary Goethe Bob Hays Elaine Jacobs Richard Knox Michael Kriese Ben Schave Christa Schmidt Tenaya Sunbury Dax Taruc

FREDERICKSBURG DONORS* & VOLUNTEERS Bill Burns Fischer & Wieser Specialty Foods * Timothy Koock* Marcia Manhart* Susan & Frosty Rees* Regina Rosenwinkel Dr. John & Suzanne Shore* Midday Music Series Dian & Harlan Stai* This series connects art at the Blanton to a broad range of musical genres. Held the last Mary Studer Tuesday of each month at noon in the museum’s Rapoport Atrium. Media Sponsor: FRIENDS & SUPPORTERS June 24: Austin American Statesman Duo Epsilon (flute and guitar) plays a program that explores the ways that Austin Chronicle classical composers and visual artists incorporate regional folk music into their practice. Blanton Museum of Art July 29: A bilingual presentation of Peter and the Wolf [Pedro y el lobo] co-presented with Carmelo’s Austin Chamber Music Center. English narration by KUT’s Nathan Bernier. Chez Zee Giant Noise Public Relations Grace United Methodist Church – Linda Kessie, Cheryl Rader Hispanic Heritage Outreach Concert Robert Harlan Thursday, July 24 | 12 p.m. Helen Hayes With commentary in English and Spanish, this gallery concert connects Latin Hornaday Design KMFA-FM American music to art on view in America/Americas. Presented in conjunction with KUT/KUTX FM Austin Chamber Music Festival. Christopher Novosad, Tiki2.com Beat the Rush Philip Overbaugh Third Thursdays at 5:30 p.m. Karen Sachar Photography St. Martin’s Lutheran Church – Thom Pavlechko, Chris Baker Beat the Rush is a dynamic music program that features musical responses to works in the St. Mary’s Catholic Church – Fr. Enda McKenna Blanton’s galleries. Composer and musician Peter Stopschinski serves as series curator. St. Matthew’s Episcopal Church – Jean Fuller June 19: Peter Stopschinski and Elaine Barber South Texas Money Management – Jeanie Wyatt, Josie Dorris July 17: Churchwood TesCom, Inc. August 21 Texas Performing Arts : Justin Sherburn University Federal Credit Union Blanton Museum of Art / The University of Texas at Austin / 512.471.7324 / www.blantonmuseum.org Victoria Bach Festival – Nina Di Leo

42 43 Celebrate The Arts!

We're Saving a Chair for You! Before or After the Show.

Bistro | Bar | Bakery | Banquets 5406 Balcones Dr. Austin 512.454.2666 ChezZee.com

44 45 CreAtive PeOPle CAN’t Be StOPPeD. TEXAS PERFORMING ARTS 2014-2015 SEASON

See it live here. texasperformingarts.org | SubScribe Now

Photos: John deane, michael wilson, Jeff heimsath, michael hart

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