Dynamic Mass in Convergence B Minor Featuring Duruflé’s Requiem By J. S. Bach June 5 & 6, 2010 June 12 & 13, 2010

2009-2010 season 1 Dynamic Convergence Mass in B Minor featuring Requiem by Maurice Duruflé by

Conspirare Symphonic Choir Conspirare VICTORIA BACH FESTIVAL Victoria Bach Festival Chorus Victoria Bach Festival Orchestra ACKNOWLEDGEMENTS Judith and Gerre Hancock, organ Soloists from the ensembles Keely Rhodes, mezzo soprano The Sunday, June 6 performance of David Farwig, baritone Saturday, June 12, 8:00 pm Dynamic Convergence is generously underwritten by: Our Savior’s Lutheran Church, Victoria Saturday, June 5, 8:00 pm Presented in collaboration with the First Victoria University Presbyterian Church, Austin Victoria Bach Festival W e l l s Fa r g o B a n k H a r r i s & G r e e n w e l l , L . L .P. Sunday, June 6, 4:30 pm Sunday, June 13, 7:00 pm R e b e c c a K i e s c h n i c k Corpus Christi Cathedral, Corpus Christi Pre-concert talk by Margaret Perry, 6:00 pm L aw Off F i c e o f P erry & Haas Presented in collaboration with the Dell Hall, Long Center for the s H e l i a & R i c k R o g e r s Victoria Bach Festival Performing Arts, Austin E n g l i s h & C l e m o n s , L . L .P. P e g g y G i r od & Warren W. Freeman in memory o f R e v. M o n s i g n o r R o b e r t E . Freeman P.H. , Artistic Director & Conductor tes a Andrew Y

COVER PHOTO: Palace of Wiesbaden-Biebrich BY Joachim Scherf 2 3 D y n a m i c C o n v e r g e n c e D y n a m i c C o n v e r g e n c e program PROGRAM NOTES

Requiem Maurice Duruflé, one of several generations of gifted French organist-composers, Ubi Caritas Plainsong Chant produced only about fifteen compositions, yet their quality is such that he is particularly celebrated among this group of artists. Reading:

Where the mind is without fear Rabindranath Tagore (1861-1941) From the earliest days of his musical education, beginning around his tenth birthday, Cantos Sagrados (Sacred Songs) James McMillan (b. 1959) Duruflé was steeped in the literature of Gregorian chant, and this influence is frequently I. Identity present in his compositions. Upon his move to Paris in 1919 for studies at the Conservatory, II. Virgin of Guadalupe two influences emerge: Charles Tournemire at St. Clotilde, who was strongly rooted in III. Sun Stone Gregorian chant, and Louis Vierne at the Cathedral of Notre Dame, from whom he particularly gained a sense of compositional structure and form. Geistliches Lied, Op. 30 (1833-1897) Duruflé’s Requiem was commissioned in 1947 by the French music publishing company Durand and was written in memory of the composer’s father. Gregorian chant is often I nt e r m i s s i o n present in the Requiem, either by quotation or as a kind of musical shadow. Sometimes, as in the first movement, the chant melody is quoted verbatim in one of the chorus parts; other times it appears as an echo. Only occasionally are all of the voices completely new- -“Osanna in excelsis” and the later portions of “.” Requiem Maurice Duruflé (1902-1986) Introit A second influence in the Requiem can be discerned in that Duruflé’s selection of Kyrie liturgical texts is the same as that used by Gabriel Fauré in his Requiem, completed in Domine Jesu Christe 1877: “Dies Irae” is omitted except for its last phrase (“Pie Jesu Domine”), and “Libera Sanctus me” and “In Paradisum” are borrowed from the Burial Service. The general mood of Piè Jesu Duruflé’s music also emulates Fauré: not merely peaceful, but at peace amid grief through Agnus Dei the gift of God’s grace. Lux Aeterna Libera Me The richness of Duruflé’s Requiem stems from his combination of chant, counterpoint, In Paradisum and church modes with the sumptuous harmony of the French compositional tradition. The early movements of the composition have a deeply felt beauty that leads to, but doesn’t reduce the surprise of, the other-worldliness of “In Paradisum”: whatever we were or had in this world melts completely away as we are drawn to God’s own ineffable presence.

Cantos Sagrados The Scottish composer and conductor James MacMillan, whose substantial list of works manifests a distinctive artistic and spiritual voice, is still finding new audiences. Stephen Johnson in the New Grove Dictionary describes the “characteristically intense expressivity” of MacMillan’s music, an intensity that is often expressed in soft dynamics and with seemingly reduced forces.

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MacMillan writes, “In writing [Cantos Sagrados] I wanted to compose something which Texts and Translations was both timeless and contemporary, both sacred and secular. The title (Sacred Songs) is therefore slightly misleading as the three poems are concerned with political repression in Latin America and are deliberately coupled with traditional religious texts to emphasize Ubi caritas a deeper solidarity with the poor of that sub-continent.” Ubi caritas et amor Where there is charity and love, Deus ibi est. God is there The first of the three songs is the most overtly dramatic, with agitated phrases almost Simul ergo cum in unum congregamur: Likewise, therefore, when we come together Let us be united as one; shouted between sections of the chorus. The motion suddenly stops as the volume drops Ne nos mente dividamur, caveamus. Let us be careful, lest we be divided in intention. to a horrified whisper in a central interlude. The Latin text is heard last as a kind of coda. Cessent jurgia maligna, cessent lites. Let us cease all quarrels and strife. In the second and third songs, one portion of the chorus sings the Latin text in very slow Et ex corde diligamus nos sincero. And from a sincere heart let us love one another. note values while the other sections interject the text of the poem. Where the mind is without fear This is not music that will make complete sense at first hearing, nor will MacMillan’s handling of his texts. The emotional communication in these songs, on the other hand, Where the mind is without fear and the head is held high Where knowledge is free is immediate and direct. In an era in which there are few thoroughly original ways to Where the world has not been broken up into fragments juxtapose contrasting texts, MacMillan in the Cantos Sagrados finds striking ways to By narrow domestic walls compel the listener to consider the larger moral significance of what are customarily Where words come out from the depth of truth Where tireless striving stretches its arms towards perfection reported as simple political events. Where the clear stream of reason has not lost its way Into the dreary desert sand of dead habit Geistliches Lied Where the mind is led forward by thee Into ever-widening thought and action In 1856, Johannes Brahms was still in his early twenties and already wrestling with Into that heaven of freedom, my Father, let my country awake. demons. Among them was the burden imposed on him by Robert Schumann’s ecstatic article, “New Paths,” hailing Brahms as the hope of German art music. The younger - Rabindranath Tagore composer determined that living up to such expectations required him to gain total Cantos Sagrados technical control over his musical materials. The result was a collection of counterpoint exercises that he exchanged starting in February 1856 with Joseph Joachim. One of these I. Identity exercises had sufficient artistic merit for Brahms to publish it as the Sacred Song for What did you say – they found another one? – I can’t hear you – this morning chorus and organ, Opus 30. another one floating / in the river? talk louder – so you didn’t even dare As a contrapuntal exercise, this five-minute movement is a virtuoso performance. The no one can identify him? the police said not even his mother four-part chorus sings two interlocking canons: the sopranos begin, with the tenors not even the mother who bore him imitating them exactly, singing pitches a ninth lower; the altos and the basses have their not even she could own canon, also at the interval of a ninth. The organ part, while not strictly canonic, is they said that? the other women already tried – I can’t understand what you’re saying, freely imitative, often built from motives sung by the voices. they turned him over and looked at his face, his hands they looked at, right, The text by 18th-century German poet Paul Fleming voices the poet’s determination they’re all waiting together, to rest peacefully with God’s ordained plans for him. Brahms sets the three strophes in silent, in mourning, on the riverbank, an A-B-A form in a soothing mood, but the greatest beauty is in the coda, which sets they took him out of the water “Amen” in less strict counterpoint. There is a moment of joyful catharsis, followed by a he’s naked classic “Amen” cadence. as the day he was born, there’s a police captain and they won’t leave until I get there? - David Mead, ©2010 He doesn’t belong to anybody, you say he doesn’t belong to anybody? 6 7 D y n a m i c C o n v e r g e n c e D y n a m i c C o n v e r g e n c e

tell them I’m getting dressed, Sweet Virgin of Guadalupe, I’m leaving now oh virgin of the gentle eyes, if the captain’s the same one as dark-eyed virgin, my girl, last time my love, I want to ask you he knows this question, dear mother: what will happen Why is it that in Spain, that body will have my name - on the far side of our hills and valleys, my son’s my husband’s across the sea, my father’s why is there name another Virgin of Guadalupe, I’ll sign the papers tell them Patron Saint of the Conquerors? tell them I’m on my way, men with great beards, wait for me men on horses, and don’t let that captain touch him men with swords and fire, don’t let that captain take one step closer who crush and burn our homes, to him. and the Indians, Tell them not to worry: your children, I can bury my own dead. still inside? Why is it, Sweet Virgin, - Ariel Dorfman (tr. Edie Grossman) sweet mother, why is there another Virgin of Guadalupe, Libera animas omnium fidelium defunctorum Liberate the souls of all the faithful departed “Patroness of the Conquerors”? de poenis inferni et de profundo lacu; from the pains of hell and from the deep pit; libera eas de ore leonis, deliver them from the lion’s mouth, - Ana Maria Mendoza (tr. Gilbert Markus o.p.) ne absorbeat eas tartarus, let not hell swallow them up, ne cadant in obscurum. let them not fall into darkenss. Salve Mater coeli porta Hail Mother, portal of heaven Virga florens et exorta Flowering Virgin, sprung - from the Requiem Mass David ex prosapia. from the line of David.

II. Virgin of Guadalupe - Latin Sweet Virgin of Guadalupe, oh virgin of the gentle eyes, III. Sun Stone dark-eyed virgin, They put the prisoner good Lady, my love, against the wall. painted by God’s own hand A soldier ties his hands. on the cloak of the Indian Juan Diego, His fingers touch him – strong, Sweet virgin, my love, gentle, saying goodbye. who commanded the bishop – Forgive me, compañero – to build you a shrine, says the voice in a whisper. where my brothers the Indians lived The echo of his voice in Tapeyepac in Mexico, and of outside the city. Flogged and burned those fingers on his arm were these poor little ones, fills his body with light despised, deceived and mocked, I tell you his body fills with light my brothers the Indians. and he almost does not hear A thousand times mistreated, the sound of the shots. a thousand thousand killed. - Ariel Dorfman (tr. Edie Grossman) What did you say to the bishop? “You will build me a house Et incarnatus est de spiritu sancto. He became incarnate of the Virgin Mary, outside the city, where I will wait, Ex Maria Virgine, et homo factus est. and was made man. where I can hear the cries, Crucifixus etiam pro nobis. For our sake he was crucified. the pleas of my Indian children.” - from the Creed

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Laß dich nur nichts nicht dauren (Geistliches Lied) Sanctus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Laß dich nur nichts nicht dauren mit Trauren, Do not be sorrowful or regretful; Dominus Deus Sabaoth. Lord God of Hosts sei stille, wie Gott es fügt, be calm, as God has ordained, Pleni sunt caeli et terra gloria tua. Heaven and earth are full of thy glory. so sei vergnügt mein Wille! and thus my will shall be content. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Was willst du heute sorgen auf morgen? What do you want to worry about from day to day? Hosanna in excelsis. Hosanna in the highest. Der Eine steht allem für, There is One who stands above all der gibt auch dir das Deine. who gives you, too, what is yours. Piè Jesu Piè Jesu Domine, Merciful Lord Jesus, Sei nur in allem Handel ohn Wandel, Only be steadfast in all you do, dona eis requiem sempiternam. grant them everlasting rest. steh feste; was Gott beschleußt, stand firm; what God has decided, das ist und heißt das Beste. that is and must be the best. Agnus Dei Amen. Amen. Agnus Dei, Lamb of God, qui tollis peccata mundi, who takest away the sins of the world, Requiem dona eis requiem. grant them rest. Agnus Dei, Lamb of God, Introit qui tollis peccata mundi, who takest away the sins of the world, Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord. Dona eis requiem sempiternam. grant them rest everlasting. et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus Deus in Zion, A hymn befits thee, O God in Zion, Lux Aeterna Et tibi redetur votum in Jerusalem. And to thee a vow shall be fulfilled in Jerusalem. Lux aeterna luceat eis, Domine: May light eternal shine upon them, O Lord, Exaudi orationem meam, Hear my prayer, Cum sanctis tuis in aeternum: in the company of thy saints forever and ever; ad te omnis caro veniet. for unto thee all flesh shall come. Quia pius es. for thou art merciful. Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord, Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord, et lux perpetua luceat eis. And let perpetual light shine upon them. Et lux perpetua luceat eis. and let perpetual light shine upon them.

Kyrie Libera Me Kyrie eleison. Lord have mercy. Libera me, Domine, de morte aeterna, Deliver me, O Lord, from death eternal, Christe eleison. Christ have mercy. In die illa tremenda: on that dreadful day: Kyrie eleison. Lord, have mercy. Quando coeli movendi sunt et terra: when the heavens and the earth shall quake, Dum veneris judicare saeculum per ignem. when you come to judge the world by fire. Domine Jesu Christe Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, Tremens factus sum ego, et timeo I am seized by trembling, and fear libera animas omnium fidelium defunctorum liberate the souls of all the faithful departed dum discussio venerit, until the judgment should come, de poenis inferni et de profundo lacu; from the pains of hell and from the deep pit; atque ventura ira. and I also dread the coming wrath. libera eas de ore leonis, deliver them from the lion’s mouth, Dies illa, dies irae, O that day, day of wrath, ne absorbeat eas tartarus, let not hell swallow them up, calamitatis et miseriae, day of calamity and misery, ne cadant in obscurum. let them not fall into darkness. dies magna et amara valde. momentous day, and exceedingly bitter, Sed signifer sanctus Michael But let Michael, the holy standard-bearer, Dum veneris judicare saeculum per ignem. when thou shalt come to judge the world by fire. repraesentet eas in lucem sanctam bring them into the holy light, Requiem aeternam dona eis, Domine: Eternal rest grant to them, O Lord, quam olim Abrahae promisisti which once thou promised to Abraham et lux perpetua luceat eis. and let perpetual light shine upon them. et semini ejus. and to his seed. In Paradisum Hostias et preces tibi, Sacrifices and prayers of praise, In Paradisum deducant te Angeli May the angels lead you into paradise; Domini, laudis offerimus. O Lord, we offer to thee. in tuo adventu suscipiant te martyres, may the martyrs welcome you upon your arrival, Tu suscipe pro animabus illis, Receive them, Lord, on behalf of those souls Et perducant te in civitatem And lead you into the quarum hodie memoriam facimus. we commemorate this day. Sanctam Jerusalem. Holy city of Jerusalem Fac eas, Domine, Grant them, O Lord, Chorus Angelorum te suscipiat, May a choir of angels welcome you, de morte transire ad vitam, to pass from death unto life, et cum Lazaro quondam paupere and, with poor Lazarus of old quam olim Abrahae promisisti which once thou promised to Abraham aeternam habeas requiem. May you have eternal rest. et semini ejus. and to his seed

10 11 D y n a m i c C o n v e r g e n c e D y n a m i c C o n v e r g e n c e Guest Artists Artistic Personnel

Gerre & Judith Hancock Dr. Gerre Hancock is Professor of Organ and Sacred Music and Dr. Judith Hancock is Senior Lecturer in Organ and Sacred Music, both at the Butler School of Music Conspirare Cheryl Fuller Bruce Haufler at the University of Texas at Austin. Together they direct the Organ Performance Symphonic Wravan Godsoe Bob Hayden and Sacred Music Center programs, teach organ, and are developing a curriculum Choir Helen Hays Bob Karli for the study of sacred music. Lou Ann Lasher Geoffrey R. Korf* Soprano Katie Lessley Jack Leifer Gerre Hancock, one of America’s most highly acclaimed concert organists and Irene Adams Mim Luetje Joe Loukotka Lindsay Nelson Nick May* choral directors, previously held the position of Organist and Master of Choristers at Rebecca Atkins Erika Bacon Susan Ohlrich* Tom Morrison Saint Thomas Church, Fifth Avenue in New York City where, for more than thirty Sara Ortiz Will Pearson years, he set a new standard for church music in America. He has also held positions Makenna Balvanz Inge Biosevas Linda Ramsey* Gary Pyle as organist and choirmaster of Christ Church Cathedral in Cincinnati, where he also Flo Ann Randle Steve Schwartz served on the Artist Faculty of the College-Conservatory of Music, University of Christine Boone* Blair Campion Deborah Rupp Frank Shirley Cincinnati, and as assistant organist at St. Bartholomew’s Church, New York City. Cina Crisara*+ Christy Salinas Walter Stewart Catherine Davis Mary Smith Tigh Walters Judith Hancock, a leading interpreter of Romantic organ repertoire, was for twenty- Alicia Denney Agatha Torku five years the Associate Organist of Saint Thomas Church, Fifth Avenue in New Susan Fernandez* Jennifer Tullis Faith DeBow, York, where she assisted her husband in conducting the Saint Thomas Choir. She Jeanette Franz Carol Walker rehearsal pianist was previously organist and director of music at Saint James’s Church, Madison Caroline Frommhold Kendra Welton*+ * Section leader Avenue, New York, and the Church of Saint James the Less in Scarsdale, New Kimberly Gerber*+ Tenor York. She has also held positions of organist and choirmaster at the Episcopal Glenda Goehrs + Sectional rehearsal leader Roland Barrera Church of the Redeemer, Cincinnati, and at churches in Bronxville, New York, and Ronda Hall Ken Beck Victoria Bach Durham, North Carolina. Sara Hill Festival Chorus Angela Irving Anne Bertholf Howard Burkett eely hodes mezzo soprano Laurie Locke Soprano K R , Cynthia Lux Daniel Cooper Keely J. Rhodes has performed regularly with Conspirare since 2002. Keely received Gitanjali Mathur* Paul D’Arcy*+ Janet Born her Bachelor of Music from Oberlin Conservatory and her Master and Doctor of Beverly Mintz Dan Dworin Ann Herbst Musical Arts degrees from the University of Texas at Austin, and was a Fulbright Suzanne Mitchell Marvin Frank Sara Sawey Andrew Gray* scholar to Italy in 2006-2007. Along with teaching private voice lessons, she Angela Padilla Gus Gutman Alto performs as a soloist and collaborative artist for choral, chamber, and symphonic Lena Salha Toko Sato Robbie LaBanca Elisa Coffey groups and as an opera singer in the United States, Europe, Central America and Bill Lasher Diana Farley South America. Kay Sherrill* Mary Simon Jim Maxwell Patti Franklin Jennifer Tiller Jos Milton* Jo Ann Hoffman David Farwig, baritone Melissa Vandergriff Louis Renaud Linda Markert David Farwig performs with professional choral ensembles throughout the country Erica Weisman Dick Rew Kelley Moody Jonathan Riemer*+ Donna Salinas including Conspirare, The Santa Fe Desert Chorale, Choral Arts-Seattle, The Janeene Williams* David W. Schwarz Shirley Williamson Oregon Bach Festival, and Seraphic Fire. He has also sung with the Robert Shaw Alto Dan Spence Festival Singers, USAF Singing Sergeants, and many other professional companies. Michelle Barrientes Raymond Votolato+ Raymond Votolato, As a concert soloist, David has appeared with the Baroque Chamber Orchestra Brandon Young+ chorus director of Colorado, Santa Fe Pro Musica, Albuquerque Baroque Players, The Santa Pat Fatter Black Karen Hoffman Blizzard Fe Symphony, Choral Arts-Seattle, and the Carmel Bach Festival. David holds Bass Becky Clark Janet Born, chorus liaison undergraduate degrees in voice and music education and a master’s degree in choral Fran Collmann Chris Baker conducting from Lamont Conservatory at the University of Denver. Mary Anne Connolly Klaus Bichteler Beverly Cheshire, Dorea Cook* Kelly Cook* rehearsal pianist Barbara Durham Marshal Crenshaw Melissa Eddy Carlos Fernandez Robert Harlan*+ 12 13 m a SS i n B MIN n o r m a S S i n B MIN n o r program PROGRAM NOTES

Mass in B minor, BWV 232 Johann Sebastian Bach (1685-1750) The primary source for the group of compositions known conventionally as the Mass in B minor is a complete autograph manuscript which Bach prepared in Missa 1738-1739. The manu­script, which carries no all-embracing title (such as “Mass”), Kyrie eleison is instead in four sections, each with its own title page. Bach’s titles for these Christe eleison Lauren Snouffer, soprano, and Cecilia Kittley, alto Kyrie eleison sections are reproduced in the bold-faced titles in the program listing. Any Gloria in excelsis unfamiliar titles and, in isolated passages, variant text reflect the usage of these Et in terra pax texts in the eighteenth-century Lutheran church. When Lutherans spoke of a Laudamus te Kathlene Ritch, soprano “Mass,” the term was understood to refer to a Kyrie and Gloria. The title of the Gratias agimus tibi Credo specifies that it is the “Nicene symbol” of the faith. The significance of Domine Deus Abigail H. Lennox, soprano, and Matt Tresler, tenor Qui tollis peccata mundi the grouping of movements at the end of the Mass is that, unlike the Missa, Qui sedes ad dexteram Patris Emily Lodine, alto Symbol­um Nicenum, and Sanc­tus, which were each composed (and very likely Quoniam tu solus sanctus Glenn Miller, bass performed) as independent compositions, the final movements were prepared and Cum sancto spiritu added to the first three sections to make it a virtually complete setting of the Mass I nt e r m i s s i o n ordinary. It is only “virtually” complete because Bach, for whatever reason, omitted the third statement of “Agnus Dei . . .” which precedes “Dona nobis pacem.” Symbolum Nicenum (Credo) Credo in unum Deum The question is, then, whether Bach intended the Mass to be performed as a Patrem omnipotentem complete work. Friedrich Smend, editor of the Mass for the Neue Bach-Aus­ Et in unum Dominum Stefanie Moore, soprano, and Pam Elrod, alto gabe (“New Bach Edition”), takes significant pains in his preface and in his Et incarnatus est Critical Report to make clear that the Missa, Credo, and Sanctus are inde­ Crucifixus Et resurrexit pendent compositions and goes so far as to declare that these pie­ces should not Et in spiritum sanctum David Farwig, bass be performed together as a “Mass.” It is understood that the Kyrie-Gloria pair, Confiteor the Credo, and the Sanctus were presented in concer­tante style on various festive Et expecto occasions, but presumably not together. Further, neither Smend nor biographer give any explicit indication that the movements from the Osanna Sanctus to the end of the Mass had any significant use in the Lutheran liturgy. This makes Osanna more credible the suggestion that Bach compiled his manuscript in hopes of the music being used in a Roman Catholic context. Benedictus Dann Coakwell, tenor But if the movements following the Sanctus received no separate musical treatment Osanna in Bach’s church and Prof. Smend doesn’t allow us to perform music in any form Agnus Dei Wendy Bloom, alto other than that in which the composer actually performed it, then there will be no occasion for which the last movements of the Mass in B minor will be appropriate. Dona nobis pacem So let’s agree that the work as Bach notated it was for him an abstraction: let’s get on with performing it, and let’s give it a complete performance.

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The work is known as the “Mass in B minor” because that is the key in which it choruses: one is the duet for soprano and alto, with one voice following the other begins. Also, the keys of the three movements setting the Kyrie (B minor – D like a shadow (like the duet in the Gloria), portraying how Jesus embodied the major – F-sharp minor) outline a B minor triad. But B minor is the relative minor will of the Father; the other is the solo for bass, filled with peaceful confidence. of D major, and almost from the first note of the Gloria onward it is clear that the “home” key is D major. Bach’s use of keys suggests that the penitential B minor is This leaves the pairs of choruses that open and close the Credo. The first movement balanced, even fulfilled by, the D major of redemption and praise. of each pair is cast in the “old style” of counterpoint (as written in the 15th and 16th centuries). Note the steady, moderate rhythm and, in the very first chorus, Unlike all of Bach’s other works with voices and orchestra, the Mass in B minor the well-known Gregorian intonation used as a cantus firmus. Each of these begins with the chorus singing with the orchestra from the first downbeat. Only “old-style” movements leads into a large, fugal movement in the brilliant baroque after this powerful, massed exclamation of “Kyrie eleison” does the orchestra concertante style. proceed with Bach’s customary instrumental introduction of thematic material. The duet, “Christe eleison,” employing solo voices and all of the violins in unison, The Sanctus, brilliant and festive, also with trumpets and drums, is really two has a warmer, more intimate character that reflects the person of Christ, son of movements fitted together. The slow, opening section (setting “Holy Lord, God God and son of man. The second Kyrie is more rigorously fugal than the first, with of Saba­oth”) has the chorus divided into six parts, singing antiphonally. In the a secondary theme which is treated in stretto (several voices state the theme in second half, the rhythm quickens to a dance-like pace. In the Osanna, the chorus close succession). is divided into two four-part mixed choruses. The antipho­nal effects are combined with imitative writing within each of the four-part groups. The Bene­dictus, an aria The first three movements sung by the chorus in the Gloria are all in D major, for tenor solo with obbligato flute, is a moment of intimacy and peace amid the firmly establishing that tonality, and employ increasingly complex counterpoint. festivity. The solo alto’s “Agnus Dei,” the final penitential moment in the Mass, The first chorus and much of the second are freely contrapuntal; “Et in terra pax” is full of the falling two-note phrases associated in baroque music with sadness. also has in its course two expansive fugal expositions. “Gratias agimus tibi” is “Dona nobis pacem,” set to the music of “Gratias agimus tibi” from the Gloria, built from two phrases, both of which are treated entirely in stretto: that is, every even as it prays for the peace of the Lord, does so in a peaceful frame of mind. phrase sung by each of the five chorus parts is one of these two themes. The gently rising melis­mas and the rich ornamentation of the violin obbligato in “Laudamus - David Mead, ©2010 te” might be a kind of musical levitation. In the duet, “Domine Deus,” the two voice parts enter in close imitation, portraying the nature of Jesus as the earthly realization of the will of the Father.

The next two movements (“Qui tollis” and “Qui sedes”) return to the penitential mood and are both in B minor. The chorus displays more close imitation, including two stretti, and Bach’s magnifi­cently expressive chromatic harmony. The instrumentation of the bass aria is almost bizarre: the highest voice is the obbligato horn, then the bass soloist. There are also two obbligato bassoons in addition to the basso continuo group, resulting in joyous but mellow-colored worship. It leads without a break to the unbounded joy of “Cum sancto Spiritu.” These final two movements return emphatically to D major--again, penance followed by praise.

The Credo, in which Bach possibly intended to portray the fullness and perfection of the faith, is an arch form. There are nine movements in all, in the center of which is a group of three choruses. These movements deal with Jesus Christ as a human being. There is one movement for solo voices on either side of the central group of

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Mass in B Minor Credo in unum Deum Credo in unum Deum. I believe in one God. Kyrie eleison Kyrie eleison. Lord, have mercy upon us. Patrem omnipotentem (Credo in unum Deum) (I believe in one God) Christe eleison Patrem omnipotentem, The Father Almighty, Christe eleison. Christ, have mercy upon us. factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible. Kyrie eleison Kyrie eleison. Lord, have mercy upon us. Et in unum Dominum Et in unum Dominum, And in one Lord, Gloria in excelsis Jesum Christum, Jesus Christ, Gloria in excelsis Deo. Glory be to God on high. Filium Dei unigenitum, the only begotten Son of God, et ex Patre natum ante omnia saecula, begotten of his Father before all worlds, Et in terra pax Deum de Deo, lumen de lumine, God of God, light of light, Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Deum verum de Deo vero, genitum, true God of true God, begotten, non factum, consubstantialem Patri, not made, being of one substance with the Father Laudamus te per quem omnia facta sunt, by whom all things were made: Laudamus te, benedicimus te, We praise thee, we bless thee, qui propter nos homines who for us men adoramus te, glorificamus te. we worship thee, we glorify thee. et propter nostram salutem descendit de coelis. and for our salvation came down from heaven.

Gratias agimus tibi Et incarnatus est Gratias agimus tibi We give thanks to thee Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost propter magnam gloriam tuam. for thy great glory. ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man.

Domine Deus Crucifixus Domine Deus, rex coelestis, Lord God, heavenly King, Crucifixus etiam pro nobis And was crucified also Deus Pater omnipotens. Domine Fili unigenite, Father Almighty. O Lord, the only begotten Son, sub Pontio Pilato, under Pontius Pilate, Jesu Christe, Altissime, Domine Deus, Jesus Christ most high, Lord God, passus et sepultus est. suffered, and was buried. Agnus Dei, Filius Patris. Lamb of God, Son of the Father. Et resurrexit Qui tollis peccata mundi Et resurrexit tertia And the third day Qui tollis peccata mundi, Thou that takest away the sins of the orld,w die secundum scripturas, he rose again according to the Scriptures, miserere nobis. have mercy upon us. et ascendit in coelum, and ascended into heaven, Qui tollis peccata mundi, Thou who takest away the sins of the orld,w sedet ad dexteram Patris, and sitteth on the right hand of the Father: suscipe deprecationem nostram. receive our prayer. et iterum venturus and he shall come again est cum gloria judicare vivos et mortuos, with glory to judge both the living and the dead; Qui sedes ad dexteram Patris cujus regni non erit finis. whose kingdom shall have no end. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of God the ather,F miserere nobis. have mercy upon us. Et in spiritum sanctum Et in Spiritum Sanctum, And I believe in the Holy Ghost, Quoniam tu solus sanctus Dominum et vivificantem, the Lord and Giver of Life, Quoniam tu solus sanctus, For thou only art holy, qui ex Patre Filioque procedit, who proceedeth from the Father and the Son, tu solus Dominus, thou only art the Lord, qui cum Patre et Filio who with the Father and the Son tu solus Altissimus, Jesu Christe. thou only, Christ, art most high. simul adoratur et conglorificatur, together is worshipped and glorified, qui locutus est per prophetas. who spake by the Prophets. Cum sancto spiritu Et unam sanctam catholicam And I believe in one holy Catholic Cum Sancto Spiritu With the Holy Ghost et apostolicam Ecclesiam. and Apostolic Church. in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

18 19 m a SS i n B MIN n o r m a S S i n B MIN n o r

Confiteor Confiteor unum baptisma I acknowledge one baptism Artistic Personnel in remissionem peccatorum. for the remission of sins. Craig Hella Johnson, Et expecto Artistic Director & Conductor Et expecto resurrectionem mortuorum And I look for the resurrection of the dead, Rick Gabrillo, Assistant Conductor et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

Sanctus Company of Victoria Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Holy, holy, holy, Lord God of hosts. Voices Bach Festival Pleni sunt coeli et terra gloria ejus. Heaven and earth are full of Thy glory. Orchestra Soprano Osanna Violin I Bassoon Osanna in excelsis. Hosanna in the highest. Rachel Carlson Melissa Givens Stephen Redfield, Dennis Godwin* concertmaster Benedictus Nicole Lamartine Yueh Chou Susan Doering Benedictus qui venit in nomine Domini. Blessed is he, who cometh in the name of the Lord. Abigail H. Lennox Gitanjali Mathur Dan Golleher Natural Horn Stefanie Moore Tess Isaac Paul Avril Osanna Kathlene Ritch Gesa Kordes Osanna in excelsis. Hosanna in the highest. Trumpet Lauren Snouffer Violin II Sonja Tengblad Brian Shaw* Agnus Dei Karen Clarke* Nathan Botts Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, Joan Carlson Robert Cannon miserere nobis have mercy upon us. Alto Bruce Colson Timpani Wendy Bloom Boel Gidholm Dona nobis pacem Janet Carlsen Campbell Kana Kimura David Davenport

Dona nobis pacem. Grant us peace. Pam Elrod Viola Harpsichord/Organ Cecilia Kittley Emily Lodine Suzanna Giordano Gignac* Dana Ragsdale Melissa Marse Melissa Brewer Justin Montigne Martha Perry Bruce Williams * principal Tenor Cello Dann Coakwell Myron Lutzke* Paul D’Arcy Christopher Haritatos Carr Hornbuckle Dieter Wulfhorst

Jos Milton Double Bass Kelly Neill Tracy Jacob Shirk Melanie Punter* Matt Tresler Deborah Dunham

Flute Bass Carol Redman* David Farwig Alaina Diehl

Rick Gabrillo Oboe Robert Harlan Glenn Miller Mary Ann Shore* John Proft Sarah Davol Larry Speakman George Riordan Paul Max Tipton

20 21 Classical). Harmonia Mundi also released Requiem in Europe in 2009, and it has just received the prestigious 2010 Edison Award in the Choral Music category. The Edison Award is the Dutch equivalent of the U.S. Grammy.

A third recording, Threshold of Night, was released worldwide in September 2008 on Harmonia Mundi. Threshold of Night received two Grammy nominations, Best Choral Performance and Best Classical Album. In October 2008, in cooperation with Austin’s public television station KLRU, Conspirare filmed a PBS television tes

a special, “A Company of Voices: Conspirare in Concert,” that was broadcast nationally in March 2009 and is available on both CD and DVD. “A Company of Andrew Y Voices” received a Grammy nomination as Best Classical Crossover Album.

About Conspirare Conspirare has performed at New York’s and . In 2005 the organization received the Margaret Hillis Award for Choral Excellence, The word “conspirare” derives from the Latin “con” and “spirare” presented by national service organization Chorus America. In 2007, as one of the translated as “to breathe together.” select choruses in the country to receive a grant from the National Endowment Conspirare was founded in 1991 as the New Texas Festival to present a summer for the Arts under its American Masterpieces initiative, Conspirare presented a classical music festival in Austin, Texas. Since then, the organization has grown choral festival entitled “Crossing the Divide: Exploring Influence and Finding Our rapidly to become an internationally recognized, professional choral organization Voice.” The four-day festival featured a distinguished gathering of composers and that combines outstanding vocal artistry with innovative programming. Led conductors, performances of three world premieres, and a gala closing concert with by founder and artistic director Craig Hella Johnson, Conspirare is comprised a choir of 600 singers. In July 2008 Conspirare represented the United States at of two performing ensembles and an educational program. A chamber choir the Eighth World Symposium on Choral Music in Copenhagen, joining invited (“Conspirare”) of extraordinarily talented singers from around the country is choirs from nearly forty countries. Most recently, Conspirare received the 2010 presented in an annual concert series in Austin, other Texas communities, and Dale Warland Singers Commission Award from Chorus America to support the locations in the U.S. and abroad. The Conspirare Symphonic Choir of both commission of a new work by Seattle composer Eric Banks. professional and volunteer singers performs at least one large choral/orchestral work annually. The Conspirare Youth Choirs is an education and performance The Conspirare ensembles’ 2009-2010 season consists of 25 performances of program for singers ages 8-16, who learn and perform in two separate ensembles, eight different programs, in Austin, Wimberley, Fredericksburg, San Antonio Kantorei and the Conspirare Children’s Choir. and Victoria. In February 2010 Conspirare was an invited, featured choir at the annual convention of the American Choral Directors Association/Eastern Conspirare produced its first commercial recording, through the green fuse, in Division in Philadelphia. 2004 on the Clarion Records label. A second CD, Requiem, also on Clarion and since reissued by Harmonia Mundi, was released in 2006 and received two Grammy® nominations (Best Choral Performance and Best Engineered Album,

22 23 Johnson served as Director of Choral Activities (1990-2001) at the University of Texas in Austin where he led the graduate program in conducting. He was artistic director of San Francisco-based Chanticleer (1998-1999) and has served as guest conductor with the Austin Symphony, San Antonio Symphony, Santa Fe Symphony, Chicago’s Music of the Baroque, and the Berkshire Choral Festival. In September 2009 Johnson travelled to Taiwan to conduct the Taipei Male Choir.

Praised by audiences and critics, Johnson’s programs are hailed as thought- provoking musical journeys. One unique aspect of Johnson’s programming is his signature “collage” style: through-composed programs that marry music and poetry to seamlessly blend sacred and secular, classical and contemporary,

r classical and popular. In 2006 he was engaged to create a special peace-themed

S collage program for the North Central ACDA convention. He was also engaged ren a K ACHA by the St. Olaf Choir to create and conduct a collage program during a five- week residency with the choir in spring 2007. About Craig Hella Johnson A composer and arranger, Johnson works with G. Schirmer Publishing on the Renowned as one of the most influential voices in choral conducting in the Craig Hella Johnson Choral Series, featuring specially selected composers as United States, Craig Hella Johnson brings a depth of knowledge, artistic well as some of his original compositions and arrangements. His works are sensitivity, and imagination to his programs. As founder and artistic director of also published by Alliance Music Publications. Also an accomplished vocalist Conspirare, Johnson has assembled some of the finest singers in the country to and pianist, he released his first solo CD “Thorns on the Rose” in 2008 on the form a world-class, award-winning organization committed to creating dynamic Booker Music label. choral art. Johnson’s distinctive style and commitment to the choral art have led him to In addition to his work with Conspirare, Johnson also serves as Artistic Director be honored with several awards, including 2008 induction into the Austin Arts and Conductor of the Victoria Bach Festival, an annual event that draws Hall of Fame and the 2009 Louis Botto Award for Innovative Action and musicians and critical praise from around the country. Of Johnson’s performance Entrepreneurial Zeal, given by Chorus America. of Beethoven’s Missa Solemnis, Mike Greenberg of the San Antonio Express- News wrote: “Through all the amazing ebbs and flows of dynamics, the A native of Minnesota, Johnson studied at St. Olaf College, the Juilliard School, radiant balances, the seamless connection of episodes, the theatrically astute and the University of Illinois and earned his doctorate at Yale University. As the tempo relations, the unified structural arc, the music shone forth with organic recipient of a National Arts Fellowship, Johnson studied with Helmuth Rilling naturalness. Nothing sounded fussed over. Everything just sounded right.” at the International Bach Academy in Stuttgart, Germany.

24 25 Board of Artistic & Conspirare Audio Directors Administrative & Video Recordings Fran Collmann, Chair Staff Robert J. Karli, Vice Chair “A Company of Voices: Conspirare in Concert” – available on CD and DVD Bernadette Tasher, Treasurer PBS show, nationally broadcast in March 2009; Grammy-nomimated Robert Harlan, Secretary Craig Hella Johnson Jack Brannon Artistic Director “Thorns on the Rose” – Craig Hella Johnson’s first solo CD David Clark Larry Collmann Ann Hume Wilson “Threshold of Night” – Two 2009 Grammy nominations Jeri DeAngelis Executive Director Conspirare sings the music of Tarik O’Regan Patrick L. DeLaune Tom Driscoll Katie Apple “Requiem”– Now reissued on the Harmonia Mundi Label Ann Fields Director of Special Projects Two 2007 Grammy nominations; 2010 Edison Award for Choral Music Lou Ann Lasher Executive Assistant to the Artistic Director Eric Leibrock Hope Morgan Tamara Blanken “through the green fuse” – A favorite collection featuring several spirituals Louise Morse Ticketing & Online Services Manager E. Stuart Phillips “Angel Be” (2 CDs) – A collection of favorite live recordings by Cynthia Clawson Hon. Bea Ann Smith Cynthia Densmore and Craig Hella Johnson, including four previously unreleased selections Mary Stephenson Finance Manager Marion Lear Swaybill “Crossing the Divide: Exploring Influence and Finding Our Voice” (2 CDs) – Recorded Catherine Wildermuth Melissa J. Eddy during the NEA sponsored American Masterpieces Festival in January 2007 Sheila Youngblood Communications & Grants Manager Christmas at the Carillon Rick Gabrillo “Here Comes the Light” (2009) Advisory Production Manager “Lay Me Low” (2008) Board Director, Conspirare Youth Choirs “Love Again” (2007) “Love Calls You” (2006) Stephen Aechternacht Wravan Godsoe “I Still Love You” (2 CDs - 2005) John Aielli Operations/Ticketing Assistant Sue Barnes “Always” (2 CDs - 2004) Mark Bierner “Nearer” (2003) David Hammond “Where Does Morning Lie?” (2002) Ray Brimble Operations Manager David Burger “Back to the Garden” (2001) “Home” (2000) David Claflin Robert Harlan Virginia Dupuy Production Coordinator Maydelle Fason American Choral Directors Association-North Central Division Convention (Omaha, 2006) “Peace Concert” CD (2 CDs) JoLynn Free Debbie Kenkel Closing Concert CD Billy Gammon Accounting Assistant Vance George Closing Concert DVD Helen Hays Meri Krueger Dan Herd Artist Relations “Hidden Music” (2006 - mono) William B. Hilgers Wayne Holtzman Nina Revering To order, please call (512) 476-5775; hear samples at www.conspirare.org. Cassandra James Director, Conspirare Youth Choirs Judith Jellison Bob Murphy Nicki Turman Lynn Murphy House Manager Gayle Glass Roche Nancy Scanlan Russell Schulz Angela Smith Louann Temple Eva Womack

26 27 Support Conspirare sponsors

Conspirare invites you to join our family of donors. Your contribution supports our gift of music through performances of the highest artistic quality and through Business & Foundation Sponsors educational and outreach programs, including the Conspirare Youth Choirs.

Leadership Circle Circle of Friends Maestro Circle...... $25,000+ Sponsors...... $500 — $999 Impresario Circle...... $15,000 ­— $24,999 Patrons...... $250 — $499 Benefactor Circle...... $10,000 — $14,999 Sustainers...... $100 — $249 Platinum Baton Circle...... $5,000 — $9,999 Donors...... Up to $99 Golden Baton Circle...... $2,500 — $4,999 Russell Hill Rogers Silver Baton Circle...... $1,000 — $2,499 Fund for the Arts

enclosed is my tax-deductible gift in the amount of $

- or- i pledge a gift of $ to be paid in full by june 30, 2010. The choose one: Rachael & Ben Vaughan Foundation please charge my credit card $ per month for # months, begininning / / date

i will pay by check $ per month for # months need a different pledge plan? please call us at (512) 476-5775 to arrange. Payment Information: ❑ check payable to conspirare credit card ❑ discover ❑ mc ❑ visa ❑ amex The name on card Mattsson-McHale Foundation card number

security code expiration date

signature must be signature of cardholder Public Funding Agencies Conspirare is funded and supported in part by the City of Austin name as you wish to be acknowledged in conspirare publications through the Cultural Arts Division, the Texas Commission on the Arts, and the National Endowment for the Arts, which believes that address a great nation deserves great art.

city state zip Media Sponsors daytime phone ( )

e-mail

employer

Does your employer support the arts with matching gifts? If so, please enclose the completed form along with your payment. Mail to Conspirare, 1033 La Posada Drive, Suite 130, Austin, TX 78752. Conspirare is a non-profit 501(c)(3) organization. Donations are tax-deductible to the fullest extent of the law. Thank you for your generous support of Conspirare. 28 29 Chez Zee Patrons Margaret Menicucci & donors Kathy & David Clem Anonymous Michael Whellan Gwen & Dean Collmann Sandi Aitken Glenn Miller Natasha & David Collmann Bob & Marcia Bailey Bonnie Mills Gifts to Conspirare provide financial support for concerts, recordings, educational Marie Crane & Bill Kelly Mark Biemer & Cassandra James Ann Moody programs, and outreach activities. The following roster of donors includes cash and Robert Dailey Linda Ball & Forrest Preece Laura Moore in-kind gifts received from individuals, family and private foundations, businesses, Nell & Al Dale Patrick & Cindy Behling Rebecca A. Muniz Paula & Stewart Damore Ola Bell Douglas Nelson and government agencies between July 1, 2008 and May 21, 2010. We express our Rena & Richard D’Souza Leah Billingsley Lip & Cinnie Norvell gratitude to each and every one of our donors. Pam Elrod Pat Black Patty Olwell Greg Edens & Dorothy Drummer Nancy Bowman Brian & Lynn Powell In honor of the Hon. Bea Ann Smith Evelyn Boyer Flo Ann Randle Leadership Circle Perkins-Prothro Foundation Tom Grimes & Karen Kibler Cassandra Ewer Chip Buerger Sandra & Smith Ray Susan & Forest Rees Carolyn Harris-Hynson Sam & Maydelle Fason Pierre & Nancy Bulhon Lynn & Louis Renaud Maestro Circle Louise Reeser Richard Hartgrove & Gwen & Bruce Flory Toni & Paul Burns Lari & Tom Rogge City of Austin Cultural Arts Shoehorn Design Gary Cooper R. John & Susan Fox Judy Cardinale Brian Sands HQ83 Division The Rachael & Jane Hilfer Gregory & JoLynn Free Rita Carlson In memory of Rick Reynolds Fran & Larry Collmann Ben F. Vaughan Foundation John Hogan Cheryl Fuller Peggy Daniel Peter Schram & Harry Ullmann The Kodosky Foundation Ben & Daphne Vaughan Joan & Tom Kobayashi Gerre & Judith Hancock Nancy & Jimmy Davis Russell E. Schulz The Mattsson-McHale Timothy Koock Walter & Ann Herbst Nina Di Leo Katharine B. & Gregory Shields Foundation Golden Baton Circle Bill & Lou Ann Lasher Van & Jeanne Hoisington In memory of Dottie Welton Suzanne & John Shore National Endowment for the Arts Anonymous John & Katie Lavendoski Robert E. Hollingsworth Will Dibrell & Beverly Bajema James Shultz MD South Texas Money Cindy & Chic Bain Jodi Lazar & Michael Nussbaum Nancy & Bobby R. Inman Door Number 3 Brenda Smith Management William C. Bednar & Eric Leibrock Diane Ireson Barbara Durham Margo Smith Flo Ann Randle Lee Manford Jane Jackson Susan & Robert Epstein Jim Sotiros Impresario Circle Clark, Thomas & Winters Joyce Mayer Eric Leibrock In honor of Wendi & Brian Kushner Janice & John Spence William R. Dickson Crutch & Danna Crutchfield Kevin & Debe McKeand In memory of Helen Lea Susan Nash Fekety Paul Stone Robert & Lara Harlan Patrick DeLaune & Sadaf Khan Janet Miller Mark Levy Steve Gilbert Mary Stumberg Gayle Glass Roche In honor of Robert Harlan Hope Morgan Kati Lewis Glenda Goehrs Martha Terry Carolyn & Marc Seriff The Fetzer Institute Bob & Lynn Murphy Sheila Lummis Stephen & Stefanie Griffith Meredith Thomas & Tescom, Inc. Cindy Keever Anne Nagelkirk & Jason Orr Trish Merrill Tom Grimes & Karen Kibler Walter Stroup Texas Commission on the Arts Louise Morse William Nemir Micro-Bac International Lynette Heckmann Thomas Graphics E. Stuart Phillips Christopher Novosad, tiki2.com Milton D. Miller II John Griffin & Lynn Knaupp Joy Turman Benefactor Circle Linda Ramsey Carlisle Pearson Ivan Milman & Janie Keys Paul Guttrey Erich Vollmer Anonymous Sara & Scott Reichardt Ann Praderus & Tony Vance Linda Monk Janet Harman Alan & Debra Waldrop Austin Community Foundation Donna & Christy Salinas Nancy Scanlan Jerele & Elizabeth Neeld Leroy & Karen Haverlah Connie & Robert Webb Ray & Karen Brimble William Schleuse & Gene Alice & Max Sherman Tom & Mary Sue Koontz Nelson Anne & Jim Hester Frankie Westbrook Ken & Joyce Beck Family Fund Virginia McDermot Angela & Charles Smith Karen Ann Norris Joan & Wayne Holtzman Richard Zansitis & Joe & Cynthia Cain Honorable Bea Ann Smith David C. Smith Richard E. Orton Carr Hornbuckle & Jack Leifer Suzanne Mitchell Jeri DeAngelis Dian & Harlan Stai Robert Patterson & Diana Sellers H. David & Jan Hughes GE Foundation Silver Baton Circle Mary Stephenson Honorable Robert Pitman In honor of the Hon. Bea Ann Smith Sustainers Helen & Bob Hays Anonymous (2) James Stolpa The Prodicus Group Lauren Hughes & Donald Meagher Claudia & Stephen Robert & Trish Karli Eva Andries Syzygy Marketing Milbrey & Bev Raney IBM Aechternacht Carolyn J. Keating Margaret & Robert Ayres Bernadette Tasher Jerome Ravel Judith Jellison & Robert Duke Shannon Armstrong Jeff & Gail Kodosky Robert & Pat Brueck Kerry Tate & Susan Rieff Dick & Lynn Rew Morris & Marge Johnson Ann Bahan Caren Prothro Amelia Bullock & Anne & William Wagner Jonathan & Kari Riemer Steve Kahle Brick & Laura Balvanz Russell Hill Rogers Fund for Bill Krumpack WaxmanCavnerLawson Sally & Andy Ritch In honor of Glenda Goehrs Janette Barlow the Arts Dan Bullock & Catherine & David Wildermuth Rikky Rivers & Jim Schultz Julie Keim Ross & Kristin Bassinger Rick & Jill Salwen Annette Carlozzi Eva & Marvin Womack Jack & Susan Robertson Ann & Bill Kleinebecker Steven Beebe Still Water Foundation David Burger Lucia & Paul Woodruff Michal Rosenberger Martha Kopra Bridgette Beinecke Richard Campbell Sheila Youngblood Larry Sager & Jane Cohen Cynthia & Greg Kozmetsky Amy Blair Platinum Baton Circle Janet Carlson Campbell Pieter & Frances Schenkkan Frances & Robert Kushing Wendy Bloom CenTex Beverage Pablo Cardenas Circle of Friends Nan Seiden Nicole Lamartine Bette & Whitney Bodman David & Catherine Clark Janis & David Claflin Kay Sherrill Jill & Roger Lane Pam Boerst Thomas Driscoll & Jerry Craft Sponsors Mary Smith & Walter Stewart May Latson John Briggs Nancy Quinn Rena & Richard D’Souza Julie Arend Anna Sorensen Josh Lauer Billye Jean Brown Mary Nell Frucella Robert & Virginia Dupuy Susan Barnes Patty Speier & Charles Woodruff Nora Lieberman Jo & George Brown Keating Family Foundation Melissa Eddy & Ken & Joyce Beck Brenda & Larry Smith W. Jackson & Carolyn Long Tracy Bruno Cynthia Keever Tracy Schiemenz Anne Bertholf James Stolpa Thomas & Alaire Lowry Bette-Jo Buhler Wendi & Brian Kushner Jenelle Edwards Klaus Bichteler & Mary Parse LaFern & Virgil Swift Sue & Mike Maine Amy Bumpus KGSR – 93.3 FM Rev. Dr. Ann Fields Karen & Mike Blizzard Lois VanLaningham Mary Matus Barbara J. Burnett KMFA – 89.5 FM Fischer & Weiser Specialty Foods Jeff & Ann Bomer Evan & Ann Hume Wilson Arthur & Patricia McCormick In memory of Jake Foster KUT – 90.5 FM Steve Gilbert Jack Brannon & Brian Miller James Winkle In honor of the Hon. Bea Ann Smith Sarah & Ernest Butler 30 Mid Atlantic Arts Foundation Balie J. & Beverly Griffith John & Trina Braun Vance McMahan Judy Bush 31 James Campbell Ellen King Dennis Schafffer 2010 Spring Jeannie & Michael Klein Conspirare appreciates these Chris & J. Dennis Cavner Cecilia Kittley Rhonda Schleicher Fundraiser Bill & Lou Ann Lasher 225 attendees (a new record) at Patricia Cherico Elinor Kliewer Thomas & Claudia Schurr Hidden Music V May & Jack Latson Hidden Music V. Our generous Thomas Collins Jacqueline Lain David Schwarz Jodi Lazar table sponsors and donors Ralph Coonrad Eva & Chris Laskaris Mitzi Scott Premier Table Sponsors Nora Lieberman (including single ticket buyers, Maria Corbett Elaine Doherty Leach Joan & Lindsay Sharpe Fran & Larry Collmann Sheila Lummis auction bidders, and “Paddles Cheryl Cosway Karen & Paul Leeke Marilyn Sharratt Jeff & Gail Kodosky Tom Mason & Janis Monger Up” donors) raised $108,000 Becky & Cory Cox Catherine & David Light Amy & Norman Shipherd Debe & Kevin McKeand to support Conspirare’s world- Lisa & Eric Craven Virginia Livesay Terry Shook Prime Table Sponsors & Hosts David Minter class concerts, recordings, and Cina M. Crisara Kathryn & Don Lougheed Ted Smith Wendi & Brian Kushner Holly Moore educational activities. James & Glenda Crout Chien-Chun & Hui-Lan Lu John & Mary Sommer Pamela & Scott Reichardt Louise Morse Karel Dahmen Cynthia Lux Dan Spence Carolyn & Marc Seriff Jennifer & Fred Myers Mela Sarajane Dailey Jerome Malek D. C. (Don) & Nancy Spencer Gene Alice & Max Sherman Jerele & Elizabeth Neeld & Peter Bay Dell Marcoux Robyn Sperling Sheila & Ryan Youngblood Bill Norris & Paula D’Arcy Manuel & Anne Martinez Cindy & Bryan Sperry Custom Libations, Inc. Richard J. Davis Amanda Masterson Michael & Carol Stehling Preferred Table Sponsors & Hosts Stu Phillips Faith DeBow Bradley & Elizabeth Maxim Barbara & Bruce Stevenson Sandi Aitken Forrest Preece & Linda Ball Dell Jim Maxwell Virginia Stotts Marcia & Bob Bailey K.C. Ptomey & Carol Tate Robin & Karl Dent Marsha McCary Keith Stucky Ray & Karen Brimble Julie Puentes & Bridges Solutions Paul Dlabal M.D. David McClellan Joe & Rose Sullivan Robert & Pat Brueck Linda Ramsey Derrick Dodge Sandra McKenzie William & Mary Ellen Sullivan Annette Carlozzi & Cliff Redd Dianne Donovan Connie McMillan Jack Swanzy Dan Bullock Sara Reichardt & Mitch Watkins Ricky McSwain Marion Lear Swaybill David & Janis Claflin Nina Revering Robert M. Draper Vicki L. Moffatt Gayle & Thomas Toler Crutch & Danna Crutchfield Ned Rifkin Sharon Duboise John & Elizabeth Hansing Moon Mollie Tower Cynthia Keever The RKGroup – James Dunn Nancy Moore Nancy Townsend Eric Leibrock & Ellen Justice Catering by Rosemary James Elrod Janice & Chip Morris Nicki & Scott Turman The Honorable Bea Ann Smith Gayle Glass & Mike Roche Mary Farabee Andy Mozisek In memory of Norma Turman Mary Stephenson Christy Salinas Janet Faulkner Judith Munyon Marie Van Roekel Catherine & David Wildermuth Donna Salinas Jerry Folson Rosie & John Nieman Cynthia Vanderberg Nancy Scanlan Merle & Ginna Franke Adrian Newcomb Fred Viehweg Donors Nancyellen Seiden Joetta & Gregg Freeby Nona Niland Debra & Alan Waldrop Stanley & Deborah Adams Kirk Smith Dana Friis-Hansen Margaret H. & Philip J. Overbaugh Carol Walker Ken & Joyce Beck Margo Smith & Mark Holzbach Jim Parrish Jeannette G. Walker Bill Bednar & Flo Ann Randle Terry Smith Caroline Frommhold Cathie Parsley Ben Wear Pat Black Al & Kay Stowell Anneliese & Robert Geis Pete & Elizabeth Paul Kendra Welton Mike & Ginger Blair J & Kate Sulester Sue George Thom Pavlechko Alex & Veda White Duane & Barbara Boyd Bernadette Tasher Mary Gifford Debbie Peden & Dean Perkins Marianne & Stewart Wilkinson Mary & Elliott Bray Kerry Tate Marlene & William Glade Jeff Pettit Jean Rogers Winchell Amy Bumpus Ten Thousand Waves David & Kay Goff Ann Phipps & Michael Cannatti Barbara Yarbrough Paul & Toni Burns Susanne Tetzlaff & Eric Tiblier Graves, Dougherty, Jim & Nicole Pizzitola Hilary & Stan Young Ann Byrd Erich Vollmer Hearon & Moody Alex & Karen Pope Joyce Zehr & Marvin Burke Chris Cavner Gláucia Vasconcelos Wilkey Andrew Gray Mary Pozorski David Zersen Mike Chesser Ted Wardlaw & Kay Bryant James & Jo Green Cheryl & Gary Pyle Gene & Rosalie Chiles Molly Wear Gary Greenblum Katherine Race Conspirare also thanks all donors Jo Anne Christian Connie & Robert Webb Sam & Suzanne Haddad Edwin Ramos & Elaine Salazar of gifts under $100 and regrets David & Kathy Clem Frankie Westbrook Sally Hamilton Gail Randall that space does not permit the Alvin & Penny Cowan Evan & Ann Hume Wilson Mary Hatchette Cliff Redd listing of each name. Your support Marie Crane Eva & Marvin Womack Lewis Hoffacker Nina & Dean Revering is equally appreciated. Cina Crisara Tricia Yost Betty Holmes Hamilton & Joanne Richards Jeri DeAngelis Richard Zansitis Jeffrey Hudson & Cheryl Ridall We strive to publish an accurate Tom Driscoll & Nancy Quinn Robert Blodgett Gayle & Mike Roche donor list. If an error or omission Bryan Dunkin Melissa Huebsch In memory of Dottie Welton is noticed, please let us know. Susan & Robert Epstein B.J. & Constance Ihlenfeldt Gayle & Mike Roche Susan Finkelstein Cassandra James & Mark Bierner In memory of Miriam Kaye Chris & Claire Flynn In memory of Karen Kuykendall Gayle & Mike Roche Nick Fox Robert Jensen In memory of Helen Lea Cheryl Fuller Todd Jermstad Leilani Rose Rhiannon Gammill Ellen Jockusch Beverly Ross Helen & Bob Hays Craig Hella Johnson & Deborah Rupp Susan & John Hinton Phil Overbaugh Arthur & Donna Rutherford Eric Hungate Elizabeth Judd Safeway, Inc. Craig Hella Johnson Stan & Biruta Kearl Mary Sanger Robert & Trish Karli 32 Marguerite Kelly Nona & Andrew Sansom Lisa Kastleman 33 thank you

Austin American Statesman VICTORIA BACH FESTIVAL Austin Bella Corda – Kevin Taylor Austin Chronicle Ron Baker & Annes McCann* Thanks to the following individuals for their help with the June 6 performance: Bruce Biermann Blanton Museum of Art Most Rev. Wm. Michael Mulvey, STL, DD Whit & Bette Bodman* Lee Gwozdz, Director of Music, Linda Buehlmann* Corpus Christi Cathedral/Concert Series Executive Director Anne & Sam Byars* Rachel Vasquez, Administrative Assistant, Ann Byrd* Cathedral Music Ministry/Concert Series Julie Carterson Russ Martin, KLUX Radio Chris Cavner Wilbur Collins, Concertronics Chez Zee George and Joyce Matthews, Audiovisual Catherine & David Clark* Matthew Schneider, Stage Management Clark, Thomas & Winters Fran & Larry Collmann* c r e at i V E TEA a m Vicki Dunlevy* Craig Hella Johnson Anne & Ray Ellison Joey Martin James Elrod Michelle Schumann Michelle Fisher Mary Gifford E X e c U t i V E DIR r e c t o r Kathryn Govier Nina Di Leo Helen Hays Jeanne Henry B o a r d O F DIR r e c t o r s Ed & Sara Hill* Hornaday Design John Griffin, President KGSR-FM – Sommer Novak, Gary Weaver John Quitta, Vice President KMFA-FM – Joan Kobayashi, Dianne Donovan, Jeffrey Blair, Sara Hessel, Lauren Rico Paula Cobler, Treasurer KUT-FM – John Aielli Stella Silva, Secretary Bill & Lou Ann Lasher* Lori Burris Eric Leibrock Carol Fox Long Center for the Performing Arts - Shaady Ghadessi, Tony Jilek, Box Office Staff Kelly Garrett Ed & Eileen Lundy* Lisa Hernandez Al & Leslie Martinich* Ann Herbst Nancy Michalewicz Lucy Herrera Louise Morse* Tim Hornback Bill Nemir* Dr. Deidra Hudson Christopher Novosad, Tiki2.com Dr. Michael Hummel Philip Overbaugh Rick Jones Nina & Dean Revering* Robert Karli St. Martin’s Lutheran Church – Thom Pavlechko Ernestine Kidder St. Matthew’s Episcopal Church, Austin – Jean Fuller John Moraida Bea Ann Smith* Sylvia Quilantan South Texas Money Management – Jeanie Wyatt, Josie Coiner Geri Schroeder Mary Stephenson* Tiffany Shaffer Tarrytown United Methodist Church Sally Stansell Bernadette Tasher * Dr. William J. Wagner TesCom, Inc. Bruce A. Weise Texas Performing Arts at UT-Austin Matt Wickham Veryan & Greg Thompson Lexey Wright Victoria Bach Festival – Nina di Leo Andrew Yates Photography Jason & Vicki Zagrodzky* 34 * Special thanks to Artist Hospitality Volunteers 35 CRAIG HELLA JOHNSON, ARTISTIC DIRECTOR

The Victoria Bach Festival musicians, board of directors, and staff extend thanks to the following underwriters for making the June 6 performance in the Corpus Christi Cathedral possible: The Bach Cantata Project proudly First Victoria Rebecca Kieschnick supports the artistry of Conspirare Wells Fargo Shelia and Rick Rogers Listen to the awe inspiring sound of Bach in The Blanton Museum’s Rapoport Atrium. Law Office of Perry & Haas Harris & Greenwell, L.L.P. Performances include a connection with an artwork in the museum’s galleries. Held the last Tuesday of selected months, the program is included with the price English & Clemons, L.L.P. of admission, and free to Blanton Members and current University of Texas students, Peggy Girod & Warren W. Freeman faculty, and staff. 2010-2011 performances will be announced soon. In memory of Rev. Monsignor Robert E. Freeman P.H.

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38 39 Michael Long Photography

www.MichaelLongArt.com

40 41 Performing Note

Conspirare has the privilege of performing in a variety of beautiful venues. We seek out acoustical and aesthetic environments that can best enhance choral performances and we are deeply grateful to our hosts. While our performing venues may represent specific traditions and the texts of some of our repertoire may also be representative of specific traditions, it is in no way intended to be exclusive of any individual whose experience or set of beliefs is not represented.

Conspirare respects and celebrates the great diversity of religious, artistic, and human experiences represented among our singers and audience members. Our shared musical experiences are intended to bring us together as we all seek to be inspired by the power of great choral music. The audience creates the space in which the music is held.

42 43 This is Conspirare 2010-2011 Season

Sing Freedom: African American Spirituals Roberto Sierra’s Missa Latina: Conspirare sings some of the most popular A Celebration of Diversity repertoire in the ensemble’s history. Hear old Conspirare, the Conspirare Symphonic favorites and new surprises, performed with Choir, and Victoria Bach Festival Chorus and Conspirare’s signature joy and artistry. Orchestra perform the Texas premiere of the September 30, Georgetown acclaimed Puerto Rican composer’s buoyant October 1-3, Austin work, which received a 2009 Grammy® October 5, Goshen, Indiana nomination for Best Classical Contemporary Composition. Christmas at the Carillon June 11, Victoria Conspirare’s beloved annual collage of music June 12, Austin for the holidays. Guest artist Patrice Pike returns by popular demand. Conspirare Youth Choirs December 2, Victoria Holiday concert “Across the Pond” December 3, San Antonio December 10-11, Austin December 4-5, The Carillon, Austin Spring concert “Awakening” December 6, The Long Center, Austin May 6-7, Austin (Carillon Gala)

Renaissance and Response: Tickets on sale in early summer. Polyphony Then and Now Order from 2010-2011 season brochure Four different programs in three days explore to be mailed soon, online at conspirare.org, the evolution of polyphony – the harmonious or call 512-476-5775. weaving together of many voices – from the Renaissance to the present. Each concert will premiere a new work by (“A Time for Life”) written in response to the early masters. An extraordinary musical journey through time. January 21-23, Austin

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