LUNA PEARL WOOLF: Fire and Flood W O NOVUS NY † The Choir of Trinity Wall Street Anderson, Elise Quagliata Devon Guthrie, HaimovitzMatt

Julian Wachner O

Nancy F L

O XIN G ALE SERI E S

1

LUNA PEARL WOOLF: Fire and Flood

1 To the Fire 12. 18 For AATBBBs Choir a cappella (1994, rev. 2018) The Choir of Trinity Wall Street Julian Wachner, conductor

Après moi, le déluge For Solo Cello and SATB Choir a cappella (2006) 2 NO-AH. The Lord has raised a mighty wind. 7. 10 3 Deep in the water, too deep for tears... 4. 54 4 Gone away and left us, Lord. 6. 09 5 Lord, I’m goin’ down in Louisiana... 6. 17 Matt Haimovitz, cello The Choir of Trinity Wall Street Julian Wachner, conductor

6 Everybody Knows (Leonard Cohen and Sharon Robinson) 5. 05 For Three Female Voices and Cello (arr. 2016) Devon Guthrie, soprano Nancy Anderson, soprano Elise Quagliata, mezzo-soprano Matt Haimovitz, cello

Luna Pearl Woolf © Danylo Bobyk Missa in Fines Orbis Terrae 16 Who By Fire (Leonard Cohen) For Choir and Organ (2017) For Three Female Voices and Cello (arr. 2016) 3. 53 7 I. Kyrie 3. 07 Devon Guthrie, soprano 8 II. Sanctus and Benedictus 5. 03 Nancy Anderson, soprano 9 III. Agnus Dei 3. 53 Elise Quagliata, mezzo-soprano The Choir of Trinity Wall Street Matt Haimovitz, cello Avi Stein, organ Julian Wachner, conductor Total playing time: 75. 29

One to One to One For Three Female Voices, Three Cellos and Three Basses (2016) 10 I. 2. 06 11 II. 3. 40 12 III. 2. 43 13 IV. 3. 15 14 V. 2. 52 15 VI. 2. 55 Devon Guthrie, soprano Nancy Anderson, soprano Elise Quagliata, mezzo-soprano NOVUS NY Julian Wachner, conductor

5 6 68 FULL SCORE 5-13-16 WOOLF - ONE TO ONE TO ONE

386 stage whisper ° 4 S. I ¿ ¿ ‰ Œ™ Œ™ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿ ¿ ¿ Œ™ & J Voices in Uproar only to pull back, in one swoop, to a clear- Lis-ten! Lis-ten to me, let me touch you eyed plane of compassion. CORINNA DA FONSECA-WOLLHEIM stage whisper 4 S. II ∑ ¿ ¿ Œ™ ‰ ¿ ¿ Œ™ Œ™ ‰ ¿ In To the Fire she takes us into the heart & J Lis - ten! Listen! There, Rendered into English, the Latin word turba of a riot with shocking immediacy. You

stage whisper means crowd, or uproar. In music, the can almost see the gap-toothed cackle, 4 4 4 M-S. ™ ™ ™ term has come to be defined by the rabble the destructive glee spreading like a rash. ¢& Œ ‰ ¿ ¿ ‰ ¿ ¿ Œ ∑ ‰ ¿ ¿ Œ Lis-ten! Lis-ten! Lis - ten! choruses in Bach’s Passions. With their Yet she also offers us passages that seem raucous, angular music — full of spit and to propel the revelers into the future, col legno LH damp s.p. venom and recognizably human follies — looking back on the moment in deep strings #œ ° #œ #œ#œ 4 4 #œ#œ œ #œ Vc. I B ‰ #œ ‰ ? ‰ Œ™ ‰ Œ™ ‰ B#œ Œ™ ? they sit directly opposite the contemplative regret. Composed in 1994, it now reads as ¿ ¿ ¿ ¿ 4 ¿ ¿ ¿ ¿ chorales that Bach holds up as models of a Cassandrian prophecy of environmental O™ a human collective aligned with a higher depredation – or perhaps, just as vividly, as æ #˙™ œ™ #œ #˙™ Vc. II ? æ æ æ ‰ #œ æ æ æ 4 æ order. the foreshadowing of the violent glee of a

col legno Twitter mob. LH damp strings s.p. c.l. ¿ ¿ ¿ ¿ ¿ ¿ 4 Since then, virtually all choral music has Vc. III ? ™ œ#œ œ. ‰ ™ ‰ ¢ ¿ ¿ ‰ Œ n¿ ¿ ¿ ¿ ‰ Œ ‰ ¿ ¿ ¿ 4 ¿ ¿ made its home in the space between Multiple perspectives and focal planes uproar and harmony, between the weave together into a powerful indictment ™ ™ ° ˙™ ˙™ æ˙ æ˙ stubbornly individual, jostling for attention of political hubris in Après moi, le déluge. Cb. I ? æ æ æ æ in a sea of Others, and the peace arising Named after a notoriously callous remark

col legno c.l. from communal contemplation. In the attributed to Louis XV of France, the piece LH damp strings s.p. 4 s.p. (2016) #œ œ œ j Cb. II ? ™ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ¿ ¿ #œ œ œ works on this album, Luna Pearl Woolf revisits the aftermath of Hurricane Katrina Œ ¿ ¿ #œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ #œ#œ #œ J trains a zoom lens on the collective in traumatic, painterly detail. Woolf draws experience, sometimes plunging us right on a multitude of musical influences to æ æ Cb. III ? ˙æ™ ˙æ™ Œ™ #œ™ ˙™ into the midst of destruction and anarchy both root the work in its New Orleans ¢ æ æ

7 OM0156 OXINGALE MUSIC manuscript Woolf Pearl Luna One to One to One 8 context and evoke the loss of a world into the world from the very beginning, chainsaw and stained with vivid colors. teeming with diverse life. when the open, perfect interval of the Larger-than-life and louder-than-life organ’s octaves is muddied by voices women are of course a specialty of Western Here, too, the ghost of Bach can be felt, entering in queasy, close harmonies. classical music, even if their intended not only in the snippet of a Lutheran purpose was more often to warn and chorale that joins the other fragments Woolf’s arresting versions of two songs by titillate than to inspire. Woolf takes a of musical quotes that seem to float by Leonard Cohen, “Everybody Knows” and poem by Robert Creeley that seems poised like debris, ripped from all context. There “Who by Fire” help to further complicate at the very point where desire spills over is also the juxtaposition of the choral the notion of the universal. Yes, we all have into possessiveness – and then sets it with collective with the wordless voice of Matt to die, but what a variety of deaths and an orchestration that tips the balance Haimovitz’s solo cello. Just as Bach does legacies we can fear and — dare we admit of power in favor of the female object in some of his cantatas and Passion arias, — hope for! And the more the narrator of desire. Three cellos and three double the instrumental solo sublimates the invokes the consensus of an “everybody,” basses get to stand in for the male viewer human experience to a universal level that the more his individual moral perspective dumbstruck by lust while three female is beyond language. We feel more than is crystallized. Once again, the solo cello singers reflect and refract the male gaze in we hear the visceral anguish of the cello’s muscles in on the conversation as the an uproar of vocal virtuosity. opening wail, rising to desperate heights. insistent inner voice we so rarely pay heed Later, we are drawn into the profound to. melancholy of a ruminating, elegiac passage. One to One to One also uses music to bring to the surface complexities and Missa in Fines Orbis Terrae takes a more contradictions. This time Woolf draws conciliatory bent than the other pieces on inspiration from visual art, from the this album. And yet the music sheds light elemental power of Jim Dine’s 14-foot on the imperfections humans introduce sculptures carved from redwood with

9 10 1 Its filth melt away, its rust be consumed. To the Fire In vain you have wearied yourself. The corrosion goes too deep to melt. Fire, Fire... Only the fire will rid you of it. To the fire with its rust! Woe to the bloody city. When I cleansed you in your lewdness you did not become clean from your filth. Set on the pot, set it on and pour in water. You shall not again be cleansed until my fury is satisfied upon you. Put in the pieces, the good pieces: the thigh, the shoulder. Fill it with choice bones, the choicest of the flock. Ezekiel 24:3-13 Pile the logs, boil the pieces, seethe the bones. Let the bones be burned.

Woe to the city running with blood! The copper pot is green with corrosion, the rust has not gone out of it. Empty the cauldron piece by piece, making no choice at all. For the blood she shed is inside it, and she poured her blood on the bare white rock. She did not pour it out upon the ground, where the dust would cover it.

To take vengeance I too have spilt her blood on the bare white rock. To rouse wrath and feed the flame of anger I have poured it on the gleaming white rock, where it cannot be covered.

Woe to the bloody city.

I too will make a fire pit, pile the logs, kindle the flame, (1994) boil the meat well, mix in the spices and let the bones be burned. I will set the pot empty upon the coals so that it begins to glow with heat. Luna Pearl Woolf manuscript Woolf Pearl Luna the FireTo 11 How many times has it happened over the last twenty years: she puts a new score in front of me, and I respond with, “this is impossible!” Yet time and time again, as I dive in, my efforts are richly rewarded as her music soon reveals its own, new idiomatic qualities. I am grateful to Luna Pearl Woolf for embracing the cello as a wordless protagonist in her musical journey — one that straddles the worlds of absolute music and dramatic story-telling. In this album, spanning years of Luna’s vocal music, we can appreciate a rare compositional voice, a voice of profound empathy and soaring lyricism, that has the ability to nourish the mind and heart.

More than a decade since I gave its premiere and toured the work throughout Texas and Louisiana, Après moi, le déluge seems prophetic. A reaction to the disaster of Hurricane Katrina and the human tragedy that ensued, the work is full of spiritual anguish, helplessness, resignation, and disgust at the racist undertow unleashed by the forces of nature. Ultimately, though, Après moi is a celebration of a universal human spirit and musical traditions of New Orleans that have inspired and shaped our musical discourse far beyond their geographic roots. Luna manages to embrace all of it while staying true to her own voice. She pushes her performers to our limits, all in the service of a transcendent emotional experience that, in turn, inspires all of us to face our demons and plumb the depths of our collective consciousness.

Matt Haimovitz

Matt Haimovitz © Steph Mackinnon 14 Après moi, le déluge what swims there now, jaws wide, in the O-gape of despair? Commissioned by Matt Haimovitz Nowhere. No way. Born with nothin’, die that way. Premiered by the University of Wisconsin-Madison Concert Choir, conducted by Beverly Taylor 4 2 Gone away and left us, Lord. Left us. NO-AH. The Lord has raised a mighty wind; penned like sheep, like hogs, left us here to die. the sea is walking the earth, knockin’ at the levee’s door. Havoc is there, and chaos, horror God is at our back. grinding under its heel No car. No ticket out. Nowhere to run. an old dream Noah gone and left us, Lord, done left us on our own. to be equal, to be free... Our Noah, the chosen one, buried in democracy’s debris on the high deck of the saved, wars and waste and lies, the ark of the plenty, remote and armed, and the flies, the terrible buzzing of the flies. look, he smiles down. 5 Noah, purring with assurances, as the ark opens its bilge From the drowned city, the blues waken again, and in the pooling slick, a glossy rainbow forms. “Lord, I’m goin’ down in Louisiana, oh don’t you wanna go...” Wings heavy with oil, a dove slowly drowns. A raven caws. “To dream of muddy water-- trouble is knockin’ at your door...” a ghostly music rises, bucket of jewels, slide of gold, 3 Bourbon Street awash with the blues, soul’s long wail, Deep in the water, too deep for tears, what lost chance swims away sweet smoke the wind is wearing home. through drowned canyons of shanties; what passes, airless, there past bloated bodies, staring eyes, unseeing. scarcely a glimmer against the gloom; Eleanor Wilner, September 2005

15 16 Michael Kuch, “Drowned Figure”, 2006 © Michael Kuch, 2006 Inspired by Woolf’s Après moi, le déluge From the artist book, Waterlines Watercolor on paper 18 6 8 Everybody Knows II. Sanctus and Benedictus

Please visit: leonardcohen.com Sanctus Holy, Holy, Holy, Lord God of Hosts Heaven and Earth are full of your glory Missa in Fines Orbis Terrae Hosanna in the highest Composed for the choir of St. James Cathedral, Toronto Benedictus Blessed is he who comes 7 Blessed is she who goes I. Kyrie In fine orbis terrae Blessed is she who comes in the name of the Lord Kyrie, eleison Blessed is he who goes in the name of the Lord Lord, have mercy Blessed are they Have mercy upon us Blessed are we Hosanna in the highest Christe, eleison Christ, have mercy 9 Have mercy upon us III. Agnus Dei

Kyrie, eleison Agnus Dei Lord, have mercy Lamb of God Have mercy upon us You take away the sins of the world Have mercy on us Grant us peace

19 20 The Choir of Trinity Wall Street, Julian Wachner and Avi Stein recording Missa in Fines Orbis Terrae, St. Paul’s Chapel, © Luna Pearl Woolf There are times when you encounter an artist, or develop an artistic partnership with somebody with whom you have total simpatico: a shared understanding of “how things should be,” an almost unspoken innate connection. My almost 15 years of collaboration with Luna Pearl Woolf is one of these unique mergings of artistic sympathies. Having travelled symphonically, operatically and in a variety of choral idioms with her, every turn is a welcome confirmation of my initial gut reaction that this is a brilliant and emotionally rich composer firmly rooted in the tradition yet yearning and succeeding to say something new and relevant with her carefully-crafted compositions. It has been an honor and privilege to share in her journey these past years in , Washington DC, and now in New York City. I look forward to many more projects and possibilities in the years ahead.

Julian Wachner

Julian Wachner © Peter Adamik 23 24 One to One to One Commissioned by the Arte Musica Foundation Inspired by the work “At the Carnival” by Jim Dine at the Montreal Museum of Fine Arts

10 I.

Listen to me, let me touch you there. You are young again, To view the sculpture “At the Carnival” by Jim and you are looking at me. Dine, please visit The Montreal Museum of Fine Arts, Montreal, . Either in or out of the mind, a conception overrides it. So that that time I was a stranger, bearded, with clothes that were old and torn. I was told, it was known to me, my fate would be timeless. Again and again I was to get it right, the story I

26 25 myself knew only the way of, I knew, however, the other, but the purpose of it Perhaps even more. She was there in the room’s corner, as she would be, had one, was not mine. bent by a wind it seemed The quiet shatter of the light, the image folded into would never stop blowing, endlessly opening patterns – braced like a seabird, with those endlessly clear grey eyes. 11 Name her, Athena – what name. II. The osprey, the sea, the waves. had they faced me into To go on telling the story, the light so that my to go on though no one hears it, eye was blinded? At moments to the end of my days? I knew they had gone but Mercury, Hermes, in dark glasses. searched for her face, the pureness Talk to him – but as if of its beauty, the endlessly sensual – one talked to the telephone, but no sense as that now reports it. telling it to please listen – Rather, she was beauty, that is that right, have I said it – Aphrodite I had known of, and the reflecting face echoes and caught sight of as maid – some of the cast of words in mind’s eye, a girlish openness – or known attention a whip of surmise. as a woman turned from the light. DevonDevon Guthrie Guthrie 27 ©© Peter Peter Konerko Konerko28 And the power to tell was not in the mind is glory. One unto one as thinking knows it, unto one. And though all mistake it, it is one. but danced in a jigging intensive circle 12 before the fire and its heat III. and that woman lounging.

I saw the stones thrown 13 at her. I felt a radiance transform IV. my hands and my face, I blessed her, I was one. How had she turned herself? She was largely warm – Are there other times? flesh heavy – and smiled Is she that woman, in some deepening knowledge. or this one. Am I the man – and what transforms. There are charms. The peddler and the small dog Sit by the fire. following and the whistled, I’ll dance a jig I learned insistent song. long before we were born for you and you only then. I had the pack the tattered clothing, I was not to go was neither a man nor not one, as if to somewhere, all that – Elise Quagliata 29 © Cat Lundgren 30 and who was she, 14 with the fire behind her, V. in the mess of that place, the dust, the scattered pieces, To approach, to hold her, was not possible. her skin so warm, She laughed and turned so massive, so stolid in her and the heavy folds of cloth smiling the charm did not move her but rather parted. The nakedness burned. Her heavy breath, kept her half-sleepy attention, her ugliness, her lust – yawning, indulging the manny but her laughing, her low who jiggled a world before her made of his mind. chuckling laugh, the way she moved her hand to the She was young. naked breast, then to she was old, her belly, her hand with its fingers. she was small. She was tall with Then shone – and whatever is said extraordinary grace. Her face in the world, or forgotten, was all distance, her eyes or not said, makes a form. the depth of all one had thought of, The choice is simply, again and again and again. Nancy Anderson I will – as mind is a finger, © Lee Cherry 31 32 pointing, as wonder a place to be. Lovely, lovely woman, let me sing, one to Listen to me, let one to one, and let me touch you me follow. there. You are young again, “The Finger” and you are looking at me. Robert Creeley

15 16 VI. Who By Fire

Was there ever Please visit: leonardcohen.com such foolishness more than what thinks it knows and cannot see, was there ever more? Was the truth behind us, or before? Was it one or two, and who was I?

She was laughing, she was laughing, at me, and I danced, and I danced.

33 33 34 LUNA PEARL WOOLF is noted among “wrenching, realistic theater.” Woolf’s new a new generation of politically conscious chamber opera Jacqueline, with librettist and artistically progressive composers. Her Royce Vavrek, about the legendary cellist music, praised by The New York Times for Jacqueline du Pré, will be premiered in 2020 its “psychological nuances and emotional by Toronto’s Tapestry Opera. depth,” has been heard widely across North America and in Europe. Throughout diverse Woolf’s discography includes Angel Heart, a collaborations with authors, filmmakers, and music storybook, recently released worldwide dancers, Woolf’s music is characterized by its on the PENTATONE Oxingale Series, penetrating focus on music’s capacity as a narrated by Academy Award-winning actor storytelling language. Jeremy Irons, alongside a new German- language edition with author Cornelia Funke Woolf is particularly renowned in the field narrating. Other noted collaborators include of opera and vocal music. Performed cellist Matt Haimovitz, sopranos Marnie more than a dozen times in over eight Breckenridge and Lisa Delan, percussionist cities, including New Orleans and at Dame Evelyn Glennie, conductors Julian Carnegie Hall, her Après moi, le déluge was Wachner and Véronique Lacroix, directors described as “blazingly ardent and softly Brian Staufenbiel and Ethan McSweeney haunting” by The New York Times, and among many others. “aching with universal regret” by Strings Woolf founded the ground-breaking Magazine. In 2016, Washington National Oxingale Records with Haimovitz in 2000, Opera commissioned and presented Better garnering several Grammy, INDIE and Gods, focused on the struggle of Hawaii’s JUNO awards and nominations. In 2010 Queen Lili’uokalani to retain her country’s she launched the publishing company, independence, which was praised by Oxingale Music. Born and raised in Western Broadway World for its “gorgeous score,” Massachusetts, Luna Pearl Woolf graduated underlined by traditional Hawaiian chant summa cum laude from , and authentic instruments. Awarded one in addition to studies at Smith and Amherst of Opera America’s inaugural Discovery Colleges and at Oberlin Conservatory. She Grants, Woolf developed The Pillar, described lives with her family in Montreal, Canada. by The Washington Post as “splendid” and Luna Pearl Woolf 35 © Danylo Bobyk36 About The Artists the Israel Philharmonic. At 17 he made his a Venetian cello, made in 1710 by NANCY ANDERSON is a veteran of the first recording with the Chicago Symphony Matteo Gofriller. Broadway, Off-Broadway and regional Renowned as a musical pioneer, Orchestra, for . stages. On Broadway, Nancy played Grammy-nominated cellist MATT He has gone on to perform on the DEVON GUTHRIE is enjoying an Mona in A Class Act, Helen and Eileen HAIMOVITZ is praised by The New York world’s most esteemed stages, with such international operatic career after in Wonderful Town and understudied Times as a “ferociously talented cellist orchestras and conductors as the Berlin completing her training at The Juilliard Glenn Close in the 2018 revival of Sunset who brings his megawatt sound and Philharmonic, the School. Known for her “honeyed tones and Boulevard. A 4-time drama desk and uncommon expressive gifts to a vast with , the English Chamber silver-tipped high notes”, Ms. Guthrie has 4-time Helen Hayes Award Nominee, variety of styles” and by The New Yorker Orchestra with Daniel Barenboim, the been a devoted interpreter of song, opera, Nancy received an Olivier Nomination for as “remarkable virtuoso” who “never Boston Symphony Orchestra with Leonard and a passionate pioneer of contemporary her portrayal of Lois/Bianca in Michael turns in a predictable performance.” He Slatkin, and the Orchestre Symphonique music. Highlights include her career- Blakemore’s West End revival of Kiss Me brings a fresh ear to familiar repertoire, de Montréal with Kent Nagano. launching roles of Susanna in The Marriage Kate aired on PBS/Great Performances. champions new music, and initiates Haimovitz’s recording career encompasses of Figaro and Pamina in The Magic Flute at Other television appearances include groundbreaking collaborations, as well as more than 20 years of award-winning English National Opera; creating the role Madam Secretary, The Other Two and creating innovative recording projects. In work on Deutsche Grammophon of Mary in Fellow Travelers with Cincinnati Marvelous Mrs. Maisel. Nancy’s debut addition to his relentless touring schedule, (Universal), Oxingale Records, and the Opera, The Prototype Festival, and Lyric album, “Ten Cents A Dance” led to Haimovitz mentors an award-winning PENTATONE Oxingale Series. His honors Opera of Chicago; multiple seasons with a concert appearances with Michael studio of young cellists at the Schulich include the Trailblazer Award from Santa Fe Opera; Susanna in a touring Feinstein at Carnegie Hall, the Atlanta School of Music of McGill University in the American Music Center, the Avery production of Le Nozze di Figaro in Japan Symphony as well as regular appearances Montreal and is now the first-ever John Fisher Career Grant, the Grand Prix du with Seiji Ozawa; a series of seasons as a with Vince Giordano’s Nighthawks and Cage Fellow at The New School's Mannes Disque, and the Premio Internazionale soprano soloist with The Paul Taylor Dance Ross Patterson and His Little Big Band at School of Music in New York City. “Accademia Musicale Chigiana.” He Company, and a plethora of productions the legendary jazz club, Birdland. Nancy studied with at the Juilliard with American companies. is the winner of the 2011 Noel Coward Haimovitz made his debut in 1984, at the School and graduated magna cum laude devonguthrie.com Cabaret Award and attended the Tufts age of 13, as soloist with Zubin Mehta and from Harvard University. Haimovitz plays University/New England Conservatory

37 38 Double-Degree Program studying She has also appeared as The Minskwoman Francisco Opera, Beijing Music Festival, The Peerless, Grammy-nominated interpreters Geological Sciences and Classical Voice. in Flight, Maria in Maria de Buenos Aires, Shed, , Utrecht Early Music of both early and new music, THE CHOIR Sister James in Doubt, Hannah After Festival, Metropolitan Museum, Carnegie OF TRINITY WALL STREET has changed the ELISE QUAGLIATA, mezzo-soprano, has in As One, Charlotte in A Little Night Hall, and the Prototype Festival, as well realm of 21st-century vocal music, breaking received critical acclaim for her command Music, Mrs. Lovett in Sweeney Todd, Olga as with ensembles including Philharmonia new ground with an artistry described as both contemporary and traditional in Eugene Onegin, Suzuki in Madama Baroque, Apollo’s Fire, Kansas City “blazing with vigour…a choir from heaven” repertoire. As Carmen, she has made notable Butterfly, Emilia in Otello, and Cornelia in Symphony, and Bang on a Can All-Stars. (The Times, London). This premiere ensemble appearances with numerous companies Giulio Cesare. elisequagliata.com As a leading impresario of new music, leads the liturgical music on Sundays at in the U.S., has toured with New York City he collaborated on the development, Trinity Church and St. Paul’s Chapel, while Opera in North America, Europe, Asia and the Multi-Grammy-nominated conductor, performance, and recording of three Pulitzer performing in Bach at One, Compline by Middle East, and praised by Opera News for composer, and keyboardist JULIAN Prize winning works: Julia Wolfe’s Anthracite Candlelight, Time’s Arrow, and many other her “beautiful, dusky mezzo” and “dramatic WACHNER — named one of Musical Fields (2015), ’s Angel’s Bone (2017), performances throughout the year. acumen” in that role. America’s Top 30 Professionals for 2018 — and Ellen Reid’s p r i s m (2019). serves as director of music at Trinity Church The choir has toured extensively making Contemporary successes include her Wall Street, overseeing an annual season Wachner’s own compositions have been appearances at Carnegie Hall, Lincoln signature role as Sister Helen in seven of hundreds of events. Besides serving as variously described as “jazzy, energetic, Center, the Metropolitan Museum of Art, productions of Jake Heggie’s Dead Man principal conductor of NOVUS NY, The Choir and ingenious” (The Boston Globe), “a the Berkeley Early Music Festival, BAM Next Walking; Zosia in Heggie’s Out of Darkness: of Trinity Wall Street, and the Trinity Baroque compendium of surprises” (The Washington Wave Festival, Utrecht Festival (150 Psalms Two Remain with The Atlanta Opera; Orchestra, Wachner was recently appointed Post) and “bold and atmospheric,” Project), Lincoln Center White Light Festival, Pellegrina in the premiere of Paola Prestini’s as artistic director of the Grand Rapids Bach demonstrating “an imaginative air for and the Prototype Festival in addition to Edward Tulane with Minnesota Opera; Joan Festival. allusive text setting” (The New York Times). Paris’s Théâtre des Champs-Élysées and Clarke in Justine Chen’s The Life and Death(s) He is published exclusively by E.C. Schirmer London’s Barbican Theatre. of Alan Turing with Chicago Opera Theater; Wachner enjoys an active schedule as a and represented world-wide by Opus 3 and Hedda Hopper in Stewart Wallace’s guest conductor, with recent and upcoming Artists. In addition to its Grammy-nominated Hopper’s Wifewith . engagements at the Los Angeles Opera, San Israel in Egypt album, The Choir of Trinity

39 40 Wall Street has recordings on Decca Gold, In its annual appearances at the Prototype Musicians of Trinity Wall Street Orange Mountain Music, Naxos, Musica Festival, NOVUS NY has helped pioneer Omnia, VIA Recordings, ARSIS, and Avie several major new operas including the THE CHOIR OF TRINITY WALL STREET Records. Trinity’s long-term commitment Pulitzer Prize-winning operas Angel’s Bone Soprano: Elizabeth Bates, Megan Chartrand, Madeline Healey, Molly Netter to new music is evident in collaborations by Du Yun (2017) and Ellen Reid’s p r i s m (soloist track 5), Melanie Russell, Amaranta Viera, Elena Williamson with living composers including Luna (2019), as well as Missy Mazzoli and Royce Alto: Hai-Ting Chinn (soloist track 1), Clifton Massey (soloist tracks 1, 9), Pearl Woolf, Terry Riley, Paola Prestini, Vavrek’s Breaking the Waves, named “Best Pamela Terry, Virginia Warnken Kelsey Ralf Gawlick, Elena Ruehr, and the choir New Opera for 2016” by the Music Critics Tenor: Timothy Hodges, Nick Karageorgiou, Gene Stenger, David Vanderwal, collaborated on and recorded three Association of North America. Steven Caldicott Wilson (soloist track 5) Pulitzer Prize-winning works, Anthracite NOVUS NY’s recent recordings include Reid’s Bass: Paul An, Enrico Lagasca, Thomas McCargar, Brian Mextorf, Edmund Milly, Fields (Julia Wolfe), Angel’s Bone (Du Yun), p r i s m, Prestini’s The Hubble Cantata, Du Jonathan Woody and p r i s m (Ellen Reid). Yun’s Angel’s Bone, Trevor Weston Choral Works, Elena Ruehr: Averno, and a three-CD Avi Stein, Associate Organist and Chorus Master Trinity Church Wall Street’s new music set of Wachner’s orchestral works. Albums orchestra, NOVUS NY, is a key player on released this season feature ’s NOVUS NY the contemporary music scene and has Symphony No. 5, Edward Thomas’s opera Cellos: Michael Katz, Ashley Bathgate, Michael Nicolas forged strong links with many of today’s Anna Christie, and music by Terry Riley, Basses: Kris Saebo, Louis Levitt, Jonathan Borden leading composers. Under the leadership Wachner, and Luna Pearl Woolf. of director of music Julian Wachner, its ABOUT THE ORGAN “expert and versatile musicians” (The The organ at St. Paul’s Chapel was built by the Noack company for a church in suburban New Yorker) perform new music from all Boston in 1989. In 2017, Noack renovated and installed the organ as the sixth instrument to corners of the repertoire, meeting “every occupy St. Paul’s historic 1802 organ case. Missa in Fines Orbis Terrae is the first recording on challenge with an impressive combination the new instrument. of discipline and imagination” (New York Review).

41 42 Acknowledgments

Recorded September 5 and 6, 2018 at LeFrak Concert Hall, School of Music, Queen’s College, City University of New York, Flushing, NY and September 7, 2018 at St. Paul’s Chapel of Trinity Church Wall Street, New York City, NY

Producer: Blanton Alspaugh, SoundMirror Recording Engineer: John Newton, SoundMirror Mixing, mastering and surround: Mark Donahue, SoundMirror Post-production consultant: Melissa Attebury, Associate Director of Music, Trinity Church Wall Street Project management: Jordan Gasparik

TRINITY CHURCH WALL STREET Production Manager and Librarian: Harrison Joyce Choral Contractor: Thomas McCargar Senior Artistic Administrator: Melissa Baker

Cover photograph: Daniel Forniés Sòria Design: Marjolein Coenrady Product management: Kasper van Kooten

Gene Pendon and El Mac: “Tower of Songs,” 43 the Leonard Cohen Crescent Street Mural, Montreal. 44 Publishing

All tracks © Oxingale Music except: 6, 16 © Sony ATV

Texts reprinted by permission: OXINGALE SERIES "Après moi, le déluge" © Eleanor Wilner "The Finger" © Robert Creeley

Congratulations, you are now holding committed to revelatory interpretations the brainchild of the synergy between of the canonic repertoire as to riveting PENTATONE and OXINGALE RECORDS. performances of works by recent and living composers. Breeding spontaneity Special Thanks Upon listening to a renowned cellist of his in musical expression, OXINGALE Lisa Delan, Isolde Lagacé, Robert Busiakiewicz, Beverly Taylor, Eleanor Wilner, Jim Dine, day, Voltaire is said to have quipped, “Sir, RECORDS captures singular moments of Penelope Creeley, Pat Morrill, Isabel Sole, Melissa Attebury, Melissa Baker, Maeve Haldane you make me believe in miracles; you turn collaboration in its stream of classical, and David Ainsworth, Michael Kuch and Jennifer Taub, Cara Liebovitz, Jana Miller, Ellen the ox into a nightingale”. With the belief contemporary, crossover, jazz and family Weiser, Kristin Hoff, Voice Trio, Mario Davidovsky, Bob Chilcott, Kenichi Matano, Julie in miracles, OXINGALE RECORDS brings its releases. The offspring of two musical Reed-Yeboah, Marnie Breckenridge, Michael Mori, Royce Vavrek, Jaime Martino, Ethan blend of imagination, talent and acumen to perspectives — those of world-renowned McSweeney, David Van Taylor, Cornelia Funke, Andrea Stewart and Thibault Bertin-Maghit, the realisation of artistic projects revolving cellist Matt Haimovitz and acclaimed Trudy Chan and Beth Holub of Black Tea Music, Marc Baylin, Jessica Cimini, Simone around music. composer Luna Pearl Woolf — their Dollman and Peggy Schmidt of PS music Berlin, Melinda Yin, Shira Gilbert, Emily Wachner, projects take a refreshing approach to Jeffrianne Young, Laurent Maslé, Ellie, Ora, Tao, and Peter Lin, Beverly, Stephen, Nessa and A trailblazing artist’s label since the the classical tradition, illuminating and Maia Woolf. year 2000, OXINGALE RECORDS is as vitalising the listening experience.

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Grammy Award-winning OXINGALE recordings, as well as the quality of the PTC 5186 542 PTC 5186 731 PTC 5186 561 RECORDS gradually unfolds an relationship with their customers. idiosyncratic but influential body of work. ON OTHER PENTATONE RELEASES We would be pleased to have you join us Having shared ideas and projects for some in celebrating this milestone as it gives time, there was no doubt for PENTATONE way to a tremendously intriguing and to join forces with OXINGALE RECORDS. inquisitive series of co-productions for This is a union of two innovative and you, our customers and ourselves. With devoted recording companies with a long PENTATONE’s warm, dynamic and detailed history of producing reputable records and sound capturing the superb works and collaborating with esteemed artists. Both performances of OXINGALE’s artists, we companies are extremely proud of the look forward to bringing you a range of PTC 5186 459 PTC 5186 537 PTC 5186 099 quality of their works, their artists and their prestigious work only in pristine quality. Sit back and enjoy