I9S ANGELES MASTER CHORALE TH= SEASON AND SINFONIA OF LOS ANGELES JOHN CURRIE • MUSIC DIRECTOR 2~ 1987-88 ROGER WAGNER, fOUNDER AND M USIC DIRECTOR )i\UREATE

SATURDAY, FEBRUARY 27, 1988 at 8:00PM CONDUCIDR'S NOTES CURTAIN RAISER PREVIEW AT 7:00 PM with ALAN CHAPMAN BY JOHN CURRIE

DOROTHY CHANDLER PAVILION I first heard Britten's War Requiem on the radio, the live broadcast of the first performance. The effect, even on radio, was overwhelming. There was also some celebration that Britten had writ­ WAR REQUIEM UKILA ten, at last, a large-scale oratorio, his first significant large-scale work since Peter Grimes. Benjamin Britten (1913-19'76) It was also an important moment of reconcilia­ tion with the German people who had bombed ~~ to ashes the old Coventry Cathedral, and now the new building had commissioned this work from Britten, a pacifist, at the time of the new Presented in celebration of the UK/LA Festival cathedral's dedication. Since then, it has been recognized as a significant work of our century, but I now JOHN CURRIE conducting realize how much more quickly new listeners STUART CANIN, Concertmaster can enter into its fuller experience if the con­ ductor provides some sort of "navigation chart:' KARON POSIDN, Soprano Here is my chart, and I hope it is helpful. PAUL JOHNSON, Tenor First, look at the stage and you will see a large symphony orchestra, a chorus, a small DAVID DOWNING, Bass chamber orchestra, and three soloists - THE PASADENA BOYS CHOIR, JOHN BARRON, Director soprano, tenor and baritone. You will not see a boys choir: they sing off-stage, remote, on the specific instructions of the composer. These distinct groups represent different elements in I. Requiem Aetemam the drama. The chorus, the main orchestra, and the soprano convey the traditional texts of the Mass for the Dead. II. Dies Irae The separate chamber orchestra accompanies the two male soloists, who represent an allied and a German soldier. These two men sing the INTERMISSION secular, and often cynical war poems of Wlifred Owen. As songs, these war poems are thrust between sections of the mass in a way which interrupt and also points up awful, heart­ ill. Offertorium breaking ironies. The boys choir, singing in far-off innocence, IV. Sanctus somehow underline the pity of war, like disem­ bodied children who were "sacrificed" (to use old man's jargon from World War 1). Thus the V. Agnus Dei work is ripe with cruel puns and ironies which are the result of the clash of the sacred text with VI. Libera Me the song-settings of the war poems. (An incidental irony is that Owen himself was "sacrificed" shortly before peace was declared.) Here are some of the musical and literary This concert is sponsored, in part, through the generosity of puns. Mourning bells are heard at the begin­ w ning and recurrently. The first war poem is BRITISH "What passing bells for those who die as cat­ AIRWAYS tle?" In the Abraham and Isaac episode, Owen sees Isaac, the small biblical son, being bound The wine for the post-concert reception for subscribers has been donated by with belts and straps, ready for slaughter by Corbett Canyon Winery and Vintage House Distributors. his father. Belts and straps were, of course, standard paraphernalia of the young boy sent The los Angeles Master Chorale Association sponsors the los Angeles Master Chorale and Sinfonia of los to be slaughtered (or sacrificed) in World War Angeles. It does this through the generosity of its volunteer Board of Directors and all those who contribute to The Music Center Unified Fund. The los Angeles Master Chorale Associates, a volunteer organization, I. Dies Irae, the medieval hymn about terror, provide substantial support to the Master Chorale's activities. These concerts are made possible, in part, judgment, and the destruction of the world, through the sponsorship of the los Angeles County Board of Supervisors and the los Angeles County Music is normally set with explicit musical references and Performing Arts Commission, and through grants from the Cultural Affairs Department of the City of to the "the last trump" which will raise the los Angeles, and the California Arts Council. dead to judgment. Mozart uses the trombone; Latecomers will not be seated until the first convenient pause in the performance. /Invited guests are welcome backstage after Verdi uses a flamboyant team of off-stage the performance; use performers' entrances: Grand Ave. side of Plaza for Pavilion, comer of Temple & Grand for Ahmanson, operatic trumpeters. But Britten uses bugle­ and rear of theatre for rorum. I Use of tape recorders and/or cameras prohibited in auditorium. I '!bur use of a tidopera Peter Grimes first another. The last bugle-call is a disastrous "Calvary" (or field-comer crucifix). One of the had in 1945, as the second great artistic water­ downward plunging theme for trombones and image's legs has been blown off by an explo­ shed of his productive life. tuba. The choir sings the old Latin words, and sion. The choir sings the Agnus Dei. But after Britten grasped the challenge which the new the military brass, with increasing strength and the final verse of the song ("But they who love Cathedral's acoustic ambiance afforded him. vulgarity continues to answer the choir. the greater love, Lay down their life, They do Later in 1964 he gave expression to his views. The Second Song, for baritone, is Owen's sad, not hate'') the tenor completes the sacred text: "The best music to listen to in a great Gothic dark "Bugles sang . . ." The connection, and the ''Dona nobis pacem" (Give us peace). It is the church is the polyphony which was written for irony is obvious. The soprano sings a dramatic first and only time in the entire work that the it, and was calculated for its resonance. This "Liber scriptus." soldier prays or repeats any conventional was my approach to the War Requiem - I The Third Song is a swaggering duet for two religious words. The song is, of course, about calculated it for a big reverberant acoustic, and soldiers: "Out there, we've walked quite the "greater love:' that is where it sounds best:' On the night of friendly up to death:' It is one of Owen's bit­ 6. LmERA ME May 30, 1962, the War Requiem received its pre­ terest poems. The bravado of the soldiers' An apocalyptic movement in which the cries miere performance. Situated within the words does not hide their fears and pessimism. of the chorus and the soprano reach a huge spacious sanctuary of the splendid modem Recordare. A quartet of trumpets and women's climax (recalling the Dies lrae en route) before Cathedral, in front of the world's largest voices leads to Confutatis, a violent war-dance subsiding to the Final Song. This is a setting of tapestry of Christ seated in medieval majestry, by the men of the chorus, as if invoking a curse. "Strange meeting:' Two soldiers meet in a arms raised in prayerful supplication and sur­ The Fourth Song is indeed a curse. A huge strange, limbo-like territory of underground rounded in mandorla with the Biblical symbols gun is slowly raised, punctuated by the bugle­ caverns. They are enemies. One has been the of the four Evangelists, soloists, choruses, calls - "Be slowly lifted up, thou long black slayer of the other. It is Owen, as sung by the orchestras and the two conductors, Meredith arm . . :' The final line, "May God curse thee, baritone, who points the moral: Davies and Britten performed the War Requiem and cut thee from our soul" brings back a fuller, ". . . And of my weeping something had before an awed and profoundly moved more violent version of the seven-in-a-bar Dies been left audience. Irae theme. Which must die now. Britten's biographer, Michael Kennedy, Lacrymosa. Soporano and chorus weep in a I mean the truth untold, writes: "No one who was in Coventry Cathe­ conventional lament. The Fifth Song, for tenor, The pity of war, the pity war distilled. dral on the evening of May 30 will ever forget interrupts. It is the Owen's poem of the dead Now ~en w~, go content with what we the emotional effect of its first performance:' young farmer, killed in the trenches of France. spoiled ... Wdliam Mann's review in The London Times next His comrade hopes that the sun will awake the But it is Britten who takes their final words, day noted that the work was "so superbly pro­ dead man. The religious '1acrymosa" now "Let us sleep now . :' and weaves a huge portioned and calculated, so humiliating and repeatedly interrupts the song, but does not tapestry of reconciliation. For the first time in disturbing in effect, in fact so tremendous, that prevent the bitter conclusion: 'Was it for this the work, all the performers sing and play every performance it is given ought to be the clay grew tall? 0 what made fatuous sun­ together. The soldiers continue with "Let us momentous occasion ... [it is] the most beams toil to break earth's sleep at all?" The sleep ...;' the boys, still distant, soar above masterly and nobly imagined work that Brit­ mourning bells and the antique prayer ("Pie in the old hymn "In paradisum . . :' joined, ten has ever given us:' Jesu") return to conclude the Dies Irae. gently rising, by the chorus. Dissonant funeral Mann's comments about the War Requiem five bells return, and we hear, last of all, the days prior to that premiere performance 3. OFEKIDRIUM antique-prayer music, with its extraordinary, highlighted the second factor which· had In the distance, the boys call out the words of luminous final cadence. motivated Britten to its composition: "It can the Offertorium - "Jesu Christel" It is lively, This is a work heavy with history and tradi­ only disturb every living soul, for it denouced innocent and playful. The sacred text returns tion. Britten even imitates to an extent the pat­ the barbarism [of war) more of less awake in with "Sed signifer . . :' "Quam olim Abrahae" tern of keys used by the older masters in their mankind with all the authenticity that a great ("as promised to Abraham and his seed for settings of the Requiem. But the songs, the war composer can muster:' ever'') becomes the Sixth Song, a reworking of poems, call in question the beliefs of history The work immediately enjoyed numerous Britten's earlier "Canticle II;' the profound and church. The score is prefaced by Owen's performances, perhaps too numerous, Abraham and Isaac myth. But in Owen's ver­ words: throughout England and the world. A splen­ sion there is no rescuing angel. The patriarch "My subject is War and the pity of War. did one took place under Britten again with disobeys the voice of God, kills his boy "and The poetry is in the pity. Pears and Fischer-Dieskau in the glorious baro­ _half the seed of Europe one by one:' The All a poet can do is to warn:' que German church of Ottobeuren. These

L-2 many performances served with perfect tim­ red at the age of 5 when in November, 1918, trope-like into the static though often dramatic ing to commemorate the 50th anniversary in a German bomb exploded adjacent to his home liturgical Latin texts of the Mass for the Dead. 1964 of the outbreak of The Great War. at Lowesstoft in Suffolk near the coast of the Plomer, in 1964, thus noted that Brittten had Britten distributes his voices and instruments North Sea. ror the J.\br Requiem's genesis, more­ not only written a sublime new Requiem Mass, so as the better to emphasize the different over, November, 1918, was crucially seminal. but brought out the full force and clarity of the levels of poetic illumination in the texts both On November 4, a week before the Armistice, utterance of an unforgettable poet. Directly, he of the Latin Mass and of Owen's poetry. Peter Britain's greatest World War I poet, Wilfred had given it a new, much wider, and perhaps Evens describes this procedure in his analysis Owen (1893-1918), after having won the Military lasting significance troubling the deeper levels in the New Groue Dictionary. Owen's nine Cross for gallantry, was killed while leading an of our human nature. poems are reserved for the tenor and baritone attack against a German position. Unlike such Performed within the new Cathedral, risen soloists, illuminated by the intricate detail of then currently popular poets as Rupert Brooke, phoenix-like in triumph from the ruins of the the chamber orchestra accompaniment. On the who glorified the image of noble British youth war-scared city, reconciliation was to be one hand, the Latin text veers between sacrificing life and limb for king and country, highlighted through the presence of the Soviet liturgical passivity characterized by the imper­ Owen's acerbic poetry emphasized war's essen­ soprano, Galina VJShnevskaya, the Enlish tenor sonal emotionless boys' voices with organ, and tial barbarism. "I am not concerned with Peter Pears, and the German baritone Dietrich on the other hand mankind's mingled mourn­ Poetry;' he wrote as he lay in a Scottish hospital Fischer-Dieskau. The conciliatory thrust of the ing, supplication and guilty apprehension during most of 1918 recovering from his whole work culminates as Tenor and Baritone finds expression in the dramatic large chorus wounds. "My subject is War, and the pity of in duet sing Owen's poem Strange Meeting with with its full orchestra. At times these textures War. The Poetry is in the pity. Yet these elegies its poignant, ironic words '1 am the enemy you are sublimed by the soprano solos. The work's are to this generation in no sense consolatory. killed, my friend .. :· Then while Tenor and planes are thus spiritually separated and its They may be to the next. All a poet can do Baritone repeat "Let us sleep now;' all the dramatic impact depends chiefly on stark con­ today is warn. That is why the true poets must Requienfs performing forces unite to sing their frontation rather than through a symphonic be truthful:' welcome by the choirs of angels and the host working out. The Requiem's fusion of diverse ror Britten and his generation, Owen's war­ of the Age, martyrs into paradise with the traits from earlier Britten compositional pro­ ning proved futile, symbolized in the grim, words of the In Pamdisum. cedures suggests his determination to give his stark ruins of St. Michael's Cathedral. Britten's project note of reconciliation sus­ utmost in preaching an urgent text. While dedicating the War Requiem to four tained minor setback at the premiere perfor­ '1n the light of history;' observes analyst friends killed in World War ll, Britten incor­ mance when Heather Harper replaced Anthony Milner, "no work could give an ade­ porated parts of Owen's unpublished preface Vishnevskaya, who could not be present. quate assurance of an end to conflict, still less into the preface of the Requiem. He concerned Subsequently Galina sang the soprano solo in of peace. Concert audiences the world over himself ultimately, howeveJ; with reconciliation. the recorded performance of 1963 under Brit­ have recognized the J.\br Requienfs timeless rel­ To this end and conscious, as William Plomer ten's direction. This recording manifested the evance to the human condition." has observed, of Owen's essentially Christian widespread enthusiastic reception of the Britten was a life-long pacifist. His first frame of mind, Britten inserted nine of Owen's masterpiece. Within five months of its release primitive experience of war's barbarism occur- image-filled and emotionally charged poems an astonishing 200,000 sets were sold!

Teste David cum Sibyl/a . David's words with Sybyl's blending! WAR REQUIEM TEXT Quantus tremor est futurus, Oh, what fear man's bosom rendeth Quando judex est venturus, when from heaven the judge descendeth, "My subject is War, and the pity of War. Cunda stricte discussurus! on whose sentence all dependeth! The Poetry is in the pity. All a poet can do today is warn." Tuba mirum spargens sonom Wondrous sound the trumpet flingeth, Wilfred Owen Per sepulcra regionum, through earth's sepulchres it ringeth, Coget omnes ante thronum. all before the throne it bringeth, Mors Stupebit et natura, Death is struck and nature quaking, I. REQUIEM AETERNAM Cum resurget creatura, all creation is awaking, Chorus Judicanti responsura. to its judge an answer making. Requiem aeternam dona eis, Domine: et Rest eternal grant unto them, 0 Baritone solo lux perpetua luceat eis. Lord: and Jet light eternal shine Bugles sang, saddening the evening air, upon them. And bugles answered, sorrowful to hear. Boys \bices of boys were by the river-side. Te decet hymnus, De~

in the title roles, and Mozart's Don Giovanni have also been recipients of this award. and Idomeneo. In May, 1986, at the Perth As concertmaster of the San Francisco Sym­ Festival, Mr. Currie was highly acclaimed for phony under Seiji Ozawa, Canin was featured a new production of Mozart's The Marriage of as soloist with the orchestra on numerous Figaro which he conducted, produced and occasions, including concerts in Moscow, translated. He returns to Perth in May, 1988 for Leningrad, Berlin, and Tokyo. As a recitalist, Mozart's Cosi Fan Tutte. and as soloist with other major European and This is Mr. Currie's second season as Music American orchestras, Canin has concertized Director of the Los Angeles Master Cltorale and extensively throughout the two continents. Sinfonia of Los Angeles. Before joining the San Francisco Symphony, Canin was concertmaster and violin soloist of the Chamber Symphony of Philadelphia. He has also served as concertmaster of the Casals Festival orchestra in San Juan, Puerto Rico, the Mostly Mozart Festival Orchestra at Avery Fisher Hall in New York City, and the San Fran­ cisco Opera. For many years Canin was a chamber music artist with the Aspen Music Festival in Aspen, Colorado. In addition, he has participated in the Spoleto Festival in Spoleto, Italy, and Charleston, S.C., and the Sante Fe Chamber Music Festival. He has served as professor of violin at presti­ gious conservatories in this country and abroad, JOHN CURRIE, Conductor, was born in Scot­ among them the Oberlin Conservatory and the land and first studied conducting at the Royal Musikhochschule in Freiberg, Germany. Scottish Academy of Music where he garnered At present he pursues an active concert many awards. Since then his work with cho­ career as well as being on the faculty of the ruses and orchestras has become interna­ University of California at Santa Barbara. He tionally recognized. In recent years he has is also a member of the Artist Faculty of the appeared as guest conductor with the Saint Summer Music Festival of the Music Academy Paul Cltamber Orchestra, the Israel Sinfonietta, of the West in Santa Barbara, California. The National Orchestra of Belgium and the Scottish National Orchestra. STUART CANIN, Concertmaster, was also con­ KARON POSlON, soprano, made her profes­ Mr. Currie has also earned a high reputation certmaster of the San Francisco Symphony sional debut in 1979 with Nevada Opera Guild as a chorus master, working with Carlo Maria from 1970 to 1980. He was born in New York as Marguerite in Faust . Giulini, Zubin Mehta, Claudio Abbado, Rich­ City where he studied the violin with famed She received her training under full scholar­ ardo Muti and Sir George Solti, with orchestras pedagogue, Ivan Galamian. ship at the University of Southern California ranging from the Israel Philharmonic to the In 1959 he was the winner of the highly Opera Department. Chicago Symphony. He has been chorus mas­ coveted First Prize of the Paganini International Ms. Poston is the winner of many grants and ter of both the Edinburgh Festival Cltorus and Violin Competition in Genoz, Italy. He recently competitions, including first place in the Fuch the Scottish National Orchestra Cltorus. In 1981 returned from Italy where he had been invited Memorial Auditions, third place at the San he founded The Scottish Chorus which has by the Italian government to give a series of Francisco Opera Regionals, and Metropolitan appeared in Belgium, Israel and in Italy, recitals as part of the celebrations of the 200th Saunderson Award and District Wmner. She including La Scala, Milan. Earlier, in 1%8, he anniversary of the birth of Niccolo Paganini. was awarded Grants from the Martha Baird founded The John Currie Singers and Orches­ He has also been honored by his native city, Rockefeller Foundation, and Gladys Turk Foun­ tra, with whom he conducted numerous world New York, with its highest cultural award, the dation. She received study grants from William premieres. In opera he has conducted Dido and Handel Medal, in recognition of his musical M. Sullivan Foundation and National Opera Aeneas, Savitri, Orfeo, all with Dame Janet Baker achievements. Isaac Stem and Beverly Sills Institute. L-5 He has performed with the Seattle Sym­ Choir was reorganized as The Pasadena Boys phony in the opening of their contemporary Choir School by its current Director and Chief music series with Gerard Schwarz, conductor, Executive Officer, John R. Barron. the Tucson Symphony, Willliam McGlaughlin, The Choir presently consists of 140 boys be­ conductor, and the American Youth Sym­ tween the ages of 8-14 who are divided into five phony, Mehli Mehta, conductor. Mr. Johnson different levels of training, and who are drawn also has appeared with the Orchestra of Santa from over a dozen communities throughout Fe, the Orange County Pacific Symphony, the the San Gabriel Valley. Boys generally enter the Ventura Symphony, the Los Angeles Master Choir between the ages of 8 and 11, and al­ Chorale, the San Luis Obispo Mozart Festival, though most of the boys have had little or no and the Basically Bach Festival in Anchorage. previous training before admission to the choir, Operatically, Mr. Johnson has sung over the organization maintains a standard of ex­ twenty-five roles with such companies as Long cellence that allows it to compare favorably Beach Opera, Los Angeles Opera Theater, San with its European counterparts. Jose Opera, Euterpe Opera, and toured for The Pasadena Boys Choir has appeared with Columbia Artists Community concerts with the Los Angeles Philharmonic, the Pasadena the Los Angeles Opera Ensemble. Symphony, the Pacific Symphony, the Los Mr. Johonson is recipient of awards from the Angeles Master Chorale, the Pasadena William Sullivan and the Gladys Turk Foun­ Chamber Orchestra, and has toured through­ dations. He continues his studies with Beatrice out the United States and Europe. In April of Rowe. this season, the Choir will travel to the east coast, where it will appear in concert in Washington, D.C., New York, and a number Ms. Poston has been a guest artist with Glen­ of other eastern cities. dale Symphony under Carmen Dragon, Long Beach Opera Orchestra, and Beach Cities The IDS ANGELES MASTER CHORALE Orchestra. She has performed in concerts with AND SINFONIA OF IDS ANGELES has Giorgio Tozzi and Frances Bible. been a resident company of the Music Center A principal artist with New York City Opera since its founding in 1964 by Roger Wagner, from 1980-83, Ms. Poston made her debut as together with the late Z. Wayne Griffin and the Musetta in La Boheme, and performed Anna in Los Angeles Junior Chamber of Commerce. Dr. Nabucco opposite Grace Bumbry and Justino Wagner's pioneering efforts gave Los Angeles Diaz. a unique reputation as the first major city in To critical acclaim, Ms. Poston performed the country to support its own professional Micaela in Carmen on a 26 city tour with New resident chorus in a regular annual series of York City Opera Touring Company. choral programs. The Master Chorale pre­ Ms. Poston has most recently appeared with sented its first concert at the Dorothy Chandler several Southern California orchestras and Pavilion in January, 1965, with a performance opera companies, including Riverside Opera of Bach's B Minor Mass. In addition to and Redlands Symphony. performing its own concert series, the Master The 1987-88 season includes Donna Anna in Chorale also appears regularly in joint perfor­ Don Giuvanni with Albuquerque Opera, a re­ mances with the Los Angeles Philharmonic, engagement as Norma with Riverside Opera. both in the orchestra's annual series at the This evening marks her debut with Maestro Music Center and in the Philharmonic's sum­ John Currie and the Los Angeles Master mer series at the Hollywood Bowl. In 1973, the Chorale. DAVID DOWNING, bass, a native of south­ Chorale appeared with the Philadelphia Or­ em California, received his B.M. degree from chestra at the Presidential Inauguration con­ the California State University at Long Beach, cert at Kennedy Center in Washington, D.C. where he performed principal roles in The In 19'74, the Chorale undertook a 15 day tour Magic Flute, and The Consul as part of the of major Soviet cities, under the U.S. State University's opera department. Mr. Downing Department's cultural exchange program with was selected to participate in the 1983 and 1985 Russia. In summer of 1984, the Chorale par­ Bel Canto Seminars held by tenor Carlo Ber­ ticipated in three programs during Olympic gonzi in Busseto, Italy. Arts Week at Hollywood Bowl, preceding the A frequent performer with the Long Beach opening ceremonies of the XXIllrd Games of Opera, Mr. Downing has appeared in perfor­ the Olympiad. In the fall of 1985, the Master mances of La Boheme, Don Carlo, Bastien und Chorale was selected as choral ensemble for Bastienne, The Coronation of Poppea, Death in ten performances with the Deutsche Opera of Venice, and II Barbiere di Siviglia. West Berlin during its engagement at the Music During 1986-87 he performed with the Wolf Center. This past spring, the Master Chorale Trap Opera Company, Nebraska Opera Thea­ joined the Philharmonic on their East Coast ter, Opera Omaha, San Diego Opera, and the tour to New York's Carnegie Hall and Phila­ Nashville Symphony Association. delphia's Academy of Music where they per­ Brahms Requiem, Faure Requiem, Haydn's Lord formed Britten's Spring Symphony with Andre Nelson Mass, Handel's Messiah, and several Previn. In the fall of 1986, the Master Chorale works of J.S. Bach; Christmas Oratorio, St. became the official chorus for the inaugural Matthew's Passion, Coffee and Peasant Cantatas, season of the Los Angeles Music Center Opera, are highlights of Mr. Downing's concert credits. participating in productions of Verdi's Otello, The 1987-88 season will feature engagements Puccini's Madama BuHerfly and Handel's Aldna. PAUL L. JOHNSON, tenor, has a wide range with the San Diego Opera, The Orchestra of John Currie of Edinburgh, Scotland became the of performing experience in concert and opera. Santa Fe, Long Beach Symphony, Ambassador Chorale's second Music Director in September He has received critical acclaim for his perfor­ Gold Medal Series. 1986, succeeding Roger Wagner, who became mances with the Los Angeles Chamber Orches­ Music Director Laureate. Seventeen guest tra and the Pasadena Chamber Orchestra. THE PASADENA BOYS CHOIR was founded conductors have led the Master Chorale since Mr. Johnson appears regularly with the Los in 1925, and holds the distinction of being the its founding and during these years the Angeles Vocal Arts Ensemble and the Los oldest civic boys choir in the United States. It Chorale has performed a broad range of reper­ Angeles Chamber Orchestra Bach Soloists. His was originally conceived as part of the Pasa­ toire including virtually all the masterpieces of recordings with the Ensemble include music dena School system, but was disbanded in 1951 choral-orchestral literature, as well as several of Brahms, Rossini, and Sondheim on the when its founder, Dr. John Henry Lyons, world premieres and important contemporary Nonesuch and Angell EMl labels. retired from the school district. In 1971, the choral scores. L-6

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AMERICAN SAVINGS AND LOAN ASSOCIATION ·-~~~e.. * •InvOSimetlt.< other than savings aa:ouru B1 American Savings are nol insured by lhe FSUC I9S ANGELES MASTER CHORALE LOS ANGELES MASTER CHORALE PERSONNEL SINFONIA OF LOS ANGELES Chamber Orchestra SOPRANO Carol Stephenson Paula Rasmussen Robert Vega VIOUNS OBOE Samela Aird Beasom Sarah Stokes Carol Reich Gary Walker Stuart Canin, Joel Tirnm, Principal Nicole Brunei KathrynStukas Cheryl Roach Concertmaster CLARINET Joan Beaumier Kristine Sudderth Lori Turner BASS Rene .Mandel, Dominick Fera, Meril Benjamin Gina Surratt Jennifer Williams Vatsche Barsoumian Assrstant Principal Nicol Brunei Inyong Urn Barbara Wilson Mark Beasom Concertmaster BASSOON Kelly Calhoun Nancy von Oeyen Lenard Berglund VIOLA Michael O'Donovan, Pamela Chapin Laura Wilson TENOR Andy Black Mihail Zinovyev, Principal Mary Daval James Beaumier Fred Colman Principal FRENCH HORN Diane Demetras ALTO Chris Bowman Kevin Dalbey CELLO Brian O'Connor, Rhonda Dillon Natalie Beck Chris Campbell Phillip Dorfman John Walz, Principal Principal Denise Dumeyer Helen Birch Augie Castagnola Albert Eddy BASS PERCUSSION Pamela Erven Sarah Bloxham Roy Dunbar Bob Erickson David Young, Kenneth Watson Claire Gordon Aleta Braxton Paul Gibson Steve Fraider Principal Principal ' Catherine Grimshaw Kay Carrillo Jody Golightly John Gingrich FLUTE HARP Barbara Hancock Elin Carlson Frank Gutierrez Ken Gould Sheridan Stokes, Ann Stockton, Rose Harris Sue Christman Robert Gurnee David Hill Principal Principal Marie Hodgson Kathleen Corcoran Randy Hart Paul Hinshaw Cecily Jaynes Marilyn Eginton Tim Johnson Thomas Kao Main Orchestra Teri Koide Sally Etcheto Elias Kalivas Kerry Katz VIOLINS OBOES Cathy Larsen Amy Fogerson Charles Lane Craig Kingsbury Arnold Belnick, Jon Oarke, Principal Susan Montgomery Michelle Fournier David Larson Kenneth Knight Concertmaster Leslie Reed Carol Newbarr Laurie Gurman Bill Nazarro Edward Levy Karen Jones CLARINETS Phoebe O'Brien Mary Hinshaw R. Paul Neumann Roger Lindbeck Irma Neumann Roy D'Antonio, Judy Olesen Nancy Johnsen Keith Paulson Bob McCormac Jos.ef S~oenbrun Principal Marilou Petrone Sara Conway Jones Jay Pearce Lee Oliver Julie G1gante Virginia Loe Marti Pia Joan Keesey Kirk Prather Jim Raycroft Ron Folsom Ralph Williams Holly Shaw Price Bridgid Kinney Marshall Ramirez William Roberts R~ss Cantor BASSOONS Judy Rust Mary Martin David Riviilus Clifford Rust Lise Johnso~ Rose Corrigan, Sherrill Sajdak Erin Murphy George Scott David Schnell Anatoly Ros~sky Principal Linda Sauer Judy Mussay Maurice Staples Dwight Stone Blanche Belruck Leslie Lashinsky Greg Moore Bonnie Smith Nancy OBrien George Sterne Burman Timberlake Lily Ho CONTRA Christine Sorenson Halo Priest Robert Stribling Richard Williams BASSOON 2ND YJOLINS Charles Coker Conrue Kupka, H HORNS Principal FRENC Alan Grunfeld James Atkinson, JOHANN SEBASTIAN BACH: ST. MATTHEW PASSION Peter Kent Principal Ron Oark Richard G. Klein Saturday, March 19, 1988 at 8:00 p.m. Ouislopher Reutinger William Alsup Curtain Raiser Preview in the Grand Hall at 7:00 p.m. Constance Meyer Edward Treuenfels Eileen Yuan Ronald Loofbourrow Experience the high drama of Bach's choral masterpiece in a spectacular Maria Newman Douglas Lyons presentation with two orchestras, two choirs, and solo arias featuring Betty Byers TRUMPETS Zegar Vandersteene, David Downing, Irene Drummond, Steven Susan Johns Malcom Mcnab, Rickards, Richard Kennedy and John Ostendorf. A stirring, remarkable VIOLAS Princiapl evening. Janet Lakatos, K~n!'eth ~arson $27.50, $22.00, $19.00, $16.50, $11.00 Senior and Student 30% discount. Principal William Bmg Wesley Cease Andrew Ulyate Groups of 20 or more 15% discount, plus one free ticket for each Harry Shirinian TROMBONE purchased. Dan Neufeld William Booth, Valerie Dimond Principal Cynthia Morrow Andrew Malloy Rick Gerding Alan Johnson WOLFGANG AMADEUS MOZART: REQUIEM Teruko Schoenbrun TUBA GABRIEL FAURE: REQUIEM CELLOS John Johnson Saturday, April 23, 1988 at 8:00 p .m. David Speltz, PERCUSSION Principal Thomas Raney, Curtain Raiser Preview in the Grand Hall at 7:00 p.m. Sebastian Toettcher Principal Two of the world's most popular choral works are paired for the Los Jerome Kessler Kevin Wilmering Angeles Master Chorale's season finale: Requiem of Mozart and Faure. Todd Hemmenway Theresa Dimond Representing two very different musical styles, each commands a place Dane Little Dale Anderson in the hearts of music lovers throughout the world. Barbara Hunter Alan Vavrin BASS PIANO Mozart's Requiem was written as the composer faced the inevitability of Suzanne AUman, Maryanne Ivanoff his own death, making this masterpiece all the more evocative. In the Principal ORGAN Faure Requiem, the theme is given a peaceful, almost happy, tone in what J~y Grauer Paul Lee the composer once called 11 a lullaby of death. 11 T1m Barr Meyer Rubin LIBRARIAN $27.50, $22.00, $19.00, $16.50, $11.00 Senior and Student 30% discount. Tom Pedrini Katherine Dolan Groups of 20 or more 15% discount, plus one free ticket for each FLUTES PERSONNEL purchased. Paul Fried Principal MANAGER Gary Wo~dward Stuart Canin Geraldine Rotella L-7 LOS ANGELES MASTER CHORALE ASSOCIATION BOARD OF DIRECIORS 1987-88 I9S ANGELES MASTER CHORALE ASSOCIATES

Dear Friends of the Master Chorale EXECUTIVE COMMI1TEE Welcome to the 24th Season of the Los Angeles Master Chorale. You Marshall A. Rutter, Chairman of the Board are embarking upon a musical experience that will thrill and excite Gifford A. Miller, Chairman of the Executive Committee you as you hear the finest choral music in America. Abbott L. Brown, President As members of the Los Angeles Master Chorale Associates we serve John A. Adams, Vice President, Sales and Marketing as enthusiastic fans enjoying a history of involvement with the Chorale Charmay B. Allred, Vice President, Special Projects back to its very beginnings. We invite you to join with us in the con­ J. Lyle Cunningham, Vice President, Administration tinuation of the fine traditions that follow the music world. Our Stephen F. Harbison, Vice President, Grants activities with the Chorale are both social and serious, assistffig with Everett F. Meiners, Vice President, Legal Aflrlirs; Secretary the Music Center Unified Fund Campaign, participating in the annual Mrs. David Schultz, Vice President, Board Relations Nicholas S. Winslow, Vice President, Long Range Planning Benefit and hosting social gatherings during the year allowing our Mrs. Harrison A. Price, Vice President/Liaison-Advisory Committee membership to meet Chorale and Orchestra members. William M. Ruddy, Treasurer We encourage you to become part of our music family. Membership is $25.00 per person each year. Please call the Master Chorale office for more information. Thank you and enjoy your evening. DIRECIORS Benjamin Bush Sincerely, Theodore G. Congdon George W. Fenimore Lonnie Cunningham Martin J. Frank President Yutaka Hasegawa Los Angeles Master Chorale Associates Elizabeth Levitt Hirsch Morton B. Jackson, Esq. Louis W. Kang, M.D. Membership Form Mrs. Robert Kass Mrs. Albin C. Koch Dues are only $25.00 per year for an exciting year of music and friendship. Edward J. McAniff Please make your check payable to: Los Angeles Master Chorale Associates. Raymond Neevel Donald J. Nares (Please print) Jeanette Grattan Parker Donald F. Parker NAME: ______(D r., Mr., Ms., Miss) John R. Queen, Jr. Mrs. Charles I. Schneider ADDRESS: Mrs. David Selby Roger Smith Jay St. Clair CITY: ------Laurence A. Thompson STATE: ZIP: Mrs. Larry B. Thrall Mrs. Gary L. Wilson Michael Wilson TELEPHONE: (Day) ( Morton M. Wmston (Evening) (

HONORARY DIRECIORS Please return this completed membership form with your check to: Mrs. George B. Allison Los Angeles Master Chorale Associates Thomas P. Cassidy 135 N. Grand Avenue Dorothy Kirsten French Los Angeles, CA 90012 Mrs. Geraldine Smith Healy Thank you! We are delighted you are joining us. Warner W. Henry Mrs. Herbert Hilmer Mrs. Bob Hope LOS ANGELES MASTER CHORALE ASSOCIATES Charles Luckman Mrs. Frank Roger Seaver 1987/88 Board Members Mrs. Meredith Willson nona M. Cunningham, President Patti Rivinus, First Vice-President/Membership EX-OFFICIO MEMBERS Jan Powers, Second Vice-Presiden t/Unified Fund John Currie, Music Director Beverly Thrall, Unified Fund Assistant Robert Willoughby Jones, Executive Director Anne Price, Third Vice President/Ticket Sales Mrs. J. Lyle Cunningham, President, Master Chorale Associates Gloria Moore, Bonnie Grinstead, Fourth Vice Presidents/Hospitality Beverly Thrall, Corresponding Secretary ADMINISTRATION Dee Meyer, Recording Secretary Robert Willoughby Jones, Executive Director Gloria Moore, Treasurer Maurice Staples, Assistant to the Executive Director Carole Davis, Parliamentarian Rae Macdonald, Production Coordinator Richard Glenn, Director of Marketing Bernice Wilson, Historian Linda Zinn, Accountant Alma Hartshorn, Thelma Bell, Telephone Sublime Communications, Public Relations Consultants Alexandra Glickman, Public Relations/Publicity Maryanne Ivanoff, Rehearsal Pianist Barbara Wilson, Chorale Liaison Paul Geller, Stage Manager Anna Mae Kass, Benefit Liaison Charmay Allred, Kay Chandler, Bonnie Grinstead, Outreach Committees Maestro John Currie acknowledges the support of YAMAHA Tania McKnight, Curtain Raiser Previews (Piano Division). Anne Price, Phillis Rothrock, nona Cunningham, Patti Rivinus, The Los Angeles Master Chorale is a member of CHORUS AMERICA, the Area Committees Association of Professional \\:leal Ensembles, A.P.V.E. Barbara Schneider, L.A. Master Chorale Liaison Flowers by Flower View Gardens L-8