some music you hear once and never forget. ATHEDRAL C YSTICS AT THE

Cathedral of Our Lady of the Angels Our of Cathedral 4:00 p.m. Sunday, November 10, 2002 November Sunday, M EXECUTIVE DIRECTOR LETTER

Dear Friends:

For many months, Grant and the singers have looked forward to performing in the Cathedral of Our Lady of the Angels, and all of us at the Master Chorale are thrilled that this day has finally arrived! It is relatively rare that an ensemble has the opportunity to make music in an exciting and beautiful new concert space, so we are especially grateful to be here on this important occasion. This Cathedral is, of course, first and fore- most a place of worship, meditation and celebration, so we are honored to pre- sent here a program of sublimely moving choral music, much of which was composed for an environment just like this. Board of Directors Edward J. McAniff, Chairman Mark Foster, President The journey to this concert has involved many people, all of whom were Everett F. Meiners, Secretary exceptionally generous with their time and creative energy. First among those Penelope C. Roeder, Ph.D., Treasurer is Frank Brownstead, Cathedral Director of Music, whose commitment to the Directors Master Chorale and unrelentingly positive attitude are the primary reasons Victoria Hobbs that our singers are able to perform in the Cathedral today. We are also deeply Mrs. Peter W. Kuyper grateful to Msgr. Kevin Kostelnik, Cathedral Pastor, for his generous and wel- Marguerite Marsh, Ph.D. coming hospitality. Finally, we thank Peggy Kelley, Director of Marketing for Albert J. McNeil Raymond R. Neevel the Cathedral, and her colleague Anastasia Palmer for their dedication to mak- Donald J. Nores ing the concert and post-performance Gala unforgettable events. Hugh J. Ralston Susan Erburu Reardon An organization such as ours relies significantly on its Board of Directors’ gen- Elizabeth F. Redmond Eric A.S. Richards erous gifts of time and talent. On this occasion, two Directors’ leadership Marshall A. Rutter must be acknowledged, because it is their vision over several years that has W. Scott Sanford brought new friends to Master Chorale events and ultimately into our extend- Dona Haynes Schultz ed family. Dona Schultz and Christine Kuyper, co-chairs of this evening’s Fall Philip A. Swan Mrs. Thomas Techentin Gala, have proven time and again how committed they are to helping secure Ian White-Thomson the future of our wonderful ensemble. They have worked creatively and tire- lessly, and we are all tremendously grateful. Honorary Directors Mrs. Bob Hope Clifford A. Miller There are many exciting concerts yet to be performed in the Master Chorale’s Anne Shaw Price 39th season. In just over a month, we will see you at our annual holiday con- Harrison Price cert when Grant and the singers offer a program of joyful music in celebration Charles I. Schneider of the season. On Monday, December 16, Grant takes the podium for the first Mrs. Meredith Willson time as conductor of our annual Messiah Sing-Along – so dig out your score Ex-Officio Members and get ready, because this will be a memorable evening! Helen Birch, Singers’ Representative Grant Gershon, Music Director Terry Knowles, Executive Director Finally, with the Thanksgiving holiday just a couple of weeks away, I want to Jane Valentine Sweetser, President, Master Chorale Associates remind you that all of us associated with the Los Angeles Master Chorale are Burman Timberlake, Singers’ Representative thankful for you, our friends and supporters. The concerts that you enjoy would not be possible without your generosity, and words could never ade- Artistic Staff Grant Gershon, Music Director quately express our appreciation. , Music Director Emeritus Nancy Sulahian, Director, Chamber Singers Sincerely,

Administration Terry Knowles, Executive Director Marjorie Lindbeck, General Manager Dana Bain, Director of Marketing some music you hear once and never forget. hear once and never some music you Kathie Freeman, Artistic Personnel & Production Manager Terry Knowles Trent Steelman, Manager of Sales and Customer Service Executive Director Andrew Brown, Community Programs Associate Jessica Santana, Resource Development Associate Aaron Henne, Administrative Assistant The Los Angeles Master Chorale is a member of Chorus America, American Council for the Arts, Association of California Symphony Orchestras, California Confederation of the Arts, and the Western Alliance of Arts Libby Huebner, Publicist Administrators. Sue Bell, Accountant Peter Kline, Sales Associate The activities of the Master Chorale are made possible, in part, through sponsorship of the California Arts Council, the City of Los Angeles Cultural Affairs Department, the National Endowment for the Arts, the Los Angeles County Maggie Rawling, Sales Associate Arts Commission, and the generosity of donors to The Music Center Fund for the Performing Arts.

2 LOS ANGELES MASTER CHORALE MYSTICS AT THE CATHEDRAL

Sunday, November 10, 2002 ~ 4:00 p.m. Cathedral of Our Lady of the Angels Grant Gershon

Conductor some music you hear once and never forget. MESSE SOLENNELLE Jean Langlais William Beck (1907-1991) Organist Kyrie Gloria Sanctus Benedictus These concerts are made Agnus Dei possible, in part, through grants from the Los Angeles County Arts CANTIQUE DE JEAN RACINE Gabriel Fauré Commission, the City of Los Angeles Cultural (1845-1924) Affairs Department, the California Arts Council SYMPHONY IN G Leo Sowerby and the National Endowment for the Arts. II. Fast and Sinister (1895-1968)

Samuel Soria, Cathedral Organist

Latecomers will not be seated LITANIES À LA VIERGE NOIRE Francis Poulenc until the first convenient pause (1899-1963) in the performance. Use of tape recorders, telephones, pagers, and/or cameras is prohibited Intermission in the auditorium. Programs and artists subject to change. Patrons cannot be page during a performance. SOLFEGGIO Arvo Pärt THE BEATITUDES (b. 1935) CANTATE DOMINO MAGNIFICAT

IN DULCI JUBILO Sven David Sandström (b. 1942 )

AMEN Henryk Mikolaj Górecki (b. 1933)

LOS ANGELES MASTER CHORALE 3 PROGRAM NOTES

BY PETER RUTENBERG

The Oxford Encyclopedic English Dictionary defines ‘mystic’ as “a person who seeks by contemplation and self-surrender to obtain union with or absorption into God, or who believes in the spiritual appre- hension of truths that are beyond the understanding.” The realm of mysticism is vast indeed, its boundaries vague, its tenets obscure. Yet its followers all have something in common. Like a leaf in late autumn, they surrender to the allure of external forces and sail on unpredictable winds to unforeseen destinies. The music that comprises Mystics at the Cathedral invites us to abandon our preconceptions for a time and, like that leaf, to transcend our earthly roots — floating among the sonic reverberations and becoming absorbed in their splendors.

In positing its premise, the program follows two paths — that of French colorists whose music spans the late-Romantic through post- war eras, and that of texturalists representing the Scandinavian and Baltic schools of the late 20th century.

Like his contemporary Maurice Duruflé, Jean Langlais (1907- 1991) held fast to the music of the church with a collection of com- positions firmly rooted in Gregorian chant and religious faith, but considerably invigorated by the broadest spectrum of color, derived from both a well-developed sense of harmonic freedom and a sur- LETTER FROM GRANT GERSHON passing talent at improvisation. Born in La Fontenelle, he first stud- ied at the Institution des Jeunes Aveugles: blindness apparently did not Dear Friends, slow his progress. At the Paris Conservatoire, he studied at the fore- front of his profession — as an organist with the great Marcel Dupré, and as a composer with Paul Dukas. He succeeded Franck and About a year ago, I was privileged to take a tour of the con- Tournemire as organist at Sainte-Clothilde in Paris in 1945 and fre- struction site that is now the Cathedral of Our Lady of the quently traveled to the United States, both as composer and per- Angels. I was struck at that time by the purity and simplic- former, beginning in 1952. ity of Rafael Moneo’s unique vision. As I thought of music that would complement and resonate in this space, Henryk The Messe Solennelle (1951) for chorus and organ demonstrates Górecki and Arvo Pärt, two mystic composers from the rhythmic and harmonic freedom through frequent changes of key and Baltic region, sprang immediately to mind. Like the meter — the latter in keeping with the asymmetric accents of Cathedral itself, theirs is also music of great beauty, purity Gregorian chant. The organ is assigned dual “roles,” called “grand” and and austerity, which communicates very directly to the lis- “petit” according to the composer’s meticulous registration, each with tener through the sound of the human voice. On subse- a special sound and purpose: the lighter registration supports the choir, quent visits to this awesome structure unfolding before our the larger sounds for solo display and final cadences. The Kyrie is ener- eyes, I watched as various pieces of the remarkable Dobson gized with drama from the start, building from the middle voices to pipe organ were being installed. I decided that a second the full range of choral color. The outer sections are in A-minor, while component of our first concert in the Cathedral should fea- the middle Christe section follows a succession of transmogrifying ture this newest addition to the musical life of our city. We modulations. The Gloria sets up as a fugue in the D-Dorian mode are tremendously grateful this afternoon to William Beck (similar to the key of D-minor, but with a B-natural instead of a flat and a somewhat brighter mood). The flowing triple-rhythm of the and Samuel Soria for contributing their extraordinary tal- Sanctus and the unison declamation of its text provide just the right ents and understanding of this remarkable pipe organ. As I ambience for the dialogue between the great and small organs. The am writing this, my imagination is filled with the glorious men are silent during the Benedictus imparting an added brilliance to sounds of the Los Angeles Master Chorale and the 6,019

some music you hear once and never forget. hear once and never some music you the angelic incantation of the women’s voices. Rhythmic and harmon- pipes of this extraordinary instrument filling every corner ic ambiguities introduce the Agnus Dei. With each succeeding phrase of L.A.’s newest monument. the chorus enters in layers, from darker to lighter colors. The motion is persistently upward until the sweeping climaxes of grant us peace, when the “great” organ responds in downward cascades — an appar- ently ‘divine’ answer to this plea. Grant Gershon Music Director

4 LOS ANGELES MASTER CHORALE The earliest work on the program is the well-known setting by his family emigrated to Vienna and the blue-sky opportunities that Gabriel Fauré (1845-1924) of the Cantique de Jean Racine, Op. 11, awaited beyond. from 1865. The gentle, undulating character of its accompaniment supports a gracious and refined choral harmony, sung in the style of a What evolved in this second phase of life was a fundamental com- hymn. Fauré’s music would prove to be a dominant influence in the positional technique Pärt called tintinnabuli after the sound of ringing development of Francis Poulenc (1899-1963). Their lives overlapped bells: here, nothing is left to chance; every gesture has a purpose. At its by the quarter-century that Fauré held the reins of the Paris core are two voices — one singing notes in a stepwise pattern around a Conservatoire; the former’s mastery of lyrical nuance would often be fixed pitch, the other outlining the notes of a triad or chord. In differ- summoned in the latter’s melodies. No less important to Poulenc was ent ways, all the Pärt works on this program engage this technique, the the rhythmic vitality and bold palette of Stravinsky’s three major ballets, most obvious and direct being found in The Beatitudes (1990; rev. just debuted in Paris. But the urbane and witty likes of Poulenc’s own 1991). In the motet Cantate Domino canticum novum (1977; rev. 1996), ballet for Diaghilev, Les Biches from 1924, and his Concert champêtre the chordal aspect is present only as a phantom of acoustics and at from 1928, gave way in the 1930s to a rediscovery of spirituality, and phrase finals, however, the opposing melodies are exact mirror images of to a spate of works for the Roman Catholic Church. each other that do indeed anchor in harmony. The text of Psalm 95 is delivered in the flexible rhythm of chant. The first of these was Litanies à la vierge noire (1936) for three- some music you hear once and never forget. part women’s chorus and organ. A visit to the miraculous medieval In Solfeggio (1964; rev. 1996) the two tintinnabuli tasks merge fortress-town of Rocamadour, which hangs like a gargantuan bas-relief deftly into one: in this case, it literally “takes a village” singing a very carving off a high cliff in southern France, provided the inspiration for careful sequence of notes by different voice parts to achieve the single the Litanies. The work was inscribed to “Our Lady of Rocamadour.” melody that constitutes the entire piece. The syllables do, re, mi, etc. Poulenc’s style is present in all its eccentric grandeur — the brief and form the text and no voice sings more than one pitch without a rest. angular gestures, the surprising, pungent harmonies, the layering of Harmony results from the overlap of held notes. By contrast, the color on color — as the mysterious and mystical history of that ancient Magnificat (1989) offers a sophisticated and more complex interpreta- church is recounted in the text. tion of this technique, beginning with a moving melody in the second soprano against a static note in the first soprano. This note returns again From the French colorists, we sail north to the texturalists of the and again, often in its original place with a solo trio intoning it, else- Balto-Scandinavian school. Americans tend to impose a marked differ- where in other voices. No matter where it turns up, the opportunistic ence, at least geographically, between these two regions. But taken his- vines of the stepwise melodies enshroud its tonal center. The chordal torically and culturally, Sweden, Denmark, Finland, and Estonia have outlines are more complex as well, often sounding like mystic horn calls all had a rather intertwined and tumultuous past. Many of us may not in an orchestra. The rhythm becomes more strictly measured than in the recall that each held sway over the other at some time, nor that on a Cantate Domino, but is still under the control of natural word stress. clear night in Helsinki, you can’t see forever because Tallinn, Estonia More importantly, the mood alters with the changing textures and gets in the way. Today, the biggest differences are economic, yet they all reveals beneath its stoic surface a white-hot core of sacred passion. share an abiding love and enduring tradition of choral music, counting among their national treasures a number of world-famous choruses. Swedish composer Sven-David Sandström (b. 1942) studied at the Royal College of Music in Stockholm from 1968-1972 and was pro- The styles of these musical microclimates favor the avant-garde. fessor of composition there until 1995. His years of experience as a What they have in common is a highly-articulated consciousness of tex- choral singer contribute to an organic understanding of the inner work- ture. How many voices are in play? How quickly does the number swell ings of the chorus, aptly demonstrated in his Christmas motet In dulci or shrink? Do pitches change rapidly or slowly? Are there words or just jubilo. A native of Czernicka, Poland, Henryk Mikolaj Górecki (b. sounds? How do various rhythmic patterns interact? Is there a predomi- 1933) studied and later taught at the Music Academy in Katowice, nance of harmony or dissonance, or shifting between them? These are the where he has spent most of his life. It was not until 1980, however, that questions that determine the textural surface of the music, whether the fourth commercial recording of his Third Symphony brought him smooth and silky, light and wispy, or rough-hewn and barbed, heavy international star status. Written in February 1975, the Amen, Op. 35 and complex. Moreover, this vocabulary defines the texturalist’s emo- for eight-part chorus shares inspiration with the more substantial works tional message. from this period, Beatus Vir and Miserere (heard on these concerts in February 2002). While the tempo is pensive throughout, there are Contemporary Estonian composer Arvo Pärt (b.1935) has come moments of greater urgency, marked not only by the quickening pace, to enjoy worldwide recognition, having been stifled and discouraged but by double-time rhythms. In all, the mystical frameworks created by in his youth by the Soviet Union’s rigid control. There are at least two these composers give us ample room to apprehend “truths that are watershed years in the composer’s life that must be acknowledged: beyond the understanding.” 1968 and 1980. While the rest of the world was demonstrating for an end to the war in Viet Nam, Pärt was accomplishing his greatest musi- cal feat to date — the composition of his Credo — which applied ser- Peter Rutenberg is producer of the Master Chorale’s latest album, Glass • ial (or 12-tone) techniques to Bach’s famous Prelude in C Major from Salonen, as well as Argento • Duruflé and the Grammy-nominated The Well-Tempered Clavier. If Serialism wasn’t high on the list of Lauridsen Lux Aeterna CD. He produced The First Art national radio approved musical styles, the work’s brash profession of Christianity series for nine years and is founding music director and conductor of Los was even more unwelcome. A dark and strained period followed, but Angeles Chamber Singers & Cappella, now in its thirteenth season. This is by 1976, consistent creativity returned and in 1980, the composer and Mr. Rutenberg’s fifth season as the Chorale’s Program Annotator.

LOS ANGELES MASTER CHORALE 5 LOS ANGELES MASTER CHORALE

LOS ANGELES MASTER CHORALE SOPRANO Shim Ae Han George Sterne The Los Angeles Master Chorale’s 2002-03 season marks Grant Beata Balon Saundra Hall Hill Mallory Walker Gershon’s second as Music Director and the Chorale’s last in the Tania Batson Kyra Humphrey Dorothy Chandler Pavilion before taking up residence at Walt Marian Bodnar Adriana Lopez-Young BASS Disney Concert Hall next fall. Recognized not only as one of Deborah Briggs Sara Minton Crispin Barrymore Los Angeles’ cultural treasures but also as one of the world’s pre- Renee Burkett Sheila Murphy Joseph Bazyouros mier choruses, the Los Angeles Master Chorale has played a lead- Sara Camp Alice Kirwan Murray Mark Beasom ing role in the ongoing resurgence of interest in choral music. It Pamela Chapin Nancy Obrien Paul Bent was the first organization in the nation to offer a complete sea- Judi Domroy Helène Quintana Steven Berman son of great choral works and is distinguished as one of the Claire Fedoruk Leslie Sabedra Paul Cummings Mirta Gasparri Nike Simor Greg Davies largest independent choral organizations in the United States. Marie Hodgson Nancy Sulahian Julian Fielder The Chorale gave its inaugural performance at the Dorothy Karen Hogle Kimberly Switzer Steven Fraider Chandler Pavilion in January 1965 and every year since has pre- Janet Hook Diane Wallace Michael Freed sented a full season of concerts. Gina Howell Jennifer Wallace Gregg Geiger In addition to presenting its own season, the Chorale often Gloria Seunghee Kim Diana Zaslove Michael Geiger collaborates with the , appearing in Emily Lin Barbara Wilson Scott Graff four subscription programs during the 2002-03 season and join- Cindy Martineau Stephen Grimm ing the Philharmonic in March 2003 performances in New York Deborah Mayhan TENOR Bryce Hall City. On March 18, 2003, the Chorale performs a concert of Susan Mills Daniel Babcock Paul Hinshaw Vickere Murphy Brenton Almond Robert Hovencamp Latin American music, including the East Coast premiere of Kate Oberjat Lenard Berglund Jinyoung Jang Tania León’s Rezos (“Prayers”), at The Riverside Church in New Frances Pampeyan Randy Bills Lew Landau York City. The Los Angeles Master Chorale is featured on the Theresa Patten Scott Blois Robert Lewis soundtracks of numerous major motion pictures, including A.I. Holly Shaw Price Andrew Brown Roger Lindbeck Artificial Intelligence, My Best Friend’s Wedding, Twister, Air Force Shira Rogers David Bunker Tonoccus McClain One, and Batman & Robin. Linda Sauer Pablo Corá Bob McCormac Extending its reach to young people in the community, Tom Croyle Stephanie Sharpe Jim Raycroft the Master Chorale annually brings 1200 singers together at Rachelle Skloff Randall Garrou David Schnell the Dorothy Chandler Pavilion for its High School Choir Julia Yu-Ying Tai Paul Gibson Masanori Takahashi Diane Thomas Jack Golightly Burman Timberlake Festival, taking place this season on April 29, 2003. In addi- Nancy von Oeyen Jody Golightly David Tinoco Jr. tion, the Master Chorale’s Chamber Singers present in-school Sun Joo Yeo Jeffrey Greif performances, and the current season includes the continua- Joseph Guarascio REHEARSAL tion of a very successful elementary school residency program, ALTO Steven Harms PIANIST Voices Within. Mary Bailey Drew Holt Cathy Miller Popovich The Chorale has released three acclaimed CDs under the Nicole Baker Shawn Kirchner baton of Music Director Emeritus Paul Salamunovich on RCM, Bong Won Kye The singers Helen Birch including the Grammy-nominated Lauridsen-Lux Aeterna, Sarah Bloxham Charles Lane of the Los Angeles Christmas, and a recording of Dominick Argento’s Te Deum and some music you hear once and never forget. hear once and never some music you Leanna Brand Sal Malaki Master Chorale Aleta Braxton Christian Marcoe are represented Maurice Duruflé’s Messe “Cum Jubilo” with baritone Rodney by The American Monica Bruckner Vladimir Maric Gilfry and organist Frederick Swann. The Chorale’s fourth Guild of Musical Sean McDermott RCM recording, and its first with current Music Director Grant Leberta Clark Artists, Michael Geiger, Cheryll Desberg Sal Malaki AGMA Delegate. Gershon, was released in September 2002 and features Esa- Barbara Durham Andrew Meyer Pekka Salonen’s first choral work, Two Songs to Poems of Ann Susanna Ellis Marvin Neumann Jäderlund, and ’ Itaipu. Amy Fogerson Bart Seebach Michelle Fournier Kevin St. Clair

6 LOS ANGELES MASTER CHORALE TRANSLATIONS – MYSTICS AT THE CATHEDRAL CANTIQUE DE JEAN RACINE by Gabriel Fauré

Verbe égal au Très Haut, Word equal to the Highest, Notre unique espérance, our sole hope, Jour eternel de la terre et des cieux, Thou eternal day of the earth and the heavens, nous rompons le silence we break the silence De la paisible nuit. of the peaceful night. Divin Sauveur, jette sur nous les yeux. Divine Savior, cast your eyes upon us.

Répands sur nous le feu de ta grâce puissante, Cast upon us the fire of your mighty grace Que tout l’enfer fuie au son de ta voix. that all of hell will flee from the sound of your voice. Dissipe le sommeil d’une âme languissante, Disperse the sleep from a lanquid soul

qui la conduit à l’oubli de tes lois! which leads it to forget your laws. some music you hear once and never forget. Ô Christ, sois favorable à ce peuple fidèle pour te bénir maintenant rassemblé. O Christ, be favorable to your faithful people Reçois les chants qu’il offer now assembled to bless you. à ta gloire immortelle, Receive the songs which they offer et de tes dons qu’il retourne comblé. to your immortal glory, and the gifts which they return to you.

LITANEIS À LA VEIRGE NOIRE LITANEIS OF THE BLACK VIRGIN by Francis Poulenc

Seigneur, ayez pitié de nous, Lord God, have mercy on our souls, Jésu Christ, ecoutéz nous. Jesus Christ, hear our prayer. Jésu Christ, exaucez nous. Jesus Christ, answer our prayer.

Dieu le père, créateur, ayez pitié de nous. God our father, Creater, have mercy on us. Dieu le fils, rédempteur, ayez pitié de nous. Son of God, Redeemer, have mercy on us. Dieu le Saint-Esprit, sanctificateur, God of the Holy Spirit, Holy of Holies, ayez pitié de nous. Trinité Sainte, qui êtes have mercy on us. Holy Trinity within a single God, un seul Dieu, ayez pitié de nous. have mercy on us.

Sainte Vierge Marie, priez pour nous, Blessed Virgin Mary, pray for us; Vierge, reine et patronnes, priez pour nous. Virgin Mother of God, pray for us. Vierge que Zachée le publicain nous à fait Virgin, Zachias the Publican taught us connaître et aimer; Vierge à qui Zachee ou Saint Amadour to know and love Thee. As Zachias or Saint Amadour Eleva ce sanctuaire, priez pour nous. once brought us to Thy sanctuary, pray for us.

Reine du sanctuaire, que consacra Saint Martial Queen of Sanctuary, where Saint Martial celebrated et où il célébra ses saints mystères, Reine près de his holy mysteries; Queen to whom Saint Louis begged laquelle S’agenouilla Saint Louis vous demandant on bended knee asking for the well being of France, le bonheur de la France, priez pour nous. pray for us.

Reine, à qui Roland consacra son épée, Queen to whom Roland consecrated sword, priez pour nous. Reine, dont la bannière pray for us. Queen whose banner gagna les batailles, priez pour nous. won battles, pray for us. Reine, dont la main délivrait les captifs, Queen who delivered us from captivity, priez pour nous. pray for us.

Notre Dame, dont le pélerinage est enrichi Holy Mother, your pilgrimage is enriched with de faveurs spéciales. Notre Dame, que special favors. Holy Mother, l’impiété et la haine ont voulu souvent impiety, fear and hatred often détruire. Notre Dame, que les peuples wanted to destroy you. Holy Mother, we the people visitent comme autrefois, priez pour nous. come to you now as did those in the past; pray for us.

Agneau de Dieu, qui effacez les péchés du monde, Lamb of God who takes away the sins of the world pardonnez nous, exaucez nous. Ayez pitié de nous. pardon us, answer our prayer. Have mercy on us. Notre Dame, priez pour nous. Afin que nous Holy Mother, pray for us. That at last we may be 7 soyons dignes de Jésus Christ. worthy of Jesus Christ. HARMONIES OF GRACE – TRANSLATIONS

CANTATE DOMINO CANTICUM NOVUM SING YE TO THE LORD A NEW SONG by Arvo Pärt

Cantate Domino canticum novum Sing to the Lord a new song. Cantate Domino omnis terra. Sing to the Lord, all the earth. Cantate Domino, et benedicite nomini ejus: Sing to the Lord and bless his name: Annuntiate de die in diem salutare ejus. Show forth his salvation from day to day.

Anuntiate inter gentes gloriam ejus, Declare his glory among the Gentiles, in omnibus populis mirabilia ejus. His wonders among all people. Quoniam magnus Dominus, For the Lord is great, et laudabilis nimis: and exceedingly to be praised: terribilis est super omnes deos. He is to be feared above all gods.

Quoniam omnes dii gentium daemonia: For all the gods of the Gentiles are devils: Dominus autem coelos fecit. But the Lord made the heavens. Confessio et pulchritudo in conspectu ejus: Praise and beauty are before him; sanctimonia et magnificentia in sanctificatione ejus. holiness and majesty in his sanctuary.

Afferte Domino patriae gentium, Bring to the Lord, O kindreds of the Gentiles, afferte Domino gloriam et honorem: Bring to the Lord glory and honor: Afferte Domino gloriam nomini ejus. Bring to the Lord glory to his name. Tollite hostias, et introite in atria ejus: Bring sacrifices and come into his courts: Adorate Dominum in atria sancto ejus. Adore the Lord in his holy court.

Commoveatur a facie ejus universa terra: Let all the earth be moved at his presence. Dicite in gentibus quia Dominus regnavit. Say among the Gentiles, the Lord reigns; Etenim correxit orbem terrae qui non for he has corrected the world, which shall not be commovebitur moved. Judicabit populos in aequitate. He will judge the people with justice

Laetentur caeli, et exsultet terra: Let the heavens rejoice and the earth be glad; Commoveatur mare, et plenitudo ejus: Let the sea be moved and the fullness thereof: Gaudebunt campi, et omnia quae in eis sunt. The fields and all things in them shall be joyful. Tunc exsultabunt omnia ligna silvarum Then shall all the trees of the woods rejoice a facie Domini, quia venit: before the face of the Lord, Quoniam venit judicare terram. because he comes to judge the earth.

Judicabit orbem terrae in aequitate, He shall judge the world with et populos in veritate sua. justice, and the people with his truth. some music you hear once and never forget. hear once and never some music you

8 LOS ANGELES MASTER CHORALE HARMONIES OF GRACE – TRANSLATIONS

MAGNIFICAT by Arvo Pärt

Magnificat anima mea Dominum, My soul magnifies the Lord, et exultavit spiritus meus and my spirit rejoices in Deo salutari meo. in God my savior.

Quia respexit humilitatem ancillae suae: For he has regarded the low estate Ecce enim ex hoc beatam me dicent Of his handmaiden: behold, henceforth omnes generationes. I shall be called blessed by all generations.

Quia fecit mihi magna qui potens est, For he who is mighty has done great things et sanctum nomen eius. and holy is his name. some music you hear once and never forget. Et misericordia eius a progenie His mercy endures from generation in progenies timentibus eum. to generation among those who fear him.

Fecit potentiam in brachio suo, He has shown strength with his arm, dispersit superbos mente cordis sui. He has scattered those who are proud, Deposuit potentes de sede He has pulled down the mighty from et exaltavit humiles. their thrones and exalted the humble.

Esurientes implevit bonis He has filled the hungry with good things et divites dimisit inanes. and sent the rich away empty-handed. Suscepit Israel puerum suum He has helped Israel his servant Recordatus misericordiae suae. in remembrance of his mercy.

Sicut locutus est ad Patres nostros: As he spoke to our Fathers, Abraham et semini eius in saecula. to Abraham and his descendants forever.

Magnificat anima mea Dominum. My soul magnifies the Lord.

IN DULCI JUBILO by Sven-David Sandström

In dulci jubilo, With sweet rejoicing sjunger till vår hjärtans glädje. now sing and be glad! Och skin som solen He shines like the sun In Matris in gremio. in his mother’s lap. Alpha es et O. You are Alpha and Omega!

LOS ANGELES MASTER CHORALE 9 ARTIST PROFILES

GRANT GERSHON SAMUEL SALVADOR SORIA is the Renowned conductor Grant Gershon newly appointed organist of the became Music Director of the Los Cathedral of Our Lady of the Angels in Angeles Master Chorale in July 2001, Los Angeles. He leaves a similar position bringing a wealth of artistic accomplish- of nine years at Holy Name Cathedral in ments to this prestigious post. His first Chicago. Mr. Soria is a graduate of season at the helm of the Master Chorale Valparaiso and Northwestern Univer- in 2001-02 garnered critical acclaim and tremendous media attention. sities. In addition to academic study with Philip Gehring and A gifted conductor, pianist and vocalist, Gershon is equally at home Wolfgang Rübsam, he has coached privately with Jean Guillou, Naji conducting and performing choral and symphonic music, , and Hakim and Paul Manz. He was a finalist in the 1992 and 1996 AGO musical theater. He recently completed a term as assistant conductor national improvisation competitions, as well as the 1985 AGO of the Los Angeles Philharmonic, which he led in performances with National Organ Playing Competition in Fort Wayne, Indiana. In such soloists as Evelyn Glennie, Marcus Roberts, and Frederica von 1995, Mr. Soria participated in the International Competition in Stade. He also served as Assistant Conductor with L.A. Opera, where Organ Improvisation at Knokke-Heist, Belgium, the first American to he collaborated in over 40 productions and garnered a reputation as be invited to this competition. one of the country’s exceptional vocal coaches.

Gershon has been guest conductor of the Chicago Symphony Chorus, WILLIAM BECK, Dean of the Los the New York Choral Artists, and the London Sinfonietta Voices, as Angeles Chapter of the American Guild well as the choruses of the Festival Aix-en-Provence and Paris’ Theatre of Organists, is Organist and Director of du Châtelet. He has appeared as guest conductor of the St. Paul Music at St. Cyril of Jerusalem Church Chamber Orchestra, , Juilliard Opera Theater, in Encino and Organist at Wilshire and the Finnish chamber orchestra Avanti!. Gershon has led perfor- Boulevard Temple in Los Angeles. He mances at the Edinburgh, Vienna and Helsinki Festivals, and in August has performed with the Los Angeles 2002 conducted acclaimed performances of Stephen Sondheim’s A Philharmonic Orchestra, Los Angeles Little Night Music at the Chicago Symphony’s Ravinia Festival. Chamber Orchestra, Los Angeles Master Chorale, Roger Wagner Chorale, Joffrey Ballet, Pasadena Chamber As a pianist, Gershon has appeared in recitals with Dame Kiri Te Orchestra, Long Beach Symphony, and the William Hall Chorale. He Kanawa, , Audra McDonald, Rodney Gilfry, and Sanford has taken numerous concert tours of Europe, England and Asia, and has Sylvan. His recording with tenor John Aler, entitled “Songs We Forgot been presented in recitals across the United States and Canada. He has to Remember,” was released on Delos Records, and he is featured on a performed for religious leaders all over the world including Pope John Nonesuch release of music by . An ardent champi- Paul II, Cardinal Roger Mahony, and the Dalai Lama. Beck, who stud- on of new music, Gershon conducted the world premiere performances ied in Paris with Marcel Dupré and André Marchal, was three times of ’ opera/theater piece I Was Looking at the Ceiling and winner of the Organ Playing Competition of the Los Angeles Chapter Then I Saw the Sky, directed by , and was vocal director on of the American Guild of Organists. He received first prize in the Far- the Nonesuch recording of the work. Western Regional Competition. His recording career includes a solo some music you hear once and never forget. hear once and never some music you performance with Luciano Pavarotti on the London Label, recordings California-born and -educated, Gershon holds the Bachelor of Music on Delos with Roger Wagner, the Duruflé Messe “Cum jubilo” with Paul degree cum laude from the University of Southern California — which Salamunovich, organist and pianist for the Sisters in Song and numer- named him “Thornton School of Music Outstanding Alumnus of the ous recordings for Oregon Catholic Press. He appears directing St. Year” in May 2002 — and continued his studies at the Aspen and Cyril’s Choir in the major motion picture Heartbreakers starring Tanglewood Festivals. Sigourney Weaver and Gene Hackman. He is heard singing in the 24- voice backup group on Barbra Streisand’s CD, Higher Ground.

10 LOS ANGELES MASTER CHORALE NEWS & EVENTS

2002-03 SEASON OPENING NIGHT PARTY some music you hear once and never forget.

A festive Opening Night Party honored the Chorale’s Circle of Friends whose generous gifts support the Los Angeles Master Chorale. Music Director Grant Gershon and President Mark Foster addressed the guests, thanking the Circle of Friends for the enormous part they play in putting world class choral concerts on the Music Center stage.

John de Lancie (l), Gordon Davidson, Marnie Mosiman, and Judi From left to right, tenor Bruce Sledge, soprano Elissa Johnston, Davidson are pictured at the Opening Night festivities. baritone Robin Buck, Music Director Grant Gershon and mezzo soprano Leberta Clark were greeted warmly by the Circle of Friends at the Chorale’s Opening Night Party.

Music Director Grant Gershon and Judea Pearl congratulate Pictured Opening Night are Helen Pashgian (l) with Executive Sharon Farber on the world premiere of her choral work Haem Director Terry Knowles and Board Member Marshall Rutter. Hashlishit (Mother’s Lament).

LOOKING FOR STOCKING STUFFERS? This year give the gift of music. The Master Chorale now September, includes Philip Glass’s monumental Itaipu, has four recordings available for purchase for $18 each and Esa-Pekka Salonen’s Two Songs to Poems of Ann through the office, or online at www.lamc.org. Our first Jäderlund. This is the first Master Chorale recording con- three titles, conducted by Music Director Emeritus Paul ducted by Grant Gershon. All four CDs are produced on Salamunovich, include traditional holiday favorites on RCM and available at most major music outlets. Christmas, the inspiring music of Morten Lauridsen on This holiday season, purchase all four CDs as a gift Lauridsen•Lux Aeterna, and Dominick Argento’s spirited set through the Master Chorale for the special price of Te Deum and Maurice Duruflé’s tranquil Messe “Cum $65, which includes, sales tax, shipping and handling. Jubilo” on Argento•Duruflé. For more information, contact the Master Chorale at The latest recording Glass•Salonen, released this past 213-972-7282.

LOS ANGELES MASTER CHORALE 11 Bravo! to the generous donors of the Los Angeles Master Chorale who have contributed annual gifts to provide a foundation of strength for our Music Director, Grant Gershon, and the Los Angeles Master Chorale and Orchestra. Please join us in thanking and recognizing the following individuals, businesses and foundations whose generosity is the power behind the music:

2002-2003 DONORS

CIRCLE OF FRIENDS Charles I. Schneider GOLD CIRCLE Dona & David N. Schultz $50,000 to 99,999 BENEFACTOR CIRCLE Martha Ellen Scott Master Chorale Associates $10,000+ Michele & Russell Spoto, M.D.* The Music Center Foundation Lois & Robert F. Erburu Karole & Bill Struebing Lillian & Jon Lovelace Francine & Dal Alan Swain* SILVER CIRCLE Jane & Edward J. McAniff Barbara & Ian White-Thomson $20,000 TO 49,999 Carolyn & Chuck Miller* Lynette Yuh & Robert Campbell* California Arts Council Marnie Mosiman & John de Lancie The Capital Group Companies Joyce & Donald Nores* IMPRESARIO CIRCLE Charitable Foundation Frank J. Sherwood $1000-2499 City of Los Angeles Cultural Affairs Dept. Ross C. Anderson Los Angeles County Arts Commission MAESTRO CIRCLE Fran & Terry Buchanan Dan Murphy Foundation $5000-9999 Regina Clark Mellon West Claudia & Mark Foster* H. Richard Cullen Rose Hills Foundation Victoria & Frank D. Hobbs* Dr. & Mrs. Robert A. Destefano Times Mirror Foundation Carol Stickels Juhas Dr. Ann Ehringer Gloria & John Moore George Fenimore BRONZE CIRCLE Raymond R. Neevel* Robert G. Finnerty, Jr. Up to $20,000 Elizabeth F. Redmond* Geraldine C. Ford Arthur M. Blank Family Foundation Marshall Rutter & Terry Knowles Grant Gershon & Elissa Johnston Ann & Gordon Getty Foundation Susan & Tom Somerset* Denise & Robert Hanisee Forest Glen Winery Philip A. Swan & Patricia A. MacLaren Peggy & Rob Kincaid Glide Foundation Laney & Tom Techentin Marjorie & Roger Lindbeck Lund Foundation Alice & Brandon MacAller Harold McAlister Charitable Foundation GOLDEN BATON CIRCLE William Mann National Endowment for the Arts $2500-4999 Marian & John Niles NetConsult Site Solutions Anonymous Robin Meadow & Susan North Kenneth T. & Eileen L. Norris Foundation & Dan Apodaca Sally & Robert Neely Lon V. Smith Foundation Michael Breitner & Michael Reisig PARAID John & Beverly Stauffer Foundation Kathy & Terry Dooley M. Helen Pashgian J.B. & Emily Van Nuys Charities Tom Grose Phyllis & Larry Rothrock* Weingart Foundation Elizabeth Hirsch* Helen & Jerry Stathatos Susan & V. Charles Jackson* Jane & Ted Sweetser* INDIVIDUAL DONORS Christine & Peter Kuyper* Jerry Washburn Marguerite & Robert Marsh* AFICIONADOS Helen & Albert McNeil CORPORATE, FOUNDATION $500-999 Carole & Everett Meiners & GOVERNMENT SUPPORT Donna Jean & Warrington MacElroy some music you hear once and never forget. hear once and never some music you Nancy & Robert W. Miller Beatrice H. Nemlaha Cookie & Eric Olson* PLATINUM CIRCLE Mr. & Mrs. Roland Seidler, Jr., Cheryl Peterson & Roger Lustberg $100,000 & above in honor of Joyce and Don Nores Elizabeth & Hugh Ralston* The Ahmanson Foundation Susan & George Reardon Anonymous Eric A.S. Richards Ralph M. Parsons Foundation Penelope C. Roeder The Fund for the Performing Arts *Indicates multi-year pledge support to the Los Angeles Master Chorale Carolyn & Scott Sanford

12 LOS ANGELES MASTER CHORALE PATRONS Edward Mackey Center benefits. We welcome and need your $250-499 Andrew Malloy support, too! For further information about Dr. & Mrs. James P. Beasom III Dr. Joe V. Matthews benefits of being a donor, please call Marjorie Ronald E. Bravo Rev. Robert I. Miller Lindbeck at 213-972-3114, or you may mail Eleanor S. & Theodore G. Congdon Susann Monroe your donation to LAMC, 135 N. Grand Michael Fitzgerald Anne Murakami Avenue, Los Angeles 90012. For Online Mr. & Mrs. Bill Gershon Tania & Floyd Norris Donations, please visit www.lamc.org. Doreen Gray in honor of Betty Gould George C. Oliphint Mr. & Mrs. Bob Hope Otto Paris some music you hear once and never forget. David Horne Leonila B. Perez PATRONS AND DONORS Mrs. Edward McLaughlin Susan & Michael Rich TO THE 2002 FALL GALA Jane & Lawrence McNeil Dr. & Mrs. Hugo Riffel Daniel Shaw Rosalind Rosenberg GALA SPONSORS Mary Waldo Kenneth Sanson Forest Glen Winery/Classic Wines Libby and Robert Scott of California FRIENDS Alma Shirley Up to $249 Richard Shive GRAND PATRON TABLES Fernando Almanza Carrie D. Skaff Bette Redmond Kent Ambrose William Sollfrey Elayne & Tom Techentin Charlotte & Richard Aseltine Elena Spears John Bartoo Robert Teragawa PATRON TABLES Jo Anna Bashforth Nick Terbovic The Capital Group Companies Mr. & Mrs. Leslie H. Bennett Patricia S. Waldeck Charitable Foundation Susan Bienkowski Mr. & Mrs. Sherman Wintrob Joyce & Donald Nores Mikel Breitenstein Christine & Peter Kuyper, Jr. Anonymous This list reflects annual donations David R. Burch received through October 21, 2002. GALA TABLES Alonso Calderon To make a correction to your listing, Lillian & Jon Lovelace Mr. & Mrs. Samuel Coleman please call us! 213-972-3114. Jane & Edward J. McAniff Rev. William J. Connor M. Helen Pashgian Frederica Culick MATCHING GIFTS HONOR ROLL Susan & George Reardon Craig & Mary Deutsche American Express Hazel H. Dunbar AON Foundation INDIVIDUAL GRAND PATRONS Steve Duncan ARCO Betty Freeman Kathleen Elowitt BankAmerica Foundation Denise & Robert Hanisee Elfriede Ertl The Capital Group Companies Susan & Robert Long Mr. & Mrs. Gary Faber Charitable Foundation Frank J. Sherwood Drs. Eleanor & Harold Fanselau Citicorp Foundation Michele & Russell Spoto, M.D. Gerald Faris J. Paul Getty Trust Mr. & Mrs. Gordon Fell William & Flora Hewlett Foundation INDIVIDUAL PATRONS Kathie & Alan Freeman Sempra Mr. & Mrs. Allan Burns John R. Freeman Safeco Kathy & Terry Dooley Mr. & Mrs. James Fritschel Times Mirror Foundation Claudia & Mark Foster Gordon Geever Marshall Rutter & Terry Knowles Dr. James E. Gernart & Mary Ann Breeding IN-KIND GIFTS Carolyn & W. Scott Sanford Betty Gondek Avery Dennison Corporation Martha Ellen Scott Mr. & Mrs. Mike Grace Classic Wines of California Leah & Martin Sklar Werner Gruenwald Community Bank Francine & Dal Alan Swain David E. Hagberg NetConsult Site Solutions Barbara & Ian White-Thomson Carol and James Hart Forest Glen Winery Magda & Frederick Waingrow Ron Hartwig Digital Printing Systems, Inc. Marion F. Haynes Jacob Maarse Florist GALA DONORS Angelina Hodgson Smash Event Betty Gould Mr. & Mrs. Thomas Hollingshead Florence Henderson Mr. & Mrs. Paul Jacobs Donors to the Los Angeles Master Chorale Carolyn & Chuck Miller Thelma James receive benefits according to their level Simone Purcell Margaret Jashni of giving. These benefits include invitations to Hilde Rosenbluth Mr. & Mrs. Craig Justice rehearsals, complimentary concert parking, Richard Kaltenbrun invitations to the Founders, private receptions Gala donors reflects listings Mr. & Mrs. Glenn O. Ladd, Jr. with the Music Director, and tours of the Walt as of October 31, 2002. Mr. & Mrs. Weldon Leimer Disney Concert Hall. Donations are reported Carol & Robert Leisy to the Music Center for additional Music

LOS ANGELES MASTER CHORALE 13 Volunteer support for the ROGER WAGNER SOCIETY Los Angeles Master Chorale Roger Wagner Society PRESIDENT Claudia and Mark Foster, co-chairs Jane Valentine Sweetser A message from Mark Foster, President of the Board: VICE PRESIDENTS Regina Clark Elizabeth Redmond The Roger Wagner Society – named after our founding Helen McNeil director – recognizes our special friends who have included Eugenia Boykin the Chorale in their estate planning or have made gifts to the Madge van Adelsberg Chorale’s Endowment Fund. These extraordinary gifts ensure Rose Mary Kimble the future of the Chorale and allow us to plan for future sea- Phyllis Rothrock Bonnie Grinstead sons at Walt Disney Concert Hall.

TREASURER As Claudia and I discovered, an endowment is a good Gloria Moore investment which benefits you and your family today while it serves the community in the future. SECRETARIES Elizabeth Wenz Anita Verrengia We can assist you with these important decisions. To arrange a complimentary confidential consultation, please HISTORIAN & PHOTOGRAPHER call Marjorie Lindbeck at 213.972.3114. Anne Eastwood

PARLIAMENTARIAN Helen McNeil

DIRECTORS MEMBERS OF THE Victoria M. Alvarez ROGER WAGNER SOCIETY: Adele Bloom Mary C. Breden Colburn Foundation Molly Coulson Claudia & Mark Foster Gracie Gilb Anna & Don Greathouse Jane & Edward J. McAniff Louvonia Hall Nancy & Robert Miller Carol Hart Alice MacAller Raymond R. Neevel Kathleen MacAller Anne Shaw & Harrison Price Sara McFerrin Andrea McKay Elizabeth & Hugh Ralston Jane McNeil Elizabeth Redmond Olivia Neece Tania Norris Penelope C. Roeder Anne Shaw Price Phyllis & Larry Rothrock Melanie Redmond Carol Reich Marshall Rutter & Terry Knowles some music you hear once and never forget. hear once and never some music you Beverly Thrall Barbara & Charles Schneider Dona & David N. Schultz The Master Chorale Associates was founded in 1964 to support the Nancy & Ralph Shapiro Los Angeles Master Chorale through promoting ticket sales and encouraging community interest in choral music. The Associates play a leadership role Francine & Dal Alan Swain in producing the highly successful High School Choir Festival, held annually Patricia A. MacLaren & Philip A. Swan in the Dorothy Chandler Pavilion, and in fostering the educational outreach activities of the Chorale. Laney & Tom Techentin

14 LOS ANGELES MASTER CHORALE some music you hear once and never forget.

DESTINATION DISNEY In early October, an informational packet regarding Walt Disney Concert Hall was mailed to our subscribers, along with a questionnaire about our transition to this wonderful new home. We thank all of you who responded so promptly! If for some reason you did not receive this information or have misplaced it, please be assured that you will have an oppor- tunity to comment or ask questions. During the next few days, we will contact all of our subscribers by telephone to solicit their input about our move to Walt Disney Concert Hall. And here’s a hint about exciting changes to come – next year we will offer repeat performances of selected concerts, for the first time in the Master Chorale’s history. Many more details will be revealed with the announcement of our 2003-04 season in January.

LOS ANGELES MASTER CHORALE CALENDAR OF EVENTS

EVENT TIME PLACE

DECEMBER 15 Sounds of The Season 7:00 pm Dorothy Chandler Pavilion 16 Messiah Sing Along 8:00 pm Dorothy Chandler Pavilion 20 L.A. Philharmonic – L’Enfance du Christ 1:00 pm Dorothy Chandler Pavilion 21 L.A. Philharmonic – L’Enfance du Christ 8:00 pm Dorothy Chandler Pavilion 22 L.A. Philharmonic – L’Enfance du Christ 2:30 pm Dorothy Chandler Pavilion

FEBRUARY 8 Love and Marriage 8:00 pm Dorothy Chandler Pavilion

MARCH 8 Tangos and Prayers 8:00 pm Dorothy Chandler Pavilion 13-15 L.A. Philharmonic - El Niño 8:00 pm Dorothy Chandler Pavilion 16 L.A. Philharmonic - El Niño 2:30 pm Dorothy Chandler Pavilion 18 Tangos and Prayers 7:00 pm The Riverside Church, New York City 20, 22 L.A. Philharmonic - El Niño 8:00 pm Brooklyn Academy of Music, New York City

APRIL 5 LAMC & LACO - Mozart Messiah 8:00 pm Alex Theatre, Glendale 6 LAMC & LACO - Mozart Messiah 7:00 pm Royce Hall, UCLA 26 Two American Revolutions 8:00 pm Dorothy Chandler Pavilion 29 14th Annual High School Choir Festival 1:00 pm Dorothy Chandler Pavilion

JUNE 7 It’s a Wrap! 7:00 pm Dorothy Chandler Pavilion Wings of Steel Benefit Immediately following the concert

LOS ANGELES MASTER CHORALE 15 Sounds of the Season SUNDAY, DECEMBER 15 AT 7PM Ring in the holidays with a delightful concert of seasonal treasures guaranteed to light up your spirits. Featuring the first cantata of Bach's Christmas Oratorio and Morten Lauridsen’s beloved O Magnum Mysterium. Messiah Sing-Along MONDAY, DECEMBER 16 AT 8PM Lift your voice and sing! Join Music Director Grant Gershon, Chorale soloists, and the Los Angeles Master Chorale Orchestra for Handel's Messiah.

Grant Gershon Music Director

Celebrate the Holidays with the Los Angeles Master Chorale!

CALL: 213.365.3500 IN PERSON: Dorothy Chandler Pavilion Box Office ONLINE: www.lamc.org Information: 800.787.LAMC