The Mystic & the Storyteller

Home , Conspirare, Craig Hella Johnson, David Lang (composer)

f e a t u r i n g The Little Match Girl Passion b y D a v i d L a n g

2009-2010 eighteenth season 1 The Mystic We thank the Fredericksburg & the Storyteller

f e a t u r i n g Friends of Conspirare The Little whose generous gifts Match Girl Passion

support the May 6 performance: Thursday, May 6, 7:30 pm St. Mary’s Catholic Church, Fredericksburg

Fischer & Wieser Specialty Foods Friday, May 7, 8:00 pm Mary & Jim Hatchette Saturday, May 8, 8:00 pm

Carolyn Keating Sunday, May 9, 2:30 pm St. Martin’s Lutheran Church, Austin Timothy Koock Craig Hella Johnson, Artistic Director & Conductor Susan & Frosty Rees

Dian & Harlan Stai

Jack Swanzy tes a Andrew Y

COVER PHOTO BY Leon Alesi 2 3 program PROGRAM NOTES

The Little Match Girl Passion I wanted to tell a story. A particular story – in fact, the story of The Little Match Girl, by the Danish author Hans Christian Andersen. The original is ostensibly for children, and Chorale: O Haupt voll Blut und Wunden J. S. Bach it has that shocking combination of danger and morality that many famous children’s from St. Matthew Passion (1685-1750) stories do. A poor young girl, whose father beats her, tries unsuccessfully to sell matches on the street, is ignored, and freezes to death. Through it all she somehow retains her Christian purity of spirit, but it is not a pretty story. What drew me to The Little Match Girl is that the strength of the story lies not in its plot Requiem: Missa Pro Defunctis Tomás Luis de Victoria but in the fact that all its parts—the horror and the beauty—are constantly suffused with (1548-1611) their opposites. The girl’s bitter present is locked together with the sweetness of her past 1. Introit memories; her poverty is always suffused with her hopefulness. There is a kind of naive 2. Kyrie equilibrium between suffering and hope. 3. Graduale 4. Offertorium There are many ways to tell this story. One could convincingly tell it as a story about 5. Sanctus faith or as an allegory about poverty. What has always interested me, however, is 6. Agnus Dei that Andersen tells this story as a kind of parable, drawing a religious and moral 7. Communio equivalency between the suffering of the poor girl and the suffering of Jesus. The girl suffers, is scorned by the crowd, dies, and is transfigured. I started wondering what secrets could be unlocked from this story if one took its Christian nature to its

conclusion and unfolded it, as Christian composers have traditionally done in musical settings of the Passion of Jesus. Versa est in luctum Tomás Luis de Victoria The most interesting thing about how the Passion story is told is that it can include texts other than the story itself. These texts are the reactions of the crowd, penitential thoughts, statements of general sorrow, shock, or remorse. These are devotional guideposts, the intermission markers for our own responses to the story, and they have the effect of making the audience more than spectators to the sorrowful events onstage. These responses can have a huge range—in Bach’s Saint Matthew Passion, these extra texts range from famous chorales that his congregation was expected to sing along with to completely invented The Little Match Girl Passion David Lang characters, such as the “Daughter of Zion” and the “Chorus of Believers.” The Passion format—the telling of a story while simultaneously commenting upon it—has the effect (b. 1957) of placing us in the middle of the action, and it gives the narrative a powerful inevitability.

My piece is called The Little Match Girl Passion and it sets Hans Christian Andersen’s Plorate filii Israel Giacomo Carissimi story The Little Match Girl in the format of Bach’s Saint Matthew Passion, interspersing from Historia di Jephte (c.1605-1674) Andersen’s narrative with my versions of the crowd and character responses from Bach’s Passion. The text is by me, after texts by Han Christian Andersen, H. P. Paulli (the first translator of the story into English, in 1872), Picander (the nom de plume of Christian Friedrich Henrici, the librettist of Bach’s Saint Matthew Passion), and the Gospel according to Saint Matthew. The word “passion” comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus—rather the suffering of the Little Match Girl has been substituted for Jesus’s, elevating (I hope) her sorrow to a higher plane.

Notes by David Lang, composer

4 5 PROGRAM NOTES continued Tsndext a Translations

“O Haupt voll Blut und Wunden” from St. Matthew Passion O Haupt voll Blut und Wunden J. S. Bach’s St. Matthew Passion was composed for Good Friday at St. Thomas Church in O Haupt voll Blut und Wunden, O Head full of blood and wounds, Leipzig in 1729. A traditional Passion like Bach’s tells the story of Jesus’s suffering (Latin passio) and death. It does not end in the triumph of Christ’s resurrection, but with his voll Schmerz und voller Hohn, full of pain and full of derision, entombment and the mourning of his disciples – not a happy story. In the Passion narrative, O Haupt, zu Spott gebunden O Head, in mockery bound the chorale “O Haupt voll Blut und Wunden” is inserted after the scene in which Pilate’s mit einer Dornenkron; with a crown of thorns, soldiers strip Jesus, mockingly dress him in a scarlet robe and crown of thorns, spit on him, O Haupt, sonst schön gezieret O Head, once beautifully adorned and strike his head. Here the listener in Bach’s church would have joined in the singing of mit höchster Ehr’ und Zier, with the most honour and adornment the familiar chorale, stepping personally into the drama and reacting to it as a member of jetzt aber hoch schimpfieret: but now most dishonored: the faithful Christian congregation. The chorales, even if new to one’s ears, seem familiar in gegrüßet seist du mir! let me greet you! their regular, foursquare phrases and simple melodies, although adorned in Bach’s poignant harmonies. The multiple musical forms Bach employs in theSt. Matthew Passion include Du edles Angesichte, You noble countenance, dramatic settings of the words from the Bible, masterfully artistic arias commenting on these dafür sonst schrickt und scheut before which once shrinks and cowers words, and stunning double choruses forcefully advancing the action – yet the strongest das große Weltgerichte, the great might of the world, emotional responses may come from these superficially simple four-part chorales. wie bist du so bespeit! how you are spat upon! Requiem: Missa Pro Defunctis Wie bist du so erbleichet! How you are turned pallid! The great late-Renaissance Spanish composer Tomás Luis de Victoria was a native of the Wer hat dein Augenlicht, Who has treated those eyes province of Ávila, where he received his early musical training. His music is often described dem sonst kein Licht nicht gleichet, to which no light is comparable as embodying the mysticism of St. Theresa, another great figure of the Counter-Reformation so schändlich zugericht’? So shamefully? from Ávila. After studying in Rome, possibly as a student of Palestrina, Victoria became a priest and served with distinction as an organist and chapelmaster. He returned to Spain in 1587 and spent the rest of his life as chaplain to the Dowager Empress Maria, sister of Requiem: Missa Pro Defuncto King Philip II and widow of Emperor Maximilian II, at the convent to which she and her 1. Introitus 1. Introit daughter had retired in Madrid. Victoria composed the Requiem (Mass for the Dead) for Requiem æternam dona eis, Domine, Eternal rest grant unto them, O Lord, Maria’s funeral in 1603. Victoria’s music is stylistically similar to that of Palestrina, whose restrained polyphony was embraced by the Roman church as a centerpiece of the Counter- et lux perpetua luceat eis. and let perpetual light shine upon them. Reformation. The preponderance of long notes and the slowly-moving harmony allow the Te decet hymnus Deus, in Sion, A hymn becomes you, O God, in Zion, words of the text to be intelligible, and the sonorities created in a resonant church setting et tibi reddetur votum in Ierusalem. and to you shall a vow be repaid in Jerusalem. create a mystical and ethereal atmosphere perfectly in tune with the eternal subjects of the Exaudi orationem meam; Hear my prayer; Requiem text. One short motet by Victoria is also on today’s program. ad te omnis caro veniet. to you shall all flesh come. Requiem æternam dona eis, Domine, Eternal rest grant unto them, O Lord, “Plorate, filii Israel” from Historia di Jephte et lux perpetua luceat eis. and let perpetual light shine upon them. Jephte by Giacomo Carissimi is one of the earliest examples of an oratorio: a musical drama, usually on a religious theme, performed without costumes, scenery, or stage action. Working 2. Kyrie 2. O Lord his entire career in Rome, Carissimi was an important teacher and a composer of wide fame. Kyrie eleison; Lord have mercy upon us; His oratorios trend toward an operatic style that emphasizes solo arias more than choruses. Christe eleison; Christ have mercy upon us; Usually performed during the penitential season of Lent, they emphasize themes of suffering and obedience. TheJephte (1648) libretto, a paraphrase and elaboration of the words from the Kyrie eleison Lord have mercy upon us. Hebrew Book of Judges, tells of the warrior judge who rashly promised to sacrifice whatever first came out of his house to meet him upon his return from victory over the Ammonites. This 3. Graduale 3. Gradual greeter turns out to be his only daughter. Unnamed, like Hans Christian Andersen’s little match Requiem æternam dona eis, Domine: Eternal rest grant unto them, O Lord: girl, this daughter likewise becomes a father’s victim when Jephte fulfills his vow. He first allows et lux perpetua luceat eis. and let perpetual light shine upon them. the daughter two months to “bewail her virginity,” which she does in a solo with a haunting In memoria æterna erit justus, He shall be justified in everlasting memory, echo in which all of nature shares her lamentation. This solo is followed immediately by the ab auditione mala non timebit. and shall not fear evil reports. concluding chorus “Plorate, filii Israel,” as the people of Israel mourn the daughter’s death.

Notes by Eric Leibrock 6 7 4. Offertorium 4. Offertory The Little Match Girl Passion Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas defunctorum deliver the souls of the dead 1. Come, daughter de poenis inferni, from punishment in the inferno, Come, daughter / Help me, daughter / Help me cry et de profundo lacu. and from the infernal lake. Look, daughter / Where, daughter / What, daughter / Libera eas de ore leonis, Deliver them from the mouth of the lion, Who, daughter Why, daughter ne absorbeat eas tartarus, lest the abyss swallow them up, Guiltless daughter / Patient daughter ne cadant in obscurum. lest they fall into the darkness. Gone Hostias et preces tibi, Sacrifices and prayers to thee, Domine, laudis offerimus. O Lord, we offer with praise. 2. It was terribly cold Tu suscipe pro animabus illis O receive them for the souls of those It was terribly cold and nearly dark on the last evening of the old year, and quarum hodie memoriam facimus. whom today we commemorate. the snow was falling fast. In the cold and the darkness, a poor little girl, with Fac eas, Domine, Make them, O Lord, bare head and naked feet, roamed through the streets. It is true she had on de morte transire ad vitam, to pass from death to life, a pair of slippers when she left home, but they were not of much use. They quam olim Abrahae promisisti, as thou of old hast promised Abraham were very large, so large, indeed, that they had belonged to her mother, and et semini eius. and his seed. the poor little creature had lost them in running across the street to avoid two carriages that were rolling along at a terrible rate. One of the slippers 5. Sanctus 5. Holy she could not find, and a boy seized upon the other and ran away with it, Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, saying that he could use it as a cradle, when he had children of his own. So Dominus Deus Sabaoth; Lord God of Hosts; the little girl went on with her little naked feet, which were quire red and pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory, blue with the cold. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. So the little girl went on. / So the little girl went on.

6. Agnus Dei 6. Lamb of God 3. Dearest heart Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Dearest heart / Dearest heart / What did you do that was so wrong? dona eis requiem, grant them rest, Dearest heart / Dearest heart / Why is your sentence so hard? Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest. 4. In an old apron In an old apron she carried a number of matches, and had a bundle of them in 7. Communio 7. Communion her hands. No one had bought anything of her the whole day, nor had any one Lux aeterna luceat eis, Domine, Let everlasting light shine upon them, Lord, given her even a penny. Shivering with cold and hunger, she crept along; poor cum sanctis tuis in aeternum, with Thy saints for ever, little child, she looked the picture of misery. The snowflakes fell on her long, quia pius es. for Thou art merciful. fair hair, which hung in curls on her shoulders, but she regarded them not. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis, and let perpetual light shine upon them, 5. Penance and remorse quia pius es. for Thou art merciful. Penance and remorse / Tear my sinful heart in two My teardrops / May they fall like rain down upon your poor face May they fall down like rain / My teardrops Versa est in Luctum Versa est in luctum cithara mea, My harp is tuned for lamentation, Here, daughter, here I am / I should be bound as you were bound et organum meum in vocem flentium. and my flute to the voice of those who weep. All that I deserve is / What you have endured Parce mihi Domine, Spare me, O Lord, nihil enim sunt dies mei. for my days are as nothing. Penance and remorse / Tear my sinful heart in two My penance / My remorse / My penance

8 9 6. Lights were shining 10. She lighted another match Lights were shining from every window, and there was a savory smell of She lighted another match, and then she found herself sitting under a beautiful roast goose, for it was New-year’s eve – yes, she remembered that. In a Christmas-tree. It was larger and more beautifully decorated than the one corner, between two houses, one of which projected beyond the other, she which she had seen through the glass door at the rich merchant’s. Thousands of sank down and huddled herself together. She had drawn her little feet under tapers were burning upon the green branches, and colored pictures, like those her, but she could not keep off the cold; and she dared not go home, for she had seen in the show-windows, looked down upon it all. The little one she had sold no matches, and could not take home even a penny of money. stretched out her hand towards them, and the match went out. Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the roof to cover them, through which the wind The Christmas lights rose higher and higher, till they looked to her like the howled, although the largest holes had been stopped up with straw and rags. stars in the sky. Then she saw a star fall, leaving behind it a bright streak of fire. “Some one is dying,” thought the little girl, for her old grandmother, the Her little hands were almost frozen with the cold. only one who had ever loved her, and who was now dead, had told her that when a star falls, a soul was going up to God. 7. Patience, patience! Patience. Patience! 11. From the sixth hour From the sixth hour there was darkness over all the land until the ninth 8. Ah! perhaps hour. And at the ninth hour she cried out: Eli, Eli. Ah! perhaps a burning match might be some good, if she could draw it from the bundle and strike it against the wall, just to warm her fingers. She drew 12. She again rubbed a match one out – “scratch!” how it sputtered as it burnt! It gave a warm, bright light, She again rubbed a match on the wall, and the light shone round her; in the like a little candle, as she held her hand over it. It was really a wonderful brightness stood her old grandmother, clear and shining, yet mild and loving light. It seemed to the little girl that she was sitting by a large iron stove, in her appearance. “Grandmother,” cried the little one, “O take me with you; with polished brass feet and a brass ornament. How the fire burned! and I know you will go away when the match burns out; you will vanish like the seemed so beautifully warm that the child stretched out her feet as if to warm stove, the roast goose, and the large, glorious Christmas-tree.” And warm them, when, lo! the flame of the match went out, the stove vanished, she made haste to light the whole bundle of matches, for she wished to and she had only the remains of the half-burnt match in her hand. keep her grandmother there. And the matches glowed with a light that was brighter than the noon-day, and her grandmother had never appeared so She rubbed another match on the wall. It burst into a flame, and where its large or so beautiful. She took the little girl in her arms, and they both flew light fell upon the wall it became as transparent as a veil, and she could see upwards in brightness and joy far above the earth, where there was neither into the room. The table was covered with a snowy white table-cloth, on cold nor hunger nor pain, for they were with God. which stood a splendid dinner service, and a steaming roast goose, stuffed with apples and dried plums. And what was still more wonderful, the goose 13. When it is time for me to go jumped down from the dish and waddled across the floor, with a knife When it is time for me to go / Don’t go from me and fork in its breast, to the little girl. Then the match went out, and there When it is time for me to leave / Don’t leave me remained nothing but the thick, damp, cold wall before her. When it is time for me to die / Stay with me When I am most scared / Stay with me 9. Have mercy, my God Have mercy, my God. / Look here, my God. 14. In the dawn of morning See my tears fall. See my tears fall. In the dawn of morning there lay the poor little one, with pale cheeks and Have mercy, my God. Have mercy. smiling mouth, leaning against the wall; she had been frozen to death on the My eyes are crying. / My heart is crying, my God. last evening of the year; and the New-year’s sun rose and shone upon a little See my tears fall. / See my tears fall, my God. corpse! The child still sat, in the stiffness of death, holding the matches in her hand, one bundle of which was burnt. “She tried to warm herself,” said some. No one imagined what beautiful things she had seen, nor into what glory she had entered with her grandmother, on New-year’s day.

10 11 15. We sit and cry Atr is ic Personnel We sit and cry / And call to you / Rest soft, daughter, rest soft Where is your grave, daughter? / Where is your tomb? Craig Hella Johnson, Where is your resting place? Artistic Director & Conductor Rest soft, daughter, rest soft Rick Gabrillo, Assistant Conductor Rest soft … You closed your eyes. / I closed my eyes. Company of Voices Rest soft Soprano Tenor Julie Keim Daniel Buchanan Plorate, filii Israel *Abigail H. Lennox Paul D’Arcy Plorate filii Israel, Weep, you children of Israel, Gitanjali Mathur *Carr Hornbuckle plorate omnes virgines, weep, all you virgins, Stefanie Moore Justin Meyer et filiam Jephte unigenitam in and for Jephthah’s only daughter, *Kathlene Ritch Jos Milton carmine doloris lamentamini. lament with songs of anguish. Sonja Tengblad Bass Alto Cameron Beauchamp Wendy Bloom *David Farwig Janet Carlsen Campbell Rick Gabrillo **Cina Crisara Robert Harlan **Pam Elrod John Proft Stella Hastings Rehearsal Pianist Faith DeBow

*Soloist, The Little Match Girl Passion **Soloist, Requiem: Missa Pro Defunctis

12 13 Harmonia Mundi also released Requiem in Europe in 2009, and it has just received an Edison nomination in the Choral Music category. The prestigious Edison Award is the Dutch equivalent of the U.S. Grammy; winners will be announced in June 2010.

A third recording, Threshold of Night, was released worldwide in September 2008 on the Harmonia Mundi label, Conspirare’s first title for the distinguished recording company. Threshold of Night received two Grammy nominations, Best tes

a Choral Performance and Best Classical Album. In October 2008, in cooperation with Austin’s public television station KLRU, Conspirare filmed a PBS television Andrew Y special, “A Company of Voices: Conspirare in Concert,” that was broadcast nationally in March 2009 and is available on both CD and DVD. “A Company of AoCb ut onspirare Voices” received a Grammy nomination as Best Classical Crossover Album.

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

14 15 Johnson served as Director of Choral Activities (1990-2001) at the University of Texas in Austin where he led the graduate program in conducting. He was artistic director of San Francisco-based Chanticleer (1998-1999) and has served as guest conductor with the Austin Symphony, San Antonio Symphony, Santa Fe Symphony, Chicago’s Music of the Baroque, and the Berkshire Choral Festival. In September 2009 Johnson travelled to Taiwan to conduct the Taipei Male Choir.

Praised by audiences and critics, Johnson’s programs are hailed as thought- provoking musical journeys. One unique aspect of Johnson’s programming is his signature “collage” style: through-composed programs that marry music and poetry to seamlessly blend sacred and secular, classical and contemporary, classical and popular. In 2006 he was engaged to create a special peace-themed tes a collage program for the North Central ACDA convention. He was also engaged

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

16 17 Bardfo o At r is ic & Cnspareo ir Audio Directors Administrative & Video Recordings Fran Collmann, Chair Staff Robert J. Karli, Vice Chair “A Company of Voices: Conspirare in Concert” – available on CD and DVD Bernadette Tasher, Treasurer Craig Hella Johnson PBS show, nationally broadcast in March 2009; 2010 Grammy nomination Robert Harlan, Secretary Artistic Director Jack Brannon “Thorns on the Rose” – Craig Hella Johnson’s first solo CD David Clark Ann Hume Wilson Larry Collmann Executive Director Jeri DeAngelis “Threshold of Night” – Two 2009 Grammy nominations Patrick L. DeLaune Katie Apple Conspirare sings the music of Tarik O’Regan Tom Driscoll Executive Assistant to the Artistic Director Ann Fields Director of Special Projects “Requiem”– Now reissued on the Harmonia Mundi Label Lou Ann Lasher Eric Leibrock Tamara Blanken Two 2007 Grammy nominations Hope Morgan Ticketing & Online Services Manager Louise Morse “through the green fuse” – A favorite collection featuring several spirituals E. Stuart Phillips Cynthia Densmore Hon. Bea Ann Smith Finance Manager Mary Stephenson “Angel Be” (2 CDs) – A collection of favorite live recordings by Cynthia Clawson Marion Lear Swaybill Melissa J. Eddy and Craig Hella Johnson, including four previously unreleased selections Catherine Wildermuth Communications & Grants Manager Sheila Youngblood “Crossing the Divide: Exploring Influence and Finding Our Voice” (2 CDs) – Recorded Rick Gabrillo during the NEA sponsored American Masterpieces Festival in January 2007 Production Manager Avord is y Director, Conspirare Youth Choirs Board Christmas at the Carillon Stephen Aechternacht Wravan Godsoe “Here Comes the Light” (2009) John Aielli Operations/Ticketing Assistant “Lay Me Low” (2008) Sue Barnes “Love Again” (2007) Mark Bierner David Hammond “Love Calls You” (2006) Ray Brimble Operations Manager “I Still Love You” (2 CDs - 2005) David Burger David Claflin Robert Harlan “Always” (2 CDs - 2004) Virginia Dupuy Production Coordinator “Nearer” (2003) Maydelle Fason “Where Does Morning Lie?” (2002) JoLynn Free Meri Krueger “Back to the Garden” (2001) Billy Gammon Artist Relations Vance George “Home” (2000) Helen Hays Nina Revering Dan Herd Director, Conspirare Youth Choirs American Choral Directors Association National Convention (New York, 2003) William B. Hilgers Concert CD Wayne Holtzman Nicki Turman Cassandra James Concert DVD House Manager Judith Jellison Bob Murphy American Choral Directors Association-North Central Division Convention (Omaha, 2006) Lynn Murphy “Peace Concert” CD (2 CDs) Gayle Glass Roche Closing Concert CD Nancy Scanlan Russell Schulz Closing Concert DVD Angela Smith Louann Temple “Hidden Music” (2006 - mono) Eva Womack To order, please call (512) 476-5775; hear samples at www.conspirare.org. 18 19 S otill t come in the sponsors 2009-2010 easons Business & Foundation Sponsors Conspirare Youth Choirs: Invitation to the Voyage The words of French poet Charles Baudelaire and the music of Romantic composer Henri Duparc meet in the beloved French art song “L’invitation au Voyage,” the inspiration and framework for this unique spring concert. Also featuring music by David Childs, Imant Raminsh, and Eleanor Daley. Friday, May 14, & Saturday, May 15, 7:00 p.m. at St. Martin’s Lutheran Church Russell Hill Rogers Fund for the Arts Dynamic Convergence The Conspirare Symphonic Choir and organists Judith and Gerre Hancock perform the popular Duruflé Requiem and Cantos Sagrados (Sacred Songs), a powerful, dramatic work by brilliant Scottish composer James MacMillan. Saturday, June 5, 8:00 p.m. at University Presbyterian Church, Austin. Sunday, June 6, 6:00 p.m. at Corpus Christi Cathedral, Corpus Christi

J. S. Bach – Mass in B minor Bach’s crowning achievement delivers a profound listening experience every time you hear it. Conspirare and a period-instrument orchestra from the Victoria Bach Festival perform the iconic work with soloists from the ensemble. Saturday, June 12, 8:00 p.m. at Our Saviour’s Lutheran Church, Victoria Sunday, June 13, 7:00 p.m. at The Long Center for the Performing Arts

Public Funding Agencies

Conspirare is funded and supported in part by the City of Austin through the Cultural Arts Division, the Texas Commission on the Arts, and the National Endowment for the Arts, which believes that a great nation deserves great art.

Media Sponsors

20 21 Su pPORT Conspirare donors

Conspirare invites you to join our family of donors by supporting the 2009-10 Gifts to Conspirare provide financial support for concerts, recordings, educational season. Your contribution supports our gift of music through performances of the programs, and outreach activities. The following roster of donors includes cash and highest artistic quality and through educational and outreach programs, including in-kind gifts received from individuals, family and private foundations, businesses, the Conspirare Youth Choirs. and government agencies between July 1, 2008 and April 23, 2010. We express our gratitude to each and every one of our donors. L eadership Circle Circle of Friends $ $ $ Maestro Circle...... 25,000+ Sponsors...... 500 — 999 L eadership Circle Perkins-Prothro Foundation Tom Grimes & Karen Kibler Impresario Circle...... $15,000 — $24,999 Patrons...... $250 — $499 Susan & Forest Rees Carolyn Harris-Hynson $ $ $ $ Benefactor Circle...... 10,000 — 14,999 Sustainers...... 100 — 249 Maestro Circle Louise Reeser Richard Hartgrove Platinum Baton Circle...... $5,000 — $9,999 Donors...... Up to $99 City of Austin Shoehorn Design & Gary Cooper Golden Baton Circle...... $2,500 — $4,999 Cultural Arts Division The Rachael & Ben F. Vaughan Jane Hilfer Silver Baton Circle...... $1,000 — $2,499 Fran & Larry Collmann Foundation John Hogan The Kodosky Foundation Ben & Daphne Vaughan Joan & Tom Kobayashi National Endowment Timothy Koock enclosed is my tax-deductible gift in the amount of $ for the Arts Golden Baton Circle John & Katie Lavendoski South Texas Money Anonymous Jodi Lazar -or- i pledge a gift of $ to be paid in full by june 30, 2010. Management Cindy & Chic Bain & Michael Nussbaum William C. Bednar Eric Leibrock choose one: Impresario Circle & Flo Ann Randle Lee Manford William R. Dickson Clark, Thomas & Winters Joyce Mayer please charge my credit card $ per month for # months, begininning / / Crutch & Danna Crutchfield Kevin & Debe McKeand date Robert & Lara Harlan Gayle Glass Roche Patrick DeLaune & Sadaf Khan Janet Miller In honor of Robert Harlan Hope Morgan i will pay by check $ per month for # months Carolyn & Marc Seriff Tescom, Inc. The Fetzer Institute Bob & Lynn Murphy need a different pledge plan? please call us at (512) 476-5775 to arrange. Texas Commission on the Arts Cindy Keever Anne Nagelkirk & Jason Orr Louise Morse William Nemir Benefactor Circle E. Stuart Phillips Christopher Novosad, tiki2.com Payment Information: Anonymous Linda Ramsey Carlisle Pearson ❑ check payable to conspirare Austin Community Foundation Sara & Scott Reichardt Ann Praderus & Tony Vance Donna & Christy Salinas Nancy Scanlan credit card ❑ discover ❑ mc ❑ visa ❑ amex Ray & Karen Brimble Ken & Joyce Beck Family Fund William Schleuse Gene Alice & Max Sherman & Virginia McDermot Angela & Charles Smith name on card Joe & Cynthia Cain Jeri DeAngelis Honorable Bea Ann Smith David C. Smith Texas Commission on the Arts Dian & Harlan Stai card number GE Foundation Helen & Bob Hays Mary Stephenson Robert & Trish Karli Silver Baton Circle James Stolpa security code expiration date Carolyn J. Keating Anonymous (2) Syzygy Marketing Jeff & Gail Kodosky Eva Andries Bernadette Tasher signature Caren Prothro Margaret & Robert Ayres Kerry Tate & Susan Rieff must be signature of cardholder Russell Hill Rogers Robert & Pat Brueck Anne & William Wagner Fund for the Arts Amelia Bullock & Bill WaxmanCavnerLawson name Krumpack Catherine as you wish to be acknowledged in conspirare publications Rick & Jill Salwen Still Water Foundation Dan Bullock & Annette Carlozzi & David Wildermuth address David Burger Eva & Marvin Womack Platinum Baton Circle Richard Campbell Lucia & Paul Woodruff Janet Carlson Campbell Sheila Youngblood city state zip CenTex Beverage David & Catherine Clark Pablo Cardenas Janis & David Claflin Circle of Friends daytime phone ( ) Thomas Driscoll & Nancy Quinn Jerry Craft Rena & Richard D’Souza Sponsors e-mail Mary Nell Frucella Keating Family Foundation Bryan Dunkin Julie Arend Robert & Virginia Dupuy Susan Barnes employer Cynthia Keever Wendi & Brian Kushner Melissa Eddy Ken & Joyce Beck & Tracy Schiemenz Klaus Bichteler & Mary Parse Does your employer support the arts with matching gifts? If so, please enclose the completed form along with your payment. KGSR – 93.3 FM KMFA – 89.5 FM Jenelle Edwards Karen & Mike Blizzard Mail to Conspirare, 1033 La Posada Drive, Suite 130, Austin, TX 78752. Conspirare is a non-profit 501(c)(3) organization. KUT – 90.5 FM Rev. Dr. Ann Fields Jeff & Ann Bomer Donations are tax-deductible to the fullest extent of the law. Thank you for your generous support of Conspirare. Mid Atlantic Arts Foundation Steve Gilbert Jack Brannon & Brian Miller 22 Balie J. & Beverly Griffith John & Trina Braun 23 Chez Zee Patrons Ann Moody Becky & Cory Cox Virginia Livesay Ted Smith Kathy & David Clem Anonymous Laura Moore Lisa & Eric Craven Kathryn & Don Lougheed Dan Spence Gwen & Dean Collmann Sandi Aitken Rebecca A. Muniz Cina M. Crisara Chien-Chun & Hui-Lan Lu D. C. (Don) & Nancy Spencer Natasha & David Collmann Bob & Marcia Bailey Douglas Nelson James & Glenda Crout Cynthia Lux Robyn Sperling Marie Crane & Bill Kelly Anne Bertholf Lip & Cinnie Norvell Karel Dahmen Jerome Malek Cindy & Bryan Sperry Robert Dailey Mark Biemer Patty Olwell Mela Sarajane Dailey & Peter Bay Dell Marcoux Barbara & Bruce Stevenson Nell & Al Dale & Cassandra James Brian & Lynn Powell Paula D’Arcy Manuel & Anne Martinez Virginia Stotts Paula & Stewart Damore Linda Ball & Forrest Preece Flo Ann Randle Richard J. Davis Amanda Masterson Keith Stucky Rena & Richard D’Souza Patrick & Cindy Behling Sandra & Smith Ray Faith DeBow Bradley & Elizabeth Maxim Joe & Rose Sullivan Pam Elrod Ola Bell Lari & Tom Rogge Dell Jim Maxwell William & Mary Ellen Sullivan Greg Edens & Dorothy Drummer Leah Billingsley Brian Sands HQ83 Robin & Karl Dent Marsha McCary Marion Lear Swaybill In honor of the Hon. Bea Ann Smith Pat Black In memory of Rick Reynolds Paul Dlabal M.D. David McClellan Gayle & Thomas Toler Cassandra Ewer Nancy Bowman Peter Schram & Harry Ullmann Derrick Dodge Sandra McKenzie Mollie Tower Sam & Maydelle Fason Evelyn Boyer Russell E. Schulz Dianne Donovan Connie McMillan Nancy Townsend Gwen & Bruce Flory Chip Buerger Katharine B. & Gregory Shields & Mitch Watkins Ricky McSwain Nicki & Scott Turman R. John & Susan Fox Pierre & Nancy Bulhon Suzanne & John Shore Robert M. Draper Vicki L. Moffatt Marie Van Roekel Gregory & JoLynn Free Toni & Paul Burns James Shultz MD Sharon Duboise John & Elizabeth Hansing Moon Cynthia Vanderberg Cheryl Fuller Judy Cardinale Brenda Smith James Dunn Nancy Moore Fred Viehweg Gerre & Judith Hancock Rita & Merrill Carlson Margo Smith Barbara Durham Janice & Chip Morris Debra & Alan Waldrop Walter & Ann Herbst Peggy Daniel Jim Sotiros James Elrod Andy Mozisek Carol Walker Van & Jeanne Hoisington Nancy & Jimmy Davis Janice & John Spence Mary Farabee Judith Munyon Jeannette G. Walker Robert E. Hollingsworth Nina Di Leo Paul Stone Janet Faulkner Rosie & John Nieman Ben Wear Nancy & Bobby R. Inman In memory of Dottie Welton Mary Stumberg Jerry Folson Adrian Newcomb Kendra Welton Diane Ireson Will Dibrell & Beverly Bajema Martha Terry Merle & Ginna Franke Nona Niland Alex & Veda White Jane Jackson Door Number 3 Meredith Thomas & Walter Stroup Joetta & Gregg Freeby Margaret H. Marianne & Stewart Wilkinson Bill & Lou Ann Lasher Susan Nash Fekety Thomas Graphics Dana Friis-Hansen & Philip J. Overbaugh Jean Rogers Winchell Eric Leibrock Steve Gilbert Joy Turman & Mark Holzbach Jim Parrish Barbara Yarbrough In memory of Helen Lea Glenda Goehrs Erich Vollmer Caroline Frommhold Cathie Parsley Hilary & Stan Young Mark Levy Stephen & Stefanie Griffith Alan & Debra Waldrop Anneliese & Robert Geis Pete & Elizabeth Paul Joyce Zehr & Marvin Burke Kati Lewis Tom Grimes & Karen Kibler Connie & Robert Webb Sue George Thom Pavlechko David Zersen Sheila Lummis Lynette Heckmann Frankie Westbrook Mary Gifford Debbie Peden & Dean Perkins Trish Merrill John Griffin & Lynn Knaupp Richard Zansitis Marlene & William Glade Jeff Pettit Conspirare also thanks all donors Micro-Bac International Paul Guttrey & Suzanne Mitchell David & Kay Goff Jim & Nicole Pizzitola of gifts under $100 and regrets Milton D. Miller II Janet Harman Graves, Dougherty, Hearon Alex & Karen Pope that space does not permit the Ivan Milman & Janie Keys Leroy & Karen Haverlah Sustainers & Moody Mary Pozorski listing of each name. Your support Linda Monk Anne & Jim Hester Claudia & Stephen Aechternacht Andrew Gray Cheryl & Gary Pyle is equally appreciated. Jerele & Elizabeth Neeld Joan & Wayne Holtzman Shannon Armstrong James & Jo Green Katherine Race Tom & Mary Sue Koontz Nelson Carr Hornbuckle & Jack Leifer Ann Bahan Gary Greenblum Edwin Ramos We strive to publish an accurate Karen Ann Norris H. David & Jan Hughes Brick & Laura Balvanz Sam & Suzanne Haddad & Elaine Salazar donor list. If an error or omission Richard E. Orton In honor of the Hon. Bea Ann Smith Janette Barlow Sally Hamilton Gail Randall is noticed, please let us know. Robert Patterson & Diana Sellers IBM Ross & Kristin Bassinger Lewis Hoffacker Cliff Redd Honorable Robert Pitman Judith Jellison & Robert Duke Steven Beebe Betty Holmes Nina & Dean Revering The Prodicus Group Morris & Marge Johnson Bridgette Beinecke Jeffrey Hudson & Robert Blodgett Hamilton & Joanne Richards 2010 Spring Fundraiser Milbrey & Bev Raney Steve Kahle Amy Blair Melissa Huebsch Cheryl Ridall Hidden Music V Jerome Ravel In honor of Glenda Goehrs Wendy Bloom B.J. & Constance Ihlenfeldt Gayle & Mike Roche Conspirare appreciates all 225 Dick & Lynn Rew Martha Kopra Bette & Whitney Bodman Cassandra James & Mark Bierner In memory of Dottie Welton attendees (a new record) at Jonathan & Kari Riemer Cynthia & Greg Kozmetsky Pam Boerst In memory of Karen Kuykendall Gayle & Mike Roche our spring fundraiser “Hidden Sally & Andy Ritch Frances & Robert Kushing John Briggs Robert Jensen In memory of Miriam Kaye Music V.” Our generous table Rikky Rivers & Jim Schultz Nicole Lamartine Billye Jean Brown Todd Jermstad Gayle & Mike Roche sponsors, single ticket buyers, Jack & Susan Robertson Jill & Roger Lane Jo & George Brown Ellen Jockusch In memory of Helen Lea auction bidders, and “Paddles Michal Rosenberger May Latson Tracy Bruno Craig Hella Johnson Leilani Rose Up” donors raised $108,000 to Larry Sager & Jane Cohen Josh Lauer Bette-Jo Buhler & Phil Overbaugh Beverly Ross support Conspirare’s world- Pieter & Frances Schenkkan Nora Lieberman Amy Bumpus Elizabeth Judd Arthur & Donna Rutherford class concerts, recordings, Nan Seiden W. Jackson & Carolyn Long Barbara J. Burnett Stan & Biruta Kearl Safeway, Inc. and educational activities! Kay Sherrill Thomas & Alaire Lowry In memory of Jake Foster Marguerite Kelly Mary Sanger Participants will be thanked Mary Smith & Walter Stewart Sue & Mike Maine Sarah & Ernest Butler Ellen King Nona & Andrew Sansom by name in the June concert Anna Sorensen Mary Matus Judy Bush Cecilia Kittley Dennis Schafffer programs. Patty Speier & Charles Woodruff Arthur & Patricia McCormick James Campbell Ann & Bill Kleinebecker Rhonda Schleicher Brenda & Larry Smith In honor of the Hon. Bea Ann Smith Chris & J. Dennis Cavner Elinor Kliewer Thomas & Claudia Schurr James Stolpa Vance McMahan Patricia Cherico Jacqueline Lain David Schwarz LaFern & Virgil Swift Margaret Menicucci & Thomas Collins Eva & Chris Laskaris Joan & Lindsay Sharpe Lois VanLaningham Michael Whellan Ralph Coonrad Elaine Doherty Leach Marilyn Sharratt Evan & Ann Hume Wilson Glenn Miller Maria Corbett Karen & Paul Leeke Amy & Norman Shipherd 24 James Winkle Bonnie Mills Cheryl Cosway Catherine & David Light Terry Shook 25 thanky ou

Andrew Yates Photography Tarrytown United Methodist Church Austin American Statesman – Jeanne Claire van Ryzin Bernadette Tasher * Austin Chronicle – Robert Faires TesCom, Inc. Bruce Biermann Texas Choral Consort Blanton Museum of Art Texas Performing Arts at UT-Austin Linda Buehlmann Veryan & Greg Thompson Cherie Burt Lois Vanlaningham Anne & Sam Byars* Victoria Bach Festival Ann Byrd Carol Walker Julie Carterson Kenneth Wilson Chez Zee Linda Zander Clark, Thomas & Winters Fran & Larry Collmann* * Special thanks to Artist Peggy Cooper Hospitality Volunteers Eileen Dolan Anne & Ray Ellison Dale and Carolynn Elmshaeuser James Elrod Marion Elrod* Michelle Fisher Dick & Janet Funderburk Kim Gerber* Mary Gifford Kathryn Govier Gene Hauer Helen Hays Jeanne Henry Ed & Sara Hill* Will Hornaday Design KGSR-FM – Sommer Novak, Gary Weaver KMFA-FM – Joan Kobayashi, Dianne Donovan, Jeffrey Blair KUT-FM – John Aielli Ed & Eileen Lundy* Nancy Michalewicz Laura Moore & Steve Sadler* Kristin Narcowich Bill Nemir* Christopher Novosad, Tiki2.com Philip Overbaugh Jane Parsons Diana Phillips Nina & Dean Revering* Verla Shelar St. Martin’s Lutheran Church – Thom Pavlechko St. Matthew’s Episcopal Church, Austin – Jean Fuller South Texas Money Management – Jeanie Wyatt, Josie Coiner SteelSMBology – Amy West 26 27 The Bach Cantata Project proudly supports the artistry of Conspirare Listen to the awe inspiring sound of Bach in The Blanton Museum’s Rapoport Atrium. Performances include a connection with an artwork in the museum’s galleries. Held the last Tuesday of selected months, the program is included with the price of admission, and free to Blanton Members and current University of Texas students, faculty, and staff. 2010-2011 performances will be announced soon.

28 29 Cnspareo ir Performing Note

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

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

Michael Long Photography

www.MichaelLongArt.com

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