SEATTLE PRO MUSICA ABOUT SEATTLE PRO MUSICA KAREN P. THOMAS, CONDUCTOR

Seattle Pro Musica is a critically acclaimed choral organization comprised Karen P. Thomas, Artistic Director and Conduc- of four performing ensembles: the 80-voice Seattle Pro Musica choir; tor of Seattle Pro Musica, has conducted at Vox, the mixed-voices chamber ensemble; Chroma, the select women’s international festivals in Europe and North ensemble; and Orpheon, the select men’s ensemble. Recipient of the America, including the Berkshire Choral Interna- Margaret Hillis Award for Choral Excellence and the ASCAP/Chorus tional Festival and the Bergen International America Award for Adventurous Programming, Seattle Pro Musica is Festival. She has lectured for Chorus America, the ranked by American Record Guide as “among America’s very best choirs.” American Guild of Organists, the American Choral Directors Association, the Seattle Symphony, and PROGRAM Under the baton of Artistic Director and Conductor Karen P. Thomas, numerous festivals and events. She was recently Seattle Pro Musica has received international acclaim for its CD recordings awarded the 2015 Dale Warland Singers Commis- SEATTLE PRO MUSICA and live performances. Choir and Organ writes: “Seattle Pro Musica presents sion Award from Chorus America and the a cappella singing at its best.” Fanfare Record says: “This is truly an extraordi- American Forum, and has received composition grants and Ísland, farsælda frón (, land of good fortune)...... Íslenskt tvísöngslag, Iceland nary choir.” Seattle Pro Musica has appeared on the NPR radio show Saint awards from the National Endowment for the Arts, American Academy Fagurt er í fjörðum (It’s lovely in these valleys)...... Traditional Icelandic, arr. John Hearne Paul Sunday and by invitation for numerous international and national and Institute of Arts and Letters, and ASCAP, among others. festivals. In 2013, they performed at the National Conference of the CHROMA American Choral Directors Association and the National Conference of Named the Washington state “Outstanding Choral Director” for 2012, she Lauliku lapsepõli (The Singer’s childhood)...... Veljo Tormis (b. 1930, Estonia) Chorus America. has been lauded for her “charismatic...magnetic podium presence.” A Natt över jorden (Night on our earth)...... Karin Rehnqvist (b. 1957, ) prize-winning , her numerous commissions include works for In June 2013, Seattle Pro Musica and the Seattle Symphony Orchestra & the Grand Jubilee in Rome, the American Guild of Organists, and the Lumepuu ja laulupuu (Snow Tree)...... Ester Mägi (b. 1922, Estonia) Chorale joined forces to co-host the annual conference of Chorus America, Association of Anglican . Her compositions are regularly Virmalised (Northern Lights from Winter Patterns)...... Tormis bringing together choral luminaries from all over the country to celebrate performed internationally by groups such as The Hilliard Ensemble and ORPHEON choral in Seattle. As a highlight of the conference, Seattle Symphony have been praised as “superb work of the utmost sensitivity and beauty.” Heyr, himna smiður (Hear, smith of the heavens)...... Þorkell Sigurbjörnsson (1938-2013, Iceland) Orchestra & Chorale and Seattle Pro Musica presented Benjamin Britten’s She currently serves on the Seattle Music Commission and on the boards War Requiem in celebration of the Britten centenary. In 2014, they of Chorus America, the American Choral Directors Association (NW Lapi laul ( from Lapland)...... Mägi appeared on the GRAMMY Award-winning Winds of Samsara. Region), and the Greater Seattle Choral Consortium. karenpthomas.com SEATTLE PRO MUSICA Ave Maris Stella (Hail, star of the sea)...... Edvard Grieg (1843-1907, ) Seattle Pro Musica Soloists Bogoroditse Devo (Rejoice, O Virgin)...... Arvo Pärt (b. 1935, Estonia) SOPRANO I ALTO I TENOR I Lauliku lapsepõli - Katie Skovholt, Meaghan Leferink, Kira Hicks Rachel Bodansky Marissa Burkey *+ Jacob Buys *^ Taaveti Laulud (Psalms of David)...... Cyrillus Kreek (1889-1962, Estonia) Lumepuu ja laulupuu - Miriam Gnagy, Liz Reed Hawk Hanna Cho Kaitlin Cashman David Horton *^ Taaveti laul Nr. 104 (Psalm 104) Stephanie Gray Jim Howeth *^ Heyr, himna smiður - Will Myers Lauren Cree Taaveti laul Nr. 141 (Psalm 141) Heidi Kim *+ Allison Freel Brian Minnick Northern Lights - Jacob Buys Elaine Lee Amy Godwin Will Myers *^ Psalm 150 in Grandsire Triples - Heidi Kim, Miriam Gnagy, Marissa Burkey Õnnis on inimene (Happy is the man) Teresa Nemeth Kira Hicks *+ TENOR II Barn Jesus i en krybbe lå - Liz Reed Hawk INTERMISSION Joy Portella Emily Jordan Mark Falstein Tyli naktis - Jennylynn Vidas Katie Skovholt *+ Teena Littleton *+ Ben Flynn *^ VOX Jennylynn Vidas * Lara McLeod Grégoire Lurton ^ Pasakykit, piemeneliai - Rachel Bodansky Marjatan jouluvirsi (Marjatta’s Christmas hymn from Kalevala)...... Einojuhani Rautavaara (b. 1928, ) SOPRANO II Isabelle Phan Danny Szydlo *^ Jul, Jul, strålande Jul - Rick Johnson – Dec 12, Elaine Lee – Dec 19 Emily Anderson Sarah Ruuska Steve Whitner Psalm 150 in Grandsire Triples...... Jaakko Mäntyjärvi (b. 1963, Finland) Elizabeth Sanders *+ Tess Brandon Fred Williams Acknowledgements SEATTLE PRO MUSICA Marilyn Colyar *+ Marit Trelstad Jennifer Newland – Stage Manager Northern Lights...... Ēriks Ešenvalds (b. 1977, Latvia) Jonna Farley ALTO II BASS I Deborah Forrest Liz Adams Ryan Gao *^ Erin Gabriel Shirley Beresford Peter Hemmen Staff Members O Jul med din glede (O Christmas with your joy)...... Traditional Norwegian, arr. Karen P. Thomas Miriam Gnagy *+ Jacque Deerr-Lord *+ Rick Johnson *^ Karen P. Thomas, Artistic/Executive Director & Conductor Barn Jesus i en krybbe lå (Baby Jesus in a crib He lay)...... Niels Gade (1817-1890, ) Elly Hale *+ Cathy Federici * Wes Kim *^ Katie Skovholt, Managing Director Carole Jones Karen Maneman Lee Maneman Will Myers, Administrative Assistant Tyli naktis (Silent night)...... Juozas Bertulis (1893-1969, Lithuania) Meaghan Leferink *+ Liz Reed Hawk *+ Jon Repp *^ Dwight Beckmeyer, Accompanist Pasakykit, piemeneliai (Tell us, shepherds)...... Bertulis Heidi Kim, Kevin Kralman, Jeremy Morada, Section Leaders Jenn Newland Kelly Sanderbeck Josh Smith Nu är det Jul igen (Now Christmas is here again)...... Traditional Swedish, arr. Karen P. Thomas Ada Ng *+ Katy Sarff BASS II Laura Patton Ballard Karen Segar Keith Axelsen *^ Board of Directors Advisory Board Jul, Jul, strålande Jul (Christmas, shining Christmas)...... Gustaf Nordqvist (1886-1946, Sweden) Christa Phillipson Meg Stohlmann Mike Engh *^ Joy Portella, President Dean Arnold Terri Lords Three Latvian Carols...... Traditional Latvian, arr. Andrejs Jansons Anna Thelen Catherine Roberts Mike Evans *^ Katie Oman, Vice President Keith Axelsen John Schilling Ziemassvētku nakts (Christmas nights) Jan Strand *+ Hannah Won *+ Dan Froehlich *^ Josh Smith, Treasurer Mona Dworkin Dale Whitehead Meklētāja ceļš (Seeker’s path) Janelle Walhout Peter Lifland *^ Wes Kim, Corporate Secretary Sam Dworkin Judy Williams Jeremy Morada *^ Anne Clamoungou Mike Evans Ai, nama māmiņa (Oh, mistress of the house) Anthony Gromko Phil Haas *Vox Laura Patton-Ballard Noreen King +Chroma Mary Redman Teena Littleton ^Orpheon These performances are supported in part by ArtsFund, 4Culture, Classical KING FM 98.1, the City of Seattle, Office of Arts & Cultural Affairs, and Hurtigruten AS. Please turn off all cell phones, signal watches, and electronic devices. No photography during performances. Thank you. Ísland, farsælda frón is a traditional Icelandic tvísöngslag (“twin-song”). Tvísöngur (“twin singing”) is a type of improvised harmony that has existed in Iceland since the Middle Ages. It consists of two vocal parts sung in parallel 5ths or 4ths to a pre-existing melody. Tradi- A message from conductor Karen P. Thomas tionally, the melody was sung by a small group while the harmony line was sung by a soloist. What makes Tvísöngur notable is that the harmony line often crosses the melody in the middle of a song to create a dramatic change in tone. Tvísöngur were traditionally sung at festive secular occasions like weddings and other celebrations. Welcome to Northern Lights – a celebration of the winter season, as heard in the music of the Baltic and . Ísland, farsælda frón was collected by priest and composer Bjarni Þorsteinsson in the late 19th century when there was great interest The aurora borealis (northern lights) was named in 1621 by the French astronomer Pierre Gassendi after Aurora, the Roman goddess of in rediscovering Icelandic sagas and traditional music. The text is by Jónas Hallgrímsson (1807-1845), the most beloved poet in Iceland dawn, and Boreas, the Greek god of the north wind. The Old Norse word for the aurora borealis is norðrljós (northern lights), and these and an important figure in the early independence movement. Hallgrímsson was a master of many forms of poetry, from simple to lights have fascinated and sometimes terrified all who have seen them from the beginning of time. Many cultures have tried to account intricate epics. His poems are part of Iceland’s national identity, often celebrating the natural beauty of the land. for this remarkable and beautiful sight, some seeing it as threatening, others as benign. Latvian folklore, for example, tells that the north- Ísland, farsælda frón Iceland, land of good fortune ern lights are the restless spirits of fallen warriors, still fighting their battles in the sky. Ísland, farsælda frón Iceland, land of good fortune In Norse mythology, the northern lights were caused by the Valkyries galloping across the night sky on their horses, equipped with hel- og hagsælda, hrímhvíta móðir, and snow-white mother of prosperity. mets, spears, and armor that would glow and shimmer in the darkness. These red, blue, violet, and green lights would spread in curtains hvar er þín fornaldar frægð, Where is your splendid renown, from horizon to horizon, amazing the mortals below. In Finnish, the word for the aurora borealis translates as “fox fires.” The name comes frelsið og manndáðin best? freedom and manhood of old? from an ancient Finnish myth in which the lights were caused by a magical fox sweeping his tail across the snow, sending sparks up into the sky. In Norwegian folklore, the lights were the spirits of old maids dancing in the sky and waving. In some Scandinavian traditions, Landið er fagurt og frítt The land is goodly and fair the northern lights were believed to enhance the earth’s fertility. og fannhvítir jöklanna tindar, and snow-white the peaks of the glaciers. himinninn heiður og blár, The sky is blue and serene, The Saami, who live north of the Arctic Circle in Finland, Sweden, and Norway, traditionally believed that the lights were the energies of hafið er skínandi bjart. the ocean resplendently bright. departed souls. When the fires blazed in the skies, people were to behave solemnly, and children were admonished to quiet down and be respectful toward the fires. It was believed that whoever disrespected the fires incurred bad fortune, which could result in sickness and even death. The Saami believed these fires to have magical effects; Saami shaman drums often have runes depicting the fires in Fagurt er í fjörðum is a traditional melody that was collected from a farmer in the 19th century by Icelandic priest and educator order to harness their energy. The lights were believed to have a mellowing effect on arguments, and the time of the fires was beneficial Sigtryggur Guðlaugsson. The in this concert is by John Hearne, a Scottish composer and singer, who wrote it for the famed to conflict resolution. Icelandic youth choir Hamrahlíðarkórinn. Today we think more often in scientific terms – the aurora are collisions between electrically charged particles from the sun that enter The text is by the 18th-century poet Björg Einarsdóttir. Known to Icelanders as “Látra-Björg,” she was considered a gifted poet who the earth’s atmosphere. Less fanciful, to be sure, than Valkyries, foxes, and the spirits of fallen warriors. For these concerts, we invite you excelled at composing verse spontaneously for various occasions and circumstances (a time-honored tradition in Iceland). She was even to enter the ancient mindset and allow your imagination to conjure the resplendent imagery of the northern lights! thought by some to be able to influence the future with her verse. Sincerely, Fagurt er í Fjörðum It’s lovely in these valleys Fagurt er í Fjörðum It’s lovely in these valleys þá frelsarinn lánar veðrið blítt, when God grants us weather fine, Karen P. Thomas heyið grænt í görðum, with hay green in the gardens, Artistic/Executive Director and Conductor grös og heilagfiskið nýtt. fresh grasses, and halibut divine. En þegar vetur að oss fer að sveigja But when winter turns upon us, veit ég enga verri sveit I know of no worse place um veraldar reit. on this, our earth’s green face; Program Notes, Texts and Translations Menn og dýr þá deyja. then men and cattle die.

In preparing for this concert of Christmas music from the Nordic and Baltic countries, we undertook the challenge of singing in eleven different languages – many of them unfamiliar to us. Demanding though this was, we didn’t want to dilute the flavor of the original Veljo Tormis is considered by Estonians to be one of their most important composers of the 20th century. While he’s written opera works by singing them in English translation. To aid us in learning correct pronunciation for all the works on the program, we had help and instrumental pieces (including film scores), he’s most celebrated as a choral composer. His choral work embodies the strong choral from numerous native speakers and language teachers in the Seattle area. We’re grateful for their generosity of spirit and their willing- tradition of Estonia, both ancient and contemporary, and its appeal has reached far beyond the Baltics. Almost all of his choral works ness to share not only the intricacies of the languages, but also information and background on their cultures. Learning this music and are based on ancient Estonian folksongs (regi laulud) – some are direct settings of folksongs, while others are original compositions that the traditions associated with it has been a rich and exciting journey. We’d like to express our sincere appreciation and thanks to the either use texts by 20th-century Estonian poets or are inspired by traditional Estonian or Finnish texts and melodies. His harmonic style following people: comes from folk melodies and features clusters of 2nds, open 4ths, repeated major 3rds, and parallel chords. Tina Aspiala, Finnish Tormis’ reputation as a master of choral music has led to commissions from the King’s Singers and The Hilliard Ensemble, among others. Ina Bertulyte Bray, Lithuanian He writes: “The most fundamental part of my work is choral music and its connection with ancient Estonian folk song and the folk song of Ed Egerdahl, Norwegian other Finnic peoples…My music can by no means be labeled as folk or . It is rather an attempt to preserve the authenticity of Anni Fuller, Danish the source material, whilst making a compromise with the forms and performing practices of today.” Jahn R. Hedberg, Swedish Lauliku lapsepõli (from the larger collection “Laulud Laulust ja Laulikust / about Song and the Singer”) was written in 1966 for Mall Pesti, Estonian women’s choir. Tormis writes: Lola Rogers, Finnish “It presents a theme frequently occurring in Estonian songlore describing the process of becoming a singer. The music is of Liisa and Dan Nye, Finnish rather melodious contour, dominated by the refrain al’leaa. The folk melody is complemented by an intentionally minimal Andrew Schmidt, Estonian harmony. My artistic credo insists that the folk song should retain as much of its authenticity as possible, and I try to avoid Karen Segar, Old Church Slavonic disturbing ‘’...Deep concern for the fate of my tiny homeland, my people, and our culture have keyed my creative Guntis Smidchen, Latvian work through time and change.” Vésteinn Þórsson, Icelandic

2 3 Lauliku lapsepõli The Singer’s childhood Klukluu, klukluu. Whoop, whoop. Kaugete kirikukellade kuminas vastu kumiseb, In the distant chiming of church bells it resounds. Kui ma ol’li väikokõnõ, al’leaa, When I was very little, al’leaa, kellade kuminas kluu-kluu. In the chiming of bells – whoop, whoop. Kas’vi ma sis kaunikõnõ, al’leaa, I grew so prettily, al’leaa, Kõrge taeva all, sügava sõmera all Under the high sky, under gritty soil ol’li üte üü vannnu, al’leaa, I was but one night old, al’leaa, kasvab laulupuu. a song tree grows. pääle katõ päävä vannu, just two days old, Iga oksa pääl, kõrge taeva all, On each branch under the high sky imä vei kiigu kesä pääle, mother took my cradle to the meadow, sügavas sõmeras laululinnu hääl, in the deep soil the voice of a songbird. pan’de hällü palo pääle, put my crib on the heath, Kõrge taeva all kasvab laulupuu. Under the high sky a song tree grows. pan’de par’dsi hällütämmä, put a duck to rock the cradle, suvõlinnu liigutamma. the bird of summer to push me. Par’dsil ol’le pal’lo sõnnu The duck had many words, Veljo Tormis: See page 3 for biography. suvõlinnul liia’ laalu’ the bird of summer had lots of songs, par’ts sääl man mul pal’lo lauli the duck sang many songs to me there, Virmalised (Northern Lights) is the final movement of the four-movement workTalvemustrid (Winter Patterns). Composed in the late suvõlindu liiast kõnõli. the bird of summer, it spoke to me a lot. 1960s, Winter Patterns is a multi-movement work from an even larger set of pieces known as Looduspildid (Nature Pictures) which consists Säält mina lat’s sis laulu’ ope That is where this child learned the songs, of four cycles that evoke the seasons: Spring Sketches, Summer Motifs, Autumn Landscapes, and Winter Patterns. The text of Virmalised ul’likõnõ sõna osasi, this crazy one [got to] know the words, paints a fanciful picture of the northern lights: in the wintry Estonian landscape, we see what appear to be horses on a blue field and fiery kõik mina pan’ni papõrihe, all of them I placed on paper, fox tails in the sky. all of them I hewed into a book. kõik mina raiõ raamatuhe. Virmalised Selle minol pal’lo sõnnu, That is why I have so many words, selle laajalt laaluviisi. that is why I have lots of tunes. Virmalised virvendavad… Northern lights are shimmering… Valgeid hobuseid jookseb üle sinise põllu. White horses are running over a blue field. Kukub kerget lund üle karge talve. Light snow is falling over crisp winter. Karin Rehnqvist is one of Sweden’s best-known and widely performed composers. With regular performances throughout Europe, the Kusagilt kõlavad kellad üle kauge künka. Bells are sounding somewhere over the far hill. United States, and , her catalog includes chamber, orchestral, stage, and vocal music. In 2009, she was appointed Professor Rebastuled rebenevad… Fox lights are tearing themselves apart… of Composition at the Royal College of Music in Stockholm, making her the first woman in Sweden to hold a chair in composition. She’s Taevas rebaseid jookseb tulega sabas Foxes are running in the sky, their tails fiery and received many composition prizes including the 1996 Läkerol Arts Award for her “renewal of the relationship between and art Hännad välguvad vilkalt ööga rütmis. Blinking swiftly in the rhythm of the night. music.” In 2015, she received the Music Award from the Per Ganneviks Foundation. Of her work, the Ganneviks jury wrote: “It has been Virmalised virvendavad, Northern lights are shimmering, said of Rehnqvist’s music that ‘a call rings through it.’ A call, a shout, a plea, a whisper: often raw and unsentimental, yet it speaks straight Virmalised vehklevad, virmaliste virr ja varr… Northern lights are jousting… to the heart. She transforms the ancestral past, the folk heritage, into a disquieting, moving, and very immediate present.” Akna all tütarlaps istub tumedas kleidis. A girl in a dark dress is sitting at the window. Virmalised virvendavad… Northern lights are shimmering... Natt över jorden is from Rehnqvist’s collection of music for women’s choir, Sånger ur jorden (Songs from the earth). The text is by the Swedish poet and arts critic Erik Blomberg (1894-1965). Inspired by , Rehnqvist uses a simple and beautiful melody which she sets as a round for two voices. She then adds more voice parts to create a continuous, lulling texture that matches the poet’s Heyr, himna smiður (Hear, smith of heavens) is a well-known Icelandic hymn written in 1208 AD. The text was written by Kolbeinn Tuma- musings on night, stars, and darkness. son (1173–1208), a powerful chieftain in one of the Icelandic family clans at the beginning of the most violent and turbulent period in Natt över jorden Night on our earth Icelandic history. The poem is a prayer to God for strength, peace, and guidance in the face of the prospect of open inter-clan warfare. According to legend, Kolbeinn wrote the poem on his deathbed following the Battle of Víðines, during which his head was bashed in Nu är det natt över jorden. Now it is night over the earth. with a rock. Darrande stjärna, gläns! Shimmering star, shine! Världarna vandra så fjärran. Worlds wander so far. The music was composed over 700 years later by Þorkell Sigurbjörnsson. After conservatory training in Reykjavik, Sigurbjörnsson went Mörkret är utan gräns. Darkness is so endless. abroad to study in the United States and Germany with composers like Kenneth Gaburo, Lejaren Hiller, Pierre Boulez, and György Ligeti. Marken, mullen och mörkret, Depth, earth and darkness, After his return to Iceland, he enjoyed a multifaceted career as a pianist, composition professor, broadcaster, festival director, director of varför älskar jag dem? why do I love them? the National Music Information Centre, and chairman of various music organizations including the Icelandic Society of Composers. Though stars wander so far, Stjärnorna vandra så fjärran. Heyr, himna smiður Jorden är människans hem. earth is our human home. Heyr, himna smiður, hvers skáldið biður. Hear, smith of heavens. The poet seeketh. Komi mjúk til mín miskunnin þín. In thy still small voice mayest thou show grace. Ester Mägi has been called the “first lady of Estonian music” and is a greatly revered figure in Estonia. Much of her work consists of choral Því heit eg á þig, þú hefur skaptan mig. As I call on thee, thou my creator. and chamber music, but her symphonic pieces are also highly regarded. She trained initially under Mart Saar at the Tallinn Conservatory Eg er þrællinn þinn, þú ert drottinn minn. I am thy servant, thou art my true Lord. in Estonia and then studied from 1951-54 at the Moscow Conservatory in Russia. As a student, she studied Estonian folk music, and her compositions show the influence of those folk traditions. Guð, heit eg á þig, að þú græðir mig. God, I call on thee; for thee to heal me. Minnst þú, mildingur, mín, mest þurfum þín. Bid me, prince of peace, thou my supreme need. Lumepuu ja laulupuu (Snow Tree) is written for 4-part women’s chorus and soloists, with a text by the Estonian poet Kalju Lepik. Born Ryð þú, röðla gramur, ríklyndur og framur, Ever I need thee, generous and great, in Estonia in 1920, Lepik arrived in Sweden in 1944 as a refugee following the annexation of the Baltic states by the USSR. Lepik lived in hölds hverri sorg úr hjartaborg. O’er all human woe, city of thy heart. exile in Sweden for most of the remainder of his life. He died in 1999, having lived to see the “Singing Revolution” and the restoration of Estonian independence in 1991. The text of Snow Tree can be read as a metaphor for the stagnation of Baltic culture under Soviet rule Gæt þú, mildingur, mín, mest þurfum þín, Guard me, my savior. Ever I need thee, and the eventual regeneration that came with independence. helzt hverja stund á hölda grund. Through ev’ry moment in this world so wide. Send þú, meyjar mögur, málsefnin fögur, Virgin-born, send me noble motives now. Lumepuu ja laulupuu Snow Tree öll er hjálp af þér, í hjarta mér. Aid cometh from thee, to my deepest heart. Tasa, läbi tardunud maa, Quietly through the stagnant ground kasvab lumepuu. a snow tree grows. Okstelt valgub valgete lindude lend. The flight of white birds flows from its branches. Löökidest kumiseb külmunud maa. The frozen ground is ringing with beats. Üle lumise maa valgete lindude hääl. Across the snowy ground the sound of white birds.

4 5 Ester Mägi: See page 4 for biography. Bogoroditse Devo Lapi laul was composed in 1971 on a text by Ain Kaalep (b. 1926), a celebrated Estonian poet, literary critic, and translator. For his deep Bogoroditse devo, raduisya, Rejoice, O mother of God. love of both world poetry and the Estonian language, Kaalep has been dubbed Praeceptor Estoniae, the “teacher of Estonia.” The text and Blagodatnaya Mariye Virgin Mary, full of grace, music of Lapi laul conjure images of ancient Estonian herders and shamanistic rituals. Gospod s Toboyu. the Lord is with thee; Blagoslovenna Ty v zhenakh, Blessed art thou among women, Lapi laul Song from Lapland I blagosloven plod chreva Tvoyego, and blessed is the fruit of thy womb, Kõrgel tundru harjal (lallagol joo!) In high tundra (lallagol joo!) Yako Spasa rodila yesi dush nashikh. for thou hast borne the Savior of our souls. on mu põdrakarjal (vouva vouva goo!) my herd of reindeer (vouva vouva goo!) kena söömamaa. have a nice feeding ground. The Estonian composer and choral conductor Cyrillus Kreek studied at the St. Petersburg Conservatory and later taught at the Tallinn Päike silmapiiril (lallagol joo!) The sun on the horizon (lallagol joo!) Conservatory and in his home town of Haapsalu in Western Estonia. He was forced to abandon his position at the Tallinn Conservatory by verekarva kiiril (vouva vouva goo!) blood red rays blazing (vouva vouva goo!) Soviet authorities who labeled him a “bourgeois nationalist.” During his student years, he began to collect Estonian folk music, becoming põleb nagu toht. burns like a birch bark. one of the first Estonians to use the phonograph to record traditional melodies. His transcriptions include collections of folk hymn tunes and music from Estonian Swedish villages, and he was instrumental in creating a nationalistic Estonian musical style. His choral com- The sun will not last (lallagol joo!) Pole teda kauaks (lallagol joo!) positions reflect the influence of Estonian folk music as well as the harmonic language and color of classical Estonian choral music. The it will sink fast (vouva vouva goo!) meri saab ta hauaks, (vouva vouva goo!) Taaveti laulud (Psalms of David), rediscovered in 1989, are based on the melodies and vocal traditions of the Eastern Orthodox Church. pea ta sinna kaob. the sea becomes its grave. Taaveti laulud Psalms of David Sealpool taevakummi (lallagol joo!) Far beyond the sky (lallagol joo!) juba nõiatrummi (vouva vouva goo!) the winter spirit waits (vouva vouva goo!) Taaveti laul 104 Psalm 104 talvehaldjas taob. beating his shaman drum. Kiida, mu hing, Issandat! Bless the Lord, O my soul! Kiidetud oled Sina! Praise the Lord! Issand, mu Jumal, Sa oled suur. O Lord, my God, The Norwegian composer, pianist, and conductor Edvard Grieg is known to audiences mainly as a composer of orchestral and piano Kiidetud oled Sina! Thou art great indeed. music, as well as secular songs. He was the foremost Scandinavian composer of his generation and the principal promoter of Norwe- Kui suured on Sinu teod Issand! Praise the Lord! gian music. As a student in Leipzig and Copenhagen, Grieg absorbed the language of 19th-century Romanticism that defined his early Sa oled kõik targasti teinud. Countless are the things thou hast made, O Lord. works. His music underwent a stylistic change in 1865 as he turned towards folk music as a source of inspiration. The change in style was Au olgu Sulle Issand, Thou hast made all by Thy wisdom. sparked by a meeting with the Norwegian nationalist composer and violinist Ole Bull in 1864, and by an introduction to Rikard Nordraak kes Sa kõik oled teinud! Glory to Thee, Lord, who hast made everything. who passionately believed in the possibility of creating a uniquely Norwegian musical style. Grieg’s sacred choral music comprises only a Au olgu Isale, Pojale, Pühale Vaimule Glory to the Father, the Son and the Holy Spirit. small portion of his total output, perhaps due to his strained personal relationship with the Christian church (in later life, he adopted the nüüd ja igavest. Aamen. Now and forever. Amen. principles of Unitarianism). This setting of Ave maris stella shows Grieg in his most traditional Romantic style. Taaveti laul 141 Psalm 141 Ave maris stella Issand, ma hüüan Su poole, kuule mind! O Lord, I call to Thee, come quickly to my aid; Kuule mu palve häält, kui ma Su poole hüüan. listen to my cry when I call to Thee. Hail, Star of the Sea, Loving Mother of God, Ave maris stella, Dei mater alma, Olgu mu palve kui suitsetamise rohi Su palge ees, Let my prayer be like incense duly set before Thee and Virgin immortal, Heaven’s blissful portal! atque semper virgo, felix caeli porta. mu käte ülestõstmine kui õhtune ohver. and my raised hands like the evening sacrifice. Break the chains of sinners, bring light to the blind, Solve vincla reis, profer lumen caecis, Kuule Sa mind, oh Issand! Listen to my cry, O Lord. mala nostra pelle, bona cuncta posce. drive away our evils, and ask for all good things. Õnnis on inimene Happy is the man, Psalm 1:1,6; Psalm 2:11a, 12b; Psalm 3:7 Keep our life pure, make our journey safe, Vitam praesta puram, iter para tutum, Õnnis on inimene, Happy is the man so that, seeing Jesus, we may rejoice together forever. ut videntes Jesum, semper collaetemur. kes ei käi õelate nõu järele. Halleluuja! who does not take the wicked for his guide. Let there be praise to God the Father, and glory to Sit laus Deo Patri, summo Christo decus, Sest Issand tunneb õigete teed, The Lord watches over the way of the righteous, Christ the most High, Spiritui Sancto, tribus honor unus. Amen. aga õelate tee läheb hukka. but the way of the wicked is doomed. and to the Holy Spirit, and to the Three be one honor. Amen. Teenige Issandat kartusega Worship the Lord with reverence, ja olge rõõmsad värisemisega. and rejoice with trembling. Väga õndsad on kõik,kes Tema juurde kipuvad. Happy are all who find refuge in Him. Arvo Pärt has achieved the status of “most widely-performed living classical composer” for the past four years in a row, and in his native Tõuse üles, Issand, päästa mind, mu Jumal. Rise up, Lord, save me, O my God. Estonia, he has the status of a rock star. Not only is his music performed by major orchestras worldwide, but it’s loved by musicians from Au olgu Isale, Pojale ja Pühale Vaimule, Glory to the Father, the Son and the Holy Spirit. the non-classical world. Björk, R.E.M., Radiohead, Rufus Wainwright, Nick Cave, and Keith Jarrett all claim him as a major influence, while nüüd ja igavest. Aamen. Now and forever. Amen. heavy metal bands and Berlin DJs frequently sample his works. As the first Estonian composer to fully embrace the 12-tone system, Pärt became a rising star of the Soviet avant-garde in the 1960s. He then entered a period of self-imposed compositional silence during which he made an intense study of , especially plainchant. The product of this period of study and introspection is the minimalist “tintinnabuli” style that Pärt began using in 1976 and that has defined all of his music since. Pärt’s emotionally charged Bogoroditse Devo is a vibrant tribute to the Virgin Mary. It’s sung in the Orthodox Church Slavonic language, INTERMISSION and its musical style evokes traditional Orthodox music.

6 7 Einojuhani Rautavaara is one of the most important and internationally renowned contemporary Finnish composers. He studied mu- Laudate eum in sono tubae; Praise him with the sound of trumpet: sicology at the University of Helsinki and composition at the Sibelius Academy. Based on a recommendation from Jean Sibelius himself, laudate eum in psalterio et cithara. praise him with psaltery and harp. Rautavaara was awarded a Koussevitzky Foundation scholarship in 1955. He also studied in New York and at Tanglewood with Aaron Laudate eum in tympano et choro; Praise him with timbrel and choir: Copland, Vincent Persichetti, and Roger Sessions. Since the 1970s, he’s been an influential teacher of composition at the Sibelius Acad- laudate eum in chordis et organo. praise him with strings and organs. emy. Rautavaara’s extensive body of work includes operas, symphonies, concertos, and a great many works for orchestra, chamber Laudate eum in cymbalis benesonantibus; Praise him on loud cymbals: ensembles, choir, and solo voice. Over the decades, he’s employed many different musical styles, from tonal Romanticism to avant-garde laudate eum in cymbalis jubilationis. praise him on cymbals of joy: constructivism, including the use of jazz and aleatoric (chance) elements. Omnis spiritus laudet Dominum! Alleluia. Let every spirit praise the Lord! Alleluia.

Marjatan jouluvirsi (Marjatta’s Christmas hymn) is an excerpt from Rautavaara’s choral opera Marjatta matala neiti (Marjatta, Lowly Maiden), a setting of the last section of the Finnish national epic poem, the Kalevala. This final section depicts the shift of Finnish spiritual- Latvian composer Ēriks Ešenvalds was born in 1977 and studied initially at the Latvian Baptist Theological Seminary. In 2004, he ity from an ancient shamanistic view of the world towards a Christian one. received his Master’s degree in composition from the Latvian Academy of Music. He remains deeply religious and has set many sacred texts. Even in many of his secular pieces, there is an acknowledgment of the divine – the divine as seen in the night sky, stars, and heav- Marjatan jouluvirsi Marjatta’s Christmas hymn ens. In the last few years, he has emerged as one of the most sought-after composers of his generation. Recent commissions include Marjatta matala neiti, Marjatta the hapless maiden, works for the Boston and City of Birmingham Symphony Orchestras, a work for the Utah Symphony and Salt Lake Vocal Artists, and a new pyhä piika pikkarainen she, the holy little maiden, opera for the Latvian National Opera. teki tuonne pienen poijan saw a little boy was born her In Northern Lights, Ešenvalds combines two texts: a Latvian folk song that describes the northern lights as the restless souls of fallen heinille hevosen luoksi. on the hay in horses’ stable. soldiers, and the English words of two 19th-century Arctic explorers (Charles Francis Hall and Fridtjof Nansen) who were both awed by Pesi pienen poikuensa, Then she washed the little infant, the lights during their travels. Using chimes and tuned glasses to create an unearthly aura, the music is full of the wonder and drama of kääri kääreliinahansa and in swaddling-clothes she wrapped him, being immersed in the aurora borealis. henkeäs, hyvä hevonen, O thou good horse, breathe upon me, huokoas, vetäjävarsa! O thou draught-foal, snort upon me! Northern Lights Marjatta matala neiti, Marjatta the hapless maiden, Cik naksnīnas pret ziemeli Whenever at night, far in the north I saw pyhä piika pikkarainen she, the holy little maiden, Redzēj’ kāvus karojam; the kãvi soldiers (northern lights) having their battle, piiletteli poiuttansa, there she reared the little infant, Karo kāvi pie debesu, I was afraid, perhaps they might kasvatteli kaunoistansa thus she reared the beauteous infant, Vedīs karus mūs’ zemē. bring a war to my land, too. kullaista omenuttansa, reared her little golden apple, hopeista sauvoansa and her little staff of silver, It was night, and I had gone on deck several times. sylissänsä syöttelevi, and upon her lap she nursed it, Iceberg was silent; I too was silent. käsissänsä kääntelevi. with her hands she did caress it. It was true dark and cold. At nine o’clock I was below in my cabin, Hänpä on minunki luonut He it was who me created, When the captain hailed me with the words: näille päiville hyville in these days of finest weather, “Come above, Hall, at once! The world is on fire!” hänpä on minunki luonut He it was who me created, I knew his meaning, and, quick as thought, näille päiville pahoille. always in these days of evil. I rushed to the companion stairs. Tule, luoja, turvakseni, Come thou to my aid, Creator, In a moment I reached the deck, avukseni armollinen to my aid, O Thou most gracious, And as the cabin door swung open, näissä töissä työlähissä in this anxious time of labor, A dazzling light, overpow’ring light ajoissa anikovissa! in this time of hardest labor! burst upon my startled senses! Oh, the whole sky was one glowing mass of colored flames,

so mighty, so brave! This choir is a proud member of the Jaakko Mäntyjärvi is a Finnish composer and a professional translator. As a composer, Mäntyjärvi describes himself as an eclectic tra- Like a pathway of light the northern lights ditionalist: eclectic because he adopts influences from a number of styles and periods, fusing them into his own voice; and traditionalist seemed to draw us into the sky. because his musical language is based on the conventions of Western with only sparing use of more modern techniques. Yes, it was harp-music, wild storming in the darkness; Mäntyjärvi has been active as an amateur and semi-professional , mainly as a choral singer with a number of Finnish choirs The strings trembled and sparkled in the glow of the flames including the professional Sibelius Academy Vocal Ensemble and the Tapiola Chamber Choir. He was deputy conductor of the Tapiola like a shower of fiery darts. Chamber Choir from 1998 to 2004. A fiery crown of auroral light cast a warm glow across the arctic ice. Access the rich variety of excellent Of Psalm 150 in Grandsire Triples, the composer writes: Again at times it was like softly playing, performances available in our “Change-ringing is an old English tradition of ringing church bells. It is based on permutations: in each change, the bells sound gently rocking silvery waves, online calendar at in a different order. The number of possible permutations for seven bells is 5,040. In theory, a ringing going through all the pos- On which dreams travel into unknown worlds. sible changes is known as a peal. In practice, a peal is defined as any ringing with over 5,000 changes – lasting about three hours. www.seattlesings.org Grandsire Triples is a ringing method. A method describes how pairs of bells swap places in the ringing order. A triples is a method for seven bells. Grandsire Triples cover 70 of the 5,040 possible permutations for seven bells.” or scan the image below. In this setting, Mäntyjärvi assigns the bell notes to three female voices while the rest of the choir sings the text of Psalm 150 – at times, using musical material from the solo parts, and at other times, using harmonies that clash with those of the “bells.” Psalm 150 in Grandsire Triples Alleluia. Laudate Dominum in sanctis ejus; Alleluia. Praise ye God in his sanctuary: laudate eum in firmamento virtutis ejus. praise him in the firmament of his power. Laudate eum in virtutibus ejus; Praise him for his mighty acts: laudate eum secundum multitudinem magnitudinis ejus. praise him according to the multitude of his greatness.

8 9 O Jul med din glede is a traditional Norwegian Christmas carol, commonly sung while dancing around the Christmas tree. (For a similar Šlaitoj biednoj, šlaitoj tamsioj, In a stable poor, in a stable dark, Swedish carol, see Nu är det Jul igen.) mesijas gimsta labui žmonių. The Messiah is born for the good of mankind. Šviesa Dangaus, valdžia žmogaus, The Light of Heaven, the Ruler of all, O Jul med din glede O Christmas with your joy renka sau vietą tarp gyvulių. Amid animals He chooses His place. Å jul med din glede, og barnlige lyst, O Christmas, with your joy and childlike delight, Tyli naktis, rami naktis, Vi ønsker deg alle velkommen. we wish you all welcome. Silent night, peaceful night, štai prispildo giesmėmis. Vi hilser deg alle, med jublende røst We greet you with a jubilant voice, At once abounds with holy songs. Dangaus garbė, žmogaus laisvė, Ti tusende ganger velkommen! to bid you a thousand times welcome. The glory of Heaven, the freedom of men, išaukštinta ir sujungta. Exalted now and united as one. Vi klapper i hendene, Vi synger og vi ler, We clap our hands, we sing and we smile, så glad er vi, så glad er vi. so glad are we, so glad are we. Vi svinger oss i kretsen Og neier, og bukker. We swing around in the circle and curtsey. Pasakykit, piemeneliai Tell us, shepherds Så rekker jeg deg nå In joy and thanksgiving Pasakykit, piemenėliai, ko nudžiugo jūs dvasia. Tell, oh shepherds, what makes your souls exult? med glede min hånd; I give you my hand; Gal pasaulio Didis Dievas žemei džiaugsmo atnešė!? Has God All-Mighty brought joy to earth? Kom, skynd deg og gi meg den andre. come, hurry and give me your other hand, Dangaus Sostas mus pamilo, savo Sūnų siunčia mums, The Throne of Heaven loves us now, and sends to us his Son. Så knytter vi kjærlighets hellige bånd and thus we tie the holy ir šią paslaptį taip gilią jūsų akys tuoj išvys. And then this secret, oh so deep, your eyes shall soon behold. Og lover å elske hverandre. of love, and promise to love each other. Paskubėkit į Betliejų, ten stonelę suieškot, On to Bethlehem do hasten, a stable there to find, Vi klapper i hendene… We clap our hands… ir išvydę Kūdikėlį, tyrą garbę atiduot. And offer purest adoration to the Baby you will see. Jus Jis laukia, mažutėlis, ir rankelę jums išties. He waits for you, this Little One, His small hand reaching out, Jis palaimins jūsų sielą, ir Jo meilė jus lydes. Extending blessings on your souls, and His love will follow you. Niels Gade ranks as the most important figure in 19th-century Danish music. Though best known as a composer, Gade was also active as a conductor, violinist, church organist, music educator, and administrator. His music combines traits of 19th-century Germanic style with Piemenėliai, vargdienėliai, štai, danguj šviesi žvaigždė. Oh you shepherds, lowly toilers, behold the bright star in the sky. a distinctive “Nordic” flavor inspired by Danish and Nordic folk music.Barn Jesus i en krybbe lå is a well-known setting of the Christmas Ir, štai, jūsų angelėlis lig stonelės jus lydės. And your angel now will guide you to the stable all the way. poem by Hans Christian Andersen. Atsiklaupę Kūdikėliui, pasimelskit ir už mus: When you’ll kneel in veneration, also say a prayer for us: kad Tėvynė grįžtų vėliai, ir išvystumėm namus. That our homeland be returned, and we’d see our homes again. Barn Jesus i en krybbe lå Baby Jesus in a crib He lay

Barn Jesus i en krybbe lå, Baby Jesus in a crib He lay Nu är det Jul igen is a traditional and well-loved Christmas carol from Sweden. It speaks of the joys of the Christmas season and is sung skønt Himlen var hans eje; even though Heaven to Him belonged; by families and friends while dancing in a circle around the Christmas tree. (For a similar Norwegian carol, see O Jul med din glede.) hans pude her blev hø og strå, His pillow was of straw and hay mørkt var det om hans leje! and dark it was around His bed! Nu är det Jul igen Now Christmas is here again Men stjernen over huset stod, But the star above the house it stood, og oksen kyssed barnets fod. and the ox it kissed the baby’s foot. Nu är det Jul igen, Now Christmas is here again, Halleluja! Halleluja! Barn Jesus. Hallelujah! Hallelujah! Baby Jesus. och Julen vara skall till Påska. and Christmas we’ll have till Easter. Så är det Påsk igen, Then Easter is here again, Hver sorgfuld sjæl, bliv karsk og glad, Each mournful heart, become sure and glad, och Påsken vara ska’ till Jula. and Easter we’ll have till Christmas. ryst af din tunge smerte, let all your burdens fall. Det var inte sant, Now this will not be so, et barn er født i Davids stad A child is born in David’s City, för där emellan kommer Fasta. for in between comes Lenten-Fasting. til trøst for hvert et hjerte; a comfort to hearts all; til barnet vil vi stige ind unto the child we wish to come og blive børn i sjæl og sind. and child in heart and soul become. Gustaf Nordqvist was a Swedish composer and organist. He studied at the Stockholm Conservatory and later taught there until his Halleluja! Halleluja! Barn Jesus. Hallelujah! Hallelujah! Baby Jesus. death in 1946. His best-known works are his solo songs, cantatas, and other choral works, all composed in a lyrical late-Romantic style. Jul, Jul, strålande Jul is a beautiful setting which gently evokes a Scandinavian Christmas.

Composer, conductor, and teacher Juozas Bertulis was born in Lithuania in 1893. He immigrated to the United States in 1950, set- Jul, Jul, strålande Jul tling first in Los Angeles, then moving to Chicago. He brought many of his compositions with him to the US; those manuscripts are Jul, jul, strålande jul, Christmas, shining Christmas, now housed in the Archives of Lithuanian Music in Chicago. A number of manuscripts remained in Lithuania and sadly have been lost. glans över vita skogar, splendor over white woods, During his lifetime, he collected and notated 500 Lithuanian folksongs, some of which served as models and inspiration for his original himmelens kronor med gnistrande ljus, Heavens are crowned with sparkling light, choral works. glimmande bågar i alla Guds hus, shimmering boughs in all of God’s homes, Tyli naktis and Pasakykit, piemeneliai were composed between 1941 and 1950. The author of the texts is unknown. These translations psalm, som är sjungen från tid till tid, psalms are sung in all times, are by Ina Bertulyte Bray, the daughter of the composer. eviga längtan till ljus och frid! eternally yearning for light and peace! Jul, jul, strålande jul, Christmas, shining Christmas, Tyli naktis Silent night glans över vita skogar! splendor over white woods! Tyli naktis, rami naktis, Silent night, peaceful night Kom, kom, signade jul! Come, come, blessed Christmas! žvaigždėse tuno paslaptis. In the stars a secret hides. Sänk dina vita vingar Spread your white wings Žmonių dvasia, vilčių pilna, The souls of men are full of hope, över stridernas blod och larm, over the strident blood and din, laukiant iš vysti Rasą Dangaus. The bounty of Heaven to behold. över all suckan ur människobarm, over all the sighing of human hearts, Kaukų slėny piemens vieni, In the valley of elves the shepherds, alone, över de släkten som gå till ro, over the generations as they seek their rest, mieguistai bandas sekdami. Drowsily follow their flocks. över de ungas dagande bo! over the young at their dawning homes. Girdi garsus, regi džiaugsmus, As they hark to the sounds, they witness the joy, Kom, kom, signade jul, Come, come, blessed Christmas, dangiškų dvasių skelbiamus. Proclaimed by the Heavenly Host. sänk dina vita vingar! spread your white wings!

10 11 The Latvian composer, oboist, and conductor Andrejs Jansons studied in Italy and the United States (Julliard, Manhattan School of Music, and Rutgers). He has conducted in the US and Latvia, most often with a special focus on Latvian folk music and the music of contemporary Latvian composers.

The Three Latvian Carols are Jansons’ arrangements of well-known Latvian Christmas carols. The final carol is about the pagan tradition of mummery, which predates the 13th-century Christianization of Latvia. In this tradition, mummers (masked revelers) traveled to farms where they were invited in and given food and traditional gifts. These gifts would ensure that the livestock and crops on the farm would produce well in the coming year. The mummers would sing, dance, and play traditional games including the obligatory “theft” of brushes, combs, or awls upon leaving. The “kaladū” refrain comes from the Church Slavonic word kolyada meaning “alms” or “charity.” It’s a refrain that appears in many Latvian Christmas carols. Ziemassvētku nakts Christmas nights Jau vieglās ēnu šūpās Already the light shadows sway, Tumst egļu tornis zils, the fir tree tower darkens blue. Un dziļās sniega kūpās And in the deep snow drifts Dus pļava, lauki, sils. the meadow, fields, and forest rest. Tik zvaniņš liegā taktī Only a small bell jingles kaut kur aiz meža trauc: somewhere within the forest: Varbūt, ka svētku naktī perhaps, on that holy night some kāds ceļnieks mājup brauc. traveler is headed home. Caur dārziem aizmigušiem, Through sleeping gardens Ko mīkstas pārslas sedz, blanketed by soft snow, aiz logiem aizsnigušiem behind snow-covered windows, kāds gaišas sveces dedz. someone burns bright candles. Balts celš caur tumsu lokās, A white road winds through the darkness, un tālē zvaigzne māj, and far away a star blinks – kāds siltas, mīļas rokas someone with warm, loving hands pār zemi svētot klāj. spreads blessings over the earth. Meklētāja ceļš Seeker’s path Meklētāja ceļš ir galā, The seeker’s path has ended: Vakars metas, tālu iets. evening falls, I have walked far. Baltā ziemā, svešā malā In the foreign white winter land Sārti uzplaukst blāzmas zieds. the evening sky’s rosy blossom unfolds. Vai tur Ziemas svētku roze Does the Christmas rose Debess dārzos ziedus ver? bloom in heaven’s garden? Brīnumaino krāsu kvēli My eyes drink their fill Acis atdzerdamās dzer. of the wondrous colorful glow. Mana debišķīgā roze, My heavenly rose, Mātes maigo roku dēsts: tended by a mother’s gentle hand: Jaukā bērnu dienu gaisma, the beautiful light of childhood, Brīnišķīgā Kristus vēsts. the wonderful message of Christ. Zinu arī tavā sirdī I know also that in your heart Šonakt Kristus roze zied, Christ’s rose blooms tonight, Un tu izej ziemas laukā and you go out in the wintery field klausīties kā zvaigznes dzied! to listen to the stars sing! Ai, nama māmiņa Oh, mistress of the house Ai, nama māmiņa, laid mani iekšāja. Oh, mistress of the house, let me inside. Ķekatas atbrauca ar vezumiņīse, Mummers have arrived with little wagons. Kavājat īlēnus, kavājat susekļus, Hide the awls, hide the brushes, Ķekatu pulkāja rāvēji ļautiņi. the crowds of mummers are greedy folks. Nezagšu īlēnu, nezagšu adatu. I won’t steal your awls or needles. Susekli, to zagšu, tā mane vajaga, I’ll steal your brush, that I need Kalada bērnieme galviņu sukāte, to brush the mummer children’s hair, kaladū, kaladū. kaladū, kaladū.

12 13 FRIENDS of SEATTLE PRO MUSICA FRIENDS of SEATTLE PRO MUSICA

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If these or other options Teena Littleton Rich Kemp John Carroll and Richard Liedle interest you, we encourage you to discuss them with your financial Jacque Deerr-Lord and Bob Lord Wes Kim Nancy Ousley • Jim Ballard and Laura Patton-Ballard • Eric Jain and Isabelle Phan • Dan French and Terri Lords Gakyung Chung and Robert Kirkman Peter and Brooke Lifland Mark Firmani and Joy Portella • Mary Redman • Mike and Penny Redman • Teena and tax advisors, and contact us for further information. Rain Shadow Properties Bill Levey Rick and Anne Matsen Reichgott • Jon and Krista Repp • John Atcheson and Doane Rising • Elly Hale and We’re thrilled to have you in our audience, and we thank you for Dan McGraw Deborah and Ronald Myers Brad Rodgers • Barbara Rossseattlepromusica.org • Sarah Ruuska • Melinda Moree and Elizabeth BENEFACTORS ($1,000–$2,499) Ada Ng seattlepromusica.org Jenn Newland Sanders • Ada Ng and John Santino • Briana Schwartz • Karen Sega • Kacey Shifflet considering taking the next step. We look forward to welcoming Noreen King and Paul Akins Carla Anderson and Nancy Ousley Liz Adams and Brian Nordwell Dean and Barbie Arnold Cynthia and Neil Skovholt • Katie Skovholt • Josh and Laura Smith • Dance Smith • you into our giving family! Shirley Beresford and Donald Patrick Isabelle Phan Deb Arnold Vern Nicodemus and Karen Stone • Peter Hemmen and Jan Strand • Ruth Conn Eleanor Petrowitz Alex Polson Darlene Barnes and Dawn Stremel • Karen P. Thomas • Craig Thomas • Marjorie Thomas • Aaliyah Molly McGee and Sylvia Pollack Mike and Penny Redman Sean Barnes Mary Redman Gupta and Vesteinn Thorsson • Dan and Dana Whitman • Steve Whitne • Fred and Jane and Peter Barrett Jon and Krista Repp Josh and Laura Smith Sarah Ruuska Judy Williams • Susy Wingate • Kenn Sebastian and Douglas Winnie • Peggy Wolff • Carter Belleau The Seattle Foundation Doug Winnie and Kenn Sebastian Hannah Won • Steve Knipp and Rusty Wycoff Bruce Bjerke Lynn and John Tissell Katie Skovholt Christopher Brandon Janelle Walhout Karen and Mike Brugato Fred and Judy Williams Dance Smith Mark Falstein and Megan Campbell Doug Cleveland and Catherine Willis-Cleveland The Seattle Foundation - Matching Gifts Planned Giving Marilyn and Lance Colyar Susy and Lorin Wingate Marjorie Thomas Geoff and Adrian Cunard Marguerite Wolff Marsha Weiner Are you a loyal fan and supporter of Seattle Pro Musica’s exciting choral sound? Do you want our artistry to continue and flourish for generations to come? If you answered yes to these questions, DONORS ($100–$249) William A. Gromko Julia and Russell Reid William Ellis Lauren Cree Daniel Aarthun Tracy Hahn Barbara Ross Cathy Federici Brendan Farley consider including Seattle Pro Musica in your will. Susan Alexander Liz Reed Hawk and Michael Hawk Kelly Sanderbeck Wendy Harris Allison Freel It’s easy. When it’s time to talk with your financial advisor or at- Anne Foser Angelou Dean Ishiki Kathleen Schroeder Allison L. Hiltner Ryan Gao Barbara and Pru Balatero Michael Dryfoos and Ilga Jansons Briana Schwartz Randolph Hokanson Victoria Grayland torney, ask about setting up a bequest to designate a portion of Branding your estate to Seattle Pro Musica. We’ve already received multiple Lillian Balmforth Dean Johnson Neil and Cindy Skovholt Stephanie Kimball Meaghan Leferink and Logos Simon Barnes G. David Kerlick Janet Syferd David and Jacqueline Leferink Becca Guest gifts through planned giving that have allowed us to expand Carla Ann Bates Heidi Kim Daniel Szydlo Sally Loeser Rachel Hemstad our repertoire, reach out to new audiences, and try new musical WeB sites Suellen Lacey Craig W. Thomas Kelly Maneman Laurie Hogl Roger Berger endeavors. annuaL reports Abby and Bethel Blakesley Helen Lafferty Steve Whitner John Lowrie and Ellen McLain Emily Jordan Brochures Kira Hicks and Michael Blonsky Rosalie Lang Hannah Won Lisa Milkovich and Dang Nguyen Elizabeth Langeland This support is critical and provides an amazing musical legacy. If Evelyn Lester Ina Bray David Larsen Glenn Nielsen and Wendy Woolery James and Nancy Nuerenberg you want help getting started, check out the Seattle Foundation’s capitaL campaigns Gail Broder Lucy Lauterbach Benevity Christa and Chris Phillipson Nancy Luedicke neWsLetters Andrew Brookens Judy Leach Methodologie Mike Radow Paul Martineau helpful resource “Charitable Giving through Your Will” for more Miriam Gnagy and Cory Calhoun Ernie Lehman Smile.amazon.com Eric Raub Joan Middleton information or email us at [email protected]. event materiaLs Anne Clamoungou Linda LeResche Cynthia Richardson Verna Ness CONTRIBUTORS ($50–$99) Peter Cornell Kent Littleton Karen Segar Ruth Pettis Fern Anderson Angela De Oliveira Matthew Lohse Kacey Shifflet Douglas Schneider Ron Anderson In-Kind Donors Nancy Dearborn Kathleen McLaughlin Felix Simonovsky Ann Schuh graphic design for good causes Al Benson Brook Elliott-Buettner Raymond E. Mencke, Jr. Robert von Tobel Jennifer Sherley • Carole Jones Design Richard and Madeline Bersamina Kerstin Gleim Elizabeth Sanders and Melinda Donald Skirvin i help nonprofits connect with their community through Thomas Boyce SUPPORTERS ($10–$49) • Classical KING FM 98.1 Carolyn Jorstad and Chris Grass Moree K. Warner Schaie distinctive and dynamic branding and marketing design tools. Dean Driskell Colleen Boyce Stephanie and Timothy Gray Rose and Royce Morrison Beth Wieman • David Owen Hastings Ruth Eller Jeffrey Conner How can I help your organization? John Gregg Mark and Cindy Pienett • Jenn Newland • John Carroll Donor recognition includes donations received between November 1, 2014, and November 1, 2015. If you have any corrections to report, please call us at 206-781-2766. • Law Offices of Paul Steven Drayna TEL 206.718.2000 WEB davidowenhastings.com • Wes Kim 14 15 SEATTLE PRO MUSICA’S EDUCATION AND OUTREACH PROGRAM

Seattle Pro Musica is committed to building audiences and sing- company of other talented young people, and to inspire their ers of the future. Through our Education and Outreach Program, entire school choir program with the insights and experience we support music educators in their effort to inspire their students they gain. to develop a lifelong love for choral music. The Education and Outreach Program is always seeking new Annually, Seattle Pro Musica partners with several local music partnerships and participants, and we invite you to help us make teachers to invite their most promising young singers to rehearse new connections for future seasons. It is our goal to reach out to and perform with us in concert. For our December 12 Christmas student singers of all backgrounds, but we especially appreciate with Seattle Pro Musica family concert, we will be joined by the opportunity to touch the lives of young people who would dozens of elementary, middle-school, and preschool children to otherwise be unable to attend high-quality choral events. perform with the members of Seattle Pro Musica. If you have an interest in Seattle Pro Musica’s Education and Out- reach Program, would like to suggest a school or music program This program offers student singers the invaluable opportunity for a future partnership, or would simply like to learn more, please to sing with an adult choir in a professional setting with a master contact us at [email protected]. conductor, receive valuable advice and encouragement in the

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