St. Paul’s Episcopal Church 6050 North Meridian Street I Indianapolis, IN 46208 I 317.253.1277 I stpaulsindy.org For the past thirty-six years, St. Paul’s Episcopal Church has become a hospitable place where the human spirit speaks through the arts. St. Paul’s Music, a self-supporting 501(c)(3) not for profit organization, has a three-fold purpose. First, the organization supports mission projects such as recordings and tours. Second, St. Paul’s Music supports the Choral Scholar Program of St. Paul’s Choir School that underwrites private music lessons to deserving youth. Third, the organization continues to feature choral masterworks performed by St. Paul’s Choir with orchestra, as well as professional artists from the Indianapolis area and around the world. St. Paul’s Music is an organization dedicated to sharing the arts with all people in our community. St. Paul’s Music presents Mozart to Elvis (Costello, that is!) Steven Stolen with Patrick Dalton-Holmes, Nicole Deguire, Kathryn Hershberger, and Yoonhae Swanson November 16, Sunday at 4:00 p.m. Following the concert, a reception for all follows in the Lilly Room located down the hallway to your left. String Quartet No. 21 in D Major, K. 575 Wolfgang Amadeus Mozart III. Minuetto: Allegretto (1756-1791) IV. Allegretto The Juliet Letters Elvis Costello 1. “Deliver Us” (b. 1954) 2. "For Other Eyes" 3. "Swine" 4. "Expert Rites" 5. "Dead Letter" 6. "I Almost Had a Weakness" 7. "Why?" 8. "Who Do You Think You Are?" 9. "Taking My Life in Your Hands" 10. "This Offer Is Unrepeatable" 11. "Dear Sweet Filthy World" 12. "The Letter Home" 13. "Jacksons, Monk and Rowe" 14. "This Sad Burlesque" 15. "Romeo's Seance" 16. "I Thought I'd Write to Juliet" 17. "Last Post" 18. "The First to Leave" 19. "Damnation's Cellar" 20. "The Birds Will Still Be Singing" Artist Biographies Steven Stolen, experienced fundraising professional, educator, non-profit and higher education administrator, active consultant in education, cultural activities, community development, board assessment and engagement, and non-profit management. Mr. Stolen has enjoyed an eclectic and wide spanning career that has included more than twenty years in higher education, a successful national singing presence, and a strong commitment to his adopted hometown of Indianapolis. He holds degrees in music performance from Simpson College (Iowa) and the University of Michigan. He has held full time teaching positions at Central Michigan University, Roanoke College, Simpson College and Butler University. In addition, he has served in executive positions with the Indianapolis Children’s Choir, Indiana Repertory Theatre, and currently is engaged as a strategic and creative consultant with the Indianapolis Opera. As a performer, Mr. Stolen has performed from coast to coast, including solo appearances with the symphonies of San Francisco, San Antonio, Sacramento, Albuquerque, Indianapolis, Detroit, Pittsburgh, Baltimore, St. Louis, St. Paul, and many others. His credits include solo New York engagements at the BAM Festival, Merkin Hall, and Concerts at Riverside and he has appeared with the National Symphony at Washington DC’s Kennedy Center. In addition, he has performed nearly every leading Indianapolis arts organization, including multiple live appearances with Dance Kaleidoscope and seven years as a solo resident artist at the Indianapolis Museum of Art. He continues to present and perform with Meridian Song Project, a free concert series in residence at Trinity Episcopal Church he created in 1997. He has two independent recordings of popular songs, a featured recording of the Britten Serenade for Tenor and Horn on Summit Records, and over 30 different recording projects with Hal Leonard Publishing, the world’s largest music publishing company. Stolen is also producer and host of the wildly popular, STOLEN MOMENTS on WFYI (90.1FM) Radio. He and his husband of 27 years share the joy of their 16 year-old daughter and the family recently were involved significantly in the successful progress with regard to marriage equality in Indiana. Patrick Dalton-Holmes (violin) is a native of Syracuse, New York. He began his study of the violin at age three. Dalton-Holmes earned a Bachelor of Music degree from the Cleveland Institute of Music, where he studied with William Preucil, and a Master of Music degree from the University of Michigan, where he was a student of Paul Kantor.Before joining the second violin section of the Indianapolis Symphony Orchestra in March 2006, he played with the New World Symphony Orchestra (Florida) and as a substitute musician with the Detroit Symphony Orchestra. Away from music, Patrick enjoys golf, rooting for the Boston Red Sox and “if I feel like using my brain, anything including math, science and philosophy." Kathryn Hershberger (viola) holds a B.M. in viola performance from the Indiana University Jacobs School of Music. Her teachers have included Mimi Zweig, Rostaslav Dubinsky, Csaba Erdélyi, Jerry Horner, Stacia Spencer, and Eleanor Briccetti. Her students have been finalists and placed in area concerto competitions. Kathy is the principal violist of the Kokomo Symphony and the Pro Arte Chamber Orchestra. She is also a founding member of the Fishers Chamber Players, and is a substitute violist for the Indianapolis Symphony Orchestra. An adjunct faculty member at Butler University, Kathy teaches violin and viola pedagogy. She has been a judge for the Indiana Wesleyan / Taylor University Concerto Competition; a judge for Symphony in Color; run seating auditions and viola sectionals for the Indiana All-State Orchestra; been a chamber coach for New World Chamber Music program; and been a speaker at the ASTA 2004 National Conference. Yoonhae Kim Swanson (cello) is a graduate of Indiana University in Bloomington. She holds both Bachelor and Masters degrees in cello performance. Currently, she is teaching at Swanson's music studio and at IUPUI. She is also a guest lecturer at Anderson University in Anderson, Indiana. Program Notes to The Juliet Letters So there was this professor in Verona who answered letters addressed to Juliet. Well, if that sounds like the start of a tall story I suppose it is. There was a tiny newspaper item about a Veronese academic who had taken on the task of replying to letters addressed to "Juliet Capulet". This apparently continued for a number of years, until some gentlemen of the press exposed this secret correspondence. Quite how he came by these letters in the first place remains unclear. We can only make a guess as to their content. After all, these people were writing to an imaginary woman, and a dead imaginary woman at that. Perhaps they were simply scholarly enquiries, or letters of sympathy from others disappointed in love, or even a plea from somebody forced into an unhappy arranged marriage. Whatever was contained in these letters and their replies, the idea of this correspondence provided our initial inspiration. I first saw the Brodsky Quartet play at the Queen Elizabeth Hall, London, in 1989. They were giving a series of concerts in which they were to perform all of the string quartets composed by Dimitri Shostakovich. Having arrived in town in time to attend the concert in which they played Quartets Nos. 7, 8, and 9, we returned on two subsequent evenings to hear them complete the cycle. I recall running out of a B.B.C. television studio where I had anxiously completed a programme presenting the album Spike in order to get to the last concert on time. Such was the impact of these performances. Not only did I come away with a clearer impression of the music, but also a strong sense of the love and dedication with which the Quartet played it. Over the next two years we went to see the Brodskys play some wonderful music: Haydn, Schubert, Beethoven, and Bartok. Little did I suspect, but members of the Quartet had been to my London concerts during the same period. Somehow the connection was made, we exchanged letters and recordings, and finally arranged to meet after their next London appearance. It was after that lunchtime concert in November 1991 that we began our collaboration. At first we just talked and talked and ... talked. This led to several informal musical sessions. We looked at the characteristics of the music that we loved and admired. The Quartet played pieces, I played songs, sometimes we listened to records. Naturally, some of the music introduced was unfamiliar, but this only added to the number of possibilities. Soon our own ideas began to emerge. We wanted to explore the under-used combination of voice and string quartet, but were anxious to avoid that junkyard named "Cross-Over." This is no more my stab at "classical music" than it is the Brodsky Quartet's first rock and roll album. It does, however, employ the music which we believe touches whatever part of the being that you care to mention. It also conforms to, and occasionally upsets, the structures found in our respective disciplines and indiscipline! With The Juliet Letters as our title, we thought of the many types of character that the letter form would allow us. Somewhere there is a list of the letters which we considered. Love letter, begging letter, chain letter, suicide note, etc. In order to make the work more personal we decided that each of us would contribute to the text, not forgetting the words written by [Brodsky Quartet member] Michael Thomas's wife, Marina. As the lyricist in the house, I could also act as a kind of editor. From these early drafts came a curious advantage. Of course, each of us had different approaches to the common subject, and through some unconscious poetry, and in the absence of much of the crafty language of the songwriter, we were able to assemble strong and varied texts.