American Spiritual Landscapes
San Francisco Lyric ChorusRobert Gurney, Music Director
Saturday & Sunday, April 22 & 23, 2006Trinity Episcopal Church, San Francisco
John Karl Hirten, OrganistDale Richard, Baritone
Kevin Baum, Tenor
Ernest Bloch Avodath Hakodesh (Sacred Service) Charles Ives Sixty-Seventh Psalm Kirke Mechem Give Thanks Unto the Lord Ludwig Altman Choral Meditation Lee Kesselman This Grand Show Is Eternal
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Board of Directors HeleneWhitson,President
BillWhitson,Treasurer WylieSheldon,Secretary DavidBaker,Director AnnaBarr,Director AndreaOgarrio,Director
WelcometotheSpring�006ConcertoftheSanFranciscoLyricChorus.
Sinceitsformationin1995,theChorushasoffereddiverseandinnovativemusictothecommunitythroughagatheringofsingerswhobelieveinacommonalityofspiritandsharing.ThedébutconcertfeaturedmusicbyGabrielFauréandLouisVierne.TheChorushasbeeninvolvedinseveralpremieres,includingBayAreacomposerBradOsness’sLamentations,OhiocomposerRobertWitt’sFour Motets to the Blessed Virgin Mary(WestCoastpremiere),NewYorkcomposerWilliamHawley’sThe Snow That Never Drifts(SanFranciscopremiere),andSanFranciscocomposerKirkeMechem’sChristmas the Morn,Blessed Are They,To Music(SanFranciscopremieres),aswellaspreviewselectionsfromhisoperas,The Newport Rivals and John Brown.
Wehavehadawonderfulmusicalyear.InSummer�005,weperformedtheincomparableBrahmsRequiem,oneofthemostprofoundandbelovedworksinchoralliterature.InFall�005,wepresentedAn English Christmas,honoringthe500thbirthofthegreatThomasTallis,withaperformanceofhisMissa puer natus est nobis andhislovelyanthem, If Ye Love Me.Wealsopresentedjoyousandgentle�0th-centuryChristmascompositionsbyBritishcomposersRalphVaughanWilliams,BenjaminBritten,GustavHolst,andWilliamMathias.
Withthisconcert,wemovetoActIIofourexcitinganniversaryprograms—wonderfullyspiritualmusicbyAmericancomposers.Wearedelightedtosharewithyouourgifttothechoralworld—ouranniversarycommissionwork—This Grand Show Is Eternal,byLeeR.Kesselman.Mr.KesselmanhassetbeautifulandpoetictextsbytheincrediblenaturalistJohnMuir,inspiringwordsandmusicwithwhichwecelebrateouranniversary.ThecenterpieceofthisseasonisthemagnificentAvodath HakodeshbyErnestBloch.CommissionedthroughtheeffortsofSanFrancisco’sTempleEmanu-Elintheearly1930s,theworkisalush,romantic,andpassionatesettingoftheJewishSabbathmorningservice. KirkeMechem’sGive Thanks Unto the Lord isoneofhisearliestworks,displayingyouthfulenergyandoptimism.The Sixty-Seventh Psalm setting byCharlesIvesistypicalCharlesIves—somethingtotallyunexpected!Insteadofonekeyforthepriceofadmission,wegettwo.Ivescreates amarvelousdividedchorusworkwrittenintwodifferentkeys.Finally,LudwigAltman’slovelyChoral Meditationisafittingtributetothislocaltreasure.
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The San Francisco Lyric Chorus is a member of Chorus America.
San Francisco Lyric Chorus
Robert Gurney, Music Director
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Program
Give Thanks Unto The Lord Kirke Mechem
Sixty-Seventh Psalm Charles Ives
Choral Meditation Ludwig Altman
This Grand Show Is Eternal Lee R. Kesselman (World Premiere)
Kevin Baum, Tenor
Intermission
Avodath Hakodesh (Sacred Service) Ernest Bloch
Dale Richard, BaritoneKathryn Singh, Soprano
Susan Kalman, Mezzo-soprano
Chamber Ensemble:Emily Claassen, Ellen Lee, Amy Merrill, Catherine Lewis, Victoria Englund
Jared Pierce, Seth Herring
John Karl Hirten, Organ
Wearerecordingthisconcertforarchivalpurposes
Please observe the following rules:
Turnoffallcellphones,pagers,andotherelectronicdevicesbeforetheconcertNophotographyoraudio/videotapingduringtheperformance.
NochildrenunderfiveHelpustomaintainadistraction-freeenvironment.
Thankyou.
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Wepresenttoyoutodaymusicthatsingsofuniversalspiritualvalues.Eachofourcomposershasbeentouchedbytextsthatexpressthesevalues.WeareproudtofeaturetheworldpremiereofIllinoiscomposerLeeR.Kesselman’sThis Grand Show is Eternal,aprogrammaticsettingofwordsbyJohnMuir,America’sdefenderandprotectoroftheTempleofNature.ThecenterpieceofourconcertisthebeautifulAvodath Hakodesh (Sacred Service)bySwiss-AmericancomposerErnestBloch.CommissionedbySanFrancisco’sTempleEmanu-El,BlochdescribesthispassionateandromanticsettingoftextsfortheJewishSaturdayMorningServiceas“acosmicpoem,aglorificationoftheLawsoftheUniverse”.NewEnglandcomposerCharlesIves’settingoftheSixty-Seventh Psalmisahymnofpraiseandblessing.SanFranciscocomposerKirkeMechem’syouthfulsettingofPsalm 136expressesjoyousthanksforgoodnessandmercy.LudwigAltman,longtimeorganistatSanFrancisco’sTempleEmanu-ElandNinthChurchofChrist,Scientist,createsaquiet,reflectivesettingofPsalm 19 excerpts.
SAN FRANCISCO LYRIC CHORUS DISCOVERY SERIES
OurWinterConcert1996inauguratedanewaspectoftheSanFranciscoLyricChorus’desiretofeatureunusualandinnovativeprogramming.TheDiscoverySeriesidentifiescompositionsorcomposersthatarenotwellknown,butwhichareexceptionalandofspecialinterest.
Kirke Mechem AnativeofWichita,Kansas,SanFrancisco’sKirkeMechemcomesfromacreativefamily.Hisfatherwasanhistorian,awriterofpublishednovels,plays,andpoetry,andfortwentyyearswasExecutiveDirectoroftheKansasStateHistoricalSociety.HismotherwasapianistwhostudiedinGermany.
YoungKirkebeganstudyingpianowithhismotheratabouttheageofsix,buttooklessonsonlyfortwoorthreeyears,becausehewasfarmoreinterestedinsportsofallkinds,especiallytennis.Asahighschoolstudent,hewasthenumberonetennisplayerinKansas.Asachild,healsohadaninterestinwriting,andinhisteen-ageyearswonseveralnationaljournalismwritingcontests.HewasofferedajournalismscholarshiptoNorthwesternUniversity,butwenttoStanfordtomajorinEnglish.Hekeptuphisinterestintennisaswell,participatingforfouryearsasamemberoftheStanfordtennisteam.Musicwasapartofhislife,althoughnotformally,andatage16hetaughthimselftowritehisownsongs,despiteneverhavingseenaharmonybook.
AsaStanfordsophomore,KirkeMechemtookaharmonycourse“justtoseewhatitwaslike.”Hisharmonyprofessor,HaroldSchmidt,hadjustcometoStanfordasthechoralconductor.ProfessorSchmidthadgreatenthusiasmandloveforchoralmusic,andrequiredallmembersofhisclassestosinginthechorus.EventhoughMechemprotestedhecouldn’tsing,ProfessorSchmidtdirectedhimtothetenorsection.Thatfirstrehearsalchangedhislife,ashelistened,sang,anddiscoveredthebeautyandpowerofchoralmusic.Attheendofhisjunioryear,heswitchedhismajorfromEnglishtomusic.
ProfessorSchmidtbecamethecomposer’smentorandthemostimportantpersoninhisdevelopmentasachoralcomposerandconductor.HeadvisedMechemtostudyatHarvardwithRandallThompsonandWalterPiston.Thompsonespeciallyhadagreatinfluenceonhim.AftergraduatingfromHarvard,KirkeMechemreturnedtoStanfordasAssistantChoralConductorforthreeyears,composingbothchoraland
Program Notes
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instrumentalmusic.ProfessorSchmidtthensuggestedhespendtimeinVienna,anotherlife-changingexperienceforhim.Afterthreeyears,hereturnedtotheBayAreaandbecameComposer-In-ResidenceattheSanFranciscoCollegeforWomen(latercalledLoneMountainCollege,stilllaterbecomingapartoftheUniversityofSanFrancisco),teachingatvarioustimesalsoatStanfordandatSanFranciscoStateUniversity.Since197�,hehasbeenafull-timecomposer,lecturer,andconductor.
KirkeMechemhascomposedover�00worksinalmosteverygenreandstyle—choralworks,bothaccompaniedandunaccompanied,songsforsolovoicewithaccompaniment,keyboardworks,chambermusic,andorchestralworks,includingsymphoniesandoperas.Amonghisbest-knownworksarehisopera,Tartuffe;hisdramaticcantata,The King’s Contest;hissuiteSongs of the Slave,fromhisopera-in-progressJohn Brown;hisPsalm 100,selectedasoneofthreeAmericanworksforthe�0thanniversaryoftheUnitedNations;Singing Is So Good A Thing,achoralandinstrumentalworkonthewordsofElizabethancomposerWilliamByrd;American Madrigals,fivemadrigalsbasedonAmericanfolksongs;andProfessor Nontroppo’s Music Dictionary,ahumorousacappellalookatItalianmusicaldirections.TheSanFranciscoLyricChorushasperformedseveralofhisverypopularworks:thedelightfulSeven Joys of Christmas,thejoyousGloriafromhisThree Motets,thewonderfulhymnBlow Ye The Trumpet,fromSongs of the Slave,andhisprofoundIsland in Space.Inaddition,theSanFranciscoLyricChorushaspresentedtheSanFranciscopremieresofthreeKirkeMechemcompositions: Christmas the Morn, Blessed Are TheyandTo Music.InSummer�003,TheSanFranciscoLyricChoruspresentedanentireprogramofpreviewselectionsfromKirkeMechem’soperasJohn BrownandThe Newport Rivals.John BrownwillreceiveitspremiereasacelebrationofLyricOperaKansasCity’s50thanniversaryandtheopeningofitsnewoperahouse.The Newport Rivals,anAmericanversionofRichardSheridan’s18thcenturyEnglishplay, The Rivals,willbepremieredbyLyricOperaSanDiegoin�007.MechemhasjustcompletedanoperabasedonJaneAusten’sPride and Prejudice.
KirkeMechemistherecipientofnumeroushonorsandcommissionsfrommanygroups,includingtheUnitedNations,theNationalGallery,theAmericanChoralDirectorsAssociation,andtheMusicEducatorsNationalConference.HehaswontheBoottPrizeatHarvard,theSigmaAlphaIotatriennialAmericanmusicawardforavocalwork,andaNationalEndowmentfortheArtsgrant,1977-1978.Heoftenisinvitedtobeaspeaker,panelist,andmusicaladjudicator.
ConsideredbysomethedeanofAmericanchoralcomposers,KirkeMechemunderstandsthemeaningandmusicalityofwords.Henotesthatmusicisalanguage,andtheconductor,theperformersandtheaudienceallshouldbeabletounderstandthatlanguage.Thecomposer’sbackgroundasawriterandastudentofEnglishlanguageandliteraturegivehimauniqueabilitytofindthemusicinwordsandtosetwordstomusic.Hisknowledgeofliteratureallowshimtoexplorethefarreachesofwrittencreativitytofindexpressiveandmeaningfultexts.Whenhesetsapoemtomusic,hetriestoexpressthefeelingofthatpoeminmusicalterms.Hewantstogivetheconductor,thesingersandtheaudienceaheightenedsenseofthepoemthroughthemusic.Yetparadoxically,hecomments,themusicalsomuststandonitsownwithoutthewords.KirkeMechembelievesthatvocalmusichasabuilt-inclosenesstonature,aconnectiontothedramaandemotionofthehumanexperience.
Give Thanks Unto The Lord
KirkeMechemwrotethemusicforGive Thanks Unto The LordwhenhewasteachingatStanford.Theoriginaltextwastakenfromclassicalliterature,andtheworkcomposedasanentryinStanford’s“SpringSing”forfraternitiesandsororities.Mechemlikedthe
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musicsomuchthathereuseditandsetittothefollowingBiblicaltext(Psalm136).Hesubmittedthecompositiontoacontestforyoungcomposers,alongwithanotherofhiscompositions,andwonbothfirstandsecondprize!Oneofhisearliestcompositions,Give Thanks Unto The Lordwaspublishedin1960.
GivethanksuntotheLordoflords;forHeisgood:GivethanksuntotheGodofgods;forHeisgood:Givethanks,OgivethanksuntotheGodofgods:GivethankstoHimwhoalonedo’thgreatwonders,givethanks,OgivethanksuntotheLord;ForHismercyendurethforever.
GivethankstoHim,Himalone,whodoethgreatwonders:ToHimthatbywisdommadetheheavens:GivethanksuntoHimwhodoethgreatwonders:Hismercyendurethforever.
GivethanksuntotheLord;forHeisgood:GivethanksuntotheGodofgods;forHeisgood:Givethanks,OgivethanksuntotheGodofgods:Hismercyendurethforever.Alleluia.GivethanksuntotheLord.
Charles Edward Ives (1874-1954)OneofAmerica’strulygreatoriginalcomposers,CharlesIveswasborninDanbury,Connecticutin187�.Hereallycannotbeseparatedmusicallyfromhisinnovativefather,GeorgeIves,abandleaderandinstrumentalistwhowasinterestedinandexperimentedwithsoundandrhythm.YoungCharleswasveryclosetohisfatherandlateradaptedmanyoftheexperimentalmusicaltechniqueshisfatherdeveloped,aswellascreatingmanyofhisown.GeorgeIveswashisson’searliestmusicteacherindrums,violin,cornet,piano,andorgan,aswellasinsight-reading,harmony,andcounterpoint.
CharlesIvesbegancomposingatanearlyage.Hewashiredasachurchorganistatage1�,andinthesameperiodgaveorganconcerts.Heenjoyedsportsduringhisyouth,andwasapitcherontheDanbury“Alerts”baseballteam,aswellasplayingtennisandfootball.
IvesenteredYaleinfall,189�.Onlyafewweekslater,hisfatherdiedprematurely,adevastatingblow.AtYale,IvesstudiedorganwithDudleyBuckandcompositionwithnotedAmericancomposerHoratioParker,whohadbeentrainedintraditionalEuropeanclassicalstyleandrepertoire,andtaughtmusicfromhisexperienceandknowledge,notnecessarilyunderstandingIves’uniqueapproach.CharlesIveslovedALLkindsofmusic,fromhymns,classicalmusic,revivalsongs,spirituals,popularsongs,songsfrommusicaltheater,ragtime,collegesongs,anddancemusic.Themesfrommanypopulargenrescanbefoundincorporatedthroughouthisbodyofwork.
UponhisgraduationfromYalein1898,CharlesIvesenteredthelifeinsurancebusinessandsoonbecameaninsuranceexecutive,apioneerinthefieldsofestateplanningandthetrainingofinsuranceagents.Between1898and1918,hehadtwojobs—hisdayjobasaninsuranceexecutive,andhisnight-weekend-summervacationjobasacomposer.Unfortunately,hishealthwasnotgood,andhesufferedoneheartattackin1906,anotherin1918,anddevelopeddiabetes.Heceasedcomposingin19�6andretiredfromhisinsuranceworkin1930.Hespenttherestofhislife,whenhishealthpermitted,inorganizingandeditinghismusic.
MuchofIves’musicwasnotperformed(ifatall)untilhehadendedhiscareer
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asacomposer.Inthelate19�0sandearly1930s,othercomposersandmusicians(includingpianistsE.RobertSchmitzandJohnKirkpatrick,composerHenryCowell,andconductor/writerNicolasSlonimsky)begantonoticeIves’musicandhelpedpromoteitsperformances.In1939,KirkpatrickpremieredhisConcord SonataatTownHall,NewYorkCity,thefirsttimeIveswasrecognizedformallyandpubliclyasagreatanduniqueAmericancomposer.Hisreputationgrewsteadilyduringthe1930sand19�0s,andhereceivedthe19�7PulitzerPrizeforhisThird Symphony.Hecomposedinmanydifferentgenres,includingmusicfororchestra,band,chambermusic,keyboard,choralmusic,partsongs,andsolosongs.Hediedin195�.WriterandmusichistorianGilbertChasecommentsthat“hisailmentwascongenitaloriginalityinaclimateofconformity.”
Sixty-Seventh Psalm
Composedaround189�whenCharlesIveswasbuttwentyyearsold,theworkiswritteninsixpartsfordividedchorus,eachdivisionsingingintriads.Thesopranosandaltossinginonekeysignaturewhilethetenorsandbassessinginanotheratthesametime,amarvelousexampleofIves’giftedpolytonalcompositionalability.
Godbemercifuluntous,andblessus;Andcausehisfacetoshineuponus;Thatthywaymaybeknownuponearth,Thysavinghealthamongallnations.
Letthepeoplepraisethee,OGod;Letallthepeoplepraisethee.Oletthenationsbegladandsingforjoy:Forthoushaltjudgethepeoplerighteously,Andgovernthenationsupontheearth.
Letthepeoplepraisethee,OGod;Letallthepeoplepraisethee.Thenshalltheearthyieldherincrease;AndGod,evenourownGod,shallblessus.Godshallblessus;AndalltheendsoftheearthshallfearHim.
Ludwig Altman (1910-1990)BorninBreslau,Germanyin1910,LudwigAltmangrewupinaJewishhousehold.Hestudiedpianoasayoungboyandyouth,inadditiontoregularacademicstudiesattheGymnasium,aGermancollegepreparatorysecondaryschool.Afterhispublicschooleducation,hemajoredinmusicologyandtheGermanlanguageattheUniversityofBreslau.BecauseBreslauhadnoteachertrainingprograms,in19�9heenrolledinthemusichistoryandscholarshipprogramattheUniversityofBerlin.In1930,hewasadmittedtoBerlin’sStateAcademyforChurchandSchoolMusic,studyingmusiceducation.Healsobeganteachingpianoprivatelyandaccompanyingsingers,dancers,andotherperformersduringthistime.
In1933,theNaziscametopower,andAltmanwasexpelledfromtheUniversityandtheStateAcademyjustashewasbeginningworkonhisdoctorate.Agiftedpianist,heturnedtoplayingtheorgan,asdidmanyJewishmusicians,sincemusicalopportunitieswerebecominglimitedotherthanintheJewishcommunity,andsynagoguesneededorganists.Gentileswerenowforbiddentoperforminsynagogues.Inordertopreparehimself,AltmantookaspecialcourseonmusicandpracticesfortheHighHolyDayservices.Attheageof�3,hewasappointedorganistatthelargestsynagogueinBerlin,apositionheheldbetween1933and1936.Becauseofthegrowingdominationof
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theNazis,hedecidedtoleaveGermanyattheendof1936.HehadrelativesinSanFrancisco,andthroughtheirsupport,hewasabletocometotheUnitedStates.
AltmanarrivedinNewYorkCityinJanuary1937andstayedthereforamonth,exploringvariousjobpossibilitiesasanorganist.HewantedtovisitChicagoandSanFrancisco,soleftNewYorkforChicagoinFebruary1937,aNewYorkjobofferinhispocket.HereceivedajobofferfromasynagogueintheChicagosuburbsaswell,butwasdeterminedtovisitSanFrancisco,andarrivedhereinMarch1937.Hebeganmakingmusicalcontactsimmediately,andsoonbecameapianoteacherataSanBrunoAvenueSettlementHouse,apositionthathekeptforanumberofyears.HegavehisfirstAmericanorganrecitalinOctober1937atStanfordUniversity.Healsobegantogiveprivatelessons,aswellasplaytheorganforvariousBaptist,Episcopal,ChristianScienceandPresbyterianservices.In1937,hewasappointedOrganistandChoirDirectoratTempleEmanu-El,apositionhehelduntilhisretirementin1987.Inthatposition,hebecameacquaintedwithnotedcomposerscommissionedtocomposesacredmusicfortheTemple,includingDariusMilhaud,PaulBen-HaimandMarcLavry,aswellasmanyfamousperformingartists.
In1937,AltmanmetAlfredHertz,conductoremeritusoftheSanFranciscoSymphonyOrchestraandDirectorofSanFrancisco’sWPA(WorksProgressAdministration)Orchestra.Hertzinvitedhimtobecometheorganistforthatorchestra.ThroughHertz,Altmanbecameacquaintedwitheight-yearoldpianochildprodigyLeonFleischer,andgavehimdailypianolessonsforayear.Aroundthistime,healsobeganhislong-termpositionastheorganistatSanFrancisco’sNinthChurchofChrist,Scientist,apositionheheldfor�0years.ThatchurchpurchaseditsAeolian-Skinnerorgan,thelastbuiltbythecompany,especiallyforAltman’suse.
In19�0,hewasaskedbyPierreMonteux,conductoroftheSanFranciscoSymphony,tobecometheorganistfortheSymphony,apositionhehelduntil1973,servingunderfourconductors:PierreMonteux,EnriqueJorda,JosefKrips,andSeijiOzawa.
Between19�3and19�5,AltmanservedintheU.S.ArmyBandatFortMasonasaclarinetplayer.Healsoplayedpianoandorganforvariousmilitarychurchservicesduringthattime.In19�7,hebeganteachingacourseonorganhistorythroughtheUniversityofCaliforniaExtension.In19�8,hewasappointedorganistfortheCarmelBachFestival,playinginchoralandorchestralperformances,aswellasgivingsolorecitals.Heretiredfromthatpositionin1965.HewastheorganistfortheStandard Hour,apopular19�0sand1950sliveBayAreaclassicalmusicradio(latertelevision)programsponsoredbytheStandardOilCompanyofCalifornia.
TheSanFranciscoArtCommissionappointedLudwigAltmanorganistfortheSanFranciscoSymphonySummerPopsprograms,annualclassical/lightclassicalmusicprogramsthattookplaceinCivicAuditorium.Heheldthatpositionfor30years,servingundersuchconductorsasArthurFiedler,CarmenDragon,MitchMiller,andErichKunzel.FiedleraskedhimtoplaywiththeBostonPops,andhedidsoforseveralyears.
In195�,LudwigAltmanbecameoneoftheorganistsattheCaliforniaPalaceoftheLegionofHonor,apositionhehelduntilhisdeath.Heoccasionallywouldinvitelocalchoralgroups,suchastheSanFranciscoCivicChorale/WinifredBakerChorale,toperformattheLegion.Forabrieftime,hewastheaccompanistfortheSanFranciscoCivicChorale,thesuccessortotheSanFranciscoMunicipalChorus.
LudwigAltmanwasakindandpatientorganteachertohisprivatestudents.Inaddition,hewasanotedorganrecitalist,bothlocallyandabroad.After1960,heandhiswifespentsummersinEurope,whereheperformedinsuchareasasLondon,
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Switzerland,France.Hewasanorganscholar,publishingfirsteditionsoforganworksbyBach,Beethoven,MendelssohnandTelemann,aswellascomposingworksfororganandforchorus.In1969,hereceivedtheIsadoreFreedFirstPrizeforChoralWork.In198�hereceivedanhonoraryDoctorofMusicdegreefromtheUniversityofSanFrancisco.Hediedin1990.
Gentleofsoul,multifacetedinexperienceandwisdom,encyclopedicinknowledge,andgraciousinmanner,LudwigAltmancontributedmuchtothemusicallifeofSanFranciscoforover50years.Hewasatreasuretoallofuswhoknewhim.
Choral Meditation
Composedin1963,thissimple,quietandreflectivesettingofpassagesfromPsalm 19allowsthelistenerafewmomentsofmeditativetimeinanotherwisebusyandfreneticworld.
MaythewordsofmymouthandthemeditationsofmyheartbeacceptableinThysight,OLord.O Lord,myRockandmyRedeemer.Amen.
Lee R. KesselmanComposerLeeR.KesselmanhasbeenDirectorofChoralActivitiesattheCollegeofDuPageinGlenEllyn,asuburbofChicago,since1981.HeisFounderandMusicDirectoroftheNewClassicSingers,aprofessionalchoralensemble.HealsodirectstheDuPageChoraleandCollegeofDuPageChamberSingers.AnativeofMilwaukee,heholdsundergraduatedegreesinpianoandcompositionfromMacalesterCollegeinSaintPaul,Minnesota,andamaster’sdegreeinconductingfromtheUniversityofSouthernCalifornia.Inadditiontoteachingandcomposing,Mr.Kesselmanisactiveasaconductor,pianist,clinicianandlecturer.Heismusicdirectorforavarietyofoperaandmusicaltheatreproductions.Mr.KesselmanwaschosentheOutstandingFacultyMemberattheCollegeofDuPagefor199�-95.
HehastaughtatDoreenRao’sChoralMusicExperienceInstitutesinceitsinceptionin1986.HehasalsotaughtinFrancefortwosummersonthefacultyoftheAcadémieInternationaldeChantChoralinParthenay.HehasaddressedstateanddivisionalconventionsofACDAinsessionsonrepertoireandperformance.Mr.KesselmanhasaccompaniedmanyofChicago’sfinestsingersinrecital,includingMariaLagios,RobertSmith,CynthiaAnderson,andDonnaBruno.HehasperformedontheTalmanDameMyraHessMemorialConcerts,theLive!FromStudioOneseriesonWFMT-FMinChicagoandconductedArgento’s Postcard from MoroccoforOperaWorks!inMadison,Wisconsin.Mr.KesselmanisamemberoftheAmericanSocietyofComposers,AuthorsandPublishers(A.S.C.A.P.).HehasreceivedeightconsecutiveASCAPawardsforhisworks.
Mr.KesselmanhasbeenhonoredasacomposerwithprizesintheMelodiousAccord(NewYork)CompositionSearch,ChautauquaChamberSingersCompositionContest,theChautauquaChildren’sChoraleCompositionContestandtheIllinoisChoralDirectors’AssociationContest.Mr.Kesselmanisbestknownasacomposerofvocalworks,includingopera,musicforchorus,andsolosongs.LargeworksincludetheoperaThe Bremen Town Musicians(commissionedbyOperafortheYoung),The Emperor’s New Clothes(achoralopera),Love Phasesforbaritonevoiceandpiano,Nights in Armorformixedchorus,Shona MassforvoicesandAfricanpercussion,andInfinity in the Palm of Your Hand,asymphonyfortreblechorusandorchestra.The Bremen Town Musicianshasbeenperformedover300timesforWisconsinandIllinoisschoolchildren.
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Mr.Kesselman’smostrecentworksincludeFreedom Chimesformixedchorusandconcertband,Play on Your Harpformixedchorusandharp,Circle Songsforsoprano,doublebassandpiano,Basses Three forstringbasstrioandIn terra aliena,Hodie Christus natus est,andMirabile mysteriumformixedchorus.
Mr.Kesselman’sworksforchildrenhavebroughthimnationalattentionandhehasbeencommissionedtowriteforchildren’schoirs,middleschool,juniorschool,highschool,college,community,church,andprofessionalensembles.Boosey&Hawkes,RogerDeanMusic,ClassicArtistsPublishing,Lawson-GouldMusicPublishers,CollaVoceandPlymouthMusicCohavepublishedMr.Kesselman’sworks.HealsoservesasaneditorforBoosey&HawkesMusicPublishers.
Mr.KesselmanlivesinGlenEllyn,IllinoisandisthefatherofdaughterLindsayandsonRobin.
John Muir (1838-1914)OnApril�1,1838,JohnMuirwasborninDunbar,Scotland,asmallfishingvillageontheScottishcoast.SonofastrictCalvinisticstorekeeper,heattendedlocalschoolsuntilhewaseleven,studyingreadingandarithmetic,aswellashistory,FrenchandLatin.Becauseofhisfather’sdeepreligiousconvictions,thehouseholdwasgovernedverystrictly,andMuirandhisbrothersandsisterswererequiredtomemorizeBibleversesandhymns.Wheneverhehadthechance,Muirwouldescapetoadmireandobservethecountrysidefloraandfauna.Muir’sfatherchafedunderhislifeinScotland,andin18�9packeduphisfamily—wifeandsevenchildren—andemigratedtoWisconsin.AlthoughMuir’sfatherwantedtofarm,hechoselandthathadtobecleared,andallofthefamilyhadtoworkveryhardtosurvive.Muir’sfatherbelievedinasparselife—workandreligion—soyoungJohnhadlittletimeformuchelse.Hisfatherfinallygavehimpermissiontoreadbooksifhedidsobeforetheworkdaybeganat5a.m.
JohnMuirwasanaturallygiftedinventor,andinhisoff-hourswouldcreatemechanicaldevicesfromwoodormetalscrapshefoundathome.Hecreatedwaterwheels,barometers,compasses,andaningeniousalarmclockthattippedhisbedupandwokehimwhenitwastimeforwork.Hisfriendsandneighborsencouragedhimtodisplayhiscreationsatthe1860WisconsinStateFairinMadison.Muirwasamazedatthestatewideinterestshowninhiscreations.
Thatsameyear,heenrolledattheUniversityofWisconsin,emphasizingbotany,geology,andthenaturalsciences,aswellaslearningoftheworkofsuchphilosophersasEmersonandThoreau.Hewasagoodstudent,buthadtoleaveschoolin1863becauseoflackoffunds.TheCivilWarintervened,andasaconscientiousobjector,hewenttoCanadainMay186�.Alternatingamongnaturestudy,travelinginCanada,andworkingasamechanicinafactory,hestayedinCanadauntilMarch1866.UponhisreturntotheUnitedStates,hefoundemploymentinanIndianapoliscarriagefactory.InMarch1867,hesufferedanaccidentthatwastochangehislife.Hewasadjustingsomeequipmentinthefactory,whenafileslippedandpiercedoneofhiseyes.Hebecametemporarilyblindinbotheyes.Hissightreturnedafteramonth,andheresolvedtospendtherestofhislifeexperiencingandappreciatingthebeautyofthenaturalworld.
InSeptember1867,hebegana1000-milewalkfromIndianatotheCedarKeysinFlorida.Afteralongsiegeofmalaria,whichhecontractedinFlorida,heheadedwestbyshipfromCubatoPanama,acrosstheIsthmusonland,andthenagainbyshipuptheWestCoasttoSanFrancisco,wherehelandedinMarch1868.Then,hewalkedacrosstheSanJoaquinValleytoYosemiteandtheSierras.Forthenextfiveyears,helivedinYosemiteValley,exploringthevalleyandthesurroundingmountains,andworkingasashepherdandinasawmillintheValleywheneverheneeded
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money.Throughobservationandexperience,hebecameanexpertonSierrafaunaandgeology.HedevelopedacontroversialtheoryofYosemiteValleyglaciationthatbroughthimtotheattentionofsuchnotedscientistsandintellectualsasJosephLeConteandRalphWaldoEmerson.
Muirbeganhiswritingcareerin187�,penningnaturearticlesforvariouspublications.Between1873and1880,hetraveledintheWest,exploringMt.Shasta,theGreatBasin,SouthernCaliforniamountains,theCoastRange,andevenAlaska,supportedbyrevenuefromhisarticles.Duringthistimehebeganactivelytothinkaboutconservation/preservationofthenaturalworld.
Inthemid-1870s,MuirbecameacquaintedwithDr.JohnStrentzel,aForty-Niner,Polishrefugee,physicianandprominenthorticulturalist,wholivedintheAlhambraValley,today’sMartinez.FriendsplayedmatchmakerbetweenMuirandStrentzel’sdaughter,LouieWanda,anaccomplishedpianistandbusinesswoman,whohelpedtomanagethefamilyfarm.AlthoughMuirdidnotlikethetrappingsofcivilization,helongedforthewarmthofafamily.HemarriedLouieStrentzelin1880andbecamethesuccessfulandfairlywealthymanageroftheStrentzelorchardsandvineyards,apositionhewouldholdforthenextsevenyears.Inthelate1880s,LouieMuirknewthatherhusbandneededtoreturntothemountainsandoutdoorsforlongperiodsoftimeandencouragedhimtodoso.Relativesandhiredworkershelpedherwithfarmmanagement,andshesoldpartoftheacreage.
Muirbegantoventurebackintothewildcountry.His1889triptoYosemiteandTuolumneMeadowswithRobertJohnson,editorofCentury Magazine,sparkedthebeginningofMuir’sinterestinnationalpreservationactivity.HenoticedhowsheepweredestroyingtheenvironmentandwrotetwoarticlesabouthowtheCalifornia-runYosemiteParkshouldbemadeanationalpark.In1903,heinvitedPresidentTheodoreRoosevelttovisitYosemitewithhim.RooseveltwasinspiredbyMuirandYosemite,andbecameanardentconservationist,establishingthefirstNationalMonumentsthroughPresidentialProclamationandmakingYosemiteaNationalPark.Muir’seffortstoprotectnationalwildlandsresultedinthecreationofYosemite,Sequoia,Mt.Rainier,PetrifiedForestandGrandCanyonNationalParks.In189�,MuirandagroupofsupportersfoundedtheSierraClub.HeservedasPresidentfrom189�until191�.HislastgreatfightwastokeepSanFranciscofromdammingtheTuolumneRiverintheHetchHetchyValleytocreateamunicipalreservoirandhydroelectricpowersource,abattlethathelost.Hediedin191�.
WriterandphotographerDonWeissnotes:“ButperhapsthegreatesttributeevergiventoMuirtookplaceinaprivateconversationbetweentwogreatcontemporarymountaineers.GalenRowellonceaskedReinholdMessnerwhythegreatestmountainsandvalleysoftheAlpsaresohighlydeveloped,whytheyhavehotels,funicularrailways,andveritablecitieswashingupagainstsitesthat,inAmerica,aremaintainedrelativelyunencumberedbydevelopment.Messnerexplainedthedifferenceinthreewords.Hesaid,‘YouhadMuir.’”
This Grand Show Is Eternal (World Premiere)
San Francisco Lyric Chorus Discovery Series
Foracomposer,eachnewpiecerepresentstheconvergenceofthestrandsofhislife,hisears,themusichehasheard,performedandwritten,thewordshehasreadandthepeoplehehasknown.Onecanreadaresuméorabiography,butoneneverquiteseesthedetailwhichleadstothepresentmoment.
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Morethanadecadeago,ImetaconductornamedRobertGurneywhileIwasteachingattheAcadémieInternationaldeChantChoralinParthenay,France.Robertmadeanimpressiononme—asoft-spoken,gentlesoulwithawilltogrowandlearnandwhatappearedtobeaprofoundspirit.LittledidIknowthatinJuneof�005,heandhisSanFranciscoLyricChoruswouldbeaskingmetowriteanewpieceinhonoroftheir10thAnniversaryseason.Iwasindeedhonored.
Iammostfortunatethatmylifehasbeenfilledwithgreatmodels—conductorsandteacherswhotaughtmethegloriesofperformanceandofcomposition,thegenuinejoyofthemarriageofgreatwordsandmusic.SomeofthoseteacherswereconductorsDaleWarlandandCharlesHirt,composer/pianistDonaldBetts,pianistGwendolynKoldofsky,andpoetRogerBlakely.MytimeatMacalesterCollegeinMinnesotawashugelyimportanttomyunderstandingofwordandmusic;sowasmytimeatUSCinLosAngeles,andthevibrantintellectuallifeofmyfamilyinMilwaukee,Wisconsin.
WhenIlivedinLosAngelesinthe1970’s,IdideverythingIcouldtoexploretheWest—aregionthatdrewmefromtheMidwestandfascinatedmeinitsnaturalwonders,itsethnicity,anditsmodernity.WhileinL.A.andenroutefromtheMidwestinthreeyearsofcross-countrydrives,wevisitedthegreatnationalparks—Zion,Bryce,RockyMountain,Yosemite,Sequoia,theGrandCanyon—andtookinsomanyotherwondersofthewest,includingthegreatCaliforniacities,thecoastdrives,themountains,andthedeserts.ItwasthenthatIfirstbecameawareofJohnMuir,hisimpactonourcountryandhiswritings.Atsomepoint,morethantwodecadesago,IjoinedtheSierraClub,increasinglyawareofthefragilityoftheworldecosystemsandthegloryofournationalgeography.
In1989,whilevacationinginDoorCounty,Wisconsin,Iattendedaperformanceofanoriginalfolk-musicalbytheHeritageEnsemble,anunusual‘theatreinthewoods’,sponsoredbytheWisconsinDepartmentofNaturalResources.Thetitleofthatshowwas,The Mountains Call My Name: The Life Of John Muir In Story And Song.IlearnedmuchmoreaboutthelifeofWisconsin’sfoster-sonMuirthatnight,evenasmyhomestate’slegendarymosquitoeswereenjoyingourfamilyasafeast.Isavedtheprogrambookletandtosseditintomy‘text-file’forfutureuse.
Abouttwoyearsago,IsetafewofMuir’swordsinanothermusicalcomposition,forchorusandorchestra.IrealizedatthetimethatIwasnotdonewithMuir’swordsastherawmaterialforcompositions.IfindMuir’swordsgrandandeloquent,profound,ashedescribesthebeautyofthenaturalworld.Hisproseisrichandromantic,hismannerhighlyspiritualandevocativeofthehighertruthsreflectedinNature.Hislanguageismonumentalandcallsoutformusicalsetting.Muirseemspersistentlyamazedatwhathesaw,aHolinesswhichsurroundedhimonhisnow-famoustreks.Hewasuncompromisinginhisviewthatthislandshould,mustbeprotectedasrespectforthePowerthatcreatedit.
IhavetriedtoevokeMuir’sspiritinThis Grand Show Is Eternal.Theorganplaysanessentialroleinpaintingpictureslargerthanhuman.IhavetriedtocapturetherhythmicenergyandstrengththatMuirsensedinNature,whileretainingagroundinginthetonalfoundationofhisdeeplyheldvalues.Someofthetextispaintedwithdescriptivemusic,whileotherwordsaretreatedinamoreabstractway.
Likemanycompositions,thispieceaspirestosomedegreeofTruthandBeauty.Ialsotrytowritemusicthatisgratifyingtoperform.ButifIhavecapturedsomesmallshadowofJohnMuir’sloveofNatureandbeliefinitsimportance,thenthismusicwillhavebeensuccessful.
LeeR.Kesselman
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“Most people are on the world, not in it; have no conscious sympathy or relationship to anything about them, undiffused, separate, and rigidly alone like marbles of polished stone, touching but separate.”JohnMuir
Texts
ThistonepoemforchorusandorganismeanttoevokethegrandeurofJohnMuir’sprofoundandeloquentwordsandthemonumentallandscapesheissofamousfordescribingtotheworld.Theorganplaysanessentialroleinpaintingpictureslargerthanhuman.Atthesametime,itisimportantthatthewordsareever-presentandthatacarefuleartowardbalanceismaintained.Theorganistandconductorarefreetoexperimentwithcolorfulregistrationswithinthiscontext.Muir’swordsarerichandRomantic;dynamicextremesandagreatvarietyofvocalcolorsareinorder.Rubatoshouldbeexercisedwhereitwillenhancetheromanticnatureofthetext.This Grand Show is Eternal waswrittentobepremieredatTrinityEpiscopalChurchinSanFrancisco,andtobeplayedonthehistoric19��E.M.Skinnerorganatthatchurch.
“This grand show iseternal.Itisalwayssunrisesomewhere;thedewisneverdriedallatonce;ashowerisforeverfalling;vaporiseverrising.Eternalsunrise,eternalsunset,eternaldawnandgloaming,onseaandcontinentsandislands,eachinitsturn,astheroundearthrolls.”
“Themorningstarsstillsingtogether,andtheworld,thoughmade,isstillbeingmadeandbecomingmorebeautifuleachday.”
“Thereisamusicalideaineveryform.See,hear,howsharp,loudandclear-ringingarethetonesofthesky-piercingpeaksandspires;andhowdeepandsmoothandmassivethoseoftheswellingdomesandround-backedridge-waves;andhowquicklythemultitudeofsmallfeaturesinalandscapesuggesthurryingtrillsandripplesandwavesinmelody.Everythingbreaksforthintoform,color,song,andfragrance—aneternalchorusofpraisegoingupfromeverygardenandgrove,awiderangeofharmoniesleadingintotheinnerharmoniesthatareeternal.” JohnMuir
Ernest Bloch (1880-1959)“Iwouldcomposemusicthatwouldbringpeaceandhappinesstomankind,”saidanalmostten-year-oldErnestBloch.BorninGeneva,Switzerlandin1880toashopkeeperwhosoldSwisstouristgoods,ErnestBloch’sfirstmusicalcontactcamefromhearinghisfathersingJewishfolksongsandHebrewliturgicalmelodies,aswellaslisteningtohisoldersisterplayoperaselectionsandlightmusiconthepiano.Hebegantocomposeatagesix,improvisingmelodiesonatoyflutegiventohimbyhismother.Whenhewasnine,hebegantostudyviolinwithAlbertGoss,andsoonafterhebegantocomposemusicfortheviolin.Atageten,hedecidedhewouldbecomeacomposer.Hedidnotattendregularschoolafter189�,butspenthisfulltimeincomposing.
Inthatsameyear,Bloch’sfathertookthetalentedyouthtomeetEmileJacques-Dalcroze,ProfessorofTheoryandCompositionattheGenevaConservatory.Jacques-DalcrozeagreedtoteachyoungErnestsolfeggioandcomposition.BlochalsobegantostudyviolinwithLouisRey,continuingtocomposeatthesametime.Hecompletedastringquartet,hisfirstlargework,in1896.Between1897and1899,BlochlivedinBrussels,Belgium,studyingviolinwiththefamousviolinistandteacher,EugèneYsaÿe,theoryandcompositionwithFrançoisRasse,andviolinandchambermusicwithFranzSchörg,inwhosehousehelived.Blochmovedagainin1899,goingtoFrankfurt,Germany
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tostudyatHoch’sConservatoryasacompositionstudentofIvanKnorr.In1901,hemovedtoMunichtostudywithLudwigThuille.In1903and190�helivedinParis,wherehemetDebussy.ItwasinParisthathisfirstcompositionwaspublished,Historiettes au crepuscule,aworkformezzo-sopranoandpiano.
BlochreturnedtoGenevain190�,marriedamusicstudentwhomhehadmetinFrankfurt,andwenttoworkforhisfatherasabookkeeperandsalesman.Hestillcomposedduringhisnon-workinghours,butneededregularworkinordertosupporthisgrowingfamily.WorkscreatedduringthistimeincludeHiver-Printemps,atonepoem(190�-1905),Poèmes d’automne,asongcycleformezzo-sopranoandpiano(1906),andanopera,Macbeth(190�-1909),whichhaditspremiereinParisin1910.In1909and1910,heconductedsymphonyconcertsinNeuchâtelandLausanne.
In1911,Blochlefthisfather’sbusinesstoteachcompositionandaestheticsattheGenevaConservatory,apositionhehelduntil1915.Atthesametime,hecontinuedcomposing.Between191�and1916,aperiodBlochreferredtoashis‘Jewishcycle,’hecomposedworksthatemphasizedHebraicmelodiesandthemes,includingThree Psalmsforsopranoandorchestra(191�-191�),Three Jewish Poemsfororchestra(1913),theIsrael Symphony(191�-1916),andShelomo,arhapsodyforcelloandorchestra(1916).
BlochcametotheUnitedStatesin1916asconductorforthemusicalgroupthataccompanieddancerMaudAllen’stroupeonanAmericantour.Unfortunately,thedancegroupwentbankrupt,andBlochwasleftstrandedinNewYorkCity.HewasabletorentaroominManhattan,takeapositionteachingtheoryandcompositionatthenewDavidMannesSchoolofMusic,aswellasteachingprivatestudents.HelovedRenaissancemusic,andin1916,heconductedanamateureveningchorusattheManhattanTradeSchoolinNewYorkCity,teachinghissingersthebeautiesofsuchRenaissancecomposersasJosquindesPres,OrlandodiLasso,GiovanniPierluigidaPalestrinaandTomásLuisdeVictoria.
Blochsoonbegantobringhismusictotheattentionofvariousmusicalcontactsandbecamefairlywellknown.Between1917and19�0,anumberofEastCoastorchestrasplayedhiscompositions,includingtheBostonSymphonyandtheNewYorkPhilharmonic.In1919,hisSuite for Viola and PianowontheCoolidgePrize.Thatsameyear,hewasteachingatboththeMannesSchoolandtheJuliusHarttSchoolofMusicinHartford,Connecticut.Insummer1919,hetaughtmusictochildrenintheBirdSchool,anexperimentalschoolinPeterboro,NewHampshire.
In19�0,BlochbecametheFoundingDirectoroftheClevelandInstituteofMusic,apositionhehelduntil19�5.Hehandledadministrativeoutreachfortheschoolaswellasconductingthestudentorchestraandthestudentchorus,teachingcomposition,creatingmasterclassesandclassesforthegeneralpublic,teachingfive-weekseminarselsewhereontheEastCoast,developingInstitutepoliciesANDcomposing.In19��,hebecameanAmericancitizen.
Inthesameyear,hewasapproachedbyAdaClementandLillianHodghead,co-foundersoftheSanFranciscoConservatoryofMusic,togiveafive-weeklectureseriesattheirfledglinginstitute,atthattimeheldinLillianHodghead’shomeonSacramentoStreet.ReubenRinder,CantoratSanFrancisco’sTempleEmanu-El,encouragedClementandHodgheadtoinviteBlochtobecometheArtisticDirectoroftheirschool.Aftersomediscussion,heaccepted,leavingClevelandattheendof19�5totakeuphisnewpost.
ErnestBlochwasthefirstArtisticDirectoroftheSanFranciscoConservatoryofMusic,apositionheheldbetween19�5and1930.Hispositionheldmanyresponsibilities:acquiringinstrumentsandequipment,developinganorchestraandchorus,
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establishingatheorydepartment,teachingmusicianshipandcounterpointtobothadultsandchildren,alongwithHodghead,aswellasteachinghisownclassesinform,instrumentationandkeyboardharmony.Inaddition,hegaveprivatelessonsANDcontinuedtocompose.ThreeoftheworkshecomposedduringhisSanFranciscostaywonprizes:Four Episodesforchamberorchestra(19�6),inwhichthethemesofthefinalmovementarebasedonhisvisittotheChineseTheaterinSanFrancisco;America, an Epic Rhapsody(19�7),whichincludesmusicalquotationsfromhymns,CivilWarballadsandspirituals,andHelvetia(19�8),amusicaltributetohishomeland.Four EpisodeswontheCarolynBeebePrizeoftheNewYorkChamberMusicSociety.
In19�9,CantorRinder,amajorforceincommissioningmusicforTempleEmanu-El,encouragedBlochtoacceptaprojectwritingaSaturdaymorningservicefortheTemple.Rinderwasabletoobtainsomefundsfromlocaldonors,butthebulkofthemoneyforthecommissioncamefromwealthyNewYorkcellistandphilanthropistGeraldWarburgandhisfamily.Blochneededtimetocompose,andmoneyfromtheRoseandJacobSternFundwasusedasanendowmenttoallowBlochtogiveuphisConservatorypositionanddevotefulltimetocomposing.Inreturnforthatsupport,BlochagreedtogivetitletoonemanuscriptperyeartotheUniversityofCaliforniaatBerkeley,foraperiodoftenyears.
BlochgaveuphispositionattheConservatoryandreturnedin1930tothelittletownofRoveredo-Capriasca,Switzerland,wherehespentthenextthreeyearsworkingontheAvodath Hakodesh,theSacred Service.TheworkisbasedonthetextoftheSabbathMorningServiceasfoundintheAmericanUnion Prayer Book.BlochdidnotknowHebrewwhenheundertookthecommission,andspentayearlearningAshkenazicHebrew.Avodath Hakodesh receiveditsworldpremiereinTurin,Italy,in193�,aswellasitsNewYorkpremiere.Itwasagreatsuccess.ItwaspremieredinseveralEuropeancities,andfinallywaspresentedinTempleEmanu-ElinMarch1938.Bloch’stalentwasrecognizedinternationally.In1937,agroupofnotedartists,scientists,musiciansandwritersfoundedtheErnestBlochSocietyinLondon.HonoraryPresidentwasAlbertEinstein,andVicePresidentsincludedSirThomasBeecham,SergeKoussevitsky,HavelockEllis,RomainRolland,DonaldTovey,JohnBarbirolli,ArnoldBax,RalphVaughanWilliams,andBrunoWalter.in1968,asimilargroupwasfoundedintheUnitedStatesbyBloch’schildren.
In1939,BlochreturnedtotheUnitedStates,becauseoftheNazirisetopoweraswellasthefactthathemightlosehiscitizenshipifhestayedinEuropelonger.Beginningin19�0,hetaughtsummermusicclassesattheUniversityofCalifornia,Berkeley,infulfillmentofoneoftherequirementsoftheSternFundgrant.Heretiredin195�.In19�3,heboughtahomeinAgateBeach,Oregon,andhespentmostoftimethere,composingsuchworksashisConcerto Grosso, No. 2(195�),severalstringquartets,andhisSymphony in E-flat(1956).Hediedin1959.
ErnestBlochwasapassionatecomposerandapassionateteacher.Hecomposedinmanydifferentgenres,includingchambermusic,opera,worksfororchestra,worksforsoloinstrumentsandorchestraandsongcycles.Hetaughtmanystudentsofnote,includingGeorgeAntheil,QuincyPorter,RogerSessions,RandallThompson,BernardRogers,HerbertElwell,TheodoreChanler,HenryCowell,LeonKirchner,FrederickJacobiandIsadoreFreed.Hislegacyliesbothinhismusicandinthestudentshetaught.
Avodath Hakodesh (Sacred Service)
ErnestBlochcompletedtheSacredServiceonJune7,1933.ItwasgivenitsfirstperformanceinTurin,Italy,in193�.AlthoughTempleEmanu-Eldidnotheara
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performanceofitscommissionedworkuntil1938,BlochcamebacktotheSanFranciscoConservatoryofMusiconSeptember16,1933togivehisfirstpubliclectureonthework.HenotedthattheworkisasettingofHebrewtextsfromtheprayerbookoftheReformedSynagoguesofAmerica—selectionsfromthePsalms,Deuteronomy,Exodus,Isaiah,Proverbs,aswellasothertextsappropriatefortheservice.Hemadeafewmodificationsfromtheprayerbook,addedspoken/recitativeparts,andendedwithanEnglishtext.Tohim,“thewholeserviceisakindofhistoryofallofmankind,ofthefamilylifeandthecosmic.”
Althoughhehadmadehisbarmitzvah,BlochcommentedthathewasnoteducatedreligiouslyandhadnotlivedintheJewishcommunity.Inordertocomposethepiece,hethereforehadtolearnHebrew,whichtookhimayear.Hecommented,“InsteadofmerelytranslatingIhadtogototherootsandimaginemyfeelingwhenIfoundtheword‘olom,’forinstance,meaningtheuniverse,space,eternityoftime.”BlochlearnedAshkenazicHebrew,usedmainlyinEasternEurope,becausethatdialectwasmoreprevalentwhenhewascomposingthework,andwesingtheworkinAshkenazicHebrew.Today,SephardicHebrewisusedmorecommonly.
Theworkissungbyasoloist(Cantor)andchorus,whichinsomecasesrepeatsand/orcommentsuponthetextssungbytheCantor,andinothers,isgivenitsownstatement.Itisdividedintofiveparts,andbeginswithasix-notemotif—GACBAG—thatisfoundthroughoutthework.
Thefirstpartisameditationontheunityofnatureandtheunityofman,amessageoffaithandhopeforlife.CantorRinderofTempleEmanu-El,acomposerhimself,sentBlochhisarrangementofthetraditionalmelodyfortheTzur Yisroel (Rock of Israel),andBlochincorporatedthatintothework.Inthispart,themelodyissungbytheCantor.Itreturnsinthefifthpart,sungbythechorus.
Thesecondpartisaboutsanctificationandholiness,“adialoguebetweenGodandMan.”ThissectionspeaksalsooftheeverlastingpoweroftheAlmighty.“Kodosh,”meaning“holy,”issungthreetimes,similartothewayitissunginaCatholicMass.
Thethirdpartis‘liturgical,wovenaroundtheTorahandtheLawsofMoses.”Peopleliveinconfusionanddarkness“untilthecloudinessandmurkinessliftandTruthcomesinasaKingofGlory.”Themovementbeginswithsilentdevotionandresponse.ThechorusthensingsacappellathewordsofPsalm 19,Yihyu Lerozon (May the words of my mouth), thechoralmeditationalsosetbyLudwigAltman.ThesectioncommentsaboutthenatureoftheAlmightyandaskspeopleto“walkintheLightoftheLord,”sinceall“HumanityisOne”.ThemovementendswiththeExaltation.
ThefourthpartencouragespeopletopraisetheAlmighty.NowthatthepeopleunderstandabouttheLaw,theymustincorporateitintotheirlives.ThechorussingsEtz Chayim he, apeacesong abouttheTreeofLife.“Itmustbealivingthing,therejoicing,happiness,theexaltationofallmankind,endingwiththeTreeofLifeandthatallthosewhoaresupportersofitarehappy.”
Blochcommentsthatinthefifthpart,“manhastoacceptthelawasunlimited.Thereisanadoration,ashortepilogue,theCantororpriesttalkstoyou,givingapersonalmessage,inEnglish,Italian,Hebrew,inalllanguages…Thelastpartislikeanepilogue.Hereisthewholerealizationofhumanity,theloveofGod,whenallmenwillrecognizethattheyarebrothers,afellowshipinspiritandunited,andonthatdaytheworldshallbeone.”CantorRinderagainwasinfluentialinthissectioninpreparationofthespokensection.Theworkendswithabenediction.Blochcommentsthatthelast�5measurestookhimtwoyearstowrite.
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Avodath Hakodesh (Sacred Service)PART IMeditation: Symphonic Prelude
Mah TovuMah tovu oholecho, Yaakov, mishkenosecho, Yisroel!Vaani, berov chasdecho ovo veisecho, eshtachaveh el heichal kodshecho beyirorsecho.Adonoy, ohavti meon beisecho; umekom mishkan kevodecho, vaani, eshtachaveh veechrooh, evrecho lifnei Adonoy, Osi.Vaani, sefilosi lecho Adonoy eis rotzon; Elohim, berov chasdecho Aneini beemes yishecho.
BorechuBorechu es Adonoy hamevoroch:Boruch Adonoy hamevoroch leolom voed!
Shema YisroelShema Yisroel, Adonoy Eloheinu, Adonoy echod!Boruch shem kevod malchuso leolom voed!
VeohavtoVeohavto eis Adonoy Elohecho bechol levovcho uv’chol nafshecho uv’chol meodecho.Vehoyu hadvorim hoeileh asher onochi metzavcho hayom al levovecho, veshinantom levonecho, vedibarto bom, beshiftecho beveisecho uv’lechtecho vaderech, uv’shochbecho uv’kumecho.Uk’shartom leos al yudecho vehoyu letotofos bein eineicho; uch’savtom al mezuzuos beisecho, uvishorecho.
Mi ChomochoMi chomocho boelim, Adonoy?Mi komocho, nedor bakodesh, noro sehilos, oseh fele?Malchusecho rou vonecho; Seh Eli onu, veomru:
Mah TovuHowgoodlyarethytentsOJacob, thydwellingplacesOIsrael!Asforme,intheabundanceofthyloving kindness Iwillenterthyhouse, Iwillworshiptowardthyholytemple inreverenceofthee.Lord,Ilovethehabitationofthyhouse andtheplacewherethyglorydwells; asforme,Iwillworshipandbowdown, IwillbendthekneebeforetheLord, myMaker.Asforme,maymyprayeruntotheeOLord beatanacceptabletime; OGod,intheabundanceofthy lovingkindness answermeinthetruthofthysalvation.
BorechuBlessyetheLord,whoistobeblessed:BlessedistheLord,whoistobeblessed, foreverandever!
Shema YisroelHearOIsrael,theLordisourGod, theLordisOne!BlessedisthenameofhisgloriousKingdom foreverandever!
VeohavtoAndyoushalllovetheLordyourGod withallyourheartandwithallyoursoul andwithallyourmight.Andthesewords, whichIcommandyouthisday, shallbeuponyourheart; andyoushallteachthemcarefullyto yourchildren, andyoushalltalkofthemwhenyou sitinyourhome andwhenyouwalkbytheway, whenyoulikedownandwhenyouarise.Andyoushallbindthemasasignonyourhand andtheyshallbeasfrontlets betweenyoureyes; andyoushallwritethemonthe doorpostsofyourhouseandupon yourgates.
Mi ChomochoWhoislikeuntotheeamongthemighty, OLord?Whoislikeuntothee,gloriousinholiness, reveredinpraises,doingmarvels?Thychildrenbeheldthysovereignpower; ‘ThisismyGod!’theyexclaimed,andsaid:
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Adonoy YimlochAdonoy yimloch leolom voed.
Tzur YisroelTzur Yisroel, kumo beezras Yisroel, goaleinu, Adonoy tzevoos shemo, Kedosh Yisroel.Boruch atoh, Adonoy Boruch hu uvoruch shemo Goal Yisroel. Amen.
PART IIKEDUSHAH (Sanctification)
NekadeshNekadesh es shimcho boolom Keshem shemakdishim oso bishemei morom, Kakosuv al yad neviecho,
vekoro zeh el zeh veomar,
Kodosh“Kodosh, kodosh, kodosh Adonoy tzevoos, melo chol hooretz kevodo!”
Adir adirenuAdir adireinu, Adonoy Adoneinu, moh adir shimcho bechol hooretz!Boruch kevod Adonoy mimekomo!
Echod hu ElokeinuEchod hu Eloheinu, hu ovinu, hu malkeinu, hu moshieinu; vehu yashmieinu berachamov l’einei kol choi:
Yimloch Adonoy LeolomYimloch Adonoy leolom. Elohayich, Ziyon, ledor vodor. Halaluyah!
PART IIISilent Devotion: Symphonic Prelude
Yihyu LerozonYihyu lerozon imrei fi vehegyon libi lefonecho, Adonoy, tzuri vegoali. Amen.
Seu sheorimSeu sheorim rosheichem Useu pischei olom! Veyovo melech hakovod! Mi hu ze melech hakovod? Adonoy tzevoos, hu melech hakovod. Selah.
Adonoy Yimloch“TheLordshallreignforeverandever.”
Tzur YisroelORockofIsrael,arisetothehelpofIsrael, ourRedeemer,theLordofHostsishisname, theHolyOneofIsrael.Blessedartthou,OLord –blessedisHeandblessedishisname–WhohasredeemedIsrael.Amen.
PART IIKEDUSHAH (Sanctification)
NekadeshWewillsanctifyyournameintheworld justasitissanctified inthehighestheavens aswaswrittenbyyourprophet:Andtheycalledonetoanotherandsaid,
Kodosh“Holy,holy,holy isthelordofHosts, thewholeEarthisfullofhisglory!”
Adir adirenuThouourmostgloriousone,OLordourLord, howgloriousisthynameinalltheearth!BlessedbethegloryoftheLordfromhis place!
Echod hu ElohenuForOneisourGod,HeisourFather, HeisourKing,HeisourRedeemer; andinhismercyhewillletushear (hispromise) inthepresenceofallliving:
Yimloch Adonoy LeolomTheLordshallreignforever, yourGod,OZion,forallgenerations. PraiseyetheLord!
PART III
Yihyu LerozonLetthewordsofmymouthandmy meditationbeacceptablebeforethee, OLord,myRockandmyRedeemer. Amen.
Seu SheorimLiftupyourheads,Oyegates, liftthemup,yeeverlastingdoors, thattheKingofglorymayenter. WhoisthisKingofglory? TheLordofHosts,HeistheKingof glory.Selah.
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Taking the Scroll from the Ark: Symphonic Interlude
Toroh TzivohToroh tzivoh lonu Moshe, morosho kehilas Yaakov. Beis Ya’akov, lechu veneilecho beor Adonoy.
Shema YisroelShema Yisroel, Adonoy Eloheinu, Adonoy echod!
Lecho AdonoyLecho Adonoy hageduloh vehagevuroh, vehatiferes vehaneitzach, vehahod! Ki chol bashomayim uvooretz, Lecho Adonoy, hamamlocho vehamisnaseh, lechol, lerosh.
PART IVGadelu LadonoyGadelu Ladonoy iti un’romamoh shemo yachdov:
Hodo al eretzHodo al eretz veshomayim; vayorem keren leamo, tehiloh lechol chasidov, livnei Yisroel, amk’rovo. Halaluyah!
Toras AdonoyToras Adonoy temimoh, meshivas nofesh; Eidusus Adonoy neemonoh, machkimas pesi; pikudei Adonoy yeshorim, mesamchei leiv.Yiras Adonoy tehoro, omedes load.Kilekach tov nosati lochem. Torosi, al taazovu.
Etz Chayim heEtz Chayim he, Lamachazikim boh, vesomecheho meushor. d’rocheho darchei noam vechol nesivoseho sholom.
PART VEPILOGUE
Vaanachnu (Adoration)Vaanachnu koreim umishtachavim umodim, Lifnei melech malchei hamlochim, Hakodosh, boruch hu
Toro TzivohMosescommandedustheLaw, aninheritanceforthecongregation ofJacob.OHouseofJacob,letuswalktogether inthelightofthelord.
Shema YisroelHearOIsrael,theLordisourGod, theLordisOne!
Lecho AdonoyThine,OLordisthegreatnessandthe power, theglory,thevictoryandthemajesty; forallthatisinheavenandearthisthine, OLord,thineisthekingdomandthe supremacy, thouartmasterofall.
PART IVGadelu LadonoyMagnifythelordwithme andletusexalthisnametogether.
Hodo al EretzHisgrandeurisaboveearthandheaven; Hehasliftedupahorntohispeople, tothepraiseofallwholovehim, tothechildrenofIsrael,thepeople nearuntohim. PraiseyetheLord!
Toras AdonoyTheLawofthelordisperfect, restoringthesoul; thetestimonyoftheLordisfaithful, makingwisethesimple; thepreceptsoftheLordareright, rejoicingtheheart.ThereverenceoftheLordispure, enduringforever.BeholdthesepreceptstheLordhasshownyou. Regardthem.Donotforsakethem.
Etz Chayim he (a peace song)Itisatreeoflifetothemthatgraspit, andthosethatupholditaremadehappy. Itswaysarepleasantways andallitspathsarepeace.
PART VEPILOGUE
Vaanachnu (Adoration)Webowdown andworshipandgivethanks beforethesupremeKingofKings, theHolyOne,blessedbeHe.
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Cantor says this part in English:May the time not be distant, O GodMay the time not be distant, O God, when Thy Name shall be worshipped in all the Earth, when unbelief shall disappear and error be no more.
May the day comeMay the day come when all men shall invoke Thy Name, when corruption and evil shall give way to purity and goodness, when superstition shall no longer enslave the mind, nor fetishism blind the eye!
O may all men recognizeO may all men recognize that they are brethren, so that one in spirit and one in fellowship, they may be forever united, forever united before Thee. Then shall Thine kingdom be established on Earth and the word of Thine ancient Seer be fulfilled!
*******************************************Bayom hahuBayom hahu yiyeh Adonoy Echod, ushemo Echod!
*******************************************Cantor says this part in English:
And now ere we partAnd now ere we part, let us call to mind those who have finished their earthly course and have been gathered to the eternal home. Though vanished from bodily sight, they have not ceased to be, and it is well with them; they abide in the shadow of the Most High. Let those who mourn for them be comforted; let them submit their aching hearts to God, for He is just and wise and merciful in all his doings, though no man, no man, can comprehend his ways.
In the divine order of NatureIn the divine order of nature both life and death, joy and sorrow, serve beneficent ends, and in the fullness of time we shall know why we are tried and why our love brings us sorrow as well as happiness. Wait patiently, all ye that mourn, and be
(Cantor speaks English text.)
*********************************************Bayom hahuOnthatdaywilltheLordbeOne andHisnameOne.
*********************************************(Cantor speaks English text)
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ye of good courage, for surely your longing souls shall be satisfied. Tzur YisroelTzur Yisroel! Kumo beezras Yisroel! Goaleinu, Adonoy tzevoos shemo. Kedosh Yisroel! Kumo beezras Yisroel!
Adon OlomAdon Olom, asher molach, Beterem kol yetzir nivro; leeis naasoh, vecheftzo kol, Asay melech shemo nikro.Veacharey kichlos hakol levado yimloch noroh. Vehu hoyeh, vehu hoveh, vehu yih’yeh, besiforoh!Vehu echod, veayn sheini lehamshil lo, lehach biroh; Beli reishis, beli sachlis, velo hoos vahamisroh!Vehu Eli, vechay goali, vetzur chevli beeis tzoroh. Vehu nissi umonosli, menos kosi beyom ekro.Beyodo afkid ruchi Beeis ishan veoiroh, veim ruchi geviyosi, Adonoy li velo iro.
Yevorechechoh AdonoyYevorechecho Adonoy veyishmerecho. Amen.Yoeir Adonoy ponov eilecho veyichoyneko. AmenYiso Adonoy ponov eilecho, veyosem lecho Sholom. Amen.
Tzur YisroelORockofIsrael,arisetothehelpofIsrael, ourRedeemer,theLordofHostsishis name, theHolyOneofIsrael.
Adon OlomLordoftheuniverse,whoruled beforeanythingwascreated, atthetimewhenallthingswere madeathiswish, thenwashisnamedproclaimedKing.Andafterallthingsshallhavecometoanend Healone,thereveredone,shallreign, Hewas,HeisandHewillbe,inglory. HeisOne,andthereisnoother tocomparewithhim,toconsortwithhim withoutbeginning,withoutend, tohimbelongpoweranddominion.HeismyGod–andmyRedeemerliveth- andaRockinmysufferingintimeof trouble;Heismybannerandmyrefuge, theportionofmycupontheday whenIcall.IntohishanddoIcommendmyspirit whenIsleepandwhenIawake, andwithmyspiritmybodyalso; theLordiswithmeandIshallnotfear.
BenedictionMaytheLordblessyou andkeepyou.AmenMaytheLordmakehisfacetoshineupon youandbegraciousuntoyou.Amen.MaytheLordturnhisfaceuntoyou andgiveyoupeace.Amen.
General program notes by Helene Whitson. Lee Kesselman wrote his biography, as well as the program material for This Grand Show Is Eternal.
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BibliographyAltman,Ludwig.A Well-Tempered Musician’s Unfinished Journey Through Life,anoralhistoryconductedin1988byEleanorGlaserandCarolineCrawford,RegionalOralHistoryOffice,TheBancroftLibrary,UniversityofCalifornia,Berkeley,1990.
Cummings,David,ed.Random House Encyclopedic Dictionary of Classical Music.NewYork:RandomHouse,1997.
Ewin,David.American Composers, A Biographical Dictionary.NewYork:G.P.PutnamandSons,198�.Jablonski,Edward.The Encyclopedia of American Music.GardenCity,NewYork:DoubledayandCompany,1981.
Kennedy,Michael.The Concise Oxford Dictionary of Music.Thirdedition.NewYork:OxfordUniversityPress,1980.
Kushner,DavidZ.The Ernest Bloch Companion.Westport,Connecticut:GreenwoodPress,�00�.
Mechem,Kirke.Biography.SigmaAlphaIota.Philanthropies,Inc.(http:www.sai-national.org/phil/composers/kmechem.html)
Mechem,Kirke.InterviewwithHeleneWhitson,�000.
Miller,SallyM.,ed. John Muir: Life and Work.Albuquerque:UniversityofNewMexicoPress,1996.
Rinder,Rose.Music, Prayer and Religious Leadership; Temple Emanu-El, 1913-1969,aninterviewconductedin1968and1969byMalcaChall,RegionalOralHistoryOffice,TheBancroftLibrary,UniversityofCalifornia,Berkeley,1971.
Rubissow,Ariel.John Muir National Historic Site.Tucson,Arizona:SouthwestParksandMonumentsAssociation,1990.
Sadie,Stanley,Ed.The New Grove Dictionary of Music and Musicians.Secondedition.NewYork:Macmillan,�001.
Slonimsky,Nicolas,Ed.Baker’s Biographical Dictionary of Musicians.NewYork:SchirmerBooks,�001.
Strassburg,Robert.Bloch Sacred Service (Avodath Hakodesh).Programnotesforrecording.MauriceAbravenalconductingtheUtahSymphonyandUtahChorale.Angel/EMI,1977.
Strassburg,Robert.Ernest Bloch: Voice in the Wilderness, A Biographical Study.LosAngeles:TridentShop,CaliforniaStateUniversity,LosAngeles,1977.
Weiss,Don.John Muir, 1838-1914: A Brief Biography.EcologyHallofFame:JohnMuirBiography(http://www.ecotopia.org/ehof/muir/bio.html)
WesternNationalParksAssociation.John Muir National Historic Site.Tucson,Arizona:WesternNationalParksAssociation,1995.
Who’s Who in American Music: Classical.FirstEdition.EditedbyJaquesCattellPress.NewYork:R.R.BowkerCompany,1983.
Wolfe,LinnieMarsh.Son of the Wilderness: The Life of John Muir.NewYork:AlfredA.Knopf,19�7.
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The Artists
Robert Gurney, Music Director
FounderandMusicDirectorRobertGurneyisOrganist-ChoirDirectoratSanFrancisco’shistoricTrinityEpiscopalChurch,OrganistatMarinCounty’sTempleRodefSholom,andoneoftheMuseumOrganistsattheCaliforniaPalaceoftheLegionofHonor.
AresidentofSanFranciscosince1978,hehasbeenanactivechurchmusician,organrecitalist,vocalcoach,andhasservedasAssistantConductor-AccompanistfortheSanFranciscoChoralSociety,theSonomaCityOperaandtheContraCostaChorale.
AnativeofOhio,hereceivedhiseducationatYoungstownStateUniversityandtheClevelandInstituteofMusic,studyingconductingwithWilliamSlocum.AtYoungstown,heservedasStudentAssistantConductoroftheConcertChoirwhichwonfirstplaceinacollegechoircompetitionsponsoredbytheBBC.InSummer1997,hewasinvitedtoparticipateinaninternationalchoralmusicfestivalMusicOfOurTime,heldinParthenay,France,anddirectedbyJohnPoole,ConductorEmeritus,BBCSingers.HestudiedagainwithMaestroPooleinaJune�003workshopsponsoredbytheSanFranciscoLyricChorus.
RobertGurneyhasdirectedtheSanFranciscoLyricChorusininnovativeperformancesoflittle-knownworksbycomposersofexceptionalinterest.TheChorus’Discovery Serieshasintroducedaneight-partAve MariabyTomásLuisdeVictoria,theWestCoastpremiereofFour Motets To The Blessed Virgin Mary,byRobertWitt,musicofAmyBeach,includinghermonumentalGrand Mass in E FlatandthePanama Hymn,writtenforSanFrancisco’s1915Panama-PacificExposition,andpremieresofworksbySanFranciscocomposerKirkeMechem.
John Karl Hirten, Organ
JohnKarlHirtenearnedhisBachelorandMasterofMusicdegreesinorganperformanceunderPaul-MartinMaki,EugeniaEarleandFrederickSwannattheManhattanSchoolofMusicinNewYorkCity.HealsoearnedaBachelorofArtsdegreeinEnglishandClassicalLanguagesatFordhamUniversityinNewYork.
Mr.HirtenhasservedasApprenticeinChurchMusicatTrinityChurchonWallStreetunderLarryKing.HealsoservedasDirectorofMusicfortheFordhamUniversityChapelandasOrganistforSt.JamesCathedralinBrooklyn.AftermovingtotheBayAreain1989,heservedasDirectorofMusicatOldSaintMary’sCathedralinSanFrancisco,aswellasCongregationBethIsraelJudea.HehasalsoservedasAdjunctProfessorofOrganattheDixonSchoolofChurchMusic,GoldenGateBaptistSeminaryinMillValley,CA.HeiscurrentlytheDirectorofParishMusicatSt.Stephen’sChurchinBelvedere.
Mr.HirtenhasgivenconcertslocallyatSt.Mary’sCathedral,GraceCathedral,St.JohntheEvangelist,St.Mark’sEpiscopalinBerkeley,FirstPresbyterianChurchinOakland,theEpiscopalChurchinAlmaden,StStephen’sChurchinBelvedere,andhasperformedwiththeAmericanBachSoloists,OaklandEastBaySymphony,andOaklandBallet.HeplaysregularlyattheCaliforniaPalaceoftheLegionofHonor,inSanFrancisco.
HehasalsoperformedwiththeBronxArtsEnsemble,Bronx,NY,andgivenconcertsatCathedralChurchofSt.JohntheDivine,andTrinityChurch,WallStreet,inNewYorkCity,attheNationalShrineoftheImmaculateConception,Washington,D.C.,atSt.Mary’sCathedral,Covington,KY,atGrazerDom,Austria,andinthe“PaderbornerOrgelsomer”,AbdinghofKirche,Paderborn,Germany
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Acomposer,hismusicispublishedbyGIA,Augsburg,MorningStar,WorldLibraryPublications,TrinitasandConcordia.
JohnKarlHirtenrecentlyfinishedacommissionforMilleniaConsort,aSanDiego-basedperforminggroup,consistingoffourshortpiecesforbrassquintet,organandpercussionbasedontraditionalIrishmelodies.ThepieceiscalledCeathair,whichisGaelicforthenumber“four.”ItwaspremieredinconcertinFebruary.HisLittle Organ Mass on Lutheran Chorales isnowinprint,publishedbyConcordia(soundclipsavailableonthiswebsite).HiscommissionedpiecefortheSaltLakeCityConventionoftheAmericanGuildofOrganists,Play on Royal Oak,hasbeenpublishedinacollectionbyJackmanPress.
Kathryn Singh, Soprano
Ms.SinghstudiedvoicewithMarvinHayesandRobertaThornburgattheCaliforniaInstituteoftheArts,andstudiespresentlywithMiriamAbramovitsch.ShealsostudiedattheAliAkbarCollegeofMusic.ShesingswiththeOaklandSymphonyChorus,BellaMusica,andTheArchStreetIrregulars.ShealsoisasopranosoloistforBerkeley’sTrinityMethodistChurch.Shehasgivenasolovoicerecitalinwhichsheperformed(amongotherworks)theworldpremiereofBayAreacomposerAnnCallaway’sSpeak to me, my lovefromhermusicalcycle,The Gardener, No. 29,withtextbyRabindranathTagore.Ms.SinghplaysviolinwiththeBerkeleyCommunityOrchestraandhasplayedviolinprofessionallywiththeVenturaCountySymphony,aswellasotherSouthernCaliforniasymphonies.ShehassungsolosintheSanFranciscoLyricChoruspresentationsofGiuseppeVerdi’sQuatro Pezzi Sacri,HerbertHowells’Requiem,BenjaminBritten’sCeremony of Carols,AntonínDvorák’sMass in D,FelixMendelssohn’sHear My Prayer,andJosephJongen’sMass, Op. 130.
Susan Kalman, Mezzo-Soprano
SusanKalman,mezzo-soprano,anativeofMilwaukee,Wisconsin,startedsingingwithSanFranciscoLyricChorusinJanuary�00�.ShealsosingswiththeSanFranciscoChoralSociety,whereshehasbeenarehearsalsoloistforBrahm’sAlto RhapsodyandVerdi’sRequiem,andwiththeSanFranciscoSinfoniettaandCommunityMusicCenterOrchestra,whereshesangBach’sCantata #169,Beethoven’sNinth SymphonyandanariafromOrff’sCarmina Burana.ShestudiesvoicewithTheresaCardinale.Professionally,SusanisanaccountantwithadegreefromSanDiegoStateUniversity.Inthatcapacity,sheservesasanaccountantfortheLyricChorus,TreasureroftheSanFranciscoSinfoniettaOrchestraandasBusinessManageroftheSanFranciscoChoralSociety.
Kevin Baum, Tenor/Baritone
KevinBaumisa16-yearveteranoftheensembleChanticleer.HeiscurrentlytenorsectionleaderatChurchoftheAdvent,acantoratSt.IgnatiusChurch,andamemberoftheensemblesScholaAdventusandAVE.Mr.BaumwasthetenorsoloistintheSanFranciscoLyricChorusFall�00�performancesofCharpentier’sIn nativitatem Domini canticum, H314 ,theSpring�005performancesofHaydn’sHarmoniemesse andBruckner’sMass No. 1 in D Minor,andtheFall�005performancesofTallis’Missa puer natus est nobisandVaughanWilliams’Fantasia on Christmas carols.
Dale Richard, Bass/Baritone
BayarearesidentDaleRichard,cametoSanFranciscofromOhio,completinghisMaster’sDegreeattheSanFranciscoConservatoryofMusic.SinceresidingintheBayarea,hehasperformedwiththeSanJoseandSacramentoSymphoniesinworkssuchasBach’sMass in B MinorandHandel’s MessiahandperformedwithScholaCantoruminDvorak’sStabat MaterandBach’sChristmas Oratorio.
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HehasappearedwiththeCarmelBachFestival,PocketOpera,andMarinCivicLightOpera,inMozart’sThe Magic FluteandLehar’sThe Merry Widow.DalewasachartermemberoftheSanFranciscoGayMen’sChorus,frequentlyappearingasasoloistandperformingwiththegroupforover16years.DalecurrentlysingsatTempleEmanu-elinSanFrancisco.
Leo Kan, Rehearsal Accompanist
Introducedtothepianoattheageoffivebyhismother,aconcertpianist,LeoKanwasastudentofEleanorWongattheHongKongAcademyforPerformingArtsbeforemovingtotheUnitedStatesin1996.AMeinigFamilyNationalScholar,Mr.KanstudiedwithMalcolmBilsonatCornellUniversityandreceivedhisbachelorsinmusicmagna cum laudein�003.HealsoholdsaLicentiateinPianoPerformancefromtheAssociatedBoardoftheRoyalSchoolsofMusicandanAssociatefromtheTrinityCollegeinLondon.Hehaswonahostofprizes,includingtheTomLeeMusicScholarshipandGraniteStateAuditions,andhasperformedassoloistattheHongKongCulturalCentreandHongKongCityHall.
Fueledbyapassionforchoralmusic,Mr.KanwroteanhonorsthesisonboychoirswhileatCornell.Aftergraduation,hejoinedtheSanFranciscoBoysChorusasartisticinternandaccompanistbytheinvitationofIanRobertsonandsoonbecameanintegralmemberofthefaculty,leadingthechoristersintheSanFranciscoBallet’sall-newproductionsoftheNutcrackerin�00�.HesingswiththeSanFranciscoSymphonyChorusandMenloParkPresbyterianChurchChancelChoir,andinadditionmaintainsasmallpianostudiowhilestudyingpart-timeatSanFranciscoStateUniversity.Mr.KanperformedwiththePeninsulaWomen’sChoruslastseasonandwasafeaturedpianistattheIpPianoSchool1�thAnnualConcertoConcertinBostoninApril�005.
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TheSanFranciscoLyricChorussendsawarm,specialthanksto:TrinityEpiscopalChurch,itsvestryandcongregation
Acknowledgements
Concert Day ManagerEricHamilton
Concert Day Volunteer Staff CoordinatorAmyMerrill
Concert Day VolunteersSaturday:DavidForthCyrilChongJodyAmesDavidLevyValerieHowardTomMolanphyZachMorrisonJordanMeyerSunday:AnnaBarrAndreaOgarrioAbbyTrollingerLindsayMartinAnnetteDawsonEmilyMiller
Chorus Management CoordinatorLindaHiney
Publications CyrilChongSusieMeserveAmyMerrillBillWhitson
Postcard/Flyer DesignBillWhitson
Publicity SusanAldenPeggyTrimbleAndreaOgarrioPatAlexanderEllenLee
Program PreparationLisaCain,HeleneWhitson
Program Design And LayoutBillWhitson
Ticket Sales CoordinatorsLindaHineyCassandraForth
Mailing List DatabaseBillWhitson
Treasury SupportCassandraForthDavidBaker
Registration/Music DistributionPatAlexanderLoisKelley
Rehearsal Setup/Cleanup CoordinatorLoisKelley
Rehearsal Setup/Cleanup AlAldenEmilyClaassenShirleyDrexlerKevinBaumKathrynSingh
Refreshments CoordinatorsBarbaraGreenoJaneGoldsmithSusanHendrickson
Concert Day Setup/Cleanup CyrilChongJaredPierceMichaelMorrisEvelynChen
Language CoachDidiBoring
Rehearsal AccompanistLeoKan
Chorus Website DesignAndreaObana&FineBrandMedia,Inc.SophieHenry
Website MaintenanceJaneRegan
PhotographySethHerringBillWhitsonKarenMcCahill
Sound RecordingBillWhitson
Video RecordingJimGranato
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TheSanFranciscoLyricChorusischarteredbytheStateofCaliforniaasanon-profitcorporationandapprovedbytheU.S.InternalRevenueServiceasa501c(3)organization.Donationsaretax-deductibleascharitabledonations.
TheSanFranciscoLyricChorusisarelativelyyoungchorus,andwehavegrowntremendouslyinmusicalabilityduringourfewshortyears.Wewillcontinuetoprovidebeautifulandexcitingmusicforouraudiences,andlookforwardtobecomingoneofSanFrancisco’spremierechoralensembles.Wewouldlikemoreoftentoperformworkswithchamberorchestraandothercombinationsofinstruments,hireanaccompanistforrehearsals,andoccasionallyperforminothersites.Continuedgrowthanddevelopment,however,willrequireustofindincreasedfinancialsupportfromfriends,audiencesandotheragencies.
Monetarygiftsofanyamountaremostwelcome.Allcontributorswillbeacknowledgedinourconcertprograms.Forfurtherinformation,[email protected](�15)775-5111.Donationsalsomaybemailedtothefollowingaddress:SanFranciscoLyricChorus,950FranklinStreet,#�9,SanFrancisco,California9�109.
ADOPT A SINGER
Foraslittleas$�0,youcansupporttheSanFranciscoLyricChorusbyadoptingyourfavoritesinger.For$100,youcansponsoranentiresection(soprano,alto,tenor,orbass!)For$150,youcanadoptouresteemedMusicDirector,RobertGurney.
Contributions
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Contributions
10th Anniversary Commission Donors
RichardD.Antal
DavidBaker&RodneyOrmandam
DidiBoring
ChristineColasurdo
MaryLou&HartleyCravens
R.DavidDicioccio
NanetteDuffy
Cassandra&DavidForth
BarbaraGreeno
ElizabethHendrickson
SusanHendrickson
SophieHenry
LoisKelley
KarenMcCahill
GladysG.Moore
RuthK.Nash
AndreaOgarrio
Jane&BobRegan
Steve&MarySandkohl
Wylie&JudySheldon
Susan&DavidSmith
Laurie&RickSteele
SuzanneTaylor
Helene&BillWhitson
We want to offer a very special thank you to our 10th Anniversary Commission Fund donors. They generously supported the creation of our commissioned work, Lee R. Kesselman’s This Grand Show Is Eternal, and gave the members of the Chorus an opportunity to learn and share a wonderful new choral work with our community, as well as add to the world’s choral repertoire.
We express special gratitude to Didi and Dix Boring for hosting our Composer/Donor reception.
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Sforzando ($1000+)
Hartley&MaryLouCravensWylie&JudySheldonHelene&BillWhitson
Fortissimo ($300-$999)
JulieAldenDavidBaker&RodneyOmandamDidiBoringR.DavidDicioccioCassandra&DavidForthBarbaraGreenoSusanHendricksonSophieHenryLoisKelleyJohnLeeJamesLoseeGladysG.MooreAndreaOgarrioJane&BobRegan
Forte ($100-$299)
RichardD.AntalMaunaArnzenAnne&MartinBrenneisJamesCampbellChristineColasurdoRev.Robert&AnneCromeyNanetteDuffyElizabethHendricksonSusanM.KalmanSharon&KennethLevienKarenMcCahillMartin&MariaQuinnSusan&DavidSmithLaurie&RickSteeleSuzanneTaylor
Mezzoforte ($20-$99)
C.RichardAlligoodBarbara&DonBannettAnnaBarrKristineL.ChaseCyrilChongSimon-PierreCotéRobert&KikoD’AngeloNeilFigurelliJackFongDavidForbesLinelleGlassHelenGoldsmith&PaulHellerFlorenceHaimesAndrewHarrisConnie&EdHenryValerieHowardCherylDentHowellJohnson&Johnson,Inc.CatherineLewisLeeB.MorrowRuthK.NashBarbaraOgarrioRev.Ted&ShirleyRidgwayMary&SteveSandkohlTedWinn
Contributions
Adopt-a-Singer Contributions(Spring 2006)
JaneRegan adoptsRobertGurney
JulieAlden adoptstheBassSection
DavidBaker&RodneyOrmandam adopttheBassSection
BarbaraGreeno adoptstheAltoSection
JamesLosee adoptstheTenorSection
SusanHendrickson adoptstheSopranoSection
(May 2005-April 2006)
30
TrinityEpiscopalChurch,foundedin18�9,wasthefirstEpiscopalcongregationwestoftheRockyMountains.SomeoftheparishpioneerswereamongthemostprominentSanFranciscansoftheirday:McAllister,Turk,Eddy,Austin,Taylor,andmanyothers.
Theparish’ssignificantroleinthehistoryofSanFranciscocontinuestoday.NotableamongTrinity’smanycommunityandsocialprogramsisthefoundingofProjectOpenHandbyRuthBrinkerin1985.
Thepresentchurchstructure,builtin189�,wasdesignedbyArthurPageBrown,whowasalsothearchitectofSanFranciscoCityHallandtheFerryBuilding.InspiredbytheNorman-RomanesquearchitectureofDurhamCathedral,itisbuiltofroughhewnColusasandstoneandfeaturesamassivecastle-likecentraltower.
TheTrinityorganwasbuiltin19��byErnestM.Skinnerandisoneofthefinestremainingexamplesofhisartistry.BuiltafterhissecondtriptoEurope,itreflectstheinfluenceofhislong,creativeassociationwiththegreatEnglishbuilderHenryWillis,III.Theinstrument’sfourmanualsandpedalcontainmanyofthenumerousorchestralimitativevoicesperfectedbySkinner.Amongthem,theTrinityorgancontainstheFrenchHorn,OrchestralOboe,Clarinet,TubaMirabilis,andeightranksofstrings.Thiswealthoforchestralcolorprovidesarangeofexpressivenessevocativeofasymphonyorchestra.
Thenewlyrestoredhistoric1896Sohmernine-footconcertgrandpianoisusedoccasionallyinLyricChorusperformances.Thisfineinstrument,builtduringaneraofexperimentationinpianobuilding,boastssomeuniquefeatures,suggestingthatthisinstrumentwasashowpiecefortheSohmerCompany.Theentirepianoisbuiltonalargerscalethanmoderninstruments.Thereareextrabracesintheframeforincreasedstrength.Eachnotehasanadditionallengthofstringbeyondthebridgetodevelopmoreharmonicsinthetone.Thetreblestringsareofaheaviergaugeandthusstretchedunderhighertensionthanmodernpianos,andthereareadditionalstringsatthetopthatdonotplay--addedsolelytoincreasethehighharmonicresonanceinthetreble(producingthatdelightful“sparkle”).
Duetoitssuperbacoustics,magnificentorgan,andthecommitmentofalongsuccessionofmusicians,TrinityhaspresentedawealthofgreatmusictotheCity.TheSanFranciscoLyricChorushasbecomeapartofthistradition,thankstothegenerousencouragementandnurturingofthisvibrantcongregation.
Trinity Episcopal Church, San Francisco
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Trinity Episcopal Church, San FranciscoTAdvertisements
San Francisco Lyric Chorus Thankyou’s
b b b b bCassandra ForthRobert, thank you for years of great repertoire.
Jane ReganThanks, Leo, for keeping the pitch!
Leo KanThanks, Robert, for your amazing support, encouragement and friendship these past couple of years. Thank you, Helene, for all your wonderful advice!
Pat AlexanderThanks to Harry, Loebie, Charilie & Steve for supporting these concerts.
Ellen LeeThank you to Peggy for your generous carpool.
Jim Losee & FamilyHelene & Bill, Thanks for the books and everything else!
AnonymousRobert, you’re a treasure!
Jim LoseeThanks to my family—Carolyn & Dylan.
Susan and AlThank you mom, Julie, for your continued support.
Jared PierceThanks, mom, for coming all the way from Florida.Thanks, Elise and Sally, for coming to see me sing. :-)
Kathryn SinghThank you, Cassandra, for braving the weather & driving me to rehearsal.
Anonymousto “Val the Valiant”—Fair, focused, faithful—Thank you!
Susan KalmanThank you to Robert Gurney for giving me the opportunity to sing solo passages in the Sacred Service. Thank you also to Theresa Cardinale, for years of guidance, support and patience.
Helene WhitsonFor me, this year is a time of celebration and joy. For the last ten years, the San Francisco Lyric Chorus has been bringing a wide variety of exciting choral music to the Bay Area. We could not have had this opportunity without the caring and talent of our gifted Music Director, Robert Gurney, Bill Whitson’s planning and technical skills, our dedicated Board of Directors, our helpful volunteers, our generous donors and contributors, our wonderful audiences, our vocal coaches and teachers, our friends and families, and especially, our marvelous choristers. I also must express deep gratitude to five people who changed my life profoundly by opening the world of choral music to me: Winifred Baker, John Poole, Robert Gurney, Arlene Sagan, and Andy Horn. I am grateful to all of you for helping to create one of the major joys of my life. I want to give a special thanks to Trinity Episcopal Church and the Trinity family for allowing the San Francisco Lyric Chorus to call Trinity ‘home’ and to create music in this beautiful place.
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Advertisements
Dear Altos: Sorry I can’t be with you for this beautiful concert, but you will be great. I’m looking forward to the CD. Love, Barbara
For Sale
Yamaha Model W studio upright (44”) #104217, built around 1970, with a satin ebony finish.
The piano has been moderately used, and has had regular tunings and maintenance.
Based on a professional appraisal, it is listed at $2700. You may contact Cassandra via email at
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San Francisco Lyric Chorus
2006 Summer Concert
Saturday, August, 26, 2006, 8 pmSunday, August 27, 2006, 5pmTrinity Episcopal ChurchBush & Gough Streets, San Francisco
2006 Fall Concert
Saturday, December 2, 2006, 8 pmSunday, December 3, 2006, 5 pmTrinity Episcopal Church
Bush and Gough Streets, San Francisco
2006 Holiday Concert
Saturday, December 30, 2006, 4 pmCalifornia Palace of the Legion of HonorLincoln Park, San Francisco
2007 Spring Concert
Saturday, April 21, 2007, 8 pmSunday, April 22, 2007, 5 pmTrinity Episcopal ChurchBush and Gough Streets, San Francisco
Reflections
Ralph Vaughan Williams Dona Nobis PacemMichael Haydn Requiem
Mainly Mozart/Great English Anthems
Wolfgang Amadeus Mozart Ave Verum CorpusWolfgang Amadeus Mozart Laudate Dominum from Vesperae solennes, K. 339 Wolfgang Amadeus Mozart Kyrie in D, K. 341Wolfgang Amadeus Mozart Missa Solemnis, K 337Anthems to be announced
Annual New Year’s Pops Concert
Robert Gurney, Organwith theSan Francisco Lyric ChorusChoruses from Die Fledermaus, by Johann Strauss, Jr.; San Francisco; holiday favorites
Kaleidoscope: Music from around the WorldPieces to be announced
Concerts in 2006-2007
3�
RobertGurney,
Organist
Plays
TheMagnificent
E.M.SkinnerOrgan
Regularlyonthe
SecondWeekend
ofeverymonth
atthe
California
Palace
ofthe
LegionofHonor
LincolnPark
SanFrancisco
Saturday,June10&Sunday,June11�pm:
FelixMendelssohn,GeorgeGershwinJohnPhilipSousa
Saturday,July8&Sunday,July9�pm:
DietrichBuxtehude,ScottJoplinCésarFranck
Saturday,August1�&Sunday,August13,�pm:RichardPurvis,IrvingBerlin
Jean-JosephMouret
Saturday,September9&Sunday,September10,�pm:
JohannSebastianBachAlfredHollins,GeorgeGershwin
Saturday,October1�&Sunday,October15,�pm:
AmyBeach,RichardPurvisEugeneGigout
Saturday,November11&Sunday,November1�,�pm:
ColePorter,ScottJoplinJohannSebastianBach
Saturday,December9&Sunday,December10,�pm:Louis-
ClaudeDaquin,RichardPurvisDietrichBuxtehude
Saturday,December30&Sunday,December31,�pm:
withtheSanFranciscoLyricChorus(Saturdayonly)
LeroyAnderson,JohannStraussVictorHerbert
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35
Sing Summer 2006 with theSan Francisco Lyric Chorus!
We are a friendly, SATB, 35-voice auditioned nonprofessional chorus dedicated to singing beautiful, interesting classical choral music with passion, blended sound and a sense of joy and fun!
Ralph Vaughan Williams Dona Nobis Pacem
Michael Haydn Requiem
Rehearsals: Mondays, 7:15-9:45 pmTrinity Episcopal ChurchBush & Gough Streets, San Francisco
Performances:Saturday, August 26, 2006, 8 pmSunday, August 27, 2006, 5 pm
For audition and other information, contactMusic Director Robert Gurney
phone: 415-775-5111email: [email protected]
website: http://www.sflc.org
This Summer, we will sing
Rehearsals Begin Monday May 8, 2006
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San Francisco Lyric Chorus
SopranosSusanAldenPatriciaAlexanderEvelynChenEmilyClaassenCassandraForth*LiindaHineyLoisKelleyEllenLeeSusieMeserveMaryLouMyersKathrynSinghHeleneWhitson#
AltosLisaMasseyCainShirleyDrexlerDanicaGreenSusanHendricksonSusanKalmanCatherineLewisKarenMcCahillAmyMerrillJaneReganLaurieSteelePeggyTrimble
TenorsKevinBaumNanetteDuffySethHerringLeoKanJimLosee*
BassesAlbertAldenDavidBaker#MichaelMorrisJaredPierce*BillWhitson#
#BoardofDirectors*SectionRepresentative
10th ANNIVERSARY SEASON2005-2006
