(e)merging(e)mergingvoices

2009-2010 season

(e)merging

la jolla symphony & chorus

music from polandSaturday, March 13, 2010, 8PMSunday, March 14, 2010, 3PM

Mandeville Auditorium, UCSD

CHORAL DIRECTOR DAVID CHASE

We gratefully acknowledgeBill Ziefle & Dr. Nora La Corte / Beda & Gerald Farrell

for underwriting this concert.

Unauthorized flash photography and audio/video recordingare prohibited during this performance.

MUSIC DIRECTOR STEVEN SCHICK

Saturday, March 13, 2010, 8PM � Sunday, March 14, 2010, 3PMMandeville Auditorium, UCSD

PENDERECKI Chaconne in Memory of John Paul II U.S. PREMIERE

SZYMANOWSKI Symphonie Concertante (Symphony No. 4), Opus 60

ModeratoAndante molto sostenutoAllegro non troppo

Peter Gach, piano

INTERMISSION

SZYMANOWSKI Stabat Mater, Opus 53

Stała Matka bolejaca (The suffering Mother stood)I któz widzac tak cierpiaca (And who, seeing such suffering)O Matko, zródlo wszechmilosci (Mother, source of all love)Spraw niech placze z Toba razem (Let me weep together with You)Panno słodka, racz, mozołem (Grant, sweet lady)Chrystus niech mi bedzie grodem (May Christ be my stronghold)

Renee Calvo, sopranoJanelle DeStefano, mezzo-soprano

Philip Larson, bass

DAVID CHASE CONDUCTING

music from poland

DAVID CHASEconductor

Conductor of the La Jolla SymphonyChorus since 1973, David Chase servesas a lecturer in the UCSD Music Depart-ment. Under his leadership the 130-voice ensemble performs a mixture ofmusical styles that combine standardrepertory with new or rarely performedworks. Major projects have included theworld premiere and CRI recording ofHenry Brant’s Western Springs, a KPBS-TV broadcast of La Jolla Symphony andChorus’ first performance of Bach’sMass in B Minor, and the American pre-miere of the musical-theatre piece, Boo-jum! by Australian composer MartinWesley-Smith.

Dr. Chase is a graduate of The OhioState University, and received his doc-torate at the University of Michigan.While living in Ann Arbor, he served asconductor of the Grand Rapids Sym-phonic Choir. He recently retired fromPalomar College in San Marcos, Califor-nia, where he taught music since 1974.In addition to his academic and choralduties, he has performed and recordedwith the Robert Shaw Festival ChamberChorus in Souillac, France and atCarnegie Hall. He also has been a fellowin the Melodious Accord Fellowshipwith Alice Parker in New York City. Hiscompositions are published by ShawneePress and Concordia Music Publishers.

David Chase and members of the cho-rus have made four European tours anda tour of Mexico, and have been fea-tured in the Mendocino Music Festival.In 2001 the mayor and city council ofSan Diego proclaimed the ensemble of-ficial “Cultural Ambassadors”. TheRoyal Government of Bhutan invitedthem to be the first western choir tosing in that Himalayan kingdom, wherethey brought “Music from America” tothe people of Bhutan.

All of this history seems to lead explicitly toour present program of Music from Poland.

Our concert begins with a brief new workof Penderecki—not the dissonant music ofthe ‘60s, but the burnished, autumnal styleof his later years, here applied to thebaroque form, the Chaconne. It was writ-ten in memory of his friend, Pope JohnPaul II. We follow that with two importantworks of Szymanowski, both among hislast large compositions. Peter Gach playsthe Sinfonia Concertante, which the com-poser himself played all over Europe, butwas dedicated to his great friend, ArthurRubenstein. It’s full of mazurka themesand references to the folk music of theTatra Mountains, which he especiallyloved. But is also absolute music informedby brilliant impressionistic orchestration.

Finally the chorus joins the orchestra andour soloists in the Stabat Mater. It is anutterly unique composition, clearly Szy-manowski’s response to Jankowski’shighly-charged Polish version of the Sta-bat Mater, itself one of the most dra-matic texts in the Christian Tradition. Thechoral writing is a highly original combi-nation of archaic techniques, which helearned from studying pre-sixteenth-century choral music, and modern ideasthat he learned in Paris from his Impres-sionist colleagues.

There is an unusual arch to this concert:It begins with the elegiac Chaconne andends with the lamentations of the StabatMater, surrounding a colorful and excit-ing Concertante. This gives the overallprogram a certain dark, luminous qual-ity. I hope it represents something of thePolish soul. �

It must have been 1966or ’67 when I was firstdrawn into Polishmusic by the ultimate“driveway moment.”Driving in my greenVW bug—a direct-im-port, the only state-of-the-art component ofwhich was its wonder-

ful Blaupunkt radio—I had tuned into themidst of a work of gripping power: layersof chant-like voices building dissonantclusters of 12-tone chords that nearlysucked the breath out of me. I pulled intomy driveway and listened, spellbound, asthe clusters built and built and finally ex-ploded into a D major triad. What hadchanged my way of hearing music, Ilearned from the announcer, was the Sta-bat Mater of Krystof Penderecki, the un-accompanied choral movement of hishuge and revolutionary work, The St.Luke Passion.

Years later I would conduct La Jolla Sym-phony Chorus in that Stabat Mater, inSherwood Auditorium. And after that, Iwould meet a new faculty colleague atPalomar College, Dr. Peter Gach, who hadlived and studied in Poland. He was a con-summate proponent of Fryderyk Chopinand he also championed the music ofKarol Szymanowski, the 20th century com-poser who had greatly enriched Polishmusic with his own interpretation of itsnational character.

Two other experiences have led to thepresent performance: A 2001 chorus tourof Poland and the subsequent guest con-ducting of our chorus and orchestra by theexciting young conductor from Bialystok,Marcin Nałęcz-Niesiołowski. The accompa-nying article by Beda Farrell chronicles thetour adventures. What Marcin brought tous was Szymanowski’s choral masterpiece,the Stabat Mater, which concludes ourpresent program.

FROM THE CONDUCTOR

Sincere appreciation to

Margarete Kolinskifor her support of

this concert through outreachto the Southern California

Polish community.

Voices from Americaand Music from Poland

In July 2001, Choral Director David Chase, a 44-member cham-ber chorus and 11-member string ensemble traveled to centralEurope, making the fifth concert tour for singers and secondfor string players. As representatives of the La Jolla Symphonyand Chorus, our musicians shared some beautiful music ofAmericas with the people of the Czech Republic and Poland.

We derived great pleasure in presenting our “Voices from Amer-ica” concerts in Prague and Třeboň in the Czech Republic; and inWrocław, Kraków andWarsaw, Poland. Each concert was differentand exciting…from no electricity in a mausoleum chapel in Tře-boň, to intermittent electricity (overloaded circuit breakers inWrocław’s St. Mary Magdalene Cathedral), to marvelous concerthalls and our final concert in a gothic style church in the center ofthe former Warsaw ghetto. In addition we, and our families, sawmarvelous sites and met some wonderful people along the way.

Audiences loved hearing the music of North and South America,and showed their appreciation with loud applause for the mu-sicians and huge bouquets for Maestro Chase. We truly felt likethe official Cultural Ambassadors of San Diego as proclaimed bythen Mayor Dick Murphy and the San Diego City Council. Withenthusiastic assistance from local San Diego residents and LJS&Cpatrons Dr. Zofia Dziewanowska and Dr. Jerzy Barankiewicz, wealso became ambassadors of the San Diego-Warsaw and Ma-zovia Province Sister Society. It was with their assistance that wemade a special connection with the people of Poland.

The high point of our tour came in Warsaw where we werefêted by the Mazovia Province Governor’s staff and by SisterCity representatives from the city of Warsaw. Our final per-formance was in front of 1,400 people in the St. AugustineChurch. There was standing room only inside the church, thelobby was filled, and those who couldn’t fit into the lobbystood outside in the rain to hear our concert!

It was through our musical connections in Poland that webrought the talented, young conductor Marcin Nałecz-Niesiołowski to San Diego in 2002, where he conducted the LaJolla Symphony and Chorus in outstanding performances ofPolish and Russian composers. This is a small world indeed, es-pecially when the love of good music brings people together.In Mandeville Auditorium this weekend, we share with you themusic of Poland once again, with the music of Krzysztof Pen-derecki and Karol Szymanowski, conducted by David Chase andfeaturing Polish-American pianist Peter Gach, and wish youMiłego posłuchania! (pleasant listening!)

Beda Farrell, Chorus Alumna

OFFICERSAmee WoodPresident

Walter DesmondVice President

Jenny SmerudTreasurer

Wendy PatrickSecretary

Gordon ClarkMarty HambrightDr. Ida Houby

Stephen L. MarshJoseph Snyder

EX-OFFICIOEric BrombergerDr. David ChaseMiller PucketteSteven Schick

HONORARYMEMBERSEloise Duff

Dr. Will OgdonDavid ParrisJeanne Saier

La JollaSymphony & Chorus

Association

Board ofDirectors2009-2010 Season

MISSION STATEMENTRooted in San Diego for over50 years, the La Jolla Symphonyand Chorus enriches our livesthrough affordable concerts ofground-breaking, traditional andcontemporary classical music.

AboutLa Jolla Symphony& Chorus

We Rely OnYour

Support.

Thank You!

48%Individual

Contribution

18%Foundation,

Grants, Corporate,Institutional

34%Ticket Sales

MISSION:Rooted in San Diego for over 50 years, the La Jolla Symphony and Chorusenriches our lives through affordable concerts of ground-breaking, traditionaland contemporary classical music.

DID YOU KNOW?• LJS&C is a volunteer ensemble comprised of community members from

all walks of life: doctors, scientists, lawyers, engineers, homemakers,students, and teachers, as well as professional musicians.

• LJS&C was founded in 1954 in the village of La Jolla by PeterNicoloff, a conductor who assembled a small group of non-professionalmusicians “just for fun” and conducted them in what was modestly calledan open rehearsal. Over the next half century, the organization grew toover 200 orchestra and chorus members.

• LJS&C became an affiliate of the UCSD Music Department under thedirection of Thomas Nee in 1967 when the new campus opened.Concerts were split between Sherwood Auditorium and Revelle cafeteriaon campus until Mandeville Auditorium opened in 1975.

• The Chorus has toured and performed in Poland, Czechoslovakia,Germany, Austria, Italy, France, Canada, and Mexico, and was proclaimedofficial cultural ambassador of San Diego in 2003 when it was the firstWestern chorus to perform in Bhutan.

• LJS&C has performed over 800 concerts in San Diego County and BajaCalifornia, premiered new works, commissioned pieces and made recordings.

• LJS&C is not University funded but a separate 501(c)3 non-profitcorporation, relying on private donations, fundraising activities, grants,and ticket sales for its support.

Chaconne in Memoryof John Paul IIKRZYSZTOF PENDERECKIBorn November 23, 1933, Dębica

Polish composer KrzysztofPenderecki found inter-national recognition withthe 1960 premiere of hisThrenody for the Victimsof Hiroshima, scored for52 stringed instruments

and employing a number of unusual stringtechniques. In those years Penderecki washailed as a member of the avant garde, par-ticularly as one who had had to work underSoviet domination, but as the years went byPenderecki lost his enthusiasm for serialtechniques and experimental methods andbecame if not a more “traditional” com-poser, then at least a more conservative one.He has been vastly prolific (his catalog ofcompositions now includes four operas,eight symphonies, and numerous instru-mental and vocal works), and a central fea-ture of his work as a composer has been hisdevout Roman Catholic faith. One of his im-portant early works was his St. Luke Passionof 1966, and he has written many other litur-gical works, including the Dies Irae, Magni-ficat, Agnus Dei, Utrenja (Morning Prayers),and Credo, as well as an opera based on Mil-ton’s Paradise Lost.

In 1980 Lech Walesa asked Penderecki tocompose music that would accompany theunveiling of a statue in memory of the vic-tims of the Gdansk shipyard uprising, andfor that occasion Penderecki composed hisLacrimosa. The following year Pendereckicomposed an Agnus Dei in memory of Car-dinal Wyszynski, and over the next severalyears he gathered these two movements,wrote further settings, and from them com-posed his Polish Requiem, which was pre-miered in 1984. In curious ways,Penderecki’s setting of the requiem textbears some relation to the Szymanowski

Stabat Mater heard later on this program:both composers wished to compose a “Pol-ish requiem” that would commemorate thesufferings of Poland, but both composersfound that their plans evolved. Szy-manowski eventually set the Stabat Matertext instead, and Penderecki continued toadd more movements to his Polish Re-quiem. He wrote a new Sanctus for it in1993 and declared at that point that his Re-quiem had reached its “definitive version.”But Penderecki was friends with Pope JohnPaul II (both had grown up in Krakow), andwhen John Paul II died in 2005, Pendereckiadded one more movement to his Polish Re-quiem, a Chaconne scored only for strings.Penderecki’s Chaconne, dark and movingmusic, receives its American premiere withthese performances.

A chaconne is a very old variation form an-chored on a repeating ground bass and usu-ally set in a triple meter. Penderecki’sChaconne is quite slow (the marking is Ada-gio) and is built on descending bass line. ButPenderecki does not anchor this line on atriple meter: the piece begins in 4/8 andacross its seven-minute span the music alter-nates sequences in 4/8 and 3/8. The groundbass moves solemnly forward while highabove it the upper strings lay out a series ofkeening and jagged variations. Some ofthese grow quite ornate (and demand virtu-oso playing). In the closing moments of theChaconne the tempo becomes even slower,and the music fades into silence on the vio-lins’ sustained artificial harmonics.�

PROGRAM NOTES BY ERIC BROMBERGER

Saturday, April 24, 2pmat the Del Mar homeof Robert Engler & Julie Ruedi

� Reception

� “Blind” Tasting[Wines of Spain]

� Wine Raffle

Mark your calendars for anotherfun and fabulous wine tastingwith syndicated wine columnistRobert Whitley. Proceeds benefitthe La Jolla Symphony & Chorus.

$95 per person / $180 per couple

Tickets: 858-534-4637

Save the Date!9th Annual

Wine TastingTapas and Spanish Wines

Underwriting support forthis premiere performance

received from…

Consulate Generalof the Republic of Poland

in Los Angeles

Konsulat GeneralnyRzeczypospolitej Polskiej

w Los Angeles

good friend and countryman Artur Rubinstein,who became one of its champions in the yearsafter Szymanowski’s death (Rubinstein recordedit in 1952 with the Los Angeles Philharmonic).

The Symphonie Concertante falls into the threemovements of the traditional concerto, but oneshould note the importance of the orchestrathroughout. Szymanowski treats the orchestrasoloistically: there are important solos for flute,violin, trumpet, and many others; the first violinsection is given passages of breathtaking diffi-culty; and the orchestra is called upon to producea range of colors and sounds. This music is full ofSzymanowski’s characteristic harmonic freedom,and instrumental textures always feel alive: inquiet passages the orchestra is often trilling in thebackground, and in forte passages it can explodewith huge washes of energy and bright color. Theorchestra truly is the partner of the solo pianohere, and Szymanowski was quite right to registerthat fact in his various titles.

Over an irregular pizzicato pulse, solo piano laysout the central idea of the opening Allegro mod-erato, and this long first paragraph grows moreanimated as it proceeds, with strident trumpetcalls and much percussive writing for the key-board. Solo flute sings the flowing second sub-ject, and the vigorous development proceeds overbusy orchestral textures. Szymanowski offers hissoloist a cadenza before the movement drives toa fiery close on its opening theme.

The Andante molto sostenuto opens with thesound of quietly-trilling strings and busy pianotextures (this moment is characteristic of Szy-manowski’s glowing sound-world), and above thisthe solo flute has the movement’s main theme.Solo piano quickly takes this up and is joined bythe solo violin. This movement too builds to an in-tense climax before solo flute helps lead the wayto the quiet conclusion, which is given to thepiano, playing entirely by itself.

The concluding Allegro non troppo opens withan ominous pulse from the lower strings, and thismovement quickly develops a craggy strength asit proceeds. This is the most virtuosic (and theshortest) of the three movements, and after alovely central episode for solo violin Szy-manowski drives the Symphonie Concertante toits exciting conclusion.�

PeterGachpiano

Peter Gach hasbeen a memberof the musicfaculty at Palo-

mar College for 24 years, where he isalso Artist in Residence. During thattime he has performed several hun-dred concerts, and touched the heartsof many, many people. His perform-ing repertoire spans a wide gamut ofmusical styles. He plays the “classics”—Bach, Beethoven, Brahms, Schu-bert, Schumann, Chopin and Liszt—as well as contemporary works.Because of his Polish heritage, hefeels a special affinity for Chopin. Heholds a degree in Slavic languages,which enabled him to study at theWarsaw Conservatory in Warsaw,Poland (the same conservatoryChopin attended.) Fluent in Polish, hefrequently returns there to perform.

Gach firmly believes that we honorthe legacy of the great musicians ofthe past by performing music writtenby contemporary composers. Overthe past 20 years he has performedmany world premieres of works writ-ten specifically for him. Jim Weld (ofthe Palomar College faculty), NormWeston, William Bradbury, FrancoisRose, Rafal Stradomski, and MadelynByrne are just a few of the com-posers whose works he has champi-oned and premiered.

Other composers of the 20th centuryalso interest Gach. He is one of thefew pianists to perform the CharlesIves First Sonata, a work of enormousscope and difficulty. His interest in thepiano music of Karol Szymanowski re-sulted in an invitation by the KarolSzymanowski Society to perform atthe composer’s home in Zakopane,Poland, which he did in 1998.

Symphonie Concertante(Symphony No. 4), Opus 60KAROL SZYMANOWSKIBorn October 6, 1882, TymoszowskaDied March 29, 1937, Lausanne

One of Szymanowski’s final compositions,the Symphonie Concertante comes fromthe most difficult period of his life. In1932, after years of squabbling with con-servative factions on the faculty, Szy-manowski resigned as director of theWarsaw Academy of Music. At age 50, his

health had been shattered: he was suffering from the tuber-culosis that would kill him five years later, and his own heavysmoking had so damaged his throat that he could speak onlyin a whisper. And he found himself almost in poverty. Thatspring he wrote to a friend: “I am broke. Soon real povertywill be at the door!! That is a good reason for not going toWarsaw—it’s for the better, as it gives me a chance to workmore and I hope to finish before summer the new composi-tion about which I am very much concerned.” That new com-position was the Symphonie Concertante, a piece he wrotespecifically for himself: he hoped that by appearing as pianosoloist in this music he could help rescue his financial condi-tion. Its composition took longer than Szymanowski ex-pected–he worked on the Symphonie Concertante across thesummer of 1932, completing it in August.

The form of this music is not clear-cut, a situation reflected inthe fact that it has two different titles. In the eighteenth cen-tury, a sinfonia concertante featured solo instruments (usuallytwo or more), but without the conscious virtuosity of a con-certo: the soloists were part of the orchestra, they emergedfrom the orchestral texture, and they returned to it. Szy-manowski seems to evoke this in his title: he was a very goodpianist but not a virtuoso, and in this music he deliberatelykept the piano part within the range of his abilities and madethe music a partnership of soloist and orchestra. But at othertimes, Szymanowski referred to this new composition as hisSymphony No. 4, suggesting that it was really symphonic inconstruction, even though it featured a prominent solo part(and there have been many symphonies that feature a soloist:Lalo’s Symphonie Espagnole, Saint-Saëns’ Organ Symphony,Bernstein’s Age of Anxiety among them). And so this piece isa sort of hybrid, hovering between several different forms.

Szymanowski was soloist at the first performance on October9, 1932, in Poznań, and over the next several years he playedthis work in Warsaw, London, Stockholm, Oslo, Bergen, andCopenhagen. He dedicated the Symphonie Concertante to his

AdministrativeStaff

Diane SalisburyExecutive Director

Adam PerezPatron Services Manager

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Artistic Staff

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Mea DaumChorus Manager

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Outreach

Victoria EicherDirector

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UCSD 0361La Jolla, CA 92093-0361Phone: 858.534.4637Fax: 858.534.9947

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How to Reach Us

Stabat Mater, Opus 53KAROL SZYMANOWSKI

Szymanowski spent World War I on his fam-ily’s estate in the Ukraine, and he returnedto Warsaw after the war, overwhelmed bythe suffering of his nation. He became an ar-dent nationalist, driven by “a fanatic love forthe idea of Poland” and determined to ad-vance the cause of Polish music. Visits to theTatra Mountains in southern Poland broughthim into contact with the peasants of thatregion and their music, and from thesesources Szymanowski began to forge whatwould be the final style of his brief life (hedied at 54 of tuberculosis).

During the mid-1920s Szymanowski wrotethe ballet Harnasie (set in the Tatra Moun-tains and incorporating folk music), a set ofmazurkas for solo piano (consciously re-turning to a Polish national form), and theopera King Roger. In 1924, while at work onall of these, Szymanowski visited Paris, andthere the Princesse de Polignac commis-sioned from him a liturgical work, sayingthat she hoped it might be a “Polish Re-quiem.” Though he was not religious, Szy-manowski was drawn to this idea and firstplanned to write what he described as a“peasant requiem—something…naively de-votional; a sort of prayer for souls.” Eventu-ally he chose to set the ancient Stabat Matertext but specified that it would have to be inthe Polish translation of Jósef Jankowski,and on this text he composed his StabatMater in 1925-26.

As a way of preparing to write this music,Szymanowski made a study of sixteenth-cen-tury Polish liturgical music. He described hisintentions: “For many years I thought of Pol-ish religious music. I have tried to achievefirst of all the direct emotional effect, thegeneral intelligibility of the text and the fu-sion of the emotional substance of the wordwith its musical equivalent. I wanted themusic to be as far as possible from the offi-cial liturgical music, from its elevated archaicacademicism.” The result is a lean music, lin-ear rather than polyphonic, and notable forits restraint. Tempos tend to be slow and dy-

namics subdued, yet Szymanowski is able tocreate a wide range of color within these re-straints. This music often has a glowingsonority, and Szymanowski’s themes, whichsometimes sound derived from plainchant,have an archaic flavor all their own.

The Stabat Mater text, which originated inthe thirteenth century, describes the suf-fering of the Virgin Mary at the foot of thecross. It has had notable settings by Rossiniand Verdi, but many other composers—in-cluding Schubert, Dvořák, Liszt, Kodály,Poulenc, and the ten-year-old Mozart—have also written a Stabat Mater. Szy-manowski was particularly drawn to theimmediacy of the suffering in this text,which is emphasized in the Polish transla-tion. Just as Brahms had composed aspecifically “German requiem,” Szy-manowski’s choice of the Stabat Matertext, which reaffirms the closeness of thePolish people with Mary, and his decisionto make the setting in Polish combine tomake this a distinctly “Polish requiem.” Hesaid: “I sought an inner experience, en-deavoring to give a concrete, concise formto what is most real and yet most intangi-ble in the secret life of the mind.”

Szymanowski divides the text into six briefmovements, and his entire setting lasts lessthan half an hour. In the ternary-formopening movement, soprano and chorus setthe scene, placing the Virgin Mary at thefoot of the cross. Over driving ostinatos, thebaritone describes the death of Christ in thesecond movement, while in the third the so-prano, mezzo-soprano, and chorus plea tobe bound to her suffering. The fourthmovement, sung a capella, repeats thisprayer, asking again to be united with thepain of the Virgin Mary. The fifth move-ment is the most dramatic. The tone turnsdark at its beginning as the baritone makeshis plea to be united with Christ, and themusic drives to a triumphant climax in Cmajor. But Szymanowski is not content tomake this the end. His final movementlooks beyond immediate suffering to thejoys of paradise, and—marked Andantetranquillisimo—it concludes in an atmos-phere of shining calm.�

Renee Calvo startedher music educationwith piano at age sixand went on to de-velop her music skillsat the University ofMiami, Point Loma

Nazarene University (BM Vocal Performance),and San Diego State University (MM VocalPerformance). Ms. Calvo has been a featuredsoloist in local and international venues andhas performed a variety of roles includingFiordiligi in Cosi fan tutte, Rose in StreetScene and Cecily in La Davina. She has an ex-tensive solo and chorus background with the

San Diego Opera Chorus, First PresbyterianChurch of San Diego, and several prominentclassical and jazz regional ensembles. Shesang the soprano solos in Mozart’s Corona-tion Mass (2006) and Anthony Davis’ AmistadSymphony (2009) with the La Jolla Symphony& Chorus. Performances in 2010 include so-prano soloist in Will Todd’s Mass in Blue withthe Grossmont Master Chorale and Gross-mont Faculty Jazz Quartet as well as the Sili-con Valley Chorale in San Jose. Ms. Calvocurrently sings with the Downbeat Big Band,teaches at the Children’s Academy of Per-forming Arts, and serves on the board of theSan Diego Teachers of Singing.

Janelle DeStefano has sung on regional oper-atic and orchestral stages across the U.S. Recentoperatic roles include Romeo in I Capuletti e iMontecchi, Mrs. Winemiller in Summer andSmoke, and the title role in Britten’s The Rapeof Lucretia. As a concert soloist, she was re-cently heard with the Bach Collegium SanDiego in Handel’s Dixit Dominus and has ap-peared with the early music ensemble, ElMundo, to critical acclaim. She has been fea-tured in orchestral works such as Mozart’s Ch’iomi scordi te, Mahler’s Fourth Symphony, andCopland’s Eight Poems by Emily Dickinson.With

La Jolla Symphony &Chorus she has beenheard in the Bach B-minor Mass, Respighi’sLaud to the Nativityand Debussy’s Ladamoiselle elue. Ms.DeStefano has a special interest in Spanish songand zarzuela and made her European debut in2007 in a series of public master classes withrenowned mezzo-soprano Teresa Berganza.She is currently pursuing a Doctorate of MusicalArts at the USC Thornton School of Music.

Philip Larson received adegree in vocal per-formance from Univer-sity of Illinois. He was afounding member ofthe “Extended VocalTechniques Ensemble,”

one of the first groups dedicated to the per-formance of vocal music featuring extendedtechniques. The quartet performed throughoutthe U.S., Europe and Canada. In 1977 Mr. Larson,with Edwin Harkins, founded [THE], a compos-ing/performing duo that performed at MusicToday in Tokyo, Paris Autumn Festival, the Darm-stadt Ferienkurse, the Inter-Society for the Elec-

tronic Arts in Rotterdam, the Suzuki Theater Fes-tival in Japan, the NewMusic America Festival inChicago and PICA in Perth, Australia. They havecollaborated with John Cage, Toru Takemitsu,Anthony Braxton, and media artist VibekeSorenson. As a concert soloist, he has performedin New York, Boston, Chicago, Los Angeles, Paris,Tokyo, Munich, Lisbon, Cleveland, Bucharest andWarsaw with various ensembles including Cleve-land Chamber Symphony, Handel and Haydn So-ciety, Metropolitan Chamber Orchestra, and redfish blue fish percussion ensemble. Recordingsinclude the works of Iannis Xenakis, AnthonyDavis, Roger Reynolds, and Chaya Czernowin.Mr. Larson is professor of music at UCSD.

RENEE CALVO soprano

JANELLE DESTEFANO mezzo-soprano

PHILIP LARSON bass

Matko, Matko, miłosiernie Mother, Mother, merciful

Wejrzyj Syna Twego ciernie See the thorns of your Son

W serce moje wraź jak w cel. Pierce directly into my heart.

Rodzonego, męczonego, Of your off-sping, the suffering

Syna Twego ofiarnego Martyred Son

Kaźń owocną ze mną dziel. Share with me his torment.

4

Spraw, niech płaczę z Tobą razem, Let me weep together with You,

Krzya zamknę się obrazem I will keep an image of the cross

A po mój ostatni dech. Until my last breath.

Niechaj pod nim razem stoję, May I stand with you under it

Dzielę Twoje krawe znoje. Share your bloody toil

Twą boleścią zmywam grzech. Wash away sin by your pain.

5

Panno słodka, racz, mozołem Grant, sweet lady,

Niech me serce z Tobą społem That my heart may be with You in your trials

Na golgocki idzie skłon/szczyt. On Golgotha hill.

Niech śmierć przyjmę z katów ręki, Let me receive death from the hands ofhis executioners,

Uczestnikiem będę męki, May I be a sharer in his suffering,

Razów krwawych zbiorę plon. Carry the harvest of his bloody blows.

Niechaj broczy ciało moje, Let my body bleed,

Krzyem niechaj się upoję, Let me be enraptured by the cross,

Niech z miłosnych yję tchnień! Let me live by the breath of his love!

Wmorzu ognia zapalony, Burning in the sea of fire,

Z Twojej ręki niech osłony From Your hands may I take

Puklerz wezmę w sądu dzień! Protective shield on the day of judgment!

6

Chrystus niech mi będzie grodem, May Christ be my stronghold,

Krzy niech będzie mym przewodem, May the cross be my guide,

Łaską pokrop, ycie daj! Sprinkled with grace, give life!

Kiedy ciało me się skruszy, When my body crumbles,

Oczyszczonej w ogniu duszy In the fire of my purified soul

Glorię zgotuj, niebo, raj. Prepare glory, heaven, paradise.

Polish English

1

Stała Matka bolejąca The suffering Mother stood

Koło krzya łzy lejąca, By the cross shedding tears,

Gdy na krzyu wisiał Syn. As on the cross hung her Son.

A jej duszę potyraną And her soul exhausted

Rozpłakaną, poszarpaną Weeping, torn

Miecz przeszywał ludzkich win. Pierced by the sword of human sin.

O, jak smutna, jak podcięta Oh, how sad, how wounded

Była Matka Boa święta, Was the holy Mother of God,

Cicha w załamaniu rąk! Quiet, with folded hands!

O, jak drała i truchlała, Oh, how she trembled in horror

I bolała, gdy patrzała And suffered when she saw

Na synowskich tyle mąk. Her Son’s great pain.

2

I któ, widząc tak cierpiącą, And who, seeing such suffering

Łzą nie zaćmi się gorącą, Would not shed hot tears,

Nie drgnie, taki czując nó? Not tremble, feeling such a knife?

I kto serca nie ubroczy, And whose heart wouldn’t bleed,

Widząc, jak do krzya oczy Seeing how she cast her eyes on the cross

Wzbiła, z bólu drętwa ju. Already numb from pain.

Za ludzkiego rodu winy For the sins of the human race

Jak katowan był jedyny, He alone was tortured,

Męki kady niołsa dział. And she bore each painful act.

I widziała, jak rodzony And saw, how her off-spring

Jej umierał opuszczony, Passed away from her abandoned,

Zanim Bogu duszę dał. Before He gave his soul to God.

3

Matko, źródło wszechmiłości, Mother, source of all love,

Daj mi uczuć moc ałości, Let me feel the strength of your grief,

Niechaj z Tobą dźwignę ból. May I with you bear the pain.

Chrystusowe ukochanie May Christ’s love

Niech w mym sercu ogniem stanie, Become a flame in my heart,

Krzya dzieje we mnie wtul. And the deeds of the cross sink into me.

Józef Jankowski’s Polish version of Stabat Mater DolorosaEnglish translation by Dr. Peter Gach

LA JOLLA SYMPHONY ORCHESTRA

David Chase, ConductorSteven Schick, Music Director

R. Theodore Bietz, Orchestra Manager � Ulrike Burgin, Orchestra LibrarianJacob Sudol, Production Assistant

VIOLIN IPeter Clarke,Co-Concertmaster

David Buckley,Co-Concertmaster

Carol BietzPat BrombergerEvon CarpenterPat GiffordSusanna HanJames HsiaoSherman KuGudrun NoeIna PageWendy PatrickJeanne SaierNatalie SchenkerWendell SuTed Tsai

VIOLIN IIGary Brown, PrincipalSerena Cohen,Assistant Principal

Eric BrombergerDaniel ChiouMarit Chrislock-LauterbachEric ChungDavid CooksleyCandace DavisJudy GaukelStephanie KimIgor KorneitchoukAnna LevittSusan ParkCatherine ThompsonPhillip Wu

VIOLADaniel Swem, PrincipalNancy Swanberg,Assistant Principal

James BellMatthew BrownLoie FloodAnne Gero-StillwellAristeo LopezAmanda PoredaSheila PodellMeredith RawlsEuki SawadaAndrea SayocCynthia SnyderBrian TangJasmine Chao Ting Yu

CELLOPeter Farrell, PrincipalMax Fenstermacher,Assistant Principal

Ulrike BurginCurtis ChanMelissa ChuCaitlin FaheyTim KangAndrew LingErdis MaxhelakuCarol TolbertJanet White

CONTRABASSChristine Allen,Principal

Bryan Lowe,Assistant Principal

Bill ChildsTyler EatonPat FitzpatrickStephen GentillalliLance Gucwa

FLUTEElena Yarritu, PrincipalErica McDaniel

PICCOLOErica McDaniel

OBOECarol Rothrock,Principal

Heather Marks

ENGLISH HORNHeather Marks

CLARINETSue Collado, PrincipalJenny SmerudFran Tonello

E-FLAT CLARINETJenny Smerud

BASSOONTom Schubert, PrincipalJennifer Bleth

CONTRABASSOONJennifer Bleth

HORNRyan Beard, PrincipalBuddy GibbsCynthia McGregorJonathan RudinDavid Tuttle

TRUMPETKenneth Fitzgerald,Principal

Yaphet JonesElizabeth Meeker

TROMBOMER. Theodore Bietz,Principal

Eric Starr

BASS TROMBONEAndrew Moreau

TUBAKenneth Earnest

TIMPANIBonnie Whiting SmithSteve Solook

PERCUSSIONBonnie Whiting Smith,Principal

Brian ArchinalDustin DonahueLin OngStephen Solook

HARPLaura Vaughan

Founded in 1954 by Peter Nicoloff

LA JOLLA SYMPHONY CHORUSDavid Chase, Choral Director

Kenneth Bell, Assistant Conductor & Language CoachVictoria Heins-Shaw, Accompanist

Mea Daum, Chorus ManagerMarianne & Dennis Schamp, Chorus Librarians

Stewart Shaw, Chorus Facilites

SOPRANOJudy Bocchi-ManucheJuliann BurnsAnna BusijaFrances Castle*Sally DeanMadison DonoghueClare FriedmanMarty HambrightMartha HamiltonIda HoubyKaren JohnsDonna JohnsonHima JoshiJoann JungkKaren KakazuKathryn KinslowRebecca LeeMona McGorvinAlessia ParaAmy SchickMitzi SobashJeanne StutzerJulie SullivanJennifer TimmonsMariJo VelascoMary Ellen WaltherDanielle WienerJennifer Wu

ALTOTava BeverKim BurtonDiane BushmanPeggy ClappEllie ElphickVicki Heins-ShawRachel Jansen

Deanna JohnsonRachael LapidisJaclyn Los BanosKathleen McLaren-HawkingHelen MoutMinna NgDebby ParkBarbara PeischRebecca RamirezAnalia RomeroSatomi SaitoMarianne SchampJanet Shields*Jil StathisKathy SteadmanJoy SworderSusan TaggartSarah WarisiAmee WoodAlice Wu

TENORJoseph AllenGeorge AndersonColin BloorMax ChodosNathan DaumWalter Desmond*William EadieKirk GarnerDavid HingtgenDavid JorstadJames MacemonMarty MarionMyles MayfieldSean McCormacC. Joe Mundy

Robert PetersAllan SohlDennis TurnerWilliam Ziefle

BASSKenneth BellJohn BeresfordRoland BlantzC. Peter BrownJohn CarpenterCharles CarverLes DeLashmuttPaul EngelPaul J. FriedmanPeter GourevitchMichael HatcherBryan HeardDavid HertzelShannon JohnsonMichael KaehrSunwoo KwonIsaac LuDaniel MaloneySteven MarshWilliam MillerJohn NoyesGilbert OmensRay ParkStewart Shaw*Steve ShieldsOtto SorensenVincent TedjasaputraRichard TillesMark WaltersRobert WennerholtJohnny Zhang

*Section Leader

Founded in 1965 by Patricia Smith

Saturday, May 1 at 8:00 pm

Sunday, May 2 at 3:00 pm

Mandeville Auditorium

(e)merging

voices 2009-2010 seasonla jolla symphony & chorus

(e)merging(e)merging

Major funding provided by theCity of San Diego Commissionfor Arts and Culture and theCounty of San Diego

Sponsor Support for the 2009-2010 Season:

W.A. MOZART

Symphony No. 40

ALBAN BERG

Violin Concerto

BENJAMIN SABEY

In Paradisum NEE COMMISSION

W.A. MOZART

Symphony No. 41

FEATURED ARTIST

Pasha Tseitlin, violin

STEVEN SCHICK CONDUCTING

SPONSORS:Eric & Pat BrombergerGary & Susan Brown

Tickets: 858-534-4637 or www.lajollasymphony.com

CONTRIBUTORSThe La Jolla Symphony & Chorus Association is deeply grateful to the Department of Music at UC San Diegofor its generous support and assistance. The association would also like to acknowledge the generosity of itschief benefactress Therese Hurst, who upon her death in 1985 left her estate to the association providing an

endowment. LJS&C thanks the following contributors for their support of the 2009-2010 season.

The La Jolla Symphony & Chorus Association is a 501(c)3 non-profit corporation. Contributions to the LJS&Care tax-deductible. Those wishing to support the Association may send donations to the LJS&C at

9500 Gilman Drive, UCSD 0361, La Jolla, CA 92093-0361 or call (858) 534-4637.

The LJS&C makes every effort to ensure that our contributors’ names are listed accurately.If you find an error, please let us know and we will correct it.

This list is current as of February 23, 2010.

MAJOR SPONSOR$25,000+City of San Diego, Commissionfor Arts & Culture

Department of Music, UCSD

SEASONUNDERWRITER$15,000+AnonymousRichard & Glenda Rosenblatt

ANGELS10,000+Michael & Nancy KaehrAmee Wood & Eric Mustonen

UNDERWRITER$5,000+Ida Houby & Bill MillerPrice CharitiesQualcommSteven & Brenda SchickDiane Salisbury & Robert Whitley

SPONSOR$2,500+Colin & Maxine BloorEric & Patricia BrombergerGary & Susan BrownJ. Lawrence CarterBeda & Jerry FarrellDrs. Joan Forrest &Michael Latz

Dr. Robert Engler & Julie RuediMilton & Jeanne SaierBobette Stewart(in memoriam)

Dr. Jim Swift & Sue Bosch-SwiftDr. Nora La Corte & Bill Ziefle

BENEFACTOR$1,500+Dr. & Mrs. Curtis ChanDr. & Mrs. Paul FriedmanMarty HambrightSonya HintzMonique KunewalderMr. & Mrs. Donald MacNeilSteven & Janet ShieldsSweetbay Foundation

PATRON$1,000+David Clapp & Gayle BarsamianDavid & Ann ChaseDonald & Frances DiehlDr. & Mrs. Frank DwinnellDr. Robert & Phyllis GalambosKaren Halseth (in memoriam)Bobbie HoderTheodore & Beverly KilmanDr. James & Lois LasryStephen MarshTom & Barbara PeischJenny & Scott SmerudOtto Sorensen & Mary Gillick

SUSTAINER$500+AnonymousDaniel & June AllenGeorge & Sarilee AndersonRick AndersonGordon BrodfuehrerCharles & Maureen BrownGordon & Lauren ClarkPeter Bruce ClarkWalter & Ann DesmondKenneth Earnest Jr.David & Pat GiffordHollis McMillanMary NeeNolan & Barbara PennCarol PlantamuraAlex & Valerie RubinsThomas SchubertRichard SternArthur & Molli Wagner

AFICIONADO$250+Mark & Suzanne AppelbaumMarianne ArchibaldNelson & Janice ByrneGlenn Casey &Rochelle Kline-Casey

Richard ClineF.F.D.Gaelen & Mea DaumRobert & Christina DilworthJames & Carol EllisKaren EricksonThomas & Julia FalkMaryalys HillFrank HobbsJohn & Barbara NoyesElaine RossMargaret SchoeningerJohn & Julia SerencesM.V. SerencesCapt. & Mrs. W.T. StutzerDavid SmithHenry & Irene Weber

ASSOCIATE$100+Jaqueline AllenBarbara AllisonMark ApplebaumJames & Carole BarrallJane & Richard BentleyJohn BerecocheaCapt. Charles & Alnora BishopDr. Duane & Denise BlickenstaffCheryl BrownMildred M. BuckGeorge & Ulrike BurginJudy & Jack CaterCarol ClarkeGeoff & Shemiran ClowSue ColladoSteven & Cathy ConstableBill & Sally DeanJoel & Nancy DimsdaleEdward & Edith DrcarMr. & Mrs. Russell DuffDr. Zofia DziewanowskaDarrell & Dorothy FanestilKenneth FitzgeraldDr. & Mrs. Paul FriedmanJ.M. & Barbara GieskesJim Goode & Andrea Gilbert

J.W. & K. A. GouldJulian GrafaJohn & Mary GriffinRobert & Mary Jean HardyJoan HenkelmannBill & Nancy HomeyerSamuel J. HorodezskyAnn R. HuschLaural JohnsonJoanne KendallG.F. & Aleta KerthDavid KimballNora Klynjan &Helena Armandula

Ray & Jan KocienckiEdith KodmurBarry D. LebowitzGail B. LeeLou’s RecordsCarl & Claudia LowensteinMr. & Mrs. James LuxonLeona MandelbaumWarren MarshJameson MarvinAnita & Danlee MitchellBill ModisetteRoy & Barbara MoreauJudith MortonWarren & Mary Margaret PayJameson & Ruth MarvinJim & Sally MowryMarie NelsonWolfgang & Gudrun NoePeet’s Coffee & Tea of La JollaKedar PyattAlexander PyperBarbara J. PyperSue RoeschM.L. & Elizabeth RudeeBrian SchottlaenderGail SchreiberJerome & Joyce ShawTheodore & Bette ShermanWilliam & Georgiana SimmonsCarol & Stuart SmithMichael & Ann SmithElli SorensenMark & Susan TaggartHelen WagnerMary Ellen & Peter WaltherEllen Warner-ScottDavid WassermanJanet WhiteLarry & Sue Anne White

LEADERSHIP CIRCLE