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2006 | 07 Season

MARCH 2007

Board of DirectorsMark FosterCHAIRMAN

W. Scott SanfordPRESIDENT

Edward J. McAniffCHAIRMAN OF THE EXECUTIVE COMMITTEE

Everett F. MeinersSECRETARY

Cheryl PetersenTREASURER

DirectorsMichael BreitnerJeffrey BriggsSamuel ColemanAnn Graham EhringerScott Fitz-RandolphRobert HaniseeVictoria HobbsMarguerite Marsh, Ph.D.Kenneth McKennaAlbert McNeilMarnie MosimanMarian NilesDonald J. NoresJoe PhelpsSusan Erburu ReardonElizabeth RedmondEric A.S. RichardsPenelope C. Roeder, Ph.D.Marshall A. RutterDavid N. SchultzTom SomersetElayne TechentinBurman TimberlakeIan White-ThomsonShaun C. TuckerKenneth S. Williams

Honorary DirectorsMrs. Dolores HopeMorten J. LauridsenClifford J. MillerAnne Shaw PriceHarrison PriceCharles I. SchneiderMrs. Rosemary Willson

Ex-Officio DirectorsGrant GershonMUSIC DIRECTOR

Terry KnowlesEXECUTIVE DIRECTOR

igniteFranz Joseph Haydn

Lord Nelson Mass With the Los Angeles Chamber Orchestra and

Ornili Azulay, classical flamenco dancer

Ariel Ramirez

Misa Criolla (Creole Mass)

Sunday, April 22 at 7 pm

liftEve Beglarian

(WORLD PREMIERE)With Manoochehr Sadeghi, santur;

Pejman Hadadi, tombak

James MacMillan

Cantos Sagrados (Sacred Songs)With David Goode, organ

Arvo PÄrt

Te DeumSunday, June 3 at 7 pmThursday, June 7 at 8 pm

C O M I N G N E X T :

2006 | 07

CONCERT SCHEDULE

embark: Haydn & GlassFranz Joseph Haydn | Creation Mass

Philip Glass | Itaipú

Sunday, October 22 at 7 pm

resonate: RachmaninoffSergei Rachmaninoff | All-Night Vigil, Op. 37

Sunday, November 12 at 7 pm

holiday wondersSaturday, December 9 at 1 pm and 4 pm2 great family matinees!

rejoiceBach | Cantata 6 from Christmas Oratorio

& holiday favorites

Sunday, December 10 at 7 pm

Messiah Sing-AlongMonday, December 11 at 7:30 pm Monday, December 18 at 7:30 pm

shine: Reich 70th Birthday TributeSteve Reich | Daniel Variations (WEST COAST PREMIERE)

Steve Reich | You Are (Variations)

Early Renaissance Motets

Sunday, January 28 at 7 pm

shout: The Music of Mary Lou WilliamsMary Lou Williams | Mary Lou’s Mass

Sunday, March 4 at 7 pm

awaken: Christopher RouseChristopher Rouse | Requiem (WORLD PREMIERE)

Sunday, March 25 at 7 pm

ignite: Haydn & RamírezFranz Joseph Haydn | Lord Nelson Mass

Ariel Ramirez | Misa Criolla (Creole Mass)

Sunday, April 22 at 7 pm

lift: Beglarian, MacMillan and PärtEve Beglarian | World Premiere

James MacMillan | Cantos Sagrados (Sacred Songs)

Arvo PÄrt | Te DeumSunday, June 3 at 7 pmThursday, June 7 at 8 pm

LOS ANGELES MASTER CHORALE2 PERFORMANCES MAGAZINE

B I O S

Los Angeles Master Chorale

Founded: 1964 as one of

three founding companies at

the Music Center; now in its

43rd season

Music Directors:

Grant Gershon, since 2001;

Paul Salamunovich, 1991–2001;

John Currie, 1986–1991;

Roger Wagner, 1964–1986

Awards: ASCAP/Chorus

America Award for

Adventurous Programming

Press: “the most exciting

chorus in the country under

Grant Gershon”

— Los Angeles Times

“singing and direction are

first-rate” — Billboard

“sonically exhilarating”

— Gramophone

On disc: with Music Director

Grant Gershon featuring Esa-

Pekka Salonen’s Two Songs to

Poems of Ann Jäderlund and

Philip Glass’ Itaipú and Steve

Reich’s You Are (Variations).

With Music Director Emeritus

Paul Salamunovich includes

the Grammy Award®-nomi-

nated Lauridsen – Lux

Aeterna, Christmas, and a

recording of Dominick

Argento’s Te Deum and

Maurice Duruflé’s Messe

“Cum Jubilo”

On film: motion picture

soundtracks with Paul

Salamunovich include A.I.

Artificial Intelligence, My Best

Friend’s Wedding, The Sum of

All Fears, Bram Stoker’s

Dracula and Waterworld

Website: LAMC.org

Grant GershonMUSIC DIRECTOR

Born: November 10, 1960,

in Norwalk, California

At the Chorale: Music

Director, now in his sixth

season, Grant has expanded

the choir’s repertoire con-

siderably by conducting a

number of world premieres:

You Are (Variations) by Steve

Reich, Messages and Brief

Eternity by Bobby McFerrin

and Roger Treece, Broken

Charms by Donald Crockett,

Rezos (Prayers) by Tania

León, Mother’s Lament by

Sharon Farber and Two

Songs to Poems of Ann

Jäderlund by Esa-Pekka

Salonen (U.S. premiere).

Press: “Gershon has found

a richness of tone and a

strength of phrasing that

could launch the Chorale

onto a new tier of musical

importance.” — L.A. Weekly

“Gershon is a direct, unfussy

conductor, who values

clarity, clean execution and

immediate statements.”

— Los Angeles Times

“visionary” — Daily Breeze

Hailed by the Los Angeles

Times for creating “a dark,

rich sound awash with

resonant sparkling

amplitude.” Programming

has been applauded for

being “as warmly spiritual

as it is ambitious.”

Other appearances: San

Antonio Symphony, St. Paul

Chamber Orchestra, Lincoln

Center, Houston Grand Opera,

Juilliard Opera Theatre, Gustav

Mahler Chamber Orchestra,

the Finnish chamber orchestra

Avanti! and music festivals in

Edinburgh, Vienna, Helsinki,

Ravinia, Rome, Madrid and

Aspen; Music Director of the

Idyllwild Arts Festival Chorus

Coming up: Will conduct all

performances of a new opera

by Ricky Ian Gordon, Grapesof Wrath, to be premiered in

February 2007 by Minnesota

Opera and in May 2007 by

Utah Opera.

Previous assignments:

Los Angeles Philharmonic

assistant conductor, 1994–97

Member of: the USC

Thornton School of Music

Board of Councilors

On disc: Two Grammy

Award-nominated recordings

— Sweeney Todd (New York

Philharmonic Special

Editions) and Ligeti’s GrandMacabre (Sony Classical) —

and Glass–Salonen and YouAre (Variations) (Nonesuch)

with the Master Chorale.

© S

teve

Co

hn

2007 | 08SEASONSunday, October 14 at 7 pmLudwig van Beethoven | Calm Sea

and Prosperous VoyageJohannes Brahms | Requiem

Sunday, November 18 at 7 pmLouis Andriessen | The City of Dis

(WORLD PREMIERE)

Franz Joseph Haydn | Mass in Time of War

*Saturday, December 8 at 3 pm*Saturday, December 15 at 3 pmHoliday Wonders: Two great family

matinees

Sunday, December 9, 2007 at 7 pmBenjamin Britten | A Ceremony of Carols Conrad Susa | Carols and Lullabies:

Christmas Music of the Southwest

*Monday, December 10 at 7:30 pm*Sunday, December 16 at 7:30 pmMessiah Sing-Along

Sunday, February 10, 2008 at 7 pmVittoria | Mass/motets of the

Spanish RenaissanceZumaya | Mass/motets of the

Mexican BaroqueDavid O | WORLD PREMIERE

Sunday, March 9, 2008 at 7 pmJohann Sebastian Bach | B Minor Mass

Sunday, April 6, 2008 at 7 pmHenryk Gôrecki | Five Marian SongsFranz Joseph Haydn | Maria Theresa Mass

Sunday, May 4, 2008 at 7 pmHenryk Gôrecki | Lobgesang Esa-Pekka Salonen | Two Songs to

Poems of Ann Jäderlund Eric Whitacre | When David Heard Morten Lauridsen | Nocturnes

Sunday, May 18, 2008 at 7 pmRicky Ian Gordon | Suite from The

Grapes of WrathVerdi | “Va pensiero” from NabuccoOther great opera choruses

*Non-subscription concert

All event and date details subject

to change without notice.

Grant Gershon | Music Director

SubscribeToday!

213.972.7282WWW.LAMC.ORG

GIVING A VOICE TO WALT DISNEY CONCERT HALL

Los

Ang

eles

Mas

ter C

hora

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hots

by

Stev

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ohn.


P R O G R A M

The Rena Waltz Pierson Music Directorship, a gift of the Pierson and Lovelace families to honor Lillian Lovelace’s mother


From Mary Lou’s Mass Mary Lou Williams (1910-1981)

Old Time Spiritual

Praise the Lord

I Have a Dream Arr. Carmen LundyMs. Lundy

The Lord Says Arr. Lanny HartleyMr. Berry

Anima ChristiMr. Berry

Act of ContritionMs. Lundy

Kyrie Eleison Arr. Lanny HartleyMs. Lundy

Glory to God

In His DayMs. Lundy

LazarusMs. Lundy

The Apostles’ Creed Arr. Carmen Lundy

I N T E R M I S S I O N

Sunday, March 4, 7pm | Walt Disney Concert Hall


Grant Gershon, conductor

Carmen Lundy, Cedric Berry, vocalists

Luckman Jazz Orchestra

Albert McNeil Jubilee Singers

PERFORMANCES MAGAZINE 5LOS ANGELES MASTER CHORALE

P R O G R A M

Latecomers will be seated at

the discretion of House

Management. Use of tape

recorders, telephones,

pagers, and/or cameras is

prohibited in the auditorium.

Program, prices and artists

subject to change.

Tonight’s Listen Up! pre-concert discussion is hosted byMusic Director Grant Gershon and KUSC’s Alan Chapman.

Selected SpiritualsAlbert McNeil Jubilee Singers

St. Martin De Porres Mary Lou Williams

Sanctus/Benedictus Arr. Lanny HartleyMr. Berry, Ms. Lundy

Our Father Arr. Lanny HartleyMs. Lundy

Lamb of God

Tell Him Not to Talk Too Long Arr. Carmen Lundy

People In Trouble Arr. Lanny Hartley

Thank You JesusMs. Lundy

Praise the Lord (2) Arr. Lanny HartleyMs. Lundy

Special thanks to Father Peter O’Brien, S.J., Executive Director ofThe Mary Lou Williams Foundation, for his invaluable assistance.

This concert is funded in partby grants from the AaronCopland Fund for Music, Inc.,and the NationalEndowment for the Arts.

The Los Angeles Master Chorale lost a dear friend and

ardent supporter with the passing of Frank Sherwood

on December 3, 2006, one day after his 93rd birthday!

A Music Center Platinum Circle Grand Patron through

his generous philanthropic donations totaling more

than $7 million, Frank was a remarkable man and

clearly passionate about the performing arts. He

recognized and appreciated the resources required to

present world class concerts, providing vital ongoing

support to the Los Angeles Master Chorale. He

challenged all of us to increase our own philanthropy.

We will miss Frank’s presence at our annual benefit

and concert events, and we are privileged to

acknowledge his gentle grace and quite extraordinary

generosity. We dedicate the March 4th performance

to his memory.

A Tribute to Frank Sherwood


P R O G R A M N O T E S

That soul, simply put, is her music:

from swing to bop, gospel, spirituals

and blues to avant-garde jazz, this is

one blazingly original gal. Indeed, a

black woman whose enormous tal-

ents included that of composer and

arranger, she was also possessed

of a voice so sumptuously unique

that Duke Ellington deemed her

“perpetually contemporary.”

The piano prodigy with perfect

pitch — she began playing publicly

at age six, having taught herself to

vamp those ivories by ear, no less —

began her days in Pittsburgh but

would find international fame, as

well as heartbreak, discrimination

and an unswerving devotion to God

by the time she died at age 71. Her

place in the jazz pantheon should be

a given, ranking with other great

jazz pianists such as Fats Waller,

Erroll Garner, Thelonious Monk and

Bud Powell, while her arrangements

for Ellington, Louis Armstrong and

Benny Goodman were nothing short

of ground-breaking. But because her

personal and musical life, despite an

increasingly formidable reputation,

was troubled by setbacks and

frustrations, Williams, in 1954, quit

the business altogether, surrendering

to religion and random acts of

kindness. That she has not been

given her total due is rectified here

tonight, as the Los Angeles Master

Mary Lou Williams at her apartment in NYC in Aug, 1947 with (L to R) Dizzy Gillespie, Tadd Dameron, Hank Jones, Milt Orent, Dixie Bailey and Jack Teagarden

Talk about your alpha female, your fascinator, your unsung hero. Hello, Mary LouWilliams! Although the little girl born Mary Elfrieda Scruggs on May 8, 1919, hasbeen physically gone from this world since May 28, 1981, she remains with us innumerous ways, with an indomitable spirit and a soul that, well, just won’t quit.

A Soul Sister Shines OnBY VICTORIA LOOSELEAF



Chorale, who first began its journey

into the treasure trove that is

Williams’ music nearly two years ago

when she was paired with Ellington,

continues. In this one-woman

tribute, LAMC music director Grant

Gershon gets down with, in addition

to his celebrated chorus, the Albert

McNeil Jubilee Singers and soloists

Carmen Lundy and Cedric Berry.

With Williams’ Mass as a framework,

the free-form celebration explodes

with her signature rhythm and

blues, and also includes an array of

rocking spirituals as interpreted by

the fly Jubilee crew.

How, though, did the erstwhile

“little piano girl” arrive at her

messenger-of-God status? History

tells us that she split Pittsburgh for

Oklahoma, marrying saxophonist

John Williams in 1925, and hooked up

with Andy Kirk’s band, where she was

principle arranger for 11 years. By the

late 1930s, deep into arranging for

jazz titans, including Goodman, for

whom she penned the boogie-woogie

smash, Roll ‘Em, Williams headed to

the Big Apple, where, in 1942, she

formed a group with second spouse,

trumpeter Shorty Baker. Two years

later, Ellington recorded her Trumpet

No End, while her own embrace of

bebop bore fruit with Waltz Boogie,

which she laid down on vinyl with her

woman’s band, Girl-Stars, its non-

duple meters ear candy for a hungry

public. Seemingly on top of the world,

Williams wrote Zodiac Suite in 1945,

the first of many large-scale composi-

tions, but after the pioneering work

received a less than stellar reception,

Williams became depressed. Her bass

player had broken her nose; her

Pittsburgh family had become

burdensome; and, a victim of gender

bias, she resented being chronically

underpaid. Longing to be taken more

seriously and transcend the “boogie-

woogie queen” moniker, Williams

moved to Europe, where, in the

spring of 1954, she walked off the

stage of a Paris nightclub, Le Boeuf

sur le Toit. Diving into religion, she

became obsessed in the rituals and

liturgy of the Roman Catholic

Church, which not only signaled a

reborn spirituality, but would also

help bestow her with a fresh musical

identity when jazz, embedded in her

DNA, inevitably beckoned some three

years later. Jazz was beginning to

change, as well, with the 1960s

spawning a cultural shift, born out of

resistance from the black community

and the civil rights movement.

Returning full-time to jazz composition

and performance, Williams soon

unleashed a wealth of sacred compo-

sitions, including her six-minute 1964

work, St. Martin de Porres (Black Christ

of the Andes), also on the program

tonight. Feting the Peruvian holy man

of interracial justice, Williams blasts

the lid off jazz harmonies, her

seductive rhythms made more potent

by a brief beautiful piano interlude.

It is, however, the Papally-commis-

sioned Music for Peace (named by the

late great choreographer Alvin Ailey,

who set a ballet to the work), or Mary

Lou’s Mass, that stands alone.

Recorded in 1970 on her label, Mary

Records, the 15-part magnum opus,

which Newsweek called “an encyclo-

pedia of black music,” was recently

reissued and produced by Father

Peter O’Brien, who met Williams in

1964 and later became her manager

and executor of the Mary Lou

Williams Foundation. The profundity

of this hybrid work, a spiritual stew

with blues-based funk, swing, gospel

and even rock influences, is a perfect

storm reflecting the tumult of the era.

Its musical message of brotherhood

still blows minds today (think rapper

Kanye West’s Grammy Award-winning

song, Jesus Walks), and was a major

turning point for Williams. A decidedly

odd fusion that merges standard

Mass components — Kyrie, Gloria,

Credo, Sanctus and Agnus Dei —

with supplemental material, the Mass

may have been modeled after

Ellington’s Sacred Service music of

1965, and no doubt, was initially

difficult for jazz aficionados to grasp.

Not so today, however, its inexorable

power to uplift and inspire gaining

new listeners at every hearing.

Opening with O.W., a rhythmic series

…Williams remained prolific andengaged during the last decade of her life, recording, concertizingand holding a teaching post atDuke University…

of scattings, the chorus and band

then plunge into neo-Coltranesque

modalities in Praise the Lord, a

swinging call-to-arms enhanced by

the bling of an African drum. The

composer’s deep sociological

concerns are musicalized in I Have A

Dream, based on Martin Luther King,

Jr.’s 1963 landmark speech, the

deceptively simple pronouncements

boosted by the major key wailings of

the soprano soloist. A short, bluesy

instrumental interlude, Old Time

Spiritual, precedes The Lord Says, a

phat, rowdy call-and-response setting

evocative of the Renaissance, but

with a silky, Alicia Keys-like solo.

Williams lets rip with a high F in the

mighty, Act of Contrition, a solo bass

clarinet accompanying the words, “O,

my God, I detest all the sins of my

life.” Both the Kyrie Eleison and In His

Day are also cause for the soprano to

shine, while surprise dominates the

Sanctus, as a rubato introduction is

prelude to a saucy bossa nova beat,

its dotted rhythms thrumming with

the aural heat of early James Brown.

Our Father features a running bass

line that underscores the choir, while

the first of two a cappella renderings,

Tell Him Not To Talk Too Long (the

other, Lamb of God), is a musical

rejoinder to Reverend King’s

assassination. Resolutely melancholic,

this jazz spiritual offers a humming

section that morphs into a plea for

closure — instructions on death —

hauntingly delivered, while the

stirring finale, Praise the Lord, is a

raucous exaltation that sticks to the

listener like spiritual glue. Williams

remained prolific and engaged during

the last decade of her life, recording,

concertizing and holding a teaching

post at Duke University, until her

death from cancer. A rare gift to the

world, Williams lives on in the music

that continues to spread joy to all

who perform, hear and share what

might best be summed up as notes

from God.

Victoria Looseleaf is an award-winning arts

journalist and regular contributor to the

Los Angeles Times, Reuters and

Performances Magazine. In addition, she

is the Program Annotator for the Geffen

Playhouse as well as the producer-host of

the long-running cable access television

show on the arts, “The Looseleaf Report.”

This is her third season with the Los Angeles

Master Chorale.



MARCH

3 10:00 AM

Invited Dress Rehearsal for Mary Lou’s Mass

4 7:00 PM

shout | Mary Lou Williams, Mary Lou’s Mass

24 10:00 AM

“Building Music” Coffee &Conversation, with Grant Gershonand Christopher Rouse

25 7:00 PM

awaken | Christopher Rouse,Requiem World Premiere

Following the concertRed Carpet Premiere Party,

with composer Christopher Rouse

APRIL

LAMC with the Los Angeles Philharmonic:April 12-14, The Tristan Project

LAMC with the Los Angeles Philharmonic:April 18 & 24, Tristan and Isolde, complete

22 7:00 PM

ignite | Franz Joseph Haydn, Lord Nelson, with the Los AngelesChamber Orchestra; Mass & ArielRamirez, Misa Criolla

MAY

3 10:00 AM TO 2:00 PM

High School Choir Festival

JUNE

3 7:00 PM

lift | Eve Beglarian, World

Premiere; James MacMillan, CantosSagrados; Arvo Pärt, Te Deum

Following the concert:“LA is the World” toasting event,

with composer and artists

7 8:00 PM

lift | Eve Beglarian, World

Premiere; James MacMillan, CantosSagrados; Arvo Pärt, Te Deum

8 LAMC at the Ojai FestivalStravinsky Les NocesPeter Eötvös, Conductor

12 LAMC at the Los Angeles CountyMuseum of ArtMexican Baroque, with Alex AcuñaGrant Gershon, Conductor

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CONCERT DONOR EVENT

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Calendar of Events


T E X T S

Praise the LordWords adapted by Mary Lou WilliamsFrom Psalms 148 & 150

Praise the Lord from heaven, praise Him in the heights,

Praise Him all you angels, praise Him all you host,

Praise Him sun and moon, praise him all you waters,

Praise Him fire and hail. praise Him all you mountains,

Praise Him from the earth, praise Him fog and mist,

Praise Him all you creatures, praise Him blast of horn.

I Have a DreamWords by Mary Lou WilliamsFrom the words of Martin Luther King, Jr.

I have a dream yes, a dream, listen oh Lord when I pray,

my people shall be free.

Here will be love, from north to South, from mountain top!

Let freedom ring!

We shall be free.

I have a dream.

The Lord Says

The Lord says I think thoughts of peace and not of affliction

You shall call upon me and I will hear you

And I will bring back your captivity from all places

Lord, you have favored your land, you have restored the

well being of Jacob.

Thank you.

Anima ChristiWords adapted by Mary Lou Williams froma 14th Century prayer

Soul of Christ be my sanctification,

Body of Christ be my salvation,

Blood of Christ fill my veins,

Water of Christ side wash out my stains,

Passion of Christ my comfort be oh good

Jesus listen to me Lord have mercy on me.

In your wounds I would hide never to part from thy side,

Guard me should the foe assail me,

Call me when my life fails me,

Bid me come to thee above,

With thy saints to sing thy love,

Lord, have mercy on me,

Lord, I’m not worthy that you shouldst enter under my roof,

Say but the word and my soul shall be cleansed.

O God by your Name save me,

For haughty men have risen up against me.

They set not God before their eyes;

They have prepared a net for my feet.

The fool says in this heart there is no God,

Lord have mercy on me.

Act of ContritionWords from the Roman Ritual

Oh my God I detest all the sins of my life sorry for having

offended thee who are all good.

I resolve with the help of thy grace O God never to

sin again.

Kyrie Eleison (Lord Have Mercy)

For our lack of faith,

For our lack of hope,

For our failure to care,

For lettin’ ourselves be paralyzed with fear,

For our division,

For our jealousies,

Oh for our hatred,

For not being peacemakers,

For our lies,

Christ have mercy,

Lord have mercy on our souls.

Glory to God (Gloria)Words by Robert Ledogar

Glory to God above all things,

Peace on earth to men loved by God,

We praise you, we bless you,

We thank you because you are who you are:

Lord, God, King, Father, Holy Spirit, Jesus Christ, Lord,

God, Lamb of God, Lord, God, Son of God.

In His DayWords from Psalm 72 and John 14

In His day justice shall flourish and peace ‘til the moon fails.

Peace I leave with you my peace I give to you. Allelulia.

Lazarus (The Beggar Man)Words by Mary Lou Williams & Sonny Henry from Luke 16

There was a selfish rich man who clothed himself in purple

and fine linen. There also was a beggar man named

Lazarus who laid at the gate of the rich man’s door full of


T E X T S

sores and hungry, begging crumbs from the rich man’s

table. Even his dogs came to lick his sores. The rich man

showed no pity to Lazarus’ plea and scorn was Lazarus’

lot. So God took pity on poor Lazarus and gave him

peace. He sent his angels to carry poor Lazarus, um, into

the bosom of Abraham. The rich man also died and was

buried, and as he burned in hell he saw the beggar man,

Lazarus, safe in the bosom of Abraham. He cried, “Father,

Father, send Lazarus to cool my parching tongue ‘cause I

didn’t mean all the mis’ry I’ve caused and all the bad

things I have done.” But the Lord said, “Son, in your time

you received all the good things in life, but poor Lazarus,

beggar, received nothing but pain and strife. Now

Lazarus is comforted and you are burning in the halls of

flame and there’s no way for you to cleanse your deeds

for God never knew your name.” “Lazarus, Lazarus, cool

my parching tongue ‘cause I didn’t mean all the misery I

caused and all the bad things I have done. Father, Father,

Father, send Lazarus to my house that he may warn them

about the flames and what it’s all about.” Then Abraham

said, “They have Moses, let them hear his cry, for if they

don’t repent, their evil ways they will surely die.”

The Apostles’ CreedWords from the Roman Ritual

And I believe in the Father Almighty

And in one God who made heaven and earth

And in Jesus Christ his only son our Lord conceived by the

spirit born of the Virgin Mary,

Suffered under Pontius Pilate was crucified, died and

was buried.

And on the third day He rose again, ascended into heaven

sitting at the right hand of the Father and He will come

to judge the living and the dead.

I believe in the Holy Spirit, the Holy sanctifying

apostolic church,

The communion of saints, the forgiveness of sins and the

resurrection of the body and the life everlasting

Amen.

St. Martin De PorresWords by Rev. Anthony S. Woods, S.J.

St. Martin De Porres, His shepherd staff a dusty Broom.

Ooh St. Martin De Porres,

The poor made a shrine of his tomb.

St. Martin De Porres, He gentled creatures tame and wild.

St. Martin De Porres,

He sheltered each unsheltered child.

This Man of God born of the flesh,

Ooh, yet of God

This humble man

He healed the sick, raised the dead

His hand is quick,

Ooh, to feed beggars and sinners, the starving homeless

and the stray.

Oh, Black Christ of the Andes, come feed and cure us

now we pray.

Oh God help us.

Spare, Oh Lord, Spare thy people lest you be angered

with me, forever. Ah

Sanctus (Holy, Holy, Holy)

Holy holy holy Lord God of hosts

Heaven and Earth are filled with your glory

Hosanna in the highest

Blessed is he who comes in the name of the Lord

Our Father (Pater Noster)Words from Matthew 5 & 6

Our father who are in heaven hallowed be thy name,

Thy kingdom come

Thy will be done

On earth as in heaven

Give us this day our daily bread

And forgive us our debts

As we forgive our debtors,

Lead us not into temptation

But deliver us from evil.

Amen.

Lamb of GodWords from the Roman Ritual

You take away the sins of the world,

Doom, lamb of God, have mercy on us, grant us peace.

Tell Him Not To Talk Too LongText by Dr. Martin Luther King, Jr.

If you’re around when I meet my day

Don’t want a long funeral,

And if somebody delivers the eulogy,

Tell him not to talk too long.

Just say I tried to feed the hungry,

Tried to love somebody


T E X T S

If you’re around when I meet my day


Put my casket on an old wagon drawn by two fine mules.

Bury me in my hometown Atlanta, Georgia


People in TroubleWords by Stephen LangtonAnd from Psalms 148 & 150

Give us peace O Lord, send us peace O Lord.

People in trouble,

Children in pain,

Too weak to care,

Too mean to share,

Worked so hard,

Try’n to find a brother,

Became impatient.

Now we hate each other.

God come to our aid,

Make haste to help us.

O Jesus who has loved us so much, have pity on us.

O God, if you will, you can cure us,

For we believe, increase our faith,

You are the resurrection and the life.

Save us, Jesus

Before we perish.

Thank You Jesus

The Lord heard my weeping,

My soul was in despair,

The lions all around me,

But the Lord heard my prayer.

The chords of death surround you,

My throat was parched and dry,

My eyes were tired and weary,

My sins made me cry.

Thank you Jesus! Oh my Lord!

My friends were against me,

My days were like night,

My dog went and bit me,

My leg was out of sight.

They drew their swords against me,

False tongues to bring me down,

But their swords shall please their own hearts ‘cause the

Lord gave me my start.


You know old Satan told to my face the God you seek

you’ll never find

But I prayed to the Lord and he heard my prayer,

My heart he changed my soul he spared ol’ Satan lied.

My Lord is so strong he jarred the walls of hell,

He tore them down, ol’ Satan lied.

No more work in the hot sun to burn me,

No more whiplashing to sting my back,

No more parting in the kingdom of God,

No more backbiting,

No more body wracked with pain,

No more tribulations,

No more dog to bite my leg,

No more stormy weather,

No more evil doers ‘cause the Lord heard my prayer,

And I’m homeward bound.


Praise the Lord (2) (Come Holy Spirit)Words by Stephen Langton, and from Psalms 148 & 150

Come Holy Spirit in nature one with both the Father

and the son

shed forth thy grace within thy breast and well with us a

ready guest by ev’ry power

by heart and tongue by act and deed thy praise be sung

in flame with perfect love

each sense that other souls may kindle thence in this

most gracious Father

hear through Christ, thy equal Son, our prayer, who with

the Holy Ghost and thee doth live and reign eternally

clap your hands.

Praise the Lord in heaven

Praise him in the heights,

Praise him all you angels,

Praise him all you hosts,

Praise him sun and moon,

Praise him all you shining stars

Clap your hands with blast of horn

with lyre and harp with cymbal and drum,

with string and pipe, with timbrel and dance,

with fire and hail, with sun and mist, seamonsters

Praise him, you creeping things,

Praise him you animals, all you mountains, fruit trees,

cedar trees, raging storm

Praise the Lord, one and all, you winged fowl, tame and

wild, all you hills, river and rills, that fulfills his words,

Praise the Lord


B I O S

Mary Lou Williams

Born: May 8, 1910

Died: May 28, 1981

Performances with: Hits

and Bits (Vaudeville tour),

Keith Orpheum Circuit,

Williams Syncopators, The

Twelve Clouds of Joy

Collaborations with: John

Williams, Andy Kirk, Earl

Hines, Tommy Dorsey, Louis

Armstrong, Duke Ellington,

Benny Goodman, Bud Powell,

Thelonious Monk, Charlie

Parker, Dizzy Gillespie

Recordings include:

Mary Lou Williams-Marian

McPartland’s Piano Jazz, Live

at the Keystone Korner, Jazz in

Paris, I Made You Love Paris,

The London Sessions, Ladies of

Jazz, At Rick’s Café American,

Nite Life/From the Past, First

Lady of Piano 1952-1971, Mary

Lou Williams & Orchestra and

Meade Lux Lewis, My Momma

Pinned a Rose on Me,

Embraced, Live at the Cookery,

Free Spirits, Zoning, Mary

Lou’s Mass, Mary Lou Williams

presents Black Christ of the

Andes, Zodiac Suite

Memorials: Mary Lou

Williams Center for Black

Culture at Duke University

Quote: “I’m the only living

musician that has played all

the eras. Other musicians

lived through the eras and

they never changed their

styles.” —Mary Lou Williams

Luckman JazzOrchestra

Officially: a professional

performing ensemble of the

Luckman Fine Arts Complex,

California State University,

Los Angeles.

Founded in: 2001

Previously performed with

the Chorale: in 2004 and 2005

Has performed with: the

Faithful Central Bible Church

Heritage Chorale, the Los

Angeles Symphonic Camerata,

and the Festival of Sacred Music

High praise: “one of the

country’s finest musical organ-

izations.” —Los Angeles Times

Albert McNeilJubilee Singers

Founded: 1968 by Albert

McNeil

Have performed in:

Hungary, Romania, Poland,

Iran, India, North and West

Africa, Egypt, United Arab

Emirates, Israel, Hong Kong,

Taiwan, Argentina, Uruguay,

Japan, Spain, Canada, Puerto

Rico, Germany, Austria,

Switzerland, Luxembourg,

and France, among others

Have performed with: the

Los Angeles Master Chorale,

the Dale Warland Singers,

Chanticleer, the Vancouver

Chamber Choir, Philadelphia

Chamber Music SocietyPro

Musica of El Paso, and the

Honolulu Symphony,

among others

On the radio: National

Public Radio’s series “Beverly

Sills Presents” and the

Smithsonian’s twenty-six week

series “Wade in the Water.”

Have performed at: The

Kennedy Center, Carnegie

Hall, John Anson Ford Theatre,

Paris’ historic Eglise Saint

Germain Des Pres, Munich’s

Herkulessaal, Saltzburg’s

Mozarteum, Zurich’s

Kultureise, National Recital

Hall in Madrid, Monte Carlo’s

Concert Hall, Barcelona’s

Palau de Musica and Bremen’s

St. Petri Dom, among others

Cedric Berry

Performances with:

Los Angeles Master Chorale,

Los Angeles Opera, Pacific

Symphony, Arizona Symphony,

Bakersfield Symphony,

Fresno Philharmonic,

Santa Fe Symphony,

Los Angeles Philharmonic,

Luckman Jazz Orchestra,

New West Symphony and

Pacific Repertory Opera

Opera roles: title role in

Puccini’s Gianni Schicchi,

Mephistopheles in Gounod’s

Faust, Falstaff in Nicoli’s Merry

Wives, Lepporello in Mozart’s

Don Giovanni, Sarastro in

Mozart’s Die Zauberflote,

Collatinus in Britten’s The

Rape of Lucretia, Shaunard in

Puccini’s La Boheme, and Jake

in Porgy and Bess

Education: Music diploma,

Interlochen Arts Academy;

Bachelor’s and Master’s

degrees, USC

Awards: First place, 1998

Metropolitan Opera, Western

Region Competition

Carmen Lundy

Performances and recordings

with: Akron Symphony

Orchestra, the Vallejo

Symphony Orchestra, Walter

Bishop Jr., Wynton Marsalis,

Ray Baretto, Don Pullen,

Kenny Barron, John Hicks,

Ernie Watts, Mulgrew Miller,

Billy Childs, Teri Lynn

Carrington, Jimmy Scott, Kip

Hanrahan, Courtney Pine,

Marian McPartland, Regina

Carter, the late Kenny Kirkland

CDs: Jazz and The New

Songbook—Live at The Madrid,

Something to Believe In, This is

Carmen Lundy, Old Devil

Moon, Self Portrait, Moment

To Moment, Night And Day,

Good Morning Kiss

Acting Performances: They

Were All Gardenias (off-off

Broadway), Sophisticated

Ladies (Broadway), Shangri-La

Plaza (CBS-TV)

Education: Bachelor’s

degree Studio Music and

Jazz, University of Miami

High praise: “One of the

world’s greatest jazz vocalists...”

—Blues and Soul Magazine


A R T I S T S

SOPRANO Tania Batson

Samela Beasom

Marian Bodnar

Karen Hogle Brown

Vicky Brown

Deborah Briggs

Renee Burkett-

Shulgold

Kirstina Collins

Claire Fedoruk

Rachelle Fox

Ayana Haviv

Marie Hodgson

Hyun Joo Kim

Joanne Lee

Emily Lin

Virenia Lind

Cindy Martineau

Deborah Mayhan

Susan Mills

Lika Miyake

Marnie Mosiman

Holly Shaw Price

Stephanie Sharpe

Peterson

Diane Thomas

Winter Watson

Sun Joo Yeo

Nancy Von Oeyen

Karen Whipple

Albert McNeilARTISTIC DIRECTOR

Nell WalkerASSISTANT DIRECTOR

Douglas GriffinDIRECTOR OF PRODUCTION & CHOREOGRAPHY

SOPRANOSGertrude Bradley

*Delaina Brown

Mary Flowers

*Tracey Hart

Caroline McKenzie

Camille Nicholls

Claudia Schwartz

*Louvetta Stewart

Yolanda West

ALTOSDebi Anderson

Lesili Beard

*Anne Dunn

*Deidre Sanders

Nell Walker

Virginia White

Carol Wooten

Dianne Wright

TENORSNelson Javier Delgado

William Endsley

John-Paul Jones

*Lloyd Mallory

Michael Wright

BARITONESRalph Cato

*Alphonzo Hicks

Jesse Martin

*Donald Perry

BASSESDeReau Farrar

Douglas Griffin

Ralph Pettiford

*augmented ensemble


Luckman Jazz Orchestra

Albert McNeilJubilee Singers

TENORBrent Almond

Lenard Berglund

Scott Blois

Andrew Brown

Daniel Chaney

Randall Garrou

Paul Gibson

Jack Golightly

Jody Golightly

Jeff Greif

Steven Harms

Shawn Kirchner

Charles Lane

Michael Lichtenauer

Dominic MacAller

Sal Malaki

Christian Marcoe

Sean McDermott

Michael McDonough

Paul Neal

Marvin Neumann

Craig Alan Slaughter

Kevin St. Clair

George Sterne

Cahen Taylor

ALTOMary Bailey

Nicole Baker

Helen Birch

Leanna Brand

Aleta Braxton

Monika Bruckner

Cheryll Desberg

Suzanne Ellis

Sarona Farrell

Amy Fogerson

Sharmila Guha

Saundra Hall Hill

Arwen Hernandez

Kyra Humphrey

Leslie Inman

Sara Minton

Sheila Murphy

Alice Kirwan Murray

Shinnshill Park

Helene Quintana

Nike St. Clair

Nancy Sulahian

Kimberly Switzer

Tracy Van Fleet

Diana Zaslove

BASS Crispin Barrymore

Joseph Bazyouros

Mark Beasom

Paul Bent

Reid Bruton

Aaron Cain

Paul Cummings

Kevin Dalbey

Greg Davies

Steven Fraider

Michael Freed

Gregory Geiger

Dylan Gentile

Scott Graff

Stephen Grimm

Paul Hinshaw

Jay Kenton

Lew Landau

Scott Lehmkuhl

Bob Lewis

Roger Lindbeck

Tonoccus McClain

Bob McCormac

Steve Pence

Jim Raycroft

Douglas Shabe

Mark Edward Smith

Burman Timberlake

David Tinoco, Jr.

Eric Westby

Kevin White

David Wilson

SAXESBennie Maupin

Dereck McLyn

Lee Secard

Fred Jackson

Jack Nimitz

TROMBONESIsaac Smith

George McMullin

Jack Voyemont

TUBAWilliam Roper

TRUMPETSNolan Shaheed

James Ford

Brian Swartz

Harry Kim

RHYTHM SECTIONPIANOLanny Hartley

BASS

Jeffery Littleton

DRUMS

Harold Mason

PERCUSSION

Alberto Salas

The singers of the Los Angeles Master Chorale are

represented by the American Guild of Musical Artists,

AFL-CIO, Leanna Brand, AGMA Delegate


P R O G R A M

Sunday, March 25, 7pm | Walt Disney Concert HallLos Angeles Master ChoraleGrant Gershon, conductorSanford Sylvan, baritone

Los Angeles Children,s ChorusANNE TOMLINSON, ARTISTIC DIRECTOR

The Rena Waltz Pierson Music Directorship, a gift of the Pierson and Lovelace families to honor Lillian Lovelace’s mother


Requiem Christopher Rouse(WORLD PREMIERE) (1949 - )

Performed without intermission

Mid-Term Break Seamus Heaney

Requiem aeternam

Dies irae

Suicide in the Trenches Siegfried Sassoon

Tuba mirum

Quid sum miser

Rex tremendae

Ancor Che,l Cor Michelangelo

Quaerens me

Lacrymosa

Offertorium

Hostias

On My First Sonne Ben Johnson

Sanctus/Hosanna

Methought I Saw My Late Espoused Saint John Milton

Agnus Dei / On Immortality (Qui Vuol Mie Sorte) Michelangelo

Latecomers will be seated at thediscretion of House Management.Use of tape recorders, telephones,pagers, and/or cameras is prohibit-ed in the auditorium. Program,prices and artists subject to change.

This concert is funded in part bygrants from the Aaron CoplandFund for Music, Inc., and theNational Endowment for the Arts.

Requiem was commissioned through thegenerosity of Soli Deo Gloria, dedicatedto the creation of sacred classical music.



Well into the first decade

of the 21st century,

humankind is experiencing

relentless sorrows: From

cataclysmic religious wars

and rampant poverty to

the escalation of disease,

famine and genocide, the

onslaught of daily news

continues to generate a

blanket of grief.

And while Gustav Mahler once

said that to write a symphony is to

create a world, to write a requiem is

to fashion music intended to provide

solace. In his monumental Requiem,

Pulitzer Prize-winning composer

Christopher Rouse has done precisely

that. This 90-minute aural juggernaut,

a world premiere written to honor

the 2003 bicentenary of Hector

Berlioz’ birth, will, at long last, be

heard in all its mutable glories, the

staggering juxtaposition of an

apocalyptic vision with music of

compassion and intimacy assuaging

mourners of all stripes. That we can

come together in Walt Disney Concert

Hall to open our hearts to the sounds

of a large, lush orchestra, double

chorus, children’s chorus and baritone

soloist — the acclaimed Sanford

Sylvan — to cleanse our battered

souls, is a rare opportunity, indeed.

From the first unaccompanied note

Sylvan sings, intoning the lines of

Seamus Heaney’s sad treatise,

Mid-Term Break, to his final amen,

we journey to the darkest corners of

devastation — moral, spiritual and

physical — arriving at a place of

peace. Such is the grace and power

of Rouse’s thrilling score, where we

can lose ourselves in this remarkable,

16-movement work, an awesome

universe uniting us ever briefly.

After the baritone’s ethereal

crooning of cooing babies, candles

and a coffin, this neo-plain-chant,

unmetered opening bleeds into the

second movement, requiem aeternam,

the overlapping gambit one of the

work’s hallmarks. A cappella, this

quasi motet begins with an exposed

soprano entrance, an eight-part chorus

soon chanting in Latin. Reminiscent

of slow-movement Bartok, the

chromatic vocabulary climaxes on the

words, “et lux perpetua,” the entire

chorus ascending stepwise in sound

waves revving up to forte. Shades of

Lutoslawski and Gorecki color the

chromatic tonality, the movement

ending starkly, its open fifths

imparting a medieval, Josquinesqe

feel. As the chorus sings its last note,

a snare drum, timpani and bass drum

enter in hushed tones, an exotic

A Towering Lament forTroubled Times

BY VICTORIA LOOSELEAF

Christopher Rouse

Ph

oto

by

Jeff

Her

man



march towards the fiery crescendo of

the Dies irae. Here, musical

Armageddon erupts, a battery of

furioso percussion waging war with a

screaming chorus (think the Beatles’

Revolution No. 9), where the singers,

in strict rhythms but having no

assigned pitches, contribute to what

can only be dubbed as a frenzied

aural crusade. This sound cataclysm

ends with the pianissimo entrance of

woodblocks, temple blocks, castanets

and the Latin American guiro, these

instruments accompanying the

baritone’s lamenting of Siegfried

Sassoon’s combat poem, Suicide in

the Trenches. Stretching out the notes

like taffy, Sylvan is at metaphorical

war with the Ferrari-paced, albeit soft

percussion, the melee ceasing at the

silence-shrouded words, “He put a

bullet through his brain.” The chorus

then begins a quiet panoply of pitch-

less humming before unison brass —

four trumpets, four trombones and

tuba — announces the dramatic Tuba

mirum, now triple forte. Chorus and

full orchestra enter, their complex

chords splashing in different rhythms,

after which wild brass fanfares and

overlapping tempi yield to a mysteri-

ous mood surrounding the words,

“mors stupebit.” A short orchestral

interlude heralds the arrival of the

foreboding Quid sum miser, where,

monk-like, the basses of the chorus

pile on top of the droning orchestral

basses in the section highlighted by

a brief soprano surge, before ending

in prolonged silence. The Rex

tremendae, for choir and orchestra,

also begins with unison brass, which

careens into a fast, almost stuttering

repetition that explodes with

Jackson Pollock-like sonic splatterings.

The skittering eighth note orchestral

passages are pitted against the

chorus as the sopranos soar to high

C in this perfect melding of text —

the fearsome “King of majesty” —

and tones. Smacking of Berlioz as well

as Mozart, this grandiose movement

makes way for a harmonically simple

“salva me,” the hushed passage

presaging the return of the Rex

tremendae. Even more catastrophic

in its end-of-the-world feel, the

chorus’ last syllable spills over to the

return of the baritone: a merciful

guide hurling us into the first of two

Michelangelo poems, Ancor che il

cor. Or is he? Trying to begin his

soliloquy, the soloist is thwarted by

constant orchestral interruptions

until he is finally able to break

through with text.

This fantasy-like wall of sound

continues until the arrival of two

long silences, 9 and 11 seconds, the

latter ending the movement. This

much-needed, surprising calm floats

into a low E-flat groan that ushers in

the ninth movement, quaerens me.

Here the basses and bassoons, altos

and clarinets, and tenors and flutes

craft a sustained, resonating world as

prelude to the percussion sneaking

in again, nimbly crescendoing to a

huge climax, the downbeat signaling

the Lacrymosa. One of the longest

movements (and similar in scale to

that of Berlioz’ Requiem), its heft is

equally significant, the 9/8 rhythm

producing undulations of sound. A

sensuous soprano solo akin to

Bjork’s vocalese on Medulla leads to

a near primal-scream that slams us

into another silent ending before

the arrival of the Domine Jesu

Christe. With a filigreed orchestra

under a unison chorus, this stark

simplicity acts as a buffer before the

Hostias, whose low C major, triple

forte begins in the strings, the

basses and sopranos humming

three-part chords before the altos

and tenors enter with the text. This

ghostly eddy of sound ends on a

sublime E major chord. Overlapping

Ben Jonson’s heartrending poem

on the death of a child, On my first

Sonne, the stealth-like addition of

glockenspiel, vibraphone and

clarinet form a textured cornucopia,

as the baritone, now lyrical, croons

romantic harmonies (think Mahler’s

Kindertotenlieder), that create a

launching pad for the astonishing

entrance of the children’s chorus in

the Sanctus Hosanna. A wash of

treble bling in C Major, the adult

choir in runaway train mode (208

to the quarter-note), offers the

Osanna, before colliding into the

opening of Milton’s Methought I Saw

Devastating, unstinting, fiery, andforged from grief, Rouse’s massiveRequiem is a soaring work of artwhose haunting beauty has thepower to heal and enlighten.

LOS ANGELES MASTER CHORALE


PERFORMANCES MAGAZINE 17

My Late Espoused Saint. As the

orchestra fades away, the baritone

begins the dark, syllabically-set

text, ending in a hush before the

final Agnus Dei, comes charging in

on block chords. Listen for the low

F-sharp bass purrings, insouciant

brass outbursts and the chorus

soaring in open fifths and thirds,

before the baritone gently

murmurs, dona eis requiem, and

two enormous bells toll. Marked

FFFFF, these chimes reverberate

as double choruses offer hymn-

book harmony, with Now the

Laborer’s Task is O’er. Like an

intricately woven tapestry, with

Michelangelo’s death sonnet On

Immortality adding to the fever-

pitch feel, this finale dishes out

titanic relief when the children’s

chorus re-enters singing, Lo, how a

rose ere blooming. With death

comes birth. And hope. The return

of requiem aeternam, its waves of

ascending lines climaxing on Et

lux perpetua, is prelude to the

overlapping phrases that soon

melt into the hushed a cappella

quietude: the baritone’s final

utterance, amen. Devastating,

unstinting, fiery, and forged from

grief, Rouse’s massive Requiem is

a soaring work of art whose

haunting beauty has the power

to heal and enlighten. Now more

than ever.

Victoria Looseleaf is an award-winning

arts journalist and regular contributor

to the Los Angeles Times, Reuters and

Performances Magazine. In addition,

she is the Program Annotator for the

Geffen Playhouse as well as the pro-

ducer-host of the long-running cable

access television show on the arts,

“The Looseleaf Report.” This is her

third season with the Los Angeles

Master Chorale

Completed in Aspen, Colorado on July 12, 2002, my Requiem

was commissioned by the Chicago-based organization

Soli Deo Gloria in honor of the 2003 bicentenary of

Hector Berlioz’ birth.

Berlioz is a composer whose music has always held an

especially profound power over me, and his own mighty

Requiem remains one of the most stupendous and

imaginative of all such works, a unique example of the genre. While I chose

not to make use of actual musical quotations from Berlioz’ works, I decided

to reflect my love of his music by setting the Latin text with the same cuts,

emendations, and reshufflings that he had chosen for his own Requiem.

It would seem, however, that since Benjamin Britten composed his War

Requiem in 1962 with interpolated poems by Wilfred Owen few composers

have been able to resist the temptation to similarly “trope” the traditional

Latin Requiem text with texts from other sources, and I was no exception.

My goal was to use the chorus, restricted to the Latin liturgical text, to

express the enormity of “death” in its deepest context; the role of the bass-

baritone soloist would then be to make the experience of death more personal

by adopting the classic figure of the “Everyman” whose life is marked by the

deaths of loved ones around him.

The work begins with the soloist singing alone the lines of Seamus Heaney’s

Mid-Term Break, in which a boy leaves school to attend the funeral of his younger

brother, struck by a car. Before the Tuba Mirum come lines from Siegfried

Sassoon’s Suicide in the Trenches, in which the poet describes the self-destruction

of a shell-shocked comrade. The Rex Tremendae is succeeded by excerpts from

Michelangelo’s ode on the death of his father, and the Sanctus is preceded by Ben

Jonson’s On My First Sonne, a heartbreaking contemplation of the death of his

child. Before the Agnus Dei comes John Milton’s Sonnet 23, in which he dreams

that his dead wife has returned to him. Finally, Michelangelo’s On Immortality

(set, like the earlier Michelangelo poem, in the original Italian), sung near the

very end of the score, speaks of the “Everyman” figure’s own death.

September 11, 2001 found me in New York City. After the initial shock of the

day’s events began to wear off, it became obvious to me that this Requiem of

which I had completed about half should be completed in and dedicated to

the remembrance of those who perished. However, further reflection led me to

change my mind; I had come to feel that some tragedies were too enormous to

consecrate with anything more than deep but silent grieving and that to turn

this piece into a “9/11 work” might even smack a bit of opportunism. There is a

small, symbolic reference in the score to September 11, but beyond that I have

elected to attempt, in my own inadequate way, a remembrance of all who have

died as well as those who have survived and grieved for them. It is my hope that

my Requiem will, in the end, provide some sort of solace, and for this reason I

have interspersed near the conclusion verses from the Anglican hymn “Now

the Laborer’s Task is O’er” (death) with lines from “Es ist ein’ Ros’ entsprungen”

(i.e., “Lo! How a Rose e’er Blooming” — birth).

The works lasts approximately ninety minutes.

—Christopher Rouse

Composer’s Note


Christopher Rouse

Born: Baltimore, 1949

Education: Oberlin

Conservatory and Cornell

University

Currently: teaches composi-

tion at The Juilliard School

Previously: taught composition

at the Eastman School of Music

Winner of: 1993 Pulitzer Prize in

Music for his Trombone Concerto;

2001 Grammy Award for Best

Contemporary Composition for

Concert de Gaudí

Compositions include:

Symphony No.1, Symphony No.2,

Violin Concerto, Phaethon,

Concert de Gaudí, Kabir Padavali,

Seeing, Rapture, Clarinet

Concerto, Violoncello Concerto,

Der gerettete Alberich

Commissioners include:

Baltimore Symphony Orchestra,

Christoph Eschenbach and the

Houston Symphony, Aspen

Music Festival, The Cleveland

Orchestra, the London

Symphony Orchestra,

the Philadelphia Orchestra,

and the Baltimore Symphony

Orchestra, Minnesota

Orchestra, NDR Symphony

Orchestra (Hamburg) and the

Dallas Symphony, Pittsburgh

Symphony Orchestra and the

Chicago Symphony Orchestra

Compositions have been

performed by: Houston

Symphony, Colorado Symphony

Orchestra, Baltimore Symphony

Orchestra, Los Angeles

Philharmonic, Cleveland

Orchestra, Helsinki

Philharmonic Orchestra,

New York Philharmonic,

Berlin Philharmonic, the City

of Birmingham Symphony

Orchestra, the Sydney and

Melbourne Symphonies

High praise: “some of the

most anguished, most

memorable music around.”

—New York Times

“When the music history of

the late 20th century is written,

I suspect the explosive and

passionate music of Rouse will

loom large.” —Baltimore Sun


Message from theCommissioner of

Christopher Rouse’s Requiem

My interest in commissioning Christopher Rouse

through Soli Deo Gloria to compose a Requiem was

encouraged (peaked?) by three things: my friendship

and collaboration with Chris when he was my

composer in residence in Indianapolis, our mutual

love of Berlioz and the 2003 bicentennial anniversary

of the French composer’s birth. What better way to

celebrate Berlioz’ anniversary then to commission a

work in his memory by the composer that most

resembles him in our time? When I presented the

idea to Chris he accepted on the spot. The work is

also influenced by 9/11 as he was in the process of

writing it when the tragedy struck. Originally

planned for 2003, a series of unfortunate turns

occurred following the completion of the work (very

much in the tradition of Berlioz’ works!) that caused

its delay until 2007. Now scheduled for a world

premiere with the Los Angeles Master Chorale, this

largest of all Rouse works will not only honor one of

the greatest American composers of our time, but

will honor the message of all Requiems throughout

history: life does not end with the last breath we

exhale. Two of Christopher’s favorite hymns from his

childhood, in the final moments of the Requiem,

attest to the fact that in the hour of death our lives

are in the hands of a loving God. We are all indebted

to the magnificent support of Richard Nordlof in

making this commission possible.

—John Nelson

Ph

oto

by

Stev

e C

oh

n


B I O S

Sanford Sylvan

Awards and Nominations:

Grammy and Emmy Award for

John Adams’ Nixon in China;

three Grammy nominations

for Best Classical Vocal

Performance, with longtime

collaborator and pianist David

Breitman

Performances include:

Le Nozze di Figaro, Cosi fan

tutte, Don Giovanni, The Magic

Flute, Ariodante, The Rape of

Lucretia, Semele, Four Saints in

Three Acts, Nixon In China, The

Death of Klinghoffer, The

Wound Dresser, The Lighthouse

and Die Walküre

Has performed with:

New York City Opera, Eos

Orchestra, Glimmerglass

Opera, New York Philharmonic,

Boston Symphony, Cleveland

Orchestra, Los Angeles

Philharmonic, San Francisco

Symphony, Pittsburgh

Symphony, Minnesota

Orchestra, Baltimore

Symphony, Detroit Symphony,

St. Paul Chamber Orchestra,

Orchestra of St. Luke’s, Royal

Concertgebouworkest, London

Symphony, BBC Symphony,

Leipzig Gewandhaus Orchestra,

the Tonhalle Orchestra of

Zurich, Academy of Ancient

Music, Melbourne Symphony,

Australian Chamber Orchestra

and the NHK (Japanese

Broadcasting Corporation)

Symphony

High praise: “[His voice’s]

most striking quality is

sheer beauty….emerging in

sudden flashes in rich, dark

low notes or the majesty of

full high fortes.”

—New York Times

Los AngelesChildren’s Chorus

Founded: 1986

Has appeared with: LA Opera,

Los Angeles Philharmonic, Los

Angeles Master Chorale,

Hollywood Bowl Orchestra,

Los Angeles Chamber

Orchestra, and many others

Commissions include: Dona

nobis pacem/Give Us Peace by

Paul Gibson, and in 2006

Jubilant the Music, a work for

multiple children’s choirs and

full orchestra by Ruth Watson

Henderson.

Has toured in: Great Britain,

Germany, Italy, Australia,

Canada, Austria, Hungary, the

Czech Republic, Poland, and

Brazil and many parts of the

United States

Coming up: world premiere

performance of a new choral

opera, Keepers of the Night, by

composer Peter Ash and libret-

tist Donald Sturrock, July 12, 13,

14, and 15, 2007 at the Alex

Theatre in Glendale, conducted

by Los Angeles Master Chorale

Music Director Grant Gershon

Los Angeles Children’s Chorus

Los Angeles Children’s ChorusAdministrative Staff

Daniella Allevato

Mari Amend

Katherine Amerson

Rachael Anacker

Alene Aroustamian

Ivy Beech

Lindsay Bern

Natanyel Bohm-Levine

Woody Buck

Annie Bures

Katie Burnett

Isaac Calvin

Michelle Chan

Monique Chan

Brandon Cheung

C.J. Cruz

Stephen Cruz

Sarah Donato

Jameson Evans

Justin Filbrich

Sacha Finn

Simone Garcia

Tracy Giesler

Elizabeth Goodrich

Allison Guthrie

Kelsey Haley

Margo Heston

Gwendolyn Hicks

Emma Ho’o

Gianna Horak

Christina Horne

Gisell Inchaurregui

Madeline Kessler

Carol Kim

Jonathan Kim

Karen Kim

Peter Kurzner

Firdaus Landou

Caitlin Latta

Clara Lemon

Amy Lifland

Eric Lifland

Tricia Lin

Mariel Llamas

Alana Mailes

Carolyn Manning

Chantal Marshall

Alisa Martineau

Valentina Matosian

Maran McLeod

Laura Mead

Zoë Merrill

Asha Moore

Katie Morgan

Kira Muraoka

Brianna Murphy

Talin Nalbandian

Caroline Olsen

Kaitlin Olson

Maureen Perry

Benno Ressa

Evan Roberts

Gregory Sliskovich

Allison Smith

Isabel Sunshine

Lea Urpa

Zelda Vassar

Nico Walsh

Brandon Wen

Josiah Yiu

Kaitlyn Yiu

Natalia Youssef

Anne Tomlinson ARTISTIC DIRECTOR

Mandy BrighamASSISTANT ARTISTIC DIRECTOR

Stephanie NaifehDIRECTOR, APPRENTICE CHOIR

Twyla MeyerPRINCIPAL ACCOMPANIST

Rachel Fine EXECUTIVE DIRECTOR

Ann GieslerCHORUS MANAGER

Vina Dreke ASSISTANT CHORUS MANAGER


VIOLIN I

Barry Socher CONCERTMASTER

Margaret Wooten

Connie Kupka

Yan To

Elizabeth Hedman

Heather Crawford

James Stark

Nicole Bush

Cheryl Ongaro

Philip Vaiman

Jennifer Levin

Anna Kostyuchek

VIOLIN II

Steve ScharfPRINCIPAL

Cynthia Moussas

Rhonni Hallman

Lisa Dondlinger

Carrie Kennedy

Sarkis Gyurgchyan

Isabelle Senger

Christopher Reutinger

Marvin Palatt

VIOLA

Kazi PitelkaPRINCIPAL

Samuel Formicola

Alma Fernandez

Rob Brophy

Brett Banducci

Renita Koven

Kathryn Reddish

Josephine Liu

CELLO

Roger LebowPRINCIPAL

Delores Bing

Giovanna M. Clayton

Margaret Edmundson

Jeffrey White

Ira Glansbeek

BASS

Donald FerronePRINCIPAL

Peter Doubrovsky

Tim Eckert

David Parmeter

Nick Franco

FLUTE

Geri RotellaPRINCIPAL

Lisa Edelstein

Sara Weisz

OBOE

Joel TimmPRINCIPAL

Stuart Horn

Michele Forrest

CLARINET

Gary BovyerPRINCIPAL

Michael Grego

Helen Goode Castro

HORN

Steve BecknellPRINCIPAL

Jon Titmus

Kristy Morrell

Jenny Kim

TRUMPET

Roy PoperPRINCIPAL

William Bing

Timothy Divers

TROMBONE

William BoothPRINCIPAL

Alvin Veeh

Amy Bowers

Terry Cravens

TUBA

Douglas TornquistPRINCIPAL

TYMPANI

Thomas RaneyPRINCIPAL

PERCUSSION

Theresa Dimond

John Magnussen

Ken McGrath

Tim Boatman

John Wakefield

Aaron Smith

CONTRACTOR

Steve Scharf

LIBRARIAN

Robert Dolan

Los Angeles Master Chorale Orchestra

A R T I S T S

SOPRANO Tania Batson

Samela Beasom

Marian Bodnar

Vicky Brown

Deborah Briggs

Renee Burkett-

Shulgold

Claire Fedoruk

Rachelle Fox

Ayana Haviv

Marie Hodgson

Karen Hogle Brown

Hyun Joo Kim

Joanne Lee

Emily Lin

Virenia Lind

Cindy Martineau

Deborah Mayhan

Susan Mills

Lika Miyake

Marnie Mosiman

Holly Shaw Price


Sara Minton

Sheila Murphy

Alice Kirwan Murray

Theresa Patten

Nike St. Clair

Nancy Sulahian

Kimberly Switzer

Kristen Toedtman

Tracy Van Fleet

Diana Zaslove

TENORBrent Almond

Lenard Berglund

Scott Blois

Andrew Brown

Daniel Chaney

David Connors

Paul Gibson

Phil Gold

Jack Golightly

Jody Golightly

Jeff Greif

Steven Harms

Stephanie Sharpe

Peterson

Diane Thomas

Sun Joo Yeo

Nancy Von Oeyen

Karen Whipple Schnurr

ALTOMary Bailey

Nicole Baker

Helen Birch

Leanna Brand

Monika Bruckner

Cheryll Desberg

Suzanne Ellis

Sarona Farrell

Amy Fogerson

Sharmila Guha

Saundra Hall Hill

Arwen Hernandez

Kyra Humphrey

Leslie Inman

Adriana Manfredi

Julia Metzler

Shawn Kirchner

Charles Lane

David Larson

Michael Lichtenauer

Dominic MacAller

Christian Marcoe

Sean Mcdermott

Michael McDonough

Paul Neal

Marvin Neumann

Craig Alan Slaughter

Kevin St.Clair

Cahen Taylor

BASS Crispin Barrymore

Joseph Bazyouros

Mark Beasom

Paul Bent

Reid Bruton

Aaron Cain

Paul Cummings

Kevin Dalbey

Greg Davies

Steven Fraider

Michael Freed

Gregory Geiger

Dylan Gentile

Scott Graff

Stephen Grimm

Paul Hinshaw

Jay Kenton

Lew Landau

Scott Lehmkuhl

Bob Lewis

Roger Lindbeck

Bob McCormac

Jim Raycroft

Douglas Shabe

Mark Edward Smith

Burman Timberlake

David Tinoco, Jr.

Eric Westby

Kevin White

David Wilson

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, Leanna Brand, AGMA Delegate


T E X T S A N D T R A N S L A T I O N S

Mid-Term BreakPoetry by Seamus Heaney

I sat all morning in the college sick bay counting bells

knelling classes to a close.

At two o’clock my neighbours drove me home.

In the porch I met my father crying.

He had always taken funerals in his stride.

And Big Jim Evans saying it was a hard blow.

The baby cooed and laughed and rocked the pram

When I came in, and I was embarrassed by ole men

standing up to shake my hand

And tell me they were “sorry for my trouble.”

Whispers informed strangers I was the eldest,

Away at school, as my mother held my hand

In hers and coughed out angry tearless sighs.

At ten o’clock the ambulance arrived

With the corpse, stanched and bandaged by the nurses.

Next morning I went up into the room.

Snowdrops and candles soothed the bedside;

I saw him for the first time in six weeks.

Paler now, wearing a poppy bruise on his left temple,

He lay in the four-foot box as in his cot.

No gaudy scars, the bumper knocked him clear.

A four-foot box, a foot for ev’ry year.

REQUIEM AETERNAM

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Te decet hymnus Deus in Sion, et tibi redetur votum in

Jerusalem:

Exaudi orationem meam, ad te omnis caro veniet.

Rest eternal grant to them, O Lord, And let perpetual

light shine upon them.

A hymn befits thee, O God in Zion, and to thee a vow

shall be fulfilled in Jerusalem. Hear my prayer, for unto

thee all flesh shall come.

KYRIE

Kyrie eleison, Christe eleison, Kyrie eleison.

Lord have mercy, Christ have mercy, Lord have mercy.

DIES IRAE

Dies irae, dies illa, solvet saeclum in favilla:

Teste David cum Sibylla. Quantus tremor est futurus,

Quando judex est venturus, cuncta stricte discusurrus!

Day of wrath, that day shall dissolve with the world into

embers, as David prophesied with the Sibyl.

How great the trembling will be, when the judge shall

come, the rigorous investigator of all things!

Suicide in the TrenchesPoetry by Siegfried Sassoon

I knew a simple soldier boy who grinned at life in empty joy,

Slept soundly through the lonesome dark,

And whistled early with the lark.

In winter trenches, cowed and glum,

With crumps and lice and lack of rum,

He put a bullet through his brain.

No one spoke of him again.

TUBA MIRUM

Tuba mirum spargens sonum per sepulchra regionum,

coget omnes ante, thronum. Mors stupebit, et natura,

cum resurget creatura, judicanti responsura.

Liber scriptus proferetur, in quo totum continetur,

Unde mundus judicetur. Judex ergo cum sedebit,

quid-quid latet apparebit: nil inultum remanebit.

The trumpet, spreading its wondrous sound through the

tombs of every land, will summon all before the throne.

Death will be stunned, likewise nature, when all creation

shall rise again to answer the One judging. A written

book will be brought forth, in which all shall be contained,

and from which the world shall be judged. When

therefore, the Judge is seated, whatever lies hidden shall

be revealed, no wrong shall remain unpunished.

QUID SUM MISER

Quid sum miser tunc dicturus? Quem patronum rogaturus?

Cum vix justus sit securus?

What then am I, a poor wretch, going to say? Which protector

shall I ask for, when even the just are scarcely secure?

REX TREMENDAE

Rex tremendae majestatis, qui salvandos salvas gratis,

salva me, fons pietatis.

Recordare Jesu pie, quod sum causa tuae viae, ne me perdas

illa die.

Confutatus maledictis, flammis acribus addictis, voca me

cum benedictis.

Oro supplex et acclinis, cor contritum quasi cinis: pere curam

mei finis.



King of terrifying majesty, who freely saves the saved, save

me, fount of pity. Remember merciful Jesus, that I am the

cause of your sojourn; do not cast me out on that day.

When the accursed are confounded, consigned to the

fierce flames, call me to be with the blessed.

I pray, suppliant and kneeling, my heart contrite as if it

were ashes: protect me in my final hour.

Ancor Che’l CorPoetry by Michelangelo

Ancor che ‘l cor già mi premesse tanto,

per mie scampo credendo’ il gran dolore

n’uscissi con le lacrime e col pianto,

fortuna’l fonte di cotale umore

le radice’e le vene’ ingrassa e ‘m pingua

per morte, e non per pena o duol minore,

col tuo partire; onde convien destingua

dal figlio prima e tu morto dipoi

del quale or parlo, pianto, penna e lingua.

L’un m’era frate, e tu padre di noi;

La memoria ‘l fratel pur mi dipigne,

e te sculpisce vivo in mezzo il core,

Chi è quel che morte non piangesse

suo caro padre, c’ha veder non mai

quelche vedea infinite volte o spesse?

Or che nostra miseria el ciel ti tolle,

increscati di me, che morto vivo,

come tuo mezzo qui nascer mi volle.

Tu se del morir morto e fatto divo,

nétem’ or più cangiar vita né voglia,

che quasi senza invidia non lo scrivo.

Nube non è che scuri vostra luce,

l’ore distinte a voi non fanno forza,

caso o necessità non vi conduce.

Vostro splendor per notte non s’ammorza,

né cresce mai per giorno, benché chiaro,

sie quand’el sol fra no’il caldo rinforza.

Nel tuo morire el mie morire imparo,

padre mie caro, e nel pensier ti veggio

dove ‘l mondo passar ne fa di raro.

Although my heart was already so weighed down,

I still believed that I could make my escape from my

great pain through my tears and weeping;

But fortune has enriched and fattened the roots and

the veins of such moisture at their source,

and by no less a pain or grief than death, with your

departure;

so now I must separate the tears, pen, and speech for the

son who died first, from those for you who died later,

of whom I’m speaking.

One was brother to me, and you father of us both.

Memory still paints my brother for me,

but sculpts you within my heart as if alive.

But who is there who would not weep for his dear,

dead father, since he’ll never see again him,

whom he saw so many, countless times?

Now that heaven has taken you from our misery,

have pity on me, who am living as if dead

here where it willed me to be born through you.

Now you are dead to death and made divine,

and no longer fear a change of life or desire,

which I can scarcely write without envy.

There is no cloud that can obscure your light,

the successive hours have no power over you,

neither chance nor necessity controls you.

Your brilliance is not damped down by the night,

nor ever increased by the day, however bright,

even the sun intensifies the heat among us.

In your death I am learning how to die,

O my dear father, and in my thoughts

I see you up there where the world only rarely lets us pass.

QUARENS ME

Quarens me, sedisti lassus; redemisti crucem passus:

Tantus labor non sit cassus. Juste judex ultionis, Donum fac

remissionis, Ante diem rationis.

Ingemisco, tamquam reus: Culpa rubet vultus meus:

Supplicanti parce Deus.Preces meae non sunt dignae;

set tu bonus fac benigne, ne perenni cremer igne. Qui

Mariam absolvisti, Et latronem exaudisti,Nihi quoque

spem dedisti. Inter oves locum praesta, Et ab haedis me

sequestra, Statuens in parte dextra.

Seeking me, you sat down weary; having suffered the

Cross, you redeemed me. May such great labor not be

in vain. Just Judge of vengeance, grant the gift of

remission before the day of reckoning.

I groan, like one who is guilty; my face blushes with guilt.

Spare they supplicant, O God. You who absolved Mary

(Magdalene), and heeded the thief, have also given



hope to me. My prayers are not worthy, but Thou, good

one, kindly grant that I not burn in the everlasting fires.

Grant me a favored place among thy sheep, and separate

me from the goats, placing me at thy right hand.

LACRYMOSA

Lacrymosa dies illa, qua resurget ex favilla, judicandus,

homo reus.

Pie Jesu Domine, dona eis requiem.

O how tearful that day, on which the fuilty shall rise from

the embers to be judged.

Merciful Lord Jesus, grant them rest.

OFFERTORIUM

Domine Jesu Christe, Rex gloriae, libera animas omnium

fidelium defunctorum libera eas de poenis inferni de

profundo lacu: libera eas et sanctus signifer Michael

repraesentet eas in lucem sanctam: quam olim Abrahae

et semini eius promisisti.

Lord Jesus Christ, King of glory, liberate the souls of all

the faithful departed from the pains of hell and from

the deep pit; deliver them but let Michael, the holy

standard-bearer bring them into the holy light, which

once thou promised to Abraham and to his seed.

HOSTIAS

Domine Jesu Christe. Amen. Hostias et preces tibi, laudis

offerimus: tu suscipe pro animabus illis, quarum hodie

memoriam facimus.

Sacrifices and prayers of praise, O Lord, we offer to thee.

Receive them, Lord, on behalf of those souls we com-

memorate this day.

On My First SonnePoetry by Ben Johnson

Farewell, farewell thou child,

Of my right hand and joy;

My sin was too much hope of thee, lov’d boy,

Seven years thou wert lent to me,

And I thee pay

Exacted by thy fate on that just day.

O, could I lose all father now.

For why will man lament the state he should envy?

To have so soon ‘scaped world’s and flesh’s rage,

And, if no other misery, yet age?

Rest in soft peace, and, ask’d, say

Here doth lie his child, his best piece of poetry,

For whose sake, henceforth, all his vows be such

As what he loves may never like too much.

SANCTUS

Sanctus, Sanctus, Sanctus, Deus Sabaoth. Pleni sunt coeli et

terra gloria. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are

full of thy glory.

Methought I Saw My Late Espoused SaintPoetry by John Milton

Methought I saw my late espoused saint

Brought to me, like Alcestis, from the grave, who

Jove’s great son to his glad husband gave,

Rescued by force, though pale and faint.

Mine came vested all in white, pure as her mind.

Her face was veiled, yet to my fancied sight

Love, sweetness, goodness in her person shined so clear,

as in no face with more delight.

But O, O, O, O, as to embrace me she inclined,

I waked, she fled, and day brought back my night.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi, dona eis requiem; dona

eis requiem sempiternam.

Lamb of God who takest away the sins of the world, grant

them rest; grant them rest everlasting.

HYMN

words by John Ellerton

Now the laborer’s task is o’er;

Now the battle day is past;

Now upon the farther shore

Lands the voyager at last.

Father, in Thy gracious keeping

Leave we now Thy servant sleeping.

“Earth to earth, and dust to dust,”

Calmly now the words we say;

Left behind, we wait in trust

For the resurrection day.

24 PERFORMANCES MAGAZINE


Qui Vuol Mie Sorte (On Immortality)Poetry by Michelangelo

Qui vuol mie sorte c’anzi tempo i’dorma,

né son già morto; e ben c’albergo cangi,

Resto inte vivo, c’or mi vedi e piangi,

se I’un nell’altro amante si trasforma.

Qui son morto creduto; e per conforto

del mondo vissi, e con mille alme in seno

di veri amanti; adunche a venir meno,

per tormen’ una sola non son morto.

Here my fate wills that I should sleep too early,

But I’m not really dead; though I’ve changed homes,

I live on in you, who see and mourn me now,

since one lover is transformed into the other.

Here I am, believed dead; but I lived for the comfort

of the world,

with the souls of a thousand true lovers in my breast;

therefore,

although diminished by taking just one of them from me,

I’m not dead.

TRADITIONAL CAROL

Author Unknown

Es ist ein’ Ros’ entsprungen

Aus einer Werzel zart.

Al suns die Alten sungen

Aus Jesse kam die Art.

Und hat ein Blümlein bracht,

Mitten im kalten Winter,

Wohl zu der halben Nacht

Lo, how a rose e’er blooming

From tender stem hath sprung.

Of Jesse’s lineage coming

As men of old have sung.

It came a flow’ret bright

Amid the cold of winter,

When half spent was the night.

LOS ANGELES MASTER CHORALE


N E W S A N D N O T E S

Thus begins a parable from the Shahnameh, or as it is also

known, Iran’s Book of Kings. The Shahnameh is an enormous

poetic opus written around 1000 B.C. by the Persian poet

Ferdowsi, and is considered the national epic of the Persian

World. The Shahnameh tells the mythical and historical past

of Iran from the creation of the world up until the Islamic

conquest of Iran in the 7th century and has been pivotal for

reviving the Persian language, which has suffered since the

introduction of Arabic into Persian culture.

The soldiers listened to the voice, and wondered what the

words could mean, since whether they took stones or didn’t,

they couldn’t see what their future sufferings would be.

Eve was drawn to this parable about choices precisely

because it offers no easy answers. “I love the complexity

of this parable; it contradicts the ideas of asceticism, self-

abnegation, and/or moderation that are more common

forms of advice in most spiritual and ethical traditions.

The idea that we should gather and experience everything

we possibly can from this life, including the things that

look like painful burdens, seems like a compelling way to

think about the short time we have here.”

Some took stones, some took none, some out of laziness took

only a few. When they left the land where the water of life was,

and found themselves on the plain once more, the road was no

longer dark and each man looked at what he’d tucked in his

sleeves or his tunic, and so the deceiving riddle was revealed…

You didn’t think I’d tell, did you? You’ll just have to

come hear it for yourself. Mark your calendars – June 3

and 7, 2007. Don’t miss it.

Next stop: Update — one step closer to the big finish,

but still a ways to go.

—Miki Shelton

For LA is the World composer Eve Beglarian, choosing the

text is an essential part of the process of creating music:

Going forward in the darkness, the army heard

a voice from a black mountain nearby, which

said, “Whoever takes stones from this mountain

will be sorry for what he holds in his hand, and

whoever takes nothing will be sorry and look

for a balm to ease his heart’s pain.”

Pishdadian episode — The Greatness of Kayumarsand the Envy of

Ahriman in Shahnameh by Abolqasem Ferdowsi (Firdausi) c. 1010 A.D.


2006 | 07 LAMC Donor Benefits

$100 | Friend Circle

• Year-round concert program

recognition.

$300 | Patron CircleThe benefit above, plus

• 2 Dress Rehearsal invitations

and 2 free drink vouchers.

$600 | Aficionado CircleThe benefits above, plus

• 2 additional Dress Rehearsal

invitations and 2 invitations to

a Coffee & Conversation with

Grant Gershon on Mar 24.

$1,000 | Silver Baton CircleThe benefits above, plus

• Complimentary self-parking,

2 more drink vouchers and

2 tickets to a private donor

event Mar 25.

$2,500 | Golden Baton CircleThe benefits above, plus

• Priority seating for the 2007 | 08

season and an invitation to an

additional exclusive donor event.

$5,000 | Maestro CircleThe benefits above, plus

• Valet parking for Master Chorale

concerts and 2 tickets to the

Maestro & Friends Cabaret on

stage at Disney Hall, Jun 15.

$10,000 | Benefactor CircleThe benefits above, plus

At this level you add VIP ticketing,

dress rehearsal passes, exclusive

backstage events and more.

$25,000 | Impresario CircleThe benefits above, plus

Impresarios will be afforded all

the privileges of underwriters

including your own backstage

dressing room.

All donors are accorded seating

priority according to the level of

your gift. More details regarding

donor benefits can be found at

WWW.LAMC.ORG or by calling

213-972-3122.

(L-R) Richard Cullen, Robert Finnerty, Betty McLaughlin, (back) Robert andSally Neely enjoyed a scrumptious three-course Patina Dinner at theMaestro and Friends Cabaret Dinner.

Music Director Grant Gershon was joined by Chorale singers Sarona Farrell,Steve Pence and Rachelle Fox for an incredible cabaret performance at the3rd Annual Maestro and Friends Cabaret Dinner on stage at Walt DisneyConcert Hall this past June.

Join the L.A. Master Chorale Circle of Friends and get closer to the music you love. Your gift is tremendously important because ticket sales cover less than 50%

of the cost of each concert. In addition to supporting great choral music, you will berewarded with the following donor benefits:

D O N O R S


D O N O R S

2006 | 2007 Circle of Friends

The Los Angeles Master Chorale gratefully acknowledges the following individuals, businesses, foundations and

government agencies that support the Los Angeles Master Chorale through generous annual gifts, grants and

sponsorship. We applaud the vision of our generous friends who understand that the artistic growth of this

magnificent Chorale is dependent upon a community of donors — our Circle of Friends. Thank you!

*Individuals who have made multi-year commitments of support are indicated with an asterisk.

Angel Circle$100,000 to $500,000

Violet Jabara Jacobs

Lillian and Jon Lovelace*

Carolyn and Charles D. Miller*

Impresario Circle$25,000 to $99,999

Anonymous*

Carol and Warner Henry

Patricia and Kenneth McKenna

Joyce and Donald Nores*

The SahanDaywi Foundation

Benefactor Circle$10,000 to $24,999

Anonymous

Brent Enright*

Lois and Robert F. Erburu

Thomas F. Grose, in honor of

Charles I. Schneider*

Denise and Robert Hanisee*

Sheila Muller

Bette Redmond*

Mr. and Mrs. Robert Ronus

Martha Ellen Scott

M. Daniel Shaw*

Frank J. Sherwood

Laney and Tom Techentin

Marylyn and Neil Warren

Maestro Circle$5000 to $9999

Gregory J. and Nancy McAniff Annick*

Michael Breitner and Michael Reisig*

Debbie and Jeff Briggs*

Cynthia and T. Samuel Coleman*

Pat and Wayne DePry

Kathleen and Terry Dooley*

Ann Graham Ehringer*

Robert G. Finnerty and

Richard Cullen*

Claudia and Mark Foster*

Moira Byrne Foster Foundation

Kiki and David Gindler

Dr. and Mrs. Brian E. Henderson*

Victoria and Frank D. Hobbs

Mona and Frank Mapel*

Drs. Robert and Marguerite Marsh

Jane and Edward J. McAniff*

Mr. and Mrs. David McIntyre*

Mrs. Edward McLaughlin*

Sally and Robert Neely

Marian and John Niles

Eleanor Pott*

Cecilia and Dudley Rauch

Marshall Rutter and Terry Knowles

Mr. and Mrs. W. Scott Sanford

Charles I. Schneider and

Nancy Barrier-Schneider

David N. and Charlotte Schultz

Terry O'Malley Seidler

Susan and Tom Somerset*

Philip A. Swan and

Patricia A. MacLaren

Susan and John Sweetland

Barbara and Ian White-Thomson

Jann and Kenneth Williams

Golden Baton Circle$2500 to $4999

Regina Clark

Alicia G. and Edward Clark

Teresa and Robert A. De Stefano

Joyce and Kent Kresa

Christine and Peter Kuyper

Donna and Warry MacElroy

Helen and Albert McNeil

Carole and Everett Meiners

Cheryl Petersen and Roger Lustberg

Sylvia and Joe Phelps

Anne and Harrison Price*

Susan Erburu Reardon and

George Reardon*

Eric Richards

Penelope C. Roeder, Ph.D.

Nancy and Dick Spelke*

Michele and Russell Spoto, M.D.

Robert Teragawa

Silver Baton Circle$1000 to $2499

Anonymous*

Dr. Gladi Adams

Dr. and Mrs. James P. Beasom III

Jennifer and Chris Bertolet

Susan Bienkowski

Judith and Wayne Carter

Marjore Chronister

Eleanor and Theodore Congdon

Bryant & Judi Danner

Megan and Don Davis

Susan Esting

Vacharee and Gordon Fell


D O N O R S

George Fenimore

June and Walter Fisher

Michael W. Fitzgerald

Betty Freeman

Laurence K. Gould, Jr.

Capri and Bruce Haga

Mrs. Bob Hope

Mr. and Mrs. Lawrence Inouye

Richard Kaltenbrun

Dr. Stephen Kanter

Nancy Katayama

Marjorie and Roger Lindbeck

Marina Day and Paul Livadary

Alice and Brandon MacAller

Weta and Allen Mathies

Kathleen L. McCarthy

Robin Meadow

John D. Millard —

Symantec Corporation

Gloria and John Moore

Ann and James Mulally

Carol K. Broede and Eric Olson

Patricia and David Ottesen

M. Helen Pashgian

Elizabeth and Hugh Ralston

Phyllis Rothrock*

Frederick J. Ruopp

Rosemary Schroeder

Maryann Skoko and Katherine Jordan

Helen and Jerry Stathatos

Sally and Philip V. Swan

Allison and Peter Viehl

Jane and Larry Viehl

Seymour Waterman

Lynne and Peter Young

Aficionado Circle$600 to $999

Marla Borowski

Georgia and Gerald F. Brommer

Dr. and Mrs. Carl Greifinger

Denise Hamelin and

Vincent Thoemmes

Carol and James S. Hart

Missy and Paul Jennings

Harriet and Al Koch

Ella Matthes

Dr. Joseph V. Matthews

Harriet McDonald

Beatrice H. Nemlaha

George C. Oliphint

Peggy and Leroy Rahn

Ellen Silverman

Carrie Deeb and Emile F. Skaff

Penelope and Craig Springer

Jesse Telles

Winifred and William Weisinger

Geoffrey S. Yarema

Patron Circle$300 to $599

Sandra and Ira Abramowitz

Janet Anwyl

Diane and Noel Applebaum

Jo Anna Bashforth

Henry Berber

Helen Birch

Adele Bloom

Mandy and Steven Brigham

Fran Buchanan

James Bullock

Raun and Jerry Burnham

Areta Crowell

Drs. Eleanor and Harold Fanselau

Kathie and Alan Freeman

John R. Freeman

Stella and Jaime Garcia

Gordon Geever and Sam Matsumoto

Linda Hansen

NancyRuth Hoffman

David E. Horne

Mr. and Mrs. Jason Hwang

Frank Jarvis

Robin and Craig Justice

Susan Keith

Maryanne and Jerome Levine

Carole and Matt Lewis

Lucia and Ben Logan

Nicole and Robert Maloney

Alan Mangels

Mary and Murray Marsh

Jane and Lawrence McNeil

Nancy and Ray Mullio

Anne and Jon Murakami

Ms. Jeanne M. Neville Fund of the

El Adobe Corporation

Eloise Osborne

Otto Paris

E. Gary and R. Marina Raines

Ilean and Steven Rogers

Mary Lou Schanche

Melody Scott

William Sollfrey

Rita Spiegel

Andrew Stimer

Arthur H. Streeter

J. Theodore Struck

Suzanne Trepp

Barbara E. Wagner

Patricia S. Waldeck

Mark Zimoski

Friend Circle$100 to $299

Anonymous (2)

Fernando Almanza, Jr.

Mr. and Mrs. Richard E. Andersen

Grace Anderson

Valerie and Seth Aronson

Cheryl and Wayne Ayers

Jon Bailey

Rebekah Ballard

Grant Barnes

Cathy and John Bartoo

William and Delores Bing

Bob Boucher

Marilyn and David Breeding

Lillian Brown

Diana Burman

Paul Butler

Alonso Calderon

Mary Ellen and Alan Cassman


D O N O R S

Dr. and Mrs. Lawrence J. Cohen

Moira and Michael Cohn

Mr. and Mrs. Michael Cole, in honor

of Tom Somerset

Jon and Nancy Collins

Molly and Walter Coulson

Hilary Crahan

Doug Crowley

Rosa Cumare

Sandra Cutuli

Mary and Craig Deutsche

Hazel H. Dunbar

James Ellfeldt

Kathleen Elowitt

Russell Faucett

Christine Fidler

Deborah Fitzgibbons

Miller Fong

Kay and Donald Fujiwara

Dr. James E. Gernert

Mary Gisbrecht

Betty Gondek

Richard Guthrie

Susan Hamilton

Nina Haro

Kristin and Berkeley Harrison

Dorothy and Carson Hawk

Marion F. Haynes

Robert and Marilyn Hertz

Elizabeth Levitt Hirsch

Lucy A. Hirt

Mary Hoffman

Virginia and Robert Huntington

Russell G. Irwin

Mary and Paul Jacobs

Dr. and Mrs. Louis W. Kang

Robin and Michael Kendall

Gloria and Paul Kilian

James Kindel

Edna Mae and Gordon Klett

Constance Knight

Peter Kudrave

Lynne La Fleur

Mr. and Mrs. Chuck La Franchi

Veloris Lang

Dr. and Mrs. Maimon Leavitt

Dr. Louise Lepley

Leeba Lessin

Iris S. Levine

Mary and John Lorimer

Mr. and Mrs. Marshall E. Lumsden

Dr. Shoko Malkan

Terry and Greg Margrave

Billie Marrow

Vicky and Neil Martin

Scott Maynes

Susan McKellar

Brenda and Michael McNamara

Thomas Metzler and Barbara Don

Kim and David Meyer

Jan and Roy Miller

Daniel I. Miyake

Mr. and Mrs. Robert Moran

Tania and Floyd Norris

Julie Noyes

Robert Poehling

Martha Rinaldo

Sara and Kenneth Roehrs

Carol and Theodore Rutter

Leslie Sacks

Gaye Saxon

Marilyn Scheerer

Mary and Don Schliff

Loretta Sifuentes

Melvin Smith

Williametta Spencer

Ms. Sharon K. Steingass

Elsa and Charles Stewart

Sue and Doug Upshaw

Christine Upton

Madge van Adelsberg

Mary Jane and John Van Amridge

William Wilk

F. Eugene Wilkerson

Lloyd and Mary Wilson

Robert Woiwod

Judy Wolman

Gifts in Memory of Betty Gould

Trisha Bennett and John Streb

Nancy Carlton

Emilie and Borge Christensen

Joan Fritz

Susan and William Goff

Laurence K. Gould Jr.

Yvette Herrera

Diane and Steven Horwitz

Noela and Alexander Jeffrey

Susan and Warren Lortie

Joyce Martin

Judith McCormick

Janet Michaels

Dennis Nasitka

Don and Joyce Nores

Renate and Robert Ortega

Arlene and Thomas Sheppard

Randall and Mary Short

Arnold Siegel and Susan Futterman

Nick Terbovic and Guy Allred

Larry and Jane Viehl

Peter, Allison, Andrew, Amy and

Charlie Viehl

Your tax-deductible gifts are an invest-

ment in the Chorale and in this great

music. It's easy to make a donation to

support the music you love: Online at

www.LAMC.org, call 213-972-3122 or

mail your check to LAMC, 135 N. Grand

Avenue, LA, CA 90012. This listing

reflects annual gifts through January 5,

2007. To report a change in your listing,

please call Patrick Brown at

213-972-3122 or email [email protected].


D O N O R S

Grand SponsorMellon Financial Corporation

Patron Co-ChairsLaney and Tom Techentin


Grand Patron TablesLillian and Jon Lovelace

Patron TablesAlschuler Grossman Stein & Kahan LLP

The Capital Group Companies

Charitable Foundation

Covington Capital Management

Ann Graham Ehringer, Saddlepeak Lodge

Denise and Robert Hanisee

Patricia and Kenneth McKenna

Joyce and Donald Nores

Bette Redmond

Eric Richards


Gala TablesMichael Breitner

Scott Fitz-Randolph and Christina Rose

Victoria and Frank Hobbs

Jane and Ted McAniff

Marian and John Niles

Susan and Tom Somerset

Jann and Kenneth Williams

Individual Grand PatronsMrs. Brian Dockweiler Crahan

Claudia and Mark Foster

Betty Freeman

Kiki and David Gindler

Thomas F. Grose


Kathleen McCarthy

Judith and Clifford A. Miller

Cheryl Petersen and Roger Lustberg

Penelope C. Roeder

Barbara and Ian White-Thomson

Individual PatronsAnn and Olin Barrett

Linda and Skip Bowling

Hillary Crahan

Jennifer and Royce Diener

Kathleen and Terry Dooley

Thomas F. Kranz

Christine and Peter Kuyper

Lois and Chris Madison

Ginny Mancini

Drs. Robert and Marguerite Marsh

Helen and Albert McNeil

Sheila Muller

Joseph Nalls

Anne and Harrison Price


Michele and Russell Spoto

DonorsAnonymous

Lenore and Bernard Greenberg

Harry and Betsy Hathaway

Elizabeth Levitt Hirsch

Polly and Huston Horn

Jane and Lawrence McNeil

Sharon and Arnold Messer

Fred Schoellkopf

Singer Lewak Greenbaum & Goldstein LLP

Charles Starr, Jr.

Strategic Support Services, Inc.

Mr. and Mrs. David Vivell

Barbara and Russell Whittenburg

Stanley Zerne, M.D.

Roger Wagner Society The Roger Wagner Society—named after the founding music director—honors special friends who support the Chorale with

endowment or planned gifts. These extraordinary gifts support the Chorale today and help to ensure its bright future.

Please join us to recognize and thank these visionary members of the Roger Wagner Society.

If you have included the Master Chorale in your estate plan, please let us know so we can acknowledge your generosity. For information

on bequests or to arrange a complimentary, confidential planned giving consultation, please contact Marjorie Lindbeck at 213-972-3114.

Michael Brietner and Michael Reisig

Colburn Foundation

William Davis, in honor of Ted McAniff

Ann Graham Ehringer

Moira Byrne Foster Foundation

Claudia and Mark Foster

Denise and Robert Hanisee

Geraldine Healy*

Los Angeles Master Chorale Associates

Marguerite and Robert Marsh

Jane and Edward J. McAniff

Nancy and Robert Miller

Raymond R. Neevel*

Joyce and Donald J. Nores

Anne Shaw and Harrison Price

Elizabeth and Hugh Ralston

Elizabeth Redmond

Penelope C. Roeder, PhD

Phyllis and Larry* Rothrock


Carolyn and Scott Sanford

Barbara* and Charles Schneider

Dona* and David Schultz

Nancy and Ralph Shapiro, in honor of

Peter Mullin

Nancy and Richard Spelke

George Sterne and Nicole Baker

Francine and Dal Alan Swain

Patricia A. MacLaren and Philip A. Swan


*deceased

Opening Night Gala The Opening Night Gala was generously sponsored by Mellon Financial Corporation. The Los Angeles Master Chorale

Board of Directors gratefully acknowledges Mellon and the generosity of the following individuals and businesses whose

extra special patronage of the benefit contributed to its extraordinary success. The benefit raised more than $280,000 to

support the Chorale's artistic and educational initiatives. Thank you to everyone who participated!


D O N O R S

Platinum Circle$100,000+

Colburn Foundation*

The James Irvine Foundation*

The Music Center Fund for the

Performing Arts

Weingart Foundation*

Gold Circle$50,000 to $99,999

Los Angeles County Arts Commission

Los Angeles Times Family Fund,

a Fund of the McCormick Tribune

Mellon Financial Corporation

The Music Center Foundation

The Ralph M. Parsons Foundation*

Flora L. Thornton Foundation

Silver Circle$20,000 to $49,999



Creative Capital Foundation

City of Los Angeles Department of

Cultural Affairs

Dwight Stuart Youth Foundation

Dan Murphy Foundation

Pasadena Showcase House for the Arts

Bronze Circle$1000 to $19,999

The Ahmanson Foundation

Bank of America Foundation

Patrica Duque Byrne Charitable

Foundation

The Aaron Copland Fund for Music

Employees Community Fund of Boeing

Georges and Germaine Fusenot

Foundation

Ann and Gordon Getty Foundation

J.B.and Emily Van Nuys Charities

The Harold McAlister


B.C. McCabe Foundation

Metropolitan Associates

Lluella Morey Murphey Foundation

The E. Nakamichi Foundation

National Endowment for the Arts

The Kenneth T. and Eileen L. Norris

Foundation

The Rose Hills Foundation

Roth Family Foundation

Lon V. Smith Foundation

John and Beverly Stauffer Foundation

The Walter Lantz Foundation

Matching GiftsAmerican Express Foundation

Bank of America Foundation

The Boeing Company



Citicorp Foundation

J. Paul Getty Trust

William and Flora Hewlett Foundation

Sempra Energy

Safeco

The Times Mirror Foundation

2006 | 2007 Business, Foundation and Government Support

These concerts are made possible, in part, through grants from the City of Los AngelesDepartment of Cultural Affairs, the National Endowment for the Arts, and the Los AngelesCounty Arts Commission.

Artistic StaffGrant GershonMUSIC DIRECTOR

Paul SalamunovichMUSIC DIRECTOR EMERITUS

Ariel QuintanaASSISTANT CONDUCTOR

Lisa EdwardsPIANIST/MUSICAL ASSISTANT

Marnie MosimanARTISTIC DIRECTOR FOR VOICES WITHIN

Administrative StaffAndrew BrownCOMMUNITY PROGRAMS MANAGER

Patrick BrownPATRON SERVICES

MANAGER

Kathie FreemanARTISTIC PERSONNEL & PRODUCTION MANAGER

Rebecca S. GutierrezDIRECTOR OF FINANCE

Laura HightowerSALES ASSOCIATE

Terry KnowlesEXECUTIVE DIRECTOR

Marjorie LindbeckGENERAL MANAGER

D’aun MilesADMINISTRATIVE SERVICES MANAGER

Esther PalaciosADMINISTRATIVE ASSISTANT

Miki SheltonDIRECTOR OFDEVELOPMENT

Catherine SpringerMARKETING MANAGER

ConsultantsAd Lib Communications

Libby HuebnerPUBLICIST

NetTechCOMPUTER SERVICES

The Phelps Group

Joe Phelps

Smash Events

Gerry Huffman

Studio Fuse

Jennifer Logan and

Christopher Quiming

Unison Consulting

Paul Dupree

TRG | Target

Resource Group

Jill RobinsonPRESIDENT

Julia Carnahan

L.A. is the World

Walt Disney Concert HallPage MesserlyTREASURER

Christy GalassoFIRST ASSISTANTTREASURER

Greg FlustyHOUSE MANAGER

Paul GellerSTAGE MANAGER

James J. ValentineMASTER CARPENTER

John PhillipsPROPERTY MASTER

Terry KleinMASTER ELECTRICIAN

Kevin F. WapnerMASTER AUDIO/VIDEO

The stage crew is repre-

sented by the International

Alliance of Theatrical Stage

Employees and Moving

Picture Machine Operators

of the United States and

Canada, Local 33.

Los Angeles Master Chorale135 North Grand Avenue

Los Angeles, CA 90012

Phone 213-972-3110

FAX 213-687-8238

EMAIL [email protected]

WEBSITE www.lamc.org

Ticket Services

PHONE 213-972-7282

FAX 213-972-3136

EMAIL [email protected]

Los Angeles Master Chorale Administration

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