THE NSCS IS SUPPORTED IN PART BY THE ILLINOIS ARTS COUNCIL

THE NORTH SHORE CHORAL SOCIETYdirected by Donald Chen, presents

Sunday, June 11, 2006, 3:00 PMPick-Staiger Concert Hall50 Arts Circle Drive, Evanston

www.northshorechoral.org

Das Paradies und die PeriFeaturing

Michelle Areyzaga, soprano,in the role of Die Peri

and James Doing, tenor solo

with solo quartet:Amy Conn, soprano [Die Jüngfrau],

Emily Lodine, alto [Der Engel],Calland Metts, tenor [Der Jüngling],Peter Van De Graaff, bass-baritone

[Gazna, Der Mann]

SMOKING IS NOT PERMITTED IN PICK-STAIGER CONCERT HALL.FOOD AND BEVERAGES ARE NOT PERMITTED IN THE LOBBY OR AUDIENCE SEATING AREA.PHOTOGRAPHS AND TAPE RECORDINGS ARE NOT PERMITTED DURING A PERFORMANCE.

ONLY MEMBERS OF THE HOUSE STAFF ARE PERMITTED TO STAND IN AISLES.

by Robert SchumannThe North Shore Choral Society

For the past three years, members of the North Shore Choral Society have been planningthis special season to celebrate our seventieth birthday. And “special” it has been.Our December concert with The Agape Ringers and the Horizon Brass Quintet sent bothperformers and audience members into the busy holiday season with a musical flourish.In March, the Parish Church of St. Luke was filled to overflowing with an audience thatgave an enthusiastic response to our contrasting program of Brahms’ Liebeslieder-Walzerand Orff’s Carmina Burana, with the Red Rose Chamber Choir joining us in the latter.And just last month, we sang the Shostakovich Second Symphony with the NorthbrookSymphony Orchestra in an exciting performance that kept most of the audience in theirseats for a second hearing.

Now the season comes to an end—with Robert Schumann’s fascinating Das Paradiesund die Peri. Throughout the season, we have trumpeted the fact that this work—perhapsmore than any other—established Schumann’s international reputation. As the chorus,the instrumentalists, and the soloists join in this afternoon’s presentation, we may allcome to understand why this claim has been made. Be sure to read Donald Draganski’sprogram notes for details about the creation of this unique piece.

And next season? These are our tentative plans: a December concert featuring JohnRutter’s Gloria, Conrad Husa’s A Christmas Garland, and—of course—traditional holidaycarols; a second concert with a chamber ensemble joining the chorus in a performanceof Stravinsky’s Mass, plus music of Ron Nelson and Randall Thompson; and a single-work season finale: Haydn’s Missa Cellensis.

If you are on our mailing list, you will receive information about our seventy-first seasonin August. If you are not and would like to be, please stop at our table in the lobby andmake your wish known. And be sure to join us in our anniversary celebration aftertoday’s concert.

Have a delightful summer. We hope to see you again next fall.

ERSTER TEIL. (PART ONE)No. 1. Vor Edens Tor im Morgenprangen .................................................................. alto soloNo. 2. Wie glücklich sie wandeln ................................................................................ The PeriNo. 3. Der hehre Engel, der die Pforte .................................... tenor recitative and The AngelNo. 4. Wo find’ich sie? ................................................................................................. The PeriNo. 5. So sann sie nach ............................................................................................... tenor solo

O süßes Land! ............................................................................................... solo quartetNo. 6. Doch seine Ströme sind jetzt rot .... chorus, Chorus of Conquerors, Chorus of IndiansNo. 7. Und einsam steht ein Jüngling ................ tenor solo, chorus, Gazna and The Young ManNo. 8. Weh, weh, weh, er fehlte das Ziel ....................................................................... chorusNo. 9. Die Peri sah das Mal der Wunde .......... tenor solo, The Peri, solo quartet and chorus

ZWEITER TEIL. (PART TWO)No. 10. Die Peri tritt mit schüchterner Gebärde ........ tenor, The Angel and Chorus of AngelsNo. 11. Ihr erstes Himmelshoffen schwand ............................................................... tenor solo

Hervor aus den Wässern ................................. Chorus of the Nile Spirits and The PeriNo. 12. Fort streift von hier das Kind der Lüfte ................................. tenor solo and The PeriNo. 13. Die Peri weint .................................................................................................. tenor solo

Denn in der Trän’ ist Zaubermacht ............................................................ solo quartetNo. 14. Im Waldesgrün am stillen See ........................................ alto solo and The Young ManNo. 15. Verlassener Jüngling ............................... soprano solo, tenor solo and The Young ManNo. 16. O laß mich von der Luft durchdringen .............................The Maiden and tenor soloNo. 17. Schlaf nun und ruhe in Träumen voll Duft ................................ The Peri with chorus

PROGRAMDAS PARADIES UND DIE PERI OPUS 50 ...................Robert Schumann (1810–1856)

Michelle Areyzaga, soprano [in the role of The Peri]; James Doing, tenor solo;Solo quartet: Amy Conn, soprano [The Maiden]; Emily Lodine, alto [The Angel];

Calland Metts, tenor [The Young Man]; Peter Van De Graaff, bass-baritone [Gazna, The Man]

� Intermission �15 minutes

DRITTER TEIL. (PART THREE)No. 18. Schmücket die Stufen zu Allahs Thron .......................... Chorus of Heavenly MaidensNo. 19. Dem Sang von ferne lauschend .............................................. tenor solo and The AngelNo. 20. Verstoßen! Verschlossen aufs neu .................................................................... The PeriNo. 21. Jetzt sank des Abends goldner Schein ...................................................... baritone soloNo. 22. Peri, ist’s wahr? ...................................... tenor solo, Chorus of Peris and baritone soloNo. 23. Hinab zu jenem Sonnentempel ........ The Peri, tenor solo, soprano solo and The ManNo. 24. O heil’ge Tränen inn’ger Reue ................................................. solo quartet and chorusNo. 25. Es fällt ein Tropfen aufs Land ............................. The Peri and tenor solo with chorusNo. 26. Freud’, ew’ge Freude, mein Werk ist getan ... Peri and Chorus of the Blessed Spirits

The businesses listed in this program have been very helpful to us in bringingyou this concert. Please think of them when you need the services and productsthey offer and tell them how much we appreciate their support!

ART & MUSIC

Alexandria Kung PhotographyAudio ConsultantsEvanston Symphony OrchestraFolkWorks GalleryGood’s of EvanstonHorizon Brass QuintetJ.O’Reilly ProductionsMusic of the BaroqueMusic UnlimitedNorthbrook Symphony OrchestraTAR AudioWFMT

AUTOMOTIVE SERVICES

Duxler Tire & Care Center

BOOKS, GIFTS, & CLOTHING

“Enchanted Remembrances” (Inge Kistler)“Keeping The Beat” (Ada Kahn)Natural ThingsWilliams Shoes - The Walking Spirit

COMPUTER & COPY SERVICES

Compassionate ComputingQuartet Copies

CONSULTING & BUSINESS SERVICES

K G CommunicationsNational Award Services

EDUCATION & INSTRUCTION

The Kitchen Warrior (Paul Siegal)Roycemore School

FINANCIAL SERVICES

Cardinal Financial ServicesDevon BankFirst Bank & Trust of EvanstonLee Canfield, Northwestern MutualUnited Financial Group (UFG)Henricus Vroegh, Widmann, Siff & Co., Inc.

FOOD & BEVERAGES

Casteel CoffeeD&D Finer FoodsEvanston GrillFood For ThoughtJilly’s CaféMJ CaterersRollin’ in DoughSymphony’s CaféTre Kronor Restaurant

HARDWARE, PLUMBING & APPLIANCES

Cahill PlumbingHarold’s HardwareKelly’s AppliancesLeMoi Hardware

PERSONAL SERVICES

Art + Science = HairCat Hospital of ChicagoCoiffure CopenhagenCoventry Eye CareEnzo’s Hair Design (Hair by Elizabeth)Family Medicine Associates of Lutheran GeneralFrank Kiesel & Associates Hair DesignKathleen Buchanan Trusdell, PsychotherapyNatural Phenomena (Linda Schultz, massage)Norm Underwood, Jr., Legal ServicesNorth Shore Dental (Jill Horwitz)Pamela Kihm, Movement TherapyPresbyterian Homes

REAL ESTATE, HOME & GARDEN

Anton’s GreenhouseCyrus Development GroupDahlquist ArchitectureLake Shore PartnersPrairie Shore Properties (Carol Bild)Prairie Shore Properties

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DAS PARADIES UND DIE PERI .............. German text by Emil Flechsig and Robert Schumannfrom the English poem “Lalla Rookh” by Thomas Moore

TEXT AND TRANSLATIONS

ERSTER TEIL

No. 1 ALT-SOLOVor Edens Tor im Morgenprangenstand eine Peri schmerzbefangen:Und wie sie lauscht dem Lebensquelle,des Flut harmonisch drinnen hallte,und wie vom Licht ihr Fittich helle,das durch halboffne Pforten wallte:Weint sie, verbannt aus diesen Au’n,ihr sündiges Geschlecht zu schaun.

No. 2 DIE PERIWie glücklich

sie wandeln, die sel’gen Geister,im Dufte von Blumen, die nimmer verblühn!Sind mein auch die Gärten auf Landen und Meer,und pflück’ ich selbst Blumen auf Sternen umher:Ein Blümlein des Himmels ist schöner denn alle!Glänzt Kaschemirs See auch sonnig und reinmit seiner Plataneninseln Schein,und rinnen dort Ströme auf goldnem Sand,doch ach! nur den Seligen ist’s bekannt:Ein Tropfen des Himmels ist schöner denn alle!Geh, schwing dich im Fluge von Stern zu Stern,von Welt zu leuchtender Welt, so fernals der Himmel wölbt seine Sonnenhalle,nimm alle die Wonnen von allen den Sphärenund laß durch unendliche Zeiten sie währen:Ein Stündlein des Himmels ist schöner denn alle!

PART ONE

No. 1 ALTO SOLOOne morn a Peri at the gateOf Eden stood, disconsolate;And as she listen’d to the springsOf life within, like music flowing,And caught the light upon her wingsThrough the half-open portal glowing,She wept to think her recreant raceShould e’er have lost that glorious place!

No. 2 THE PERIHow happy, [exclaim’d this child of air,]Are the holy spirits who wander there,Mid flowers that never shall fade or fall;Though mine are the gardens of earth and sea,And the stars themselves have flowers for me,One blossom of Heaven out-blooms them all!Though sunny the lake of cool Cashmere,With its plane-tree isle reflected clear, [...]And the golden floods that thitherward strayYet – oh, ’tis only the blest can sayHow the waters of Heaven outshine them all!Go, wing thy flight from star to star,From world to luminous world, as farAs the universe spreads its flaming wall:Take all the pleasures of all the spheres,And multiply each through endless years,One minute of Heaven is worth them all!

Note: Thomas Moore’s poem has been modified where necessary to bring it into correspondence with theGerman text set by Schumann. Passages printed in italics have been newly translated from the German,either because they do not form part of Moore’s original or are too removed from it to be taken over directly.Words or phrases enclosed in brackets are found in Moore’s poem but do not form part of Schumann’s text.The use of elipses enclosed in brackets [...] indicates places where redundant portions of Moore’s text havebeen omitted.

GIFTS IN KINDComputer Services: Paul M.W. Green

Copying and Printing: Central Avenue Printing, Mars Longden, Quartet CopiesCredit Card Services: First Bank & Trust of Evanston

Facilities: Northminster Presbyterian Church, Evanston;Parish Church of Saint Luke, Evanston;

Saints Faith, Hope and Charity Catholic Church, Winnetka;St. John’s Lutheran Church, Wilmette;

Trinity Lutheran Church, Evanston;Mailings: George and Cynthia Zilliac

Music: Music UnlimitedPoster Design: Ryan Stremke

Program Notes: Donald Draganski

DAVID DYNES LARSON MEMORIAL GIFTA permanent Memorial Fund has been established to honor the memory ofDavid Dynes Larson, Music Director of the North Shore Choral Society from 1973 to1984. Donations and memorial gifts to this fund are to be used for activities thatimprove the performance and musicianship of the North Shore Choral Society.Mariko Aki and Margaret Larson have made contributions to the David Dynes LarsonMemorial Fund this season.

MATCHING GIFTSThe Allstate Foundation, AT&T, and The Northern Trust Company have donated funds throughemployee matching gift and charitable premium programs.

LEGACY GIFTSLeave a lasting legacy to singers and audiences of the future by providing for the North ShoreChoral Society through a bequest in your will or trust. You can honor or memorialize a lovedone and help build an endowment to carry us forward for the next seventy years. Among ourmembers are specialists in estate and charitable gift planning. Call the Society at (847)272-2351to arrange a confidential discussion.

“Vielen Dank” to Antje Draganski for beingour expert and patient German diction coach.

No. 3 RECITATIV TENOR-SOLODer hehre Engel, der die Pfortedes Lichts bewacht, vernimmt die Worte,und wie er lauscht und näher schleichtdem sanften Lied, entsinkt ihm eine Träne;er sprach:

DER ENGELDir, Kind des Stamms, schön, doch voll Sünden,kann eine frohe Hoffnung ich noch künden.Im Schicksalsbuche stehn die Worte:»Es sei der Schuld die Peri bar,die bringt zu dieser ew’gen Pfortedes Himmels liebste Gabe dar!«Geh, suche sie und werde rein:Gern laß ich die Entsühnten ein!

No. 4 DIE PERIWo find’ich sie? Wo blüht, wo liegtdie Gabe, die dem Hirnmel g’nügt?Ich kenne die Urnen, mit Schätzen gefüllt,tief unter Tschelminars Säulen verhüllt;ich sah der Weihrauchinseln Grünviel Klaftern tief im Meere blühn;ich weiß auch, wo die GenienKönig Jamschids Pokal verhehlen.Er ist von Gold und von Juwelen,und Lebenstropfen sind sein Getränk.Doch will auch der Himmel solch Geschenk?Strahlt je der Demant einer Kronewie die Stufen an Allahs Wunderthrone?Und, o ihr Lebenstropfen, was seidihr für die Tiefen der Ewigkeit!

No. 5 TENOR-SOLOSo sann sie nach und schwang die Flügeljetzt über Indiens Blumenhügel.

No. 3 RECITATIVE TENOR SOLOThe glorious Angel, who was keepingThe gates of Light, beheld her weeping;And, as he nearer drew and listen’dTo her sad song, a tear-drop glisten’dWithin his eyelids. Gently he said:

THE ANGELNymph of a fair but erring line![...] One hope is thine.’Tis written in the Book of Fate,“The Peri yet may be forgivenWho brings to the eternal gateThe gift that is most dear to Heaven!”Go, seek it, and redeem thy sin –’Tis sweet to let the pardon’d in.

No. 4 THE PERIBut whither shall I goTo find this gift for Heav’n? – I knowThe wealth, [she cries,] of every urn,In which unnumber’d rubies burn,Beneath the pillars of Chilminar;I know where the Isles of Perfume areMany a fathom down in the sea,I know, too, where the genii hid […]The jewell’d cup of the King Jamshid,With life’s elixir sparkling high –But gifts like these are not for the sky.Where was there ever a gem that shoneLike the steps of Alla’s wonderful throne?And the drops of life – oh! what would they beIn the boundless deeNo. 3 p of Eternity?

No. 5 TENOR SOLOWhile thus she mus’d, her pinions fann’dThe air of that sweet Indian land.

Eleanor W. AldredAnonymousMarcia Maus BolloDr. & Mrs. Richard CaldwellErica & Wylie CrawfordJames E. CrawfordLynne CurtisLenore & Randal DupuisSharon Robbins Fellars

in memory of Irv FishkinDeborah Geismar & Leonard KoroskiBruce & Betsy Gladfelter

DONORS ($50 to $99)Harold & Jane GoodmanJudith & Peter GreeneJill HorwitzAnne N. LindahlThomas MillerMichael & Patricia SeidlMilly SilversteinDavid & Judy TaylorMs. Joan K. VarnerJean C. YedlickaTed & Mariane Zelewsky

CONTRIBUTORS (under $50)Mariko AkiCarol AlbertsonYvonne Vanden AvenneGordon H. BerrySheila & Ray BrandHarriet & Peter BrandtJoan & Bruce DaughertyDorothy DiIorioSheran FiedlerMrs. Robin GoldsmithAlexandra Lexton-Metzner

Peggy LipschutzZoe Kessler MarshallPauline M. MayoJohn & Jan McCarronMarshall J. RasofDr. & Mrs. William O. ReidMs. Nancy ReiseMs. Ann StevensThe Stolz/Biel HouseholdJulie StruharDan & Joan Woodard

Nancy Oft RoseSteven & Melody SchneiderRoxann & Jerry SpechtCharlotte Thiemecke-FloydPeter P. ThomasKathleen TrusdellR. Stephen WarnerGerald & Barbara WeinerCharles & Mary Zitnick

for Kathy Tolisano

John & Judith Li on behalf ofAndrew & Karen Fish Schurder

Johanne NollDiane NordstrandThe Northern Trust CompanyFrank PerryCatherine PorterMr. Robert L. PorterBill & Ellen PullinPaul & Louise QuillmanRev. James & Elizabeth Roghair

PATRONS (continued)

VOKALQUARTETTO süßes Land! O Götterpracht!Es flüstern die Palmen sacht,es flimmert die Sternennacht,dort schäumt auf Bernsteingrund das Meerüber Korallenriffe her,dort brütet heiß der Sonne Brand,im Schoß der Berge Diamant,es rieseln, reichen Bräuten gleich,die Bächlein hold an Golde reich,dort duften Sandelhaine süß –O Paradies!

No. 6 CHORDoch seine Ströme sind jetzt rotvon Menschenblut,es wütet fürchterlich der Tod;er schreitet durch die blumigen Wiesenverheerend mit den ehernen Füßen.O Land der Sonne, wessen Schrittgeht über deinen Boden,wirft deine Pfeiler um, zertrittdie Göttersäulen und Pagoden?Er ist’s, er ist’s von Gazna,er naht in seinem grimmen Zorn!

CHOR DER EROBERERGazna lebe, der mächtige Fürst!

CHOR DER INDEREs sterbe der Tyrann!

No. 7 TENOR-SOLOUnd einsam steht ein Jüngling noch,es fließt sein Blut aus manchen Wunden,er beugt den Nacken nicht ins Joch,ein Leu, umstellt von Waidmannshunden.Schon hat sein Schwert im Feindesschwarmmit blut’gen Lettern es geschrieben,daß ungebeugt ihm Herz und Arm,ein Pfeil nur ist ihm übrig blieben.

VOCAL QUARTETO fairest land, the gods’ delight,Where rustling palms rejoice the sightAnd stars twinkle in the sky at night;[Whose air is balm;] whose ocean spreadsO’er coral rocks, and amber beds;Whose mountains, pregnant by the beamOf the warm sun, with diamonds teem;Whose rivulets are like rich brides,Lovely, with gold beneath their tides,Whose sandal groves and bowers of spice[Might be a Peri’s] Paradise!

No. 6 CHORUSBut crimson now her rivers ranWith human blood – the smell of deathCame reeking from those spicy bowers.The flowering fields turn hideous redAs Death stalks, to universal dread,Spreading havoc with his iron tread.Land of the Sun! what foot invadesThy Pagods and thy pillar’d shades –The cavern shrines, and idol stones?’Tis he of Gazna – fierce in wrathHe comes!

CHORUS OF THE CONQUERORSLong live Gazna, the mighty prince!

CHORUS OF THE INDIANSDeath to the tyrant!

No. 7 TENOR SOLOBehold, a youthful warrior stands alone,Blood gushing from his many wounds,The hated tyrant he defies,Love of country shining in his eyes,A lion beset by baying hounds.His sword has dealt a mortal blowTo many a vainglorious foe;Undaunted still in arm and heart,He aims his last remaining dart.

OUR THANKSto our friends whose financial support helps make possible the presentation of our concerts andensures the continuation of our choral tradition. The contributions listed were received betweenMay 1, 2005 and May 23, 2006. Contributions received after May 23, 2006,will be acknowledged in the next concert program. Please mail contributions to NSCS,P.O. Box 103, Evanston, IL 60204-0103.

GUARANTORS ($500 to $999)Inge & Alan KistlerJulie & Herb McDowellMr. & Mrs. James W. MillerCamille M. Taylor

Careen TaylorJean & Chuck ThompsonHenricus J. J. Vroegh

in memory of Dr. Vera Fenyes

PRINCIPAL BENEFACTORS ($1000 or more)The Allstate Foundation

in recognition of Ellen PullinBarbara K. DeCosterThe Illinois Arts CouncilPhilip & Nina Martin

Mr. & Mrs James W. MillerKaren L. Rigotti

in honor of Miriam B. RigottiKay & Pete RossiterSusan Wiegand

SUSTAINING MEMBERS ($250 to $499)The AT&T Foundation

in recognition of Ms. Karen RigottiKatherine Biddle AustinJohn DarrowBarbara & Bob HarmonDavid W. HuntKarl & Marie Kroeger

Marj Lundy & Jamie GodshalkChristine A. McGuireThomas & Lolotte OlkowskiMyron & Alicia ResnickDr. Barbara StruthersMrs. Frederick D. Taylor, Sr.

PATRONS ($100 to $249)Len BarkerRobert E. BrotmanSheila & David CrumrineRonald DahlquistCecilia K. DavisElse-Britt De LongJoseph & Romayne FargoDonald & Martha FarleyLinda W. Felker

in the name of Elizabeth RoghairMr. & Mrs. Joseph C. Fenner

John & Marilyn FishLucinda FullerAnthony & Lesley GreenJohn & Jeanne KappsBruce & Jane KenamoreMary Ann & Don KissockHeather KitchensMelinda KwedarFran & Bob LangewischMargaret LarsonIrving Lauf Jr.

CHOR DER EROBERERGazna lebe, es lebe der mächtige Fürst!

GAZNAKomm, kühner Held, und huld’ge mir,willst du umsonst dein Blut verspritzen?Dein eitles Kämpfen kann nichts nützen,komm, dein Leben schenk’ich dir!

DER JÜNGLINGDu schlugst des Landes Bürger,du meiner Brüder Würger –dir diesen letzten Pfeil!

GAZNADas sollst du büßen!

No. 8 CHORWeh, weh, weh, er fehlte das Ziel,es lebt der Tyrann, der edle Jüngling fiel!

No. 9 TENOR-SOLODie Peri sah das Mal der Wunde,und nun vertobt des Kampfes Wut,kam sie im Strahl des Morgenrotsund nahm das letzte Tröpflein Blut,das aus dem Heldenherzen drang,eh’ sich der freie Geist entschwang.

DIE PERI, VOKALQUARTETT und CHORSei dies mein Geschenk,willkommen dortenan Edens Pforten!Denn heilig ist das Blut,für die Freiheit verspritzt vom Heldenmut,und würde nicht trüben die klarste Flut,die durch die Haine der Sel’gen fließt!O, gibt es ein Opfer der Erdenwelt,ein Geschenk, das teuer der Himmel hält,’s ist das Blut, das der Freiheit sterbender Sohnihr bringt als letzte Libation!Sei dies mein/dein Geschenk,willkommen dorten!

CHORUS OF THE CONQUERORSLong live Gazna, the mighty prince!

GAZNACome, bold hero, bend the knee to me:Why should you shed your blood in vain?In your resistance lies no gain:Come, your life I guarantee!

THE YOUNG MANYou smote the people of my land,To slay my brethren you have planned –This, my last arrow, is for you!

GAZNAThis you shall rue!

No. 8 CHORUSFalse flew the shaft. Ah, sad to tell,The tyrant liv’d, the hero fell!

No. 9 TENOR SOLOYet mark’d the Peri where he lay,And when the rush of war was past,Swiftly descending on a rayOf morning light, she caught the last –Last glorious drop his heart had shed,Before its free-born spirit fled!

THE PERI, VOCAL QUARTET and CHORUSBe this

my welcome giftat the gates of light.

Blood like this,For liberty shed, so holy is,It would not stain the purest rill,That sparkles among the bowers of bliss!Oh, if there be, on this earthly sphere,A boon, an offering Heaven holds dear,’Tis the last libation liberty drawsFrom a dying son.Be this my giftWelcome to thee!

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ZWEITER TEIL

No. 10 TENOR-SOLODie Peri tritt mit schüchterner Gebärdevor Edens Tor,im Herzen Himmelshoffnungsglück:Ob sich die Pforte öffnen werde,sie fragt’s mit stummem Liebesblick.

DER ENGELGern grüßen wir, die so gegangenden Heldentod fürs Vaterland.Doch sieh, noch weicht der eh’rne

Riegel nichtViel heil’ger muß die Gabe sein,die dich zum Tor des Lichts läßt ein!

ENGEL-CHORViel heil’ger muß die Gabe sein,die dich zum Tor des Lichts läßt ein!

No. 11 TENOR-SOLOIhr erstes Himmelshoffen schwand.Jetzt sank sie fern im heißen Landauf Afrikas Gebirge niederund badete ihr matt Gefiederim Quell des Nils, dessen Entstehnkein Erdgeborner noch gesehn.

CHOR DER GENIEN DES NILSHervor aus den Wässern geschwindund sehet das holde, liebliche Kind!Eine Peri ist’s, welch hold’ Gesicht –doch stört sie nicht!Hört, wie sie singt,hört, wie sie klagt!Hervor aus den Wässern geschwind usw.Stille! Still!

DIE PERIAch Eden, ach Eden, wie sehnt sich nach dirmein Herz! O wann öffnet die Pforte sich mir?

PART TWO

No. 10 TENOR SOLOWith timid steps the Peri then,Hope of heav’nly bliss at heart,Approached the pearly gates of Eden,And asked with silent loving glanceIf now she might through them advance.

THE ANGEL[...] Sweet is our welcome of the braveWho die thus for their native Land.But see – alas! – the rigid bar[Of Eden] moves not – holier far[Than ev’n this drop] the boon must beThat opes the gates of Heav’n for thee!

CHORUS OF ANGELSHolier far the boon must beThat opes the gates of Heav’n for thee!

No. 11 TENOR SOLOHer first fond hope of Eden blighted,Now among Afric’s lunar mountains,Far to the south, the Peri lighted;And sleek’d her plumage at the fountainsOf that Egyptian tide – whose birthIs hidden from the sons of earth.

CHORUS OF THE NILE SPIRITSFrom out the waters come in hasteTo see this child with beauty graced!She is a Peri, fair of face –But act now with restraint!Hark, how she sings!Listen to her plaint!From out the waters come in haste, etc.Hush! Hush!

THE PERIO Eden, how I yearn for thee!When will thy gates be opened for me?

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No. 12 TENOR-SOLOFort streift von hier das Kind der Lüfteüber Ägyptens Königsgrüfte,von Palmenhainen hehr umrauscht;jetzt sieht sie in Rosettas Taldem Nesterbau’n der Tauben zu,jetzt lauscht sie Schwänen, weiß wie Schnee,die stolz durchziehen Möris-See.Welch Bild! Kein sterblich’ Aug’ hat jeein Land gesehn voll höh’rer Pracht!

Doch eine Stille, fürchterlich,liegt über diesen Himmelsfluren,mit gift’gem Hauche ihre Spurenverfolgend, zieht durchs Land die Pest.

DIE PERIFür euren ersten Fallwie hart, ihr Armen, büßt ihr doch,habt einige Blüten aus Eden zwar noch,die Schlang’ überschleichet sie all’.

No. 13 TENOR-SOLO und VOKALQUARTTETDie Peri weint, von ihrer Träne scheintrings klar die Luft, der Himmel lacht.Denn in der Trän’ ist Zaubermacht,die solch ein Geist für Menschen weint.

No. 14 ALT-SOLOIm Waldesgrün am stillen See,da seufzt ein Jüngling im schweren Weh:Gepackt von der tötenden Seuche, stahler her sich, zu enden seine Qual.Er, dem im Leben, wo er stand,sich jedes Herz einst zugewandt,stirbt jetzt, als hätt’ er keinen Freund,hier ungesehn und unbeweint.

DER JÜNGLINGAch, einen Tropfen nur aus dem See,zu kühlen das fiebrisch brennende Weh,ach, einen Tropfen nur aus der Flut,zu kühlen die fiebrische Glut!

No. 12 TENOR SOLOThence over Egypt’s palmy groves,Her grots, and sepulchres of kings,The exil’d spirit sighing roves;And now hangs listening to the dovesIn warm Rosetta’s vale – now lovesTo watch the moonlight on the wingsOf the snow-white swans that breakThe azure calm of Moeris’ Lake.’Twas a fair scene – a land more brightNever did mortal eye behold!Who could have thought, that there, ev’n there,Amid those scenes so still and fair,The demon of the plague hath castFrom his hot wing a deadlier blast.

THE PERIPoor race of men! [said the pitying spirit,]Dearly ye pay for your primal fall –Some flow’rets of Eden ye still inherit,But the trail of the serpent is over them all!

No. 13 TENOR SOLO and VOCAL QUARTETShe wept – the air grew pure and clearAround her, as the bright drops ran;For there’s a magic in each tear,Such kindly spirits weep for man!

No. 14 ALTO SOLOBeneath that fresh and springing bower,Close by the lake, she heard the moanOf one who, at this silent hour,Had thither stol’n to die alone.One who in life where’er he mov’d,Drew after him the hearts of many;Yet now, as though he ne’er were lov’d,Dies here unseen, unwept by any!

THE YOUNG MANAh, a single droplet from the lakeMy feverish burning woe to slake!Ah, a single droplet from the floodTo cool the agitation in my blood!

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No. 15 MEZZOSOPRAN-SOLOVerlassener Jüngling, nur das einebleibt, was ihm Trost noch gibt,daß sie, die er seit Jahren treu geliebt,geschützt ist vor dem Hauch der Gruftin ihres Vaters Fürstenhallen;denn dorten kühlig fallenFontänen, süß durchrauchtbalsam’scher Duft die Hallen,und rein ist dorten noch die Luft,rein wie die Stirn, von ihr umhaucht.

TENOR-SOLODoch sieh, wer naht dort leise schleichenddem melancholischen Gebüsch,der Göttin der Gesundheit gleichend,mit Rosenwangen frühlingsfrisch!Sie ist’s, vom Strahl des Mondes schauter still verklärt sich nah’n die treue Braut.Sie hält im Arm den Freund, sie preßtdie rote Wang’ an seine bleiche,sie netzt ihr wallend’ Haar im Teiche,daß es die Stirn ihm kühlend näßt.

DER JÜNGLINGDu hier? – Entflieh!Ein Hauch von mir bringt dir den Tod!

No. 16 DIE JUNGFRAUO laß mich von der Luft durchdringen,der sel’gen Luft, gehaucht von dir,und was sie trag’ auf ihren Schwingen,Tod oder Leben, süß ist’s mir.Trink meine Tränen, auch mein Blut,mein Herzblut selbst empfingest du,wär’s Balsam nur für deine Glut,gäb’s dir nur auf Minuten Ruh!Wend’, o! dein hold Gesicht nicht ab,bin ich nicht deine Braut, bin dein?Ist nicht im Leben wie im Grabder Platz an deiner Seite mein?

No. 15 MEZZO-SOPRANO SOLODeserted youth! one thought aloneShed joy around his soul in death –That she, whom he for years had lov’d, [...]Was safe from fetid graveyards’ breath,Safe in her father’s princely halls,Where the cool airs from fountain falls,Freshly perfum’d by many a brandOf the sweet wood from India’s land,Were pure as she whose brow they fann’d.

TENOR SOLOBut see – who yonder comes by stealth,This melancholy bower to seek,Like a young envoy, sent by health,With rosy gifts upon her cheek?’Tis she – far off, through moonlight dimHe knew his own betrothed bride.Her arms are round her lover now,His livid cheek to hers she presses,And dips, to bind his burning brow,In the cool lake her loosen’d tresses.

THE YOUNG MANThou here? – O flee!A breath from me brings death to thee!

No. 16 THE MAIDENOh! let me only breathe the air,The blessed air, that’s breath’d by thee,And, whether on its wings it bearHealing or death, ’tis sweet to me!There – drink my tears, while yet they fall, –Would that my bosom’s blood were balm,And, well thou know’st, I’d shed it all,To give thy brow one minute’s calm.Nay, turn not from me that dear face –Am I not thine – thy own lov’d bride –The one, the chosen one, whose placeIn life or death is by thy side?

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Denkst du, daß sie, die nur von dirin dunkler Welt empfängt ihr Licht,die trübe Nacht erträgt, die ihrhereinsinkt, wenn dein Auge bricht?Ich leben ohne dich, allein,du meines Lebens Leben, nein!O laß mich von der Luft durchdringen,der sel’gen Luft, gehaucht von dir,und was sie trag’ auf ihren Schwingen,Tod oder Leben, süß ist’s mir!

TENOR-SOLOSie wankt – sie sinkt – und wie ein Lichtim giftigen Hauche des Schachtsverlischt, so plötzlich brichtihr holdes Auge –ein Krampf, sein Weh ist dann vergangen,vollendet ist sein Leben.Auf drückt sie ihm noch einen langenund letzten Kuß und stirbt im Geben.

No. 17 DIE PERI und CHORSchlaf nun und ruhe in Träumen voll Duft,balsam’scher umweh dich die Luft,als dem magischen Brand der Phönix entsteigt,wenn er sein eigenes Grablied singt.Schlaf nun und ruh in Träumen voll Lust,du, die treueste, liebendste Brust!Sie sprach’s, und Himmelshauch durchfließtvon ihren Lippen diese Stelle,sie schwingt den Strahlenkranz und gießtauf beider Antlitz solche Helle,daß wie ein Heil’genpaar sie lagen.Indes die Peri wacht und Lichtmild strahlt in ihre Todesnacht,bis ihre Seelen auferwacht.

Think’st thou that she, whose only light,In this dim world, from thee hath shone,Could bear the long, the cheerless night,That must be hers when thou art gone?That I can live, and let thee go,Who are my life itself? – No, no –Oh! let me only breathe the air,The blessed air, that’s breath’d by thee,And, whether on its wings it bearHealing or death, ’tis sweet to me!

TENOR SOLOShe fails – she sinks – as dies the lampIn charnel airs, or cavern-damp,So quickly do his baleful sighsQuench all the sweet light of her eyes.One struggle – and his pain is past –Her lover is no longer living!One kiss the maiden gives, one last,Long kiss, which she expires in giving!

No. 17 THE PERI and CHORUSSleep on, in visions of odour rest,In balmier airs than ever yet stirr’dTh’ enchanted pile of that lonely bird,Who sings at the last his own death-lay,Sleep on, in pleasing dreams now rest,Thou the truest, most beloved breast!Thus saying, from her lips she spreadUnearthly breathings through the place,And shook her sparkling wreath, and shedSuch lustre o’er each paly face,That like two lovely saints they seem’dWhile that benevolent Peri beam’dLike their good angel, calmly keepingWatch o’er them till their souls would waken.

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DRITTER TEIL

No. 18 CHORSchmücket die Stufen zu Allahs Thron,schmückt sie mit Blumen, Freundinnen alle,daß auf des Himmels Unterste auchgnädig ein Blick des Ewigen falle!Schlinget den Reigen,laßt uns verneigenfreudig, demutsvoll vor dem Herrn!

VOKALQUARTETTAuch der Geliebten vergesset nicht,die auf der Erde zurückgeblieben!Unten ist’s dunkel, oben das Licht,Haß ist dort, hier ewiges Lieben.

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SOPRAN I & II und CHORSeht da, die Bahn zum ew’gen Lichtkommt schon die Peri herangeflogen!Liebliche Peri, verzweifle nicht,Treu’ und Glaub’ hat noch nie betrogen!Suche das Gut,im Auge ruht,was das Teuerste ist dem Herrn!Jetzo zurück in die Rosenlauben,Freude zu geben, Freud’zu empfangen,an des Geliebten Lippen zu hangen,Küsse zu bieten, Küsse zu rauben.Schon naht die Sonne, ewige Wonneharret, die freudig dienen dem Herrn!

No. 19 TENOR-SOLODem Sang von ferne lauschend, schwingtdie Peri höher sich empor;der reinsten Liebe Seufzer bringtsie als Geschenk vor Edens Tor.Hoch kopft ihr Herz, die Hoffnung spricht’s:Bald soll sie Edens Palmen nahn,denn lächelnd nimmt der Geist des Lichtsam Tore diese Gabe an.

PART THREE

No. 18 CHORUSBedeck the steps to Alla’s throne,Strew them with flowers, companions all,So that the Eternal GazeMay even on the lowliest fall.Let us all join hands in a roundAnd in humility profoundBow joyfully before our Lord!

VOCAL QUARTETDo not forget the lovers’ plightWho on earth must still remain!Below is darkness here is light,There is hatred, this is love’s domain.

Bedeck the steps, etc.

SOPRANOS I & II and CHORUSLo, to the path to eternal lightThe Peri now has taken her flight.Lovely Peri, be thou not afraid;Truth and faith have never been betrayed!Seek what is good;In thine eye there liesWhat is most precious to the Lord.Now go back to the rosy bower,Joy to give, joy to receive,To the beloved’s lips to cleave,Kisses to offer and devour.The sun draws near; endless rewardWaits for those who joyfully serve the Lord.

No. 19 TENOR SOLOHearkening to the distant song,Again the Peri soars above,Bearing to Heav’n that precious sighOf pure, self-sacrificing love.High throbb’d her heart, with hope elate,The Elysian palm she soon shall win,For the bright spirit at the gateSmil’d as she gave that offering in;

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Und horch, von Himmelsbäumen ruftkristallner Glöckchen Klang, sie lauschtdem Läuten in ambrosischer Luft,die her von Allahs Throne rauscht;sie sieht die Sternenschalen blinken,rings um den See des Lichts gereiht,wo die verklärten Seelen trinkenden ersten Trank der Herrlichkeit.Doch eitel war der Peri Hoffen,noch stand das ew’ge Tor nicht offen;es spricht der Engel, Schmerz im Blick:

DER ENGELNoch nicht!Treu war die Maid, und die Geschichte,geschrieben überm Haupt des Herrn,liest lange noch der Seraph gern;doch, Peri, noch währt der Verschlußvon Edens Tor:Viel heil’ger muß die Gabe sein,die dich zum Tor des Lichts läßt ein!

No. 20 DIE PERIVerstoßen! Verschlossenaufs neu das Goldportal!Gerichtet! Vernichtet,der Hoffnung letzter Strahl!So soll ich’s nimmer finden,das edle, köstliche Gut,weh mir, ich fühl’ ihn schwinden,den hohen Mut;doch will ich nicht ruhn, will ohne Rastvon einem Pol zum andern schreiten,durchpilgern will ich alle Weitenbis ich das Gut, bis ich’s erfaßt,das mir das höchste Glück verheißt,das, Eden, mir dein Tor erschleußt.Und wär’s bewacht in Grau’n und Nacht,tief in der Erde tiefsten Gründen,ich will, ich muß das Kleinod finden!

And she already hears the treesOf Eden, with their crystal bellsRinging in that ambrosial breezeThat from the throne of Alla swells;And she can see the starry bowlsThat lie around that lucid lake,Upon whose banks admitted soulsTheir first sweet draught of glory take!But, ah! even Peri’s hopes are vain –Again [the Fates forbade, again]Th’ immortal barrier clos’d.The angel said, as with regret:

THE ANGELNot yet!True was the maiden, and her story,Written in light o’er Alla’s head,By seraph eyes shall long be read.But, Peri, see – the [crystal] barOf Eden moves not – holier farThan ev’n this sigh the boon must beThat opes the gates of Heav’n for thee.

No. 20 THE PERICast out! From the golden gateOnce more turned away!Condemned! Of hopeDenied the smallest ray!Like this I shall never gainThe noble, precious giftAh, woe is me; my spirits wane,I feel they nevermore will lift.Yet I will never rest, nor ceaseTo wend my way from pole to pole,A pilgrim till I reach my goalAnd seize the prize of perfect peaceThat I will hope to celebrateWhen to me Eden opens the gate.And even, if by a fate so cruel,It lay hidden in the deepest depths,I will, I must now find this jewel!

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Nr.21 BARITON-SOLOJetzt sank des Abends goldner Scheinauf Syriens Rosenland herein,wie Glorienschimmer hing die Sonn’über dem heil’gen Libanon.Es ragt in Wintermajestätsein Haupt, vom ew’gen Schnee beglänzt,indes der Sommer schläft bekränztam Fuß auf einem Blumenbeet.Die aus der Höhe konnte schau’nherab auf all die Zauberau’n,wie schön erschien ihr nicht die Welt,das rege Leben, rings erhelltder Gärten Pracht, der Wellen Schimmern,an ihren Ufern goldne Früchte,die schöner noch im Sonnenlichte,und dann das tausendstimm’ge Rufen,das alte Schäferrohr, das Summender Bienen im gelobten Land,die schwärmen über Blumenfelder,und Jordan, dein beglückter Strandund deine nachtigallenreichen Wälder!

No. 22 TENOR-SOLOUnd wie sie niederwärts sich schwingt,eine Schar von Peris sie umringt:

CHORPeri, ist’s wahr,daß du in den Himmel willst?Genügt dir nichtdas Sonnenlichtund Sterne, Mond und Erde?Peri, ist’s wahr,daß du in den Himmel willst?so nimm uns eilig mit.

No. 21 BARITONE SOLONow, upon Syria’s land of rosesSoftly the light of eve reposes,And, like a glory, the broad sunHangs over sainted Lebanon;Whose head in wintry grandeur towers,And whitens with eternal sleet,While summer, in a vale of flowers,Is sleeping rosy at his feet.To one, who look’d from upper airO’er all th’ enchanted regions there,How beauteous must have been the glow,The life, the sparkling from below!Fair gardens, shining streams, with ranksOf golden melons on their banks,More golden where the sun-light falls; –And then the mingling sounds that come,Of shepherd’s ancient reed, with humOf the wild bees of Palestine,Banquetting through the flowery vales;And, Jordan, those sweet banks of thine,And woods, so full of nightingales.

No. 22 TENOR SOLOAnd as she downward wings her way,A host of Peris with her say:

CHORUS OF PERISPeri, is it really trueThat thou dost long for Heaven’s blue?Is the light of the glorious sunNot itself of sufficient worth,Along with stars, the moon and earth?Peri, is it really soThat thou to Heav’n dost long to go?Then make haste to take us too!

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BARITONE SOLO[...] Her sisters’ words increase her pain;Her soul is sad – her wings are weary –Joyless she sees the sun look downOn that great temple, once his own,Whose lonely columns stand sublime,Flinging their shadows on the plain.

No. 23 THE PERIDownward to that temple of the sun!An amulet, upon whose stoneAppears a lightning-flash’s glint,Do I see there, also a pageThat bears great Solomon’s imprint.Perhaps they will decode for meWhere on earth or in the seaLies the magic power, the noble boonThat will open Eden soonTo sinners. Let my eye read it:I will go down!

TENOR SOLOCheer’d by this hope she bends her thither; –Still laughs the radiant eye of Heaven,Nor have the golden bowers of evenIn the rich west begun to wither; –When, o’er the vale of Balbec wingingSlowly, she sees a child at play,Among the rosy wild flowers singing,As rosy and as wild as they;And near the boy, who tir’d with playNow; nestling ’mid the roses lay,She saw a wearied man dismountFrom his hot steed, and on the brinkOf a small imaret’s rustic fountImpatient fling him down to drink.

BARITON-SOLOMit ihrer Schwestern Worten wächst ihr Schmerz,schwer ist ihr Fittich, trüb’ ihr Herz;freudlos sieht sie die Sonn’ sich neigendort hinterm Tempel, einst ihr eigen,des Säulen, hoch und einsam, weitdie Schatten breiten durch die Au’n.

No. 23 DIE PERIHinab zu jenem Sonnentempel!Ein Amulett, auf dessen Steinein Zeichen glänzt, vom Blitz hinein –geschmolzen, dort gewahr’ ich’s, auchein Blatt, auf welchem reindas Siegel prangt von Salomo;vielleicht entziffern sie mir’s, woauf Erden, in den Meeren ruhtdie Zaubermacht, das edle Gut,das Eden öffnet sünd’gen Wesen,vielleicht vermag’s mein Aug’ zu lesen,hinab!

TENOR-SOLOSie schwebt herab im frohen Hoffen,noch lacht des Himmels Auge hold,die Lauben auch aus Abendgoldstehn noch im Westen offen.Jetzt über Balbecks Tal sich schwingend,erblickt im Spiele sie ein Kind,inmitten wilder Rosen singend,so rosig wild wie selbst sie sind.Beim Knaben, der, des Spiels nun satt,in Blumen sich gelagert hat,sieht sie vom heißen Rosse steigenjetzt einen müden Mann und schnellan einem hochumgrasten Quellzum Trunke sich hinunterbeugen,

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and plays guitar and various lutes. O’Reilly is featured on vocals. Smith on guitar.Also appearing are Bob Weber (Cello), John Floeter (Double Bass), Lily Floeter (Flute),

Shawna Lake (Oboe, English Horn) and Special Guests Anne Hills (Vocals),James Conway (Tin Whistle), Michael Zerang (Percussion), and Bob Long (Piano).

dann kehrt er schnell sein wild’ Gesichtaufs schöne Kind, das furchtlos saß,obgleich noch nie des Tages Lichtein wild’res Antlitz sah als das,entsetzlich wild, ein grauser Bund,wie Wetterwolk’ aus Nacht und Glut,dort stehn die Laster al1, es tutdort jedes Bubenstück sich kund –Meineid, erschlag’ner Gast,betrog’ne Braut, mit blut’ger Schriftauf jenem Antlitz stand’s geschrieben.

MEZZOSOPRAN-SOLODoch horch, wie Vesperruf zum Beten,da still die Sonn’ herniederschwebt,von Syriens tausend Minarettenjetzt durch die Lüfte bebt;vom Blumenbeet hebt sich der Knab’,das seinem Haupt ein Lager gab,kniet nieder auf dem blum’gen Grund,worauf mit reinem Engelsmunder Gottes ew’gen Namen spricht;er scheint, indem er Blick und Handzum Abendhimmel aufgewandt,ein Engelskind, das sich herniederverirrt hatund seine Heimat suchet wieder.

TENOR-SOLOUnd was fühlt er, der sünd’ge Mann,der dort lehnt und sich nun entsannso manchen Jahrs voll Schuld und Blut,der auf des Lebens dunkler Flutumsonst späht nach dem Rettungspfade,wo nichts den Ölzweig bringt der Gnade!

DER MANN’s war eine Zeit, du selig Kind,da jung und rein, wie du, mein Tunund Beten war – doch nun!

Then swift his haggard brow he turn’dTo the fair child, who fearless sat,Though never yet hath day-beam burn’dUpon a brow more fierce than that, –Sullenly fierce – a mixture dire,Like thunderclouds, of gloom and fire;In which the [Peri’s] eye could readDark tales of many a ruthless deed;The ruin’d maid – the shrine profan’d –Oaths broken – and the threshold stain’dWith blood of guests! – there written, all.

MEZZO-SOPRANO SOLOBut, hark! The vesper call to prayer,As slow the orb of daylight sets,Is rising sweetly on the air,From Syria’s thousand minarets!The boy has started from the bedOf flowers, where he had laid his head,And down upon the fragrant sodKneels lisping the eternal name of GodFrom purity’s own cherub mouth,And looking, while his hands and eyesAre lifted to the glowing skies,Like a stray babe of Paradise,Lost upon the earthly plainAnd seeking for his home again.

TENOR SOLOAnd how felt he, the wretched man,Reclining there – while memory ranO’er many a year of guilt and strife,Flew o’er the dark flood of his life,Nor found one sunny resting-place,Nor brought him back one branch of grace.

THE MANThere was a time, [he said, in mildHeart-humbled tones] – thou blessed child! –When, young and haply pure as thou,I look’d and pray’d like thee – but now!

Enchanted Remembrances:Enchanted Remembrances:Enchanted Remembrances:Enchanted Remembrances:Enchanted Remembrances: 1838-19251838-19251838-19251838-19251838-1925The Life of a Sunday’s Child

By Susanne Schmaltz • Translated from the German by Inge Kistler •

The Perfect Gift for every Music Lover!

She left Hamburg “to see the world,” and as teacher, governess and companion she sawmost of Europe. The enchantment in the life of this courageous, independent womancame from music and musicians. Piano lessons from Brahms, Ernst Wenzel and ClaraSchumann, participation in Brahms’ Women’s Chorus, and singing in Weimar under thedirection of Liszt were some of the highlights of her life.

Evanston Publishing, Inc. ISBN: 1-879260-29-8 $24.50 includes tax & delivery!When you order from Inge Kistler, you will be making

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4 October 1995Dear Mrs. Kistler,

I wish to tell you how throroughly I enjoyed your greatgrandaunt’s book “Enchanted Remembrances” which you sovery finely tailored to the present.

What a remarkable woman she must have been — withher indomitable courage and determination, with her sense ofadventure, but even more so with her uncanny ability to recordso interestingly for posterity those engrossing minutiae of thehistoric personalities and artistic greats of whom today’s worldonly knows so little. Reading your book was like a windowbeing opened ever so slightly, permitting the reader to see andfeel how life was a century ago and how it touched so manypersons we still admire. I was mesmerized and am grateful toyou for enriching my life by affording me the opportunity toread what your great grandaunt observed and felt.

Thank you very much.Sincerely,Peggy O. WolfSan Antonio, Texas

No. 24 VOCAL QUARTET and CHORUSBlest tears of soul-felt penitence!In whose benign, redeeming flowIs felt the first, the only senseOf guiltless joy that guilt can know.

No. 25 THE PERIThere’s a drop […] that down from the moonFalls through the withering airs of JuneUpon Egypt’s land, of so healing a power,So balmy a virtue, that ev’n in the hourThat drop descends, contagion dies,And health re-animates earth and skies! –Oh, is it not thus, thou man of sin,The precious tears of repentance fall?Though foul thy fiery plagues within,One heavenly drop hath dispell’d them all!

TENOR SOLO with CHORUSAnd now – behold him kneeling thereBy the child’s side, in humble prayer,While the same sunbeam shines uponThe guilty and the guiltless one,And hymns of joy proclaim through HeavenThe triumph of a soul forgiven!’Twas when the golden orb had set,While on their knees they linger’d yet,There fell a light more lovely farThan ever came from sun or star,Upon the tear. [...]And hymns of joy proclaim through HeavenThe triumph of a soul forgiven!To mortal eye this light might seemA northern flash or meteor beam –But well th’ enraptur’d Peri knew’Twas a bright smile the angel threwFrom Heaven’s gate, to hail that tearHer harbinger of glory near!

No. 24 VOKALQUARTETT und CHORO heil’ge Tränen inn’ger Reue,in eurer sanften Sühnungsflutdie einzige, die erste neueschuldlose Lust für Schuld’ge ruht!

No. 25 DIE PERIEs fällt ein Tropfen aufs LandÄgypten, von Juniushitze verbrannt,vom Mond herab,von so heilender Kraft, daß zur Stundeder Dämon der Pest entschwebtund Gesundheit Himmel und Erde belebt.Läßt so, o Sünder, nicht genesendich dieser Reuetränen Fall?Wie glüh’nd die Wunden der Brust gewesen,ein Himmelstropfen, er heilt sie all’!

TENOR-SOLO mit CHORUnd sieh, demütig betend knietder Mann dort an des Kindes Seite,indes ein Sonnenstrahl auf beide,den Sünder und den Reinen glüht.Und Hymnen durch den Himmel schweben,denn einer Seele ward vergeben!Gesunken war der gold’ne Ball,noch lagen sie auf ihren Knien,da fiel ein rein’rer, schön’rer Strahl,als je aus Sonn’und Sternen schien,auf jene Träne.Hymnen durch den Himmel schweben,denn einer Seele ward vergeben!Ein sterblich’ Auge nähm’ ihn zwarals Meteor, als Nordlicht wahr,doch weiß die Peri wohl: der Schein,es muß des Engels Lächeln sein,womit er mild die Träne grüßt,die bald den Himmel ihr erschließt.

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No. 26 DIE PERIFreud’, ew’ge Freude, mein Werk ist getan,die Pforte geöffnet zum Himmel hinan,wie selig, o Wonne, wie selig bin ich!Süß Eden, wie finster sind gegen dichSchedukiams Demanttürme, wie mattdie duftenden Lauben von Amberabad!Lebt wohl, ihr Düfte der Erd’, ihr verrauchtschnell, wie der Liebenden Seufzer verhaucht!Vom Tubabaum ist nun mein Schmaus,er duftet der Ewigkeit Odem aus!Lebt wohl, ihr Blüten in meinem Kranz,ihr blühtet so schön und verwelket doch schon;o was sind Blumen im irdischen Glanzdoch gegen den Lotos vor Allahs Thron,mit ew’gen Blütenästen umstrebt,wo in jeglichem Blatt eine Seele lebt!O ewige Freud’, mein Werk ist getan,die Pforte geöffnet zum Himmel hinan,wie selig, o Wonne, wie selig bin ich!

CHOR DER SELIGENWillkommen, willkommenunter den Frommen!Du hast gerungen und nicht geruht,nun ist’s errungen, das köstliche Gut!Sei uns willkommen,sei uns gegrüßt!Ja, gibt es ein Opfer der Erdenwelt,ein Geschenk, das teuer der Himmel hält,die Träne ist’s, die du gebracht,die aus dem Aug’ des Sünders floß,die dir den Himmel wieder erschloß.Du hast gerungen und nicht geruht,nun hast du’s errungen, das köstliche Gut!Aufgenommenin Edens Garten,wo liebende Seelen deiner warten,dich ew’ge Wonne umfließt,sei uns willkommen,sei uns gegrüßt!

No. 26 THE PERIJoy, joy for ever! my task is done –The gates are pass’d, and Heaven is won!Oh! am I not happy? I am, I am –To thee, sweet Eden! how dark and sadAre the diamond turrets of Shadukiam,Amid the fragrant bowers of Amberabad!Farewell, ye odours of Earth, that diePassing away like a lover’s sigh; –My feast is now of the Tooba tree,Whose scent is the breath of eternity!Farewell ye vanishing flowers, that shoneIn my fairy wreath, so bright and brief; –Oh! what are the brightest that e’er have blown,To the lote-tree, springing by Alla’s throne,With eternal flowering branches strewnWhere a soul dwells in every leaf.Joy, joy for ever! my task is done –The gates are pass’d, and Heaven is won!Oh! am I not happy? I am, I am!

CHORUS OF THE BLESSED SPIRITSWelcome, welcomeAmong the godly!Without cease thou hast striven and strained;Now thou hast the precious boon obtained.Welcome among us,We greet thee!Yes, if there is an earthly prize,A gift that heav’n holds ever dear,It is the former sinner’s tearThat drops in penitence from his eyesThat opens heaven’s gate for thee.Without cease thou hast striven and strained;Now thou hast the precious boon obtained!Accepted at lastIn Eden’s garden,Where loving souls extend a pardonAnd eternal bliss awaits thee,Be welcome among usAnd receive our greeting!

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PROGRAM NOTESby Donald Draganski

Most listeners are familiar with Robert Schumann primarily as a composer of piano music, chambermusic and lieder, in addition to his well-known symphonies and piano concerto. It may thereforecome as something of a surprise to learn that Schumann secured his international reputation withhis oratorio, Das Paradies und die Peri, composed in 1843 and set to a text by the Irish poetThomas Moore.

In that year the thirty-three year old composer had already composed over 150 songs, three stringquartets, his first symphony, and a veritable library of piano music. He was also editing the NeueZeitschrift für Musik, a journal that he had founded nine years earlier. A growing family (he andClara would eventually produce a brood of seven children) made further demands on thisphenomenally busy man’s time and energy. (It should also be noted that Schumann suffered fromfrequent bouts of manic-depression. During his active periods he produced one work after anotherin quick succession with amazing speed and alacrity; but when he suffered through his spells ofdepression – he referred to them as “turbid melancholy” – he would brood for months in a state ofparalytic inactivity.)

Schumann had encountered Thomas Moore’s poetry many years earlier, and in 1841 the composer’sboyhood friend Emil Flechsig suggested adapting Moore’s Lalla Rookh which he had translatedinto German as a suitable libretto for an oratorio. Schumann eagerly agreed and, in a letter to afriend, he wrote, “At the moment I’m involved in a large project, the largest I’ve yet undertaken – it’snot an opera – I believe it’s well-nigh a new genre for the concert hall. I plan to put all my energy intoit and hope to have finished it within a year.” Although a few interruptions slowed his work a bit –he complained of a larcenous cook who stole fifty bottles of wine from his cellar – he completedthe oratorio on the 16th of June, 1843.

Thomas Moore, the Irish poet whose work so inspired Schumann, was born in Dublin in 1779. Hewas the first Catholic to be admitted to Trinity College where he received his degree in 1798. Thenext year he left for England and became quite the social success in London, first as a singer, thenas an essayist and poet. A brief position as a deputy in the British Admiralty took him to the UnitedStates and Canada. Shortly after his return to England, he read a highly uncomplimentary reviewof his poetry in which the writer referred to Moore as a “public nuisance” and his poetry as“licentious.” The ever-mercurial Moore challenged the critic to a duel; both survived – the critic’spistol was unloaded – and the two became fast friends. A long and productive period followed,interrupted by a brief period of exile on the continent to avoid debtor’s prison. His last years weremarked by chronic money problems, although his straits were relieved somewhat during his lastyears when he was awarded a Civil List pension. He died in 1852.

Moore’s Lalla Rookh, published in 1817, consists of a series of oriental tales and stories, withalternating verse and prose passages. It tells the story of the emperor’s daughter, Lalla Rookh

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(“Tulip Cheek”) who is traveling from Delhi to Kashmir to be married to the king of Bucharia.During the journey a Kashmiri poet, Feramorz, diverts the princess by spinning four verse tales.Upon their arrival in Kashmir, the young poet identifies himself as the very king to whom Lalla isbetrothed, and the work concludes with a traditional happy ending.

Of the four tales with which the Kashmiri poet entertained the princess, Schumann chose the second,“Paradise and the Peri” as the text for his musical setting. Peris, according to Persian mythology,are fairy-like creatures who are the offspring of fallen angels and mortals. Although Peris havebeen entrusted with the task of accompanying the saved to heaven, their questionable parentagebars them from gaining admittance into the heavenly realm. However, Moore’s Peri has beenpromised entry into heaven if she can produce a suitable gift. In Part One she presents the blood ofa warrior killed by a tyrant, but the guardians of Heaven dismiss this gift. In Part Two the Peribrings back the sighs of a young maiden who had died in the arms of her beloved during a time ofplague. This gift is also found wanting, but in Part Three, the gatekeeper to Paradise accepts thefinal gift: the tears of a repentant criminal, and the oratorio ends triumphantly as the Peri is usheredinto paradise.

Upon completion of the oratorio, Schumann wrote the following in his diary: “On June 16th my Periwas completed after several days of strenuous work. What a great joy! I don’t know of anythingsimilar in the musical repertory. I don’t like to write or speak about my own works; my wish is thatthey will have a good effect on the world and secure for me the loving memory of my children.”

The work received its premiere six months later at the Leipzig Gewandhaus, in December of 1843.The public response was sufficiently favorable to schedule a second performance a week later. Withinfive years the work had been presented in most of the European music centers, and by 1848 it had evenreached the shores of America where it was performed by the American Musical Institute in New York.

As John Daverio states in his excellent biography of Schumann, “The Peri was the work that madeSchumann into an international, as opposed to a merely German phenomenon. Not only was[Schumann] getting older; he was poised to develop into a cosmopolitan figure.”

© 2006 by Donald Draganski

Donald Draganski was born in Chicago and received his Bachelor’s degree in music from DePaulUniversity where he studied composition privately with the late Alexander Tcherepnin. He is nowretired, after having served as Music Librarian at Roosevelt University for twenty-five years. Heholds the chair of first bassoonist with the Evanston Symphony Orchestra and is also composer-in-residence for the Pilgrim Chamber Players. His musical compositions include works in all forms,vocal and instrumental, including his Geometry of Music, a choral piece written in 1985 to mark the50th anniversary of the North Shore Choral Society. He has been writing program notes for theSociety since 1980. Those wishing to know more about Don’s activities are invited to consult hisweb site: www.draganskimusic.com

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BIOGRAPHIES

Michelle Areyzaga, soprano, has been universally praised for her interpretation of leading operaticroles, in particular her début in The Kaiser of Atlantis for Chicago Opera Theater. The versatilesinger-actress has also appeared with Lyric Opera Center for American Artists, Opera TheatreNorth, Light Opera Works, and Orquesta Sinfónica del Estado de México. Recently, she appearedas special guest soloist in a new program Bernstein on Broadway, written and presented by thecomposer’s daughter, Jamie Bernstein. Ms. Areyzaga is top prize winner in the William C. ByrdInternational Young Artist Competition, the Metropolitan Opera Regional Auditions, the MargueriteMcCammon Competition, the Union League Civic & Arts Foundation, the American Opera Society,and the Bel Canto Foundation Midwest competitions. She was invited to participate as a Steans InstituteYoung Artist at Ravinia in 2001 where she performed recitals of Spanish, French, and Americansongs. Admired for her commitment to contemporary American music, Ms Areyzaga’s newest CD,The Sun Is Love, on the Proteus label, features works by American composer Gwyneth Walker.Her most recent appearance with North Shore Choral Society was in Handel’s Alexander’s Feast.

James Doing, tenor, has had singing careers in both the Netherlands and the U.S. He has performedmore than 70 operatic roles in Europe and Asia, as well as in many U.S. cities. Mr. Doing’s workin the Bach repertoire is equally energetic with 100 performances of the St. Matthew Passion, St.John Passion, and Christmas Oratorio in Europe — including the Concertgebouw in Amsterdam,Japan, and North America, and in 2004, with the Bach Choir of Bethlehem. Mr. Doing sang fourconsecutive performances of Hans Zender’s orchestration of Schubert’s cycle Winterreise inTheaterhaus Stuttgart to critical acclaim. As an interpreter of 20th century music, he has beeninvited to many prestigious festivals including Holland, South Bank, Nuova Consonanza, andAldeburgh. Mr. Doing is an associate professor of voice at the University of Wisconsin, and manyof his students have won competitions, residencies, and apprenticeships. Since 1994, Mr. Doinghas collaborated with voice scientist Donald Miller on the application of visual feedback from real-time spectrum analysis and electroglottography in the instruction of voice. He can be heard onUniversal Music, Accord, Nonesuch, Opera Rara/Marco Polo, 3M Nederland, and EvangeliumsRundfunk labels.

Amy Conn, soprano, performs throughout the Midwest as a soloist and small ensemble singer.Recent engagements include Haydn’s Creation, Handel’s Israel in Egypt, Bach’s Magnificat,Pergolesi’s Stabat Mater, and Vivaldi’s Dixit Dominus. Ms. Conn has performed as a soloist withMusic of the Baroque, the Northwest Indiana Symphony, the Lutheran Choir of Chicago, and theBach Chamber Choir. Her stage appearances include lead roles in The Turn of the Screw andPirates of Penzance. Ms. Conn is one of the founding members of Urban Baroque, a small voiceand period instrument ensemble, and has performed with the group since 1999 in concerts andradio broadcasts. Other chamber groups with which she has performed include Trio Settecento,Rembrandt Chamber Players, and Ars Antigua. She is featured on an Ars Antigua CD of Celticbaroque music released in 2004. Accomplishments in the 2005-06 season include a performanceas Cupid in Monteverdi’s Ballo delle Ingrate, participation in The Handel Singing Competition inLondon, and becoming semi-finalist for the American Bach Soloist’s Young Artist Competition.Ms. Conn teaches at The Musical Offering in Evanston and recently joined the faculty at DePaulUniversity. She last performed with North Shore Choral Society in Haydn’s Creation.

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Emily Lodine, mezzo-soprano, is highly regarded for her impressive musical background, and herartistry and mastery of many styles place her in great demand for both concert and operaticperformances. She has appeared with the Chicago Symphony Orchestra, the Philip Glass Ensemble,the Saint Paul Chamber, and she recently made her Carnegie Hall debut in Handel’s Messiah underthe baton of conductor and composer John Rutter. Equally sought after for operatic appearances,Ms. Lodine created the role of Verena Marsh in Stephen Paulus’ opera Summer for BerkshireOpera. Other opera credits include Britten’s The Rape of Lucretia with Lyric Opera Cleveland andPuccini’s Madama Butterfly with Anchorage Opera. Upcoming engagements include Bach’s Massin B minor at the Peninsula Music Festival, Gounod’s Romeo and Juliet with Anchorage Opera,Verdi’s Requiem with the Wichita Symphony, Brahms’ Liebeslieder Waltzes with the ChicagoChamber Musicians, and Mahler’s Symphony No. 2 with the South Dakota Symphony. Ms. Lodinewas graduated magna cum laude from Indiana University with a degree in music theory and is therecipient of a Pi Kappa Lambda scholarship and numerous Margaret Hillis fellowships. Bach’s St.Mathew Passion was her most recent appearance with North Shore Choral Society.

Calland Metts, tenor, is enjoying a widely varied singing career. Mr. Metts has performed withmany opera companies, including Chicago Opera Theater, in such roles as Tamino in Mozart’s TheMagic Flute, Count Almaviva in Rossini’s The Barber of Seville, Ralph in Gilbert and Sullivan’sH.M.S. Pinafore, and Camille in Lehar’s The Merry Widow. In concert, he has appeared as soloistin Bach’s St. Matthew Passion, Handel’s Messiah, Hayden’s Creation, Britten’s War Requiem,and Orff’s Carmina Burana. Equally comfortable on the musical theater stage, Mr. Metts hasplayed the Padre in The Man of LaMancha with Chicago’s Light Opera Works, Spelvin in Gershwin’sStrike up the Band, and Martin in A Grand Night for Singing. Most recently, he returned to CortlandRepertory Theater as Michael in I Do, I Do and Emille Debec in South Pacific and was tenor soloistwith The Arrowhead Chorale in Mozart’s Great Mass in C minor. Future engagements includeMozart’s The Magic Flute with Lyric Opera of the North, The Narrator in Tchaikovski’s Peter andthe Wolf with the comedy troupe Colder by the Lake in Duluth, Minnesota, and tenor soloist inBach’s Mass in B minor with the Peninsula Music Festival in Door County. Mr. Metts last performedwith North Shore Choral Society in Haydn and Mozart Masses in March 2002.

Peter Van De Graaff, bass-baritone, has sung to great acclaim throughout the world includingappearances with the Budapest Concert Orchestra, the Israeli Chamber Orchestra in Tel Aviv, andas a recitalist in Tokyo. In the United States he has worked with many renowned conductors, suchas Pierre Boulez, Paul Hillier, Robert Page, Thomas Wikman, Jane Glover, Victor Yampolsky, andNicholas Kraemer. Having made a specialty of the Baroque repertoire, Mr. Van De Graaff and hissoprano wife have been responsible for the modern premieres of several early 18th century chamberoperas called “intermezzi.” He has performed with Lyric Opera of Chicago, Florentine Opera, andChicago Opera Theater, and has recordings under the Naxos and Cedille labels. Mr. Van DeGraaff is recognized nationwide as a leader in classical music broadcasting. For the past 17 yearshe has been the host of the Beethoven Satellite Network, a nationally syndicated daily programcarried on 150 stations. Mr. Van De Graaff is presently the host of the LaSalle Bank Tuesday NightOpera, local broadcasts of Music of the Baroque, and LaSalle by Night, from midnight until 6 onWFMT. Mr. Van De Graaff’s last appearance with North Shore Choral Society was Haydn’sCreation in March 2005.

OrcheSTra

Violin iThomas Yang

Irene RadetzkyKarl DaviesRika SekoJeff YangJody Livo

Paul Vanderwerf

Violin iiJeri-Lou Zike

Kjersti NostbakkenAndrea Tolzmann

Mark AgnorLoren Hendrickson

Lori Ashikawa

Viola

Patrick Brennan Ben Wedge

Frank BabbittDominic Johnson

Claudia Lasareff-Mironoff

Cello

Steven HouserMargaret Daly

Craig TrompeterMatthew Agnew

Bass

Andrew AndersonTimothy Shaffer

Flute

Susan SaylorKarin Ursin

PiCColo

Janice MacDonald

oBoe

Deborah StevensonAnne Austin

Clarinet

Daniel WonTeri Foster

Bassoon

Jonathan SaylorCollin Anderson

Horn

Neil KimmelDaniel O’Connell

Gabriel Webster-MulcahyChristine Worthing

trumPet

Chris HasselbringEdgar Campos

tromBone

Adam MoenJeremy Moeller

Mark Fry

tuBa

Rex Martin

HarP

Marcia Labella

timPani

George Blanchet

PerCussion

Rich Janicki

“Vielen Dank” to Antje Draganski for being our expert and patient German diction coach.

John Darrow is a third-generation member of North Shore Choral Society. Several of his great-aunts were among the early members, and his cousin Mary Sample, from the next generation,recruited him in 1994. He has served on the NSCS Board as both Vice-President for Fundraisingand President. John began his singing career in the third grade as a paid member of the ChristChurch Boys’ Choir in Winnetka. In high school, his music teacher was Vin Allison, also conductorof NSCS at the time. He sang with the Yale Glee Club and recently has toured China and Russiawith the Yale Alumni Chorus. John has been a trust officer at Northern Trust for thirty-one yearsand is now at the Park Ridge office. He is on the board of the Park Ridge Civic Orchestra andformerly served on the board of Music of the Baroque. His hobbies include bike riding and learningabout wine. (“Not at the same time,” he says, adding “although wine country is frequently goodriding.”) He has ridden through northern Vermont in the fall, circled the Big Island In Hawaii, andtoured Spain and Italy. John has three children—only one a musician: the director of marketingand operations for the Nashua Symphony Orchestra.

Minnesota has played an important role in the life of Barbara DeCoster. She grew up there,attended college there, got married there, spawned three of her four children there, and returnsthere every summer “to refill my cup” at her family’s 100-year-old log cabin. While a student atCarleton College, she met her husband, who was on the faculty. (She insists she was not one of hisstudents, though he loved to tell people she was.) After their marriage, she stayed on as a facultywife for nine more years before moving to Kansas. Her husband’s research took them to Spainseveral times (twice for an entire year) and once to South America. Although Barbara sang both inhigh school and college choirs, raising a family and acting as the wife of a university departmentchair left little time for singing. However, when she and her family moved to Evanston in 1969, shejoined her church choir and, in 1978, the North Shore Choral Society. Since then, travel has causedher to miss a few concerts, but not many. In recent years, Barbara has switched from soprano toalto, a move she calls “a challenge at my age.”

A life-long resident of Glenview, Lucinda Fuller began her choral singing in high school. Othermusical experiences have ranged from the sublime (the Mozart Requiem, performed in CanterburyCathedral) to the ridiculous (a New Year’s Eve can-can, which she says is “best forgotten”). Lucindajoined the North Shore Choral Society in 1994 and served as its treasurer for two years. For the pastthree years, she has sung in Evanston’s Bach Week Festival Chorus. Her education includes an MAin English literature from Northwestern, a Master’s in Library Science from Dominican University,and an MBA from Keller Graduate School. Lucinda’s first career was as a research librarian, firstat the National Safety Council in Chicago, then at an engineering firm that did expert witness workfor product liability litigation. Now she works as the Finance Director for Northfield Township.

Finding a common ingredient among North Shore Choral Society members is almost impossible—except, of course, their love of choral singing. These six members are proof of this diversity.

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Since the township has a small staff, her job involves a lot more than number crunching. A day’stasks can range from taking photographs of grumpy toddlers for their passport applications todealing with the unexpected arrival of twenty cartons of very ripe bananas contributed to theTownship’s food pantry. Her outdoor hobby is hiking, her best trip being a coast-to-coast trekacross England.

Since 2000, Philip Martin and his wife Nina have been retired, finding time to pursue such interestsas re-establishing connections with friends in their hometown of Sullivan, Illinois, and surroundingcommunities (where they are building a “twin home”). After taking degrees at the University ofIllinois, Oxford University (as a Rhodes Scholar), and Harvard Law School, Philip practiced lawfor 30 years in Chicago, a period that included two years with a Japanese law firm in Tokyo. Priorto the Japanese interlude, Nina taught at Evanston’s Park School; in 1985, she returned to professionalinterests, obtaining her doctorate and becoming a licensed clinical psychologist. Philip’s personalinterests have always centered on music. He studied piano through his high school years, when heoften served as an accompanist for choral groups. Ten years ago, he came back to the piano in a moreconcentrated way and has presented two recitals (the second with his brother Eden), both of whichresulted in CDs. In 2000, he joined the bass section of the North Shore Choral Society and was oneof two piano accompanists for Brahms’ Liebeslieder-Walzer in this season’s March concert. TheMartins have two children: Andy is a composer in New York, Sarah a personal trainer in Chicago.

During her early singing days in high school and college, Roxann Specht had always sung the altoline. However, when she resumed singing six years ago, her church choir director pronounced hera soprano—a part she has been singing with the Choral Society since 2001. Also a member of theSkokie Concert Choir, she especially enjoys their sing-outs at retirement homes. Roxann grew upon a grain farm near Mt. Carroll, Illinois. After receiving her bachelor’s degree in teaching secondaryschool English from the University of Illinois, she taught for two years in Iowa—until she weariedof losing her voice by the end of each day. Back to Champaign she went, this time for a master’sdegree in library science; there she met her husband Jerry, who now works for ExLibris, Inc., as alibrary software engineer. After a less vocally taxing five-year stint at the Chicago Public Library,Roxann embarked on a 25-year maternity leave (with six years remaining) to raise her children—Andy, age 19, Mark, 14, and Elizabeth, 12—who, besides taking piano lessons and singing inseveral choirs, play electric guitar, drums, and flute, respectively. Roxann spends her days as ahome and family manager, too frequently running Mom’s Taxi Service.

After singing in his church choir while in high school, Steve Warner took a lengthy vocal hiatus,during which time he completed his university work (BA, MA, PhD) at Berkeley. He did notresume choral singing until doing research on a small-town California church, where he was invitedto join the choir by its director, Anne Heider. (The story is told in his book, New Wine in OldWineskins.) Steve and Anne were married in 1979 and settled in Evanston. Steve is a sociologist ofreligion who teaches at the University of Illinois in Chicago. He joined NSCS in 1981; a year later,Anne became a founding member of His Majestie’s Clerkes (later Bella Voce), of which sheeventually became artistic director. Encouraged by Donald Chen, she also took the job of Directorof Choral Activities at Roosevelt University. Together, Steve and Anne enjoy singing Sacred Harp,a form of American folk hymnody that (in Steve’s words) they “will cross the country to sing butwouldn’t cross the street to listen to!” As members of Evanston’s Immanuel Lutheran Church, theyare glad not to stand out as singers. Their blended family includes two children—Dove, a highschool teacher in Chicago, and John, a professor in Milwaukee—and four grandchildren.

NORTH SHORE CHORAL SOCIETY

TENORDouglas AdenSho AndohGlen BorntragerDavid CrumrineJohn DarrowNicholas KruppMars LongdenSanna LongdenTom MillerThomas OlkowskiMilly SilversteinPaul SmalleyDavid Taylor

SOPRANOMei AdenRitsuko AndohKatherine Biddle AustinLauren BauerschmidtMarcia Maus BolloLouise BrueggemannElisabeth CaseDeborah ChenMeg Egan-Hullinger

Lorena EstradaMaria del Rosario GomezJudith GreeneAnne HarkonenAnne HumphreyJane KenamoreAnne LindahlRonnie McCarronJulie McDowell

Mary MeladyEllen PullinAnna RooseveltKaren Fish SchurderDorothy ScottMargie SkellyRoxann SpechtKathleen TolisanoJean Yedlicka

ALTOLynne CurtisElse-Britt De LongBarbara DershinAntje DraganskiKatie EcksteinFusayo ErricoNancy FridayLucinda FullerDebbie GeismarJo Anne GerulesLaura GraedelSally Hakes

Jill HorwitzSuni KarthaMary Ann KissockInge KistlerHeather KitchensMarie KroegerMelinda KwedarAlexandra Lexton-MetznerMarjorie LundyJoan MerchanAlicia ResnickKaren Rigotti

Kay RossiterPatricia SeidlMyra SieckLoretta SmithBarbara StruthersErica SufritzJudy TaylorCharlotte Thiemecke-FloydJean ThompsonKathleen TrusdellBarbara WeinerSue WiegandTrish Winter

BASS & BARITONELen BarkerHank BohanonRobert BrotmanLee CanfieldWylie CrawfordRon DahlquistAndrew FisherBruce GladfelterAnthony GreenDavid HuntThomas KellerStanley Kobayashi

Karl KroegerPhilip MartinJim MillerFrank PerryJohn SheaJohn SummerhaysChuck UchtmanHarry VroeghSteve WarnerKenneth WengzenDavid Wojtowicz

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PICK-STAIGER CONCERT HALL

NORTHWESTERN UNIVERSITY

847.864.8804 www.evanstonsymphony.org

Brahms — Tragic Overture

Mozart — Piano Concerto No. 21

Beethoven — Symphony No. 7

Vassily Primakov, piano

Bernstein — Symphonic Dances from “West Side Story”

Tchaikovsky — Variations on a Rococo Theme

Bernstein — Three Meditations from “Mass” for Cello and Orchestra

Tchaikovsky — Romeo and Juliet Overture Fantasy

Edward Arron, cello

Wagner — The Flying Dutchman Overture

R. Strauss — Death and Transfiguration

R. Strauss — Concerto No. 1 for Horn and Orchestra

Listz — Les Preludes

Gail Williams, horn

Herold — Zampa Overture

Calandrelli — Concerto for Jazz Clarinet and Orchestra

Dvorak — Symphony No. 9, “From the New World”

Ralph Wilder, clarinet

2006-2007 CONCERT SEASON

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The businesses listed in this program have been very helpful to us in bringing you this concert. Please think of them when you need the services and products they offer and tell them how much we appreciate their support!

Art & Music

Alexandria Kung PhotographyAudio ConsultantsEvanston Symphony OrchestraFolkWorks GalleryGood’s of EvanstonHorizon Brass QuintetJ.O’Reilly ProductionsMusic of the BaroqueMusic UnlimitedNorthbrook Symphony OrchestraTAR AudioWFMT

AutoMotive services

Duxler Tire & Care Center

Books, Gifts, & clothinG

“Enchanted Remembrances” (Inge Kistler)“Keeping The Beat” (Ada Kahn)Natural ThingsWilliams Shoes - The Walking Spirit

coMputer & copy services

Compassionate ComputingQuartet Copies

consultinG & Business services

K G CommunicationsNational Award Services

educAtion & instruction

The Kitchen Warrior (Paul Siegal)Roycemore School

finAnciAl services

Cardinal Financial ServicesDevon BankFirst Bank & Trust of EvanstonLee Canfield, Northwestern Mutual United Financial Group (UFG)Henricus Vroegh, Widmann, Siff & Co., Inc.

food & BeverAGes

Casteel CoffeeD&D Finer FoodsEvanston GrillFood For ThoughtJilly’s CaféMJ CaterersRollin’ in DoughSymphony’s CaféTre Kronor Restaurant

hArdwAre, pluMBinG & AppliAnces

Cahill PlumbingHarold’s HardwareKelly’s AppliancesLeMoi Hardware

personAl services

Art + Science = HairCat Hospital of ChicagoCoiffure Copenhagen Coventry Eye CareEnzo’s Hair Design (Hair by Elizabeth)Family Medicine Associates of Lutheran GeneralFrank Kiesel & Associates Hair DesignKathleen Buchanan Trusdell, PsychotherapyNatural Phenomena (Linda Schultz, massage)Norm Underwood, Jr., Legal ServicesNorth Shore Dental (Jill Horwitz)Pamela Kihm, Movement TherapyPresbyterian Homes

reAl estAte, hoMe & GArden

Anton’s GreenhouseCyrus Development GroupDahlquist ArchitectureLake Shore PartnersPrairie Shore Properties (Carol Bild)Prairie Shore Properties

(Merry Juell & Rosanne O’Donnell)Tim Murphy Carpentry, Inc.

The North Shore Choral Society

For the past three years, members of the North Shore Choral Society have been planning this special season to celebrate our seventieth birthday. And “special” it has been. Our December concert with The Agape Ringers and the Horizon Brass Quintet sent both performers and audience members into the busy holiday season with a musical flourish. In March, the Parish Church of St. Luke was filled to overflowing with an audience that gave an enthusiastic response to our contrasting program of Brahms’ Liebeslieder-Walzer and Orff’s Carmina Burana, with the Red Rose Chamber Choir joining us in the latter. And just last month, we sang the Shostakovich Second Symphony with the Northbrook Symphony Orchestra in an exciting performance that kept most of the audience in their seats for a second hearing.

Now the season comes to an end—with Robert Schumann’s fascinating Das Paradies und die Peri. Throughout the season, we have trumpeted the fact that this work—perhaps more than any other—established Schumann’s international reputation. As the chorus, the instrumentalists, and the soloists join in this afternoon’s presentation, we may all come to understand why this claim has been made. Be sure to read Donald Draganski’s program notes for details about the creation of this unique piece.

And next season? These are our tentative plans: a December concert featuring John Rutter’s Gloria, Conrad Husa’s A Christmas Garland, and—of course—traditional holiday carols; a second concert with a chamber ensemble joining the chorus in a performance of Stravinsky’s Mass, plus music of Ron Nelson and Randall Thompson; and a single-work season finale: Haydn’s Missa Cellensis.

If you are on our mailing list, you will receive information about our seventy-first season in August. If you are not and would like to be, please stop at our table in the lobby and make your wish known. And be sure to join us in our anniversary celebration after today’s concert.

Have a delightful summer. We hope to see you again next fall.