SCC Christmas Program6 FINAL12-15.pdf

❦ Saturday, December 19, 2015, 8:00pm

❦ Sunday, December 20, 2015, 4:00pm

Holy Cross Church

126 High Street, Santa Cruz

Christmas with the ChoraleC

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director

T h e S an t a C r uz C h o r a l e S e a s o n 3 3 ❦ 2 0 1 5 – 2 0 1 6

ArtisticDirectorChristian Grube, artistic director of theSanta Cruz Choralesince July 2006, is emer-itus professor of choralconducting at theUniversity of Arts,

Berlin. As director of the Berlin State andCathedral Boys’ Choir and the Chamber Choir ofthe University of Arts, Professor Grube has conducted and toured with his choirs throughoutthe world. In 1995, because of the diplomaticinfluence of his work, he was awarded theNational Medal for Distinguished Service, thehighest civilian honor given by the German government.

Professor Christian Grube continues to spendpart of the year in Europe, holding workshopsand serving as a guest conductor with variouschoral groups. He teaches conducting at theUniversity of Arts, Berlin, and performs andtours with the University Chamber Choir. Therest of the year he lives in the Santa CruzMountains, where he gives private conductinglessons.

2 The Santa Cruz Chorale Season 33 ❦ 2 0 1 5 – 2 0 1 6

AccompanistA native of Russia who moved to the U.S. in1998, pianist Vlada Volkova-Moran holds diplomas from Moscow Tula Music College,Lenin Pedagogical University, and MoscowTchaikovsky Conservatory. She is active locallyas a performing artist, accompanist, and musiceducator. Ms. Volkova-Moran runs a piano studio and teaches organ privately. She also isan organist for Peace United Church of Christ ofSanta Cruz and the Diocesan Choir of Montereyas well as principal accompanist for CabrilloSymphonic Choir and Temple Beth-El Choir.

Ms. Volkova-Moran performs with CelebratedPiano Ensemble, Santa Cruz Chamber Players,Loma Prieta Ensemble, and other musicians inSanta Cruz and the Bay Area. She was a soloartist with the Santa Cruz Baroque Festival and isfounder and artistic director of the annual NewYear’s Eve “Organists Kaleidophone” concertseries in Santa Cruz.

Organists Kaleidophone will ring inthe New YearThursday, December 31, 2014, 4:00pmPeace United Church of Christ 900 High Street, Santa Cruz

The 11th annual New Year’s Eve “OrganistsKaleidophone” will be held at Peace UnitedChurch of Christ, 900 High Street, Santa Cruz, onThursday, December 31, at 4 p.m. It will be followed by a champagne and chocolate reception. The concert is free. A goodwill offering will be taken at the door with proceedsbenefiting the organ maintenance fund. Fordetails, call 831-460-1030 or [email protected].

About the CoverThe artwork on our program cover is from theupper portion of “Adoration of the Magi” byDomenico Ghirlandaio (1449-1494). It shows fourangels holding a scroll with the first notes andwords of the Gloria. The painting, originally commissioned as an altarpiece for the adjacentchurch, is now displayed in the gallery of theOspedale degli Innocenti, which at that time wasthe orphanage for Florence, Italy.

Season 33 ❦ 2 0 1 5 – 2 0 1 6 The Santa Cruz Chorale 3

Reminders❦ Please turn off cell phones, watch alarms, andother devices that might disrupt the concert.

❦ Please refrain from taking photos or makingaudio or video recordings of performances. Nosuch activities are allowed without advance written permission.

❦ Due to the nature of live performance, all programs are subject to change.

The Monterey BaySinfoniettaValerie Tisdel, First Violin

Alice Talbot, Second Violin

Eleanor Angel, Viola

Nicole Welch, Cello

Stan Poplin, Bass

Mihail Iliev, Bassoon

Shelley Phillips, Cor Anglaise

John Thomas, Alto and Tenor Sackbut

Richard Van Hessel, Tenor Sackbut

Charlie McDowell, Bass Sackbut

Vlada Volkova-Moran, Continuo

Community Music SchoolCollegiumCharmion Burns, Recorder

Janet Herman, Recorder

Christa Stiner, Recorder

Karen Williams, Recorder

Shelley Phillips, Harp

Members of the Santa Cruz ChoraleSopranosMaida Cordero★❉ Suzanne DuvalMargie EricksonAlexandra FlorimonteBarbara GaskellKaren GordonVirginia HolcombeStacey PollardCaroline RodriguezAlissa RoedigMonica SalazarGabrielle StockerBreanna TollkuhnJulia van der WykAnnette von Oepen

AltosAnne Bonner❉ Diane BridgemanMary Crawford★ Rosella Crawford-Bathurst

Joy Jennings DanzigerTanya DavidsonChristine FahrenbachKelsey KilloranAlisa KlausEliza LinleySharon NelsonVera PethesDeana SlaterLois Van BurenMary Ann WielandWendy WyckoffIvy Young

TenorsKevin CrewsRon GoodmanAndrew GrayGary HintzPaul LawtonRobert Ley★❉ Tom PennelloRichard RoullardStanley Williamson

Basses❉ Bruce BridgemanRoger ChaffinDenis HaskinCharles Koontz★Jean LarocheKent MadsenLuiz Antonio RazeraJake RetzPaul SchmitzMichael VojvodaNiel Warren

★ Sectional conductor❉ Section leader


CChristmas with the Chorale

Program

Exsultate Deo . . . . . . . . . . . . . . . . . . . . . . . Giovanni Pierluigi da Palestrina

Christe Redemptor omnium . . . . . . . . . . . . . . . . . . . Claudio Monteverdi

Cherubic Hymn . . . . . . . . . . . . . . . . . . . . . . . . . . Pyotr Ilyich Tchaikovsky

Vom Himmel kam der Engel Schar . . . . . . . . . . . . Johann Sebastian Bach

Vlada Volkova-Moran, organ

Laudate Jehovam, omnes gentes. . . . . . . . . . . . . . Georg Philipp Telemann

The Lamb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Tavener

Elohim Hashivenu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Salomone Rossi

Blow Shepherds, Blow Your Pipes . . . . . . . . . . . . . . . . . . Thomas Morley

Community Music School Collegium

From Christus (Opus 97) . . . . . . . . . . . . . . . . . . . . . . . Felix Mendelssohn

Laudate Dominum . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claudio Monteverdi

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director


These concerts are sponsored by

Arts Council of Santa Cruz County

Intermission

Hodie Christus natus est. . . . . . . . . . . . . . . . . . . . . . . . . . . . Kola Owolabi

Ave Maris Stella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trond Kverno

Serenity (O Magnum Mysterium) . . . . . . . . . . . . . . . . . . . . . . . Ola Gjeilo

Jesus Christ the Apple Tree. . . . . . . . . . . . . . . . . . . . . . . Elizabeth Poston

Concerto “Fatto per la notte di natale” . . . . . . . . . . . . Arcangelo Corelli

Monterey Bay Sinfonietta

Det hev ei rose sprunge (A Spotless Rose) . . . . . . . . . . . . . . . Ola Gjeilo

Beatus vir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claudio Monteverdi

Quempas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Praetorius

Lighthouse Bank


Program Notes, Texts and Translations❦ Exsultate DeoGiovanni Pierluigi da Palestrina (1525-1594)

All five voices in Palestrina’s motet flow in jubilant polyphony, as the words tell which instrumentswill join in praise of the Lord on “our solemn feast-day” (“solemnitatis vestrae”): the timbrel, harp,psaltery, and trumpet. The trumpet that heralds the feast is given musical emphasis: “buccinate”—theactual “blowing” of the trumpet—is sung in triads, whereby the spaces between the notes give a certain “airiness” to the blowing. The trumpet’s Latin name—”tu-u-u-u-ba”—then rolls in eighth-noteruns of different lengths through all the voices. The solemnity of the occasion is underlined by a dignified homophonic conclusion.

Exsultate Deo, adjutori nostro, jubilate Deo Jacob.

Sumite psalmum, et date tympanum, psalterium jucundum cum cithara.Buccinate in neomenia tuba, insigni die solemnitatis vestrae.

(Vulgate, Psalm 80)

❦ Christe Redemptor omnium from Selva morale e sprituale, c. 1640

Claudio Monteverdi (1567-1643)

Monteverdi’s setting of the Gregorian hymn Christe Redemptor omnium is fascinating in its simplicity.The verses are alternately sung unisono or in three parts, with two violins playing in peaceful thirdsabove a calm basso continuo. The “Amen,” sung in three parts, ends the motet in utmost humility.

Christe, redemptor omnium,Ex Patre, Patris unice,Solus ante principiumNatus ineffabiliter.

Tu lumen, tu splendor Patris,Tu spes perennis omnium,Intende quas fundunt precesTui per orbem famuli.

Memento salutis auctor Quod nostri quondam corporis,Ex illibata VirgineNascendo, formam sumpseris.

Hic praesens testatur dies,Currens per anni circulum,Quod a solus sede PatrisUndi salus adveneris.

Jesu, the Father’s only Son,Whose death for all redemption won,Before the worlds, of God most high,Begotten all ineffably.

The Father's Light and Splendor ThouTheir endless Hope to Thee that bow:Accept the prayers and praise todayThat through the world Thy servants pay.

Salvation’s author, call to mindHow, taking the form of humankind,Born of a Virgin undefiled,Thou in man’s flesh becamest a Child.

Thus testifies the present dayThrough every year in long array,That Thou, salvation’s source aloneProceedest from the Father’s throne.

Sing aloud unto God our strength: make a joyful noiseunto the God of Jacob.Take a psalm, and bring hither the timbrel, the pleasant harp with the psaltery.Blow up the trumpet in the new moon, in the timeappointed, on our solemn feast-day.

(KJV, Psalm 81)


Gloria, tibi, Domine,Qui natus es de Virgine,Cum Patre et Sancto Spritu,In sempiterna saecula.

Amen.

❦ Cherubic Hymn (“Song of Angels”) No. 6, from Liturgy of St. John Chrysostom, Op. 41.

Pyotr Ilyich Tchaikovsky (1840-1893)(The Cherubic Hymn is included in Tchaikovsky’s a cappella settings of the Divine Liturgy of St. John Chrysostom; thewords had been added by Emperor Justinian I to the Liturgy in the late 6th century.)

Compared to the relatively short text, the Cherubic Hymn takes quite a long time to sing. This isbecause, in its liturgical function, the hymn is sung during the procession in which the bread andwine are carried to the altar. It is to be sung so slowly that it ends at precisely the moment the breadand wine are placed on the altar.

A Russian-speaking member of the Chorale (Tanya Davidson) located a Russian Internet source thatreports that the first performance of the Hymn was not kindly received. Tchaikovsky was criticizedfor having used the ancient religious text without permission of the Church; in addition, his fellowmusicians claimed that the sopranos had been so loud that they had covered the beauty of the lowervoices. Tchaikovsky was deeply hurt by this negative criticism.

Tchaikovsky’s compositions encompass a broad range of genres, such as symphonies, concertos, ballets, etc., but the Cherubic Hymn offers a glimpse of the role that Russian Orthodox Church musicplayed in his life. He wrote to a friend that he frequently attended services, adding that the music andliturgy profoundly moved him. “To be startled from one’s trance by a burst from the choir; to be carried away by the poetry of this music; to be thrilled when...the words ring out, ‘Praise the name ofthe Lord!’—all this is infinitely precious to me! One of my deepest joys!” (Quote from Wikipedia.)

The Cherubic Hymn incorporates precisely the contrasting elements of the liturgy that Tchaikovskydescribes. The Hymn opens pianissimo, in a moderate range and a minor key, with drawn out notesand barely perceptible changes in the four-part harmonies. An atmosphere is created of serene andendless space, as the choir sings “We who mystically represent the Cherubim…”. Suddenly (theirvoices now mystically merged with the voices of angels gathered around God’s throne) a three-partwomen’s chorus intrudes, singing “to the life-giving Trinity the thrice-holy hymn.” They sing forte, ina major key, with the first noticeable rhythm, and in a high range of crystalline clarity. The men’s chorus repeats (in the same fashion) what the women have sung, after which all join for a greatcrescendo. Then, as if gripped by awe, the choir again becomes pianissimo and returns to the musi-cal theme and character of the beginning. After a short “Amen,” the words of a lively mini-fugue admonish the congregation to set aside earthly cares, and the Cherubic Hymn ends with a long andlighthearted “Alleluia.”

Иже херувимы тайно образующе,и Животворящей Троицe трисвятую пeсньприпевающе,

All honor, laud, and glory be,O Lord, Virgin-born, to Thee;Whom with the Father we adore,And Holy Ghost forevermore.

Amen.

(English translation: John Mason Neale, 1818-1866)

We, who mystically represent the Cherubim,And chant the thrice-holy hymnto the life-giving Trinity,


Всякое нынe житейское отложимъ попечение.Аминъ.Яко да Царя всхъ подъимемъ,ангельскими невидимо дориносима чинми.Аллилуйя.

It is interesting that, although Tchaikovsky is a composer of the Romantic period, the slowly movingbeginning notes of his Cherubic Hymn transport the listener to the same meditative space as doworks by such “modern composers” as Arvo Pärt (who is also spiritually grounded in the music ofEastern Orthodoxy) and Ola Gjeilo (whose Serenity we will sing later).

❦ Vom Himmel kam der Engel Schar (“From Heaven Came the Host of Angels”)BWV 607. From the Orgelbüchlein (Little Organ Book)

J. S. Bach (1685-1750)

Vlada Volkova-Moran, organ

The Orgelbüchlein is a collection of organ preludes based on Lutheran chorales planned and completed by Bach for the most part in Weimar around 1714. These 46 splendid miniatures cover theneeds of the liturgical year and represent a wide range of moods and emotions. Though Bach treatsthese chorales very simply, using only one stanza without any interludes, the richness of the harmonies, colorful ornamentations and highly poetic treatment of the text—what Albert Schweitzercalled “tone-painting”—all of this brings Bach’s choral preludes to the highest level. As a means ofexpression Bach often used certain motifs that could be associated with different words. For example,many Christmas chorales have descending motifs that symbolize Christ coming down from Heaven.In this particular chorale, with its steady moving pedal part and shimmering running up and downhand passages, one can almost see the shepherds walking up and down the hills in the light ofangels’ wings. Note by Vlada Volkova-Moran

❦ Laudate Jehovam, omnes gentes, TWV 7:25

Georg Philip Telemann (1681-1767); Words: Psalm 117 (In the Vulgate there are two versions of this Psalm, neither of which is worded exactly as Telemann’s version.)

Part I of Telemann’s Laudate Jehovam… begins with a violin/basso continuo prelude. A cheerfulmotif is continuously repeated, and 16th notes give the whole an excited forward impetus. Thesopranos then take up the violin theme, singing “praise the Lord” (“laudate Jehovam”), after which—appropriately—the full choir joins for the words “all people” (“omnes gentes”). The men and womentake turns jubilantly praising. Part I ends as the words “omnes populi”—again together—are sung in agrand forte and in the highest range.

Part II tells of His never-ending merciful kindness and truth (“quia valida…”), and the entire flow ofthe music changes—with a new key, tempo, meter, and dynamics. The choir now sings longer notesthat move peacefully, as the violins play calm, constantly rocking 8th notes. A glorious soprano lineemphasizes the generosity of His mercy (“misericordia eius”).

Let us set aside the cares of life.Amen.That we may receive the King of all,Who comes invisibly escorted by the Divine Hosts.Alleluia.

(Translation: Orthodox Wikipedia)


Part III begins with an ascending heraldic triad—”alleluia”—sung by the sopranos and altos as a call topraise. All voices immediately join in, and the word “alleluia” is repeated again and again until the end ofthe composition. These “alleluias” are sometimes sung in an excited rhythm, at other times as the trumpet-like triad; all voices are thus simultaneously praising and calling others to join in eternal praise.

Part I: Laudate Jehovam, omnes gentes! Laudibus efferte, omnes populi.

Part II: Quia valida facta est super nos, misericordia eius, et veritas Domini in aeternum.

Part III: Alleluia.

❦ The LambJohn Tavener (1944-2013); Words: William Blake (1757-1827)

In this poem two images are linked with Christ: that of a “Lamb” and a human child. Blake’s poemfirst asks an innocent “Little Lamb” in the field if he knows whence he has life, who it is that nurtureshim by the streams and who has dressed him in a soft wooly coat. This “Lamb” becomes blurred withthe Deity, for He who made the “Little Lamb” bears the same name—”he calls himself a Lamb.” Thus,when the Maker lovingly cares for the Lamb in the field, a parallel is drawn to the innocent “Lamb”/Christ who is groomed by the Father to fulfill His sacrificial role. Thus the Passion is actually theunderlying theme of the poem, which builds up to the Christmas message, “He became a little child.”

The second image linked with Christ is that of a human child who, like the Lamb, is called by thesame name as He who “became a little child” (“I, a child, and thou a lamb, we are called by hisname”). When He (who “became a little child”) becomes blurred with the image of a human child, itexpresses the union of divinity and humanity in the incarnation.

Tavener’s composition consists of four short musical phrases that are continuously repeated andsometimes sung as an inversion. This simple structure befits the simplicity of the poem but, nonetheless, it creates an atmosphere that could hardly be more moving. Tavener instructs that hispiece be performed “with extreme tenderness…always guided by the words,” and the lines are composed with such tenderness that one cannot sing them otherwise. Indeed, as they are sung, thenotes seem to lovingly caress the “Lamb,” and the poem ends with the repeated tender prayer: “LittleLamb, God bless thee!”

O Little Lamb, who made thee?Dost thou know who made thee?Gave thee life, and bid thee feedBy the stream and o’er the mead;Gave thee clothing of delight,Softest clothing, wooly, bright;Gave thee such a tender voice,Making all the vales rejoice?Little Lamb, who made thee?Dost thou know who made thee?Little Lamb, I’ll tell thee,

Part I: O praise the Lord, all ye nations: praise him, allye people.

Part II: For his merciful kindness is great toward us:and the truth of the Lord endureth for ever. Praise yethe Lord. (KJV, Psalm 117)

Part III: Alleluia.


O God, restore us;And cause thy face to shine, and we shall be saved.O God of hosts, restore us;And cause thy face to shine, and we shall be saved.O Lord God of hosts, restore us;Cause thy face to shine, and we shall be saved.

(Translation: CPDL)

Little Lamb, I’ll tell thee;He is called by thy name,For he calls himself a Lamb.He is meek, and he is mild,He became a little child.I, a child, and thou a lamb,We are called by his name.Little Lamb, God bless thee!Little Lamb, God bless thee!.

❦ Elohim HashivenuSalomone Rossi (c. 1570-1630); Words: Psalm 80

Salomone Rossi was a talented Jewish composer of the late Renaissance and a contemporary ofMonteverdi, Gastoldi and Viadana. He lived in Mantua, Italy, where he served as concertmaster forthe royal court between 1587 and 1628. He entertained the ducal family and their guests with musicfor all manner of feasts and festivals, but what is remarkable is that, although Jewish, he was evenasked to provide music for services at the royal chapel. Indeed, since Rossi was held in such highesteem by the court, he was given dispensation from wearing the badge with a yellow star (whichhad been required of Jews in varying forms as early as the eighth century).

Rossi is primarily remembered as a reformer of Jewish music for the Synagogue for, as he himselfsaid, “the Lord has put new songs into my mouth.” He sought to “upgrade” the reputation of Jewishmusic by avoiding traditional Jewish melodies in his synagogical compositions, instead using themesfound in Christian music of the period. Rossi set many Biblical Hebrew texts to music in their originalHebrew, and this fact makes him unique among Baroque composers. (Information from Wikipedia.)

Researchers have noted that the opening musical theme of “Elohim Hashivenu” is reminiscent of amotet by Orlando di Lasso but, even if this is true, Rossi has crafted a motet that is distinctively hisown. The short psalm in Hebrew is a thrice-repeated prayer beseeching the Lord God of Hosts—”Elohim,” “Adonai”—to shine His healing face upon humanity. The men begin Rossi’s motet, callingupon Him with the utmost reverence; “Elohim” is sung as a polyphonic phrase stretching over severalbars, and the tone is one of quiet majesty. When the full choir enters, the music has a brighter tone asthe words sing of the rejuvenating health brought by the “shine” from His face. The women repeatthe men’s call to “Elohim,” and again the full choir sings of the health He brings. When the Lord iscalled upon yet a third time, all voices join in homophony, singing with awe: “Adonai Elohim.” Theconcluding happy eighth note runs sung by the choir have an instrumental quality—almost as if“Elohim Hashivenu” had been composed for organ or harpsichord. This is perhaps not surprisingsince Rossi, along with composers such as Monteverdi, was renowned for applying the principles ofinstrumental music to vocal music. It should also be mentioned that by adding an instrumental character to his vocal compositions, Rossi was able to work around the prohibition against the use ofinstruments (particularly organ) in the Synagogue.

Elohim, hashivenuVƏhaer panekha, vƏnivvashe’a.Elohim tsevaot, hashivenu;VƏhaer panekha, vƏnivvashe’a.Adonai elohim tsevaot, hashivenu;Haer panekha vƏnivvashe’a.


❦ Blow Shepherds, Blow Your PipesThomas Morley (1557-1602)Community Music School Collegium

Thomas Morley was an English composer, theorist, singer and organist of the Renaissance. He wasone of the foremost members of the English Madrigal School. He was also involved in music publishing, and from 1598 until his death he held a printing patent (a type of monopoly). Living inLondon at the time of Shakespeare, he became organist at St Paul’s Cathedral. He was the mostfamous composer of secular music in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.

From Wikipedia; note provided by Community Music School Collegium

❦ From Christus, Part one, op. 97

Felix Mendelssohn (1809-1847); Words: based on Matthew 2:1-2, Numbers 24:17

Mendelssohn’s Christus was published posthumously, as a fragment of a work that his untimely deathprevented him from completing. Hence this portion of Opus 97 is called From Christus.

Mendelssohn’s 1829 arrangement and performance of Bach’s St. Matthew’s Passion—the first performance since the latter’s death in 1750—played a large role in the revival of Bach’s music inGermany and, eventually, throughout the world.

Much has been written about the influence of Bach’s compositional style on Mendelssohn’s music, soit is not surprising that From Christus opens with a recitative (“When Jesus our Lord was born inBethlehem...”) that could have been composed by Bach himself. The following three-part men’sarioso (“Say, where is He born, the King of Judaea?”) is also set with harmonies reminiscent of Bach.However, when the choir enters singing “There shall a star from Jacob come forth, and a scepter fromIsrael rise up,” Mendelssohn shows himself to be a composer of the Romantic period. These wordsare borne by a calmly ascending, expansive melodic line, and as the choir sings of the “star,” repeated radiant little triplets in the organ accompaniment imitate the twinkling of a star.

The star motif is sung several times by all voices, followed by a few bars in which only the organ carries the motif. The atmosphere up to this point is one of utter peace, whereby the short organinterlude serves as a sort of meditative pause in which the singers realize the dramatic implication oftheir words. The tone then suddenly changes, as the choir enters with an explosive battle cry proclaiming that the “scepter” will destroy His enemies—”Dash in pieces princes and nations.” Sungin a dramatic unisono, the words “and–dash–in” prepare to deliver a blow of such devastating force,that when it lands on “pieces,” that word is shattered into dissonances. The choir strikes the enemythree times in this fashion, each time ending on a higher note that makes the dissonant blows on thewords “pieces” and “nations” more forceful. The bellicose words are repeated again and again as allvoices jump into the fray. But in the midst of this, the basses assure victory, for they begin singing thepeaceful ascending motif of the star (“There shall a star... come forth”); they emphasize the fact thatHe will come, when they sing the words “come forth” on insistently lengthened notes. The battletakes a positive turn as tenors and sopranos—each within his or her own line—begin shifting backand forth between the words of battle and the star motif.


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Ultimate victory is at hand as the choir sings with the homophonic strength of their initial proclamation (“and dash in pieces princes and nations”); however, in this repetition, dissonant linesnow descend in all voices. Thus His enemies are beaten to the ground as the words are sung on everlower notes that become ever quieter: the defeated “princes” and “nations” become motionless in along, low, dissonant chord. In this static calm, almost hidden beneath the destruction, the organ twiceplays the first three notes of the ascending motif “There shall a star...come forth.” These notes seemsomewhat tentative, as if the organ is unsure that the battle is truly over; but the choir then enthusiastically and affirmatively takes up the star motif in a short (Bach-like) fugue. The motet endsà la Bach with a chorale: “How brightly beams the morning star.”

Soprano Recitative:When Jesus our Lord was born in Bethlehem, in the land of Judaea, behold, from the East to the city ofJerusalem there came wise men, and said:

Three part Men’s Arioso:Say, where is He born, the king of Judaea?For we have seen His star, and are come to adore Him.

Chorus:There shall a star from Jacob come forth, and a scepter from Israel rise up,And dash in pieces princes and nationsThere shall a star from Jacob come forth.

How brightly beams the morning star,With sudden radiance from afarWith light and comfort glowing!Thy word, Jesus, inly* feeds us, rightly leads us, Life bestowing.Praise, oh praise such love o’erflowing!

(*“Inly” is an archaic word meaning “inwardly.”)

❦ Laudate Dominum (from Selva morale e sprituale)Claudio Monteverdi; Words: Antiphon adapted from Psalm 24:7; main text Vulgate Psalm 116.(Telemann worded Psalm 116 slightly differently in his Laudate Jehovam; Monteverdi uses the text exactly as it appearsin the Vulgate.)

After a Gregorian antiphon announcing the coming of the Redeemer, exuberant soprano/alto duetsand tenor/bass duets take turns with rollicking string instruments as all join in praise: “LaudateDominum, omnes gentes; laudate eum, omnes populi.”

When the words referring to all people (“omnes gentes”) are sung the final time, all voices unite withhomophonic chords (as was the case in Telemann’s previously sung setting); the magnificent forte isaccompanied by the strings and by brass instruments that add splendor to the sound.

For the words “Quoniam confirmata est super nos” the choir again separates into groups that merrilysing in duets, in individual parts, or in groups of three or four, taking turns with the strings, andsometimes supported by the brass.

When the psalm speaks of the Lord’s merciful kindness toward humanity (“misericordia eus”), thetone becomes serious, and Monteverdi shows his qualities as the composer of dramatic opera. Longdissonant chords descend heavily with painful chromatic steps that finally end in piano. This


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O praise the Lord, all ye nations: praise him, all yepeople.For His merciful kindness is great toward us:And the truth of the Lord endureth for ever.

(KJV, Psalm 117)

Glory be to the Father, and to the Son, and to the HolyGhost;As it was in the beginning, is now, and ever shall be,World without end. Amen.

introduces into the positive words “misericordia eus” the somber musical tone normally reserved forthe prayer “miserere nobis” (“have mercy on us”). This linkage acknowledges the fact that it isthrough His sacrifice that His merciful kindness is shown. But the choir then returns to a carefree toneas they separate into groups singing that the truth of the Lord will endure forever (“et veritas Dominimanet in aeternum”).

With an abrupt change in key, Monteverdi adds yet another theatrical element as he raises the curtain,so to speak, for the grand finale: enter the sole word “Gloria.” As the entire choir dramatically singsthis word, the notes have a majestic quality, and the length of the notes add gravity. “Gloria” thusseems to stand on the stage as a regal presence—a personification; and the following entrance by thechoir has the character of the chorus in Greek theater that comments on the deeds of the hero.

For this entrance the beat changes (for the first time in the composition) from a 4/4 beat to a dance-like 3/4 beat. The women and men take turns singing “Gloria, gloria” in praise of the Father, Son andHoly Ghost” (“Patri, et Filio, et Spiritui Sancto.” The two groups then unite, again singing the soleword “Gloria” with a static homophonic chord. This dramatically emphasizes the fact that the threebeings are one in the Trinity. (One remembers Monteverdi’s breathtaking treatment of this theme inthe “Duo Seraphim” duet of his Marian Vespers.) The dance then resumes, as men and women againand again call back and forth to each other “Glory to the Father, Son and Holy Spirit.”

The motet concludes with a magnificent tutti, affirming that He will receive glory eternally (“Sicut eratin principio, et nunc, et semper, et in saecula saeculorum. Amen”).

Gregorian antiphon:Levate capita vestra: ecce appropinquabit redemptio vestra.

Psalm 116Laudate Dominum, omnes gentes; laudate eum, omnes populi.Quoniam confirmata est super nos misericordia eius, Et veritas Domini manet in aeternum.

Gloria Patri, et Filio, et Spiritui Sancto,Sicut erat in principio, et nunc, et semper,Et in saecula saeculorum.Amen.

Intermission

❦ Hodie Christus natus estKola Owolabi (b. 1977); Words: “Hodie Christus natus est” is the antiphon to the Magnificat, sungat the vespers on Christmas Day

Professor Kola Owolabi teaches organ, improvisation and church music at the University of Michiganin Ann Arbor. He was born in Toronto but, between the ages of five and ten, his family lived in hisfather’s native Nigeria (where the boy began learning piano). His family was devoutly Catholic and,after returning to Toronto, Kola was enrolled in a private all-boys Roman Catholic school. In addition


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to studying piano, violin, organ, and attending choir rehearsals, the young boy spent as much time ashe could at church, listening to the sound of the organ.

At the age of thirteen, Kola entered “Hodie Christus natus est”—his first composition—in a prestigious annual songwriting competition, where it won first prize. Without realizing it, he had composed this piece in the style of the 16th century Renaissance—for the simple reason, he says, thatthese were the sounds in his ear from daily singing in the cathedral. He thinks the judges wereimpressed by the ability of a young boy to compose an antiphonal motet for double choir in theVenetian style!

Hodie Christus natus est:Alleluia.Hodie in terra canunt Angeli,Laetantur Archangeli.Noe, noe, alleluia.Et justi dicentes:Gloria in excelsis Deo.Noe, noe, alleluia.

❦ Ave Maris Stella (Hymn with Versicle)Trond Hans Farner Kverno (b. 1945); Words: 9th century plainsong Vespers hymn to Mary

Trond Kverno is a contemporary Norwegian composer known for his liturgical compositions; he alsoserves as Auxiliary Bishop of the Christ Catholic Church International. Kverno’s well-known Ave MarisStella is sung in choral competitions all over the world. It is astonishing that, although meticulouslystructured, the composition does not seem contrived, nor does the rational structuring in any waydiminish its intense emotional impact.

(The sentence structure of this Medieval Latin text does not allow the English translation below to correspond line for line.)

Verse 1. The motet is built on two themes, both of which are quite simple. The first, introduced inVerse 1, is calm and melodic and has the simplicity of medieval plainsong. The notes slowly andpeacefully ascend and descend—all within the range of a fifth—always returning to the beginningnote, whence the theme again ascends. The repetition of these notes has a hypnotic effect, and thewords of the gentle prayer of adoration to the Virgin Mary are sung with the assurance and comfort ofsalvation. The women begin singing the theme in three-part harmony, whereby the sopranos sing theactual theme as just described; the altos sing a mirror image of the theme, and a middle voice givesthe whole a static quality, for it remains virtually on one note.

Ave, maris stella,Dei mater alma,Atque semper virgo,Felix caeli porta.

Verse 2. The men sing in three parts, repeating the pattern of Verse 1.

Sumens illud Ave,Gabrielis ore,Funda nos in pace,Mutans Hevae nomen.

Hail, star of the sea,Loving Mother of God,And also always a virgin,Happy gate of Heaven.

Today Christ is born:Alleluia.Today on Earth the Angels sing, Archangels rejoice:

Noe, noe, alleluia.Today the righteous say:Glory to God in the highest.Noe, noe, alleluia.

(Translation: Allen H. Simon)

Receiving that AveFrom Gabriel’s mouth,Confirm us in peace,Reversing Eva’s name.



Verse 3. The women and men sing together, each in their three-part pattern as in Verses 1 and 2,except that now both groups sing a fifth higher. In addition, the men enter one bar after the women,and the structuring is so perfect that the six parts (i.e., the two groups of three) fit together sung inthis staggered fashion (as a round).

Solve vincla reisProfer lumen caecis,Mala nostro pelle,Bona cuncta posce.

The musical intensity has gradually increased in this piece, and it culminates in Verse 4—the reasonbeing that this central verse (of the seven verse prayer) carries the central theological message. Up tonow Mary’s various attributes have been extolled, but Verse 4 speaks of the actual incarnation. Thegeneral meaning of the verse is rendered by the translation below, but it is important to understandthe precise meaning of two emphasized phrases. “Monstra te esse matrem” prays that Mary reveal herself as His Mother; and “tulit esse tuus” refers to Him, “who took it upon Himself” to become herSon (He endured becoming her Son) for the redemption of humanity. These two phrases go hand inhand, for if Mary is indeed the Divine Mother, it follows that her Son is God incarnate.

Verse 4 introduces the second musical theme, which is characterized by a dramatic rhythm; it is composed in an unusual 5/4 beat, and an “allegro agitato.” The theme consists of only three notes,which are sung with an impatience that tears one out of the former hypnotic state and gives theprayer a sense of urgency. The men begin singing in a low range (they cry out of the depths) “mon-stra te esse matrem;” they repeat these rhythmically accentuated words again and again with evermore agitation, becoming faster and faster as the volume increases to fortissimo; they further increasethe intensity of the motif by repeating it first a third higher, then a fifth higher. While the men aresinging, the women sing the same notes in a low range at half the speed. The women also becomegradually more “agitato,” as they too—still singing at half speed—repeat the notes a third higher. Aftera stunning moment of silence, the women begin repeatedly singing with greatest agitation the three-note motif but now with the words “tulit esse tuus.” They are singing in the highest range (an octavehigher than originally), while the men (reversing the previous pattern) sing the same notes at halfspeed. The women end up almost screaming in a frantic fortissimo after which the sopranos end theprayer in a pitifully stammering pianississimo: “mon-stra-te e---sse ma------tre-m.” The prayer that Maryreveal herself as His Mother is thus a desperate prayer for faith in the truth of the incarnation (“tulitesse tuus”). At the same time the musical emphasis of “tulit esse tuus” expresses utter amazement atwhat these words mean.

Monstra te esse matrem,Sumat per te precemQui pro nobis natusTulit esse tuus.

Verse 5. The peaceful melodic theme of the beginning returns, this time sung by men and womentogether in six-part harmony.

Virgo singularis,Inter omnes mitis,Nos culpis solutosMites fac et custos.

Show yourself to be a Mother:May He accept prayers through you,He who, born for us,Chose to be yours.

O unique Virgin,Meek above all,Make us, absolved from sin,Gentle and chaste.

Break the chains of sinners,Bring light to the blind,Drive away our evils,Ask (for us) all good.


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Verse 6 repeats the staggered pattern in the higher range, as in Verse 3.

Vitam praesta puram,Iter para tutum,Ut videntes JesumSemper collaetemur.

Verse 7 is a variation of the rhythmically accentuated theme. Whereas it was formerly in 5/4 rhythm,it is now expanded and sung in triplets that, in addition to an accelerando, make the theme seem to“roll” and gain momentum. Fittingly, the triplets end in thrice forte (fff), as they are sung to honorthe three parts of the Trinity.

Sit laus Deo patri,Summo Christo decus,Spiritui SanctoTribus honor unus. Amen.

The motet ends with a pianississimo “Versiculus” (verse), which is a plainsong intonation of the traditional “Hail Mary” prayer.

VersiculusAve [Maria], gratia plena,Dominus tecum.Benedicta tu in mulieribus.

❦ Serenity (O Magnum Mysterium)Ola Gjeilo (b. 1978)

Gjeilo was born in Norway, where he did undergraduate work at the Norwegian Academy of Music.He continued his studies at the Juilliard School and the Royal College of Music in London beforemoving to his present residence in New York.

The subtitle of this piece is the text Gjeilo uses, but his actual theme is serenity—that serenitybrought to Earth by the “great mystery” of the incarnation. The chords remain almost static as theslowly moving harmonies envelop the listener in a realm of complete peace. When the long“Alleluia” ends the composition, Gjeilo does not change the character of the music to express the joyof this word. Rather—-as the word is sung pianissimo—it is as if the mystery is so “great” that eventhe “Alleluia” must be whispered.

O magnum mysterium, et admirabile sacramentum,Ut animalia viderent Dominum natum, jacentem in praesepio.Beata Virgo, cujus viscera meruerunt portare Dominum Christum.Alleluia.

Let there be praise be to God the Father,Glory to Christ in the highest,To the Holy SpiritOne honor to all three. Amen.

[Transl. Allen H. Simon]

VerseHail [Mary], full of grace,The Lord is with thee;Blessed art thou amongst women.

O great mystery, and wonderful sacrament,That animals should see the new-born Lord, lying in a manger.Blessed is the Virgin whose womb was worthy to bear Christ the Lord.Alleluia!

(Transl. Wikipedia)

Keep life pure,Make the journey safe,So that, seeing Jesus,We may always rejoice together.



❦ Jesus Christ the Apple TreeElizabeth Poston (1905-1987)

Elizabeth Poston was an English composer, pianist, and writer. She wrote scores for over forty radioand television productions, collaborating with authors such as C.S. Lewis and Dylan Thomas. She alsohelped create the BBC Third Program. She composed a number of songs, of which Jesus Christ theApple Tree is the best known.

The author of the poem is unknown, but the first confirmed publication was in a 1784 collection by aBaptist minister from New Hampshire. The poem likens Christ the “tree of life” to an apple tree ladenwith fruit, and the setting by Poston is charming in its very simplicity.

The tree of life my soul hath seen,Laden with fruit, and always green:The trees of nature fruitless beCompared with Christ the apple tree.

His beauty doth all things excel:By faith I know, but ne’er can tell,The glory which I now can seeIn Jesus Christ the apple tree.

For happiness I long have sought,And pleasure dearly I have bought:I missed of all: but now I see‘Tis found in Christ the apple tree.

This fruit doth make my soul to thrive,It keeps my dying faith alive:Which makes my soul in haste to beWith Jesus Christ the apple tree.

❦ Concerto “Fatto per la notte di natale”Arcangelo Corelli (1653-1713)

Monterey Bay Sinfonietta

Concerto grosso in G minor, Op. 6, No. 8 by Arcangelo Corelli, known commonly as the ChristmasConcerto, was commissioned by Cardinal Pietro Ottoboni and published posthumously in 1714 aspart of Corelli’s Twelve concerti grossi, Op. 6. The concerto bears the inscription “Fatto per la notte diNatale” (“made for the night of Christmas”). Its composition date is uncertain, but there is a record ofCorelli having performed a Christmas concerto in 1690 for the enjoyment of his then-new patron.

Each of six relatively short movements provide multiple tempi and a range of major and minor suspensions. We are performing the last two movements, ending with Corelli’s famous Pastorale adlibitum, a peaceful 12/8 finale in the pastorale form.

From Wikipedia; note provided by Monterey Bay Sinfonietta


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❦ Det hev ei rose sprungeOla Gjeilo; Norwegian; Words: P. Hognestad (1921). The melody is said to be anonymousGerman (1587)

This radiant eight-part homophonic motet by Samuel Scheidt is based on the Gregorian hymn Puernatus in Bethlehem, which has been sung in Christmas services since the thirteenth century.

Alleluia, alleluia.Det hev ei rose sprunge, ut av ei rot så grann,Som fedrane hev sunge, av Isais rot ho rann;Og var ein blome blid midt i den kalde vinter,

Ved mørke midnattstid.

Alleluia, alleluia.Om denne rosa eine, er sagt Jesajas ord,Maria møy, den reine, bar rosa til vår jord;Og Herrens miskunnsmakt, det store un rose sprunge,Som var i spådom sagt.Alleluia, alleluia.

❦ Beatus vir (from Selva morale e sprituale, c. 1640)Claudio Monteverdi; Words: Vulgate, Psalm 111; KJV, Psalm 112

The theme of this motet is Psalm 112, “Blessed is the man that feareth the Lord, that delighteth greatly in his commandments” (“Beatus vir, qui timet Dominum…”). In accordance with the text, thecomposition enumerates the blessings bestowed upon the righteous man as well as his positive attributes. Monteverdi uses the consistency of the basso ostinato (i.e., an “obstinate,” persistentlyrepeated bass line) to represent the solid foundation of his belief in the Lord, while all the blessingsand attributes are represented by musical variations built upon this foundation.

The joyous state of a “blessed man” is contrasted to the fate of wicked unbelievers: they will “meltaway” and their desire will perish, as the word “peribet” (“perish”) dwindles into the depths of oblivion.

In the concluding “Glory be to the Father, and to the Son, and to the Holy Ghost…,” the word“Gloria” is sung again and again by all voices as a truly glorious fanfare.

Beatus vir, qui timet Dominum, in mandatis eius volet nimis.Potens in terra erit semen eius; generatio rectorum benedicetur.Gloria et divitiae in domo eius, et justitia eius manet in saeculum saeculi.Exortum est in tenebris lumen rectis, misericors, et miserator et justus.

Blessed is the man that feareth the Lord, that delighteth greatly in his commandments.His seed shall be mighty upon earth: the generation of the upright shall be blessed.Wealth and riches shall be in his house: and his righteousness endureth for ever.Unto the upright there ariseth light in the darkness: he is gracious, and full of compassion, and righteous.

Alleluia, alleluia.A spotless rose is blowing, sprung from a tender root,Of ancient seers’ foreshowing, of Jesse promised fruit;Its fairest bud unfolds to light amid the cold, cold winter,And in the dark midnight.

Alleluia, alleluia.The rose which I am singing, whereof Isaiah said,Is from its sweet root springing, in Mary, purest Maid;Through God’s great love and might, the Blessed Babe she bare us,In a cold, cold winter’s night.Alleluia, alleluia.

(English words: C Winkworth [1869]).


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Jucundus homo qui miseretur et commodat, disponet sermones suos in judicio;Quia in aeternum non commovebitur, in memoria aeterna erit justus;Ab auditione mala non timebit. Paratum cor eius sperare in Domino,Confirmatum est, cor eius; non commovebitur, donec despiciat inimicos suos. Dispersit, dedit pauperibus, justitia eius manet in saeculum saeculi,Cornu eius exaltabitur in gloria. Peccator videbit, et irascetur,Dentibus suis fremet et tabescet; desiderium peccatorum peribit.

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❦ QuempasMichael Praetorius (1571-1621)

Quempas is traditionally sung at Christmas services in churches all over Germany. It is based on threeLatin hymns. The first hymn, which will be sung from the four corners of the church, is from the 15thcentury Quem pastores laudavere (English words adapted from German by Imogen Holst). The basisof the refrain is the 9th century Magnum nomen Domini (English words adapted from German by K.G.). The setting “In a manger lies the child” (English words adaptated from German by K. G.) is basedon the 14th century Latin hymn Nunc angelorum gloria.

Hymn 1:Shepherds left their flocks astraying,God’s command with joy obeying,When they heard the angel saying:"Christ is born in Bethlehem."

Hymn 2 (Refrain):Jesus Christ is born today, is born today.He took all our sins away, our sins away.

Hymn 3:In a manger lies the child,His mother mild a lullaby is singing.In Bethlehem this holy nightIs born the light, salvation to all is bringing.Lo, behold, for all to see,A miracle is unfolding:Enraptured souls His love now are beholding.

A good man sheweth favour, and lendeth: he will guide his affairs with discretion.Surely he shall not be moved forever: the righteousshall be in everlasting remembrance.He shall not be afraid of evil tidings: his heart is fixed,trusting in the Lord.His heart is established, he shall not be afraid, until hesee his desire upon his enemies.He hath dispersed, he hath given to the poor; his righteousness endureth for ever;His horn shall be exalted with honor. The wicked shall see it, and be grieved;He shall gnash with his teeth, and melt away: the desire of the wicked shall perish.

(KJV, Psalm 112)

Glory be to the Father, and to the Son, and to the Holy Ghost;As it was in the beginning, is now, and ever shall be,World without end. Amen.


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Hymn 1:Wise men came from far, and saw Him;Knelt in homage to adore Him;Precious gifts they laid before Him:Gold and frankincense and myrrh.


Hymn 1Let us now in ev’ry nationSing His praise with exultation.All the world shall find salvationIn the birth of Mary’s son.


Program notes and texts by Karen Gordon


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The Santa Cruz ChoraleConductor and Artistic Director

Christian Grube

Board of DirectorsNiel Warren, President

Suzanne Duval, Vice PresidentAlisa Klaus, Treasurer

Tom Pennello, SecretaryMargie Erickson, Julia van der Wyk, Mary Crawford, Alexandra Florimonte

Paul Lawton, Gary Hintz, Christian Grube (ex officio)

Production CreditsNiel Warren, Event Production

Paul Lawton, Stage ManagementRobert Ley, Printed Program

Eliza Linley, Ticket SalesKatie McKee, House Manager

Gale Frances, Box OfficeDiane and Bruce Bridgeman, Concessions

Alexandra Florimonte, Jean Laroche, Eliza Linley, Julia van der Wyk, Annette von Oepen, Niel Warren, Publicity

Julia van der Wyk, Website and SignageEliza Linley, Facebook

Karen Gordon, Program NotesKathleen Roberts, Graphic Artist

Gabrielle Stocker, Paul Schmitz, Ron Goodman, Music LibraryAlexandra Florimonte, Volunteer Coordination

Contact InformationThere are many ways to stay in touch with us.

Visit our website: www.santacruzchorale.org, a good place to find the latest info on concerts andfundraisers, buy tickets, donate, advertise, schedule auditions, and sign up for our newsletter.

You may also leave your email address at the box office and we do the signup for you. (Note: your email address saves us printing and postage and is never shared with third parties!)

Like our Facebook page: www.facebook.com/SCZChorale. Here you can leave feedback, find concert info, links to reviews, photos, fun stuff, and

“events” that allow you to invite friends to our concerts.

Interact with us on Twitter: @SantaCruzChoral.

Call us or send a letter with your donation, your questions, or your request to be added to the mailing list:

P.O. Box 272, Santa Cruz, CA 95061 831-427-8023


Santa Cruz Chorale AuditionsSingers with choral experience who read musicat an intermediate or advanced level are invitedto audition for the Chorale. Call 831-427-8023 orcheck our website to receive materials thatdescribe the audition and the responsibilitiesthat go along with membership in the ensemble.

AcknowledgementsThe Chorale is deeply indebted to the followingindividuals and institutions for their invaluablehelp in producing our concerts:

Sister Barbara Ann Long, OP, Liturgist/Musician,Holy Cross Church

Mr. Ron McLain, Maintenance, Holy CrossChurch, for his assistance with the productionof our concerts

Karen Gordon for her superb, informative and insightful program notes

Suzanne Duval for her spirited, dedicatedcoaching of us in rehearsal

Tom Pennello for his very helpful recordings ofus in rehearsal and retreat

Martin Gaskell for the loan of his harpsichordfor our concerts

The staff and congregation of Holy CrossChurch, Santa Cruz

The staff and congregation of the Peace UnitedChurch of Christ (formerly First CongregationalChurch), Santa Cruz

The Santa Cruz ChoraleFounded in 1983, the Santa Cruz Chorale dedicates itself to two goals: presenting its audiences with distinctive, exciting concerts ofchoral works from diverse periods, and giving itssingers the chance to experience the delight andartistic growth that come from making music atthe highest level. The Chorale has recorded threeCDs and has toured in Italy, Croatia, and Spain.

The Chorale’s 50-some members, who livethroughout Santa Cruz County and beyond, jointhe ensemble by audition. Although several areprofessional musicians, all volunteer their time,and all are amateurs in the original sense of thatword—people who seriously pursue an art for thelove of it.

Christian Grube has been our conductor and artistic director since 2006.


Ticket income covers only about 34% of the costof producing concerts. The remaining 66%comes from foundations, businesses—but mostly from people like you. We appreciateyour generosity!

Help the Santa Cruz Chorale continue its traditionof distinctive vocal music in Santa Cruz County bysupporting us in one of the following ways:

Make a Donation Contribute with your checkin the enclosed envelope or with your credit cardat our website www.santacruzchorale.org/donate.

Give to the Annual Fund All donors and ticket buyers receive a letter in the Fall duringthe Annual Fund Campaign. However, theChorale accepts Annual Fund donationsthroughout the year to support operations.

Sponsor a Soloist, Chorale Section, Orchestra,or Conductor Bring top-notch musicians to SantaCruz to join the Chorale in concert.

Become a Concert or Season SponsorReceive public acknowledgement of your support at concerts and in programs, posters,and press releases.

Name the Chorale in your Will Ensure theChorale’s future by making the ultimate gift.

Transfer Stock Make a tax-deductible donation of stock to the Chorale.

Donate Food and Beverages Provide foodand beverages for our concert concessions table.

Advertise in our Program Promote yourbusiness while supporting the Chorale.

Sponsor an Equipment Purchase Help usrecoup the costs of replacing our old stage risers.

Volunteer Help us put on concerts, lickenvelopes, and label fund raising mail. Call 831-427-8023 if you are interested in volunteering.

Join our Mailing List Let us keep in touchwith you. Your email address saves us printingand postage; leave it with us at the box officeon your way out, or send it to us with theenclosed envelope.

For more information about how you can support the Santa Cruz Chorale, please call 831-427-8023. Donations may be mailed to:

The Santa Cruz Chorale P.O. Box 272Santa Cruz, CA 95061

Support the Santa Cruz Chorale

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Sponsors$500-$999Anonymous

Preston Boomer

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Kathleen and Gerald Bowden of the Kayjer Fund

Lighthouse Bank

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Benefactors$250-$499Alisa Klaus

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Supporters$100-$249Adelheid Ebenhoech

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Contributors to the Santa Cruz ChoraleMrs. Bernice Anderson

Nancy Mead

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Norman and Lucille Zilber

Pamela Kangas

Patricia Nellany

Priscilla Shaw

Richard and Alison Bruce

Robert and Carolyn Hall

Roberta Bristol

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Theodore Armstrongand Raymond Dinnocenzio

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Friends to $49Anne Helms

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Barbara Thomas

Betsy and Gary Mauchardt

Claire Barone

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Connie Wainwright and Russell Johnson

Cynthia Copple

Cynthia Phillips

Deidre Guindon

Gail and Clint Colver

Gloria Spitzer

Greta and Michael Hutchinson

Jane Boone

June Barber

Kathleen Osmonson

Louise West and Michael Rosati

Lynne and Stanley Abraham

Lynne Deane

Margery Keppel

Mark Forry

Marsha Gilpatrick

Mary and Paul Tara

Mary Larson

Nancy and William Levonian

Paul and Eva Fewel

Robert Stephenson

Robert Talkington

Rosemary and Michael Sarka

Roy and Mary Hoch

Ruth and ChuckEggen

Susan Bass

Vlada Moran


Musical Arts of Santa CruzUpcoming Events 2016Guest Concert: The SJSU Choraliers inConcertThe San Jose State University Choraliers andThe Santa Cruz Chorale

Sunday, March 20, 2016, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

San Jose State University ChoraliersDr. Jeffrey Benson, Director

The SJSU Choraliers will present an exceptionalafternoon of music featuring selections fromFrank Martin’s Mass for Double Choir, as well asmusic from the Renaissance and modern times.The British composer and lecturer Phillip A.Cooke found it hard to believe that FrankMartin’s Mass languished, unpublished for solong, when it was obviously a masterpiece.Although composed in 1922, the Mass was notreleased for publication or performance until1963. To quote Cooke from 2010, “A work ofsuch searing beauty and luminescence shouldsurely have not sat in a drawer gathering dustwhilst the world was crying out for more sacredmasterpieces to rival Stravinsky’s Symphony of Psalms and Szymanowski’s Stabat Mater.” We are thrilled to host the Choraliers, known for their exquisite blend and masterful musicianship.

Stravinsky Mass andRenaissance Motets for Choirand Wind InstrumentsThe Santa Cruz Chorale

Saturday, June 25, 2016, 8:00pmSunday, June 26, 2016, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

The main work of the Santa Cruz Chorale’s Juneconcert is Igor Stravinsky’s Mass for MixedChorus and Double Wind Quintet, composedin 1948. It is one of Stravinsky’s very few compositions that was not commissioned,which is to say that he wrote it not from need,but because the idea was close to his heart.Although the Mass is decidedly “modern,” itsdebt to tradition can be heard not only inGregorian reminiscences, but in the wind instrument accompaniment that reminds one ofearly Renaissance compositions. The Chorale’s program will feature motets from that olderperiod by Giovanni Gabrielli, Jacobus Gallusand Ludovico Viadana, which offer an excitingcontrast to the sounds of the Stravinsky Mass.

Documents

SCC Christmas Program6 FINAL12-15.pdf