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CONCERTSCHEDULEFEBRUARY 22ND, 2015 @ 7:00 P.M.Cristo Rey ChurchSanta Fe, NM

FEBRUARY 23RD, 2015 @ 7:30 P.M.Metropolitan State University, King Center Concert HallDenver, CO

FEBRUARY 24TH, 2015 @ 7:30 P.M. WITH ST. MARTIN’S CHAMBER CHOIRMontview Boulevard Presbyterian ChurchDenver, CO

FEBRUARY 27TH, 2015 @ 11:00 A.M. Cathedral of the MadeleineSalt Lake City, UT

FEBRUARY 27TH, 2015 @ 3:00 P.M.Cathedral of the MadeleineSalt Lake City, UT

DESERTCHORALEON THEROAD

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JOSHUA HABERMANN MUSIC DIRECTOR

Concert Schedule

About the Desert Chorale

A Word from Joshua Habermann

Dancing the Mystery Program

Donors to the February 2015 Tour

Texts & Translations

Artist Biographies

Special Thanks

Support the Desert Chorale

2015 Summer Festival Schedule

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The Santa Fe Desert Chorale receives generous support from the National Endowment for the Arts, New Mexico Arts, a division of the Department of Cultural Affairs, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, The Kerr Foundation, Inc., and other individuals, corporations and foundations. For a full list of donors, please see our website at www.desertchorale.org.

Santa FeDESERT

CHORALE

CONTENTS

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OUR 21ST SEASON

COMING OF AGE

2014/2015

MUSIC OF THE TSARS IIFriday, Oct. 3, 7:30 pm Saint John’s Episcopal Cathedral :: Denver Sunday, Oct. 5, 3:00 pm St. Augustine Orthodox Church :: Denver

THE ART OF IMITATION: PALESTRINAFriday, Nov. 7, 7:30 pm Holy Cross Lutheran Church :: Wheat Ridge Saturday, Nov. 8, 7:30 pm St. Andrew’s Episcopal Church :: Denver Sunday, Nov. 9, 3:00 pm St. Andrew’s Episcopal Church :: Denver

A CAMBRIDGE CHRISTMASFriday, Dec. 12, 7:30 pm Montview Blvd Presbyterian Church :: Denver Sunday, Dec. 14, 3:00 pm Holy Cross Lutheran Church :: Wheat Ridge Friday, Dec. 19, 7:30 pm Saint John’s Episcopal Cathedral :: Denver

TAKE ONE HARDOUIN MASSES VOL . 2Saturday, Feb. 14, 7:30 pm St. Elizabeth of Hungary Church :: Denver

TAKE TWOS T . MART INS CHAMBER CHO IR AND THE SANTA FE DESERT CHORALE Tuesday, Feb. 24, 7:30 pm Montview Blvd Presbyterian Church :: Denver

BEAT BEAT DRUMSTHE C IV I L W AR A T 150Friday, April 10, 7:30 pm Holy Cross Lutheran Church :: Wheat Ridge Saturday, April 11, 7:30 pm St. Andrew’s Episcopal Church :: Denver Sunday, April 12, 3:00 pm St. Andrew’s Episcopal Church :: Denver

BYRD 4Friday, May 29, 7:30 pm Montview Blvd Presbyterian Church :: Denver Sunday, May 31, 3:00 pm St. Gabriel the Archangel Episcopal Church Cherry Hills Village

ST. MARTIN’S CHAMBER CHOIRT IMOTHY J . KRUEGER, ART IST IC D IRECTOR

DENVER, COLORADO

TICKETSinfo@stmartinschamberchoir.org 303-298-1970

www.stmartinschamberchoir.org

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BOARD OF DIRECTORS

DAVID BUESCHEL President SHERYL KELSEY, Ph.D. Vice PresidentLYNN BICKLEY, M.D. SecretaryWILLIAM H. LYNN, C.P.A. Treasurer

J. Randle Adair, D.O., Ph.D.Robert GardnerNina HinsonChristopher IhlefeldLynn LeeLaurie MeyerSusie Wilson, D.M.A.

ADMINISTRATIVE STAFF

JOSHUA HABERMANN Music DirectorJERRY NELSON Interim Executive DirectorCORY KLOSE Director of Marketing JO FISHER Operations ManagerJOYCE POHL, C.P.A. Accounting ManagerMARY BRZEZINSKI Administrative AssistantLESLIE RICH House ManagerSAMUEL GRACE Company Manager

THE SANTA FE DESERT CHORALE311 E. Palace Ave.Santa Fe, New Mexico 87501(505) 988-2282WWW.DESERTCHORALE.ORG

For more than 30 years, the Santa Fe Desert Chorale has been one of the nation’s

preeminent choral ensembles. With nationally recognized, professional singers

performing music spanning seven centuries, the Desert Chorale presents a Summer

Festival and Winter Festival each season. The organization also conducts educational

outreach, commissions new works from international composers and reaches nearly

10,000 people each year from across the country and around the world. Today, music

director Joshua Habermann leads the group of 24 singers in a range of concerts featuring

eclectic repertoire from Renaissance, Baroque, Classical, Romantic and 20th Century

masters, as well as new and specially commissioned works by contemporary composers.

Founder Lawrence Bandfield (1933–2009) conducted the first season in 1983 and

established the Desert Chorale as New Mexico’s first professional choir. A champion of

Hispanic music, Mr. Bandfield collaborated with scholars throughout the United States to

revive some of the great sacred music that arrived in the Americas via the Spanish Empire.

Not only were Mr. Bandfield and the Desert Chorale instrumental in the preservation of

Hispanic music, but they also added to the repertoire with commissions of new music

representative of the eclectic cultures of northern New Mexico.

The values that founder Lawrence Bandfield established sustain the Desert Chorale

today: diverse repertory performed by the finest professional musicians, an intimate

rapport with audience members and supporters, and strong relationships within the

community of Northern New Mexico, including collaborations with the Santa Fe Opera,

Santa Fe Chamber Music Festival, Santa Fe Symphony and Chorus, Santa Fe Pro Musica,

University of New Mexico and the Georgia O’Keeffe Museum.

Youth education and community outreach remain an important part of the Desert

Chorale’s mission, and have included: All-County Youth Chorus, the Desert Chorale’s

Children’s Choir, public lectures, pre-concert lectures, open rehearsals and performances

at community events on the Plaza and elsewhere in the city, at schools and at senior

residence communities.

DESERTCHORALETHE

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ON SUFISM Although it is often regarded in the West as a branch of Islam, Sufism can be traced back to much earlier times. As Henry Midlin writes in his introduction to Daniel Ladinsky’s translations of Hafiz, Sufis themselves say that their “way” has existed under a variety of names. In ancient Greece it was associated with the wisdom schools of Pythagoras and Plato, and at the time of Jesus with the Gnostics. After Muhammad they adopted many of the principles of Islam, and became known in the Muslim world as “Sufis”, a word which has alternately been translated as “wisdom,” “purity” and “wool” (for the coarse woolen clothing of wandering dervishes).

Sufism in this form flourished from 800–1400 A.D., and master teachers and poets such as Rumi and Hafiz were renowned figures. Various schools had their own emphases, some focusing on meditation, others on community service, and others on devotional practices such as singing, dance, and spiritual poetry celebrating love for God. Both poets on our program are revered teachers and poets who lived at the height of the Sufi flowering, and have left for future generations extraordinary treasures of poetic imagination.

ON RUMI Jalal ad-Dīn Muhammad Rumi (1207–1273) is, by some accounts, the most widely read poet in the United States today. As difficult as this claim is to verify, it begs the question of how a 13th-century mystic, born in the far-flung easternmost province of the Persian Empire, should come to be an American best-seller.

One answer seems to lie in the ecumenical aspect of Rumi’s thought, which transcends national and linguistic boundaries. Indeed, his poetry is treasured not only among Persian-speaking people, but also widely known in translation throughout the world. In addressing his central theme, mystical union with the divine, Rumi treats his subject with an inclusivity and non-dogmatic approach that could be called post-sectarian. The personal (as opposed to the institutional) experience of God reigns, and barriers are swept aside at every turn.

As Coleman Barks, a leading translator of Rumi, has written:

(The poems) are not so much about anything as spoken from within something. Call it enlightenment, ecstatic love, spirit, soul, truth, the ocean of ilm (divine luminous wisdom), or the covenant of alast (the original agreement with God). Names do not matter. Some resonance of ocean resides in everyone. Rumi’s poetry can be felt as a salt breeze from that, traveling inland.

ON HAFIZ Like Rumi, Shams-ud-din Muhammad Hafiz (c. 1320–1389) has been known in the West for some time, largely through the work of Goethe, who wrote: “In his poetry Hafiz has inscribed undeniable truth indelibly… This is a madness I know well–Hafiz has no peer.” The American poet Ralph Waldo Emerson called Hafiz “a poet for poets” and in his journal added: “He fears nothing. He sees too far; he sees throughout; such is the only man I wish to… be.”

In Persian (Iranian) culture, poetry is something of a national pastime, and verses of the great Persian masters are studied, shared, and often quoted in daily life. The Divan-i-Hafiz, which is the complete collection of Hafiz’ surviving poems, is considered a national treasure, occupying a beloved place alongside the works of Rumi, his predecessor by approximately 100 years.

The essential nature of Hafiz’ verse has, as translator Daniel Ladinsky writes in his collection “The Gift,” “an audacious encouragement, [an] outrageous onslaught of love, a transforming knowledge and generosity, [a] sweet, playful exuberant genius that is unparalleled in world literature… His words are a music that comforts, empowers, enlightens.”

ON DANCING THE MYSTERY It is the unique nature of vocal music to live at the convergence of words and music. In this program poetry is juxtaposed with music, which, it is hoped, resonates with the words of the poem. These composers are surely not all Sufis, nor even necessarily religious mystics of other traditions. Only a few are known to be familiar with Rumi or Hafiz, and none are Persian. Indeed it might give some listeners pause that some of these texts are sacred, some secular, and some live on the fertile border in between.

JOSHUAa word from

HABERMANN

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In response it may be helpful to remember that Rumi and Hafiz were just as interested in writing about the drunks in the tavern as about the celestial spheres. Their verse, and the music of this program’s composers, have as much to tell us about this life as the next, and I dare say that the poets might remind us that such distinctions have little to do with the larger picture.

As Hafiz writes: We have not come to take prisonersBut to surrender even more deeplyTo freedom and joy.

We have not come into this exquisite worldTo hold ourselves hostage from love.

Run my dear, from anythingThat may not strengthenYour precious budding wings.

Run like hell my dear, From anyone likelyTo put a sharp knifeInto the sacred, tender visionOf your beautiful heart.

We have a duty to befriendThose aspects of obedienceThat stand outside of our houseAnd shout to our reason“O please, O pleaseCome out and play.”

For we have not come here to take prisonersOr to confine our wondrous spirits,

But to experience ever and ever more deeplyOur divine courage, freedom and Light!

Or perhaps this verse, which hints at the same idea, though in a more playful vein:

Let yourIntelligence begin to ruleWhenever you sit with others

Using this sane idea:

Leave all your cocked guns in a fieldFar from us,

One of those thingsMight goOff.

A word note on the logistics of the program: in order to preserve the thought-line of the pairings of text and music, the audience is kindly requested to hold until the breaks indicated in the program, at which point applause is warmly welcomed.

As acoustical spaces that are friendly to singing are often unfriendly to the spoken word, all spoken and sung texts are printed in the program book so listeners can follow along as desired.

JOSHUA HABERMANNMusic Director, Santa Fe Desert Chorale

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FEBRUARY 227:00 P.M.Cristo Rey ChurchSanta Fe, NM

FEBRUARY 237:30 P.M.Metropolitan State UniversityKing Center Concert HallDenver, CO

FEBRUARY 247:30 P.M.WITH ST. MARTIN’S CHAMBER CHOIRMontview Boulevard Presbyterian ChurchDenver, CO

FEBRUARY 2711:00 A.M.Cathedral of the MadeleineSalt Lake City, UTPresented as part of the 2015 National Convention of the American Choral Directors Association

FEBRUARY 273:00 P.M.Cathedral of the MadeleineSalt Lake City, UTPresented as part of the 2015 National Convention of the American Choral Directors Association

Today, like every day, we wake up empty

and frightened. Don’t open the door to the study

and begin reading. Take down a musical instrument.

Let the beauty we love be what we do.

There are hundreds of ways to kneel and kiss the ground.

–Jalal ud-din Muhammad Rumi (1207-1273)

I am

A hole in the flute

That the Christ’s breath moves through-

Listen to this

Music.

–Shams-ud-din Muhammad Hafiz (1325-1390)

Applause is welcomed at indicated breaks in the program

Gitanjali Chants Craig Johnson (b. 1962)

Adinu (Sufi Song) arr. Abu Khader/de Quadros

Reading: The Thousand-Stringed Instrument (Hafiz)

From Cantique des Cantiques Jean-Yves Daniel Lesur (1908-2002)

2. La Voix du Bien-Aimée (The Voice of the Beloved)

Reading: Someone Untied Your Camel (Hafiz)

I Will Not Leave You Comfortless William Byrd (1540–1623)

DANCINGprogram

MYSTERYTHE

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Reading: Each Note (Rumi)

From Songs from Behind the Caravan Abbie Betinis (b. 1980) 1. We Have Come 2. Suffer No Grief

Reading: When the Violin (Hafiz)

5. We Have Come (reprise)

Reading: Find a Better Job (Hafiz)

From Heavenly Home Shawn Kirchner (b. 1970) 1. Unclouded Day

Reading: All Day I Think About It (Rumi)

2. Angel Band

Reading: Quietness (Rumi)

3. Hallelujah

Reading: My Eyes So Soft (Hafiz)

Jerusalem Michael McGlynn (b. 1964)

Reading: Whoever Brought Me Here (Rumi)

Way over in Beulah Lan’ arr. Stacey Gibbs

Dance when you’re broken openDance if you’ve torn the bandage off.Dance in the middle of the fighting.

Dance in your blood.Dance, when you’re perfectly free.

–Rumi

And Love says: “I will take care of you”

To everything that is near.

–Hafiz

supporters of the

february tourWe’d like to give special thanks to those donors who have provided support for this Tour.

For a full list of our donors and supporters, please see our website at desertchorale.org.

American Choral Directors AssociationACDA Southwestern DivisionDr. J. Randle AdairJoe Alcorn & Sylvia WittelsLynn Bickley & Randy SchifferDaniel BillingsleyBetsy & Dave BueschelPaul & Susan ChapinDotty DavisGeorge & Marcia de GarmoSusan & Conrad De JongIsabel & Raul DelgadoMargie Edwards & Ellie EdelsteinGwen & Ralph FullerRobert R. Gardner & Kenneth R. MarvelJoshua & joanna HabermannNina Hinson & Scott RasmussenChristopher & Sarah IhlefeldPamela JacksonChristine H. JohnsonGeorge Duncan & Sheryl KelseyRobert KyrLynn F. LeeWilliam H. Lynn & Russell CoffieldEd & Anne MaglisceauLaurie & Dick MeyerPamela & Don MichaelisJim & Roxanne MurphyJerry NelsonRalph OsterhoutMary Lou & Alex PadillaAndy & Sally RitchDon & Sally RobertsDan RusthoiDavid & Lee TakagiTeodora Konstantinova & Konstantin KonstantinovSusie Wilson

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GITANJALI CHANTS Craig Johnson (b. 1962)

Ever in my life have I sought thee with my songs.It was they who led me from door to door,and with them have I felt about me,searching and touching my world.

It was my songs that taught me all the lessons I ever learnt:they showed me secret paths,they brought before my sight many a star on the horizon of my heart.They guided me all the day longto the mysteries of the country of pleasure and pain,and at last to what palace gate have they brought me at the end of my journey?

You came down from your throne and stood at my cottage door.I was singing all alone in a corner, and the melody caught your ear.You came down and stood at my cottage door.

Masters are many in our hall, and songs are sung there at all hours.But the simple carol of this novice struck at your love.One plaintive little strain, mingled with the great music of the world,and with a flow’r for a prize, you came down and stopped at my cottage door.

–Rabindranath Tagore (1861–1941) from Gitanjali (“Song Offerings”)

ADINU (sung in Arabic) arr. Abu Khader/de Quadros

Adinu bidinil hubbiAnna tawaj-jahat raka’ibuhufal hubbu dini wa imani

I follow the religion of loveWherever love is foundFor love is my religion and my faith

–Abu ‘Abdillah Muhammad ibn ‘Ali ibn Muhammad ibn ‘Arabi (1165–1240)

Quddus, quddus, quddusAnta alrabbul IllahAssama ‘u wal ardMamluu’atani bi majdikal ath’im

Holy, holy, holyYou are the Lord GodHeaven and earthAre full of Your great glory

–Quddus (Isaiah 6:3)

Subhanaka Allahumma jalla ‘ulakLuTfan bi’abdika khaliqi ruhmakYa kashifal balwa ‘ataytoka rajianArjuu riDaka falaysa li Illak

Almighty God of great dignity, our CreatorI ask you to be merciful on allI come to You, the revealer of all obstacleshoping for Your approval as I have none but you

–Subhanaka (from Islamic Ibtihal tradition)

READING: THE THOUSAND-STRINGED INSTRUMENT

The heart isa thousand-stringed instrument.

Our sadness and fear comes from beingOut of tune with love.

All day long God coaxes my lipsTo speak,

So that your tears will not stainHis green dress.

It is not that the Friend is vain,It is just your life we care about.

Sometimes the BelovedTakes my pen in hand,For Hafiz is just a simple man.

The other day, the Old OneWrote on the tavern wall:

“The heart isThe thousand-stringed instrumentThat can only be tuned with love.”

–Hafiz

From Cantique des CantiquesDaniel Lesur (1908–2002)

2. LA VOIX DU BIEN-AIMÉ (THE VOICE OF THE BELOVED)

Shéma shéma shémaJ’entends mon bien-aimé: voici qu’il arrive sautant sur les montagnes,bondissant sur les collines.Mon bien-aimé est semblable à une gazelle,a un jeune faon.

Mon-bien aimé élève la voix. Il me dit: Lève-toi la mienne amie.

TEXTSTRANSLATIONSAND

All Hafiz poetry is translated into English by Daniel Ladinsky (unless otherwise noted). All Rumi poetry is translated into English by Coleman Barks (unless otherwise noted).

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Hâte-toi ma colombe et vienscar déjà l’hiver est passé.La pluie s’en est allée et retirée.Sur notre terre les fleurs sont apparues,La voix de la tourterelle est ouie en notre terre,la voix de la tourterelle s’est fait entendre.Le figuier a produit ses figues.Les vignes florissantes exhalent leur parfum.

Montre moi ton visage ma colombe cachéeque ta voix sonne en mes oreillescar douce est ta voix et beau ton visage.

Mon bien-aimé est à moi, et moi à lui,il pait son troupeau parmi les lis.Avant que poigne le jour et que s’abaiassentles ombres, reviens!Sois semblable, mon bien-aimé, a une gazelle,au jeune faon sur les montagnes de l’alliance.

Hark! My beloved! Here he comes,bounding over the mountains, leaping over the hills.My beloved is like a gazelleor a young stag.

My beloved spoke, saying to me:“Rise up, my darling;my fair one, come away.For the winter is past, the rain is over and gone,the flowers appear upon the earth,the turtle-dove’s cooing is heard in our land.The green figs ripen on the fig treesand the vine blossoms give forth their fragrance.

My dove hiding in the cliff face,let me see your face and hear your voice,for your voice is sweet, and your face is lovely.

My beloved is mine and I am his.He grazes his flock among the lilies.While the day is still cool and the shadows long, turn, my beloved, and show yourselflike a gazelle or a young stag on the hills where aromatic spices grow.

–compiled from Song of Songs

READING: SOMEONE UNTIED YOUR CAMEL

I cannot sit still with my countrymen in chains.I cannot act muteHearing the world’s lonelinessCrying near the Beloved’s heart.

My love for God is suchThat I could dance with Him tonight without you,But I would rather have you there.

Is your caravan lost?

It is, If you no longer weep from gratitude or happiness,Or weepFrom being cut deep with the awarenessOf the extraordinary beauty That emanates from the most simple actAnd common object.

My dear, is your caravan lost?

It is if you can no longer be kind to yourselfAnd loving to those who must liveWith the sometimes difficult task of loving you.

At least come to knowThat someone untied your camel last nightFor I hear its gentle voiceCalling for God in the desert.

At least come to knowThat Hafiz will always hold a lanternWith galaxies blooming insideAnd that

I will always guide your soul toThe divine warmth and exhilarationOf our Beloved’s Tent.

–Hafiz

I WILL NOT LEAVE YOU COMFORTLESS William Byrd (1540–1623)

I will not leave you comfortless, alleluia.I will go and come again to you, alleluia,And your heart shall rejoice, alleluia.

–John 14:18

READING: EACH NOTE

God picks up the reed-flute world and blows.Each note is a need coming through one of us,a passion, a longing-pain.

Remember the lips where the wind-breath originated,and let your note be clear.Don’t try to end it.Be your note.I’ll show you how it’s enough.

Go up to the roof at nightin this city of the soul.

Let everyone climb on their roofsand sing their notes!Sing loud!

–Rumi

From Songs from Behind the Caravan Abbie Betinis (b. 1980)

1. WE HAVE COME (sung in Farsi)

Mâ, be-din dar, na pey-e heshmato jâh…âmade-‘im;az-bad-e, hâdese ‘injâ, be-panâh, âmade-im.

Rahro-e manzel-e ‘eshqimo ze sarhadde ‘adam,tâ, be-eqlim-e vojud, in-hame râh… âmade-im.

Langar-e helm-e to, ey kashti-ye tofiq, kojâst?ke, dar in bahr-e karam, qarq-e gonâh… âmade-im.

Hâfez, in kherqe-ye pashmine bi-yandâz, ke mâaz-pe-ye qâfele, bâ-‘âtash-e ‘âh… âmade-im!

We, to this door, seeking neither pride nor glory…we have come.For shelter from ill-fortune, here… we have come.Traveling along love’s journey, from the borders of nothingness,Now into states of being, all this way… we have come.

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O ship of grace, where is thy anchor of forbearance? For in this ocean of generosity, immersed in sin… we have come.

Hafiz, throw off your woolen cloak, for we, from behind the caravan,With the fire of singing “ah!”… we have come.

2. SUFFER NO GRIEF

Yusof-e gom-gashte bâz-âyad be Kan’an. Qam ma-khor. Kolbe-ye ahzân shavad, ruzi, golestân. Qam ma-khor…Dar-biâbân, gar, be-shoq-e Ka’be, khâzi zad qadam,sar-zanesh-hâ, gar konad khâr-e moqilân, Qam ma-khor.

Qam ma-khor, qam ma-khor, ey del.Vin sar-e shuride bâz-âyad be-saman. Qam ma-khor…O ey del, del-e qam-dide, ey! ey! Qam ma-khor...Hich râhi nist, ka-ân-râ nist pa-âyân.

Joseph, forsaken, shall return to Canaan. Suffer no grief.From the thorny stalks of family grief, one day, a rose garden. Suffer no grief…If you desire the Way and plant your pilgrim foot in the desert,Then if the mighty Arabian thorn makes reproofs, suffer no grief…

Suffer no grief, suffer no grief, O heart.Back to reason, comes this distraught head. Suffer no grief…O heart, despairing heart, O! O! Suffer no grief…There is no road that has no end.

READING: WHEN THE VIOLIN

When the violin can forgive the pastIt starts singing.

When the violin can stop worrying about the futureYou will become such a drunk laughing nuisanceThat God will then lean down And start combing you into His hair.

When the violin can forgiveEvery wound caused by othersThe heart starts singing.

–Hafiz

5. WE HAVE COME (REPRISE)

Mâ, be-din dar, na pey-e heshmato jâh…âmade-‘im;Az-bad-e, ‘injâ, be-panâh, âmade-im.

Hâfez, in kherqe-ye pashmine bi-yandâz, ke mâAz-pe-ye qâfele, bâ-‘âtash-e ‘âh… âmade-im!

We, to this door, seeking neither pride nor glory… we have come....For shelter from ill-fortune, here… we have come….

Hafiz, throw off your woolen cloak, for we, from behind the caravan,With the fire of singing “ah!”… we have come.

–Hafiztranslations by Wilberforce Clarke and Michael Boylan

READING: FIND A BETTER JOB

NowThatAll your worryHas proved such anUnlucrativeBusiness,WhyNotFind a betterJob.

–Hafiz

Heavenly Home Shawn Kirchner (b. 1970)

1. UNCLOUDED DAY

O they tell me of a home far beyond the skies,They tell me of a home far away,And they tell me of a home where no storm clouds rise:O they tell me of an unclouded day.

O the land of cloudless days,O the land of an unclouded sky,O they tell me of a home where no storm clouds rise:O they tell me of an unclouded day.

O they tell me of a home where my friends have gone,They tell me of a land far away,Where the tree of life in eternal bloomSheds its fragrance through the unclouded day.

O the land of cloudless days….

O they tell me of a King in His beauty thereThey tell me that mine eyes shall beholdWhere He sits on a throne that is bright as the sunIn the city that is made of gold.

O the land of cloudless days….

-Rev. J. K. Alwood (1828–1909)

READING: ALL DAY I THINK ABOUT IT

All day I think about it, then at night I say it. Where did I come from, and what am I supposed to be doing?I have no idea. My soul is from elsewhere, I’m sure of that, and I intend to end up there…

–Rumi

2. ANGEL BAND

The latest sun is sinking fast, my race is almost run,My strongest trials now are past, my triumph is begun.O come angel band, come and around me stand,O bear me away on your snow-white wings to my immortal home.

I know I’m near the holy ranks of friends and kindred, dear,I’ve brushed the dew on Jordan’s banks, the crossing must be near.O come angel band….

I’ve almost reached my heav’nly home, my spirit loudly sings,The Holy Ones, behold they come; I hear the noise of wings.O come angel band….

–Jefferson Hascall (1807–1887)

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READING: QUIETNESS

Inside this new love, die.Your way begins on the other side.Become the sky.Take an axe to the prison wall.Escape.Walk out like someone suddenly born into color.Do it now.You’re covered with thick cloud.Slide out the side. Die,and be quiet. Quietness is the surest signthat you’ve died.Your old life was a frantic running from silence.

The speechless moon comes out now.

–Rumi

3. HALLELUJAH

And let this feeble body fail, And let it faint or die;My soul shall quit this mournful vale, And sail to worlds on high.

And I’ll sing hallelujah, And you’ll sing hallelujah,And we’ll all sing hallelujahWhen we arrive at home.

O what are all my suff’rings hereIf Lord, Thou count me meetWith that enraptured host to appearAnd worship at Thy feet!

And I’ll sing hallelujah, And you’ll sing hallelujah,And we’ll all sing hallelujahWhen we arrive at home.

Give joy or grief, give ease or pain,Take life or friends away,But let me find them all againIn that eternal day.

And I’ll sing hallelujah, And you’ll sing hallelujah,And we’ll all sing hallelujahWhen we arrive at home.

–Charles Wesley (1707–1788)

READING: MY EYES SO SOFT

Don’t surrender your loneliness so quickly.Let it cut more deep.

Let it ferment and season youAs few human or even divine ingredients can.

Something missing in my heart tonightHas made my eyes so soft,My voice so tender,

My need of GodAbsolutelyClear.

–Hafiz

JERUSALEMMichael McGlynn (b. 1964)

Jerusalem our happy homeWhen shall we come to thee.When shall our sorrow have an end?Thy joy, when shall we see?

There’s cinnamon that scenteth sweet;There palms spring on the ground.No tongue can tell, no heart can think,What joy do there abound.

Jerusalem our happy home….

For evermore the trees bear fruit, And evermore they do spring.And evermore the saints are glad,And evermore they sing.

Jerusalem our happy home….

–traditional Irish

READING: WHOEVER BROUGHT ME HERE

…. Who looks out with my eyes? What is the soul? I cannot stop asking. If I could taste one sip of an answer, I could break out of this prison for drunks.I didn’t come here of my own accord, and I can’t leave that way.Whoever brought me here will have to take me home.

–Rumi

WAY OVER IN BEULAH LAN’ arr. Stacey Gibbs

We gonna have a good, good timeWay over in Beulah Lan’.Oh, when we get way over in Beulah Lan’,Yes, way over in Beulah Lan’.

Oh, we gonna walk them golden streets….Oh, we gonna drink of the Holy wine….When we get to heaven, children….We gonna have a good, good timeWay over in Beulah Lan’!

–traditional African American

14 DESERTCHORALE

JOSHUA HABERMANNMUSIC DIRECTOR

artist biographies

JOSHUA HABERMANN Music Director, is in his sixth season with the Santa

Fe Desert Chorale. Since joining the ensemble he has raised the ensemble’s

artistic profile and broadened its programming to include choral-orchestral

masterworks as well as cutting-edge a cappella programs.

Habermann has led honor choirs and choral festivals in North and Latin America,

Europe and Asia. As a singer (tenor) he has performed with the Oregon Bach

Festival Chorus (Eugene, Oregon), and Conspirare (Austin, Texas). Recording

credits include three projects with Conspirare: Through the Green Fuse,

Requiem, a Grammy nominee for best choral recording in 2006, and Threshold

of Night, a Grammy nominee for best choral recording and best classical album

in 2009.

In 2011, Joshua Habermann was named director of the Dallas Symphony Chorus,

the official vocal ensemble of the Dallas Symphony Orchestra, where he prepares

the 185-voice chorus for classical and pops series concerts. Highlights with the

DSO include performances of Bach’s St. Matthew Passion, Verdi’s Requiem, Berlioz’ Te Deum, and Britten’s War Requiem, which was performed for the national meeting of the American Choral Directors’ Association in 2013.

From 1996-2008 Habermann was assistant conductor of the San Francisco Symphony Chorus, and professor of music at San Francisco State University,

where under his direction the SFSU Chamber Singers received international engagements in Havana, Cuba, and undertook concert tours in Germany and

the Czech Republic, and China. In 2006 he led a collaboration between the SFSU Chamber Singers and the Orchestre des Jeunes de Provence in music

of Poulenc and the Requiem of Maurice Duruflé in concerts throughout France. National invitations include the Waging Peace Festival in Eugene, Oregon,

multiple appearances at the California Music Educators Convention, and an appearance at the American Choral Directors’ Association regional convention

in 2008.

From 2008-2011 Habermann was director of choral studies at the University of Miami Frost School of Music, where he led the graduate program in conducting,

and directed the Frost Chorale. Notable projects in Miami included an appearance at the Florida Chapter of the American Choral Directors Association

convention, and collaborations with the New World Symphony and conductor Michael Tilson Thomas in music of Ives, Schubert and Beethoven. During

this same period Habermann led the Masterchorale of South Florida in performances of masterworks such as Mendelssohn’s Elijah, Haydn’s Creation, and

Mozart’s Requiem.

A native of California, Joshua Habermann is a graduate of Georgetown University and the University of Texas at Austin, where he completed doctoral

studies in conducting with Craig Hella Johnson. He lives in Dallas with his wife Joanna, daughter Kira and son Kai.

14 DESERTCHORALE

DESERTCHORALE 15

SOPRANOCarol BurdenMegan ChartrandEstelí GomezKathlene RitchMargot RoodShari Alise Wilson

artist biographies

J.D. BURNETT, tenor, is Associate Director of Choral Activities at the University of Georgia. He is also the Artistic Director and Conductor of the Kinnara Ensemble, a chamber choir of professional singers based in Princeton, New Jersey. His prior appointments include Assistant Conductor of the Dallas Symphony Chorus, Associate Conductor of the Masterwork Chorus of New Jersey, Conductor of the Young Men’s Ensemble of the New Jersey Youth Chorus, Artistic Director of the New Jersey Chamber Singers, Assistant Conductor of the Westminster Choir, Music Director of the Houston Masterworks Chorus, Music Director of Men’s Consort Houston. He has served on the choral music faculties at San Jose State University, Montclair State University, and the University of North Texas. Dr. Burnett did undergraduate study at Stanford University and Oklahoma State University and holds advanced degrees in choral music from Westminster Choir College and the University of North Texas. As a professional choral singer, Burnett has performed seasons, concerts, and recordings with the Stillwater Chamber Singers, Cantare Houston, The Santa Fe Desert Chorale, Fuma Sacra, the Choir of Trinity Church Wall Street, the Oregon Bach Festival Chorus, and Conspirare.

ALTOSarah Brauer IhlefeldLexa FerrillKirsten KaneHelen KarloskiKeely J. RhodesMitzi Westra

TENORJD BurnettGeorge CaseAndrew CranePatrick MuehleiseEric Christopher PerryMatthew Tresler

BASSJohn BuffettDavid FarwigHarris IpockJohn ProftPeter WalkerBrent Wells

SARAH BRAUER IHLEFELD, mezzo-soprano, enjoys a varied career of opera, oratorio, choral and recital performance. Sarah earned her Master of Music degree from Rice University after completing her Bachelor of Music degree from the University of Southern California. Sarah has appeared with the Santa Fe Opera, Santa Fe Symphony, New Mexico Philharmonic, Oregon Bach Festival, Houston Bach Society, Aspen Music Festival and the Salem Chamber Orchestra, among others. Recent local engagements include mezzo soprano soloist for the concert-drama Defiant Requiem: Verdi at Terezín with the University of New Mexico, created and conducted by Murry Sidlin, Mozart’s Requiem and Bach’s Magnificat with the New Mexico Philharmonic, Vivaldi’s Gloria, and Dido in Purcell’s Dido and Aeneas with the Santa Fe Symphony. Recent recordings include two discs with the Grammy nominated professional chamber choir, Conspirare, and world-renowned classical label, Harmonia Mundi.

Baritone JOHN BUFFETT has established himself as a versatile musician with a repertoire ranging from Monteverdi and Bach to Puccini and Sondheim. Praised by the Salt Lake Tribune for his “warm tone and ringing top notes,” Mr. Buffett has sung with the Symphonies of Utah, San Antonio, and Syracuse, the Rochester Philharmonic, Apolloʼs Fire, the Mark Morris Dance Group, Seraphic Fire, The Santa Fe Desert Chorale, Bach Collegium San Diego, and Ars Lyrica. Equally as comfortable on the operatic stage, he has sung with the Opera Companies of Utah, Sarasota, Utah Festival Opera, The Boston Early Music Festival, the Ohio Light Opera and Eastman Opera Theater. John has worked with conductors including Robert Tweten, Patrick Dupré Quigley, Josh Habermann, Jeannette Sorrell, Craig Jessop, Victor DeRenzi, Barbara Day Turner, and Paul OʼDette. Other career highlights include appearances at the Tanglewood Music Festival and the Mostly Mozart Festival at Lincoln Center. Mr. Buffett received a Bachelors and Masters degree from the Eastman School of Music and has been a young artist with Utah Opera, Sarasota Opera, Opera Memphis, and a fellow at the Tanglewood Music Festival.

A native of Atlanta, GEORGE CASE, tenor, is the Director of Choral Activities at The Boston Conservatory where he directs the choral ensembles and the graduate choral conducting program. George holds Doctoral and Masters degrees in conducting from the University of Michigan and a Bachelors degree in vocal performance from Boston University. George is also the music director for the Newburyport Choral Society, an 80-year old choral society on the north shore. A devoted educator of young musicians, George was the Director of Choral and Vocal Programs at the Cobb County Center for Excellence in the Performing Arts in Atlanta, GA from 2007 to 2010 and faculty member of the Boston University Tanglewood Institute from 2005-2012. In 2009, George’s choruses were selected to participate in the Honor! Festival curated by Jessye Norman and Carnegie Hall with Craig Jessop and the Orchestra of St. Luke’s.

Praised for her “soaring, diamantine high notes” (Opera News) and “blood-curdling virtuosity” (San Francisco Enquirer), Canadian soprano MEGAN CHARTRAND feels equally at home singing early music, art song, chamber music and concert repertoire. Her present season will feature solos in Mozart‘s Requiem with the Santa Fe Desert Chorale; Bach’s St. Matthew Passion at the Staunton Music Festival; Britten‘s Missa Brevis with the Yale Choral Artists; and Vivaldi’s Gloria with Seraphic Fire, among others.Highlights of previous seasons include singing Dalila in Handel‘s Samson with the American Classical Orchestra at Alice Tully Hall; Bach’s Mass in B minor, Cantata 198 and Haydn‘s Die Schöpfung with conductor Masaaki Suzuki; the title role in Handel’s Esther at the ABS Academy; Handel and Mozart arias with the Edmonton Symphony Orchestra; and Handel’s Crudel Tiranno Amor with The Alberta Baroque Ensemble. Megan graduated with a Masters of Music specializing in early music, oratorio and chamber ensemble singing from the Yale University Institute of Sacred Music and Yale School of Music studying with James Taylor. She also holds a Bachelor of Music from the University of Alberta where she studied with Jolaine Kerley.

Soprano CAROL BURDEN was born in Bloomfield Hills, Michigan, and earned her Master of Music Degree from the Juilliard School. Shortly thereafter she apprenticed with Lyric Opera of Chicago, and for the following fifteen years sang opera and oratorio throughout the United States and in Europe. In recent years she has appeared with the Philadelphia Orchestra in Nielsen’s Symphony No. 3 (Espansiva), with the Singapore Symphony in Messiah, with the Mendelssohn Club in Carmina Burana and the Mozart Grand Mass in C Minor, and with Ars Musica in Bach’s St. John Passion. Also close to home, she has sung Mozart’s Exsultate, Jubilate with the Riverside Symphonia, and Bach Cantata #140 (Wachet auf, ruft uns die Stimme) with The Princeton Singers. Other career highlights include Haydn’s Die Schöpfung with the Real Orquesta Sinfonica de Sevilla, Messiah at Carnegie Hall with Musica Sacra, Haydn’s Lord Nelson Mass with the Orchestra of St. Luke’s, Poulenc’s Gloria with the Savannah Symphony, Villa Lobos’ Bachianas Brasilieras No. 5 and John Cage’s Theater Piece as part of the Focus! Festival in New York. She also sings regularly with Kinnara Ensemble. Carol is delighted to be making her Santa Fe Desert Chorale debut this year. She makes her home in Princeton, with her husband and two children.

SARAH BRAUER IHLEFELD

JOHN BUFFETT

CAROL BURDEN

J.D. BURNETT

GEORGE CASE

MEGAN CHARTRAND

DESERTCHORALE 15

16 DESERTCHORALE

Baritone DAVID FARWIG has been hailed as a lyric baritone with a unique and beautiful sound, unsurpassed clarity, flexibility, and deep expressivity. Whether in oratorio or recital, he is at home bringing a full range of styles to the stage. As a professional solo and choral artist, he has performed with various companies throughout the U.S. and Europe including the US Air Force Singing Sergeants, the Carmel, Oregon and Victoria Bach Festivals, the Santa Fe Opera, the Baroque Chamber Orchestra of Colorado, the Santa Fe Desert Chorale, Choral Arts Seattle, the Santa Fe Symphony, Seraphic Fire, and Santa Fe Pro Musica. He was nominated for the Austin Critics Table Award for his solo work in Robert Kyr’s A Time for Life, and won the same award in 2012 for his solo work in Kyr’s cantata Songs of the Soul and is most recent critically acclaimed solo work, Samuel Barber’s The Lovers, recorded with Conspirare in 2011 on the Harmonia Mundi record label. Farwig recently earned his Doctorate of Musical Arts degree in choral conducting from the University of Missouri in Kansas City and is now based in Denver.

Mezzo-soprano LEXA FERRILL is a versatile performer of operatic, concert, and song repertoire. Recent concert engagements include Beethoven Symphony No. 9 (Washington Idaho Symphony), Bach St. John Passion (Palouse Choral Society), and Bach cantatas (Idaho Bach Festival). Ensemble singing includes work with Seraphic Fire, Conspirare, Santa Fe Desert Chorale, and the Oregon Bach Festival Chorus. Operatic roles include Der Trommler (Der Kaiser von Atlantis), the Neighbor (Mavra), Romeo (I Capuleti e i Montecchi), Meg Page (Falstaff), Dorabella (Così fan tutte), and the Secretary (The Consul). Ms. Ferrill balances larger-scale performances with song recitals. In fall of 2011 she was selected to participate in the Wigmore Hall International Song Competition. Recent recitals include a program of Argento’s Casa Guidi and A Few Words About Chekhov; and songs of Britten and Debussy.

HARRIS IPOCK, baritone, serves as Resident Conductor of the Harvard Glee Club at Harvard University, where he also teaches private voice. He is currently finishing a doctoral degree in choral conducting from the Eastman School of Music. Harris enjoys an active career as a soloist and professional chorister. He is a member of Conspirare, a five-time Grammy-nominated ensemble conducted by Craig Hella Johnson. He has also performed with Spire Chamber Ensemble, Publick Musick, Cambridge Concentus, La Donna Musicale, Voices, Vox Lumine, Virginia Chorale, Norfolk Chamber Consort, TodiSingers, and the North Carolina Symphony Baroque Choir. His recent credits as a soloist include Bach’s St. John and St. Matthew Passions, and Magnificat, Haydn’s Die Schöpfung, Rossini’s Petite Messe Solennelle, Mozart’s Requiem, and Handel’s Messiah. His operatic roles include Almaviva in Le Nozze di Figaro, Céphale in Céphale et Procris, Corcoran in HMS Pinafore, Sharpless in Madama Butterfly, and John Sorel in The Consul. Harris holds M.M. degrees in choral conducting and vocal performance from East Carolina University, and B.M. and B.A. degrees in vocal performance and economics from the University of North Carolina-Chapel Hill.

KIRSTEN KANE, mezzo soprano, has been praised as “a consummate artist with a vividly expressive voice and superb musical imagination. Her beautiful singing, her intelligence, and her keen sense of dramatic focus and pacing are a world-class combination” (David Gordon, Adams Vocal Master Class Director–Carmel Bach Festival). An avid recitalist, her collaborations include Sappho, Bantock’s song cycle for mezzo soprano with pianist Irina Nuzova and narration by Jeffrey Duban, author of Ancient and Modern Images of Sappho; a program of French salon song for the Jewish Museum New York’s exhibit of Sarah Bernhardt; a semi-staged presentation of Ravel’s Shéhérazade with pianist Melinda Coffey Armstead; and an evening with Hudson Soirées featuring song settings of Russian romantic poet Mikhail Lermontov. Kirsten made her NY Philharmonic role debut as a Hen in Janáček’s The Cunning Little Vixen, and chorus engagements have included NY City Opera, NY City Ballet, Bard Summerscape Opera, Vienna Philharmonic, NY Virtuoso Singers, American Symphony Orchestra, Budapest Festival Orchestra, Mostly Mozart Festival, Kinnara Ensemble and NY Choral Artists. A favorite recent role was that of Venus in Grant Herreid’s L’Amour et la Folie (NY Continuo Collective) at the Boston Early Music Festival. She will be featured in a performance of Jani Christou’s Six Songs on Poems of T.S. Eliot in the spring at NY University with pianist Christos Marinos.

Praised for her “clear, bright voice” (New York Times) and “artistry that belies her young years” (Kansas City Metropolis), soprano ESTELÍ GOMEZ is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. In January 2014 she was awarded a Grammy with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznan, Poland. An avid performer of early and new music, Estelí can be heard on the Juno-nominated recording Salsa Baroque with Montreal-based Ensemble Caprice, as well as Roomful of Teeth‘s self-titled debut album, for which composer Caroline Shaw was awarded the 2013 Pulitzer Prize. Highlights of 2013-4 include teaching and performance residencies at Yale, Princeton, and University of Oregon, Eugene; soprano solos in a recording of Robert Kyr’s Songs of the Soul with Conspirare (Harmonia Mundi); Monteverdi‘s Vespers of 1610 in Washington, D.C. with Grammy-nominated chamber ensemble Seraphic Fire; and participation in Helmuth Rilling’s final season with Oregon Bach Festival. Originally from Santa Cruz, California, Estelí received her Bachelor of Arts with honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan. She currently travels and performs full-time.

danawinogradcelloOriginally from Los Angeles, cellist DANA WINOGRAD received her Bachelors and Masters degrees in performance from the Juilliard School in New York where she studied with Harvey Shapiro and Channing Robbins, as well as members of the Juilliard String Quartet for chamber music. After graduation, Winograd led an active freelance career in New York City, including performances at Carnegie Hall with the American Composer’s Orchestra and the American Symphony, Broadway appearances (both in the pit and on stage) with Phantom of The Opera, Cats, Beauty and the Beast, and Once Upon a Mattress, as well as playing backup for Rod Stewart, Luther Vandross, Lyle Lovett, Manhattan Transfer, and Harry Connick Jr. Since moving to Santa Fe in 1999, Winograd has been a member of the New Mexico Symphony (now New Mexico Philharmonic), and is principal cellist of the Santa Fe Symphony. She has appeared as soloist with the Chamber Orchestra of Albuquerque, the Plainfield Symphony in NJ and the Julius Grossman Orchestra in NY. As a chamber musician Winograd plays frequently with the Taos Chamber Music Group, Albuquerque Chamber Soloists and Chatter. She is one of Santa Fe Symphony’s orchestra mentors for the Santa Fe Public Schools, and is also the cello teacher of many budding musicians in the Santa Fe area. She has recently been named Artistic Director of the Santa Fe Youth Symphony Association. Dana and her husband Gil have started a scholarship for Youth Symphony kids, in honor of their recently deceased dog, Sydney. They live happily together with Sydney’s three friends, Poco, Loco and Lily.

16 DESERTCHORALE

ANDREW CRANE, tenor, serves as Director of Choral Activities at East Carolina University in Greenville, NC. He performs regularly as a soloist in the choral/orchestral repertoire, having appeared with such groups as the Los Angeles Bach Festival, North Carolina Master Chorale, San Bernardino Symphony, Utah Valley Symphony, and many others. As a professional chorister, he has appeared with the Yale Choral Artists, Great Lakes Chamber Music Festival, Dallas’ Vox Humana, Spire Chamber Ensemble, Tennessee Chamber Chorus, and also performed Haydn’s Die Schöpfung with the Carnegie Hall Festival Chorus under the direction of Helmuth Rilling. During the 2014-2015 season he will perform as tenor soloist in the Bruckner Te Deum with the Lansing Symphony Orchestra. Andrew holds BM and MM degrees from Brigham Young University, and the DMA from Michigan State University, where he studied voice with Richard Fracker of the New York Metropolitan Opera. He makes his home in eastern North Carolina with his wife and four children.

ANDREW CRANE

DAVID FARWIG

LEXA FERRILL

ESTELÍ GOMEZ

HARRIS IPOCK

KIRSTEN KANE

DESERTCHORALE 17

PATRICK MUEHLEISE, tenor, is in demand throughout the country as a versatile singer in opera, choral, and concert repertoire. Patrick regularly collaborates with nationally acclaimed ensembles such as Seraphic Fire, Tucson Chamber Artists, and Music of the Baroque. Some notable previous engagements include performances with The Santa Fe Opera, Haymarket Opera Company, Bella Voce Camerata, The Chicago Arts Orchestra, and the American Chamber Orchestra in New York City. Last season, Patrick made his Lyric Opera of Chicago debut in the chorus of Wagner’s Parsifal and recently made soloist appearances in Bach’s St. Matthew and St. John Passions, Mozart’s Mass in C minor and Coronation Mass, Haydn’s Seven Last Words, Handel’s Messiah, David Lang’s Little Match Girl Passion, the role of Martin in Copland’s The Tender Land, and the title role in Britten’s Albert Herring. This season continues to excite as Patrick performs Carmina Burana with Tucson Chamber Artists, tours the Northeast with Seraphic Fire, and records an inaugural disc with the new Apollo Master Chorale as they break ground in Minneapolis. Patrick is an active member of the American Guild of Musical Artists and the National Academy of Recording Arts and Sciences and can be heard on three nationally released albums with the Grammy-nominated ensemble Seraphic Fire as well as three additional forthcoming albums with Seraphic Fire and Tucson Chamber Artists.

ERIC PERRY is gaining national recognition for his musical insightfulness and dedication to the art of ensemble; recently praised for his “sweet and appealing tone” by the Boston Globe. In 2010 he made his national symphony debut in Krása’s Brundibár with the Phoenix Symphony. In 2011 he was awarded Tafelmusik Baroque Summer Institute‘s Ivars Taurins Fellowship, where he sang the role of Evangelist in Bach’s Johannes-Passion. Since, he has performed in Australia, Canada, Germany, Iceland, and across the United States. Highlights of the 2013-14 season include Monteverdi’s Vespero della Beata Virgine 1610 (one-per-part) conducted by Joshua Rifkin, and as a member of the Oregon Bach Festival Berwick Chorus under Matthew Halls and Helmuth Rilling. Other appearances include Emmanuel Music, Boston Baroque, Handel and Haydn Society, Cantata Singers, Arizona Bach Festival, Spire Chamber Ensemble, and Renaissance Men (which he is a co-founder). Equally active in song literature, his recital of Australian contemporary music was featured in the Ballarat Art Gallery’s Modern Masterpieces Exhibit in conjunction with the Australian Music Centre. As a choral conductor, Mr. Perry led concerts with Plymouth State University’s Chorale and the New Hampshire Music Educators‘ Association All-State Women’s Choir. Mr. Perry earned degrees from Fredonia State University, Arizona State University, and University of Massachusetts, Amherst. He currently serves on voice faculty at the Phillips Academy in Andover, Massachusetts, and previously taught at Plymouth State University and Federation University Australia.

KEELY J. RHODES, mezzo-soprano, received the Bachelor’s of Music from Oberlin Conservatory and Master’s and Doctor of Musical Arts degrees from the University of Texas in Austin. In academia, Dr. Rhodes has served as a director of choirs, head of vocal studies, and an assistant professor of music. She has also had the honor of serving as a Fulbright scholar to Italy in 2006-2007. Along with teaching private voice lessons, Keely performs as a soloist and collaborative artist for choral, chamber, and symphonic groups and as an opera singer in the United States, Europe, Central America and South America.

Since 2006, baritone JOHN PROFT has maintained an active singing career, traveling around the country to perform with professional choirs and chamber ensembles in Austin, Atlanta, Boston, Dallas, Kansas City, and Santa Fe. While getting his Bachelors in Music from University of North Texas, he began singing professionally with the Dallas Bach Society and the Orpheus Chamber Singers. Then, based in the thriving early-music scene of Boston, he began traveling to perform with ensembles like Austin’s Grammy-nominated Conspirare, Miami’s Grammy-nominated Seraphic Fire, and the Santa Fe Desert Chorale. As a soloist, he has performed with the Harvard Collegium Musicum and in Boston Early Music Festival’s 2010 opera, Dido and Aeneas. He has worked with world-renowned conductors Harry Christophers, Ton Koopman, and Craig Hella Johnson. In 2013, John received his Masters of Music in Choral Conducting from Southern Methodist University and is currently based in Sacramento, CA.

After earning a Bachelor’s of Music Studies degree from University of Texas at Austin, soprano KATHLENE RITCH moved to New York City where she sang with such noted ensembles as New York Philharmonic, London Sinfonietta, and Vienna Philharmonic. In 2001, she made her solo debut at Lincoln Center with American Symphony Orchestra in Liszt’s Dante’s Inferno. With that same ensemble, she recorded a live concert version of Die aegyptische Helena as Hermione opposite Deborah Voigt’s Helen. In June of 2011, Kathlene settled in Santa Fe to be the accompanist for Santa Fe High School Choral Department and the Director of Royal School of Church Music at Church of the Holy Faith. She also has her business, The Red-Headed Chef, but still finds time to sing with ensembles around the country.

Mezzo soprano, HELEN KARLOSKI, is a versatile artist, equally at home in opera, oratorio, choral and musical theater. As a soloist, Helen has sung Mozart’s Solemn Vespers with the Mostly Mozart Festival, Haydn’s Theresienmesse with Voices of Ascension, Vivaldi’s Gloria with the Pittsburgh Symphony Orchestra, Bach’s St. Matthew Passion with St. Andrew’s Music Society, Handel’s Dixit Dominus with the Tucson Chamber Artists, and Duruflé’s Requiem with the Delaware Valley Choral. Favorite performances include The Cunning Little Vixen (Hen) with the New York Philharmonic, My Fair Lady starring Kelsey Grammar and Kelli O’Hara with the New York Philharmonic, Golijov’s Ainadamar with the Orchestra of St. Luke’s, Les Huguenots and Oresteia at Bard SummerScape, and the New York City premier of Elliot Goldenthal’s Grendel, directed by Academy Award-nominated Julie Taymor. An accomplished ensemble singer, Ms. Karloski performs regularly with Conspirare, the New York Choral Artists, Voices of Ascension, Handel and Haydn Society, Musica Sacra, New York Virtuoso Singers, and Mostly Mozart Festival.

DESERTCHORALE 17

special thanksConcert Programming would not be

possible without assistance from

and support of many individuals,

businesses and organizations in our

community and beyond.

FOR FAVORS LARGE & SMALL

The Church of the Holy Faith, Rev.

Kenneth J. G. Semon, Rector

Cristo Rey Church

Los Angeles Master Chorale:

Kevin Koelbl

Donna Lukacs

Metropolitan State University: MB

Krueger

Kathlene Ritch

St. Martin’s Chamber Choir: Steve

Grupe and Tim Krueger

FOR HOUSING SINGERS

J.B. & Linda Beck

Mark Childers

Dotty Davis

Sue-Ellen & John de Beer

Margie Edwards & Ellie Edelstein

Fairmont Heritage Place, El Corazon

de Santa Fe

Nina Hinson & Scott Rasmussen

Ann MacVicar

Mardie Norton

Sally Rogers & The Santa Fe Opera

Dan Rusthoi

FOR USHERING:

Ginny Barsky

Marty Carroll

Doug Escue

Laura Escue

Pam Gilchrist

Martha Kallejian

Barbara Kuzminska

Marie Newsom

Madeline Pryor

Jolanta Tuzel

HELEN KARLOSKI

PATRICK MUEHLEISE

ERIC PERRY

JOHN PROFT

KEELY J. RHODES

KATHLENE RITCH

18 DESERTCHORALE

Described as “rich-voiced” and “vivid” by a recent New York Times review, bass PETER WALKER enjoys a varied and exciting career as singer of solo and ensemble repertoire. He recently revisited the roles of Balthasar and Habbakuk in the Play of Daniel with Gotham Early Music and Trinity Wall Street, and the title role of Telemann’s Pimpinone with the Texas Early Music Project. Recent notable performances include singing and piping in Early Music New York’s Bohemian Christmas, Christus in Telemann’s St. Luke Passion with St. Luke in the Fields, and baritone soloist in Rachmaninov’s Choral Symphony with the Danbury Symphony. Highlights of the coming season will include appearances with Early Music New York, Gotham Early Music, Texas Early Music Project, the Skylark Vocal Ensemble, Santa Fe Desert Chorale, and renaissance ensemble The Thirteen. Peter is a member of the choir of St. Luke in the Fields, and is a core member of The Broken Consort as a singer and bagpiper. His piping has been hailed as “impressive” and “exciting” by clevelandclassical.com. Peter holds degrees from Vassar College and McGill University.

BRENT WELLS, bass, is the Director of Choral Activities at the College of Idaho in Caldwell, ID. He frequently performs as a featured soloist and has enjoyed membership in many acclaimed choral ensembles. In addition to the Santa Fe Desert Chorale, Brent has sung professionally with the Tennessee Chamber Chorus, Redlands Choral Artists, Mount Marty Choral Scholars, and also performed the Berlioz Grande Messe des morts, with the Carnegie Hall Festival Chorus under the direction of Robert Spano. He received his DMA in choral conducting at Michigan State University, and his MM in choral conducting and BM in music education from Brigham Young University. His publications include a series of articles appearing in the Choral Journal discussing the folk-song collecting methodology and compositions of Percy Grainger.

Soprano SHARI ALISE WILSON is among the new generation of singers specializing in early and modern music, demonstrating great versatility and stylistic sensitivity. Recent highlights include performances with Sydney Skybetter & Associates and Ear Heart Music in David Lang’s Little Match Girl Passion, Bach’s St. Matthew Passion with Conspirare at the Victoria Bach Festival, Buxtehude’s Membra Jesu Nostri with Pegasus Early Music and New York Baroque, a world premiere performance and recording of music by Gavin Bryars with Crossing Choir and Prism Quartet and a world premiere performance of John Luther Adams: Sila at the Lincoln Center. She made her New York City solo debut at Merkin Hall in the world premiere performance of Benjamin C.S. Boyle’s Cantata: To One in Paradise, and has travelled to the Festival of Two Worlds in Spoleto, Italy, where she performed in choral concerts and operas, most notably working with Gian Carlo Menotti in Amahl and the Night Visitors. Ms. Wilson is an active ensemble singer, performing with the 5-time Grammy-nominated ensemble Conspirare (Austin), Crossing Choir (Philadelphia), Spire Ensemble (Kansas City), and Boston’s Blue Heron, Handel and Haydn Society, and Emmanuel Music. She can be heard on the newly-released Blue Heron discs of Nicholas Ludford’s “Missa Regnum mundi” and “Missa Inclina cor meum”, Conspirare’s “Sacred Spirit of Russia”, and Kile Smith’s “Vespers” with Crossing Choir and Piffaro.

MATTHEW TRESLER, tenor, is director of choral and vocal music at Irvine Valley College, in Irvine, California. An active ensemble singer, he sings with Conspirare, Seraphic Fire, Bach Collegium San Diego, and Spire Ensemble. As a soloist, recent performances include Bach’s B Minor Mass in Texas and Arizona, Magnificat in California, Monteverdi’s Vespers of 1610 in Mexico and Hawaii. Matt has performed with the New World Symphony, Flagstaff Symphony, Arizona Bach Festival, Victoria Bach Festival, Early Music Hawaii, Master Chorale of South Florida, and Miami Bach Society. He holds the B.M. in voice from Northern Arizona University and the M.M. and D.M.A. degrees in choral conducting from the University of Miami.

MITZI WESTRA, mezzo-soprano, received her B.A. degree in music and religion from Augustana College in Sioux Falls, South Dakota; her master’s and doctoral degrees were received from University of Minnesota in the Twin Cities. While in Minneapolis, she spent 4 years performing, touring, and recording with the Dale Warland Singers and was alto section leader for the DWS Chamber Singers. She currently lives in Indianapolis, where she has appeared as a soloist with Indianapolis Chamber Orchestra, Indianapolis Baroque Orchestra, and New Century String Quartet, as well as performing frequently on the University of Indianapolis Faculty Artist Series. She currently teaches in the vocal department at University of Indianapolis, is the alto section leader and Treble Choir director at Second Presbyterian Church, records for Aireborn Studios in Zionsville, and maintains her own private studio.

18 DESERTCHORALE

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MARGOT ROOD, soprano, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire across American stages. Ms. Rood has appeared as soloist with some of the United States’ premiere new music ensembles. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw and Donnacha Dennehy, Kati Agocs’ Vessel and Soprano Evangelist in Arvo Pärt’s Passio Domini Nostri Jesu Christi secundum Joannem with the Boston Modern Orchestra Project, as well as the world premiere of Christopher Trapani’s Past All Deceiving in New York City with Argento Ensemble. Ms. Rood is a core member of Boston’s Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music, and is a founding member of the Michigan Recital Project, which features commissions by emerging composers. Also an accomplished and sensitive ensemble singer, Ms. Rood performs regularly with top ensembles around the country including Seraphic Fire, Tucson Chamber Artists, Santa Fe Desert Chorale, Skylark Ensemble, Emmanuel Music, Music at Marsh Chapel, and Handel and Haydn Society.

MARGOT ROOD

MATTHEW TRESLER

PETER WALKER

BRENT WELLS

MITZI WESTRA

SHARI ALISE WILSON

DESERTCHORALE 19

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Subsidize a student ticketProvide a singer’s music for a program

Provide a singer’s night of housingUnderwrite a rehearsal

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Underwrite the summer & winter festivals

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20 DESERTCHORALE

TRANSCENDENCEShowcasing Herbert Howells’ reflective and personal Requiem, stunning repertoire for double choir, and five centuries of great German music including works by Schütz, Brahms, and Buchenberg.

VENETIAN SPLENDORPerforming excerpts from Monteverdi’s Sestina and Songs of Love and War, double choir music by both Andrea and Giovanni Gabrieli, and music written by women for women–all of which contributed to Venice’s reputation as the envy of the world. Accompanied by Richard Savino on lute.

SERENADE TO MUSICFeaturing secular and sacred pieces of English choral literature including Tudor music by Byrd and Gibbons, songs by Finzi, Elgar, Britten, and Pearsall, and, of course, Vaughan Williams’ masterpiece for choir, piano, and sixteen soloists, Serenade to Music.

HIDDEN TREASURESOF BYZANTIUMA divine and meditative experience–the Desert Chorale presents rich sacred music from Russia, a special commission by Orthodox Priest and composer Ivan Moody, and great spiritual works from Greece, Finland and the United States.

JULY 9, 10, 11 @ 8PMCATHEDRAL BASILICA, SANTA FE

*Summer Festival 2015 details are subject to change. Tickets are available for purchase at www.desertchorale.org or by calling (505) 988–2282.

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SANTAFEDESERTCHORALE

JULY 12 @ 4PMCATHEDRAL CHURCH OF ST. JOHN, ALBUQUERQUE

JULY 21, 24, 28, 30, AUGUST 4 @ 8PMLORETTO CHAPEL, SANTA FE

JULY 23, 25, 29, 31@ 8PMCHURCH OF THE HOLY FAITH, SANTA FE

AUGUST 6, 8 @ 8:30PMCATHEDRAL BASILICA, SANTA FE

AUGUST 9 @ 4PMCATHEDRAL CHURCH OF ST. JOHN, ALBUQUERQUE