Seattle Pro Musica A message from conductor Karen P. Thomas

“The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. Congress shall have power to enforce this article by appropriate legislation.” —Amendment XIX of the United States Constitution

It is no stretch of the imagination to note that we live in historic times. Against the backdrop of active assaults upon the basic tenets of our democracy, there are signs of hope, such as the Equal Rights Amendment inching closer to reality after languishing for decades. And while this concert honors the 100th anniversary of the Nineteenth Amend-ment, we cannot overlook the ways in which America has failed in the last 100 years to deliver on the promise of one person, one vote. We hope that this collection of music from American women composers will serve as inspiration for the power and beauty that emerge when voices from all corners are heard from.

Indeed, this program abounds with musical riches. The greeting song Sorida by Rosephanye Powell sounds a joyful, welcoming note to begin our performance. We honor choral pioneers Undine Smith Moore and Alice Parker with mid-century works by these beloved creators. The vision of America as a welcoming country for immigrants is ex-plored in Her beacon-hand beckons by Pulitzer Prize-winner Caroline Shaw, as she responds to “The New Colossus” by Emma Lazarus, the poem mounted on the pedestal of the Statue of Liberty. Young composers Reena Esmail and Shruthi Rajasekar offer us thrilling pieces that blend the sounds and complex rhythms of classical Indian music with Western classical music. We recognize the exploratory spirit of pioneering composer Meredith Monk with her wordless Astronaut Anthem. And we salute Northwest composers with works from Melinda Bargreen, Sheila Bristow, Carol Sams, and myself.

These and other rewarding works await you in Shall Not Be Denied. On behalf of Seattle Pro Musica, I thank you for joining us. I trust that you will find this music as inspiring as we have.

Sincerely,

Karen P. ThomasArtistic Director and Conductor

Staff MembersKaren P. Thomas Artistic Director & Conductor

Katie Skovholt Executive Director

Joshua GaileyOperations & Administrative Associate

Dwight Beckmeyer Accompanist

Kelly Foster GriffinVocal Coach

Jenn Newland Stage Manager

Board of Directors

Wes Kim President

Anne ClamoungouVice President

Rick Johnson Treasurer

Hannah WonCorporate Secretary

Beth AlleyJordan BergMeaghan LeferinkBriana SchwartzKacey StevensJan Strand

Advisory Board

Dean ArnoldKeith AxelsenMona DworkinSamuel F. DworkinMike EvansPhil HaasNoreen KingTeena LittletonTerri LordsKatie OmanJoy PortellaJohn SchillingDale Whitehead

Seattle Pro MusicaSOPR ANO I

Helen Anderson +

Jordan Berg *+

Lauren Carr

Marisa Dahlman *+

Ann Gilcrease

Stephanie Gray

Ashley Mialon *

Katie Skovholt *+

Jenny Spence *+

SOPR ANO II

Mary Clementi

Marilyn Colyar *+

Jonna Farley

Miriam Gnagy *+

Elly Hale +

Carole Jones

Sophia Jung *+

Shadia Kawa

Emi Nakamura *+

Teresa Nemeth

Jenn Newland

Ada Ng *+

Jan Strand +

Erica Weisman *+

Judy Williams

Catherine Wolff

ALTO I

Sarah Bergquist

Jacque Deerr-Lord *+

Allison Freel *+

Fiona Hatfield

Nancy Haver +

Emily Jordan

Teena Littleton *+

Rose Morrison +

Corina Rahmig +

Sarah Ruuska

Alice Tang *+

Marit Trelstad

Janelle Walhout

ALTO II

Liz Adams

Deb Arnold

Gail B. Broder

Cathy Federici *

Helen Lafferty

Liz Langeland

Liz Reed Hawk *+

Kelly Sanderbeck

Elizabeth Sanders *+

Karen Segar

Anna Thelen

TENOR I

Peter Aldrich *^

Jacob Buys *^

Neal Champagne

Matt Li

Will Myers

Arvind Narayanan *^

TENOR II

Kaelee Bolme *^

David Dodman *^

Jonathan Siehl

Danny Szydlo *^

Vésteinn Þórsson

Robert Wade

Fred Williams

BASS I

Jim Bartscher *^

Peter Budny ^

David Carpman

Ben Flynn

Ryan Gao *^

Rick Johnson *^

Robin Wyatt-Stone *^

Mark Yeary ^

BASS II

Peter Hemmen

Tom Lin *^

Lee Maneman *^

Jon Repp *^

Chris Rule *^

*Vox+Chroma^Orpheon

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Soloists

Sorida: Kelly Sanderbeck, soloist; Helen Anderson, Liz Reed Hawk, Sarah Bergquist, Emily Jordan, ensemble

Hark, I Hear the Harps Eternal: Ashley Mialon, soprano

On a dark night: Kaelee Bolme, tenor; Robin Wyatt-Stone, baritone

Sangeetham: Arvind Narayanan, tenor

Daniel, Daniel, Servant of the Lord: Robert Wade, tenor; Ryan Gao (March 7), Chris Rule (March 8), bass

Land Acknowledgement

Seattle Pro Musica acknowledges that our performances take place on Indigenous land: the traditional territory of Coast Salish peoples, specifically the Dkhw’Duw’Absh, or Duwamish, “The People of the Inside.”

Acknowledgements

Isabelle Phan, French language coachArvind Narayanan, Sanskrit language coach Seetha Narayanan, Sanskrit translation

Seattle Pro Musica

A message from conductor Karen P. Thomas

SeAttLe Pro MuSicA

March 7 & 8, 2020

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Shall Not be Denied

i N t e r M i S S i o N

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These performances are supported in part by ArtsFund, 4Culture, Classical KING FM 98.1, and the City of Seattle, Office of Arts & Cultural Affairs.

Please turn off all cell phones and electronic devices. No photography during performances. thank you.

S e A t t L e P r o M u S i c A

Sorida Rosephanye Powell (b. 1962)

Her beacon-hand beckons Caroline Shaw (b. 1982)

ophelia Jocelyn Hagen (b. 1980)

Still wie die NachtMari Esabel Valverde (b. 1987)

Hark, i Hear the Harps eternalAlice Parker (b. 1925)

Blue PhoenixKala Pierson (b. 1977)

choral de BêtesChristina Whitten Thomas (b. 1979)

1. Prière du Lion2. Prière de l’Agneau3. Prière de la Baleine4. Prière de la Gazelle

A joyful greeting song in the Shona language of Zimbabwe. Composed in 2002.

The composer’s response to the 1883 sonnet “The New Colossus” by Emma Lazarus, which is on a plaque at the Statue of Liberty. Composed in 2016.

Based on passages from Hamlet, in which Queen Gertrude brings news of the death of Ophelia. Composed in 2014.

A lushly chromatic setting of the famous 19th-century Romantic love poem. Composed in 2009.

A beloved arrangement of the tune originally found in The Southern Harmony, a shape note compilation of hymns, tunes, psalms, and songs from 1834. Composed in 1967.

This moving text is from an interview with Iraqi artist Esam Pasha, describing his experience of creating art during the bombing of Baghdad. Composed in 2009.

Four evocative character studies of animals: the fierce lion, the vulnerable lamb, the peaceful whale, the spirited gazelle. Composed in 2006.

V o XM ixed Ensemble

o r P H e o NT TBB Ensemble

on a dark night Sheila Bristow (b. 1969)

Sangeetham Shruthi Rajasekar (b. 1996)

A setting of a sensual poem by St. John of the Cross, a 16th-century Spanish mystic. Composed in 2019.

Sangeetham (“music” in Sanskrit) uses elements from both the Western classical and Carnatic (South Indian classical) traditions. The final line captures the core message of the text: "The shining truth is that the core of my being is music." Composed in 2019.

Lux Lucis Karen P. Thomas (b. 1957)

tuttarana Reena Esmail (b. 1983)

S e A t t L e P r o M u S i c A

Astronaut AnthemMeredith Monk (b. 1942)

Sunflower (from The Earthmakers) Carol (Kia) Sams (b. 1945)

raw HeartShruthi Rajasekar (b. 1996)

Stella splendens Melinda Bargreen (b. 1957)

Daniel, Daniel, Servant of the Lord Undine S. Moore (1904-1989)

Three motets on texts by the 12th-century mystic Hildegard von Bingen that explore themes of light, hope, and purity. Composed in 2003.

“Tuttarana” combines two words: the Italian word ”tutti” meaning ”all” or ”everyone,” and the term ”tarana”, a specific Hindustani (North Indian) musical form whose closest Western counterpart is the ”scat” in jazz. Composed in 2014.

This excerpt from The Games: a science fiction opera celebrates the spirit of exploration. Composed in 1986.

From The Earthmakers, this oratorio about the beginnings of the world presents the creation myths of different cultures. Composed in 1987.

“She sends out her raw heart. When she stands her full height,the world goes mute. She encompasses everything.” Composed in 2016.

Sumptous harmonies envelop the listener in this beautiful setting of a 14th-century Spanish pilgrimage text. Composed in 2009.

A fiery setting of the Biblical story of Daniel surviving the lion’s den un-harmed. Composed in 1952.

c H r o M A SSAA Ensemble

Her beacon-hand beckons[text by Caroline Shaw, responding to the 1883 sonnet The New Colossus by Emma Lazarus, which was mounted on the pedestal of the Statue of Liberty in 1903]

Her beacon-hand beckons:give give to methose yearning to breathe freetempest-tossed they cannot seewhat lies beyond the olive treewhose branch was lost amid the pleasfor mercy, mercygivegive to me

Jocelyn Hagen composes music that has been described as “simply magical” (Fanfare) and “dra-matic and deeply moving” (Star Tribune, Minneapolis/St. Paul). Her commissions include Con-spirare, The Minnesota Orchestra, Cantus, and The Houston Chamber Choir, among others. Her music has been performed widely, including Carnegie Hall and Lincoln Center in New York City.

Ophelia is based on passages from Hamlet (Act IV, Scene 7) in which Queen Gertrude brings news of the death of Ophelia to her brother, Laertes. Laertes’ response to the news concludes the work: “Too much of water hast thou, poor Ophelia, / And therefore I forbid my tears.”

The composer writes:“I’ve always been fascinated by the character of Ophelia and her tragic story. I was also very inspired by a painting I saw at the Louvre—The Young Martyr by Paul Delaroche. It’s a bittersweet story and a bittersweet work. I want the audience to hear her beauty and also her tragedy. My favorite moment is when the choir sings ’her clothes spread wide.’ I’m especially proud of my text painting at that moment.

“The stories of women have been marginalized for centuries. Ophelia’s character is such an intriguing part of Hamlet, but not the star of the show. It is fitting in this concert to bring light to these characters, stories, and different viewpoints along with the female composers and writers who are being showcased on this concert.”

ophelia

There is a willow grows aslant a brook,That shows its hoar leaves in the glassy stream;There with fantastic garlands did she comeOf crow-flowers, nettles, daisies, and long purples,There, on the pendent boughs her coronet weedsClambering to hang, an envious sliver broke;When down her weedy trophies and herselfFell in the weeping brook. Her clothes spread wide,And mermaid-like a while they bore her up:Which time she chanted snatches of old tunes, (Tomorrow is Saint Valentine’sAs one incapable of her own distress, Day, And I a maid at your Or like a creature native and indued window, To be your Valentine.Unto that element: but long it could not be You promised me to wed.)Till that her garments, heavy with their drink,Pull’d the poor wretch from her melodious layTo muddy death.Too much of water hast thou, poor Ophelia,And therefore I forbid my tears.

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your tired fighters fleeing flyingfrom thefrom thefromlet themi will be your refugei will be your refugei will bei will bewe will bewe will

rosephanye Powell’s music is characterized by beautiful melodies, strong rhythmic emphasis, and rich harmonies, often derived from African-American popular styles. She serves as Professor of Voice at Auburn University, and her research has focused on the art of the African American spiritual and the art songs of William Grant Still. In 2009, Dr. Powell received the “Living Legend Award” presented by California State University African Diaspora Sacred Music Festival in Los Angeles.

Sorida is a term of greeting in the Shona language of Zimbabwe, Africa, similar to shalom in Hebrew or jambo in Swahili.

The composer writes:“Sorida is an original work rather than an arrangement. While serving at Philander Smith College in Little Rock, Arkansas, my husband, Dr. William C. Powell, director of the PSC Collegiate Choir, wanted an African song for the choir’s CD project. However, at the time, the music department could not afford to pay royalties for a published work. So I decided to research the possibility of arranging an African folksong…

“I came upon the word ‘Sorida’ which is an African greeting of brotherhood and unity. Additionally, I found an African chil-dren’s song that plays on the syllables of the word ‘sorida.’ So, utilizing the syllables as a foundation (so-ri-da, ri-da, ri-da), the song developed. I composed my own lyrics, melody, and harmonies that might represent the meaning and far-reaching scope of Sorida.”

Sorida

Greetings, my brothers. Greetings, my sisters.Greet ev’rybody. Love one another.Wave to your brothers. Wave to your sisters.

caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. She was the youngest recipient of the Pulitzer Prize for Music in 2013 for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Recent commissions include new works for Renée Fleming with Inon Barnatan, Dawn Upshaw with Sō Percussion and Gil Kalish, the Orchestra of St. Luke’s with John Lithgow, the Dover Quartet, TENET, The Crossing, the Mendelssohn Club of Philadelphia, the Calidore Quartet, Brooklyn Rider, the Baltimore Symphony, and Roomful of Teeth with A Far Cry. Recent premieres include the Seattle Symphony, Anne Sofie von Otter with Philharmonia Baroque, the LA Philharmonic, and Juilliard 415.

Her beacon-hand beckons is a movement from To the Hands, commissioned by The Crossing as a response to Ad manus from Dieterich Buxtehude’s 17th century masterpiece, Membra Jesu Nostri. The piece’s core ideas are the suffer-ing of those around the world seeking refuge, and our role and responsibility in these global and local crises. The third movement is a riff on Emma Lazarus’ sonnet The New Colossus, famous for being displayed at the base of the Statue of Liberty. The poem’s lines “Give me your tired, your poor,/ Your huddled masses yearning to breathe free” and its reference to the statue’s “beacon-hand” present a very different image of a hand from the Buxtehude piece—one that is open, beckoning, and strong. No wounds are to be found there—only comfort for those caught in a dangerous and complex environment.

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Program notes, texts, and translations

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Mari esabel Valverde is a composer, singer, and voice teacher. Her music has been featured at the Chorus America conference, the Oregon Bach Festival, the Association of British Choral Di-rectors, and the Texas Music Educators Association. She holds degrees from St. Olaf College, the European American Musical Alliance in Paris, France, and San Francisco Conservatory of Music.

The composer writes of Still wie die Nacht:“When I was a student at St. Olaf, the American Boychoir came by on their tour, and I heard them sing a choral version of Carl Bohm’s Lied. I admired the words and had the fortune to have choir friends sing my original setting of the text as one of the choral works in my senior composition recital.

“Still wie die Nacht is a dramatic work, certainly compared to my recent compositions. It is not performed often, perhaps because of how demanding it is to sing. The true moment of climax is quiet and introspective yet still full of enchantment.”

Still wie die Nacht

Still wie die Nacht und tief wie das Meer, soll deine Liebe sein!Wenn du mich liebst, so wie ich dich, will ich dein eigen sein.Heiß wie der Stahl und fest wie der Stein soll deine Liebe sein!

Alice Parker is an internationally-recognized composer, conductor and teacher. A graduate of Smith College and the Juilliard School of Music, she first became known in collaborations with Robert Shaw. Their many settings of American folk songs, hymns, and spirituals form an endur-ing repertoire for choruses all around the world. Through the years she has continued compos-ing in all choral forms from opera to cantata, from sacred anthems to songs on texts by distin-guished poets. She travels in the United States and abroad, conducting workshops, concerts, and sings in which all participants, children or adults, professional or amateur, learn to make music with remarkable joy and clarity. Her techniques have encouraged a generation of music teachers and choral conductors to think in new ways about creating and re-creating music.

Hark, I Hear the Harps Eternal is Parker’s arrangement of the tune originally found in The Southern Harmony, a compi-lation of hymns, tunes, psalms, and songs published by William Walker in 1834.

Hark, i Hear the Harps eternal

Hark, I hear the harps eternalRinging on the farther shore,As I near those swollen waters, With their deep and solemn roar.

Hallelujah, hallelujah, hallelujah, Praise the Lamb,Hallelujah, hallelujah,Glory to the great I AM.

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As quiet as the night and deep as the sea, your love should be!If you love me the same as I love you, I want to be yours.As hot as steel and as firm as a rock, your love should be!

And my soul though stained with sorrow, Fading as the light of day,Passes swiftly o’er those watersTo the city far away. Hallelujah…

Souls have crossed before me, saintly,To that land of perfect rest;And I hear them singing faintlyIn the mansions of the blest. Hallelujah…

Kala Pierson is a composer and sound artist. Based in the U.S., she works worldwide, in venues ranging from Lincoln Center and the Guggenheim Museum to warehouses and forests. Pierson’s music is vivid, full-throated, and rooted in the joy and urgency of communication. Whether writ-ing boundary-pushing music for The Crossing and American Opera Projects, installing audio in an abandoned fortress, or performing endurance art at the Guggenheim Museum, she works from her own meditative and sensory/sensual experience, producing deeply embodied music that challenges while luxuriating in the performers’ best qualities. She’s a self-taught santur (Persian hammered dulcimer) player and a laptop/audio performer.

Her career-long love for finding and setting meaningful, recent texts has led her to settings of American journalist Mu-mia Abu-Jamal and others writing from death row; Cameroonian gay rights martyr Roger Mbede; texts in honor of the blacklivesmatter movement; and the many writers in her Axis of Beauty project (in which, since 2004, she has collected and set to music a broad range of texts by living Middle Eastern writers).

The text for Blue Phoenix is from an interview (in English) with Iraqi artist Esam Pasha, used with kind permission of warnewsradio.org.

Blue Phoenix

When the bombs were falling, I was crazy enough to get on the roof. I felt I should see this,because artists are the eyes of the culture. It was beautiful—you know?When all the stores were closed, and Baghdad was really a hot spot, I kept on doing art until I ran out of pigment.There was nothing to paint with, except boxes of crayons. So I mixed up wax paint, using heat.The blue one is my favorite. You see the blue color taking over everything, but also reds and yellowspenetrating the blues, like flashing rockets penetrating the calm sky.

christina Whitten thomas’s works have been performed throughout the United States, includ-ing at Carnegie Hall, Lincoln Center, and Disney Concert Hall. Her choral cycle Choral de Bêtes can be heard on Musica Sacra’s 2012 CD release Messages to Myself. Her music is published by E.C. Schirmer and Hal Leonard, and is also available through MusicSpoke.com. Thomas holds a M.M. in composition from the University of Southern California’s Thornton School of Music and resides with her family in Sierra Madre, California, where she is also an active teacher and vocalist.

Of Choral de Bêtes, the composer writes:“When I was in graduate school, my mother revealed that she had been a music minor in college and had once attempted to set a few poems by French poet Carmen Bernos de Gasztold (1919–1995). She brought out an old, beat up book of poetry, her maiden name on the cover, her 20-year-old notes on the pages. Inside were these sweet yet passionate texts all from the point of view of an animal, each contemplating the trials and joys they face in life. I found their strengths and weaknesses completely relatable and was instantly charmed.

The music is intended to capture the character of each animal: the fierce lion, the vulnerable lamb, the peaceful whale, the spirited gazelle. On a deeper level, one might connect with the lion’s desire to lead with strength and justice, the lamb’s need for comfort, the whale’s longing for quiet and solitude, or the gazelle’s delight in her unbounded freedom. These poems traveled across the world, through three generations of women, to reach your audience in this form. The animals themselves contemplate issues we all experience. Each animal is desirous of the right to live as she chooses, and to live that life free from oppression. The lion understands the responsibility that comes with power. The lamb wants to live a life free from fear. The whale wants to be comfortable with who she is and not deal with persecution. We all want to be as free as the gazelle to follow our hearts as we choose."

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Prière du Lion

Seigneur, je suis roi, c’est un fait.Vous savez comme il est difficile de porter la crinière.Certains, dans leur gouvernement,préconisent l’amour.Quelle naïveté!Moi je sais à quoi m’en tenir avec la créature,elle n’a de respect que pour la force.Disons que la crainte est salutaire.Et pour moi faire trembler la savaned’un rugissement, quel délice!Pourtant loin de moi la bassesseet la mesquinerie.Je sais le prix d’un cœur noble.C’est pourquoi, Seigneur,j’aime tant Votre grâce pour pouvoir m’y mesurer.

Prière de l’Agneau

Quenouille à quatre pattesqui s’effiloche aux buissons,Seigneur, je suis Votre agneaudans ma douceur de laine.Mon bêlement fait sa note grêledans le cœur des brebis,ma toison sa tache friséesur l’herbe rase.Voyez, Seigneur, ma joie cabriole,mais veille en moil’inquiet besoin de ma mère.Que je coure vers elle,hesitant de mon petit pas cassé,cueillir un peu sa tendresse.Ah! Ne permettez pas, Seigneur,qu’un triste jour elle me manque!

Prière de la Baleine

Qui pourrait me contenir,Seigneur, si ce n’est Votre océan?Sans doute une plaisanterie divine cette démesure.Ne suis-je pas quelque peu ridiculeavec mes airs de baudruche?Paisible léviathan, mon jet d’eau sur le nez,je me nourris de régime.Dans mon cas tout le problèmeest de choisir entre l’air et les eaux.Chassée pour mon onction intérieure,je redoute ces baleiniers et leurs harpons de ferqui me poursuivent sans merci.Je n’ai pas demandé d’avoir tant de surface.Où me cacher de la convoitise des hommes?Ah! Seigneur, que quelque heureux plongeonme fasse déboucher dans l’éternelle paix.

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Prayer of the Lion

Lord, I am King, that is the law.You know that it is difficult to wear a crown.Some people, in their leadership,recommend love.How naïve!I know how to rule over the creatures,they have respect only for strength.Let us say that fear is good.And for me to make the plain tremblewith my roar, how delightful!Yet I would not do anything baselessor mean.I know the price of a noble heart.That is why, Lord,I love Your grace and try to measure up to it.

Prayer of the Lamb

A spindle on four legswhich frays on the bushes,Lord, I am Your lambin the softness of my wool.My bleating sends its high pitched soundinto the heart of the ewe.My fleece throws its curly shadowon the cut grass.Look, Lord, my joy leaps,but I needthe care of my mother.Let me run towards her,hesitating with my wavering footsteps,so I might gather some of her tenderness.Ah! Do not allow, Lord,that one sad day I will miss her!

Prayer of the Whale

What could contain me,Lord, if not Your ocean?Without a doubt a divine joke is my size.Am I not a little bit ridiculouswith my blubbery appearance?A peaceful leviathan, with a fountain on my nose,and a nourishing diet.In my case the only problemis to choose between the air and the water.Chased for my body oil,I dread the whalers and their harpoons of ironwho pursue me without mercy.I did not ask to have such a large body.Where can I hide from the desires of these men?Oh! Lord, That some fortunate divewould allow me to emerge into eternal peace.

Prière de la Gazelle

Rapide, légère,le cœur enlacé de crainte sauvage,toujours prête à bondir à la suite du vent,au moindre bruit, au moindre cri,je Vous bénis, Seigneur, de ne pas m’avoir mesuré l’espace.Et si je fuis sur mes pattes gracilesdans un élan de flèchemes petits sabots effleurant à peine le sol,je ne méprise pas la paix de Vos points d’eau.Mais que ma vie, Seigneur,soit toujours la course en ligne droitevers le refuge de Votre amour.

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Prayer of the Gazelle

Quick, light,my heart surrounded by savage fears,everyday ready to spring up in pursuit of the wind,at the smallest noise, at the softest cry,I bless You, Lord, for not limiting my space.So that I may escape on my slender legsand bound away like an arrow,my little hooves barely touching the ground.It is not that I scorn the peace of Your waterhole.But my life, Lord,will always race along the pathwaytowards the refuge of Your love.

i N t e r M i S S i o N

Sheila Bristow is a church musician, accompanist, and composer living in Tacoma, Washington. She serves as Organist & Choirmaster at Episcopal Church of the Redeemer, Kenmore, and Associ-ate Organist at Blessed Sacrament Parish, Seattle. She is also an Affiliate Artist at Pacific Lutheran University, Tacoma. She received her MM in organ performance from the University of Washing-ton, where she studied organ and harpsichord with Carole Terry, and church music with J. Melvin Butler. Her conducting experience includes a year as Interim Music Director of the Northwest Chamber Chorus and three years directing the high school ensemble of Pacifica Choirs. As an Affiliate Artist at Pacific Lutheran University, Bristow works with young singers in recital and on the opera stage, and performs in collaborative faculty recitals. She works with professional singers

preparing for auditions and competitions, and has been a regular accompanist for Seattle Opera Guild previews, Ta-coma Opera, and Vashon Opera. She currently plays for Seattle Chamber Singers, and is keyboardist with their partner ensemble, Orchestra Seattle. Composition highlights include a commission for the 10th anniversary of Pacific Choirs, and an anthem composed for the Bishop’s visitation at the Episcopal Church of the Redeemer. Other choral works have been performed by Choral Union (Pacific Lutheran University), Medieval Women’s Choir, and Seattle Pro Musica.

The composer writes of On a dark night:“I really like the poetry of St. John of the Cross, a 16th-century Spanish mystic. His writing is a fascinating mix of direct emo-tional intensity and oblique imagery, and I felt that the rich texture of tenor/bass close harmony singing would serve both of these qualities. The poem demonstrates that the human qualities of desire and devotion stretch across time, place, and religious tradition.”

on a dark night

On a dark night, anxious and aflame with love, O delightful chance!As I slipped out unnoticed, my house lying quiet at last.One joyful night, in secret: no one could see me, no one could I see,no other light to guide but the fire burning in my heart.O night that drives me on, O night, kinder than the dawn,O tender night that tied together the loved one and the lover, each to the other, O night!On my flowering breast, saved, untouched, for him alone,he was falling asleep, and I caressed him while fans of cedar stirred the air.On the castle walls, I ruffled his hair,the air striking my neck with its gentle hand, suspending all my senses.I stayed; I surrendered, leaning my face on my Beloved.Ceasing, all abandoned; leaving my cares forgotten among the lilies.

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o energy of Wisdom

O energy of Wisdom!You circled, circling,encompassing all thingsin one path possessed of life.Three wings you have:one of them soars on high,the second exudes from the earth,and the third flutters everywhere.Praise to you, as befits you, O Wisdom!

o most luminous band of apostles

O most luminousband of apostles,arising in true knowledge and openingthe enclosure of the devil’s teaching,washing his captivesin a font of living water:you are the most radiant lightin the blackest darkness.You are a mighty row of pillarssupporting the Lamb’s bridein all her beauty.Through his joy,she is mother and standard-bearing virgin.For the immaculate Lambis the bridegroom of his immaculate bride.

o most noble greenness

O most noble greenness,you are rooted in the sun,and you shine in bright serenity in a sphere no earthly eminence attains.

You are enfoldedin the embraces of divine ministries.You blush like the dawnand burn like a flame of the sun.

Lux Lucis

o virtus Sapientie

O virtus Sapientie, que circuiens circuisti, comprehendendo omnia in una via que habet vitam, tres alas habens, quarum una in altum volat et altera de terra sudat et tercia undique volat. Laus tibi sit, sicut te decet, o Sapientia. o lucidissima apostolorum turba

O lucidissima apostolorum turba, surgens in vera agnitione et aperiens clausuram magisterii diaboli, abluendo captivos in fonte viventis aque, tu es clarissima lux in nigerrimis tenebris, fortissimumque genus columnarum, sponsam Agni sustentans in omnibus ornamentis ipsius: per cuius gaudium ipsa mater et virgo est vexillata. Agnus enim immaculatus est sponsus ipsius sponse immaculate. o nobilissima viriditas

O nobilissima viriditas que radicas in sole et que in candida serenitate luces in rota quam nulla terrena excellentia comprehendit:

Tu circumdata es amplexibus divinorum ministeriorum. Tu rubes ut aurora et ardes ut solis flamma.

Shruthi rajasekar is an Indian-American composer and vocalist. Trained in the Carnatic (South Indian classical) and Western classical idioms, she creates music that explores intersections in cultural and musical identity. Composition honors include the 2018 Composers Guild of New Jersey Award, commissions from VocalEssence, and more than a dozen plays on Classical MPR. As a soprano and Carnatic vocalist, Shruthi has been recognized by the National Association of Teachers of Singing (NATS) and the internationally-televised Carnatic Music Idol USA. A disciple of her mother, veena player and vocalist Nirmala Rajasekar, Shruthi has been studying Carnatic music for the past sixteen years, specializing in vocal and theory studies. She has also received guidance from the late Shri B. Sitarama Sharma, veteran musicologist Dr. B.M. Sundaram, and mridangam vidwan Thanjavur Shri K. Murugaboopathi. A graduate of Princeton University,

Shruthi is currently living and studying in the UK as a Marshall Scholar.

The composer writes:“The message behind Sangeetham (which means music in Sanskrit)—that it takes vulnerability to be a singer, but that your vulnerability and openness is a source of strength—was something gifted to me by educators and mentors in my life, including my high school choir directors. I think it’s a lifelong lesson and one we can remind ourselves of at every stage of music-making...

Because of its international path to conception, Sangeetham uses elements from both the Western classical and Carnatic (South Indian classical) traditions, thus celebrating the power of the voice in lifting us up and bringing us together. I hope that the listener is invigorated and recharged by the power of conviction. In this piece, it's encapsulated by the final line: "The shining truth is that the core of my being is music."

Sangeetham

bAloham mAthru bhakthOhamsangeetha kalayAm preethOhamshrOthOham athi balaheenamsamastha guru kripa purnOhamnyAthOham parashrama vAnOhamjeethOham kOvida gAnohamneythOham lOka prasidhOhammama balasyamUlam sangeetham—Dr. B. M. Sundaram

Read about Karen P. thomas on page 16.

Lux Lucis is a collection of three motets for treble voices, on texts by Hildegard von Bingen. The title translates as “light”, and especially refers to the light of life or the light of day—it can also translate as “hope” or “elucidation” in certain contexts. The texts by Hildegard for these three motets contain numerous references to light, the sun, flame, life, and radiance.

Thomas uses shimmering harmonies, cascading polyphonic lines, and the combination of rich and simple textures to illuminate the textual themes found in the poetry—themes of light, hope, and purity. Musically, the motets make some references to Hildegard’s compositions—

particularly in the use of the interval of the ascending fifth, which is found in many of Hildegard’s songs, and also in the extended chant which opens the third motet—however, there are no direct quotes of Hildegard’s melodies. Lux Lucis was composed for Seattle Pro Musica.

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I am a young man with high regard for my motherwho worships the art of music.Though the path is long and hard,I have the blessings of my gurusto persevere and succeedsuch that my music is known to all.The shining truth is thatthe core of my being is music.—translated by Nirmala Rajasekar

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Arts, and an inaugural USA Prudential Fellow award in 2006. In 2015, she was awarded the National Medal of Arts by President Barack Obama.

Astronaut Anthem is a section from The Games: a science fiction opera by Meredith Monk and Ping Chong, which was originally created for the Schaubühne Ensemble of West Berlin. Set on an imaginary planet, The Games takes place in a post-nuclear future where survivors and their descendants are involved in the repetition of ritual games re-enacting Earth’s culture in order to preserve the shards of civilization. Coming near the end of the opera, Astronaut Anthem celebrates the colonization of the planet as well as the spirit of exploration. The Games won the National Music Theatre Award in 1986.

(No lyrics for this piece.)

carol (Kia) Sams studied with Darius Milhaud at Mills College, and received a DMA from the University of Washington in 1975, making her one of the first American women to receive a doctorate in composition. She has composed numerous operas and oratorios, as well as hun-dreds of choral works.

The composer writes:Sunflower is from The Earthmakers, a full-length oratorio about the beginnings of the world, which premiered in 1986. In lieu of the Biblical tradition story, this oratorio presents different cultures’ ver-sions of creation, together with poems that reflect something of each idea, and purely instrumental works. The poems bring together the universal ideas of creation and the personal experience of cre-

ation: each one dealing with something of what it is to create. These are the most personal works of the oratorio; certainly, they were for me the centers of the work.

Sunflower (poem by Jackie Leven)

What sower walked over earth?Which hands sowed our inward seeds of fire?They went out from his fists like rainbow curves to frozen earth, young loam, hot sand.They will sleep there greedily and drink up our livesand explode them into pieces,

Read about Shruthi rajasekar on page 10.

Of Raw Heart, the composer writes:“In Danielle Sosin’s beautiful novel The Long-Shining Waters, this quiet excerpt spoke to me the most: the character has faced several difficulties and, in the process, has lost sight of herself. This scares her more than anything; she wakes up feel-ing especially low. But by focusing on the light dancing on the lake and its calm waters, the smell of the pine trees, and the energy in her own body, she is able to calm herself in that moment. Her external stressors are very real, and won’t necessarily go away, but by meditating—by giving herself the gift of the present—she finds her own peace.

raw Heart

The sun is warm, the horizon soft and vague. The air is cool. She sends out her raw heart. Circling rings expand with light. She feels open and sore as she stands before the light, the Great Spirit, the essence, the mystery. Legs and feet tingle as she stretches tall. Pine-filled air, rhythm of prayer, slightly swaying. As she stretches, heat rises. When she stands her full height, the world goes mute. She encompasses everything.

— Excerpts from The Long-Shining Waters © Danielle Sosin, 2011

for the sake of a sunflower that you haven’t seen,or a thistlehead or a chrysanthemum.Let the long rain of tears fall.Let the calm hands of grief come,it’s not all as evil as you think.

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Indian-American composer reena esmail works between the worlds of Indian and Western classical music, and brings communities together through the creation of equitable musical spaces. Esmail’s work has been commissioned by ensembles including the Los Angeles Master Chorale, Kronos Quartet, Imani Winds, Richmond Symphony, Town Music Seattle, San Francisco Girls Chorus, Juilliard415, and Yale Institute of Sacred Music. Upcoming seasons include new work for Seattle Symphony, Baltimore Symphony Orchestra, Santa Fe Desert Chorale, Amherst College Choir and Orchestra, Santa Fe Pro Musica, and Conspirare. She was named a 2019 United States Artist Fellow in Music, and was a 2017–18 Kennedy Center Citizen Artist Fellow.

Esmail received a Fulbright-Nehru grant to study Hindustani music in India. Her Hindustani mu-sic teachers include Srimati Lakshmi Shankar and Gaurav Mazundar, and she currently studies and collaborates with Saili Oak. Her doctoral thesis, entitled Finding Common Ground: Uniting Practices in Hindustani and Western Art Musi-cians explores the methods and challenges of the collaborative process between Hindustani musicians and Western composers. She is currently an Artistic Director of Shastra, a non-profit organization that promotes cross-cultural music connecting music traditions of India and the West.

The composer writes of Tuttarana:“The title of this piece is a conglomeration of two words: the Italian word ‘tutti’, means ‘all’ or ‘everyone’, and the term ‘tarana’ designates a specific Hindustani (North Indian) musical form, whose closest Western counterpart is the ‘scat’ in jazz. Made up of rhythmic syllables, a tarana is the singer’s chance to display agility and dexterity. While a Hindustani tarana is a solo form, I wanted to bring the tarana into an ensemble setting. Tuttarana was commissioned by the Mount Holyoke College Glee Club for their 2014-15 season, and has since been performed across the US, also in arrangements for SATB and brass quintet.

“An addendum: Three years after I wrote this piece, the #metoo movement, created by Tarana Burke broke on social media. It occurred to me that the title of this piece, if read a different way, literally means ’We are all Tarana.’ I couldn’t believe the incredible coincidence that this work, a powerful 3-minute tidal wave of sound, written for an all-female ensemble from the oldest women’s college in the country, bore this name. I’m so grateful for what this movement has done to move the discus-sion forward about the horrors we face as women, and how we can begin to change and heal our society.”

(No lyrics for this piece.)

Meredith Monk is an American composer, singer, director/choreographer and creator of new opera, music-theater works, films and installations. Recognized as one of the most unique and influential artists of our time, she is a pioneer in what is now called “extended vocal technique” and “interdisciplinary performance.” Monk creates works that thrive at the intersection of music and movement, image and object, light and sound, discovering and weaving together new modes of perception. Her groundbreaking exploration of the voice as an instrument, as an elo-quent language in and of itself, expands the boundaries of musical composition, creating land-scapes of sound that unearth feelings, energies, and memories for which there are no words. She is primarily known for her vocal innovations, including a wide range of extended tech-

niques, which she first developed in her solo performances. In 1978 Monk formed Meredith Monk and Vocal Ensemble to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures.

Since the 1960s, Monk has created multi-disciplinary works that combine music, theatre, and dance, recording ex-tensively for ECM Records. Her music has been used in films by the Coen Brothers (The Big Lebowski, 1998), Terrence Malick, David Byrne, and Jean-Luc Godard. Trip hop musician DJ Shadow sampled Monk’s “Dolmen Music” in the song “Midnight in a Perfect World.” Monk’s numerous honors and awards include the prestigious MacArthur “Genius” Award, two Guggenheim Fellowships, three “Obies” (including an award for Sustained Achievement), and two “Bes-sie” awards for Sustained Creative Achievement. More recently Ms. Monk was named one of National Public Radio’s 50 Great Voices, the 2012 Composer of the Year by Musical America, and an Officer of the Order of Arts and Letters by the Republic of France. She also received a 2012 Doris Duke Artist Award, a 2011 Yoko Ono Lennon Courage Award for the

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A bright star miraculouslyshining on the mountainlike sunshine.Hark the massassembling,all people rejoicing,the rich and the poor,the greatest and the pettiest,are gathering as wellas we are self-witnessing,let’s all herald once morethis: Hail Mary.

Melinda Bargreen is a Seattle-based composer and writer, who was classical music critic of The Seattle Times from 1977 to 2008, and now writes freelance reviews and articles for the Times and for Classical KING FM 98.1, as well as for several national and international publications. Her compositions have won national awards and have been performed from Belgium to China, as well as on PBS.

The composer writes:“If a soprano hadn’t gotten laryngitis nearly 40 years ago, I might never have encountered the text of Stella splendens... In the mid-1970s, a Seattle-based early-music ensemble called the Western Wynde Consort asked me to join them for two performances of a concert program…. On the pro-

gram was Stella splendens, one of the songs of pilgrimage from the 14th-century Spanish collection, the ’Libre Vermell de Montserrat‘ (Red Book of Montserrat). As I sang this Latin text and studied the translation of its many verses, I was struck by their beauty. Wouldn’t it be wonderful to hear those words in a new way—a way that was less of a marching song and more of a radiant reverie on the ’resplendent star‘ lighting the pilgrims’ path?

“In Stella splendens, the rapturous and joyous text calls forth the pilgrim in us all—the rich and the poor, the young and the old—to journey onward in the light of the ’resplendent star.’ The substantial divisi of the score (six parts, including some very deep bass lines) reflects the diverse humanity that joins us all on our path toward enlightenment. I hope that this piece is the first of several that will set the remaining verses of this lovely text.”

Stella splendens

Stella splendens in monte ut solis radiummiraculis serratoexaudi populumconcurrunt universigaudentes populidivites et egenigrandes et parvolisipsum ingredienturut cernunt occuliet inde reventunturhic ave Maria.

undine Smith Moore, called the “Dean of Black Women Composers,” was a notable and pro-lific American composer and professor of music in the twentieth century. Moore was originally trained as a classical pianist, but developed a compositional output of mostly vocal music—her preferred genre. Much of her work was inspired by black spirituals and folk music. A renowned teacher, she stated that she experienced “teaching itself as an art.” The works of Undine Smith Moore range from arrangements of spirituals, to large works for chorus, soloists, and orchestra. Although she composed more than one hundred pieces between 1925 and 1987, only twenty-six were published during her lifetime.

In 1981, Moore’s Pulitzer Prize-nominated oratorio Scenes from the Life of a Martyr was premiered at Carnegie Hall. The 16-part oratorio for chorus, orchestra, solo voices and narrator is based on the life of Dr. Martin Luther King, Jr. Moore considered it her most significant work. Undine Smith Moore was outspoken on her thoughts surrounding the Civil Rights Movement and the impact it had on her music. In later life, she stated: “One of the most evil effects of racism in my time was the limits it placed upon the aspirations of blacks, so that though I have been ‘making up’ and creating music all my life, in my childhood or even in college I would not have thought of calling my-self a composer or aspiring to be one.” Moore was a strong advocate for the promotion of black music and art: in her opinion, art could be used as “a powerful agent for social change.”

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Now the King in his sleep was troubledAnd early in the morning he roseTo find God sent His angels downTo lock the Lion's jaws.

Oh, the king cried,Oh, Daniel, Daniel, oh!That Hebrew Daniel,Servant of the Lord

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For more insights from the composers about their pieces, visitseattlepromusica.org/shall-not-be-denied-composers

Daniel, Daniel, Servant of the Lord is Moore’s fiery arrangement of the traditional African-American spiritual.

Daniel, Daniel, Servant of the Lord

Oh, the king cried,Oh, Daniel, Daniel, oh!That Hebrew Daniel,Servant of the Lord.

Among the Hebrew nation,One Hebrew Daniel was foundThey put him in the lion's denHe stayed there all night long.

Statement on cultural equity

Everyone deserves equal access to a full and vibrant creative life, and this access is essential to a free and healthy society. To support the creative life of our community, Seattle Pro Musica commits to policies and practices of cultural equity that foster equal access, inclusion, and justice.

We recognize cultural equity as a framework of values, policies, and practices that ensures arts institutions serve the needs of all people, especially those who have historically been underserved based on race/ethnicity, age, disability, size, sexual orientation, gender, gender identity, socioeconomic status, geography, citizenship status, or religion.

As we pursue our artistic mission, we will hold ourselves accountable to cultural equity. By acknowledging and chal-lenging inequities, both as an individual arts organization and in partnership with others, we can and will make change happen.

About Seattle Pro Musica

Seattle Pro Musica is a critically acclaimed choral organization whose mission is to enrich and inspire our audiences, singers, and community through the experience of choral artistry, and to increase access to and ap-preciation of choral music. Though our membership comes from all walks of life and spans generations, we are united by our desire to make beauti-ful music together for ourselves and our audiences.

Seattle Pro Musica is comprised of four performing ensembles: the 80-voice Seattle Pro Musica choir; Vox, the mixed-voices chamber en-semble; Chroma, the select SSAA ensemble; and Orpheon, the select TTBB ensemble. Recipient of the Margaret Hillis Award for Choral Excellence and

the ASCAP/Chorus America Award for Adventurous Programming, Seattle Pro Musica is ranked by American Record Guide as “among America’s very best choirs.”

Under the baton of Artistic Director and Conductor Karen P. Thomas, Seattle Pro Musica has received international acclaim for its CD recordings and live performances. Choir and Organ writes: “Seattle Pro Musica presents a cappella singing at its best.” Fanfare Record says: “This is truly an extraordinary choir.” Seattle Pro Musica has appeared by invita-tion for numerous international and national festivals, and has performed with Jane Eaglen, Andrea Bocelli, Josh Gro-ban, Sarah Brightman, Pacific MusicWorks, the Seattle Symphony, and Jónsi (of Sigur Rós). In 2014, members of Seattle Pro Musica appeared on the GRAMMY Award-winning album Winds of Samsara.

Karen P. thomas, Artistic Director and Conductor of Seattle Pro Musica, has conducted at international festivals in Europe and North America, including the Berkshire Choral Festival and the Bergen International Festival. She has lectured for Chorus America, the American Guild of Organists, the American Choral Director’s Association, the Seattle Symphony, and has received awards from the NEA, American Academy and Institute of Arts and Letters, and ASCAP, among others. She was awarded the 2015 Dale Warland Singers Commission Award from Chorus Amer-ica and the American Composers Forum, and received the Seattle 2018 Mayor’s Arts Award. Named the Washington State “Outstanding Choral Director” for 2012, she has been lauded for her “charismatic...magnetic podium presence” and her “sweeping vision.”

A prize-winning composer, her numerous commissions include works for the Harvard/Radcliffe Choirs, the Grand Jubilee in Rome, the American Guild of Organists, and the Association of Anglican Musicians. Her compositions are regularly performed internationally by groups such as The Hilliard Ensemble, The Vocal Consort of Brussels, NOTUS, and Cathedra of the Washington National Cathedral, and have been praised as “superb work of the utmost sensitivity and beauty.” She currently serves on the boards of Chorus America, the American Choral Directors Association (NW Region), and was a founding member of the Greater Seattle Choral Consortium.

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Full Day Camp July 20-24for girls entering grade 2-5

Musical Morning July 20-24 or July 27-31for girls ages 4-6

Summer Music Day Camp

SEATTLE GIRLS CHOIR

seattlegirlschoir.org

Give sustainably with Fermata

Our monthly giving program is an easy way to provide SPM with reliable support all year long. Learn more from an SPM representative during intermission or visit seattlepromusica.org/fermata.

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Friends of Seattle Pro Musica

Go further with matching giftsMany employers will match charitable gifts. Contact your HR department to find out your com-pany’s policy and how to claim your match.

Beyond cash donationsDonating stocks, properties, or annui-ties may offer special advantages to both you and SPM.

Discuss these options with your financial and tax advisors, and then contact us for more information.

create a musical legacyDo you want to help SPM flourish for gen-erations to come? Consider including Seattle Pro Musica in your will.

Email us at [email protected] and ask about planned giving.

text to donateYou can donate right from your phone! Just text cHoir to 44321 to get started.

Be a part of our vision

Nothing compares to sitting in a concert hall and sharing in the joy and wonder of hearing choral music performed at the highest levels of artistry. The power of music created with only the human voice creates a special link between singers and audience. Another way to connect with us, one that helps to make our artistry possible, is to support Seattle Pro Musica with a donation.

Subscriptions and ticket sales cover only a third of our concert expenses, so we rely on supporters like you to help us achieve our mission of making choral beauty accessible to as many as possible. Seattle Pro Musica is a registered 501(c)3 organization, so your gift can qualify as a charitable donation for tax purposes. In addition to knowing that your gift will support our art, your name will be included with our thanks in all our concert programs.

We’re thrilled to have you in our audience, and we thank you for considering a deeper relationship with us. We look forward to welcoming you into our giving family!

in-Kind Donors

Jim Bartscher and Marisa Dahlman

Carole Jones Design

Chris Burch Photography

Classical KING FM 98.1

David Owen Hastings

Jenn Newland

Law Offices of Paul Stephen Drayna

Wes Kim

We thank these generous Fund-a-Dream donors from our 2019 Auction. their donations will help to fund the costs associated with our presentation of ethel Smyth’s Mass in D and the Mozart “Great” Mass in C minor in May 2020.

Beth Alley • Helen Anderson • Deb Arnold • Robert and Lori Bendix Shirley Beresford • Jordan Berg • Rachel Bodansky and Spencer WallisChristopher Brandon • Mike and Karen Brugato • Peter Budny and Chris Manning • Marissa Burkey • Jacob Buys • Josie Calhoun • Tyler ChottAnne and Ganga Clamoungou • Marilyn and Lance Colyar • Ruth Conn and Dawn Stremel • Lauren Cree • Geoff and Adrian Cunard • Marisa Dahlman and Jim Bartscher • Jacque Deerr-Lord and Bob Lord • Robert and Beverly Dock-stader • David Dodman and Ed Ronco • Sam and Mona Dworkin • Mike Engh Mike and Barbara Evans • Mark Falstein and Megan Campbell • Jonna and Gerald Farley • Cathy Federici • Nancy A. Federici C. Benjamin and Laura Flynn Allison Freel • Dan French • Erin Gabriel • Ryan Gao • Kerstin Gleim Miriam Gnagy and Cory Calhoun • Gloria Grimm Mark Gunning and Helen Lafferty Elly Hale and Brad Rodgers • Fiona Hatfield • Peter Hemmen and Jan Strand • Mike Holzinger and Shaya Lyon • David Horton • Rick Johnson and Raffaele Todde • Carole Jones and Bernard Jalbert • Emily JordanAnnette Jung • Shadia Kawa Choudhry and Omar Choudhry • David Kendall and Michiko Sakai • Roxanne Kenison • Wes Kim • Alyssa Landry Meaghan Leferink and Becca Guest • Kent Littleton • Teena Littleton Terri Lords • Karen Maneman • Kelly Maneman • Rose and Royce Morrison Paulette Murphy • Arvind Narayanan • Elizabeth Newland • Jenn Newland Peter Newland and Robyn Johnson • Laura Patton-Ballard and Jim BallardChris and Christa Phillipson • Mark and Cindy Piennett • Joy Portella and Mark Firmani • Corina and Troy Rahmig • Mary Redman • Mike and Penny Redman Jon and Krista Repp • Doane Rising • Daniel Rogalski • Christa RoozenChristopher Rule and Misty Shock-Rule • Kathryn and Don Rule • Sarah Ruuska Katy and Mike Sarff • Briana Schwartz • Kacey and Cole Stevens • Jon and Judy Siehl • Cindy and Neil Skovholt • Katie Skovholt • Susy Stremel • Daniel Szydlo Dan Tempkin • Karen P. Thomas • Vésteinn Þórsson and Aaliyah Gupta Marit Trelstad and Bjorn Larsen • Jennylynn Vidas • Janelle WalhoutDonna Ward • Fred and Judy Williams • Doug Winnie and Kenn Sebastian

FERMATA DONORS

Beth AlleyShirley BeresfordJordan BergAbby and Bethel BlakesleyPat Braus and Holly BooneTess BrandonMarissa BurkeyJacob BuysLauren CarrAnne and Ganga ClamoungouMarilyn and Lance ColyarJim Bartscher and Marisa DahlmanMike EnghCathy FedericiC. Benjamin and Laura FlynnAllison FreelErin GabrielKerstin GleimMiriam GnagyGloria GrimmKaren Haig and Jim FriedrichElly HaleFiona HatfieldLinda HatfieldJan Strand and Peter HemmenDavid HortonRick JohnsonBernard Jalbert and Carole JonesSophia JungAlec Campbell and Heidi KimWes KimMeaghan LeferinkTeena LittletonKaren ManemanRose and Royce MorrisonPaulette Murphy Elizabeth NewlandJenn NewlandKevin Frary and Katie Oman

Jim Ballard and Laura Patton- BallardMark Firmani and Joy PortellaCorina and Troy RahmigMary RedmanMichael Hawk and Liz Reed HawkEd RoncoMisty Shock-Rule and Christopher RuleSarah RuuskaMelinda Moree and Elizabeth SandersBriana SchwartzKatie SkovholtRuth Conn and Dawn StremelDaniel SzydloKaren P. ThomasLynn and John TissellBjorn Larsen and Marit TrelstadRobert Wade and John GarciaGrace WonNicholas Corey and Hannah Won

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Chris BurchPaul Drayna and Cole Arden PeakeRachael FuryErin Gabriel and Rich StearnsRyan GaoJohn GreggDavid HortonAnnette JungSophia JungShadia Kawa Choudhry and Omar ChoudhryDavid Kendall and Michiko SakaiCharlie Butler and Kevin KralmanMeaghan LeferinkBill LeveyColleen McKenzieTeresa NemethAda Ng and John SantinoChris and Christa PhillipsonJon and Krista ReppDoane RisingCatherine RobertsEd RoncoChrista RoozenDon and Kathryn RuleMisty Shock-Rule and Christopher RuleSarah RuuskaPat SiggsWilliam Cole StevensAlice TangAnna ThelenVesteinn Thorsson and Aaliyah GuptaLynn and John TissellJennylynn VidasDonna WardFred and Judy WilliamsKenn Sebastian and Doug Winnie

LEADERSHIP GIVING ($5,000 +)AnonymousArtsFundBoeingMicrosoftMike and Barbara EvansElly Hale and Brad RodgersPeter Hemmen and Jan StrandCarole Jones and Bernard JalbertJenn NewlandJim Ballard and Laura Patton-Ballard

CONDUCTOR’S CIRCLE ($2,500 +)4CultureArtsWAGiveBigNational Endowment for the ArtsOffice of Arts and Cultural Affairs, SeattleDiane and Marc BergMike and Karen BrugatoRuth Conn and Dawn StremelGeoff and Adrian CunardJim Bartscher and Marisa DahlmanJacque Deerr-Lord and Bob LordRobert and Beverly DockstaderC. Benjamin and Laura FlynnBrian and Lynn GrantLinda HatfieldTeena LittletonTerri LordsPeter Newland and Robyn JohnsonJenny and Ted Spence

BENEFACTORS ($1,000 –$2,499) Anonymous (3)PricewaterhouseCoopersBeth AlleyJane and Peter BarrettRobert and Lori BendixBruce and Jill Bjerke

Holly Boone and Pat BrausPeter BudnyTyler ChottAnne and Ganga ClamoungouSam and Mona DworkinDan FrenchKerstin GleimJennie and Paul HendrieWerner and Carol HennRick Johnson and Raffaele ToddeHeidi Kim and Alec CampbellWes KimMark Gunning and Helen LaffertyKaren ManemanRose and Royce MorrisonPaulette MurphyArvind NarayananElizabeth NewlandMark Firmani and Joy PortellaGeorgia RagsdaleCorina and Troy RahmigMary RedmanSandy RobertsMelinda Moree and Elizabeth SandersBriana SchwartzKacey and Cole StevensKaren P. ThomasGrace WonNicholas Corey and Hannah Won

PATRONS ($500 –$999)AetnaHill Street InvestmentsMitchell InternationalRain Shadow PropertiesThe Glenn T. Strand AnnuityLiz AdamsDeb ArnoldShirley BeresfordJordan BergLauren Berg and Riley Pitts

Christopher BrandonTess BrandonMarissa BurkeyJacob BuysMarilyn and Lance ColyarLauren CreeDavid DodmanJonna and Gerald FarleyCathy FedericiNancy A. FedericiAllison Freel and Christopher IrleMiriam Gnagy and Cory CalhounFiona HatfieldRoxanne KenisonJokko KorhonenKent LittletonKathleen and Terry McLaughlinRandy and Jill NorstremKevin Frary and Katie OmanMike and Penny RedmanDaniel RogalskiKatie SkovholtSusy StremelDaniel SzydloDan TempkinBjorn Larsen and Marit TrelstadRobert Wade and John GarciaThe Wyatt-Stone Family

SPONSORS ($250 –$499)

Amazon SmileAnonymousAT&TBank of AmericaGoogleStarbucksThe Estate of Winona MorrisonKaren AbbeySharon ArmstrongRachel Bodansky and Spencer Wallis

DONORS ($100 –$249)

AnonymousKarl BanaskyRoger Berger and Eileen SimmonsJoel Bodansky and Anne LeavittIna BrayMel and Mary ButlerJosie CalhounMike EnghBrendan FarleyLisa FolkinsGloria GrimmNancy HaverLiz Reed Hawk and Michael HawkMike Holzinger and Shaya Bendix LyonAshley MialonEmily JordanAlyssa LandryRosalie LangLucy LauterbachJohn Lee and Pm WizenbaumKelly ManemanLaurie MannMolly McGee and Sylvia PollackCindy and Mark PiennettCarolyn RaschPeter RutenbergKaty and Mike Sarff

Sterling circle The Sterling Circle acknowledges donors at the $250 level and above. We are especially grateful for their generous gifts.

Mary SherhartJon and Judy SiehlDivya SinghNeil and Cindy SkovholtRichard SnyderJudith and Stephen SuorJanelle WalhoutElizabeth WassonRobin Wyatt-Stone

CONTRIBUTORS ($50 –$99)

Anonymous (2)Helen AndersonBarbara and Pru BalateroMolly BernardAbby BlakesleyGail BroderAnatolii BuchinLauren CarrRenee DagsethToni DaveyEvan FarleyC. Benjamin and Laura FlynnMara Forster-SmithAlicia GardnerChristina GrahamWendy HarrisJohn Hellriegel

Susan HenryCarol Hert and Ted DiamondMelinda JordanNoreen KingKristin KuceraGeorge LawsonAthena LouscherGlenn LuxLyn MiletichNayomi MitchellGeorge NemethCindy PienettCynthia RichardsonDee RobertsNancy RoteckiLyle RudenseyDolores SchuhLuther SchwartzpferdKayleigh ShafferDon SkirvinEllen WallaceGretchen Wenzl

SUPPORTERS ($10 –$49)

Anonymous (3)F5 NetworksTruistConstance Albrecht

Peter AldrichLillian Balmforth and Dylan PlungAndy BircherBethany BlackKaren and Mike BrugatoJohn ComstockLarry Denenholz in honor of Joy Portella and Mark FirmaniJim EpesTerri FernandezStephanie and Tim GrayKaren Haig and Jim FriedrichBeverly HawkinsTracy KahloGrace KimJacqueline LeferinkCarrie LittleAnne LymanMedora MoburgRuth PettisMichael and Mary Jo Roberts in honor of Catherine and Jared Wolff Grant VandeheyHallee ViniotisStephaun WallaceDennis Wermcrantz

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WAYWARD SISTERSSUN APR 26 | 2:00pm Nordstrom Recital Hall at Benaroya Hall

Karen P. Thomas’s DOUBLE HEART for sopranos and dancers, choreographed by Anna Mansbridge, interwoven with brilliant 17th-century works for high voices.

Sopranos Tess Altiveros, Tess Wakim, Danielle Sampson and Arwen Myers,and PMW’s house ensemble

Tickets and more information: pacificmusicworks.org

Seattle Pro Musica’s Education and Engagement Program

Seattle Pro Musica seeks to inspire singers and audiences of the future. Every year, we partner with local music teachers who invite their students to rehearse and perform with us. In the fall, dozens of elementary and middle-school kids sing with our members in our annual Family Holiday Concert. The advice and encouragement they get while singing with other talented young people can be brought back to their school choir programs. In this way, they can inspire others with the insights and experience they gain as they continue their journey towards a lifelong love of choral music.

For the past two seasons, we participated in Seattle Symphony’s “Link Up” program. Thou-sands of students took part in composing, singing, and playing, and the program ended with a series of six concerts at Benaroya Hall. Seattle Pro Musica members acted as vocal

leaders for the student chorus, modeling joyful and healthy choral singing.

In March 2017, we also worked with Seattle Symphony’s “Path with Art” program. People recovering from homeless-ness, addiction, and other trauma were given the chance to use the power of creativity to foster community and sta-bility, working with teaching artists to create an original community composition. Seattle Pro Musica joined a chamber ensemble of Seattle Symphony musicians and “Path with Art” students to premiere this work at Benaroya Hall. The Education and Engagement Program is always seeking new partnerships and participants. Our goal is to connect with student singers of all backgrounds, but we especially appreciate the chance to reach young people who may not otherwise have access to high quality choral events. For more information about our program, please contact us at [email protected].

This choir is a proud member of the

View all upcoming choral performancesor find a choir to sing with by visiting

www.seattlesings.orgor scan the code below.

A project of the Greater Seattle Choral Consortium

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