Singing City · Singing City page 3 Violin 1 Catherine Kei Fukuda – Reina Inui Luosha Fang – Shannon Lee Aisha Dossumova Violin 2 ... Ave, verum corpus Natum de Maria Virgine,

Sunday, May 1, 2016, 3 p.m.The Church of the Holy Trinity, 1904 Walnut Street , Philadelphia, PA

Beethoven Choral Fantasy & Mozart Mass in C Minor

S i n g i n g C i t y

p r e s e nt s

The Glaucoma Service Foundation to Prevent Blindness

Wills Eye Hospital840 Walnut Street, Suite 1130

Philadelphia, PA 19107215-928-3190

Board of Trustees: Maxine Colm, EdD, President • Leonard Rosenfeld, PhD, Vice President • George L. Spaeth, MD, Director of Medical

Research and Education • L. Jay Katz, MD, Secretary Marc Goodman, CPA, Treasurer

Karen Palestini, Esquire • Irvin Schorsch George Strimel • Katerina Simonetti, CFP

Charles Tressler, MD • Chris Urban • Joe Watson Jeremiah J. White, Jr. • Kenneth Wong

Honorary Trustees: Charlotte Bonmartini Steve Harmelin, Esquire • James Kim • Jonathan S. Myers, MD

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Singing CityJeffrey Brillhart, Artistic & Music Director

presents

Beethoven Choral Fantasy &

Mozart Mass in C Minorwith

The Chamber Orchestra of PhiladelphiaElizabeth Racheva, sopranoElizabeth Weigle, sopranoJacy Ring, mezzo-soprano

Michael Hogue, tenorWilliam Lim, tenor

Randall Scarlata, baritone

Parker Kitterman, pianist

Sunday, May 1, 2016, 3:00 p.m.

The Church of the Holy Trinity1904 Walnut Street, Philadelphia, PA 19103

page 2 Spring Concert 2016

Motet, Ave Verum Corpus, K618 Wolfgang Amadeus Mozart (1756-1791)

Audience, Choir and Chamber Orchestra of Philadelphia

Choral Fantasy, Op. 80 Ludwig Van Beethoven (1770-1827)

1. Adagio2. Finale. Allegretto ma non troppo (quasi andante con moto)

Elizabeth Weigle, soprano; Elizabeth Racheva, sopranoJacy Ring, mezzo-soprano; Michael Hogue, tenor;

William Lim, tenor; Randall Scarlata, baritone

Intermission

Mass in C Minor, K 427 Wolfgang Amadeus Mozart

1. Kyrie Chorus and soprano solo 2. Gloria in excelsis Chorus 3. Laudamus te Soprano solo 4. Gratias agimus tibi Chorus 5. Domine Deus Soprano duet 6. Qui tollis Chorus 7. Quoniam tu solus Trio for two sopranos and tenor 8. Jesu Christe Chorus 9. Cum Sancto Spiritu Chorus10. Credo in unum Deus Chorus11. Et incarntus est Soprano solo12. Sanctus Chorus13. Benedictus Chorus & Soloists

Elizabeth Weigle, soprano; Elizabeth Racheva, soprano

William Lim, tenor; Michael Hogue, tenor; Randall Scarlata, baritone

Please join us for some post-concert cheer in the Centennial Room.

During the concert, please feel free to tell everyone that you are present with us through Twitter and Facebook. All we ask is that your phone is in silent mode!

Photos during the first ten minutes of the concert are also welcome (no flash, please).

Program

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Violin 1 Catherine Kei Fukuda – Reina InuiLuosha Fang – Shannon LeeAisha Dossumova

Violin 2 Michelle Bishop – Elissa WagmanMartha Mott-Gale – Russell Kotcher

Viola Ellen Trainer – Pamela FayPetula Perdikis

Cello Elizabeth Thompson – Lynne Beiler

BassDaniel McDougall

Flute Edward SchultzKimberly Trolier

Oboe Evan OcheretStephen Labiner

Clarinet Doris Hall-GulatiRié Suzuki

Bassoon Michelle RosenColleen Hood

French Horn Angela BilgerLyndsie Wilson

Trumpet Rodney MarsalisThomas Cook

Trombone Matt GouldJarred AntonacciBarry McCommon

Timpani Harvey Price

Chamber Orchestra of Philadelphia

Do you love to sing?

Are you looking for a great community of singers?Singing City is now auditioning experienced

singers in all voice parts.

Auditions are held by appointment.Call the Singing City office, 267-519-5322, to schedule an audition or

e-mail Choir Administrator Ben Weissman, [email protected].

Rehearsals are Tuesday evenings from 7:20 to 9:50 p.m. at Friends Center, 1501 Cherry Street, Philadelphia, PA 19102


TEXTS AND TRANSLATIONS

Ave, verum corpusNatum de Maria Virgine,Vere passum immolatumIn Cruce pro homine,Cujus latus perforatumUnda fluxit et sanguine,Esto nobis praegustatumIn mortis examine.

Hail, true Body,born of the Virgin Mary,who having truly suffered,was sacrificed on the cross for mankind,whose pierced sideflowed with water and blood:May it be for us a foretastein the trial of death.

Ave Verum Corpus

Singing City Choir

Lauren AndersonBrian AuerbachAminda BairdAlyssa BarlisJoyce BartonClaudia BeckerElise BjordammenJason BlacketerPeter BoyerWendy BrowderGloria Ruszkiewicz BrownLuke BrownSara Harris BrownEmily CathcartElizabeth ChildsDeb ClarkeSteve CrandallPeggy CurchackElaine Del VecchioTony Del VecchioKelly DolanSusan DomingosMartha Fried-Cassorla

Jennifer GottschalkMelissa Graf-EvansMarlene GrahamSusan HepplerAnne HessMichael HogueMark HollernRobert HolmesRebecca HorowitzClaire HuffAdam JohnsonBeth JohnsonLaura KellyRachel KleinmanFrancine LevinWilliam Lim, Jr.Kristen MaguireRobert MannJoyce MarshallYuko MartinAndrew McDermottKim MurphyRob Mygatt

Rhiannon NoltRosalyn OminskyLaura RandolphSterling RandolphJacy RingMark RitterGili RonenMindy RubinlichtM’Annette RuddellRajeev SachdevaKen SchoenholzMatt SiverdRichard SobelBetty StockwellRobert ThuenerBill Van StoneDavid WeaverAndrew WesterhausAmberly WilliamsKerri WilliamsBarbara WilligLaVerne WoodWilliam Young

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Choral Fantasy, Op. 80

German text

Schmeichelnd hold und lieblich klingenunseres Lebens Harmonien,und dem Schönheitssinn entschwingenBlumen sich, die ewig blühn.Fried und Freude gleiten freundlichwie der Wellen Wechselspiel.Was sich drängte rauh und feindlich,ordnet sich zu Hochgefühl. Wenn der Töne Zauber waltenund des Wortes Weihe spricht,muss sich Herrliches gestalten,Nacht und Stürme werden Licht.Äuss're Ruhe, inn're Wonneherrschen für den Glücklichen.Doch der Künste Frühlingssonnelässt aus beiden Licht entstehn.

Großes, das ins Herz gedrungen,blüht dann neu und schön empor.Hat ein Geist sich aufgeschwun- gen,hallt ihm stets ein Geisterchor.Nehmt denn hin, ihr schönen Seelen,froh die Gaben schöner KunstWenn sich Lieb und Kraft vermählen,lohnt den Menschen Göttergunst.

English translation

Graceful, charming and sweet is the soundOf our life’s harmonies, and from a sense of beauty ariseFlowers which eternally bloom.Peace and joy advance in perfect concord,like the changing play of the waves.All that was harsh and hostile,has turned into sublime delight.

When music's enchantment reigns,speaking of the sacred word,Magnificence takes form,The night and the tempest turns to light:Outer peace and inner blissReign o'er the fortunate ones.All art in the spring's sunLets light flow from both. Greatness, once it has pierced the heart,Then blooms anew in all its beauty.Once one's being has taken flight,A choir of spirits resounds in response.Accept then, you beautiful souls,Joyously the gifts of high art.When love and strength are united,Divine grace is bestowed upon Man.


Mass in C Minor

1. KyrieKyrie eleison. Christe eleison. Kyrie eleison.

2. GloriaGloria in excelsis Deo.Et in terra paxhominibus bonæ voluntatis.

3. Laudamus teLaudamus te; benedicimus te; adoramus te; glorificamus te.

4. GratiasGratias agimus tibipropter magnam gloriam tuam.

5. DomineDomine Deus, Rex coelestis, Deus Pater omnipotens.Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei,Filius Patris.

6. Qui tollisQui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris,O miserere nobis.

7. Quoniam tu solusQuoniam tu solus Sanctus, tu solus Dominus.tu solus Altisimus.

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

Glory be to God in the highest. And on earth peaceto men of good will.

We praise Thee; we bless Thee; we worship Thee; we glorify Thee.

We give thanks to Thee for Thy great glory.

O Lord God, Heavenly King, God the Father Almighty.O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God,Son of the Father.

Thou that takest away the sins of the world, have mercy upon us.Thou that takest away the sins of the world, receive our prayer.Thou that sittest at the right hand of the Father, have mercy upon us.

For Thou only art holy,Thou only art the Lord, Thou only art the most high.

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8. Jesu Christe 9. Cum Sancto SpirituCum Sancto Spiritu in gloria Dei Patris. Amen.

10. Credo in unum DeumCredo in unum Deum; Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.Credo in unum Dominum Jesum Christum, Filium Dei unigenitum,Et ex Patre natum ante omnia sæcula. Deum de Deo, lumen de lumine,Deum verum de Deo vero, Genitum non factum, consubstantialem Patri:per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.

11. Et incarnatus estEt incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est.

12. SanctusSanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.

13. BenedictusBenedictus qui venit in nomine Domini. Osanna in excelsis.

Jesus Christ

Together with the Holy Spirit in the glory of God the Father. Amen.

I believe in one God;the Father almighty,maker of heaven and earth,and of all things visible and invisible.And in one Lord Jesus Christ,the only begotten Son of God,begotten of the Father before all worlds; God of God, light of light,true God of true God,begotten not made;being of one substance with the Father, by Whom all things were made.Who for us men and for our salvation descended from heaven.

And was incarnate by the Holy Ghost, of the Virgin Mary, and was made man.

Holy, Holy, Holy,Lord God of Hosts.Heaven and earth are full of Thy glory. Hosanna in the highest.

Blessed is He that cometh in the name of the Lord. Hosanna in the highest.


PROGRAM NOTES

Mozart composed Ave Verum Corpus just six months before he died. In June 1791, his wife Constanze was pregnant with their sixth child. As was her habit when pregnant, she left Vienna to take the waters at the nearby spa in Baden. Mozart joined her a few days later and composed this short motet for an old friend – the music director of a tiny church in the town, who had looked after Constanze during her frequent trips to Baden. Although scored frugally for mixed choir, strings, and organ, and only forty-six bars long, Ave Verum Corpus is a gem of Mozartean simplicity and beauty. The Choral Fantasy was hastily composed to end a concert that Beethoven gave at the Theater an der Wien on December 22, 1808. At that concert, the Fourth Piano Concerto, the Fifth and Sixth Symphonies, and three movements of the Mass in C were given their first public performances. The scene and aria Ah! Perfido was also performed and Beethoven improvised a free fantasy! In choosing to close this vast concert with all the performing forces on stage, Beethoven framed a set of variations on a song he had composed in 1795 (Gegenliebe). The setting of these variations included a keyboard fantasy at the beginning and a choral coda at the end. There being no time to compose the solo piano part, Beethoven improvised at the keyboard in the performance: the version we know today was written down later. Because the work was composed at the last minute, there was little time for rehearsal. From all accounts, this first performance of the Choral Fantasy was a total fiasco, with the performers actually having to start over! While Mozart’s unfinished Requiem is unquestionably one of the most beloved works in the choral repertoire, the ambitious Mass in C minor, also incomplete, is every bit as much the masterpiece. Of course, the Requiem was left unfinished because of the composer’s death. Much less is known about why the Mass in C minor was left incomplete. Some experts speculate that it had to do with circumstances around Mozart’s resignation from his post in Salzburg with the very difficult Archbishop Colloredo. In a letter of January 4, 1783 to his father in Salzburg, Mozart refers to a reproach from his father in a letter now lost, referring to moral obligation, presumably to his father, to whom he had neglected to send New Year greetings, as would have been expected. He had married Constanze Weber without his father's approval a year earlier and it was only during the summer of 1783 that he planned to take his wife to Salzburg to introduce her to his father and sister. In the same letter he

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refers to the coming fulfillment of a promise and to the score of half a Mass waiting to be finished, and it seems that this must be the Mass in C-minor, K 427. The nature of the promise is not clear, but it may be presumed that the new composition was, in part at least, in thanksgiving for Constanze's recovery from illness, his marriage or the birth of their first child. Another possibility is that Mozart wrote the Mass to demonstrate his mastery of counterpoint. In any case, had the Mass been completed, it would have been a similar length to Bach’s Mass in B minor, epic, to say the least. When the newlyweds returned to Salzburg in 1783, Mozart had with him the finished portions of the Mass, which were performed on August 25 in St. Peter’s Church, Salzburg. Constanze sang one of the solo soprano parts (“Et incarnatus est”). We do not know whether Mozart filled in the missing sections with other works but it is possible they were omitted altogether, spoken as if in a liturgical setting, or sung to different music. In terms of style, the Mass draws on Mozart’s study of various Baroque composers, especially Bach, Handel, Scarlatti, and Pergolesi. As was popular in the Baroque, Mozart chose to set his Mass as a cantata-type mass. This style of composition developed originally in Naples in the late 17th century, and involved dividing the texts of the Mass move-ments into smaller chunks. Each chunk was treated as a movement that stood on its own, as opposed to the "through-composed" style where the entire text is sung from start to finish, without any breaks. Movements would often alternate between elaborate contrapuntal choral settings and operatic arias for one or more soloists. The cantata style was popular in southern Germany in the early 18th century, but by the 1780's, it was not possible to perform such large, elaborate settings in reform-minded Austria (among Haydn's many settings, for example, only the Cecilia Mass is set in the cantata style). Mozart loved opera and the theater, and this cantata style certainly naturally appealed to him.

The opening “Kyrie” begins with a dramatic, slow, rising vocal arpeggio. It is as if the four corners of the world are coming together to express the need for forgiveness. Given that Mozart was known to compose with the talents of his performers in mind, the writing for the soprano solos implies that his wife’s virtuosity, range, and ease of coloratura must have been remarkable. The “Gloria” resounds with bursts of trumpets and drums. The inner movements of this Gloria cantata are in a variety of minor keys, moving


from one to two to three soloists and from four to five to eight part choruses. The counterpoint in these movements reflects Handel’s influence. The “Credo,” also a cantata, opens with a burst, as does the “Gloria,” but this time Mozart omits the trumpets and drums. This movement is followed by one of the most sublime arias in the vocal repertoire, a setting of “Et incarnatus est,” for soprano and woodwind solos. The “Sanctus,” with its eight-part chorus, is an editorial reconstruction of about half the surviving choral parts. The “Benedictus” that follows unites the four soloists with superb counterpoint that concludes with the double chorus singing “Osanna in excelsis.” Even in its incomplete state, the Mass in C minor is unlike any church music of its time and truly held its own against the “dumb it down” mentality that was prevalent in Archbishop Colloredo’s Salzburg or Jo-seph II’s Vienna. Though Mozart left the work incomplete, he reused the “Kyrie” and “Gloria” as part of his oratorio Davidde Penitente in 1785.

Jeffery Brillhart

JEFFREY BRILLHART, Artistic & Music Director

Appointed in 1999, Jeffrey Brillhart directs the Singing City Choir and oversees all aspects of Singing City’s musical initiatives. He provides artistic leadership for a rich program of formal concerts, choral music education and performance as part of the Singing City Children’s Choir, and outreach concerts in diverse communities in and around Philadelphia. Jeffrey is also

Director of Music and Fine Arts at Bryn Mawr Presbyterian Church in Bryn Mawr and is recognized as one of the foremost musicians working in the Presbyterian Church. He has won national recognition for his abilities in organ improvisation, organ performance, and conducting. Mr. Brillhart’s formal training was at Drake University, where he received his Bachelor of Church Music degree in 1977, and at the

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Eastman School of Music, where he received a Master of Performance and Literature Degree in 1979 and studied piano, organ, harpsichord, voice, and conducting.

In addition to his position as Director of the Fine Arts Program at Bryn Mawr Presbyterian Church, where he works with over 600 youth and adults, Jeffrey supervises nine choral and handbell ensembles, an art program and youth chorale. He directs the 120-voice Senior Choir which sings for two services each week and prepares several special performances each season. Mr. Brillhart also directs the Bryn Mawr Chamber Singers, a 24-voice ensemble specializing in baroque and 20th century music. His church ensembles have performed for national conventions of the American Guild of Organists and the American Choral Directors Association. Mr. Brillhart has presented master classes at the Curtis Institute of Music, the University of Iowa, Drake University, and the Eastman School of Music. He served as chorus master for The Philadelphia Orchestra’s Martin Luther King Tribute Concert in January 2004. In January 2005, he joined the music faculty of Yale Univer-sity to teach organ improvisation. He is the author of “Breaking Free,” an improvisation textbook, that is in wide use throughout the United States and Europe.

PARKER KITTERMAN, accompanist

Parker Kitterman is Director of Music and Organist at historic Christ Church, Philadelphia. He directs the Christ Church Choir and Children’s Choir in weekly choral services and monthly Evensong services, among other responsibilities.

A graduate of Duke University and the Yale Institute of Sacred Music, he also studied organ at the Brussels Royal Conservatory on a Fulbright Grant. Parker was a finalist in international organ competitions in Tokyo and Toulouse, and remains active as a soloist, accompanist, conductor, teacher, clinician, and composer of choral and congregational music. His compositions and arrangements can be heard on a weekly basis at Christ Church.


ELIZABETH WEIGLE, soprano

Soprano Elizabeth Weigle is sought out for her unique vocal beauty and interpretive insight, which she lends to music ranging from the Baroque to the 21st Century. Highlights of Ms. Weigle’s recent performances include: Handel’s Messiah (Carnegie Hall and Washington National Cathedral), Bach’s Jauchzet Gott BWV 51 (American Bach Soloists - San Francisco), Villa Lobos’ Bachianas Brasileiras No. 5 (Bowdoin Music Festival), Orff’s Carmina Burana (York Symphony), Mahler’s Symphony Number Four (Colorado Symphony), world premiere of Shende’s Three Longfellow Poems (Portland Symphony), Schumann’s Casey at the Bat (Singing City and Philadelphia Chamber Orchestra), and Feldman’s Rabbi Akiba (Slee Sinfonia).

A graduate of the Eastman School of Music, where she studied with the late Jan DeGaetani, Ms. Weigle received her Masters degree from the Manhattan School of Music and Professional Studies Certificate at The Juilliard School. She has recorded for the Nonesuch, Erato, Koch, Albany, New Focus Recordings, and BMOP Sound labels. An enthusiastic educator, Ms. Weigle gives master classes throughout the United States, teaches voice at her Philadelphia studio, and serves on the music faculties of Saint Joseph’s University and New York Summer Music Festival. www.elizabethweigle.com

ELIZABETH RACHEVA, soprano

Consistently praised for her vivid portrayals and artistic versatility, dynamic soprano Elizabeth Racheva cherishes opportunities to tell stories on stage in recital, concert, and opera. A popular chamber musician and oratorio artist, she has been featured in concert with Women’s Sacred Music Project (Philadelphia), Berkshire Choral Festival, Eugene Concert Choir, Lancaster Festival (OH), Columbia Bach Society, Oregon’s Chamber Music Amici, and the Southwest’s leading contem-porary ensemble, Voices of Change. Elizabeth has appeared as a recitalist for presenters across the country including Philadelphia’s Lyric Fest, Manhattan’s Trinity Church Concerts at One, Baltimore’s Music at


Second as first prize-winner of the Russell Wonderlic Vocal Competition, The Vienna Project: Vienna in Song at the Clark Art Institute, as well as an acclaimed debut on Fort Worth’s Cliburn at the Modern series with composer Jake Heggie at the piano. Additionally, Ms. Racheva served for three seasons as artistic director of Voces Intimae, a critically-acclaimed Dallas-based art song series. Elizabeth’s most memorable roles include Klärchen (Dallas Symphony Orchestra), Gretel (North Carolina Symphony Orchestra),

Musetta (Lubbock Symphony), and the title role in The Cunning Little Vixen for Peabody Opera Theater. She has also appeared with Baltimore Opera, Berkshire Opera, Greensboro Opera, Opera Vivente, and Dallas’s The Living Opera in a variety of dramatic and comedic roles and with the symphonies of Fort Worth, Eugene, Charleston, the Mid-Atlantic, and Allen (TX) as a featured artist. Elizabeth was educated at Emory University, Peabody Conservatory, and Austria’s Franz Schubert Institut. She makes her home in Center City with her husband, conductor, Danail Rachev, and two delightful young daughters.

JACY RING, mezzo-soprano

Jacy Ring, mezzo-soprano, hails from Harrisburg, Pennsylvania. She received a degree in Music Education from Duquesne University where she studied vocal performance both here and abroad in Tuscania, Italy. Since then Jacy has been teaching elementary general music, voice, and piano in the Philadelphia area. She has performed with choirs on national and international concert tours as a choir member and soloist. Previously she has sung with The Harrisburg Singers and Singing City.


MICHAEL HOGUE, tenor

Michael Hogue is a native of Lebanon, Pennsylvania and is an up and coming tenor in the Philadelphia area. He serves as Staff Tenor and Soloist at The Cathedral Basilica of Saints Peter and Paul, Singing City, The Philadelphia Singers, Vox Ama Deus, Choral Arts Philadelphia, and the newly formed Philadelphia Voices. Michael was also a featured artist with the Janiec Opera Company at the Brevard Summer Music Festival. Recent perfor-mances include: Eisenstein (Die Fledermaus), Cantor (To Be Certain of the Dawn - Ho-

locaust Oratorio by Stephen Paulus), Tenor Soloist (The Crucifixion by John Stainer), Albert (Albert Herring by Benjamin Britten), and Bardolfo (Falstaff).

WILLIAM LIM, tenor

William Lim was born and raised in the Philippines and moved to the United States to study Vocal Performance at the Indiana University Jacobs School of Music. He now lives in Philadelphia, pursuing his dream as a professional vocalist. As an opera singer, William has performed for companies including Opera Philadelphia, Opera Libera, Opera MODO, Concert Operetta Theater, Poor Richard's Opera, Center City Opera Theater, Opera New Jersey, and Opera in the Ozarks. He has enjoyed playing a wide variety of

characters. His favorites include Nemorino in L'elisir d'amore, Pedrillo in Die Entführung aus dem Serail, Mayor Upfold in Albert Herring, Gherardo in Gianni Schicchi, and Guillot de Morfortaine in Manon.

As a concert soloist, William has been featured in a number of large choral works and has performed with orchestras including the Chamber Orchestra of Philadelphia, Symphony in C, and the Chestnut Hill Choral Festival Orchestra. As a professional chorister, he has sung with vocal ensembles including Singing City, the former Philadelphia Singers, Vox Ama Deus, Archdiocesan Choir of Philadelphia, and the choir of St. Paul's Episcopal Church in Chestnut Hill.


RANDALL SCARLATA, baritone

Hailed for his warm, expressive sound, consummate musicianship, and winning way with the audience, Randall Scarlata is firmly established as one of the most highly regarded musical interpreters of his generation. He is equally comfortable in Bach and Händel oratorio, Mozart and Rossini operas, the great song cycles, works from Tin Pan Alley, and the newest of new music. His performances throughout the United States, Europe, Asia and South America have garnered rave reviews from audiences and critics alike. Mr. Scarlata has appeared as soloist with great orchestras such as The Philadelphia Orchestra, San Francisco Symphony, Minnesota Orchestra, Vienna’s Tonkünstler Orchestra, the Ulster Symphony, National Symphony Orchestra, Pittsburgh Symphony Orchestra, the American Symphony, and the North Carolina Symphony, as well as the Early Music ensembles Wiener Akademie, Musica Angelica, and the Grand Tour Orchestra. In addition, he has appeared at international music festivals including Ravinia, Marlboro, Edinburgh, Vienna, Salzburg, Aspen, Spoleto, and on concert stages across five continents.

Mr. Scarlata makes his home in Philadelphia, where he is very active in the Philadelphia musical scene. He regularly collaborates with the Philadelphia Orchestra, Network for New Music, Orchestra 2001, the Philadelphia Chamber Music Society, the Chamber Orchestra of Philadelphia, and Lyric Fest. He is a Sing for Hope artist, having been involved with the foundation for over 10 years. Mr. Scarlata serves on the faculty of the College of Visual and Performing Arts at West Chester University. He regularly gives masterclasses in the United States and abroad. He teaches at Alpenkammermusik in Carinthia, Austria during the summer, and gives master classes throughout the United States and abroad.


THE CHAMBER ORCHESTRA OF PHILADELPHIA

A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia is a 33-member profession-al ensemble led by Music Director Dirk Brossé. The Chamber Orchestra, founded in 1964, has a well-established reputation for distinguished performances of repertoire from the Baroque period through the twenty- first century. The Orchestra’s development was motivated in part by the desire to provide performance opportunities to young professional musicians emerging from the Curtis Institute of Music and other regional training programs and by a desire to make substantial contribution to the city and region’s cultural life.

The ensemble works with many of the region’s performance ensembles and champions new music, focusing on that by local composers. In total, the organization has commissioned and premiered over seventy new works. The organization makes MP3s and HD video recordings of Chamber Orchestra concerts since 2001, including many of these new works available for download via Naxos.

In 1994, Ignat Solzhenitsyn, a concert pianist and conducting graduate from the Curtis Institute of Music, joined the Chamber Orchestra as Assistant Conductor. He was named Principal Conductor in 1998 and Music Director in 2004. Maestro Solzhenitsyn, in assuming the position of Conductor Laureate in 2010, remains closely associated with the Orchestra. A conductor and composer of international acclaim, Maestro Dirk Brossé enters his seventh season as Music Director of The Chamber Orchestra of Philadelphia in September 2016.

The Chamber Orchestra has performed with such internationally acclaimed guest artists as Plácido Domingo, Luciano Pavarotti, Vladimir Ashkenazy, Mstislav Rostropovich, Issac Stern, Rudolph Serkin, The Eroica Trio, Jean-Pierre Rampal, The Romeros Guitar Quartet, Julie Andrews, Bernadette Peters, Ben Folds, Elvis Costello, Sylvia McNair, Steven Isserlis, Joseph Silverstein, Ransom Wilson, Gerard Schwarz, Jahja Ling and Nadja Salerno-Sonnenberg, among others. The ensemble travels regularly, having toured the United States, Europe, and Israel.


SINGING CITY

Coming Up!

Beethoven Symphony No. 9

Sunday, June 12, 2016, 3 p.m.

Bryn Mawr Presbyterian Church, 625 Montgomery Avenue, Bryn Mawr, PA

With the National Music Festival OrchestraRichard Rosenberg, conducting

Singing City and Bryn Mawr Presbyterian Church Choirs Jeffrey Brillhart, Music Director

The Chester River Chorale and The Frederick ChoraleDouglas D. Cox, Artistic Director

Tickets: $10 ($5 for students)

For tickets and more information: www.singingcity.org or 267-519-5322


ABOUT SINGING CITY

Singing City was founded as an integrated choir in 1948 in Philadelphia by Dr. Elaine Brown. The Choir was born out of the Fellowship House movement, and has been deeply engaged not only in creating a community of mind and purpose in Philadelphia, but also in other civil rights and social justice movements since the 1950s. For over half a century, Singing City has been Philadelphia’s premier avocational chorus, committed to bringing people of diverse races, creeds and backgrounds together under the common purpose of music making.

In addition to its deep commitment to inclusion and community building, Singing City has consistently achieved the highest levels of performance practice and artistry. The chorus has performed with the Philadelphia Orchestra, Leningrad Philharmonic, and Israel Philharmonic, and has to its credit a number of critically acclaimed national and international concert tours and festival appearances. The 90-member strong chorus is led by Artistic & Music Director Jeffrey Brillhart and continues to fulfill its original mission, which today encompasses an educational program for youth, the Singing City Children’s Choir, and programs for under-served populations.

Through Performance, Arts Education, and Fellowship,

Singing City is a force for social impact, bringing people together

and lifting the human spirit through the artistry of choral music.

Singing City

1501 Cherry Street • Philadelphia, PA 19102 www.singingcity.org | [email protected] | 267-519-5321


The Meandering Fox offers custom quilting to finish your projects. In just a few weeks, your creatively pieced and designed quilt top can be transformed into a blanket, wall hanging, table runner, placemats, or a lovely decorative accent piece. Together, we can create a gift or keepsake that will be treasured for years…and that will make YOU want to sing!

Sarah Currie Foxthemeanderingfox@gmail.comwww.themeanderingfox.com215-450-1448

Staff Jeffrey Brillhart, Artistic and Music Director

Lauren Anderson, Executive DirectorBen Weissman, Choir Administrator and Office Manager

Parker Kitterman, AccompanistSteven Fisher, Director, Singing City Children’s Choir

Special ThanksFriends of Singing City

The Church of the Holy TrinityProgram Advertisers

Ushers, Box Office Volunteers, and Riser CrewWendy Browder, Gloria Ruszkiewicz Brown, and Andrew Westerhaus

for their lively and informative talks to the choir on Mozart.To everyone who provided food and drink and helped with

this afternoon’s post-concert reception.


Diane Mallery PresidentBrian Auerbach, Vice-President Jane Gardner, TreasurerSteve Crandall, SecretaryPeter J. BoyerWendy BrowderPeggy CurchackPeggy C. Gregg, ex-officioJackie LesserJane MurphyBarbara Rittenhouse

Advisory Board Anton E. ArmstrongJack AsherJeffrey CorneliusJoseph FlummerfeltR. Thomas FriedmanDeVonne Gardner Elizabeth L. HaslamRobert H. HolmesScott JenkinsWalter JohnsonMary Tryon LedwithClaire McKinleyWeston Noble Helmuth RillingSandra StoufferAndre J. ThomasRadclyffe Thompson

Season Subscribers

BenefactorsMr. and Mrs. James R. Affleck, Jr.Lauren AndersonDeb Clarke and Cheryl BruttomessoRichard and Ruth HorowitzClare and Jim MackieKim and Jane MurphyRajeev SachdevaRichard and Dorothy StevensBill and Betty Stockwell

PatronsPeter J. BoyerWendy BrowderGloria Ruszkiewicz BrownPeggy and Mark CurchackStuart DonaldsonDoug and Deborah FaulknerJane GardnerHelen GilmoreJim and Martha GrantRon and Peggy GreggElizabeth L. HaslamWarren and Claire HuffBeth JohnsonMary Tryon LedwithBarbara RittenhouseElaine Shaffer

SponsorsJeffrey Brillhart and Joacy MendoncaJessica R. BrownSue Anne GrierMaguerite P. HarrisRobert HolmesClaire McKinleyDavid Sachs

Singing City Board of Directors


$5,000 and aboveAnonymousMark and Peggy Curchack Rajeev Sachdeva

$1,000-$4,999 Lauren Anderson Peter J. BoyerJeffrey BrillhartBryn Mawr Presbyterian ChurchJane GardnerRobert KidderMary Tryon LedwithJonathan E. LehmanDiane MalleryKim & Jane Murphy

$500-$999Wendy BrowderJeffrey CorneliusSusan DomingosElizabeth HaslamRoy and Nancy FairmanNancy R. FrandsenKevin & Sarah FoxSue Anne GrierHerbert & Margaret HeinemanRobert H. HolmesC. Stewart PatrickMark & Alice RaderDavid L. RawleBarbara RittenhouseRichard & Rachel SobelBill & Betty Stockwell

$250-$499Aminda BairdRebecca Bien & David PollDaniel CoyneEllen & Bill DohmenSteven M. FisherBeth E. JohnsonParker KittermanLinda LitwinJudy NeilsonMark RitterKen SchoenholzAngela M. ScullyElaine B. ShafferCheryl SlipskiJohn & Sandra StoufferMary Ann Sullivan

$100-$249Kenneth & Betty BarrowWilliam & June BrownAlice ChaseAnthony P. ChecchiaBruce & Sharon CundiffTony Del VecchioStuart DonaldsonHelen H. GilmoreRobert A. GirondiMelissa Graf-EvansJames & Martha GrantSue Anne GrierMarguerite P. HarrisRebecca HorowitzMargot & Ellis HorwitzClaire HuffDon & Laila Nada Isaacson

Todd JohnsonPeter & Tracey KelleyMarjorie & Edward KennedyDavid KidderRobert W. & Lisa LandleyAntoinette M LisowskiClare & Jim MackieBrenda OliphantRosalyn OminskyJack OttJeffrey RocciaDavid SachsJean Knapich & John Sachs Peter ScarpatoRichard & Dorothy StevensCarol TashjianLinda B. ThompsonSteven H. TyreBill Van StoneChristopher & Nancy WackmanElizabeth WeigleBarbara WilligWilliam YoungArthur ZbindenIBM International FoundationThe Boston Consulting Group

Up to $100Ellen G. AndersonSoryl AngelAnton E. ArmstrongElaine W. BaerElise Bjordammen

SINGING CITY FRIENDS DRIVE 2015-16

Annual contributions to Singing City are of crucial importance because they support the operating budget of the Choir. Annual Friends Drive gifts are spent throughout the year on operating needs such as our formal concert series, community concerts at care facilities and retirement homes, the SC Children’s Choir, and to support our small but dedicated staff. Thank you to the following individuals who have made a gift this year. And it’s not too late to contribute—our fiscal year ends on June 30.


Foundation & Government SupportArchie W. and Grace Berry Foundation

The Connelly FoundationSamuel S. Fels Fund

Ann and Gordon Getty FoundationJohn K. and Elizabeth W. Knorr Foundation

The Philadelphia Cultural FundThe Philadelphia Foundation

The Pennsylvania Council on the ArtsThe Presser FoundationWells Fargo Foundation

Legacy Fund DonorsDouglas & Deborah Faulkner

Julie FriedmanSue Anne Grier

Elizabeth L. HaslamCarolyn LoweryJudith R. NeilsonRosalyn Ominsky

Barbara RittenhouseM’Annette RuddellMary Ann Sullivan

Jean S. WeissJohn H. Wood

A Simple Gift-The Legacy Fund

A bequest or deferred gift to Singing City will support the Choir’s endowment, which in turn will help strengthen the Choir’s ability to retain and attract the very best staff, provide ongoing support for the Singing City Children’s Choir, stabilize the operating budget and establish a financial aid fund so that prospective singers have an opportunity to be a part of Singing City. Keep it simple—make a bequest to Singing City. If you would like to include Singing City in your planning, please contact Executive Director Lauren Anderson at 267-519-5321 or by e-mail at [email protected].

Elizabeth BlockKathleen BradySara Harris BrownJohn C. ConnellRuth Miller CoxDave & Cyndi DetwilerFrank & Janet DomingosJayne L. FieroMartha Fried-CassorlaCarol FriederJennifer GottschalkGene & Marge HamiltonMark HollernIvan & Bev KazzeRobert & Susan KettellDierdre KonarBeth & Bob KrickDolly KuykendallCarolyn LeitchPeggy & Rob MacGregorKristin Elise MaguireDorothy MarshallMaria & Brian McBrideJanet McCarterJohn McNicholKarl MillerRhiannon NoltGili RonenRobin RoseckyJohn RossheimFrancis B. RubinsohnMatt SiverdNeville E. StrumpfJeann TroySallie Van MerkensteijnAlan T. Willoughby

Every effort has been made to assure the accuracy of these lists. Please contact us with any omissions or errors. Thank you.


Earlier this season, Singing City children and adult singers came together for a portion of our annual retreat. We sang together, learning a folk song from South Africa, and then joined in a feast of celebratory desserts. This was a joyous time, made all the more wonderful by the fact that it was the first time that our newest members—adults and children—became acquainted. By day’s end our jubilant song and warm fellowship had officially launched our 68th season. We are writing to tell you how wonderful it is to experience the soaring spirits of the children and adult members of Singing City, and that we are grateful for many donations that have made all this possible. Your past gifts have helped so much, but the need continues to be great. In its work, Singing City has always embraced people of different social, ethnic, economic, and religious backgrounds. We believe that our work is making a difference in people’s lives, be they in our choirs or in the community. This year, our adults will present several major concerts, launch a new initiative of outreach to underserved communities, and travel to South Africa where they will not only present concerts, but also participate in humanitarian work in several townships. Our children will participate in a variety of concerts as they continue their weekly after-school program of music and nurture. All of this takes funding.

Please join us in helping ensure that Singing City remains a vital part of Philadelphia’s cultural community.

Send your gift to:

Singing City, 1501 Cherry Street, Philadelphia, PA 19102,

or give online at www.singingcity.org.

Thank you for your support!

“Musical culture is built by staying in one place. Unless you live within a town and deal with its educational and social problems, you can’t make a significant contribution to its cultural life. I’ve

learned that you grow the best vegetables in your own back yard.” Robert Shaw

Singing City Friends Drive 2015-2016

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Congratulations and Best Wishes to the

SINGING CITY CHOIR

ON YOUR

2016 – 2017 SEASON


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Notes

Documents

Singing City · Singing City page 3 Violin 1 Catherine Kei Fukuda – Reina Inui Luosha Fang – Shannon Lee Aisha Dossumova Violin 2 ... Ave, verum corpus Natum de Maria Virgine,