TYBERG PROJECT: Music Lost in the Holocaust by Brian A. Schmidt

TYBERG PROJECT

south dakota chorale

When Marcel Tyberg died at Auschwitz, his music was lost with him. Until now. Brought to America by his friend Dr. Enrico Mihich, Tyberg’s compositions have been rediscovered and given new life. The Buffalo Philharmonic premiered his Third Symphony in 2008, more than sixty years after its composition, and now the South Dakota Chorale will perform his two lost Masses for choir and organ for the first time since Tyberg played them himself. This historic concert will also feature Erich Zeisl’s Requiem Ebraico, written in the spirit of Kaddish, a Hebrew prayer for the departed.

J AN U ARY 2 0 1 6 C O N C E RT S FRIDAY, J A N UA RY 2 2 at 7 : 3 0 P M St. Mark’s Episcopal Cathedral 519 Oak Grove St, Minneapolis, MN 55403 (612) 870-7800 S AT U RDAY, J A N UA RY 2 3 at 7 : 3 0 P M First Congregational United Church of Christ 300 S. Minnesota Avenue, Sioux Falls, SD 57104 (605) 336-3072 S U N DAY, J A N UA RY 2 4 at 4 : 0 0 P M First-Plymouth Congregational Church 2000 D Street, Lincoln, NE 68502 (402) 476-7565

S TA F F

BOARD OF DIRECTORS

FOUNDER AND

Mary Kay Fausch, Chair Dan Blue Brian Hildebrant David Holdhusen Todd Jacobson Ben Kornelis Russell Svenningsen Deanna Wehrspann

ARTISTIC DIRECTOR

Brian A. Schmidt

EXECUTIVE DIRECTOR

Jack Mohlenhoff ARTISTIC ADVISOR

Joseph Hubbard

the tyberg project : music lost in the holocaust

TYBERG PROJECT

Messe di Fascile in Fa Maggiore (1941) Marcel Tyberg Easy Mass in F Major (1893-1944)

Messe in Sol Maggiore (1934) Mass in G Major

Marcel Tyberg

Julianna Emanski, soprano soloist for â&#x20AC;&#x153;Agnus Deiâ&#x20AC;? BRIEF INTERMISSION

Requiem Ebraico: The 92nd Psalm (1945) Erich Zeisl Hebrew Requiem (1905-1959) Amber Wellborn, soprano Elizabeth Johnson Knight, mezzo-soprano Brandon Hendrickson, baritone

south dakota chorale

T HE S OU T H DA K OTA C H O R A L E SOPRANOS

Julianna Emanski Maren Engel Fiona Gillespie Jackson Natalie Campbell Amber Wellborn Anna Christopharo

ALTOS

Fabiana González Debora Vogel Elizabeth Knight Mandi Steele Elsa Tapio Tami Hayzlett Laura Ann Kuschel Douglas Dodson

TENORS

James Franklin Timothy Campbell Stephen Carroll Benjamin Kornelis Timothy Sawyer Barrett Radziun Russ Svenningsen BASSES

Ryan Becker Tim Worthington Stephen Richardson Brandon Hendrickson Heath Weber Joseph Hubbard Matthew Curran Tom McNichols

I N T R O D U C T I O N : M A R C E L T Y B E RG In the years immediately before the Second World War II, Marcel Tyberg was a promising young composer whose Second Symphony had been premiered in the 1930s by the Czech Philharmonic Orchestra under the baton of Rafael Kubelík. But for more than sixty years his name (pronounced ‘Tee-berg’) has been languishing in limbo, following his arrest by the Gestapo in 1944 and his deportation from his home in the northern Adriatic town of Abbazia in a cattle car, headed for an undisclosed concentration camp. Nothing more was known of his destiny except for an unconfirmed rumor that he had hanged himself on the train rather than face almost certain torture and extermination at the hands of the Nazis. There were only a few insiders who remembered Tyberg, an introverted loner whose real life was in the torrents of music swirling around in his head. He cared little for acclaim and fame, and several times declined offers to publish his music. He did not thirst for fame nor did he crave earthly possessions. Even those few insiders presumed that his compositions had perished along with the composer. But in February of 2006 a feature article in The Buffalo News (USA) disclosed that Tyberg had been so fearful of deportation that he had given all of his scores to a family friend, Dr. Milan Mihich, who died in 1948. Dr. Mihich left the Tyberg scores with his son, Enrico, who and was then a medical student and had studied harmony with Tyberg. In 1957 the young Dr. Enrico Mihich was offered a research position with the Roswell Park Cancer Institute in Buffalo, New York State, where he went on to establish a brilliant

the tyberg project : music lost in the holocaust

career as developer and director of its Cancer Drug Center. The Tyberg scores lay fallow for many years, while Enrico Mihich was absorbed in cancer research. But in the 1980s, he began to make discreet inquiries with conductors of the Buffalo Philharmonic Orchestra aimed at obtaining first American performances of Tyberg’s orchestral works, all to no avail. In the mid-1990s Dr Mihich turned back to Europe and made contact with the aging Rafael Kubelík, who was overjoyed to learn that Tyberg’s scores had been in safekeeping for more than half a century — but his death in 1996 put an end to that avenue of exploration. More recently Dr. Mihich found a willing and enthusiastic partner in the current music director of Buffalo Philharmonic, JoAnn Falletta. “Tyberg’s music is extremely powerful, rich and profound,” Falletta has declared, “and very worthy of performance and recording.” Marcel Tyberg was an accomplished composer, conductor and pianist. Notable conductors such as Rafael Kubelik and Rodolfo Lipizer premiered his pieces at venues in Prague and Italy. His eclectic compositional style embraced popular dance music as well as enormous symphonies on the scale of Mahler. Unfortunately, due to the conditions of World War II, Tyberg, only 1/16th Jewish, was sent to his death and his musical career was prematurely extinguished. For this reason, many basic details about his life are still unknown. Ten years ago Marcel Tyberg’s oeuvre, once remembered only in the hearts and minds of friends, emerged from Enrico Mihich’s Buffalo basement to be reintroduced to the musical community. Thus far, the Foundation for Jewish Philanthropies, in conjunction with Dr. Mihich and JoAnn Falletta of the Buffalo Symphony Orchestra, has funded performances of three lieder, two piano sonatas, and the copying of his Trio, Sextet and recordings of his symphonies. These efforts place Marcel Tyberg among the most recently rediscovered composers whose lives and careers were cut short by World War II. RE QU IE M E BRAI C O E RIC H Z E IS L Erich Zeisl was a brilliant man whose life was marked by constant strife, frustration, and misfortune. His music is tonal and romantically influenced, but also features bold and striking harmonies, colors of Jewish sacred music, and a clear understanding and appreciation for the structures of Baroque composition. Zeisl fled the Nazi regime to Paris and later settled as a film score composer in Hollywood, joining the many emigres working there. Despite writing scores for nearly 25 films (including Postman Always Rings Twice, Lassie Come Home, and two Abbott and Costello films), he was regularly mistreated and was never credited for his film scores. He died of a sudden heart attack at age 53, leaving behind a diverse body of work that had earned the deep respect of many of his successful contemporaries and friends,

south dakota chorale

such as Erich Wolfgang Korngold, Darius Milhaud, Alma Mahler-Werfel, Hanns Eisler, and Igor Stravinsky. Zeisl was born May 18, 1905 into a Jewish family in Vienna. A student of Hugo Kauder and Joseph Marx, his career showed great promise at a young age, and his Requiem Concertante even earned the Austrian State Prize before his thirtieth birthday. Despite this recognition, Zeisl struggled to obtain publication contracts and major premieres of his works were cancelled simply because he was Jewish. Narrowly escaping Kristallnacht in 1938, Zeisl left for Paris, and fled again with his wife to the United States. They finally settled in Hollywood, drawn by the opportunity to make a living composing scores for films. Overworked, underpaid, and mistreated by his employers, Zeisl was frustrated and unfulfilled by his career in Hollywood, which was furthered by a severe sensitivity to sunlight. This illness led him to call his glitzy new hometown “a blue, sunny grave” as he wore long sleeves and hats to try to tolerate the blazing sun. Despite his frustrations, he was able to cultivate warm and lasting friendships with many composers and creatives there. At wit’s end with his jobs in film scoring, Zeisl made the bold choice to abandon it and focus on his own work and teaching. This decision paid off for him, and he started receiving new commissions and found frequent collaborators. However, he died of an unexpected heart attack after teaching a composition class at Los Angeles Community college in 1959 at age 53. Zeisl began writing his Requiem Ebraico in 1944 for an interfaith service at a Methodist church in Hollywood. A setting of Psalm 92, it was written to honor the death of his father in a concentration camp, as well as all others murdered in the tragedy. An unusually uplifting text for a requiem, Zeisl was drawn to the glorification, hope, and consolation found in the psalm, and the work is a great example of his style and skill as a composer. His Requiem Ebraico features simple melodies that are colored with Jewish modalities, striking harmonies, dynamically alternating textures, and a thrilling fugue that showcases Zeisl’s love for early compositional structures.

erich zeisl

the tyberg project : music lost in the holocaust

MAS S T E X T S & T R A N S L AT I O N S KY RIE Kyrie eleison. Christe eleison. Kyrie eleison.

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

G L ORIA Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens: Domine fill unigenite Jesu Christe: Domine Deus, Agnus Dei, filius Patris: Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto Spiritu in gloria Dei Patris. Amen.

Glory to God in the highest and on earth peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee. We give thanks to thee for thy great glory. Lord God, King of heaven, God the Father omnipotent: Lord Jesus Christ, only begotten son: Lord God, Lamb of God, son of the Father: Thou who takest away the world’s sins, have mercy upon us. Thou who takest away the world’s sins, receive our prayers. Thou who sittest at the Father’s right hand have mercy upon us. For thou alone art holy, thou alone art the Lord, thou alone art most high, Jesus Christ, with the holy Spirit in the glory of God the Father. Amen.

C RE D O Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium: Et in unum Dominum Jesum Christum, Filium Dei unigenitum. et ex patre natum ante omnia saecula: Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantiatem Patri, per quem omnia facta sunt: Qui propter nos homines et propter nostram salutem descendit de coelis:

I believe in one God, Father almighty, maker of heaven and earth, of all things visible and invisible: And in one Lord Jesus Christ, only-begotten Son of God, born of the Father before all time: God of God, light of light, True God of true God, begotten, not made, and consubstantial with the Father, by whom all things were made: Who for us men and for our salvation descended from heaven:

south dakota chorale

Et incarnatus est de Spiritu sancto ex Maria virgine, et homo factus est: Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est: Et resurrexit tertia die, secundum Scripturas, Et ascendit in coelum, sedet ad dexteram Patris; et iterum venturis est cum gloria judicare vivos et mortuos, cujus regni non erit finis: Et in Spiritum sanctum, Dominun et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per Prophetas: Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum; et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen.

And was made incarnate by the Holy Spirit of the virgin Mary, and was made man: He was crucified for us under Pontius Pilate, suffered and was buried: And rose again on the third day, according to the Scriptures, and ascended into heaven, and sitteth at his Fatherâ&#x20AC;&#x2122;s right hand; and will come again with glory to judge the quick and the dead, of whose reign there shall be no end: I believe in the Holy Spirit, the Lord and giver of life, who proceedeth from the Father and the Son; who equal with the Father and Son shall be worshipped and glorified, as it was spoken by the prophets: [I believe] â&#x20AC;Ś in one holy catholic and apostolic church. I confess one baptism for the remission of sins; and I look for the resurrection of the dead and the life everlasting. Amen.

SA N C T U S & BE N ED I C T US Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy is the Lord God of Hosts Heaven and Earth are full of thy glory. Hosanna in the highest.

Benedictus qui venit in nomine Domini. Hosanna in excelsis!

Blessed is he who comes in the name of the Lord. Hosanna in the highest!

A GN U S D E I Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, grant us peace.

the tyberg project : music lost in the holocaust

RE QU IE M E BRAI C O : T H E 9 2 ND P S A L M chorus

Tov l’hodot l’Adonai U’l’zamer l’shim’kha elyon L’hagid baboker chas’dekha Ve’emunat’kha ba’leilot.

It is good to give thanks to the Lord, To sing hymns to Your name, O Most High To proclaim, in the morning, your kindness And Your faithfulness at night.

a lt o

Alei-asor va’alei-navel Alei higayon b’khinor

With a ten stringed instrument, And with the lyre, And with a solemn sound on the harp

chorus

Ki simachtani adonai b’fa ‘olecha b’ma’ase yadecha aranen

You have given me joy, Lord, with your deeds. I shout for joy at your handiwork.

baritone

Ma-gad’lu ma’asekha Adonai M’od am’ku mach’sh’votekha. Ish ba’ar lo yeda’, U’kh’sil lo yavin et-zot. Bif’ro’ach r’sha’im k’mo eisev Va’yatzitzu kol-po’alei aven, L’hisham’dam adei-ad.

How great are your works, Lord, How deep are your thoughts. An ignorant man cannot know, And a fool cannot understand this; Although the wicked spring up like grass, Although all evildoers flourish, They will be destroyed forever.

chorus

V’atah marom l’olam Adonai

But you are exalted, O Lord, forever.

baritone

Ki hinei o’y’vekha, Adonai, Ki hinei o’y’vekha yo’vedu Yit’par’du kol-po’alei aven. Va’tarem kir’ein kar’ni, Baloti b’shemen ra’anan.

For behold, your enemies, O Lord, For behold your enemies shall perish; All the wicked shall crumble. You have raised my horn like that of a wild ox. I am anointed with fragrant oil.

Va’tabeit eini b’shurai, Bakamim alai m’rei’im Tish’ma’nah oz’nai.

I have seen the downfall of my foes. My ears have heard the despair Of those who rise up against me.

s p o r a n o a n d a lt o

Tzadik katamar yif’rach, K’erez bal’vanon yis’geh. Sh’tulim b’veit Adonai, B’chatz’rot Eloheinu yaf’richu. Od y’nuvun b’seivah, D’shenim v’ra’a’naim y’hiyu.

The righteous will flourish like a palm tree; They will thrive like a cedar in Lebanon. Planted in the house of the Lord, They will flourish in the courts of our God. In old age they will still bear fruit; They will be full of sap and freshness,

chorus

L’hagid ki yashar Adonai, Tzuri v’lo av’latah bo

Proclaiming that the Lord is just; My Rock, in whom there is no flaw.

south dakota chorale

T Y B E RG’S L I F E A N D W O R K Friends described him as a brilliant musician with an “all–embracing musical knowledge.” His unique appearance made him easily recognizable in his home of Abbazia. His “large dark eyes radiated gentleness and childlike joy.” They gave life to his whole face and filled it with a “clear dreamy gravity.” “He greatly resembled Beethoven, especially in his mouth and chin,” and some thought in his musical creations as well. He was a “strange spiritual man,” who seemed to “walk a step further on this earth than was granted to most humans.” Marcel Tyberg (Jr.) was born in Vienna, Austria on January 27, 1893. His father, Marcell Tyberg (Sr.), was a prominent violinist, and his mother, Wanda Paltinger Tybergova, was a pianist and colleague of Arthur Schnabel in the Leschetizky school. Because Marcell was a well–known violinist in Vienna, Jan Kubelik — the famous violinist and musical patriarch — and his family became close to the Tybergs. Over the years, Marcel became close to Jan’s son, Rafael Kubelik, and although twenty years stood between Marcel and Rafael, theirs was a friendship that would last to Tyberg’s death and beyond. As of yet, little is known of Marcel’s education and musical training. It is assumed not only that Marcel received a musical education from his parents, but he also had formal training in the art of orchestration, counterpoint and harmony, as evidenced by his works. His residence in Vienna and future friendship with violinist, conductor, and composition student Rodolfo Lipizner (1895–1974) at the Vienna Musical Academy suggests that Tyberg was a colleague at the Academy. In 1927, the Abbazia Symphony Orchestra appointed Rodolfo as permanent conductor. Marcel(l) Tyberg (Sr. and Jr.) and Jan Kubelik were later listed as two of the young conductor’s preferred soloists; perhaps in the case of Marcell, a section member. This appointment brought the Tybergs to Abbazia, a resort town between Italy and Yugoslavia on the Adriatic Sea. Upon the founding of the Gorizia Sym-

the tyberg project : music lost in the holocaust

phony Orchestra in 1930, Lipizer not only continued to invite Marcel Tyberg and Jan Kubelik to perform as soloists, but also handed the baton of the Abbazia Symphony Orchestra over to Marcel. After the death of his father in 1927, Marcel and his mother remained in their villa on the Adriatic Sea. As an article by friend Marion Schiffler explains, for the remainder of his life Tyberg “hung on his mother with the greatest love and reverence. She was described by all as an unusually generous gentle woman.” In Abbazia, with the help of his mother’s love and impeccable copying abilities, Marcel completed his Scherzo and Finale for Schubert’s Unfinished Symphony (1928), Second Symphony (1931), Sextet (1932), First Mass (1934), Second Piano Sonata (1935), Trio (1936), Second Mass (1941) and Third Symphony (1943). For a living, Marcel played the organ in local churches, taught harmony to young students, composed dance music under the pseudonym Till Bergmar (rumbas, tangos, slow waltzes, etc.) and performed his music with his inherited orchestra. To supplement their income, his mother, a well–known pianist whose playing was “especially moving,” taught piano and gave local concerts. Toward the end of his life, Schiffler wrote, Tyberg contentedly lived in “indescribable poverty and supported himself and his mother only through lessons.” Satisfied with the little he owned, he lived happily unknown. However, he was not entirely secluded from the outside world. As mentioned above, he sporadically performed as a soloist with the Gorizia Symphony Orchestra, performed his dance compositions with a small orchestra, conducted his Masses and Chamber works with the Abbazia Symphony Orchestra, and even called on his childhood friend Rafael Kubelik to premiere his Second Symphony with the Czech Philharmonic at some point during the 1930s. On July 25, 1943, Tyberg revealed his unrestrained piety in a performance of his Te Deum, a work that is lost, used to consecrate the enlarged Abbazian church. This historic date for Italy, on which the Italian Grand Council captured and dismissed Benito Mussolini as premier of Italy, occurred only weeks before Italy’s surrender to the Allies, an act that would seal the fate of Marcel and his mother. NAZ I M OVE M E NT I N T O S O UT H ER N E UR O P E In anticipation of the Italian surrender, the Germans reorganized their military command in southeast Europe early in the summer of 1943 so that it would be ready to take over the Italian–held areas and defend them in the event of a Western Allied invasion. After moving many troops into what is now Croatia, on September 7, 1943, Hitler issued Order No. 26, “Improvement in the Defensive Power of Croatia.” Its main objective was to bring about closer collaboration between the German and Croatian armed forces. In addition, Berlin assigned each German corps and divisional command a special

south dakota chorale

Croatian delegate for civil affairs, whose German influence was necessary for the protection of military interests. Therefore, the Croatian government enforced all Nazi laws pertaining to Jews in the Croatian and German–controlled territories. One such German– controlled territory was Abbazia. Eleven days later, Marcel completed his final work, the Third Symphony. Although Article 6 of the Law Decree on Racial Belonging of April 30,1941 declared some selected Jews honorary Aryans and exempt from Croatian anti–Jewish measures, in the summer of 1943, Marcel’s mother went to the local German officials and registered that her great–grandfather was a Jew, thus making her one–eighth Jewish and Marcel one–sixteenth Jewish. A few months after this fateful decision that would alter Marcel’s life, his mother died of natural causes. “For Tyberg,” wrote Schiffler, “the death of his mother was a wound which never closed.” He now gave those who encountered him the impression of “a man who is not far from the end of his journey on earth and who, unknown perhaps to himself and us, has already raised his glance to that great unknowable which involuntarily frightens us.” On the back of the Third Symphony’s manuscript, Tyberg stated that he completed the work with tremendous difficulty and grief. Because he was creatively and emotionally exhausted, this work marked his compositional mortality. T Y BE RG’S CA P T UR E A N D M UR D ER In anticipation of his capture and possible deportation, Marcel entrusted all compositions and personal writings to his friend Dr. Milan Mihich. In addition, he gave Dr. Mihich a document authorizing him to take any action deemed desirable to preserve his music. Only a few days before the Gestapo would take Tyberg in a night raid, he shared some of his compositions with his friends on the organ in the church of Volosca. Schiffler recalls: Shuddering and shivering, we listened to the uninterrupted flow of sounds that ranged from cheerful pastoral tunes to the greatest Beethoven–like outbursts. His face shone transfigured and happily smiling out of the dimness. There was a childlike joy and tenderness in him that is only seen in great souls shortly before their return home. The tears ran down my cheeks. We all had the feeling that he will not be with us much longer. Perhaps he felt it himself, too; he hardly knew any more where he was and who we were. It seemed as if he had to fulfill some final task — to play for his friends — and then to part and never return. As he ended, we silently embraced the completely exhausted artist and only hesitantly did words of thanks pass across our lips. It was as if our thanks could wipe out this, his last gift. We shook his hand, one after the other. I was not able to utter a word. He, however, smiled, friendly and ingenuous, as if he wanted once more to let us take

the tyberg project : music lost in the holocaust

part in his unknown greatness. In that dark old church he stood like a saint in our midst, a strange ray of light — the first moonlight — fell at this moment through the high arched window onto his quiet face. Months passed before rumors began to circulate of Tyberg’s suicide. They were, it seems, erroneous. Only recently has it been discovered that he was indeed sent to the extermination camps San Sabba and Auschwitz. His recorded date of death is December 31, 1944. T Y BE RG’S M U SI C P R ES E R VAT I O N In 1945, following the end of the War and the occupation of Fiume by the Communist Yugoslavians, Dr. Milan Mihich and his family fled Fiume to Milan. With him, he took only precious family possessions, including the entirety of Tyberg’s catalogue. In 1948, Dr. Mihich died and the music and related responsibilities were left to his son, and Tyberg’s former harmony student, Enrico Mihich, then a medical student at the University of Milan. Dr. Enrico Mihich later came to Buffalo and became a member of the Roswell Park Cancer Institute. Dr. Mihich to this day keeps Marcel Tyberg’s music safely secured in his home in Buffalo. Because of his persistence and respect for his former teacher, efforts have taken place in the last ten years to perform this forgotten oeuvre and reawaken the spirit of Marcel Tyberg so that all may enjoy these “great and immortal works” composed by a man “endowed by heaven.” — notes

c r e at e d f r o m e x t e n s i v e u s e o f

writings by zachary redler, herman trotter, and marion schiffler

horizon of volosca: a view of c h u r c h w h e r e m a r c e l p l ay e d

his music for friends, for the last time in his life.

south dakota chorale

BRIAN A. S C H M I D T, C O N D UC T O R Brian A. Scmidt is Artistic Director and Founder of the South Dakota Chorale, a professional chorus organization in Sioux Falls, SD. He also conducts at Duke University Chapel in Durham, NC, where he serves as conductor of the Duke Vespers Ensemble and Duke Divinity School Choir. As founder and Artistic Director of the South Dakota Chorale, he manages a roster of professional singers from the SD region and around the United States. His leadership has guided the ensemble to rapid growth and recognition, as well as the release of two commercial albums in collaboration with Grammy ÂŠ award-winning producer, Blanton Alspaugh, and the signing of an international recording contract in 2014 with pentatone, a Dutch classical label. He also received the prestigious invitation to conduct the South Dakota Chorale at the 2015 American Choral Directors Association (acda) national conference in Salt Lake City, Utah. The Duke Vespers Ensemble is an auditioned choir consisting of 20 volunteer singers that lead a weekly Choral Vespers service. Outside of their primary service work, this ensemble presents mostly early music concerts ranging from Baroque masterworks with period instruments to various Renaissance Mass and Requiem settings. They performed at Boston Early Music Festival in 2013 and 2015 and will also sing on the acda Southern Division conference in March 2016. They have released two commercial recordings of early music on the MSR Classics label. Brian was selected by acda to represent America in the International Conductor Exchange Program with Sweden, resulting in study and guest conducting opportunities in Sweden during the fall of 2015. He was previously the founder and Artistic Director of the Dakota Menâ&#x20AC;&#x2122;s Ensemble, which also appeared at national, regional, and state acda conventions. Brian graduated from the University of North Texas, where he completed MM and DMA degrees under Jerry McCoy and Richard Sparks, along with early music studies under Lyle Nordstrom and Lenora McCroskey.

the tyberg project : music lost in the holocaust

C HRIST OPHE R J A C O B S O N , O R G A N I S T Christopher Jacobson is the Duke University Chapel Organist and organist at the Duke Divinity School. At Duke he oversees the training of the Chapelâ&#x20AC;&#x2122;s Organ Scholars and directs the Evensong Singers in weekly Sunday afternoon Choral Evensong. Before assuming his position, he served as Associate Organist at Trinity Episcopal Cathedral in Columbia, South Carolina, and Assistant Organist at Washington National Cathedral where he assisted in training of the cathedral choirs and paying the organ for over 300 services annually. As a soloist, Mr. Jacobson has presented organ recitals across North America, Europe, and Australia, and has won top prizes in numerous organ competitions including the National Young Artist Competition of the American Guild of Organists, the Miami International Organ Competition, and the John R. Rodland Competition in sacred music. In addition to an active interest in organ music of England and France, he has performed the complete organ works of Johann Sebastian Bach on several occasions across the United States. As an accompanist he has accompanied choirs on tours to Saint Thomas Church in New York City, Canterbury and Durham Cathedrals in England, the American Cathedral in Paris, and the Basilica of Saint Francis of Assisi in Italy. An active continuo artist, Mr. Jacobson appears regularly with the early music ensemble Three Notchâ&#x20AC;&#x2122;d Road in Charlottesville, Virginia, and with the North Carolina Baroque Orchestra. An Associate of the American Guild of Organists, Mr. Jacobson holds the Master of Music degree in Organ Performance and the Sacred Music Diploma from the Eastman School of Music as well as a Bachelor of Music degree with distinction in Organ Performance from St. Olaf College. His teachers have included David Higgs and William Porter at Eastman, and John Ferguson at St. Olaf College. Christopher is a graduate of Woodberry Forest and the American Boychoir School where he was a treble chorister under James Litton.

south dakota chorale

ART IS T B I O G R A P H I ES RYAN BE CK ER Ryan Becker has been actively singing in Sioux Falls since transferring to Augustana College in the fall of 2008. While pursuing a Music Degree at Augustana, Ryan sang with the Augustana Choir, the Chamber Choir, and on stage with Augustana Theatre. He is currently bass section leader and a member of the Ensemble Singers at First Congregational Church in Sioux Falls. In addition to choral music, Mr. Becker has been actively involved with the Sioux Empire Community Theatre, teaching the music for the Stage Adventures productions of Bugsy Malone, Jr. and Sleepy Hollow: A Musical Tale. N ATALIE CA M P B EL L Natalie Campbell currently teaches voice at University of Sioux Falls in South Dakota and Southwest Minnesota State University in Marshall, Minnesota. She holds a Master’s degree in Vocal Performance from the University of South Dakota, where she studied with Dr. Brandon Hendrickson. While at USD, she was the winner of the university’s annual concerto competition and performed the roles of Dido in Purcell’s Dido and Aeneas and Monica in Menotti’s The Medium. She also received a B.M. in Piano and Vocal Music Education from Houghton College in New York, and has pursued graduate studies in Piano and Chamber Music at Rice University in Houston, TX. As an educator, Natalie has taught elementary and middle school vocal music, has served as associate director for the Tucson Girl’s Chorus, and maintains a private voice studio. As a vocalist, she recently performed as soloist in Vivaldi’s Gloria and Fauré’s Requiem as part of the Sacred Arts Series at St. Joseph’s Cathedral, the role of Adina in Donizetti’s L’elixir d’amore with the Sounds of South Dakota, Orff’s Carmina Burana with Mount Marty College in Yankton, Vaughan Williams’ Serenade to Music, and Bernstein’s Chichester Psalms with the Southwest Minnesota Orchestra. T IM OT HY CA M P B EL L Timothy Campbell is Assistant Professor of Music at the University of South Dakota, where he conducts the Concert Choir and Men’s and Women’s Chorus, and teaches courses in choral literature and techniques, applied voice, and music theory. He holds degrees from the University of Arizona (DMA in Choral Conducting with a Minor in Voice), the University of Minnesota (MM in Choral Conducting), and Bemidji State University (BS in Vocal Music Education). He previously served as Interim Director of Choral Activities at West Virginia University, where he directed three choral ensembles and taught undergraduate conducting. He has directed the St. Luke’s Early Music Ensemble (TX), the University of Minnesota Early Music Ensemble, and the University of Arizona’s Honor Choir, Kantorei, and University

the tyberg project : music lost in the holocaust

TOP (L TO R): RYAN BECKER, NATALIE CAMPBELL, TIMOTHY CAMPBELL BOTTOM (L TO R): STEPHEN CARROLL, ANNA CHRISTOFARO

Singers. He has also served as associate director for Men’s Consort Houston, and the CORO Vocal Artists. As a singer, Dr. Campbell has performed with numerous professional ensembles, including The Rose Ensemble, VocalEssence, The Singers, the Tucson Chamber Artists, the Houston Chamber Choir, Cantare Houston, and Conspirare, with whom he was a member on the Grammy®-nominated and Edison award-winning CD, Requiem. S T E PHE N CARR O L L Currently a freelance opera singer, but coming from a choral background, tenor Stephen Carroll has had the pleasure of singing with such conductors as Paul Head, Jerry McCoy, Jerry Blackstone, and Anton Armstrong, among others. During his time at the University of Delaware, Stephen was president of the UD Chorale, which toured Sweden, Finland, and Estonia before winning the Grand Prix at the International Choir Festival in Talinn in 2007. Additionally, Stephen toured China with the UD Chorale in the summer of 2009. Stephen’s concert engagements in the 2015-2016 season have included the tenor solo in Handel’s Messiah with the Rochester Chamber Orchestra and The Dayton Philharmonic. Operatic engagements included an apprenticeship with The Glimmerglass festival and the role of Siegfried in Act II of Siegfried with Queen City Chamber Opera. In February, Stephen will sing the role of Cassio in Verdi’s Otello with Dayton Opera. Past engagements have included Kentucky Opera, Opera North, Central City Opera, Heartland Opera, and Sarasota Opera, as well as a summer as a vocal fellow at the Tanglewood Music Center. Stephen holds a bachelor of music from University of Delaware, a master of music from University of North Texas, and an artist diploma from Cincinnati College-Conservatory of Music. AN N A C HRIS T OFA R O Anna Christofaro has been recognized for her vocal agility and natural stage presence. She recently appeared as the soprano soloist in

south dakota chorale

Benjamin Britten’s Rejoice in the Lamb, Monteverdi’s Vespers of 1610, Mozart’s Regina Coeli and Bach’s Cantata BWV 51, Jauchzet Gott in allen Landen. Anna sings with the Grammy Award-winning vocal ensemble, Conspirare, based in Austin, TX, as well as Vox Humana (Dallas), Oratory Bach (Minneapolis) and Consortium Carissimi (St. Paul). She has also performed with the Univ. of North Texas A Cappella Choir and Collegium Singers as well as toured with the St. Olaf Choir. She is also active on the operatic stage with appearances in Die Zauberflöte, Don Giovanni, The Gondoliers and Gianni Schicchi, among others. In 2011 and 2007, Anna won first place in the Thursday Musical Young Artist Competition. In addition, she won first place in the Minnesota State nats Competition in 2007 and won second place in 2006. Anna holds a Bachelor of Music degree from St. Olaf College in Northfield, MN and a Master of Music degree from the University of North Texas. She has studied with Jean Del Santo, Carol Wilson, Janis Hardy and Geneva Eschweiler and worked with conductors, Jerry McCoy, Craig Hella Johnson, David Childs, Richard Sparks and Anton Armstrong. M AT T HE W C UR R A N Praised for his “smooth, rich sound” and “stylish power” by Tim Smith of the Baltimore Sun, bass Matthew Curran brings a blend of intelligent musicianship and strong dramatic instincts to a variety of performances in opera, concert, recital and choral music. His 20152016 season includes Ramfis in Aida at both Opera Southwest and Baltimore Concert Opera, bass soloist in Bach’s St. John Passion with St. Andrew Music Society (NYC) and Pistola in Falstaff with Opera Delaware. Notable recent engagements include: Timur in Turandot at St. Petersburg Opera, Daland in Der Fliegende Holländer at Opera Roanoke, Colline in La Bohème at Atlanta Opera, and Frère Laurent at Opera New Jersey. A frequent interpreter of new work, Mr. Curran recorded the role of Edwin Cheney in Daron Hagen’s opera Shining Brow, performed live with the Buffalo Symphony Orchestra and released on the Naxos label. He has sung the bass solos in Beethoven’s Ninth Symphony, Handel’s Messiah, Mozart, Verdi, and Brahms Requiems, and many of the great Bach Oratorios, among others. M.M. Indiana University School of Music, B.M. Loyola University School of Music–New Orleans. www.matthewcurran.net D OU GLAS D O D S O N Hailed as a “vivid countertenor” (The Wall Street Journal) with a voice that is “unusually sparkling” (The Kansas City Star), Douglas Dodson is making his mark on opera and concert stages throughout the United States in repertoire ranging from the baroque to the contemporary. In recent seasons, Mr. Dodson performed the role of The United Way in the American premiere of Tod Machover’s new opera Death and

the tyberg project : music lost in the holocaust

(L TO R): MATTHEW CURRAN, DOUGLAS DODSON, JULIANNA EMANSKI

the Powers staged at the American Repertory Theatre and Chicago Opera Theatre, and sang Ottone in Monteverdi’s L’incoronazione di Poppea at the Aldeburgh Music Festival as a member of the prestigious Britten-Pears Young Artist Programme. Other recent engagements include two world premieres with Boston’s Guerilla Opera, Didymus in Handel’s Theodora at Music at Marsh Chapel (Boston), the alto and soprano II soloist in Bach’s Mass in B minor with Musica Sacra (Cambridge, MA). He also performs regularly with some of the nation’s finest professional choral ensembles, including the Handel and Haydn Society Chorus, Seraphic Fire, Skylark Vocal Ensemble and The South Dakota Chorale. Originally from Spearfish, South Dakota, he received his BA in Anthropology from the University of South Dakota and his MM from the Conservatory of Music and Dance at the University of Missouri–Kansas City. J U L IAN N A E M AN S K I “Simply gorgeous,” “ absolutely exquisite,” and “soaring ecstatically” with her “light and delicate vibrato” all describe the sophisticated and expressive singing that soprano Julianna Emanski brings to the concert stage. Ms. Emanski’s most recent projects include the first professional recording of Sances’ Missa Sanctae Mariae Magdalenae as a soloist in collaboration with the Duke Vespers Ensemble, conducted by Brian A. Schmidt. Another first for Ms. Emanski is Marin Marais’ Sémélé in its premiere performance outside of Europe with the 2015 American Bach Soloists Academy. Recent engagements include an international performance of Česká mše vánoční by Jakub Jan Ryba at the Janáček Academy of Music and the Performing Arts in Brno, Czech Republic. Ms Emanski is the co-founder and artistic director of Seattle-based Queen City Musicians. She frequently performs both chorally and as a soloist with Austin Baroque Orchestra, Dallas Bach Society, South Dakota Chorale, Tennessee Chamber Chorus, Mountainside Baroque, and The Choral Pick-up. Ms. Emanski has sung on the professional recordings of Dallas Bach Society, South Dakota Chorale, and Blizzard Entertainment — World of Warcraft, and Diablo III: Reaper of Souls. She currently resides in the Dallas/Fort Worth, Texas area. www.juliannaemanski.com

south dakota chorale

M ARE N E N G EL Maren Engel is a recent graduate of Augustana College with degrees in Vocal Music and Classics. She was a 4-year member of the Augustana Choir and Chamber Choir and spent her college career involved in all things music. She was the state winner of the 2012 MTNA young artist voice competition, performed with the Sounds of South Dakota award winning production of The Magic Flute, and received the Outstanding Senior Musician Award at Augustana. Since graduation she has been singing with the South Dakota Symphony Chorus for their 2013-2014 seasons. She currently works in the Augustana Admission office as Coordinator of Performing Arts Recruitment, working with students with an interest in music and theater find a satisfying artistic home at Augustana. She also works as a choral section leader at First Congregational Church under director Jack Mohlenhoff. She is overjoyed to be performing with the incredible South Dakota Chorale again this year. JAM E S FR A N K L I N James Franklin directs the East Carolina University choral program where he conducts the internationally renowned ecu Chamber Singers, directs the Men’s Chorus, teaches undergraduate conducting, and directs the graduate program in choral conducting. Prior to his appointment at ecu, he served as the Director of Choral Studies at Sam Houston State University and the Artistic Director and Conductor for the Brazos Valley Chorale. Within the last year, choirs under his direction have received invitations to perform at the sw-acda Convention in Little Rock, AR, Piccolo Spoleto Festival in Charleston, SC, and Duke Chapel in Durham, NC, and to collaborate with ensembles such as the Bach Society Houston, Rice University Symphony Orchestra, Brazos Valley Orchestra, and Houston Masterworks Chorus. An active singer, he has performed with many professional choirs including South Dakota Chorale, Orpheus Chamber Singers, Bach Society Houston, and Dallas Bach Society. Recent recording projects include CDs with South Dakota Chorale (2014 & 2011) and the Houston Bach Society (2010). An active member of acda , ifcm, tmea and tcda , he often serves as a clinician and adjudicator. He received his Bachelor’s degree in Music Education, vocal emphasis, from Baylor University, his Master’s degree in Choral Conducting from Westminster Choir College, and his Doctor of Musical Arts degree from the University of North Texas. FABIAN A G O N ZÁ L EZ Puerto Rican mezzo-soprano Fabiana González is quickly gaining attention throughout the United States for her “superb combination of tonal warmth and rhetorical directness” (San Francisco Chronicle). She received a Bachelor’s Degree from the Conservatory of Music of Puerto Rico in 2008 where she studied with Elizabeth Pacheco. In 2011 she completed a Masters Degree in Early Music at Yale Univer-

the tyberg project : music lost in the holocaust

TOP (L TO R): MAREN ENGEL , JAMES FRANKLIN, BOTTOM (L TO R): FABIANA GONZÁLEZ TAMI HAYZLETT

sity under the tutelage of James Taylor. She currently is pursuing a Doctorate of Musical Arts Degree at the University of North Texas as a student of Stephen Austin. Ms. González is researching the mezzo-soprano lieder of Franz Lachner with the Bavarian repertoire and fortepiano specialist, Christoph Hammer in Augsburg, Germany. Recent highlights include performances with The Rose Ensemble in collaboration with the Minnesota Orchestra and the alto solos of the Schumann Requiem with the Leopold Mozart Zentrum choir and orchestra. She recently toured Germany, Austria, and Croatia with the Fantasmi Ensemble. As a soloist she has performed with the Dallas Bach Society and the Philharmonia Baroque Orchestra in San Francisco. She has sung under the baton of Masaaki Suzuki, Andrew Megill, Dale Warland, Simon Halsey, James O’Donell, Simon Carrington, Henry Gibbons, James Richman, Richard Sparks, and Paul Leenhouts. She performed in vocal ensembles such as Orfeón San Juan Bautista, the Yale Schola Cantorum, unt Collegium Singers, the Choral Pickup, South Dakota Chorale and The Rose Ensemble. TAM I HAYZ L E T T Tami Hayzlett is a native of Beresford, SD. Tami graduated from Augustana College with degrees in Music, Special Education and Elementary Education. She and her husband, Jeff own The Hayzlett Group, a marketing consulting business based in New York, Los Angeles and Sioux Falls as well as Tall Grass Public Relations. Their work requires extensive travel, but Tami always enjoys coming home to friends and family in Sioux Falls. Past vocal experiences include (alto soloist), Dakota Vocal Works, Sioux Falls Master Singers, Augustana Concert Choir and various community events. She has served as Interim Director of Music Ministries at Gloria Dei Lutheran Church and continues to be involved in church choirs, praise teams and small groups in Sioux Falls and New York. Tami is proud to be a founding singer of South Dakota Chorale.

south dakota chorale

BRAN D ON H EN D R I C K S O N Brandon Hendrickson, baritone and voice faculty member at the University of South Dakota, is an active performer on the opera, concert and recital stage. Hendrickson’s “beautiful baritone,” as hailed by Opera News, has been heard interpreting standard and contemporary operatic and recital repertoire on an international level. His performances on the opera stage have included leading roles in Gianni Schicchi, The Seagull, The Magic Flute, The Merry Widow, The Marriage of Figaro, Britten’s A Midsummer Night’s Dream, Carmen, Adamo’s Little Women, Massenet’s Werther, La Bohème, Poulenc’s Dialogues of the Carmelites, Cosi fan tutte, Barab’s I Can’t Stand Wagner, Humperdinck’s Hansel and Gretel, La Traviata, and Die Fledermaus. Hendrickson performed the role of Papageno alongside Samuel Ramey in a production of The Magic Flute with The Sounds of South Dakota, and performed as a chorister with The Dallas Opera in the world premiere of Jake Heggie and Gene Scheer’s great American Opera, Moby Dick. On the concert stage, Hendrickson’s recent credits include debuts with South Dakota Chorale, Piccolo Spoleto Music Festival, Great Falls Symphony Orchestra, Canterbury Choral Society, Oklahoma City Philharmonic, Helena Symphony Orchestra, Madison Symphony Orchestra, Sounds of South Dakota, Louisiana Sinfonietta, Southeast Pennsylvania Symphony Orchestra, Charleston Symphony Orchestra, The South Dakota Symphony Orchestra, and The Baton Rouge Symphony Orchestra. JOS E PH H UB B A R D Joseph Hubbard, bass, is the Artistic Advisor for SDC, helping to guide and curate programming and repertoire for the ensemble. Recent operatic credits include Mother in Seven Deadly Sins with the Opera Institute; Colline in La Bohème and Orazio in the revival of Faccio’s Amleto with Opera Southwest; Seneca and Littore in L’incoronazione di Poppea with the Dunbar Early Music Festival and again at the Aldeburgh Festival (UK); and Sarastro in Die Zauberflöte with the Aspen Music Festival. Recent soloist engagements include Fauvel in the 14th century Le Roman de Fauvel with Newberry Consort; Abbot in Gilgamesh, The Ourobouros Trilogy with Beth Morrison Projects and the Opera Institute, conducted by Julian Wachner; 17th century Roman sacred music with the Duke University Vespers Ensemble at the Boston Early Music Festival; Schütz, Monteverdi, and Rossi with Mountainside Baroque; Messiah with Bella Voce and Callipygian Players; debuts at the Art Institute of Chicago and The Morgan Library and Museum NYC with Schola Antiqua of Chicago; Monteverdi’s Vespers of 1610 with Orpheus, Ars Lyrica Houston, and The Whole Noyse; Early Music America’s inaugural Festival Ensemble at the Boston Early Music Festival; and Bach’s Mass in B Minor with American Bach Soloists and Academy. Cert., Opera Institute at Boston University (‘17); M.M. Voice Performance and Literature, Northwestern University; B.M. Vocal Performance, University of North Texas.

the tyberg project : music lost in the holocaust

TOP (L TO R): BRANDON

HENDRICKSON,

JOSEPH HUBBARD

BOTTOM(L TO RIGHT): FIONA GILLESPIE JACKSON ,

ELIZABETH KNIGHT

F ION A GILL E SP I E J A C K S O N Described as “brilliant” by San Francisco Classical Voice, soprano Fiona Gillespie Jackson sings with ensembles as both a soloist and professional chorister across the United States. Recent and upcoming projects include a collaboration with members of the Juilliard 415 Orchestra on Bach’s Cantata 58 for the Early Music at St. James Concert Series Christmas concert in Lancaster, PA, seasons with Skylark Ensemble, Kinnara Ensemble, Vocal Arts Ensemble, and a tour with The Lycoming College Tour Choir to Beijing and Shanghai. Fiona is also thrilled to be making her international debut as Armide in Lully’s Armide, this February with the Ensemble OrQuesta and Woodhouse Baroque Festival Opera Academy in Holmbury St. Mary, UK. Recently, Fiona has appeared as a soloist with The Bach Choir of Bethlehem, The Williamsport Symphony Orchestra, The Denton Bach Society, Vox Philia, and Ampersand. She studied at Westminster Choir College and the University of North Texas, and currently teaches adjunct voice at Lycoming College in Williamsport, PA, where she is also a co-founder of the Lycoming Baroque Choir and Orchestra. Fiona is a founding member, and soprano with the new one voice per-part early music ensemble, Earthshine, making its NYC debut this spring. EL IZ ABE T H K N IG H T Elizabeth Knight enjoys a career that includes solo and choral singing. Some recent highlights include appearances as a guest soloist with the Duke Vespers Ensemble at Duke Chapel in North Carolina and at the Boston Early Music Festival fringe concert series. She will be featured this spring at the Krannert Center for the Performing Arts in Urbana, IL as a guest soloist with the University of Illinois Chamber Singers under esteemed conductor Andrew Megill. She has been fortunate to sing in a variety of styles, from the role of the Old Prioress in Poulenc’s Dialogues of the Carmelites to background vocals for the indie rock/hip-hop band Why? Her greatest love, however, is teaching. Elizabeth is currently on the faculty at Southeastern Oklahoma State University, where she teaches private voice, diction,

south dakota chorale

and vocal pedagogy. She lives in Dallas, TX with her husband Mickel, son Walker, and dogs Dixie and Cleo. www.lizknightmezzo.com BE N J AM I N K O R N EL I S Benjamin Kornelis is a native of Lynden, Washington and holds degrees from Calvin College, Western Washington University, and Michigan State University. He has been Director of Choral Activities at Dordt College since 1994, where he directs the Concert Choir, Chorale, Bella Voce, and Kantorei, and teaches choral music education. An avocational composer, his choral works have been published by Boosey & Hawkes, Morningstar, and Walton Music; several of his compositions are available through the MusicSpoke marketplace (musicspoke.com), including his setting of “Time Is,” which was a 2015 Iowa Choral Directors Association/Iowa Composer’s Forum composition competition winner. He also serves as the director of the Chancel Choir of First Presbyterian Church in Sioux City, Iowa. He is a founding member of The South Dakota Chorale and currently serves on its Board of Directors. LAU RA ANN K US C H EL Laura Ann Kuschel, mezzo-soprano, recently graduated from the University of South Dakota where she earned her Bachelor of Music degree in Vocal Performance. Her recent roles include the Sorceress in Purcell’s Dido & Aeneas, Zita in Puccini’s Gianni Schicchi, the 3rd Lady in Mozart’s The Magic Flute as well as other opera scenes with the Sounds of South Dakota, and several solo opportunities in the USD Choral Department and around the region. Ms. Kuschel currently serves as the music coordinator at the St. Thomas More Newman Center in Vermillion, and is a member of several local groups — including the Cathedral Masterworks Choir at the Cathedral of St. Joseph in Sioux Falls. T OM M C N I C H O L S Described by the NY Times as an “oceanic bass,” Tom McNichols continues to garner praise for work ranging from internationally acclaimed operatic premiers to standard operatic, concert and choral repertoire. In the last eleven years, his voice has been heard on five continents in live performance, live and recorded radio broadcasts and more than a dozen studio recordings. Recent engagements include: Opera de Monte Carlo, The Dallas Opera, Chicago Opera Theater, Boston Modern Orchestra Project: Death and the Powers (The Administration), Opera Carolina, Opera Omaha, Opera Grand Rapids, Boheme Opera: The Magic Flute (Sarastro), The Dallas Opera: Becoming Santa Claus; a new opera by Mark Adamo (The Donkey, Cover), Austin Lyric Opera: Aida (The King), Sacramento Opera: Il Trovatore (Ferrando). Upcoming engagements include: Atlanta Symphony Coronation Mass (Mozart), Portland Opera The Magic Flute (Sarastro), BravoLozanoProductions The Bohemians (Colline,

the tyberg project : music lost in the holocaust

TOP (L TO R):

BENJAMIN KORNELIS, LAURA ANN KUCHEL, TOM MCNICHOLS BOTTOM (L TO R):

BARRETT RADZIUN,

STEPHEN RICHARDSON

film adaptation of Puccini’s La Bohéme) An appearance as a grand semi-finalist in the Metropolitan Opera National Council Auditions in 2008 led Tom to resign his tenure with cantus, a position he held for four seasons that entailed more than 350 live performances and broadcasts on npr, ebu, cbc, apm, and mpr . This is Tom’s fifth season with The South Dakota Chorale. www.tommcnichols.com B ARRE T T RAD Z I UN Barrett Radziun, tenor, has performed widely throughout the United States, meriting critical acclaim for his performances in opera, oratorio, art song, and early music. Radziun is a graduate of the Bard College Conservatory of Music’s Vocal Arts Program, a two-year program culminating in a Master of Music degree in Vocal Performance. The program is led by American soprano Dawn Upshaw and pianist Kayo Iwama, both of whom Radziun worked with closely. Radziun received his undergraduate training at the University of Northwestern–Saint Paul in Minnesota. He spent the summer of 2015 at the Tanglewood Music Center in Massachusetts as a vocal arts fellowship recipient. At Tanglewood, Radziun performed works ranging from Bach to Bolcom, including the world premiere of Where You Go by David Lang. Radziun’s recent concert work has included Obadiah in Mendelssohn’s Elijah with the American Symphony Orchestra, and tenor soloist in Bach’s St. John Passion and Jakub Jan Ryba’s Czech Christmas Mass. Radziun is currently a DMA candidate and teaching fellow at the University of North Texas, where he studies voice and pedagogy with Dr. Stephen Austin. www.barrettradziun.com S T E PHE N RIC HA R D S O N Stephen Richardson, baritone, is an active singer in solo and choral repertoire across the country. His home is in Chicago where he is often featured as a soloist for Music of the Baroque, Bella Voce, The Rookery, Constellation Men’s Ensemble, and Holy Name Cathedral’s Schola Cantorum. Stephen regularly sings with the Chicago Sym-

south dakota chorale

phony Orchestra Chorus, Lyric Opera Chorus and Grant Park Music Festival Chorus, among other local and national ensembles. Stephen is also skilled in electroacoustic music composition and production. Richardson holds a Bachelor of Music in Vocal Performance from Roosevelt University and a Master of Music in Vocal Performance from Northwestern University. He is thrilled and honored to work with The South Dakota Chorale on this incredibly poignant concert. T IM OT HY S AW Y E R Tenor, conductor and music educator Timothy Sawyer is in his fourth season with the South Dakota Chorale. He received formal musical training at Bethel University (MN), Exeter University (England), and graduate study at the University of Minnesota–Minneapolis and The University of Iowa. He has appeared as a tenor soloist throughout Minnesota and the Upper Midwest, and at the Boston Early Music Festival, Montana’s Music on the Mountain Festival, the Colorado Music Festival, and the Houston and Oregon Bach Festivals. He has sung, performed and recorded with Meredith Monk and her New York Ensemble, Dale Warland Singers, VocalEssence Ensemble Singers, Minnesota Beethoven Festival Chorale, Rochester Symphony, Mississippi Valley Orchestra, and the Oregon Bach Festival Chorus with which he shared in a Grammy Award for their recording of Krzysztof Penderecki’s Credo. From 1997-2004 he served as associate conductor of the Minnesota Chorale, and has led the Two Rivers Chorale since 2004. He is actively engaged as a guest conductor and clinician for choral festivals throughout the United States, western, central and eastern Europe and Asia. Since 1989, Sawyer has been a member of the music faculty at the University of Northwestern - St. Paul where he is director of choral activities, teaches conducting, voice, and conducts the Northwestern Choir, Varsity Men’s Chorus, and Chamber Singers. M AN D I ST EEL E Mandi Steele, mezzo-soprano, is currently in her final year as a graduate student studying Choral Music Education at the University of South Dakota. As a vocal performer, Mrs. Steele has been featured as a soloist in collaborative concerts, given solo roles in musical productions, and placed second in the 2015 South Dakota Graduate division of NATS. She premiered the compositions of a fellow graduate student in a new music concert and is a member of the University of South Dakota Chamber Singers. Mrs. Steele’s master’s project has been the founding of the Vermillion Children’s Choir in South Dakota. As a true believer in music’s positive impact on our children’s lives, Mrs. Steele organized a weekly music class for a school of special needs students in Nebraska, and as a private music instructor, has been teaching piano and voice for over nine years. Mrs. Steele received her Bachelor’s Degree in Music Education from Boise State

the tyberg project : music lost in the holocaust

TOP (L TO R):

TIMOTHY SAWYER, MANDI STEELE

BOTTOM (L TO R): RUSSEL

SVENNINGSEN, ELSA TAPIO

University. Mandi and her husband, Jeremy, currently reside in Vermillion, SD with their five children. R U SSE L L S V E N NI N G S E N Dr. Russell Svenningsen is assistant professor of music at Augustana University, where he conducts the Collegiate Chorale, teaches music theory and has a studio of voice students. Russell holds an M.M. in choral conducting from the University of Cincinnati,College-Conservatory of Music and a B.M., music education, from Concordia College, Moorhead, Minn. His D.M.A., music education, was awarded from Boston University where he studied with Dr. Roger Mantie. An active performer, Svenningsen has appeared as featured soloist with orchestras and opera companies both locally and around the world. Recent performances include: presentations of Schubert’s song cycle Winterreise around the Midwest, performances with the South Dakota Symphony Orchestra and appearances with Sounds of South Dakota, a local opera company and a recital featuring the music of Roger Quilter, Samuel Barber and Benjamin Britten’s Canticle II: Abraham and Isaac. Svenningsen is also in demand as clinician and guest conductor and regularly travels to work with choirs of many different types around the United States. He has been a guest artist-in-residence at the Roxbury Choral Invitational, a choral festival in New Jersey, where he was privileged to hear and work with 24 choirs from five states. This is Russell’s first appearance with The South Dakota Chorale. He is a member of the organization’s Board of Directors. EL S A TAP IO Elsa Tapio, a native South Dakotan, enjoys performing in various facets, from Classical music, to Musical Theater and Church music. She graduated with a Music Education degree from South Dakota State University and completed work towards a Masters of Music at the University of Northern Colorado in Greeley. Elsa performed as a soloist with the South Dakota State University Symphonic Orchestra

south dakota chorale

and was a soloist in Dakota Wesleyan University’s performance of Handel’s Messiah. She starred as Eliza Doolittle in My Fair Lady along with performing in Die Nozze De Figaro, Street Scene, Lakme, La Traviata, Il Travatore and Dracula. Elsa currently, resides in Parkston, SD with her husband and five children. A former adjunct voice professor and private music instructor, she has turned her focus to her smaller classroom of five. D E BORA V O G EL Debora Vogel is a teacher, singer, pianist, organist and church musician, and loves the variety of working in multiple music professions. She is currently adjunct professor of voice at Dordt College, has a private voice studio, and is also Worship Coordinator at Shalom Christian Reformed Church in Sioux Falls. She graduated from Dordt with a degree in Choral and Instrumental Music Education, and received her MM in Vocal Performance from the University of South Dakota, where she was a three-time winner of the annual concerto competition. In 1992 she represented South Dakota as a Regional Finalist in the Metropolitan Opera Auditions. As a soprano soloist, concert engagements have included Faure’s Requiem, Haydn’s Little Organ Mass, Mozart’s Requiem, Rutter’s Gloria and Requiem, Clerambault’s Orphee and Abraham, Bach’s BWV 199 Mein Herze schwimmt in Blute, Haydn’s Creation, Handel’s Messiah and Beethoven’s Choral Fantasy with the Northwest Iowa Symphony Orchestra. She has also collaborated with Sounds of South Dakota in their production of Die Zauberflote. HE AT H W E B ER Heath Weber is the Associate Dean for Performing Arts at Morningside College in Sioux City, Iowa. Prior to his appointment at Morningside, Heath Weber worked in public school music education at all levels, K-12 in South Dakota, Minnesota and Iowa. Choirs and show choirs under his direction were awarded top honors at State, Regional and National levels. He holds a bachelors and Masters degree from Augustana College (now Augustana University) in Sioux Falls, SD and has completed coursework for the Educational Doctorate in Administration from the University of South Dakota. Weber has directed the South Dakota Ambassadors of Excellence for over two decades. The camp, a two-week immersion with experiences in various academic pursuits, leadership training and intense performing arts, exists for high ability youth from all over the country. Weber has led the group on 7 global performance tours reaching 5 continents and 23 countries. His dissertation work in gifted education has earned him appearances at the National Conference on Gifted Children in Minneapolis and numerous state gifted conventions in the upper Midwest. Mr. Weber has also appeared on the North Central acda convention as a presenter on Assessment in the choral classroom. His most recent presentation, “Building Creativity: A Do-It-Yourself Guide” was delivered to the Iowa Choral Directors

the tyberg project : music lost in the holocaust

TOP (L TO R):

DEBORA VOGEL, HEATH WEBER

BOTTOM (L TO R):

AMBER WELLBORN,

TIM WORTHINGTON

Association Summer Symposium in 2014. As clinician, adjudicator and guest conductor, Weber is in high demand across the country. His work with summer enrichment opportunities, team building and leadership training keeps his schedule full. A M BE R WE LL BO R N Amber Wellborn has distinguished herself as a soprano with a rich lyric tone and musical sensitivity. At the age of 17, she was featured in the National Public Radio program “From the Top,” and in 2008, at the age of 22, she won First Place in the prestigious Dallas Opera Guild Career Grant competition in 2008. She has been a regional finalist for the Metropolitan National Council Auditions, the Edward Baird Singer of the Year Competition, and has won numerous first place awards in various levels of the National Association of Teachers of Singing Texoma Regional Auditions. Wellborn has been featured in various recitals and programs for the Casalmaggiore International Chamber Music Festival in Italy and is active in opera and concert settings, Ms. Wellborn holds the Bachelor of Music in Vocal Performance from the University of North Texas where she studied with Linda Di Fiore, and is currently earning her Masters of Vocal Performance Degree at Baylor University, studying with Deborah Williamson. Wellborn is in her fifth season with The South Dakota Chorale. T IM WORT HIN GT O N Tim Worthington is a founding member of the South Dakota Chorale. He has been in love with classical choral music ever since he became a soprano member of the Kansas Boys Choir at age 11. During his college years he was a member of the K-State Singers and sang vocals for the Marion Roberts Jazz Trio in Manhattan, KS. He was delighted to be a member of the Kansas City Symphony Chorus for nine years and the Dakota Men’s Ensemble for two years. Tim has been a professional painter and pastor, and currently serves as Spiritual Director at Dow Rummel Village in Sioux Falls. He is married to the Rev. Kathryn Timpany, and together they have four children and three grandsons.

south dakota chorale

T HAN K YOU T O O UR D O N O R S PRIN C IPAL C O R P O R AT E S P O N S O R Sanford Health

LE AD E RS HIP CI R C L E PARTIAL UNDERWRITER $10,000 - $14,999

MAESTRO SPONSOR $2,500 - $4,999

PRINCIPAL SPONSOR $5,000 - $9,999

DIRECTORâ&#x20AC;&#x2122;S CIRCLE $1,000 - $2,499

Jack & Marilynn Mohlenhoff

Mark & Mary Kay Fausch

Daniel & Rebecca Blue

Cindy Moeller - Mobo Farms Dennis & JoAnn Schmidt

C IRC L E OF F R I EN D S SECTION LEADER $500 - $999

Eric & Jennifer Larson Janet Thietje PATRON $250 - $499

Jeff & Tami Hayzlett Scott Rose Robert & Connie Scott Deanna Wehrspann Music James & Karri Wiederrich

DONOR $100 - $249

Joan Clark Don & Shireen Levsen James & Marilyn Nyberg Mark & Linda Poppe Iona Powers Pat Wilhem FRIEND $25 - $99

Eldora Carnahan Patricia Helgeland Robin & Chris Houwman Del Hubers/Kevin Mickelsen John & Susan Mogen Paul & Pat Penn

T Y BE RG PROJ E C T K IC K S TART E R D O N O R S Mary Ellen Anderson Anonymous Anonymous Sally Bates Laura & Clinton Bray Rob & Miriam Broin Brock Bucklin Dwane & Marjorie Bucklin Tim & Natalie Campbell Craig Carnahan Erika Chang Daniel Chapa

Patrick Charbonneau Anna Christofaro Zachary Colby Craig Cruz Matthew Curran Mary D Isaac Dansicker Patricia Dark Jennica Date Caroline DeBoer Julie DeBoer Kathie DeBoer

the tyberg project : music lost in the holocaust

Chuck DeShazo Maximilian Eberl Julianna Emanski Kathryn & Bernard Emanski Maren Engel Jan Enright Lewayne M Erickson Mark Erickson Mark & Mary Kay Fausch Daniel Feldmann James Franklin Ruthan Freese Vincent Fung Fabiana B. Gonzalez John Grau Judith Greene Lydia Greene Lisa Grevlos Steven Grives William Haugen Tami Hayzlett Brandon Hendrickson Jianghai Ho Denise Hubbard Jim Hubbard Joseph Hubbard Rozalie Jerome Rebecca Janski Jurkowski Diana Kappen Paul Kirch Elizabeth Knight Cheryl Koch Benjamin Kornelis David Krouse Laura Ann Kuschel Margaret Lias Mike Lyle Samantha MacDonald Aasakiran Madamanchi Becky Martinez Lenora McCroskey Lionel Meunier John T. Meyer Cindy Moeller Jack & Marilynn Mohlenhoff Trevor Neal Bernard Paniccia Deborah & Darry Pearson

Denise Perry Andrea Petersen Caroline Petersen Kevin Pfeiffer Trevor Pryhorocki Connie Quirk Amanda Quist Barrett Radziun Jim Ray Hastings Reeves Rina Reynolds Chris Ripley Walker Robinson Suzanne Rousso Timothy Sawyer Alex Schilpp Brian & Andrea Schmidt Dennis & JoAnn Schmidt Peggy Settle-Kenefick Richard Sparks Amber Sperlich Gail & Carrie Sperlich Mandi Steele Melissa Stoller Elsa Tapio Joel Tigner Kathryn Timpany Robb Urbach Laura Vidler Sean Vogt Eric Damon Walters Robert Ward Melinda and Bradley Weber Deanna Wehrspann Renee G. Weinberg Gareth Wilson Matt Witten Heesung Yang Ann Zieser

south dakota chorale

I N PA R A D I S UM “...rich and impassioned lines that are distinctive in shape, shading and personality.” —Donald Rosenberg, Gramophone

“Few American choirs (or, for that matter, any others) have made this kind of open-mouthed, soul-satisfying first impression on me.” —Lindsay Koob, American Record Guide

IN PARAD IS U M , Premiere Recording

S A C R ED S O N G S OF LIFE & LOVE The South Dakota Chorale recently released their second commercial album for international distribution. It was produced by GRAMMY® award-winning producer, Blanton Alspaugh and GRAMMY® nominated sound engineer, Jesse Brayman. The album is recorded in the historic St. Joseph’s Cathedral in Sioux Falls, SD and is the second collaboration between the Chorale and Soundmirror, Inc. of Boston.

SAC RE D S ON GS O F LIF E & LOV E

P EN TAT O N E

PENTATONE

To learn more about our relationship with the esteemed Dutch-based record label Pentatone, please visit their website at pentatone.com.

S O U T H D A K O T A C H 32 ORALE.COM