Songs of Struggle, Compassion, and Redemption: Concert Program by musicavivany

SONGS OF STRUGGLE, COMPASSION AND REDEMPTION Works by Bach, Thompson, Johnson, Walker and Price

Sunday, January 23 2022 at 5pm Livestream from All Souls Church 1157 Lexington Ave., New York, NY 10075

MESSAGE FROM THE EXECUTIVE DIRECTOR

ike many of my friends and neighbors, I marched in protest in June 2020, masked and armed with hand sanitizer. I spent hours in the New York City heat, walking, standing still in the middle of intersections, kneeling, chanting, singing, and being in community. It was a disquieting time to spend in crowds. COVID vaccines still sounded like science fiction, and we understood less about how the virus is transmitted then, than we do now. Still, I can’t think of a more powerful confluence of events than the uprising of anti-racist fervor following the murder of George Floyd, and the intensity of the pandemic in our city, bringing with its unprecedented circumstances an unprecedented transparency of systemic racism and its intersection with class. There was nothing I felt like doing more in order to begin to address this. In her program note, Denne Michele Norris refers to “the peoples that have been most maligned by society”; we all saw (and some chose not to see) how the pandemic revealed systemic racism in its disproportionate effect on communities of color, both in terms of health and wealth, or lack thereof. These problems are on a global level, really, massive and seemingly intractable. In my circles, artists despaired – how to answer this moment in our language? What is there to do right now but march? Many, however, did create, and continue to create, work that engages this societal crisis meaningfully and even productively. Joel Thompson’s Seven Last Words of the Unarmed was written closer to the murder of Freddie Gray than that of George Floyd, but its resonance has not diminished. Having its genesis in a moment of personal processing, and evolving into something meant to be heard by others, the piece, Joel says, invites us to listen with love and hope. Music requires us to listen actively, mindfully; we can give the benefit of the doubt, and listen with an open mind, expecting beauty and transcendence, or we can listen cynically, already having made up our minds as to whether we will enjoy a piece. But isn’t it so much better to enter the concert hall with love, hoping to be utterly transported? Joel wonders, what if we approached everything with this kind of open-heartedness? I am so sorry we cannot share this program with you inside the church, but we love our community too much to put it at risk. We will gather safely to transmit it to you with commitment, love, and hope, and we will trust the power of technology to make sure it’s felt as strongly as possibly by you at home. I invite you, as you listen, to dwell a moment on the humanity of each person on your screen, and each person evoked in the course of the music. True recognition of another, and that we share more than we do not share, is the beginning of empathy. — Danielle Buonaiuto, Executive Director —2—

Sunday, January 23, 2022 5 pm Livestream from All Souls Church

SONGS OF STRUGGLE, COMPASSION AND REDEMPTION Works by Bach, Thompson, Johnson, Walker and Price Musica Viva NY chamber choir and orchestra Alejandro Hernandez-Valdez, Artistic Director Aeolus Quartet Trent Johnson, organ George Walker (1922-2018). . . . . . . . . . . II. Molto Adagio from Quartet No. 1 Aeolus Quartet Florence Price (1887-1953) . . . . . . . . . . Andante Moderato from Unfinished String Quartet in G Major Aeolus Quartet Joel Thompson (1988-). . . . . . . . . . . . . . . Seven Last Words of the Unarmed For chamber choir, string quartet, double bass, and piano “Why do you have your guns out?” – Kenneth Chamberlain, 66 “What are you following me for?” – Trayvon Martin, 16 “Mom, I’m going to college.” – Amadou Diallo, 23 Rodolfo Girón, countertenor “I don’t have a gun. Stop shooting.” – Michael Brown, 18 “You shot me! You shot me!” – Oscar Grant, 22 “It’s not real.” – John Crawford, 22 “I can’t breathe.” – Eric Garner, 43

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Intermission Trent Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elegy for Organ and Strings Trent Johnson, Organ Anonymous. . . . . . . . . . . . . . . . . . . . . . . . Victimae paschali laudes (plainchant) J. S. Bach (1685-1750) . . . . . . . . Cantata BWV 4, Christ lag in Todes Banden For chamber choir, strings and portative organ Sinfonia Versus 1: Christ lag in Todes Banden – Halleluja Versus 2: Den Tod niemand zwingen kunnt Versus 3: Jesus Christus, Gottes Sohn Versus 4: Es war ein wunderlicher Krieg Versus 5: Hier ist das rechte Osterlamm Paul Whelan, bass Versus 6: So feiern wir das hohe Fest Versus 7: Wir essen und leben wohl

We hope you’ll join us for our post-concert reception, which will feature some of the artists and creative team. The Zoom link is in your email.

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ABOUT THE PROGRAM Songs of Struggle, Compassion and Redemption

t’s no coincidence that a program constructed around Joel Thompson’s Seven Last Words of the Unarmed would highlight universal themes like struggle, compassion, and redemption. There isn’t a person in the world who doesn’t relate to each of these words in some way. And yet each word operates as a window into the soul of these pieces, a kind of lens through which we can better understand the composition, and the composer, while simultaneously trying to better understand the world around us—all while, in turn, delighting and devastating our sensibilities. In highlighting the work of composers from marginalized identities— which this program does—it’s easy, and all too frequent, to place undue emphasis on the struggle without paying attention to what the struggle ultimately aspires to: triumph, redemption, glory. These stories are rarely told in the context of classical music. They are universal, yes, but they are also specific and timely. When we find ourselves in the midst of struggle—personal, political, systemic, and otherwise—we are tasked with moving forward, extricating and freeing ourselves as we march along our chosen path in pursuit of our destination. This is the business of life, and it’s certainly the business of creating, composing, and producing great art. The composers you’ll be hearing today traversed this terrain. Their stories, and their compositions, are their legacy, and their voices will continue to be heard through these pieces. Keep your ears, hearts, and minds open as you listen. Come for the struggle in these songs, but stay for the hope in their melodies—as valid, specific, and important as any other. The program begins with Molto Adagio, the second movement of George Walker’s String Quartet Number 1. This pensive movement employs a tonal quality that is reminiscent of Samuel Barber, one of Walker’s piano teachers at The Curtis Institute of Music (where Walker was the first African-American graduate in 1945), and is the root of a larger orchestration— Lyric—perhaps his most well-known composition. A Pulitzer Prize winner, Walker was a vital American composer right up until his death in 2018. From there you’ll hear Andante Moderato from Florence Price’s Unfinished String Quartet in G Major. One of America’s earliest and most prolific Black composers, and the first African-American woman to have her music played by a major U.S. orchestra, Price has enjoyed a resurgence in popularity over the last few years. The Quartet in G Major is perhaps her —5—

ABOUT THE PROGRAM most well-known work; this movement in particular features a gorgeous songlike and spiritual melody. Joel Thompson’s 2015 masterpiece, Seven Last Words of The Unarmed is arguably the jewel of today’s program. Each of the seven men the piece names—Kenneth Chamberlain, Trayvon Martin, Amadou Diallo, Michael Brown, Oscar Grant, John Crawford, and Eric Garner—has a movement set to the text of their final words. It’s worth noting that the piece was inspired by Brooklyn-based journalist and artist Shirin Barghi’s #lastwords project, which covers much of the same ground. From the first notes, each of the seven movements follows a distinct musical style, in the tradition of Joseph Hadyn’s Seven Last Words of Christ, and every subsequent movement is equally as haunting as the last, suggesting that as horrific and individual as these deaths were, each victim is also a stand-in for so many more whose stories remain untold, and whose names remain forgotten. This piece is a plea for the soul of humanity. Trent Johnson’s Elegy for Organ and String Orchestra opens the second half of the concert, and is a natural follow-up to what comes before it. Equally as arresting as the previous pieces, the weight of the organ brings the audience on a somber spiritual journey, while the strings will traverse the terrain of struggle and grief, only to eventually honor those lost by introducing hope in the final notes. The Victimae paschali laudes that follows is one of few plainchant sequences still in use today. A prayer for compassion and blessing of the dead, this Catholic Gregorian chant lingers in its simple beauty, reminding all who listen of the glory of life, the tragedy of untimely death, and the redemption found in the spiritual life’s continuation beyond physical death. The final piece is one of Bach’s most beloved works, Cantata BWV 4, Christ lag in Todes Banden (Christ Lay in Death’s Bonds). Divided into seven movements with text, the first is a chorale fantasy that functions as a prologue. The piece’s eponymous movement is also a chorale, this one by Martin Luther and based on Victimae paschali laudes. The inclusion of this cantata in this program creates a mirror effect with the earlier Thompson, essentially telling the story of an unjust society and asking the audience to acknowledge and change that. With the tragic loss of unarmed Black men at the center of this program, ultimately due to implicit bias and systemic racism, we are reminded that a cornerstone of Christian teachings and texts is the Christ-like support of, and advocacy for, the peoples that have been most maligned by society. — Denne Michele Norris —6—

LETTER TO THE LISTENER

n November of 2014, a Staten Island grand jury chose not to indict the officer whose actions led to the death of Eric Garner.

To me, the message was clear. Any doubts I had seemed to evaporate. If I were to be killed in some interaction with authority figures, my loved ones should not expect justice. There could be a video recording of my futile attempts to describe my distress – “I can’t breathe” – with the arm of the law around my neck and the life fading from my eyes, and still, my death wouldn’t matter. My death wouldn’t matter enough to warrant a formal charge of even manslaughter or negligent homicide. This was not an isolated incident – this was a trend. The color of my skin is a capital offence. Seven Last Words of the Unarmed wasn’t written to be heard. It was essentially a sonic diary entry expressing my fear, anger, and grief in the wake of this tragedy. I was serving as director of choral studies and assistant professor of music at Andrew College in Cuthbert, Georgia and my musical life mostly consisted of conducting and piano, but I occasionally composed pieces and hid them away. Finishing this work in early January 2015 was a much-needed catharsis; I felt exorcised of the emotions that had drained my spirit. However, Freddie Gray’s death the following April urged me to try to bring Seven Last Words of the Unarmed to life. A Facebook post asking musician friends to sightread the work, a phone call by a friend to Dr. Eugene Rogers of the University of Michigan, a commission from Andre Dowell to fully orchestrate the work for the 20th anniversary of the Sphinx Organization, and the piece is alive six years later and I am very grateful. Liturgical settings of the Seven Last Words of Christ are not attempting to demonize the Roman soldiers that orchestrated the crucifixion, but they are designed to stir within the listener an empathy towards the suffering of Jesus. Similarly, this piece is not an anti-police protest work; it is really a meditation on the lives of these black men and an effort to focus on their humanity, which is often eradicated in the media to justify their deaths.

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LETTER TO THE LISTENER Listening to Seven Last Words of the Unarmed can be uncomfortable. As you listen, I ask that you try to remain open. It can be easy to let a spirit of defensiveness pollute the experience of the piece. I ask that you revisit the last moments of these men with fresh hearts: - Kenneth Chamberlain, Sr: the retired Marine who accidentally pressed his Life Alert necklace which recorded the police calling him a n***er before he was killed. (“Officer, why do you have your guns out?”) - Trayvon Martin: the teenage boy with his bag of Skittles being chased in his own neighborhood. (“What are you following me for?”) - Amadou Diallo: the young immigrant who called his mother in Guinea after he had saved up enough money to pursue a degree in computer science. (“Mom, I’m going to college.”) - Michael Brown: the recent high school graduate and amateur musician whose body lay baking in the street for four hours before being taken to the coroner. (“I don’t have a gun. Stop shooting!”) - Oscar Grant III: the young father (of a 4-year-old girl) who was shot in the back while handcuffed in a prone position at Fruitvale Station. (“You shot me! You shot me.”) - John Crawford: the other young father who was purchasing a BB gun for his son in a Wal-Mart in the open carry state of Ohio. (“It’s not real.”) - Eric Garner: the 43-year-old grandfather who was choked to death on camera on the streets of New York City. (“I can’t breathe.”) When the music is over, let us continue to listen. Let us listen to each other with love and hope for a more just future. Thank you. With love, — Joel Thompson

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MEET THE ARTISTS

ounded in 1977, Musica Viva NY is a chamber choir of thirty professionals and highly skilled volunteers, based in Manhattan’s historic All Souls Church. Its mission is to bring world-class music to a widening community through its annual concert series, community engagement programs, and an ambitious artistic vision. Under the baton of Alejandro Hernandez-Valdez since 2015, Musica Viva NY has been praised by The New York Times as an “excellent chorus.” Musica Viva NY has toured in France (2004), Germany (2006) and Italy (2012).

steemed conductor and pianist Dr. Alejandro Hernandez-Valdez was named Artistic Director of Musica Viva NY and Director of Music of the historic Unitarian Church of All Souls in Manhattan in 2015. He is also Co-Founder of the New Orchestra of Washington and Artistic Director of the Victoria Bach Festival. He has earned accolades from The Washington Post as a conductor “with the incisive clarity of someone born to the idiom,” as well as praise from The New York Times for leading “a stirring performance” of Brahms’ Ein deutsches Requiem. At a concert commemorating the 100th Anniversary of the WWI Armistice (featuring the world premiere of Joseph Turrin’s cantata And Crimson Roses Once Again Be Fair) Oberon’s Grove wrote: “Maestro Alejandro Hernandez-Valdez drew rich, warm sounds from the musicians” in “a beautiful and deeply moving program.” He is featured in El mundo en las manos/Creadores mexicanos en el extranjero (The World in Their Hands/Creative Mexicans Abroad), a book by the Mexican Ministry of Foreign Affairs honoring Mexican nationals who are leading figures in diverse artistic fields. He is the recipient of a 2016 Shenandoah Conservatory Alumni of Excellence Award for his exemplary contribution to his profession, national level of prominence, and exceptional integrity. He resides in New York City and Washington, D.C.

ith performances acclaimed for both “high-octane” excitement (Strad) and “dusky lyricism” (New York Times), the Aeolus Quartet has been awarded prizes at nearly every major competition in the United States and performed across the globe with showings “worthy of a major-league quartet” (Dallas Morning News). Formed in 2008, the Quartet is comprised of violinists Nicholas Tavani and Rachel Shapiro, —9—

MEET THE ARTISTS violist Caitlin Lynch, and cellist Alan Richardson. Mark Satola of the Cleveland Plain Dealer writes, “The quartet has a rich and warm tone combined with precise ensemble playing (that managed also to come across as fluid and natural), and an impressive musical intelligence guided every technical and dramatic turn.” The Aeolus Quartet has performed in venues ranging from the Chamber Music Society of Lincoln Center and Lincoln Center’s Great Performers Series to Weill Recital Hall at Carnegie Hall, to Dupont Underground, a subterranean streetcar station in DC’s Dupont Circle. They were the 2013-2015 Graduate Resident String Quartet at the Juilliard School and are currently Quartet-in-Residence at Musica Viva NY. In addition to extensive touring throughout the United States, the Quartet has recently been featured on “Inside Chamber Music” presented by the Chamber Music Society of Lincoln Center, at the Artosphere Festival hosted by the Walton Arts Center, and in the New York City premiere of chamber opera “Ellen West” at the Prototype Festival. Last season, they performed at Cornell University, the Austin Chamber Music Festival, the Santa Barbara Museum of Art, and NYC’s Bohemian National Hall, among others. The Aeolus Quartet has released two critically acclaimed albums of classical and contemporary works through the Longhorn/Naxos label which are available on iTunes, Amazon, and major retailers worldwide. Part of an ongoing series entitled Many-Sided Music, these albums promote the diversity and breadth of works by American composers. The next album in the Many-Sided Music series is slated for release in Spring 2020. The Quartet has performed across North America, Europe, and Asia in venues such as Alice Tully Hall, Weill Recital Hall at Carnegie Hall, Reinberger Recital Hall at Severance Hall, The Library of Congress, Renwick Gallery, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center. In addition, the quartet was recently featured on the hit Netflix show The Defenders. The Aeolus Quartet has been fortunate to collaborate with many of today’s leading artists, including Renee Fleming, Ida Kavafian, Joel Krosnick, Peter Wiley, Michael Tree, and Paul Neubauer. They studied extensively with the Juilliard, Guarneri, St. Lawrence, Cavani, and Miró Quartets. Other mentors include Peter Salaff, Donald Weilerstein, Itzhak Perlman, and Mark Steinberg. Members of the Quartet hold degrees from the Juilliard School, the Cleveland Institute of Music, the University of Maryland, and the University of Texas at Austin. — 10 —

MEET THE ARTISTS

rent Johnson is the Assistant Director of Music and Organist of All Souls Unitarian Church in NYC and Music Director and Conductor of the Oratorio Singers of Westfield, New Jersey. He is also an organist at Radio City Music Hall in New York City, where he plays the “Mighty Wurlitzer” organ for the Christmas Spectacular Show. He is a graduate of the Peabody Institute of the Johns Hopkins University and The Juilliard School, where he studied organ with Donald Sutherland, Peggy Haas-Howell and John Weaver. While a student, Trent was the Assistant Organist of the Brick Presbyterian Church in NYC. An active organ recitalist, Mr. Johnson frequently performs in the major churches of New York City, Washington, D.C., Boston, Northern New Jersey, Europe, and Asia. He has recorded the organ works of his friend and mentor, Pulitzer Prize winning composer George Walker for Albany Records, and is a frequent collaborator with brass instrumentalists. As a composer, he has written numerous works for chorus and orchestra, orchestral works, concertos, chamber music, song cycles, an opera, and works for organ and piano. Recent works include the world premiere of his opera Kenyatta, commissioned by Trilogy: An Opera Company, the oratorio Wittenberg – The Story of Martin Luther, his Hallelujah! chorus for chorus and orchestra, 10 Pieces for organ, written during the Covid pandemic, and his bass trombone concerto Across Continents, written for bass trombonist Darrin Millen, that will premiere in March of 2022 in São Paolo, Brazil. Trent is the recipient of grants from Meet the Composer, funding from the NEA, and is the recipient of the Wladimir and Rhoda Lakond Award in composition from the American Academy of Arts and Letters in New York City. In recent years Trent has developed an interest in the theater organ and in particular, accompanying silent films. He has accompanied many well-known films of the silent era including: The Phantom of the Opera (1925), The Hunchback of Notre Dame (1923), Dr. Jekyll and Mr. Hyde (1920), Nosferatu (1922), The Son of the Sheik (1926), The General (1926), The Freshman (1925), Safety Last! (1923), and Sunrise: A Song of Two Humans (1927).

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MEET THE ARTISTS

exican American Countertenor Rodolfo Girón is thrilled to join Musica Viva NY this season, with whom he has already performed as an alto soloist in Bach’s Magnificat and Vivaldi’s Gloria.

Later this season he will join The Dallas Opera in their production of Flight by Jonathan Dove. He will be covering renowned countertenor John Holiday in the role of Refugee. He will also be making his debut with Opera Dell’arte in their production of Il ritorno d’Ulisse, where he will perform the role of Melanto. Mr. Giron was a Semi-Finalist in Fort Worth Opera’s McCammon Voice Competition as well as winning second place at the New Hampshire Idol Competition. He also won the Metropolitan Opera Council Audition District of Puerto Rico. Other credits of his include Oberon in A Midsummer Night’s Dream, Ruggiero in Alcina, Arsamene in Serse, Nerone in L’incoronazione di Poppea, Cherubino in Le Nozze di Figaro, and The Sorceress in Dido and Aeneas. Mr. Girón received his Bachelor of Arts Degree from Pepperdine University and a Masters of Music Degree in Opera Performance from The Boston Conservatory at Berklee.

yric Bass Paul Whelan spent the last 18 months in his native New Zealand where he joined Christchurch City Choir for Handel’s Messiah, and appeared with Christchurch Symphony Orchestra for performances of Mozart’s Requiem. With Auckland Philharmonia Orchestra he sang the role of Rocco Fidelio in concert and with Wellington Opera the role of Commendatore (Don Giovanni). Lending his talent to local composer Tim Finn of Crowded House, he appeared as Captain James Cook (Ihitai ‘Avei’a – Star Navigator) for Opera New Zealand, and also sang the roles of Cadmus and Somnus (Semele). Recent past appearances include his appearance at Théâtre des Champs-Elysées in the role of Commendatore (Don Giovanni) in the Garsington Opera production on tour; Mícha (The Bartered Bride) also at Garsington; the role of Timur (Turandot) at Opera New Orleans; the world premiere of Stuart MacRae’s opera Anthropocene in the role of Captain Ross for Scottish Opera along with the role of Dikoj (Katya Kabanova). — 12 —

MEET THE ARTISTS Recently, Paul Whelan made his house debut at Lyric Opera of Kansas City in the role of Gremin (Eugene Onegin) winning outstanding reviews. He performed The Creation with the Arctic Philharmonic Orchestra and sang selections from the role of Hagen (Götterdämmerung) with the Jacksonville Symphony. Significant roles include the title role (Bluebeard’s Castle), Four Villains (Les Contes d’Hoffmann), Argante (Rinaldo), Apollon in Gluck’s Alceste, a staged production of Bach’s St. John Passion (directed by Deborah Warner), Schaunard in Leoncavallo’s La bohéme, Raimondo (Lucia di Lammermoor), Escamillo (Carmen), Harry Joy (Bliss) at Hamburg State Opera, The Assassin Tree at Edinburgh Festival, and Bird of Night for the Royal Opera House, Covent Garden. Concert appearances include Songs of the Fleet, Mountararat Iolanthe, The Dream of Gerontius (Priest and Angel of Agony), St. Matthew Passion, Judas (The Apostles), Songs and Dances of Death, Belshazzar’s Feast, Gurrelieder, Sea Drift, Valens in Handel’s Theodora. Paul is a winner of the Cardiff Singer of the World Lieder Prize. Conductors with whom he has collaborated include Sir Simon Rattle, Kent Nagano, Richard Hickox, Yehudi Menuhin, Valery Gergiev, Gary Bertini, and Vassily Sinaisky. Recordings include A Midsummer Night’s Dream with the London Symphony Orchestra under Sir Colin Davis (Philips), Kurt Weill’s Silber See under Markus Stenz (BMG), recordings with the BBC Philharmonic for Chandos and with the BBC Scottish Symphony for Hyperion.

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TEXTS Chant: Victimae paschali laudes — (The English Hymnal) Victimae paschali laudes immolent Christiani.

Christians, to the Paschal Victim Offer your thankful praises!

Agnus redemit oves: Christus innocens Patri reconciliavit peccatores.

A Lamb the sheep redeemeth: Christ, who only is sinless, Reconcileth sinners to the Father;

Mors et vita duello conflixere mirando: dux vitae mortuus, regnat vivus.

Death and life have contended In that combat stupendous: The Prince of Life, who died, reigns immortal.

Dic nobis Maria, quid vidisti in via?

Speak Mary, declaring What thou sawest wayfaring:

Sepulcrum Christi viventis, et gloriam vidi resurgentis

“The Tomb of Christ, who is living. The glory of Jesu’s Resurrection;

Angelicos testes, sudarium, et vestes.

Bright angels attesting, The shroud and napkin resting.

Surrexit Christus spes mea: Yea, Christ my hope is arisen: praecedet suos [vos] in Galilaeam. To Galilee he goes before you.” Credendum est magis soli Mariae veraci Quam Judaeorum Turbae fallaci.

Happy they who hear the witness, Mary’s word believing Above the tales of Jewry deceiving.

Scimus Christum surrexisse a mortuis vere: tu nobis, victor Rex, miserere. Amen. Alleluia.

Christ indeed from death is risen, our new life obtaining. Have mercy, victor King, ever reigning!

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TEXTS Christ lag in Todes Banden Christ lag in Todes Banden Für unsre Sünd gegeben, Er ist wieder erstanden Und hat uns bracht das Leben; Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein Und singen halleluja, Halleluja!

Christ lay in death’s bonds handed over for our sins, he is risen again and has brought us life; For this we should be joyful, praise God and be thankful to him and sing alleluia, Alleluia!

Den Tod niemand zwingen kunnt Bei allen Menschenkindern,. Das macht’ alles unsre Sünd, Kein Unschuld war zu finden. Davon kam der Tod so bald Und nahm über uns Gewalt, Hielt uns in seinem Reich gefangen. Halleluja!

Nobody could overcome death among all the children of mankind. Our sin was the cause of all this, no innocence was to be found. Therefore death came so quickly and seized power over us, held us captive in his kingdom. Alleluia!

Jesus Christus, Gottes Sohn, An unser Statt ist kommen Und hat die Sünde weggetan, Damit dem Tod genommen All sein Recht und sein Gewalt, Da bleibet nichts denn Tods Gestalt, Den Stach’l hat er verloren. Halleluja!

Jesus Christ, God’s son, has come to our place and has put aside our sins, and in this way from death has taken all his rights and his power, here remains nothing but death’s outward form, it has lost its sting. Alleluia!

Es war ein wunderlicher Krieg, Da Tod und Leben rungen, Das Leben behielt den Sieg, Es hat den Tod verschlungen. Die Schrift hat verkündigt das, Wie ein Tod den andern fraß, Ein Spott aus dem Tod ist worden. Halleluja!

It was a strange battle where death and life struggled. Life won the victory, it has swallowed up death. Scripture has proclaimed how one death ate the other, death has become a mockery. Alleluia! — 15 —

TEXTS Christ lag in Todes Banden Hier ist das rechte Osterlamm, Davon Gott hat geboten, Das ist hoch an des Kreuzes Stamm In heißer Lieb gebraten, Das Blut zeichnet unsre Tür, Das hält der Glaub dem Tode für, Der Würger kann uns nicht mehr schaden. Halleluja!

Here is the true Easter lamb that God has offered which high on the trunk of the cross is roasted in burning love, whose blood marks our doors, which faith holds in front of death, the strangler can harm us no more Alleluia!

So feiern wir das hohe Fest Mit Herzensfreud und Wonne, Das uns der Herre scheinen läßt, Er ist selber die Sonne, Der durch seiner Gnade Glanz Erleuchtet unsre Herzen ganz, Der Sünden Nacht ist verschwunden. Halleluja!

Thus we celebrate the high feast with joy in our hearts and delight that the Lord lets shine for us, He is himself the sun who through the brilliance of his grace enlightens our hearts completely, the night of sin has disappeared. Alleluia!

Wir essen und leben wohl In rechten Osterfladen, Der alte Sauerteig nicht soll Sein bei dem Wort Gnaden, Christus will die Koste sein Und speisen die Seel allein,, Der Glaub will keins andern leben. Halleluja!

We eat and live well on the right Easter cakes, the old sour-dough should not be with the word grace, Christ will be our food and alone feed the soul, faith will live in no other way. Alleluia!

Text by Martin Luther, translation by Francis Browne

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MUSICA VIVA NY Choir

Orchestra

Soprano

Violin I

Shabnam Abedi Katie McCreary Erinn Sensenig Elena Williamson

Nick Tavani, Concertmaster Kobi Malkin

Alto Rodolfo Girón Madalyn Luna Andrew Troup Heather Petrie

Tenor Shawn Bartels Paul D’Arcy Nathan Siler

Bass James Dargan Paul Whelan David Baldwin Frederick Diengott

Violin II Rachel Shapiro Ben Russell

Viola Caitlin Lynch Celia Hatton Maurycy Banaszek Nathan Schram

Cello Sameer Apte

Bass Lizzie Burns

SAVE THE DATES FOR THE REST OF THE MUSICA VIVA NY 2021-2022 SEASON IN NATURE’S REALM: A Musical Homage to Mother Earth March 27, 2022 at 5pm at All Souls Church

SERGEI RACHMANINOFF: All-Night Vigil & Symphonic Dances May 22, 2022 at 5pm at All Souls Church Full details available on our website at www.musicaviva.org — 17 —

MUSICA VIVA NY Staff Artistic

Administrative

Alejandro Hernandez-Valdez Conductor and Artistic Director Trent Johnson Assistant Director of Music

Danielle Buonaiuto Executive Director Ray Henninger Operations Administrator and Production Manager Dinah Nissen, Esq. Marketing Director Barbara de Bellis Librarian Hannah Nacheman Digital Marketing Consultant

Board of Directors Melanie Niemiec President Bill Bechman Vice President Winnie Olsen Secretary

Lisa O’Brien, Esq. Treasurer Constance Beavon Shu-Wie Chen Dinah Nissen, Esq. Harold Norris

Kate Phillips David Rockefeller, Jr. Thomas Simpson

Advisory Board Seymour Bernstein Laurel Blossom Renée Fleming

Galen Guengerich Susan Jolles Walter Klauss Artistic Director Emeritus

Jean-Louis Petit Bruce Saylor

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MUSICA VIVA NY PATRON SUPPORT LEVELS FOR OUR 2021-22 SEASON

ecome a Patron of Musica Viva NY today! We need your generous contributions to support the outstanding concerts and outreach programming of the Musica Viva NY choir and instrumentalists. There is a level for every budget, and you will enjoy special benefits as a measure of our thanks. Your contribution can be made as a one-time gift, or on a recurring basis.

PATRON LEVELS APPASSIONATO $10,000 and above ⚫ Up to four Musica Viva NY soloists will perform at your private event in the NYC area ⚫ Invitation to a dinner featuring a special performance by the Artistic Director ⚫ Invitation to special Patron reception ⚫ Six complimentary season subscriptions ⚫ Reserved seating CON FUOCO $5,000 to $9,999 ⚫ A Musica Viva NY soloist will perform at your private event in the NYC area ⚫ Invitation to a dinner featuring a special performance by the Artistic Director ⚫ Invitation to special Patron reception ⚫ Five complimentary season subscriptions ⚫ Reserved seating

CON BRIO $3,000 to $4,999 ⚫ Invitation to a dinner featuring a special performance by the Artistic Director ⚫ Invitation to special Patron reception ⚫ Three complimentary season subscriptions ⚫ Reserved seating RISOLUTO $1,000 to $2,999 ⚫ Invitation to special Patron reception ⚫ Three complimentary season subscriptions ⚫ Reserved seating ESPRESSIVO $500 to $999 ⚫ Invitation to special Patron reception ⚫ Two complimentary season subscriptions ⚫ Preferred seating CANTABILE $100 to $499 ⚫ Invitation to special Patron reception ⚫ Preferred seating DOLCE $25 to $99 ⚫ Acknowledgment in program at all levels — 19 —

MUSICA VIVA NY PATRONS 2021-22

e are deeply grateful to our Patrons listed below for their support of our 2021-2022 season. Thank you for joining us! Your support for our outstanding Musica Viva NY artists, our high-caliber, innovative choral and chamber music performances, and our community engagement is vital and essential. Corporate and Foundation Support

Risoluto $1,000 - $2,999 One Anonymous Donor

Gunleif Jacobsen and Thomas Simpson Charitable Fund

Constance Beavon

New York City Department of Cultural Affairs

Stillman Brown & Meg Raftis

Tom & Heli Blum

The Blackbaud Giving Fund

Lisa & Richard Cashin

The Heart & Soul Charitable Fund

George Dorsey

The Rea Charitable Fund

Lois Gaeta, In Memory of David Remember Baker

Appassionato $10,000 and above

Christopher Galas Pamela Healey

Don & Georgia Gogel

Cherie Henderson & David Poppe

Melanie & David Niemiec

Rev. Dick Leonard

Susan & David Rockefeller, Jr.

Carri Lyon

Con Fuoco $5,000 to $9,999 Jennifer Shotwell

Ricardo Mestres Jr. and Patricia T. Hayot

Tom Simpson

Harold Norris & Kell Julliard Winnie Olsen

Con Brio $3,000 to $4,999

Marnie Pillsbury

Bill Bechman & Tom Garlock

Aracy & Klaus Winter

Shu-Wie Chen Dinah Nissen & Elizabeth Apelles

Espressivo $500 - $999

Fritz & Ingrid Reuter

Lynne & Richard Allen

Madonna K. Starr

Christina Bellamy

Brenda Walker & Peter Swords

Robin Bossert Miles Chapin Barbara de Bellis, in memory of Greta Minsky — 20 —

MUSICA VIVA NY PATRONS 2021-22

Richard and Cynthia Esposito Dixie Goss & Dan Cryer

Marilyn Scott Murphy, in memory of Hector Phelps

Mary Gundermann

Guy Quinlan & Mary Ella Holst

Margaret T. MacCary

The Lynne S Randall Charitable Fund

James Moskin

Katherine Redd

Kate Phillips Judy Samuelson & Vic Henschel Karen Steele Deborah Taylor Beverly Benz Treuille Ned Whitney & Martha Howell Cantabile $100 - $499 Four Anonymous Donors Julie Brannan Anne Brewer Danielle Buonaiuto

Barbara Reed & Dan Schlieben Gayle S. Sanders Sheree Silvey & Philip Paty Epp Sonin Bradley Strauchen-Scherer Elizabeth Millard Whitman Dolce $25 - $99 Six Anonymous Donors Bonnie Hetzel John T. Moran

Sandra Lotz Fisher Jeffrey & Marjory Friedlander Ed Harsh & Peggy Kampmeier Carol Kirkman Steven Lane Millie & John Liebmann Peggy Montgomery

This list reflects gifts received from June 1, 2021 to January 11, 2022. — 21 —

SUPPORT MUSICA VIVA NY

SPONSOR MUSICA VIVA NY There are many opportunities to play a role in bringing Musica Viva NY’s season to life as a sponsor, including: ⚫ Underwriting a concert ⚫ Underwriting the appearance of a professional singer or ⚫ orchestra member ⚫ Underwriting an appearance by the Aeolus Quartet ⚫ Underwriting an intimate post-concert reception with the artists

Naming opportunities are available for sponsors. Contact Danielle Buonaiuto, Executive Director at dbuonaiuto@musicaviva.org.

To find out more about other ways to support Musica Viva NY (including employer matching, volunteering, and monthly giving) please contact our Executive Director at dbuonaiuto@musicaviva.org.

— 22 —

Musica Viva NY is extremely grateful for the following help with its 2021-22 season from:

All Souls Unitarian Church (www.AllSoulsNYC.org) for Musica Viva NY’s meeting, rehearsal, performance, and reception spaces as well as for the facilities and events staff who help make all productions run smoothly

Greater than One (www.thegtogroup.com) for Musica Viva NY’s website and publicity design

Heart & Soul Fund, Inc. for its longtime support of our outreach programming

We are grateful to Iris Mediaworks for filming this concert for livestream.

Musica Viva NY 1157 Lexington Avenue New York, NY 10075

212 794 3646 info@musicaviva.org