[ high notes ] Honors Ted McAniff

2 L O S A N G E L E S M A S T E R C H O R A L E

[ h i g h n o t e s ]

High School Choir Festival freetickets available this WednesdayThe Master Chorale’s annual High School Choir Festival,featuring a massive 900-voice choir, moves to WaltDisney Concert Hall on Friday, April 23. Conducted byMusic Director Grant Gershon, the day-long festival,features singers from 23 schools across the Southland.Sponsored by the Master Chorale Associates, the festi-val is one of the largest high school choir gatherings inthe nation and is the culmination of a year-long in-school music education program that provides vitaltraining for young singers.

This year’s program includes works by six composersspanning the centuries: Lumen ad revelationem byWilliam Byrd; Der Gang zum Liebchen by JohannesBrahms; Regina Coeli by Wolfgang Amadeus Mozart;Alleluia by Randall Thompson; Salmo 150 by ErnaniAguiar; Good News, The Chariot’s Comin’ arranged byMoses Hogan. The Mozart work features four highschool soloists selected by Gershon through an audition.

Friday, April 23 at 1 p.m. Tickets to the free concert will be available

beginning Wednesday, March 10 at 10 a.m. by calling 213-972-7282 or at

noon at the Walt Disney Concert Hall Box Office, 111 South Grand Avenue

at First Street in downtown Los Angeles.

Inside2 High Notes

4 Meet the Artists

5 Tonight’s Concert

12 Circle of Friends

& Roger Wagner

Society

13 Administration

14 Master Chorale

Associates

15 The Music Center

Music for the HeartProfoundly deaf while completing Missa solemnis in 1823,Beethoven worked in solitude to create an uplifting work thatsoars with energy. He wrote, “My chief aim was to awaken andpermanently instill religious feelings not only into the singers butalso into the listeners.” The Mass, written for Beethoven’s grandpatron and student, the Archduke Rudolph, was not restricted toa church setting. The composer felt that its length and thenumber of musicians it required made it ideal for the concert hall.

Sunday, March 28 at 7 p.m. Soloists appearing with the Chorale include soprano Elissa

Johnston, mezzo-soprano Paula Rasmussen, tenor Stanford Olsen, and bass Ron Li-Paz.

For tickets and information, call 213-972-7282 or log on to WWW.LAMC.ORG.

40th Anniversary GalaHonors Ted McAniffCelebrating four decades of musical excellence as one ofthe nation’s leading choirs, the Master Chorale honorsChairman Edward (Ted) J. McAniff for his extraordinarycontributions to the Chorale and The Music Center.McAniff's involvement with the Chorale spans 20 years -half of the organization's life. He was initially recruited byMarshall Rutter two decades ago to join the MasterChorale Board of Directors, and for the past seven yearshas served as its chairman, providing exemplary leadershipand guidance.

In addition to his involvement with the Master Chorale,McAniff has served on the Board of The Music Center andits Executive Committee for more than a decade. He wastapped four years ago by then Chairman Andrea Van deKamp to join a four-person Office of the Chair. Amonghis accomplishments, McAniff was instrumental in effectu-ating the merger of the Music Center, Inc., into theMCOC, which became the Performing Arts Center of LosAngeles County. For his work on this, Van De Kamp affec-tionately dubbed him the “Field Marshall of Mergers.”

Saturday, May 8 at 6:30 p.m., Dorothy Chandler Pavilion. Tickets are $400 per person.

Patron packages, which include special benefits, are also available at $750 and $1,000

per person. To reserve, call 213-972-3110.

L O S A N G E L E S M A S T E R C H O R A L E 3

Luckman Hosts L.A.’s Jazz GreatsIt’s not many musicians who can claim JohnColtrane, Wayne Shorter and Yusef Lateef asmentors. But Bennie Maupin, flutist, saxo-phonist and bass clarinetist, born in Detroit,Michigan — in the heart, as it happens, ofMotown — can and does. Also citing theseiconic musicians as huge influences, Maupin,63, waxes sentimental at the mere mention ofthese jazz greats.

“I just saw Yusef in New York a few weeksago,” says Maupin. “He is the first person whogave me the idea of becoming a multi-instru-mentalist. He played flute, sax, oboe, bassoon.He was pioneering what is now known asworld music, exploring the scales from theMiddle East and Asia.”

Maupin’s own play list is equally illustrious.After studying at the Detroit Institute ofMusic, he hooked up with the Four Tops,going with them to the Catskills in upstateNew York. But it was during a break inManhattan, where Maupin heard TheloniusMonk vamping at a club, that changed his life.

“There in the audience,” recalls Maupin, “Isaw a lot of faces I recognized from albumcovers, and I had an epiphany. I had to be inNew York.”

Maupin stayed in the Big Apple for 10 years,recording with, among others, Horace Silver,McCoy Tyner and Miles Davis. Indeed,Maupin’s distinctive bass clarinet can be heardon Davis’ 1969 seminal work, “Bitches Brew.”

“Miles was a great person to be around,”recounts Maupin. “I’d grown up listening tohis music, then to be asked to perform onthat recording was a great opportunity. Hegave me the forum I needed to establish myown voice.”

In 1972, Maupin moved West, making more

magic with Herbie Hancock, on theirGrammy-nominated collaboration,“Headhunters.” Selling more than one millioncopies, the record not only earned Maupin ahouse, but a stellar reputation.

Explains Maupin, whose signature tune“Chameleon,” was integral to the work: “Thealbum came about as a result of us jamming.We found a way to give it form and record it.Once it was released, it really caught on. Wewere the first jazz group to ever sell goldstatus. For an instrumental group, that was alandmark.”

Maupin eventually settled in Altadena, wherehe still lives, as do other musical denizens,including Billy Childs, Patrice Rushen and JeffClayton. And while Maupin may not be asactive in the studio these days, he does have anew quartet — Bennie Maupin Ensemble, thatrecently played New York. Maupin has alsobeen studying film scoring and teachingmaster classes in Europe (last year he taughtat Rotterdam Conservatory of Music), as wellas at the Brubeck Institute in Stockton.

As a member of the Luckman Jazz Orchestra,Maupin is, well, jazzed, about playing DukeEllington’s Sacred Concert works. “It’s musicthat was so deeply personal, because it repre-sented his spiritual connection, which is notwhat you commonly hear when you hear hismusic. Sitting in the orchestra and playingthese parts and listening to what’s going on,it’s an unbelievable feeling.”

Read other Luckman Jazz profiles by Victoria Looseleaf on our Web

site at WWW.LAMC.ORG. Victoria Looseleaf is a freelance arts writer and

regular contributor to the Los Angeles Times, Reuters and the

Washington, D.C.-based Talk Radio News. She is also the producer-

host of the long-running cable access television show on the arts,

“The Looseleaf Report.”

Board ofDirectorsEdward J. McAniff, ChairmanMark Foster, PresidentW. Scott Sanford, President–ElectEverett F. Meiners, SecretaryPenelope C. Roeder, Ph.D.,

Treasurer

DirectorsJeffrey BriggsSamuel ColemanAnn Graham Ehringer, Ph.D.Capri L. HagaRobert HaniseeVictoria HobbsMrs. Peter KuyperMarguerite Marsh, Ph.D.Albert J. McNeilRaymond NeevelDonald J. NoresCheryl PetersenSusan Erburu ReardonElizabeth RedmondEric A.S. RichardsMarshall A. RutterDavid N. SchultzRichard SpelkePhilip A. SwanElayne TechentinIan White-ThomsonKen Williams

Honorary DirectorsMrs. Dolores HopeMorten J. LauridsenClifford MillerAnne Shaw PriceHarrison PriceCharles I. SchneiderMrs. Rosemary Willson

Ex-Officio MembersHelen Birch, Chorale

RepresentativeGrant Gershon, Music DirectorTerry Knowles, Executive DirectorJane Valentine Sweetser,

President, Master ChoraleAssociates

Burman Timberlake, ChoraleRepresentative


Grant Gershon(Music Director)has garneredtremendous criti-cal acclaim duringhis two seasons atthe helm of therenowned LosAngeles MasterChorale. The LosAngeles Timesproclaims,“Gershon is adirect, unfussyconductor, whovalues clarity,clean execution

and immediate statements.” He has also beenhailed for creating, “a dark, rich sound awash withresonant sparkling amplitude,” and his program-ming has been applauded for being “as warmly spiri-tual as it is ambitious.”

Since joining the Chorale, Mr. Gershon has expandedthe choir’s repertoire considerably by conducting anumber of world premieres, including Messages andBrief Eternity by Bobby McFerrin and Roger Treece,Donald Crockett’s Broken Charms, Tania León’s Rezos(Prayers), and Sharon Farber’s Mother’s Lament, as wellas the U.S. premiere of Esa-Pekka Salonen’s first choralwork, Two Songs to Poems of Ann Jäderlund.

Mr. Gershon has guest conducted the St. PaulChamber Orchestra, Houston Grand Opera, JuilliardOpera Theatre, and the Finnish chamber orchestraAvanti!, among others, and has conducted perfor-mances at the Edinburgh, Vienna and Helsinki,Ravinia and Aspen Music Festivals, the Roma-EuropaFestival and the Festival Otonno in Madrid. In addi-tion to recording with the Los Angeles MasterChorale, Mr. Gershon has made a number of otherrecordings, and served as chorus master on twoGrammy Award-nominated recordings, Sweeney Todd(New York Philharmonic Special Editions) and Ligeti’sGrand Macabre (Sony Classical).

Prior to joining the Chorale, Mr. Gershon served asassistant conductor of the Los Angeles Philharmonicfrom 1994–97. Mr. Gershon also served as Assistant

Conductor/Principal Pianist with the Los AngelesOpera, where he participated in over forty produc-tions and garnered a reputation as one of thecountry’s exceptional vocal coaches.

The Los Angeles Master Chorale celebrates its40th Anniversary with this inaugural season at WaltDisney Concert Hall. Recognized as one of LosAngeles’ cultural treasures, the Chorale has receivedaccolades for its innovative and dynamic program-ming, and its commitment to commissioning newworks. Last June, the Master Chorale received theprestigious ASCAP/Chorus America Award forAdventurous Programming.

The Los Angeles Times has stated that the Chorale“has become the most exciting chorus in the countryunder Grant Gershon,” and also described theChorale’s performances as “masterly,” “ethereal” and“alluring.” Billboard says the Chorale’s “singing anddirection are first-rate,” while Gramophone calls thechorus “sonically exhilarating.”

This groundbreaking 2003–04 season features thelargest number of concerts in the history of thechorus. Program highlights include two worldpremieres by Bobby McFerrin and Roger Treece,Duke Ellington’s Sacred Concert, and Beethoven’sMissa Solemnis. The Chorale also collaborates withthe Los Angeles Chamber Orchestra in a Bach-Festconducted by Helmuth Rilling.

The Chorale has released three CDs under the batonof Music Director Emeritus Paul Salamunovich,including the Grammy-nominated Lauridsen-LuxAeterna, Christmas, and a recording of DominicArgento’s Te Deum and Maurice Duruflé’s Messe“Cum Jubilo.” The Chorale’s first CD with MusicDirector Grant Gershon was released in September2002 and features Esa-Pekka Salonen’s first choralwork, Two Songs to Poems of Ann Jäderlund, andPhilip Glass’ Itaipu. In addition, the Los AngelesMaster Chorale is featured under PaulSalamunovich’s leadership on the soundtracksof numerous major motion pictures, includingA.I. Artificial Intelligence, My Best Friend’s Wedding,The Sum of All Fears, Bram Stoker’s Dracula andWaterworld.

[ m e e t t h e a r t i s t s ]


Los Angeles Master ChoraleGrant Gershon | Music Director

The Rena Waltz Pierson Music Directorship, a gift of thePierson and Lovelace Families to honor Lillian Lovelace’s mother

Ellington’s Sacred ConcertSunday, March 7, 2004 7 p.m.Tuesday, March 9, 2004 7:30 p.m.Walt Disney Concert Hall

Latecomers will be seated at the first convenient pause in the performance. Use of tape recorders, telephones, pagers, and/or cameras

is prohibited in the auditorium. Programs and artists subject to change. Patrons cannot be paged during a performance.

Grant Gershon, conductor | James Newton, conductor

Los Angeles Master Chorale | Luckman Jazz Orchestra

Faithful Central Bible Church Heritage Chorale, Henrietta Davis, conductor

Bobette Jamison-Harrison, mezzo soprano | Darius de Haas, tenor | Nmon Ford, baritone

Nolan Shaheed, trumpet (March 7) | Michael Harris, trumpet (March 9)

Ardie Bryant, tap dancer | Channing Cook Holmes, tap dancer

In the Beginning God Mr. Ford, Chorus

Will You Be There? Mr. Ford, Chorus

Ain’t but the One Mr. Ford, Chorus

Heaven Mr. de Haas

23rd Psalm Ms. Jamison-Harrison

The Shepherd Who Watches Over His Nightflock Mr. Shaheed (March 7)Mr. Harris (March 9)

David Danced Before the Lord With All His Might Mr. Bryant, Mr. Holmes, Chorus

I N T E R M I S S I O N

Almighty God Mr. de Haas, Chorus

Something ’Bout Believing Mr. Ford, Chorus

Father Forgive Mr. Ford, Chorus

It’s Freedom Mr. de Haas, Chorus

Come Sunday Ms. Jamison-Harrison

Praise God and Dance Mr. de Haas, Mr. Bryant, Mr. Holmes, Chorus

The Luckman Jazz Orchestra resides at

the Harriet & Charles Luckman Fine Arts

Complex at California State University,

Los Angeles.

C O N C E R T S P O N S O R S

Mellon Private Wealth Management

City of Los Angeles Cultural Affairs

Department

National Endowment for the Arts

K-Mozart 105.1 is the Official Radio

Station of the Los Angeles Master

Chorale. Tonight’s concert will be

broadcast on Monday, March 15

at 8 p.m.

Tonight’s concert is a selection

of music written and performed

by Edward Kennedy “Duke” Ellington

(1899–1974) in three different sacred

concert programs during the last

nine years of his life. Music for

tonight’s concert is transcribed

by David Berger.

[ t o n i g h t ’ s c o n c e r t ]


Edward Kennedy Ellington once said, “Put it thisway. Jazz is a good barometer of freedom. In itsbeginnings, the United States of America

spawned certain ideals of freedom and indepen-dence through which, eventually, jazz was evolved,and the music is so free that many people say it isthe only unhampered, unhindered expression ofcomplete freedom yet produced in this country.”Jazz evolved from three other distinctly Americangenres: the unaccompanied work and prayer songsof slavery known as “spirituals;” the improvisatoryhymns of Black Baptist churches and the “blues” —which were virtually the same, musically speaking;and the animated syncopations of ‘ragtime’.

Noted author Geoffrey C. Ward writes in his epicJazz: A History of America’s Music (Alfred A. Knopf,2000): “Jazz music would eventually embody bothkinds of invocation, the sacred and the secular, andNew Orleans musicians would be the first to deepenthe infinitely expressive sound of the blues by bring-ing it to their horns, the first to echo the collective‘moan’ of the congregation, the first to reproducethe call-and-response patterns of the religiousexhorter and his transported flock.” Ward also citesSidney Bechet, the “New Orleans clarinet master”who recalled: “...and both of them, the spirituals andthe blues, they was a prayer: one was praying... ‘OhGod, let me go...’ and the other was saying, ‘OhMister, let me be.’ ”

A trade center for the entire Mississippi Valley, NewOrleans was on the cutting edge of cultural develop-ments, both receiving and disseminating the latestfrom upriver and abroad. Music was at the heart ofthis culture as, by 1850, the city could boast not onlya “white” but a “creole” orchestra and three operahouses with tiered seating available to whites,creoles and slaves. To the amazement of visitors,slaves could be heard singing popular arias whilelocals hardly noticed. In general, there was a some-what greater tolerance for racial differences and“mixing” in society than in other parts of the segre-gated South. One year and twelve days after theCivil War’s opening salvo on Fort Sumter, in April1861 a Union fleet steamed up the river and forced thecity’s surrender. Federal occupation seemed to signala new birth of freedom for the thousands of runawayslaves who soon crowded into the city.” (Ward).

“It was the most impor-tant thing I ever did.” —Duke Ellington

The year was 1965. The place

was San Francisco’s Grace

Cathedral. The phenomenon

was the first in the legendary

series of worldwide perfor-

mances known as the Sacred

Concerts.

A Quest for Freedomby Peter Rutenberg


New Orleans became the first American cityto experience racial integration as a result ofthe Civil War — from the marketplace to theopera house, and from the baseball diamondto the classroom. Military bands lost theirmartial purpose and soon their instrumentswere at the disposal of recreational andcultural pursuits. After the war, segregationwould return, and by the 1890s, Jim Crow lawswould once again be strictly enforced. Nomatter, for the seeds of jazz’s inevitable risehad been sown deep in the muddy soil of thatbrief era of freedom.

Duke Ellington, as he came to be known inschool, was called ‘blessed’ by his motherDaisy, a devoutly-religious woman whoconsidered him the long-awaited answer toher prayers. She smothered him with love andencouragement, kept him away from negativeinfluences, assiduously removed any and allbarriers to his progress, and remained hisinspiration for the rest of his life. Ward writes:“He was born in northwest Washington onApril 22, 1899, and spent his earliest years in abig comfortable house on Ward’s Place, just afew blocks from the White House. Thenation’s capital then had the largest blackpopulation of any city in the United States —nearly one hundred thousand souls…

Ellington’s father James Edward was a butler toa prominent Washington physician, sometimesserved as a caterer at the White House, andeventually became a blueprint maker at theNavy Yard. But his son remembered that ‘heraised his family as if he were a millionaire.’ ”

An accomplished pianist herself, Daisy saw toit that Edward learned the instrument as soonas he could reach the keyboard and faithfullymonitored his daily practice. At 15, while thetwo were on vacation in Asbury Park, a chanceencounter with the Philadelphia ragtimepianist Harvey Brooks “changed his life,” as thecomposer later asserted. Ellington recognizedthat Brooks’ ‘voice’ was unique, a mark of hisown identity, and conceived then and therethat he would find a way to achieve that sameuniqueness for himself. The breakthroughcame in 1923 when Ellington caught clarinetistSidney Bechet’s show at Washington’s Howard

Theater. “All wood... all soul, all from theinside,” he said. “It was my first encounter withthe New Orleans idiom. I had never heardanything like it.” As Ward notes: “When thetime came, Ellington would make that soundand conception central elements in his ownextraordinary music.” The “sound” becameinstantly recognizable and his persona the hall-mark of “class” in jazz entertainment. Hisboundless, driving creativity would propel himto worldwide fame and an enduring place ofhonor in the American cultural pantheon.

Back in 1965, responding to the fervent spiri-tuality of a childhood spent in two churches(the Baptist Church of his mother’s family andthe African Methodist of his father’s), a fasci-nation with the Bible, and a pressing need tothank his maker for the fulfilling richness ofhis life, Ellington wrote the first of threeSacred Concerts synthesizing all the elementsand influences of his beloved New Orleansjazz, the secular together with the sacred. Theoccasion of his 70th birthday in 1969 wasmarked at the White House with a ceremonyfor the Presidential Medal of Freedom.Ellington would say in accepting the award,“The word ‘freedom’ is one that we are usingat the moment in our Sacred Concert. And ofcourse we speak of freedom of expression, wespeak of freedom as something sweet andfat...but in the end... what we actually say is...freedom from hate, unconditionally; freedomfrom self-pity; freedom from fear....”

The music of the Sacred Concerts centers onthe quest for freedom. Ellington’s innatetalents, childhood values, and drive to cele-brate the richness of human life helped forma uniquely individual voice that was itself thequintessence of jazz, and thus, a lifelongembodiment of that quest.

Peter Rutenberg is producer of the Chorale’s latestalbum, Glass • Salonen, as well as of Argento • Durufléand the Grammy-nominated Lauridsen • LuxAeterna. He produced The First Art national radioseries for nine years and is founding music direc-tor of Los Angeles Chamber Singers & Cappella.This is Mr. Rutenberg’s sixth season as theChorale’s Program Annotator.

The SacredConcertsThe Sacred Concert programs

began as a compilation of earlier

ideas from Ellington’s 1943

Carnegie Hall concert Black,

Brown and Beige, and from My

People, created for the 1963

Century of Negro Progress

Exposition in Chicago.

Tonight’s works from the First

Concert, Grace Cathedral in San

Francisco, September 16, 1965:

In the Beginning God

Will You Be There? from My

People

Ain’t but the One from My

People

David Danced Before the Lord

With All His Might from My

People; title from 2 Samuel 6:14

Come Sunday, music by Duke

Ellington and Billy Strayhorn

(1915–1967) from Black, Brown

and Beige

Tonight’s works from the

Second Concert, first performed

at the Cathedral of St. John the

Divine, New York in 1968:

Heaven

Almighty God

Something ’Bout Believing

Father Forgive

It’s Freedom

Praise God and Dance

Tonight’s work from the Third

Concert, first performed at

Westminster Abbey, London in

1973:

The Shepherd Who Watches

Over His Nightflock

23rd Psalm is from Black,

Brown and Beige (1943),

music by Duke Ellington and

Mahalia Jackson



SopranosBeata BalonTania BatsonSamela Beasom Marian Bodnar Deborah BriggsVicky BrownRenee Burkett-Shulgold Pamela ChapinClaire Fedoruk Rachelle FoxMarie Hodgson Karen Hogle Janet HookGina HowellGloria Seunghee KimEmily LinCindy Martineau Deborah MayhanSusan MillsMarnie MosimanFrances Pampeyan Theresa PattenHolly Shaw PriceLinda SauerStephanie SharpeJulia TaiDiane Thomas Nancy von OeyenSun Joo Yeo

AltosNicole BakerMary BaileyHelen BirchSarah BloxhamLeanna BrandAleta BraxtonLeberta ClarkCheryll DesbergBarbara DurhamSarona FarrellAmy FogersonMichelle FournierShin Ae HanSaundra Hall HillKyra HumphreyAdriana Lopez-YoungSara MintonSheila MurphyAlice Kirwan MurrayAnita NardineNancy OBrienHelene QuintanaLeslie Inman SabedraNike St. ClairKimberly SwitzerTracy Van FleetDiane WallaceJennifer WallaceBarbara WilsonDiana Zaslove

TenorsBrent AlmondDaniel BabcockLenard BerglundRandy BillsScott Blois*Andy BrownPablo CoraTom CroyleRandall GarrouPaul GibsonJack GolightlyJody GolightlyJeff GreifSteven HarmsDrew HoltShawn KirchnerBong Won KyeCharles LaneDominic MacAllerSal MalakiChristian MarcoeAndrew MeyerMarvin NeumannBart SeebachKevin St. ClairGeorge SterneMallory Walker

BassCrispin BarrymoreJoseph Bazyouros Mark BeasomPaul BentSteve BermanReid BrutonAaron CainPaul CummingsGreg DaviesSteven FraiderMichael FreedGregory GeigerMichael GeigerScott GraffStephen GrimmPaul HinshawRobert HovencampLew LandauRobert LewisRoger LindbeckTonoccus McClainBob McCormacJim RaycroftDavid SchnellMasanori TakahashiBurman TimberlakeDavid Tinoco, Jr.

The singers of the LosAngeles Master Chorale arerepresented by The AmericanGuild of Musical Artists,Scott Blois, AGMA Delegate.

Los Angeles Master Chorale


TrumpetsBijon WatsonSalvator CracchioloNolan Shaheed (March 7)James Ford, IIIMichael Harris (March 9)

TrombonesGeorge McMullen Jacques VoyemantPhillip Ranelin

TubaWilliam Roper

ReedsCharles OwensAnn PattersonFred Jackson, Jr. Bennie MaupinJack Nimitz

Rhythm SectionLanny Hartley — pianoJeffery Littleton — bassAlberto Salas — Latin

percussionLeon “Ndugu” Chancler —

drums

Luckman Jazz Orchestra

Faithful Central Bible ChurchHeritage ChoraleThe Heritage Chorale of Faithful Central Bible Church performsthroughout Southern California with a unique repertoire of NegroSpirituals, hymns, classical pieces, and original compositions by resi-dent songwriter and Assistant Director, Jamille Hunter. Under thedirection of the world-renowned soprano, Henrietta Davis, theHeritage Chorale has been applauded for its commitment to thepreservation and performance of the cultural music of the African-American experience. Now in its fourth year, the Heritage Chorale isfeatured every fifth Sunday at the Faithful Central Bible Church inThe Forum under the leadership of Dr. Kenneth C. Ulmer,Pastor/Teacher.

Last Christmas season, the Heritage Chorale made a guest appear-ance with the West Angeles Church of God in Christ Mass Choir fortheir inaugural performance of Handel’s Messiah. The HeritageChorale last performed the Sacred Music of Duke Ellington inSeptember 2002 with the Luckman Jazz Orchestra for the WorldFestival of Sacred Music.

SopranoAlexis AbernethyGayle AdkinsAnn BrownHenrietta DavisJoyce HudgiesKisha OglesbyAngie Reynolds

AltoJudith BlakeyGloria ColemanGayle LaRoneCherlynn PopeVanessa Townsell

TenorPaula BogerLeslie CunninghamCharles DickersonDonald PerryWillie RameyCarol Rivers

BassDavid BurwellGreg HooperMichael MooreRichard PickettReginald Royal

The Luckman Jazz Orchestra, conducted by JamesNewton, is a professional performing ensemble ofthe Harriet & Charles Luckman Fine Arts Complex,California State University, Los Angeles. Founded byClifford Harper, Executive Director of the LuckmanComplex, the orchestra features some of the topjazz musicians in Los Angeles. Los Angeles Times jazzcritic Don Heckman has described it as “one of thecountry’s finest musical organizations.”

During the three years since its debut in February2001, the LJO has developed a repertoire embracinga sensitivity to many different styles of the jazztradition, including greater exposure for composersoriginating on the West Coast. Its ongoing explo-ration of works by Charles Mingus, Wayne Shorter,Billy Strayhorn, Duke Ellington and James Newtonwill expand next season to include the music of EricDolphy, plus Brazilian composers Caetano Velosoand Antonio Carlos Jobim.

Part of the orchestra’s mission is to collaborate withother entities, and the group has performed withthe Los Angeles Symphonic Camerata, and in the2002 Festival of Sacred Music with an interdenomi-national choir of Los Angeles congregations.Recently, the LJO has been honored to participate inthe City of Los Angeles Cultural Affairs DepartmentInternational Cultural Exchange Program withDecember 2003 concerts in Brazil and upcomingsummer 2004 engagements in Bordeaux and Berlin.

The orchestra’s next performance at its home venueis Thursday, April 22, to be broadcast live from theLuckman Theatre on radio station KKJZ 88.1 FM.Since its inception, the Luckman Jazz Orchestra hasreceived funding from the NEA, the AmericanExpress Company, the City of Los Angeles CulturalAffairs Department, and California State University,Los Angeles.



Ardie Bryant, master jazz tappercussionist, historian, choreo-grapher and musician, is knownworldwide as the innovator ofmodern jazz tap. The sounds ofhis percussive feet and dance

memories are preserved as part of the Jazz OralHistory project at the Smithsonian Institution’sNational Museum of American History. Called “TheAmbassador of Tap” by journalists around the world,Ardie’s career spans seven decades. He performedwith Duke Ellington, Nat “King” Cole, Dizzy Gillespieand Charlie Parker, and he recently appeared withBritney Spears in a Pepsi commercial. Ardie is aprofessor of jazz tap and tap history at Los AngelesCounty High School for the Arts and California StateUniversity, Los Angeles.

Bridging the gap between musicand theater, Darius de Haas’resume reads like a multifacetedroad map of the performing arts.While pursuing a double major inmusic and theater at Columbia

College, he worked with some of Chicago's finesttheater companies including Northlight and TheGoodman. A scholarship to study at The AmericanMusical and Dramatic Academy brought Darius toNew York. After graduating he was cast as Daniel inthe first national tour of Once On This Island.

Darius made his Broadway debut in Kiss of theSpider Woman. He went on to be featured in variousBroadway productions including Lincoln Center’srevival of Carousel, Rent and Marie Christine. Hetoured internationally in the world premiere of JohnAdams’ "I Was Looking At The Ceiling... (directed byPeter Sellars), and won the Obie award for his workin Off-Broadways’ Running Man. Darius hasappeared in film and TV and his voice can be heardon the film soundtracks of Anastasia, Martin &Orloff and the Oscar winning Chicago.

As a soloist, Darius has sung in some of the finestconcert halls and clubs including Carnegie Hall,London's Royal Festival Hall, Lincoln Center, and St.John the Divine as well as annual concerts andappearances with the Broadway Inspirational

Voices. His concerts of composer Billy Strayhorn'smusic culminated in his critically acclaimed solodebut CD, Darius de Haas: Day Dream, Variationson Strayhorn.

Panamanian-American baritoneNmon Ford has performedthroughout the Americas,Europe and Japan, most recentlywith the Los AngelesPhilharmonic in Haydn’s

Creation. Having begun his musical training inpiano at age three, he has since appeared with SanFrancisco Opera, Spoleto Festival U.S.A., LosAngeles Opera, Utah Opera, Portland Opera,Opera Memphis, Syracuse Opera, Virginia Opera,Lyric Opera of Kansas City, Madison Opera andOpera San Jose in roles including Don Giovanni,Escamillo (Carmen), Figaro (Il barbiere di Siviglia),Marcello (La boheme), Valentin (Faust), Arsamene(Xerxes) and Aeneas (Dido and Aeneas). Other rolesinclude Enrico (Lucia di Lammermoor), Sharpless(Madama Butterfly), and Riccardo (I puritani).

In the 2003-2004 season Mr. Ford sings Mahmoud inAdams’ The Death of Klinghoffer with the BrooklynPhilharmonic under Robert Spano at the BrooklynAcademy of Music (BAM), Mahler’s Rückertliederand Fauré’s Requiem with the Santa BarbaraSymphony under Gisele Ben-Dor, L’Enfant duSortilege with the National Symphony, a recital forthe Marilyn Horne Foundation with the HuntsvilleChamber Music Guild in Alabama, and a recital atOccidental College in Los Angeles.

Mr. Ford made his New York recital debut with theMarilyn Horne Foundation’s “On Wings of Song”Series at the Kosciuszko Foundation; under theFoundation’s auspices he has also fulfilled artist’sresidencies with the New Jersey Symphony and theUniversity of Arkansas, Little Rock. Mr. Ford hasrecorded for Koch International Classics (Villa Lobos’“Amerindia” Symphony #10) and Three ThingsRecords (The Sweetest Brilliance — Songs of Bolcomand Weinstein).


Channing Cook Holmes, aproud Los Angeles native, beganstudying tap with dancer/chore-ographer Alfred Desio. He wasselected to perform in the 1993Barcelona Dance Festival and in

1994 received a Brody Grant to study with therenowned Fayard Nocholas. In 1997 he joined JazzTap Ensemble and toured for one year before joiningthe European and national cast of Riverdance, whichled to a full year in Riverdance On Broadway. Hisfilm credits include Bojangles with Gregory Hinesand Martin Scorcese’s The Gangs of New York.Channing was awarded the 2002 Princess GraceAward for artistic excellence. His first choreo-graphed work, Just In Time, toured Russia in April2003 and was the first American tap showpresented at the Kremlin. His jazz tap review ThingsAin’t What They Used 2 Be, premiered at the SupperClub in New York. Channing has been fortunate tohave accumulated many artistic credits early in hiscareer based upon his belief that, “It is not what’swritten, but what you’ll experience.”

Bobette Jamison-Harrison is anative of Los Angeles, Californiaand the youngest of six children.Her love for singing began as asmall child. She loved mimickingthe vocal styles of Aretha

Franklin, Donnie Hathaway, and Gladys Knight. Asearly as seven years of age, she sang in the True LightMissionary Baptist Church choir with all of her neigh-borhood friends. Throughout her childhood andteenage years in school, she participated in theaterarts, gospel ensembles, and choirs refining her musicalabilities. Her formal music training started at LosAngeles Harbor College and continued at theUniversity of Southern California, Bobette partici-pated in USC’s Evening of Soul, a major annual stageproduction that took place during Black HistoryMonth. At one performance, Bobette was asked tobecome a member of The Nicholas Family, and touredthe United States with the Grammy-nominated group.

Bobette is known in the music industry as a leadand background vocalist, vocal arranger, choir direc-tor/contractor and co-producer. Bobette records andperforms with numerous artists including DenyceGraves, Barbara Streisand, Nancy Wilson, PattiLabelle and Shirley Caesar. She performs on numer-

ous television and radio commercials, films and tele-vision projects and is also a songwriter and proudowner of Jus Clown’N Music, a music publishingcompany. She travels throughout the United Statesproviding as a clinician for Maranatha Music’sWorship Leader Workshops and as a singer with theIntegrity Music Praise Band for Family Life’s “I StillDo” marriage conferences. Bobette is also co-ownerof Set Apart Worshipper’s Workshops, a workshopbased ministry that provides worship clinics forchurch assemblages throughout the U.S.A.

James Newton is one of theworld’s true flute virtuosos inboth the jazz and classicalidioms. Mr. Newton has been therecipient of numerous awards,fellowships, and grants including

Guggenheim and Rockefeller Fellowships, NationalEndowment for the Arts grants, as well as beingvoted the top flutist for 22 consecutive years inDownbeat’s International Critic’s Poll. Described as a“musician’s renaissance man,” Mr. Newton continuesto perform worldwide, is a Professor of Music atCalifornia State University, Los Angeles, and isMusic Director of the Luckman Jazz Orchestra.

Mr. Newton has performed with many notable artistsin the jazz and classical fields, such as MingusDynasty, the New York Philharmonic, David Murray,Vladimir Spivakov and the Moscow Virtuosi, AnthonyDavis, Bobby Hutcherson, San Francisco Ballet, JonJang, Kenny Burrell, Herbie Hancock, and The LosAngeles Philharmonic New Music Group, theBrooklyn Philharmonic, Zakir Hussain, Aurèle Nicolet,and San Francisco Contemporary Music Players, toname just a few. In 2001, Newton collaborated withchoreographer Donald McKayle on Cross Roads, aballet performed by the Limón Dance Company.

Newton’s composition Wheel-Like Beryl Stone forflute soloist, jazz orchestra and electronics, commis-sioned by Musica Oggi 2001, enjoyed a worldpremière at Teatro Strehler in Milan, Italy in 2002,where Newton conducted and played as a flutesoloist with the Orchestra Sinfonica D’Italia. TheItalian festival tour also included performances withthe Civica Big Band in Florence and Pescara. In2002, Newton visited Cuba, where he participated inthe IX Internacional de Musica Electroacustica at theMuseo Nacional de Bellas Artes La Habana.

2003-04ANNUAL FUND DONORS

Benefactor Circle$10,000 to $500,000Lois and Robert F. ErburuJoyce and Kent KresaLillian and Jon LovelaceJane and Edward J. McAniffCarolyn and Charles D. MillerJoyce and Donald NoresMr. and Mrs. M. Daniel ShawFrank J. SherwoodElayne and Tom Techentin

Maestro Circle$5,000 to $9,999Michael Breitner and Michael ReisigDeborah and Jeffrey BriggsKathy and Terry Dooley Claudia and Mark FosterCarol and Warner HenryVictoria and Frank D. HobbsVi and Joe JacobsCheryl Peterson and Roger LustbergSheila MullerElizabeth F. RedmondMarshall Rutter and Terry KnowlesSusan and Tom SomersetPhilip A. Swan and Patricia A.

MacLarenSusan and John Sweetland

Golden Baton Circle$2,500 to $4,999Lynette Yuh and Robert CampbellRegina ClarkMr. and Mrs. Samuel ColemanDiane and Michael CornwellAnn Graham Ehringer, Ph.DBrent EnrightTom GroseCapri HagaMr. and Mrs. Robert HaniseeChristine and Peter KuyperDrs. Marguerite

and Robert Lee MarshHelen and Albert McNeilCarole and Everett MeinersRaymond R. NeevelCarole K. Broede and Eric OlsonM. Helen PashgianSusan and George ReardonEric A.S. RichardsPenelope C. RoederCarolyn and Scott SanfordCharles I. SchneiderDavid N. SchultzRichard SpelkeFrancine and Dal Alan SwainBarbara and Ian White-ThomsonKen Williams

Bravo! to our wonderful donors who have contributedso generously to provide a foundation of strength for ourMusic Director, Grant Gershon, and the Los Angeles MasterChorale. Please join us in thanking the following individuals,businesses, foundations and governmental agencies whosegenerosity is the power behind the music. Your gifts givewings to Grant Gershon’s artistic vision. Thank you!

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12 L O S A N G E L E S M A S T E R C H O R A L E12 L O S A N G E L E S M A S T E R C H O R A L E

Claudia and Mark FosterMarguerite and Robert MarshJane and Edward J. McAniffNancy and Robert MillerRaymond R. NeevelJoyce and Donald J. Nores

Anne Shaw and Harrison PriceElizabeth and Hugh RalstonElizabeth RedmondPenelope C. RoederPhyllis and Larry RothrockMarshall Rutter and Terry Knowles

Barbara and Charles SchneiderDona and David SchultzNancy and Ralph Shapiro,

in honor of Peter MullinGeorge Sterne and Nicole BakerFrancine and Dal Alan Swain

Patricia A. MacLarenand Philip A. Swan

Laney and Tom TechentinLos Angeles Master Chorale

Associates

Roger Wagner SocietyThe Roger Wagner Society — named after the founding music director — is reserved forspecial friends who have supported the Chorale through endowment or planned gifts.These extraordinary gifts support the Chorale today and help to ensure its future.Please join us to recognize the members of the Roger Wagner Society.

Impresario Circle$1,000 to $2,499AnonymousGregory J. and Nancy McAniff

AnnickKent AmbroseAnn and Olin BarrettDr. and Mrs. James P. BeasomMarilyn and David BreedingFran and Terry BuchananKathy and Ted Calleton, in memory

of Dona SchultzMarjorie ChronisterAlicia Garcia and Edward ClarkEleanor S.and Theodore G. CongdonH. Richard CullenBarbara and Bill DelvacPat and Wayne DePryDr. and Mrs. Robert A. De StefanoVacharee and Gordon FellGeorge FenimoreRobert G. Finnerty, Jr.Geraldine C. FordBetty FreemanMr. and Mrs. Bill GershonGrant Gershon and Elissa JohnstonCecelia and Mike GraceMarjorie and Roger LindbeckSusan and Robert LongAlice and Brandon MacAllerMr. and Mrs.Warrington MacElroyWilliam Mann*Robin Meadow and Susan NorthSally and Robert NeelyMarian and John NilesDr. Anne G. OliphantAnne and Harrison PriceCecilia and Dudley RauchDennis ReshSandra and Richard RogersAnn and Robert RonusPhyllis and Larry RothrockFrederick J. RuoppMichele and Russell Spoto, M.D.

Helen and Jerry StathatosJane and Ted SweetserMadge van AdelsbergMarylyn and Neil WarrenJerry Washburn*Ty Woodward*in-kind support

CORPORATE, FOUNDATION ANDGOVERNMENT SUPPORT

Platinum Circle$100,000 and aboveThe Ahmanson FoundationThe Colburn FoundationMellon Financial Corporation

Mellon First Business BankThe Dreyfus CorporationPrivate Wealth Management

The Ralph M. Parsons FoundationThe Music Center Fund for the

Performing Arts

Gold Circle$50,000 to $99,000The Music Center FoundationWeingart Foundation

Silver Circle$20,000 to $49,999The Capital Group Companies

Charitable FoundationCity of Los Angeles Cultural Affairs

DepartmentLos Angeles County Arts

CommissionMaster Chorale AssociatesDan Murphy FoundationTimes Mirror Foundation

Bronze Circle$1,000 to $19,999Berkshire HathawayCharter Oak FoundationEdmund D. Edelman FoundationGeorges and Germaine Fusenot

FoundationAnn and Gordon Getty FoundationGlide FoundationJoseph Jacobs FoundationLund FoundationHarold McAlister Charitable

Foundation


Master ChoraleAdministration

Artistic StaffGrant Gershon,

Music DirectorPaul Salamunovich,

Music Director EmeritusNancy Sulahian,

Director, Chamber Singers

Administrative StaffTerry Knowles,

Executive DirectorMarjorie Lindbeck,

General ManagerPaul Dupree,

Director of MarketingDiane C. Veiller,

Director of FinanceKathie Freeman,

Artistic Personnel& Production Manager

Andrew Brown,Community Programs Manager

Patrick Brown,Resource Development Associate–Individual Gifts

Regina Sadono,Resource Development Associate–Institutional Gifts

Kara M. Grizzell,Special Events Associate

D’aun Miles,Interim Administrative Assistant

Carmen Balas, Finance Assistant

Libby Huebner,Publicist

Walt Disney Concert HallPaul Geller, Stage ManagerPage Messerly, Box Office

TreasurerElias Santos,

Customer SpecialistRobin Streichler,

Customer Specialist

Los Angeles Master Chorale135 North Grand AvenueLos Angeles, California 90012phone 213-972-3110fax 213-687-8238email [email protected]

WWW.LAMC.ORG

Ticket Servicesphone 213-972-7282fax 213-972-3136email [email protected]

Lluella Morey Murphey FoundationMetropolitan AssociatesNapa Domaine WineryNational Endowment for the ArtsNetConsult Site SolutionsKenneth T. and Eileen L. Norris

FoundationPanasonicPasadena Showcase House for the

ArtsAnn Peppers FoundationLon V. Smith FoundationJohn and Beverly Stauffer

FoundationJ.B. and Emily Van Nuys CharitiesWallis Foundation

INDIVIDUAL DONORS

Aficionados$500 to $999AnonymousTheodore G. and Eleanor S. CongdonDr. and Mrs. Carl GreifingerCherie and Roderick JonesWarren LortieWeta and Allen MathiesKathleen L. McCarthyBetty McLaughlinFrancis PetracekSimone and Patrick PurcellHolly and Al RistucciaGuy Allred and Nick Terbovic

Patrons$250 to $499Dr. Gladi AdamsHayward AlkerNoel Applebaum

Jo Anna BashforthPhilip F. BellevilleJennifer and Chris BertoletLinda and Skip BowlingGerald FarisMichael FitzgeraldDiane and Ray FrauenholzJohn R. FreemanAlisoun and David GenslerMr. and Mrs. John J. HigginsMr. and Mrs. Jerry JohnstonMr. and Mrs. Marshall E. LumsdenGinny ManciniDr. Joseph V. MatthewsJane and Lawrence McNeilBeatrice H. NemlahaJeanne M. NevilleIrene OppenheimEloise OsborneMr. and Mrs. Edward ScottCarrie Deeb and Emile F. SkaffBob SmykleWilliam SollfreyDiane StewartJesse TellesRobert TeragawaPatricia S. WaldeckWilliam and Winifred Weisinger

Friends$50 to $249Anonymous (3)Mr. and Mrs. Richard E. AndersenJanet AnwylRalph ArnoldStanford and Winifred AuJanet BeccariaB.D. Bennett

Henry BerberWilliam and Delores BingLisa de Blois and David GarzaGerald and Georgia BrommerPatrick BrownDavid R. BurchDiana BurmanJerry BurnhamJames C. CampKen CarmichaelJon and Nancy CollinsWalter and Molly CoulsonLee Stuart CoxMrs. Brian Dockweiler CrahanEleanor CurryJoseph and Sandra DedinasCraig and Mary DeutscheRandal DoldPenny DonnellyHazel H. DunbarKathleen ElowittGarold and Joyce FaberDrs. Eleanor and Harold FanselauAlan and Kathie FreemanJaime GarciaRandall and Connie GarrouMr. and Mrs. John GarveyDr. James E. Gernert and

Mary Ann BreedingBetty GondekCarmella GreacenDon and Anna GreathouseGail GreenKara M. GrizzellDalton GronlieCecilia GroseDenise HamelinCarol and James HartDorothy and Carson HawkLucy A. HirtMrs. Angelina HodgsonDolores HopeMr. and Mrs. Tom HubbardLibby Huebner

Recently spotted enjoying Walt Disney Concert Hall are High School Choir Festival volunteers and donors (left to right) Marilyn Breeding,Carol Hart, Mary Waldo, Mae and Don Landauer, Phyllis Rothrock,and Kyle Landauer.

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Frank JarvisCarolyn JontzCraig JusticeAlice KakudaRich KaltenbrunDr. Stephen KanterGloria and Paul KilianConstance KnightGlen and Jean LaddLynne La FleurMr. and Mrs. Stephen LansWeldon LeimerEmmanuel LimWilliam M. LustbergEdward MackeyDr. Shoko MalkanIrene MarquardMaster Chorale Associates in

memory of Stephan vanAdelsberg

Paul MikiSusann M. MonroeRay and Nancy MullioAnne and Jon MurakamiJudith NollarGeorge C. OliphintPeter and Catherine PalermoOtto ParisSusan PorchDavid RiceKenneth Roehrs and Sarah

McGahIlean and Steven RogersDaniel RomoTri and Regina Sadono Marvin Samuels

Ken SansonPaul SchachterRich and Carol SchieberHerbert and Annabel SchnallHarvey and Marilyn Lee

SchneiderRosemary SchroederLibby and Robert ScottCharles Starr, Jr.Dr. Barbara D. StephensMrs. Vance L. StickellArthur H. StreeterBeth TemkinDr. Olga TerminiEllen TotlebenCarolyn R. WilliamsDianne and Sherman WintrobRobert WoiwodJudy WolmanRose Mary and William Yetter

MATCHING GIFTSAmerican Express FoundationAON FoundationBank of America FoundationBoeingThe Capital Group Companies

Charitable FoundationCiticorp FoundationJ. Paul Getty TrustWilliam and Flora Hewlett

FoundationSempra EnergySafeco Times Mirror Foundation

IN-KIND GIFTSAvery Dennison CorporationThe Cheese Store of Beverly

HillsCarol and Warner HenryInternational Paper CompanyLearn About WineNapa Domaine WineryNetConsult Site Solutions

SPECIAL THANKSLayna Browdy, MellonSteve Higginbotham and Lisa

Franzia, Domaine NapaWinery

Gil GarcettiGerry Huffman, Smash EventJeff Levy and Ellen Melton,

Performances MagazinePaperwhites, South PasadenaJerry Washburn, NetConsult Site

SolutionsWendy Wilsing, 10 Space Design

This list reflects gifts receivedby February 3, 2004. Pleasecontact Patrick Brown at 213-972-3122 if you would like tocontribute and be listed in thenext program or to changeyour listing.

Master ChoraleAssociatesThe Master Chorale Associates wasfounded in 1964 to support the LosAngeles Master Chorale, promot-ing ticket sales and encouragingcommunity interest in choralmusic. The Associates play a lead-ership role in producing the annualHigh School Choir Festival and infostering the educational outreachactivities of the Chorale.

PresidentJane Valentine Sweetser

Vice PresidentsEugenia BoykinRegina ClarkBonnie GrinsteadLouvonia HallCarol HartElizabeth RedmondAnita VerrengiaElizabeth WenzRose Mary Yetter

TreasurerGloria Moore

SecretariesAnita VerrengiaElizabeth Wenz

Historian and PhotographerOlivia Neece

DirectorsVictoria M. AlvarezAdele BloomMary C. BredenMolly CoulsonAnne EastwoodGracie GilbAnna and Don GreathouseAlice MacAllerKathleen MacAllerSara McFerrinAndrea McKayJane McNeilAnne Shaw PriceMelanie RedmondCarol ReichPhyllis RothrockBeverly ThrallMadge van Adelsberg

With a tax-deductible donation of $250or more, you can enjoy three opportuni-ties to get closer to the music and themusicians. For information on Circle ofFriends special events, call PatrickBrown at 213-972-3122.

FOR DONORS OF $250 OR MORE

Dress Rehearsal for Beethoven Missa solemnis —

Saturday, March 27 at 10 a.m. in Walt Disney Concert

Hall. Donors of $250 or more may choose one

rehearsal (March 6 or 27).

FOR DONORS OF $5,000 OR MORE

Grant’s Private Garden Reception — Sunday, June 13,

following the 7 p.m. concert, Grant Gershon’s

Dressing Room in Walt Disney Concert Hall

Maestro and Friends Cabaret Dinner — Tuesday,

June 22 at 6:30 p.m., Choral Hall in Walt Disney

Concert Hall

Come inside the music you love.

These concerts are made possible, in part, through grants from the Los Angeles

County Arts Commission, the City of Los Angeles Cultural Affairs Department,

the California Arts Council and the National Endowment for the Arts.

Documents

[ high notes ] Honors Ted McAniff