CANTA! CANTA! CANTA! - DCINYHome: DCINY · hymn-like, being homophonic through- ... Mr. Ešenvalds ... homophonic declamation, with simple harmonic language throughout

Monday Evening, June 26, 2017, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder and Artistic Director

presents

CANTA! CANTA! CANTA!Cabrillo Symphonic and Youth ChoirsCheryl M. Anderson, Conductor

ĒRIKS EŠENVALDS The Long Road

Ensemble Monterey Chamber OrchestraCabrillo Symphonic and Youth ChoirsJohn D. Anderson, Conductor

ĒRIKS EŠENVALDS Sunset in My Hand: Ancient Voices of the Wild Pacific Coast (New York Premiere) The Storm Ode to the Smell of Firewood Prayer at Winter Solstice The Redwoods Evening Ebb I Hold the Sunset in My Hand

Intermission

Distinguished Concerts Singers InternationalFrancisco J. Núñez, Composer/Conductor

Kristen Kemp, PianoSteve Picataggio, Percussion

FRANCISCO J. NÚÑEZ De Colores (arr. of Traditional Spanish Folk Song)

Misa Pequeña Para Niños

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

(Program continued)

06-26 DCINY.qxp_Carnegie Hall Rental 6/15/17 2:34 PM Page 1

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Notes ON THE PROGRAM

The Long Road is a setting of a lovepoem by Paulina Barda (widow of emi-nent poet Fricis Barda), who died in1983 at the age of 93. Set in the originalLatvian, (“Tal cels”) it was translatedinto English and premiered by StephenLayton and Polyphony, to whom it isdedicated. The story chronicles thetragic tale of a young woman who haslost her lover to war; she longs for thetime when they will meet again, but suspects life may be a “long road.” It ishymn-like, being homophonic through-

out with plain sincerity, and it is primar-ily diatonic. At the same time, it is lush,rich, vibrant, and eloquent. Approach-ing the center of the piece there appearchant-like bells, contrasting descantsfrom a small concerted ensemble, andthe appearance of improvisatory flutesor recorders, all contributing to a senseof spiritual world. Vocalise on vowelsand hums, coupled with the fading awayof the echoing bells leaves the listenerwith a translucent glimpse into theyearnings of the heart.

ĒRIKS EŠENVALDS (b. 1977) The Long Road(3 minutes)

What Grandpa Told the ChildrenWhat the Grey-Winged Fairy Said

The Sun Says His Prayers Yet Gentle Will the Griffin Be

Stand Tall Children (The Activists)

Pinwheels

La Sopa de Isabel


ĒRIKS EŠENVALDS Sunset in My Hand: Ancient Voices of theWild Pacific Coast (New York Premiere)(30 minutes)

In 2011, at the memorial service for Dr.Elmer Thomas, my major professor formy doctoral studies, Cincinnati’s profes-sional vocal ensemble Vocal Arts, sangan astounding piece of music as theirtribute to him. One of Cabrillo’s musicstudents, then a master’s candidate atCollege-Conservatory of Music inCincinnati, was singing. He was SteveBerlanga. The work was composed bysomeone I’d never heard of, butinstantly responded to. I do not think Ieven took a breath during the perfor-mance of the work. The compositionwas The Long Road, by Ēriks Ešen-valds, and I immediately ordered 40copies. What was compelling was theaccessible beauty of the music yet itscomplexity and layers which unfolded,revealing a wide spectrum of colors andharmonies. Three years ago, as welooked forward to the best way tohonor the musicians John and I havehad the privilege of working with overthe past 25 years and the communitywe call home, we decided to open a dis-cussion with Ēriks. He and I met at aconference of the National CollegiateChoral Organization, and I raised theidea of a commission of broad scope.His reply was, “Yes, I believe this ispossible.” The rest is history. An ableteam of literary-minded singers gath-ered poetry and writings from local andCalifornia writers which reflected lifeon the Central Coast: vineyards, crops,fruit, trees, natural wonders such as BigSur, old-growth redwoods, Pinnacles,and coastline. Ēriks visited all of theseplaces to immerse himself in the varietyand beauty. We passed along reams ofpoetry and excerpts, and he chose whatto him reflected a glimpse of what weare lucky enough to experience daily.Deeply spiritual and extremely sensitiveto environmental stimuli, Mr. Ešenvalds

uses unusual sound sources to evoke amood or stimulate imagination: tunedcrystals, ceremonial bells and singingbowls, triangles played with knittingneedles, rain sticks, and jaw harp, forexample. He also interpolates indige-nous chant into the body of the compo-sitions, enhancing the existing harmonictreatment of the texts and honoring ourpast. Sunset in My Hand: Ancient Voicesof the Pacific Wild Edge is commis-sioned for the 25th Anniversaries ofCantiamo! Cabrillo, Ensemble MontereyChamber Orchestra, and the CabrilloYouth Chorus.

Sunset In My Hand: Ancient Voices ofthe Pacific Wild Edge utilizes many stan-dard musical forms and compositionaltechniques. What sets these compositionsapart is easy to hear in performance andnot as easy to describe in words.

The Storm is a classic story of abandon-ment, fear, danger, and yearning, fol-lowed by redemption. It is written in twoparts, taken from two poems by thesame author. The first, from At Sea is inthe ancient style of coro sprezzi, or sepa-rated chorus. The soprano and alto sec-tions make the first statement, “In thepull of the wind I stand, lonely!” Thetenors and basses answer, “On the deckof a ship, rising, falling.” They presentan exchange of life-threatening circum-stances, real or allegorical. These punc-tuated statements in double chorus styleare colored with dense and dissonantchords; the two choirs then join, restat-ing the condition of peril. Then, asimmediate as a calming breeze, the musicshifts to a waltz-like, rich and gloriousfolk song from the poem The Storm “Ithought of you when I was awakened bya wind that made me glad and afraid.”And the dance ends gently with “You


were the wind.” Interestingly, of the twovery different poems, The Storm, thepart that brings reconciliation and hope,is the poem that Mr. Ešenvalds chose forthe title.

In Ode to the Smell of Firewood, theyouth chorus opens as the storyteller,while the SATB chorus provides thecolor enhancing the story. Three chordsfrom the orchestra appear as open andstatic sounds with ambiguous tonality.The text: “Late, when the stars open inthe cold, I opened the door….” TheSATB chorus responds with equally sta-tic “cold chords”: slow-moving andmildly dissonant, foreshadowing aburst of sensory stimulation outside thehouse from the stars, the intense smellof firewood, the memories and feelingsenlivened as the layers of realization arerevealed. The opening statementprompts three jubilant and ascendingchords in response to the emotionsexcited by nature’s elements. The SATBchorus then resumes the telling of thememories in broken phrases, as if thememories themselves sought the rightwords. The youth chorus responds in asoft five-note descant, bringing thesenses back into focus.

In Prayer at Winter Solstice ametronome is set at a slow tempo (44-46 to the quarter note) and is audiblethroughout the entire movement andfor a time afterward. There is a diver-gence between the metronome and theperformers' tempo denoting the com-poser's desire to portray the differencebetween absolute, measured time andthe elastic nature of “felt” time, as weexperience it. The steady tick-tock ofthe metronome hints at the passage oftime while the text allows us to look atpotentially devastating aspects of ourlives as an opportunity to reframe thoseevents into growth opportunities. Usingthe concept of time, the ancient tech-nique of choral recitative, dating back

to the Renaissance (specifically com-poser Claudio Monteverdi), announcesthese “blessing opportunities” in stricthomophonic declamation, with simpleharmonic language throughout. As in asolo recitative, such as one might expe-rience in the music of Handel, therecitative passage is preceded with achord containing all the notes then tobe sung in the recitative itself. Thesechords in Prayer are to be played onchimes, each chord leading us to thenext “blessing opportunity.” The move-ment closes with the singers humming aprogression of chords and the chimesplaying ascending passages, as thoughthe blessings were being sent upwardand out into the world.

The Redwoods again features the youthchorus telling the story through the textand simple melody, introduced bychimes. The SATB choir responds in amellifluous five-phrase harmonicchorale written only on “Oh,” “Oo,”or “Mm.” Steinbeck’s words, “No onehas ever successfully painted or pho-tographed a redwood tree,” seem to beeffectively disproven when, on the finalphrase of the “harmonic chorale,” thetrees seem to be uttering ancient soundsas the basses reach to the roots of thesetimeless trees on a low “G.”

Evening Ebb gives us an aural picture ofa quiet, calm night at ocean’s edge;herons flying and leaving their shadowson the opal water. Sung by the tenors,the opening chant-like statement is filledwith rich words and pictures. The musicis calm and at the same time harmoni-cally complex. The youth chorus appearsagain with the same text in a descantfloating over the wordless passages ofthe SATB chorus. The phrase the youthchorus sings is repetitive save one errantnote that reaches higher than the firsttime, anticipating that this calm time willevolve into an active cycle, completingthe day’s pattern. The SATB choir


responds with palindromic clusterchords sung four times, each one build-ing, while the youth chorus adds themetallic sound of knitting needles as theygently play triangles. This entire patternrepeats with the new text describing astar appearing through the clouds. Thestar, however, seems reluctant to appear“as if we had not been meant to see her;rehearsing behind the screen of theworld for another audience.”

I Hold the Sunset in My Hand isbrought to life with the orchestra play-ing a D-A drone, answered by the youthchorus singing lyrics based on the earli-est known written poem about Califor-nia by an anonymous Franciscan monkin what might be alluded to as arespectful look into California's his-tory—a replica of an Ohlone chant.

The orchestral Flute is given the direc-tion to play “Aeonian sound,” eternal,immeasurable length of time (eon).The composer uses the colors of har-mony, timbre, and melody to harkenimages of an abalone shell, a fog bank,bright evening light in the east, gloriouscolor from the ocean sunset, and cloudsand fog breaking apart to glimpse thesky above with timeless lyrics from thetwentieth century by Grace MacGowanCooke. It ends as it began: with a droneon D-A, this time hummed by the SATBchorus. The youth chorus returns tothe monk's transformation, singing,“Beautiful country: from the Redwoodsto the Shoreline was the beginning ofmy life. Beautiful wild edge, garden ofglory, of hidden glory.

—Notes by Cheryl Anderson

Sunset in My Hand was commissioned for the 25th Anniversaries of Cantiamo!Cabrillo, Ensemble Monterey Chamber Orchestra, and the Cabrillo Youth Chorusand was made possible by the generous donations of John and Cheryl Anderson,Jeanne Faulkner, Leslie Foote, Jim Grove and Tom Graves, Ruth Hartmann, Dr.Robert Klevan, Jeannette and Pat Moretti, Joan Osborne, Bill Rentz, Kay and JeanRigg, Grant Rosen, and Art and Sandy Schuller. Individual movements have beensponsored and dedicated as well.

The Storm Jeannette and Pat Moretti dedicate The Storm to Vera and Guido Moriconi.We will always be inspired by the spirit of your love.

Ode to the Smell of FirewoodThe singers of Cabrillo Symphonic Chorus, Cantiamo! and the Cabrillo Youth Cho-rus dedicate Ode to the Smell of Firewood to Cheryl and John Anderson with deepappreciation for their artistic vision, inspired leadership, and love of adventure.

Prayer at Winter Solstice Dedicated by Deborah Bronstein to my family – Whit, Lara, Andrew and all –whose voices lay down the steady rhythms of a blessed life.

The RedwoodsSonya Newlyn and Jeff Stock dedicate The Redwoods in memory of Barbara Par-sons Tjepkema, whose love still sustains and whose love of nature remains rootedin the hearts she touched.


The text, written in Spanish, is drawnfrom the five parts of the Catholic Ordi-nary Mass, using only fragments of theoriginal text for the second and thirdmovements. In creating Señor, TenPiedad, I kept in mind the call andresponse of the priest and congregationduring Mass. The mood is solemn andpleading. Although I kept the writing ofthe Gloria simple, it demonstrates tochildren certain compositional tech-niques such as modes, canonic imita-tion, inversion, descant, and dissonance.The melody is a simple legato linerepeated many times in different set-

tings, while the piano accompanimentcreates a percussive contrast. The wholemovement projects a mood of jubilationand joy to God, ending in loud and exu-berant declamations of “Amen.” TheCreo Señor is another call and responsemovement. One voice symbolizes thepriest who asks the congregation to con-firm their faith in God. The congrega-tion responds singing Creo Señor (Ibelieve). This first phrase or call can besung by either a soloist or by Treble I.The response is sung by the entire choir.When the call appears for a second timeit is presented in two voices. The

FRANCISCO J. NÚÑEZ Misa Pequeña Para Niños(6 minutes)

The text of De Colores speaks of themyriad colors found in the rainbow andthe sounds of animals, which surroundus. Known as a folk song in most Latincountries, it has also been sung bydiverse groups of people who see it as asymbol of unity and peace. Thisarrangement is a short interplay of dif-ferent sounds, which depict the variouscolors mentioned in the text. It beginswith a prelude scored for flute, harp andpiano. Later, voices and a violin join

them. Each instrument depicts the char-acter of either an animal or a color. Thevarious motives portray conversationsbetween colors. The structure follows asimple outline—prelude, two verses andrefrain, coda and postlude. I haveretained the melody of De Colores in itsoriginal form as I learned it. In keepingwith the text, singers should infuse themusic with a great deal of nuance andflexibility of rhythm.

FRANCISCO J. NÚÑEZ (b. 1965) De Colores (arr. of TraditionalSpanish Folk Song)(5 minutes)

Evening EbbLu and Dave Haussler dedicate Evening Ebb to their beloved parents, Thea & BobHaussler and Gwen & Les Larsen, whose passions for scientific inquiry and liter-ary adventures, burnished with an abiding appreciation of the arts, will continueto ripple out for many generations.

I Hold the Sunset in My HandJeanne Faulkner and Susan and Buzz Gorsky dedicate I Hold the Sunset in MyHand to the Ensemble Monterey board members who for 25 years, have supportedJohn Anderson and the musicians in bringing outstanding performances of uniquemusic to the Central Coast.


The text of the first and third pieces,What the Grey-Winged Fairy Said andYet Gentle Will the Griffin Be, comefrom Vachel Lindsay’s (1879–1931)Twenty Poems in Which the Moon isthe Principal Figure of Speech. The textof the second piece, The Sun Says HisPrayers, comes from a miscellany ofother poems by the same author andprovides interesting contrast to themoon poems. The title of this suite,What Grandpa Told the Children, isactually the subtitle of the third poem,

Yet Gentle Will the Griffin Be. Thevisual images of the poetry inspired meto set them to music. What the Grey-Winged Fairy Said speaks of the musicof the moon—a gong, which only afairy can hear. The second piece, TheSun Says His Prayers, captures the spir-itual world of the sun as its rays sparklein the sky and reflect on the earth. Inthe third piece of the suite, Yet GentleWill the Griffin Be, the melody soars,portraying the Griffin’s ominousencounter with the moon.

FRANCISCO J. NÚÑEZ What Grandpa Told the Children(7 minutes)

response follows as it did previously.For the final sections, Treble II and IIIsing the call in two-part counterpointwhile Treble I sings the response. Thissection is repeated once more until thepiano ends the movement alone in itsfarewell to the Mass. The Santo is sunga cappella. It begins with Treble IIsinging a single line. This line is repeatedwhile Treble I enters with a descant aperfect fifth above. After a short pause,the choir divides into three parts andsings “Blessed is He…” The three

Hosannas bring the movement to a con-clusion with the final chord having anoptional fourth part. Cordero de Dios isalso sung a cappella. The distinguishingcharacteristic of this movement is thatTreble III begins with “Amen.” Abovethem Treble I introduces the text. Later,Treble I and II sing in two-part counter-point while Treble III continues torepeat “Amen.” The voices continue todevelop in varied meter and introducenew text. As the movement concludes,all three parts sing a final “Amen.”

I freely adapted J. Patrick Lewis’s poetryand created a story from the civil rightsera starting from the death of MLK toMalcolm X, describing the need for jus-tice, to Rosa Parks changing history andfinally, Stand Tall Children. The storygrows using different rhythmical devicesin a manner of a radio play. It beginswith a mournful choral hymn for voices,

flute and piano; followed by a march;then a beautiful bluegrass solo whichpartners with a hymn-like AmazingGrace; leading to the climax of the workwith the story of Rosa Parks, writtenusing Reggaeton and rap. This takes thepiece back to the march for justice, end-ing with an all out hand-clapping gospelversion of Stand Tall Children.

FRANCISCO J. NÚÑEZ Stand Tall Children (The Activists)(10 minutes)


Texts & TRANSLATIONS

Pinwheels is about the joy of young peo-ple spinning and turning. The words inthis song evoke a happy time when wejust spin and spin and spin, almost likethe swirling sounds and visual images weexperience when going round and roundon a carousel. The music spins and stops

like a pinwheel whirling through the air.Pinwheels should feel like a rocking 4/4.Take time with the piano interludes andplay with the tempo until you find theright feeling of the spin. The piece can beperformed with just piano if the otherinstruments are not available.

FRANCISCO J. NÚÑEZ Pinwheels(5 minutes)

—Notes by Francisco J. Núñez

One day while making soup for my sonSebastián, my mother created a song anddance about the soup* that my wife Eliz-abeth was cooking. I was so excited andinspired by the song that I added versesand finished it as an arrangement forchorus, using the rhythms of the Domini-can Republic. The merengue is based onthe Dominican drum, tambora, in a four-beat pattern that emphasizes the last beat

as a pick up to the first beat, and thegüira, a metal scraper that dances aroundthe drum. Two guitars are often used,one to keep a strumming pattern and theother to pick the interludes. La Sopa deIsabel can be done with piano and/or gui-tars, and should be strong, even and dri-ving. (*The ingredients of the soup are acombination of Irish potato soup withDominican flavors.)

FRANCISCO J. NÚÑEZ La Sopa de Isabel(3 minutes)

The Long RoadĒRIKS EŠENVALDS

I love you night and dayAs a star in the distant sky.And I mourn for this one thing aloneThat to love, our lifetime was so short.A long road to heaven’s shining meadowAnd never could I reach its end.But a longer road leads to your heartWhich to me seems distant as a star.High above the arch of heaven bendsAnd light so clear is falling.Like a flow’ring tree the world is blooming.Overwhelmed, my heart both cries and laughs.

— Paulīna Bārda


Sunset in My Hand: Ancient Voices of the Wild Pacific Coast (New York Premiere)ĒRIKS EŠENVALDS

The Storm

In the pull of the wind I stand, lonely.On the deck of a ship, rising, falling,Wild night around me, wild water under me,Whipped by the storm, screaming and calling.Earth is hostile and the sea hostile,Why do I long for a place to rest?Oh I must fight always and die fightingWith fear an unhealing wound in my breast.I thought of you when I was wakenedBy a wind that made me glad and afraidOf the rushing, pouring sound of the seaThat the great trees made.One thought in my mind went over and overWhile the darkness shook and the leaves were thinned—I thought it was you who had come to find me,You were the wind.

— Sara Teasdale

Ode to the Smell of Firewood

Late, when the starsopen in the cold,I opened the door.The seawas gallopingin the night.

Like a hand from the dark housearose the intenseperfumeof firewood.A visible scentas if the treewere alive.As if it still pulsed.Visiblelike a robe.Visiblelike a broken branch.

(Please turn the page quietly.)


Overwhelmedby balsamicdarkness,I wentinsideThe house.Outsidethe pointsof heaven were glimmeringlike magnetic stones,and the smell of firewoodtouchedmy heartlike fingers,like jasmine,like memories.

It was not the sharp smellof pines,it was notthe cracked skinof eucalyptus,nor was itthe green perfumeof vineyards,but something more secret,because that fragranceexists onceonly,once only –And there, of all that lived in the world,in my ownhouse, by night, near the winter sea,there it was waiting for me –the smellof the deepest rose,the heart cut from the earth –and somethingentered me like a waveunloosedfrom timeand I was lost in my selfwhen I opened the doorto the night

— Pablo Neruda— Translated by Joseph Stroud


Prayer at Winter Solstice

Blessed is the road that keeps us homeless.Blessed is the mountain that blocks our way.Blessed are hunger and thirst, loneliness and all forms of desire.Blessed is the labor that exhausts us without end.Blessed are the night and the darkness that blinds us.Blessed is the cold that teaches us to feel.Blessed are the cat, the child the cricket and the crow.Blessed is the hawk - devouring the hare.Blessed are the saint and the sinner who redeem each other.Blessed are the dead, calm in their perfection.Blessed is the pain that humbles us.Blessed is the distance that bars our joy.Blessed is this shortest day that makes us long for light.Blessed is the love that in losing we discover.

— Dana Gioia

The Redwoods

The redwoods, once seen, leave a mark or create a vision that stays with youalways. No one has ever successfully painted or photographed a redwood tree. Thefeeling they produce is not transferable. From them comes silence and awe. It’s notonly their unbelievable stature, nor the color which seems to shift and vary underyour eyes, no, they are not like any trees we know, they are ambassadors fromanother time.

— John Steinbeck

Evening Ebb

The ocean has not been so quiet for a long while; five night heronsFly shorelong voiceless in the hush of the airOver the calm of an ebb that almost mirrors their wings.The sun has gone down, and the water has gone downFrom the weed-clad rock, but the distant cloud-wall rises. The ebb whispers.Great cloud-shadows float in the opal water.Through rifts in the screen of the world pale gold gleams, and the eveningStar suddenly glides like a flying torch.As if we had not been meant to see her; rehearsing behindThe screen of the world for another audience.

— Robinson Jeffers



De Colores se visten los camposen la primaveraDe Colores son los pajarillosque vienen de afueraDe Colores es el arco irisque vemos lucirY por eso los grandes amoresDe muchos coloresMe Gustan a miCanta el gallo con elquiri quiri quiri quiri quiriLa gallina con elcara cara cara cara caraLos polluelos con elpio pio pio pio piY por eso los grandes amoresDe muchos coloresMe Gustan a mi

Of colors the fields dressin the springtimeOf colors are the birds thatcome every seasonOf colors is the rainbowthat comes out clearAnd for these great lovesOf many bright colorsI like them to beSings the rooster with hiskiri kiri kiri kiri kiriThe hen with her caracara cara cara caraThe baby chicks with theirpio pio pio pio piAnd for these great lovesOf many bright colorsI like them to be

De Colores (arr. of Traditional Spanish Folk Song)FRANCISCO J. NÚÑEZ

I Hold the Sunset in My Hand

Beautiful country, from the Redwoods to the ShorelineWas the beginning, beginning of my life. Beautiful Wild Edge, pleasant paradise, garden of glory, of hidden glory.

The sun went down in a fog tonight,Dropped like a plummet in the bay,Only the east was faintly bright, while all the west Spread wide and grey.

The glories from the sky are strippedThe long, strong breakers meet the land,Foam stricken, grey-green, sullen lipped - I hold the sunset in my hand.

Beautiful country, from the Redwoods to the ShorelineWas the beginning, beginning of my life.Beautiful Wild Edge, pleasant paradise, garden of glory, of hidden glory.

— Anonymous Franciscan Monk in California ca. 1770— Grace MacGowan Cooke


Misa Pequeña Para NiñosFRANCISCO J. NÚÑEZ

Señor, Ten Piedad (Lord, have mercy)

Señor, ten piedad.Cristo, ten piedad.

Gloria a Dios (Glory to God)

Gloria a Dios en las alturas,y en la tierra paz a los hombres.Te damos gracias, Señor Dios, Reycelestial.

Creo en Dios (Creed)

Creo en Dios, Padre todo poderoso,Un solo Dios, Padre todo poderoso,

Creador del cielo y de la tierra,De todo visible y invisible.

Lord, have mercy.Christ, have mercy.

Glory to God in the highest,and peace to his people on earth.We give you thanks, Lord God,almighty.

I (we) believe in God, the Father almighty.I (we) believe in one Lord, Fatheralmighty,Maker of heaven and earth,Of all that is seen and unseen.

Santo, Santo, Santo (Holy, Holy, Holy)

Santo, Santo, Santo es el Señor,Dio del Universo.Llenos están el cielo y la tierra de tuGloria.Hosanna en el cielo.Bendito el que viene en nombredel Señor.

Cordero de Dios (Lamb of God)

Cordero de Dios,que quitas el pecado del mundo,ten piedad de nosotros.Danos la paz. Amén.

Holy, Holy, Holy Lord,God of power and might.Heaven and earth are full of yourglory.Hosanna in the highest.Blessed is he who comes in the nameof the Lord.

Lamb of God,who takes away the sins of the world,have mercy on us.Grant us peace. Amen.



What the Grey-Winged Fairy Said (from What Grandpa Told the Children) FRANCISCO J. NÚÑEZ

The moon’s a gong, hung in the wild, Whose song the fays hold dear. Of course you do not hear it, child. It takes a FAIRY ear.

The full moon is a splendid gong That beats as night grows still. It sounds above the evening song Of dove or whippoorwill.

— Vachel Lindsay

The Sun Says His Prayers (from What Grandpa Told the Children)FRANCISCO J. NÚÑEZ

“The sun says his prayers,” said the fairy,Or else he would wither and die.“The sun says his prayers,” said the fairy,“For strength to climb up through the sky.He leans on invisible angels,And Faith is his prop and his rod.The sky is his crystal cathedral.And dawn is his altar to God.”

— Vachel Lindsay

Yet Gentle Will the Griffin Be (from What Grandpa Told the Children)FRANCISCO J. NÚÑEZ

The moon? It is a griffin’s egg,Hatching to-morrow night.And how the little boys will watchWith shouting and delightTo see him break the shell and stretchAnd creep across the sky.The boys will laugh. The little girls,I fear, may hide and cry.Yet gentle will the griffin be,Most decorous and fat,And walk up to the milky wayAnd lap it like a cat.

— Vachel Lindsay


Stand Tall Children (The Activists)FRANCISCO J. NÚÑEZ

We wept when the man was taken,But we knew it was meant to be.Daylilies drooped in the garden;Night birds fell dumb in the tree.We expected the worst of the future,For the future was seldom bright,And they carried away on the killing dayThe last of the first daylight.She moved to the front unbeaten,Stepped slowly up to the board.When she lost the man to the Ku Klux KlanHer silent shadow roared.Out in the enemy country,Death marshaled itself for a fight,But she led a choir in the line of fireThe first of the next daylight.Stand tall, stand all my children,Put away the sinister guns.Embrace the boys that Hate employs,Like mothers do their sons.Daylilies might bloom in the garden,Night birds might sing in the night,When dignity will set us freeThe rest of the best daylight.

Today the day holds on against the night,Because the fight for justice has begun.

It was an Alabama dayFor both the Many and the Few.There wasn’t really much to do;No one had very much to sayUntil a bus, the 6:15,Drove by. But no one chanced to seeIt stop to pick up history.The doors closed slowly on a scene:The quiet seamstress paid her fareAnd took the one seat she could find,The Many People paid no mindUntil the driver, J. P. Blake,Told the Few of them to takeThe deeper seats. But she declined.



Our fathers know the only hope of gainComes to those who turn and stop—and stand.

Stand tall, stand all my children,Put away the sinister guns.Embrace the boys that Hate employs,Like mothers do their sons.Daylilies might bloom in the garden,Night birds might sing in the night,When dignity will set us freeThe rest of the best daylight.

— J. Patrick Lewis

Pinwheels FRANCISCO J. NÚÑEZ

Picture yourself, your dreams, like horses on a carousel.A colorful world is spinning and turning around you.

How would you like to ride around and round, hands in the air?A colorful world is spinning and turning around you.

Pinwheels spinThe clouds I’m in,Painting all the magic in my life.

Barefoot in the sand,Rainbow kites in my hand,Painting all the magic in my life.

Walking around you see the children laughing out loud.A colorful world is spinning and turning around you.

Join them and sing your song, they listen and whistle along.A colorful world is spinning and turning around you.A colorful world is spinning and turning around you.A colorful world is spinning and turning a’A colorful world is spinning

Paint my world,Make it brighter e’vry day.

Paint my world.Make it better in e’vry way.

(Twisting, TurningSpinning, CurvingBlending, ShiftingBending, Whirling)


La Sopa de Isabel FRANCISCO J. NÚÑEZ

En la cocina mi mami se pasa el díaCortando tocino poniendole salLavando y majando las papas en agua

Meneate bailando de aqui pa’ alláQue buena la sopa,La sopa de papaUna sopa tan sabrosaQue nadie la dejaUna sopa tan sabrosaBailamos con ellaQue buena la sopa,La sopa de papaUna sopa tan sabrosaQue nadie le dejaUna sopa ta sabrosaLa sopa de Isabel!Llorando y cortando cebollas y ajo

un poco de adobo le de el sabor

Levando y majando las papas en agua

Meneate bailando de aqui para alláDame la calienteSopla la, sabrosa

In the kitchen my mom spends the dayCutting bacon and adding saltWashing and mashing the potatoes inwaterI dance and wiggle from here to thereThat good soup,The potato soupA soup so tastyNo one would leave itA soup so tastyWe danced with herThat good soup,The potato soupA soup so tastyNo one would leave itThe soup’s so tastyElizabeth’s soup!Crying while chopping onions and garlicMarinate it in adobo to give it the flavorWashing and mashing the potatoes inwaterI dance and wiggle from here to thereGive me some hotI’ll blow on it—delicious!


Dr. John Anderson is in his 28th year asa member of the music faculty of Mon-terey Peninsula College where heteaches music history, theory, and per-formance studies. For the past 16 yearshe has also served as chair of the divi-sion of creative arts. In this capacity, hehas supervisory responsibility for thetheater, art, photography, and musicdepartments. Dr. Anderson has hadnationwide experiences as a guest con-ductor and clinician, and has served onthe faculties of Transylvania Universityin Lexington, Kentucky; Indiana StateUniversity; Cal Poly at San Luis Obispo;and Cabrillo College. As a professionalflutist he has held positions with theAlpine Wind Quintet, the Greeley andTerre Haute Symphony orchestras, andas Principal Chair of the BreckenridgeFestival Orchestra. He has played fornumerous conductors including ZubinMehta, Johnny Green, and MeredithWilson. He has also served as associateconductor of Colorado’s prestigiousBreckenridge Festival for seven seasons.Active and involved in community orga-nizations, he has served as president of

the Central Coast Section of the Califor-nia Music Education Association, vicepresident of the Board of Youth MusicMonterey, and as a member of the StateBoard of Directors of the CaliforniaMusic Educators Association. Dr.Anderson is the founding conductor ofthe Ensemble Monterey ChamberOrchestra, an elite professional ensem-ble which critics have called “…aunique musical treasure.” A recognizedexpert in the music of Edgard Varèse,his articles on music theory have beenpublished in the Musical Quarterly andthe CBDNA Journal. Dr. Anderson alsopursues a second career as a classicalrecording engineer. His recording creditsinclude the Aspen Music Festival andSchool, the 250th anniversary recordingof Handel’s Messiah in Dublin, Ireland,and numerous international tours. Anative of Cupertino, California, heholds a bachelor’s degree in flute perfor-mance and a master’s degree in musiceducation, both from UCLA. In 1984 hewas awarded a doctorate in conductingfrom the University of Northern Col-orado. His teachers have includedRocco DiStasio, Elizabeth A.H. Green,Nicolas Slonimsky, Sheridon Stokes,and Eugene Corporon.

The Ensemble Monterey ChamberOrchestra was founded in 1992 by JohnAnderson and a group of professionalmusicians in the greater Monterey Bayarea. Since its inception, EnsembleMonterey’s goals have been to discoverand perform unknown masterworksand to perform the works of local con-temporary composers. Since its firstconcert, Ensemble Monterey hasenjoyed gratifying critical response.

THE ArtistsJOHN D. ANDERSON, Conductor ENSEMBLE MONTERY CHAMBER ORCHESTRA


Cheryl M. Anderson joined the CabrilloCollege faculty in 1991 as director ofchoral activities where she conducts thehighly acclaimed Cabrillo SymphonicChorus, Cantiamo!, Cabrillo Chorale,and Cabrillo Youth Chorus. She alsoteaches voice master class, Cabrilloopera, musicianship, applied music, andconducting. Her choirs perform withMonterey and Santa Cruz Symphoniesand Ensemble Monterey ChamberOrchestra. She is director of music at theSanta Cruz Peace United Church ofChrist and co-founder of the SacredMusic Workshop of Northern California.Ms. Anderson previously served as musicdirector of Pacific Repertoire Opera, andof the Breckenridge Music Institute. Therecipient of numerous awards andnationally recognized for her teachingexcellence, Ms. Anderson is past presi-dent of the American Choral DirectorsAssociation, Western Division. She is indemand as a guest conductor, clinician,and workshop artist and has preparedchoirs for Eric Whitacre for several per-formances. An advocate of new music,numerous composers have written worksfor her ensembles. Ms. Anderson com-pleted her graduate studies in choral con-ducting and voice performance at Col-lege-Conservatory of Music, Universityof Cincinnati, and University of North-ern Colorado. Ms. Anderson sang forseven seasons with the Robert ShawInstitute in Carnegie Hall and was a con-ducting fellow with Helmuth Rilling,

Oregon Bach Festival. She has served onthe music faculties at Colorado State Uni-versity, University of Northern Colorado,University of California Santa Cruz, andTransylvania University.

The choral groups under the direction ofMs. Anderson enjoy a stellar reputationinternationally and at home. In additionto the annual Music for the Feast ofChristmas, Cabrillo Symphonic Chorusperforms annually with the Santa CruzSymphony and is often invited to per-form at special events throughout Cali-fornia and the US. Cantiamo! Is a highlyselect Chamber Choir performing allgenre and styles from early Renaissanceto avant garde. Both groups have sungat all levels of American Choral Direc-tors Association, toured Italy, Slovenia,Croatia, Ireland, Austria, Germany,

CHERYL M. ANDERSON, ConductorCABRILLO SYMPHONIC AND YOUTH CHOIRS, CANTIAMO!

One critic wrote of EMCO’s perfor-mance of Stephen Tosh’s Covenant ofLight “We are very lucky on the CentralCoast to be able to enjoy the collabora-tive excellence and professional talentof Ensemble Monterey, Cantiamo andStephen Tosh.” In its 25-year history,Ensemble Monterey has been proud to

perform numerous world and regionalpremieres, and actively supports localcomposers. Composers who have writ-ten specifically for Ensemble Montereyinclude Stephen Tosh, John Wineglass,William Zeitler, Barry Phillips, ImantRaminsh, and Ēriks Ešenvalds.


Spain, Cuba, Czech Republic, Poland,Hungary, and the former Soviet Union,including a special invitation from theVatican to participate in the 500thanniversary celebration of the VaticanChoir. Directed by Cheryl M. Anderson,the Cabrillo Youth Chorus provides acomprehensive vocal music program forchildren 8–18 years of age. Providing arich ensemble experience, the programincorporates beautiful singing tone andmusic-reading fluency, in an atmosphere

of mutual respect and joy. The CabrilloSymphonic Chorus, Cantiamo, andCabrillo Youth Chorus are thrilled toreturn to Carnegie Hall with an EastCoast premiere of a commission byĒriks Ešenvalds, Sunset in My Hand:Ancient Voices of the Wild PacificCoast. In 2007 the choirs first appearedon stage at Carnegie Hall with a com-missioned piece The Peace of WildThings, by Imant Raminsh.

Ēriks Ešenvalds is one of the mostsought-after composers working today,with a busy commission schedule, andperformances of his music can be heardon every continent. Born in Priekule,Latvia in 1977, he studied at the LatvianBaptist Theological Seminary (1995–97)before obtaining his master’s degree incomposition (2004) from the LatvianAcademy of Music under the tutelage ofSelga Mence. From 2002–11 he was amember of the State Choir Latvija. In2011 he was awarded the two-year posi-tion of Fellow Commoner in CreativeArts at Trinity College, University ofCambridge. He is married with four chil-dren and gives students his expertise ascomposition teacher at the LatvianAcademy of Music. Mr. Ešenvalds has

won multiple awards for his work,including the Latvian Grand MusicAward three times (2005, 2007, and2015). The International Rostrum ofComposers awarded him first prize in2006 for his work The Legend of theWalled-in Woman and he was TheYear’s New Composer Discovery by thePhiladelphia Inquirer in 2010. Mr. Ešen-valds’ compositions have been premieredby myriad ensembles and his music isperformed by a wide range of perform-ers—from children’s ensembles andadult amateur collectives to professionalsoloists and such performers as the Lat-vian Radio Choir and the LatvianNational Symphony Orchestra. Mr.Ešenvalds is a popular public speaker,often leading workshops on his music.At the 2014 World Choir Games held inRiga, he composed the Games anthem,gave a major presentation on his work,acted on competition juries, and had alarge-scale production premiered by theLatvian Voices and The King’s Singers.The 2015 ACDA National Conferencein Salt Lake City premiered his Whisperson the Prairie Wind, where he also gavea presentation on his music, and tookpart in a composer roundtable forum.He was president of the jury at the 2016Rimini International Choral Competi-tion and jury member at the 2017Musica Sacra Nova International

ĒRIKS EŠENVALDS, Composer


Composers Competition at the PontificalInstitute of Sacred Music in Rome. Inaddition to Sunset in My Hand, Mr.Ešenvalds’ premieres this season includeworks commissioned and performed bythe Yale Glee Club, Saint Louis ChamberChorus, Louisville University CardinalSingers, Rundfunk Chor Berlin forInterkultur (Germany), Shenzhen LilyChoir (China), National Youth Choirs ofGreat Britain, New Zealand YouthChoir, and Cor Vivaldi for the Interna-tional Federation of Choral Music(Spain). His multimedia symphonyNordic Light will have its U.S. premierewith Choir of the West, Choral Unionand the Pacific Lutheran University

Symphony Orchestra, following the Ger-man premiere with the RundfunkchorBerlin last year. His second major opera,The Immured, which was premiered atthe Latvian National Opera and Ballet inMay 2016, will be performed this seasonas well. The Crystal Bear, awarded filmMellow Mud, for which he wrote thescore, is screened at festivals worldwide.Current commission projects includewriting for the Gewandhaus Leipzig(Germany), the Grant Park Festival,Chicago, the South Dakota Chorale, andfor Classical Movements (USA). His sec-ond multimedia symphony focusing onthe natural phenomenon of volcanoeswill premiere in 2018.

Francisco J. Núñez, a MacArthur “geniusgrant” Fellow, is a composer, conductor,visionary, leading figure in music educa-tion, and the artistic director/founder ofthe Young People’s Chorus of New YorkCity, renowned worldwide for its diver-sity and artistic excellence. Since itsfounding in 1988, Mr. Núñez has height-ened an awareness of the ability ofyoung people to rise to unforeseen levelsof artistry and has been cited by TheNew York Times for “raising the bar[for children’s choruses] by commission-ing a steady stream of works from com-posers who usually write for adults.” Asa composer, Mr. Núñez wrote his firstchoral work at age 15, winning earlyacclaim for seamlessly fusing a widegamut of cultures and musical idioms.Today, he composes countless composi-tions and arrangements in all musicalformats and styles, from classical to pop,commissioned from him for choirs,orchestras, and solo instruments. Mr.Núñez has also extended and invigo-rated the repertoire for young voices bycommissioning over 100 pieces of musicfrom many of today’s most distinguishedestablished and emerging composers, the

majority through the groundbreakingTransient Glory and Radio Radiancecommissioning series of the Young Peo-ple’s Chorus of New York City. Mr.Núñez also leads the University GleeClub of New York City, its fifth conduc-tor since the all-men’s chorus was estab-lished in 1894 and was the director ofchoral activities at New York Universityfrom 2003 to 2010. He is sought afteras a guest conductor by professionalorchestras, chamber ensembles, andchoirs, as well as a master teacher for

FRANCISCO J. NÚÑEZ, Composer/Conductor


Distinguished Concerts Singers Interna-tional (DCSI) forms the backbone ofDistinguished Concerts InternationalNew York (DCINY), the city’s preemi-nent producer of choral and orchestralconcerts in New York’s most presti-gious concert venues. DCSI is com-prised of singers and chorus membersfrom around the world. Between30–40% of the singers are alumni ofDCSI and have sung in two or more ofthe DCINY concert series over theyears. The DCSI has drawn members

from 43 countries and 6 continents.While the majority of singers are dedi-cated amateur musicians, many profes-sional and semi-professional ensembles,as well as individual professionalsingers, have also participated in theDCSI. All singers and/or ensembles gothrough an audition process reviewedby the DCINY Artistic team in order toreceive an invitation to appear on theDCINY concert series. The DCSI canvary in size from between 100 to 500singers, depending upon the repertoire.

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Distinguished Concerts Singers InternationalJCC: Young People’s Chorus @ Thurnauer (NJ), Emma Brondolo, DirectorSan Diego Children’s Choir (CA), Ruth Millgard, DirectorTeague Middle School Varsity Choir (TX), Karen Ramirez Cabrera, DirectorToano Middle School Choir (VA), Valerie K. Hart, DirectorWinston-Salem Girls Chorus/Gate City Young Singers (NC), Anne M. Saxon, Director*Worcester Children’s Chorus (MA), Pamela Mindell, Director*Young People’s Chorus of New York City (NY), Maria Peña, Director

*Denotes DCINY Alumni

Performing Arts PartnersDCINY would like to thank our Performing Arts Partners, who, with their finan-cial support, have made this performance possible.

choral workshops and festivalsthroughout North America andEurope. Through his Núñez Initiativefor Social Change, in addition, he is afrequent keynote speaker as a leadingauthority on the role of music in achiev-ing equality and diversity among chil-dren in today’s society. Mr. Núñez hasreceived an ASCAP Victor HerbertAward and the New York Choral Soci-ety’s Choral Excellence Award. ABC-TV honored him as its Person of the

Week, and Fox News profiled him for“changing young lives with music.”Musical America Worldwide namedhim among 30 Influencers for his con-tributions to the music industry, NYUSteinhardt honored him with its Distin-guished Alumnus Achievement Award,and last season he was presented withan honorary doctor of music degreefrom Ithaca College. Today marks Mr.Núñez’s fourth conducting appearancewith DCINY.


ViolinShannon Delaney *Eldar HudievArlyn Knapic

Violin IIDave Dally

Viola John Wineglass

CelloMargie DallyJudy Roberts

FluteLars Johannesson

OboeRobert Scott

HarpCass Jennifer

PercussionLaura McShaneCamille Harrison

*Concert Master

ENSEMBLE MONTEREY CHAMBER ORCHESTRA

Kevin AltenbergKate AndertonLinda AppletonLaura ArnowBob BaileySharon BaileyFrances Basich WhitneyKatie BasileRoger BowersDeborah BronsteinMarlene BurgessCaitlin Jane BuseThomas BuskBarbara CowieDana CrowDesiree DashtbanLindsay DavisNick DavisLiz DeFrancescoEileen DemersMadeleine DemersMichael DemersJan DerechoMary DeutschSherrie DeWittNatalie DiazSusie DiPaoloMalia EasterNaima EasterEila Eilfort

Ronja EilfortTom EllisonAmy EvancheckSusan EzequelleKristin FabosEllen Faurot-DanielsConnie FigueroaLarry FriedmanBrenda GleasonDave GleasonDavid GrahamThomas GravesJim GroveGail GrovesNancy GuptillClaire HadleyDawn HamaneJamie HamaneKaley HamaneLu HausslerJessica HetrickSusan HouseMira HuangJohn HughesKerri HughesAyla HymesAlicia IlseAlex JacksonRachael KatzElisa KnoxDave Kramer-Urner

Eric KurtzAmita KuttnerSusie LandMichael Locke-PaddonAndrea LoseeDonna MadsenEleri MahoneyDiane Marvin-KoenigKasey MathewAnnika McKenzieSuzanne McLeanNaomi McNeillKathleen McNuttMichelle MiracleJasmine MontgomeryJeannette MorettiNorma MountsSally MountsEnya MurrayMeera NarayanSonya NewlynEmily ParkhusrtDinah PhillipsBeverly PorterJoshua PorterLouise PowelsonAlexandra ProcaLucy Ramee-LikenessAçucar Ramos

Dana RaneyBill RentzOlivia Rocha-SchimkeJeanne RodriguezOmar RodriguezIan RusconiArt SchullerSandy SchullerCarolyn ShimekOlivia SiemerValerie SiemerDana SimmsTopsy SmalleyZoe StackFianna MizukiTanaka-KoppCandace TannerLinda TekronyJorge A. TorrezPatricia VerheulTerry WaltersAez WhiteConnor WhiteMary Claire WhitneyVictoria WhitneyDarlene WilcoxDavid WilloughbySadie WilloughbySharon WilloughbyLeah Zumberge

CABRILLO SYMPHONIC AND YOUTH CHOIRS

Emma AbellJasmine AbrahamsVictoria AguilarJaylen AlexanderRida AliKelly-Roland AnkoueTracy-Roland AnkoueIlinca AnschelAngelica ArmetaAthaliah Arnolda

Alejandra ArroyoAsthon BaekMiguel BanksLyndon BarnesCassandra BartelsBelinda Becker-JacobDamla BerlinguetteChristine BernardNylu BernshtynGabriella Berry

Ymorah BlakeneyGeorgia BomarLauren BreenFei BuKayla BunkerMuriel CampbellGenesis CapellanAshley CastilloBernarda CastilloTaylor Carter

Besty CatesCaroline CatesRebekah CeasarJessica CeballosSadie CeluzzaEmily ChenJudith ChicasSonia ChrostowskiKendal CliburnGrace Coderre

PERFORMING ARTS PARTNERS

(Continued)


Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder, Artistic Director & Principal ConductorDanuta Gross, Director of Finance & AdministrationKevin Taylor, Director of Program DevelopmentJames M. Meaders, Artistic & Education ConsultantJason Mlynek, Associate Director of ProgramDevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program DevelopmentKimberly Wetzel, Program Development

Maria Braginsky, Program Development AssistantJeff Binner, Program Development AssistantJason Arnold, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director ofMarketing, Box Office & PromotionsKatherine Shen, Box Office & MarketingAssistantDeAnna Choi, Office Operations Manager,Accounting & BillingMarisa Tornello, Concert Operations AssociateMorgan Yachinich, Concert OperationsGary Crowley, Graphic Design & WebsiteJessica Zakula, Intern

DCINY ADMINISTRATIVE STAFF

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Isabel HerlitzBejamin HoganVivian HollandBen HollingsheadJasper HoongHyugo HortonLia HwangStefania IlardiJuha ImIryna IvaniukRaychel JacksonJessica JiaoJhosanna JimenezEliana JohnsonSamantha JohnsonMakayla KaneCastro KendraHanna Kessler-KarpStephanie KimZoe KoblenceKahyun KohKayoon KohMaya Kramer-JohansenOlivia LamSophia LamSam LangHannah LarrabeeSienna LawrenceRiley LawsonElise LeeJulia LeitkoAmoy LinAmy LiuJessica LiuZoe LudenaAlexander MaioVictoria ManningJaclyn MarkhamAlix Maung

Maliayah McClainShaia McClungEdward MillerIhesha MillsJosefina Moehn-AguaylMina MooreAnastaiya MootsHannah MorrillSasha MoseleyAlexander Moustaker-skiMary Michael MoweryCaitlyn MyersIan MyersTiffany NamkungKadeem NicholasDylan NorrisYahaira O’KeefeChizi OkeicheCarly OrtegaLeilany PachecoMariella ParmenterKaya PazantSarah PetersenJemmie Piersol-FriedmanMiyuri PortalatinMorgan PounderColleen PowellMarissa PrattCarolyn RalphChristine RalphIandra RamosIllian RamosChishana RattanDaniella RenteriaAutumn RhonemusSavannah Richards

J’noir RichardsonZuri RigginsLily RileyMargaret RileyKennedy RobinsonGiovanna RobsonBhadra RupeshMadison SaboClauss-Ehlers SabrinaIris SandersTyson SandersInez SantosBrittany SaulmanTrinity SibleyMaruca SmithAlan SmitheeAya SmootOwen StensonWallace StensonBrianna StonebreakerFrancis TianErik TobiesShantel Van VoorhisAntonia VillafrancaGabriela VillafrancaLua VizcayaChloe VoorhisEmma VoorhisTimothy WackerZaria WadeKerri WalshLauren WalshJosephine WenderLindsey WilliamsAlexander WolfeJosephine WybleVivienne WychorskiMaya YanowitchNaomi Zafrir

The Performing Arts Partners list includes names supplied by directors. Any questions regarding missingor misspelled names should be addressed to the individual directors.


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CANTA! CANTA! CANTA! - DCINYHome: DCINY · hymn-like, being homophonic through- ... Mr. Ešenvalds ... homophonic declamation, with simple harmonic language throughout