JERUSALEM - Rose Ensemble Rose Ensemble... · Jerusalem: Treasures from the Holy Land Thank you! • The clergy and staff of Christ Lutheran Church in Minneapolis and Pilgrim Lutheran

JERUSALEM:Treasures from the Holy Land

Jordan Sramek (Founder/Artistic Director, tenor, psaltery, hurdy-gurdy)

Bethany Battafarano, Anna Christofaro, Elizabeth Windnagel (soprano)

Alyssa Anderson, Natalie Nowytski, Clara Osowski (alto)

Garrett Eucker, Bradley King (tenor) Mark Dietrich (bass)

David Burk (oud, cittern)

with very special guests

Yair Dalal (oud, violin)

Dror Sinai (percussion)

Zafer Tawil (qanoun, violin, nay, oud, percussion)

Season Sponsors

JERUSALEM:Treasures from the Holy Land

Minnesota Statewide Tour Sept. 17-30, 2016

Universal calls of the Abrahamic faithsCALL to GOD: Shema’ haelCALL for PEACE: Da pacem DomineCALL to PRAYER: Adhan

Cives caelestis patriae Shfal Rouach Law hasha allah Vidi civitatem sanctam

Palestina Hermoza y Santa

Instrumental: Sama'i Bayati (qadim) Psalm 137

Qubbat al-SakhrahYefe Nof Sallatu Allah

Jerusalem, surge PalästinaliedInstrumental: Muhayer Beshref

Lamentationes cum quattuor paribus vocibus (1587)Irme quiero madre a Yerushalayim

Bakkara Abram Ahavat HadassaTala'al-Badru 'alayna / Ebtihal Yā ribon Alam

Judaism (Yemenite tradition)Christianity (Roman tradition)Islam (Palestinian tradition)

Latin plainchant Shlomo Ibn Gabirol (1021–1053) Traditional Arabic nasheed Orazio Vecchi (1550–1605)

Traditional Sephardic (Sarajevo)

AnonymousSalamone Rossi (ca.1570–1630)

Traditional Arabic nasheed Judah Ha-Levy (1075–1141)Traditional Sufi nasheed

Carlo Gesualdo di Venosa (1561–1613)Walther von der Vogelweide (ca.1170–1230)Anonymous, Ottoman, ca.1500

Orazio Vecchi (1550–1605)Traditional Sephardic

Maronite liturgical chant

Rabbi Shalom Shabazi, Yemen, 17th centuryTraditional Sufi / Traditional PalestinianRabbi Israel Najara Zefat (1555–1628)

INTERMISSION

Jerusalem: Treasures from the Holy Land

Thank you!

• The clergy and staff of Christ Lutheran Church in Minneapolis and Pilgrim Lutheran Church in St. Paul for rehearsal space

• Patrick Spradlin, Jean Beckmann, George Marsolek and Central Lakes College, Brainerd

• Ward Merrill and the staff at Backus Community Center, International Falls

• Chris Bollman and Sacred Heart Music Center, Duluth

• Amy Stearns, Beth Gilbert and the staff at the Historic Holmes Theatre, Detroit Lakes

• Jeffrey Meyer, Bruce Vieweg, Roxane Case and Concordia College, Moorhead

• Kevin Ramach and the staff at Ted Mann Concert Hall, Minneapolis

• Matthew Farrell, Mary Jo Bot and St. Cloud State University

• Darcy Lease Gubrud and Ridgewater Community College, Willmar

• Dan Mahraun for transcription and research assistance. William Hudson for research assistance.

• Dr. Stanley Romanstein for musicological assistance

• Dr. Bradley Miller, Jennifer Deane and the University of MN-Morris

• Sister Lucille Matousek and the School Sisters of Notre Dame, Our Lady of Good Counsel Campus, Mankato

• Jill Schroeder and the staff at Marshall High School

• Karen Yant, Marshall Area Fine Arts Council• Patricia Arndt and the staff Lourdes High School,

Rochester• Pete and Carol Parshall, Yaron Klein, and Jordan

Sramek for hosting guest artists• Paul Riedesel, Action Market Research• Wagdy Elisha for Arabic transliterations and

translations• Sam Black, Andi Casaus, Hanna Dorn, Stefanie

Hofman, Jan Karon, Milan Kovacovic, Carol Parker, Jo-Ann and Frank Sramek, Joel Tracey, Elyse Carter Vosen

• Thanks also to all Rose Ensemble volunteers who so graciously and selflessly offer their time and talents

The Rose Ensemble wishes to express its gratitude to the following individuals and institutions:

Special thanks to these community businesses:

• Days Inn International Falls• AmericInn of St. Cloud• AmericInn Fargo South• Country Inn and Suites• Willmar Country Inn & Suites by Carlson

• AmericInn & Conference Center Mankato• Super 8 Morris• AmericInn Lodge & Suites Detroit Lakes• AmericInn Marshall• Boulder Tap House, St. Cloud• Susan Brown, Mademoiselle Miel Chocolatier

4 The Rose Ensemble

About The Rose EnsembleFounded in 1996 by Artistic Director Jordan Sramek, The Rose Ensemble unites virtuosic artistry and scholarly research to produce imaginative and inspiring musical programs that connect each individual to compelling stories of human culture and spirituality from around the world. The Rose Ensemble’s repertoire, spanning over 1,000 years and 25 languages, brings to life rarely heard music from archives and manuscript libraries across the globe. In recent years, the Ensemble has thrilled audiences throughout the United States and Europe with unique programs illuminating the music, history, languages, and cultures of Malta, Hawaii, France, Ukraine, the Middle East, and Cuba.

The Rose Ensemble maintains an active regional, national, and international touring schedule. In the past two years, The Rose Ensemble has presented concerts and outreach programs in over 30 cities in 16 states across the U.S., with appearances at the Indianapolis Early Music Festival (IN), Chautauqua Music Festival (NY), Madison Early Music Festival (WI), Academy of Early Music (MI), Camerata Musica (WA), Columbus Early Music (OH), and the National Gallery in Washington, D.C. The Ensemble was honored in 2014 to represent the U.S., by invitation of the State Department, at the biennial International Festival of American Renaissance and Baroque Music, Misiones De Chiquitos, in Santa Cruz, Bolivia. In 2017, The Rose Ensemble will represent the U.S. at the World Symposium on Choral Music in Barcelona, Spain and also perform at the prestigious Festival des Choeurs Lauréats in Vaison-la-Romaine.

The Rose Ensemble musicians have received acclaim for their ability to perform both as an ensemble and as individual soloists while Mr. Sramek has been lauded for his diverse programming and ground-breaking research. The Ensemble is the recipient of the 2005 Margaret Hillis Award for Choral Excellence and took first place in both secular and sacred categories at the 2012 Tolosa (Spain) International Choral Competition. Mr. Sramek is the 2010 recipient of the Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal. The Rose Ensemble has produced ten critically acclaimed recordings and is preparing to record its 11th CD in 2017, Music of Baroque Malta.

About our Guest ArtistsYair Dalal is a composer, violinist, oud player, singer and teacher. A prolific ethnic musician, he plays an important role in shaping the global world music scene. Over the last decade he has put out 12 albums that authentically represent Israeli, Jewish and Middle Eastern cultures, fusing them through music. Much of Dalal’s work reflects his extensive musical skills in both classical European, jazz and Arabic music and also reflects the strong affinity he has for the desert and its inhabitants. Dalal’s family came to Israel from Baghdad and his Iraqi roots are embedded in his musical work.

Whether on his own or with his Alol ensemble, Dalal creates new Middle Eastern music by interweaving the traditions of Iraqi and Jewish Arabic music with a range of influences originating from diverse cultural milieus. Dalal continually works to preserve musical heritages from becoming extinct: the Babylonian Jewish Iraqi musical heritage and the music of the Bedouins (the Sinai desert nomads).

Over the years Dalal has performed in concerts and festivals worldwide in venues such as New York’s Carnegie Hall and Lincoln Center, Womad festivals from England to Australia and New Zealand, as well as a humble authentic nomad’s desert tent. Collaborating with top musicians from different disciplines and heritage, Dalal lectures at various music educational institutes and universities in Israel and worldwide. Besides his musical endeavors, Dalal is a peace activist. He devotes much of his time and energy building bridges of understanding and creativity between different cultures, particularly between Jews and Arabs. Dalal performed at the Nobel Peace Prize gala concert in 1994 honoring the Israeli Prime Minister Yitzhak Rabin, Foreign Minister Shimon Peres and Palestinian Chairman Yasser Arafat.

Dalal has won several awards in Israel acknowledging his music and his contribution to Israeli music. He was nominated in 2000 for a Grammy as part of Jordi Savall’s ensemble and honored by the BBC Awards for World Music in 2003 for his achievements.

Dror Sinai is an international performer, educator, and performing artist, as well as the founder of RHYTHM FUSION, Inc. in Santa Cruz, California. In 2002, he received the Gail Rich award for supporting the arts, and is a founding member of the World Music Committee for the Percussive Arts Society. Dror has performed as a solo artist and has appeared in ensembles of many different musical styles with other talented artists, including Yair Dalal, Omar Faruk Tekbilek, Yuval Ron, and Alessandra Belloni.

Dror has presented lectures, clinics, and workshops to diverse audiences, including Universities, schools, community gatherings, adults and children, and has taught both professionals and amateurs. He has been a featured instructor for Spectra of the Santa Cruz Arts Council, and at clinics during PASIC (Percussive Arts Society International Convention). Working for world peace as a way of life, he taught and performed on the “Peace Boat,” as well as at The World Sacred Music Festival in Fes, Morocco in 2009. Dror curated the Israeli Musical Instruments exhibit at the MIM-Musical Instruments Museum. Today he also leads musical and cultural explorations, bringing tour groups to Morocco.

Zafer Tawil An accomplished Palestinian musician based in New York City, Zafer Tawil is a virtuoso on oud, violin, and qanoun, and is a master of Arabic percussion. He has performed with numerous musicians, ranging from the pop star Sting to avant-garde composer/performer Elliot Sharpe to masters of Arabic music such as Simon Shaheen, Chab Mami, Bassam Saba, and George Ziadeh, and many others. Zafer has composed music for a number of film soundtracks, most recently Jonathan Demme’s My Favorite American (not yet released), Rachel Getting Married, and the documentary Until When. He has held workshops on Arabic music at numerous universities

throughout the United States. His recordings include “Mumtastic,” by Shusmo; Gaida Hinawi’s debut CD, “Levantine Indulgence”; and two CDs by Amir AlSaffar’s Two Rivers: “Two Rivers Musicians,” and the yet-to-be-released, “Enaana.”

Jerusalem: Treasures from the Holy Land 5

6 The Rose Ensemble

Texts, Translations & Program NotesFor as long as human beings have gathered for a collective purpose, a signal or call has been employed, whether by using the voice, an object, or specialized instrument. Religious ceremonies often feature a call to prayer – a signal conveyed to members of the community indicating that it is time to engage in a scheduled prayer ritual. The Abrahamic faiths are no exception to this ancient practice, and calls are manifest in a variety of ways – whether utilizing the voice or signaling with bells or horns.

In the world of Latin (Gregorian) chant, piecing together the evolution of a particular melody or text over several centuries and thousands of miles – although tedious – is entirely possible. Manuscripts containing early Latin chant (featuring all its various forms of notation and dialect) can be found today in libraries and archives across the world. But what remains of the tradition of early Hebrew chant (in its notated form) is hardly countless volumes of concrete proof but, rather, a mere handful of parchment fragments. Thankfully, the blessed ability of human memory and a preserved tradition over generations allows the Jewish chazzan to utilize specific musical modes and melodies, and the art of Hebrew cantillation, whether drawing upon Biblical or para-liturgical texts. Similarly, while the first notated examples of Islamic/Arabic chant did not appear until hundreds of years after that of Christian Europe, centuries of oral tradition, collective memory, and religious schools have indeed preserved Islamic recitation practices. The Muslim muezzin in modern times now draws from that ancient collective memory to recite the adhan from mosques around the world, five times a day, whether rooted in Egyptian modal and ornamental musical practices, or that of Turkish, Indonesian, Persian (etc.) and in the case of this concert, Palestinian.

Shema’ hael Asher yishma’ bakolot,wehael hamakabel hatefilot.

Listen, oh, God who listens to the voicesAnd God who receives the prayers.

CALL to GOD: Shema’ hael Judaism (Yemenite tradition, sung in Hebrew)

REFRAINDa pacem, Domine, in diebus nostrisQuia non est aliusQui pugnet pro nobisNisi tu Deus noster.

Rogate quae ad pacem sunt Jerusalem:et abundantiadiligentibus te.

Give peace, O Lord, in our timeBecause there is no-one elseTo fight for usIf not you our God

Pray for the peace of Jerusalem: they shall prosperthat love thee

CALL for PEACE: Da pacem Domine Christianity (Roman tradition, sung in Latin)

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS 7

Allahu akbarAshhadu anna la ilaha ill AllahAshhadu anna Muhammadan rasul AllahHayya ala as-salahHayya ala al-falahAllahu akbarLa ilah ill Allah

Allah is the greatestI testify that there is no God but AllahI testify that Muhammed is the messenger of AllahCome to prayerCome to success/salvationAllah is the greatestThere is no God but Allah

CALL to PRAYER: Adhan Islam (Palestinian tradition, sung in Arabic)

Jacques Oggartistic director

The

baroque orchestra

Information about Lyra’s music, history, and people at

lyrabaroque.org

Fresh, colorful performances, and joy-filled music making.

8 The Rose Ensemble

Cives caelestis patriae Latin plainchant

Chapter 21 of the Book of Revelation begins with John’s vision of the holy city, New Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. He goes on to describe the twelve foundations of the wall of the city, being garnished with all manner of precious stones. This gorgeous hymn describes three particular foundation jewels (and their mystical meanings) of the New Jerusalem.

Theories vary widely about the historical performance practice of plainchant – or what is often referred to as “Gregorian” chant. Since the time when Christianity incorporated Latin plainchant into its fully-planned liturgies, early Medieval monastic communities in particular developed myriad approaches to chanting, varying regionally not only with regard to pronunciation of text and style of singing, but the usage (or non-usage) of instrumental accompaniment. The performance of para-liturgical texts (those describing spiritual ideas or events, often from sacred literature like the Bible, but not necessarily part of a structured liturgy) such as this hymn, were for centuries commonly accompanied by instruments of all kinds.

Our presentation features a seemingly unlikely combination of plucked instruments with undeniable ancestry: the qanoun and the psaltery. In Europe’s Christian era, an instrument consisting of a soundboard with several pre-tuned strings that were plucked came into use. This instrument – the psaltery - was also known by the name canon (from the Greek word κανών <kanṓn>, which means "rule", "principle", and also "mode") and was used to accompany cantillation or even the recitation of poetry. In comparison, the qanoun (Arabic: نوناق , qānūn; Greek: κανονάκι, kanonaki) is a string instrument played either solo, or more often as part of an ensemble, in much of the Middle East. As the historical relative of the santur (a hammered dulcimer of Persian origin) from the same geography, the qanoun is thought to trace its origins back to Assyria, where it may have been used in Mesopotamian royal courts and religious ceremonies.


Cives celestis patrieregi regum concinite,qui est supremus opifexcivitatis uranicein cujus edificiotalis exstat fundatio.

Saphirus habet speciemcelestis throni similemdesignat cor simplicium,spe certa prestolantium,quorum vita et moribusdelectatur altissimus.

Beryllus est lymphaticusut sol in aqua limpidus,figurat votum mentiumingenio sagacium,quis magis libet mysticumsumme quietis otium.

Chrysoprassus purpureumimitatur concilium,est intertinctus dureisquodam muscillo jaculishoc est perfecta cartias,quam nulla sternit feritas.

Jerusalem pacifera,hec tibi sunt fundamina,felix et deo proxima,que te meretur, anima,custos tuarum turriumnon dormit in perpetuum.

Citizens of the father's realm,sing together to the king of kings,who is the almighty architectof that city beyond the skies,thus constructedand thus founded.

The sapphire has a kind of beautylike the beauty of the heavenly throne;its meaning: the heart of simple folkwho stand and wait in certain faiththeir actions and their way of lifedelight the heart of him on high.

Beryl, pale yellow, crystallinelike sunlight in the purest water,this signifies our inward prayersto the mind of those that understand;what delight greater can there bethan the mystic quiet of holy rest?

Chrysoprase, of royal purpleshows the nature of good counsel,veined through with a little networkof a dorian, mossy tint,it is like perfect charityuncowed by any savagery.

Jerusalem, O peace bringer!All these stones serve as your foundations,happy, and next to God himself,is the soul that deserves to dwell in you.He who keeps and guards your towerswill be forever unsleeping. Amen.

10 The Rose Ensemble

Shfal Rouach (sung in Hebrew) Shlomo Ibn Gabirol (1021–1053)

Shlomo Ibn Gabirol was an 11th-century Andalucian poet and Jewish philosopher. He published over a hundredpoems, as well as works of philosophy, ethics, satire, and those exploring Biblical interpretation. Despite his shortlife, Ibn Gabirol won fame during his lifetime, and even more so after his death when his writings became morewidely known. At the age of 28, he wrote his most famous book Mekor Chayim (“Origin of Life”), in the Arabiclanguage; this philosophical work gained great popularity in its Latin translation Fons Vitae (“Fountain of Life”). The Arabic original was lost but the Latin version is fully preserved, and a Hebrew translation was published in 1926. The manner of Ibn Gabirol's death is shrouded in mystery: legend has it that he was trampled to death by an Arab horseman – ironically, the legendary tragic ending of another Jewish composer on our program, Rabbi Judah Ha-Levy.

Shfal ruach berech vekomaakadmecha berov pachad veeima

Lefanecha ani nechshav beeinaiketolaat ktana baadama

Melo olam asher ein kets legodlohakamoni yehalelcha ubame

Hadarcha lo yachilun malachei rumveal achat ani kama vekama

Hativota vehigdalta chasadimlecha tagdil lehodot kol neshama

Ashacher el bereshit raayoniasher lishmo tehalel kol neshama

Humble, inferior and worthless,I will welcome you with immense fear and awe

Before you I am considered in my eyes,a small worm in the ground

Entirety of the world, whom there is no end to His greatness,How can one like me praise you, and with what?

Your grace cannot be contained by heavenly angels,let alone by me.

You have been gracious and expanded your kindness,every soul will greatly thank you.

I will seek God in the source of my purpose,He, to whose name every soul will praise


Law hasha allah (sung in Arabic) Traditional Arabic nasheed

Translation/transliteration: Mr. Wagdy Elisha, PhD Candidate, Lutheran Theological Seminary at Philadelphia

A nasheed is a spiritual or cultural song usually making reference to Islamic beliefs, history and religion, as well ascurrent events. Our performance draws attention to the striking similarity between the melody of the previouspiece, Shfal ruach, and this beautiful spiritual song for the Muslim feast of Ramadan.

La auhash Allah! La auhash Allah!Yala ya keram.La auhash Allah menka ya shahr al-seyam.La auhash Allah menka ya shahr Ramadan.

La auhash Allah menka ya shahr Ramadan.La auhash Allah menka ya shahr al-Qur’an.La auhash Allah menka ya shahr al-ghofran.La auhash Allah menka ya shahr al-ehsan.

Inna shahr al-Saom wallah. Wallah rahelan.Yaghfero al-Mawla li-man sala wa-sama.

Ahe, Yaghfero al-Mawla li-man sala wa-sama.

Inna fi al-Jannah baban khaledan esmoho al-Rayyan.

Men ajli al-soyaam.Ahe, aismuho al-Rayyan men ajli al-soyaam.

May God not let you go! May God not let you go!Let’s say it O honorable people.May God not let you go O month of fasting.May God not let you go O month of Ramadan.

May God not let you go O month of Ramadan.May God not let you go O month of Qur’an.May God not let you go O month of forgiveness.May God not let you go O month of charity.

The month of fasting has gone, gone departing.The Mighty God forgives [the sins] for all who prayand fast.Indeed, the Mighty God forgives [the sins] for allwho pray and fast.

The Jannah [Paradise] has an eternal gate called al-Rayyan.

It is for fasters [to enter from it].Indeed it is called al-Rayyan for fasters of Ramadan.

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Vidi civitatem sanctam (sung in Latin) Orazio Vecchi (1550–1605)

Orazio Vecchi was one of the Italian Renaissance’s most gifted writers. He was a prolific creator of dozens ofpublished madrigals and canzonettes – light, entertaining, skillfully written music for small groups of singers.Vecchi broke new ground by weaving together solos, duets, poetry, and music for greater numbers of singersinto a full evening’s entertainment – the so-called “madrigal comedy.”

As prolific and celebrated as Vecchi was in the world of secular music, he devoted his life to composing,conducting, singing and playing music for the Catholic Church. During his lifetime, Vecchi published fourvolumes of sacred choral music: two collections of motets scored for 4-8 voices (included therein this settingof Vidi civitatem sanctam), a collection of 32 hymns for use throughout the church year, and his setting of theLamentations of Jeremiah, found in our program’s second half.

Vidi civitatem sanctam Hierusalem novamdescendentem de coelo a Deo paratem, paratamsicut sponsam ornatam viro suo. Alleluia.

I saw the holy city, New Jerusalem, coming downout of heaven from God, made ready as a brideadorned for her husband. Alleluia.

Celtic Contemplative Communion a Celtic journey into the mysteries

Nordic Contemplative Evening Prayer Celebrating the rich and haunting music

of the Scandinavian peoples Come at 6:30 pm for an extended prelude by that month’s guest musicians.

Pilgrim Lutheran Church St. Clair Sunday Evenings

PROUD HOST OF ROSE ENSEMBLE REHEARSAL & PERFORMANCE Contemplative Evening Worship Resumes September 11 for our 2016-2017 Season

Compline: Contemplative Night Prayer Featuring the Minnesota Compline Choir

2nd, 3rd & 4th Sundays 6:51 pm

Pilgrim Lutheran Church 1935 Saint Clair Avenue Saint Paul 55105

A Home for Hungry Minds and Souls An ELCA Congregation

A Reconciling in Christ Congregation A Caring for Creation Congregation

Pastor Carol Tomer, Lead Pastor PilgrimStPaul.org – 651-699-6886

Sunday Worship at 8:30 & 11:00 am , Sept. 18-May 14 Sunday Worship at 9:30am, Summer & Dec. 18-Feb.19

Upcoming at Pilgrim Lutheran

Dimension are Horizontal: 8" x 4.25" (8.25" x 4.5" with bleed)

August 29, 2016

Sunday Sept. 18, 6:51pm DEBUT of Compline: Contemplative Night Prayer Sunday Oct. 16, 8:30 & 11:00 am Nordic Morning Prayer Wednesdays, Oct. 26 & Nov. 2, 6:15 pm Sun, Oct. 30, 9:45 am "Reformation Church—Being Lutheran" Forums by Bishop Peter Rogness Wednesdays, Nov. 9 & Nov. 16, 6:15 pm Forums on faith formation, by Dawn and Jonathan Rundman Christmas Eve: 4 pm — Intergenerational 6:51 pm — Celtic 10 pm — Festival


Palestina Hermoza y Santa (sung in Ladino) Traditional Sephardic (Sarajevo)

We can describe Jewish Music as having three distinct “streams.” One is the Ashkenazi, or Western stream, whichincludes Klezmer, and is music originating in Eastern Europe and extending to the rest of Europe and the Americas. The second stream is the Sephardi, which refers to Mediterranean cultural sources, including Spain, Portugal, North Africa, Greece, and Turkey. The third stream is the Mizrahi, literally ‘Eastern,’ and refers to the music of Jewish people who resided for centuries amidst Arabic cultures. Of course these three streams are not completely separate, but intersect in many places.

Sephardi literally means ‘Spanish,’ and alludes to the fact that until the Spanish expulsion of all non-Christians in 1492, a very fruitful Jewish culture existed in Spain; when these Jewish communities were expelled they migrated to places all around the Mediterranean basin - Morocco, Egypt, Turkey, Greece, etc. They took with them a 15th-century version of Spanish called Ladino (Judeo-Spanish), in which most Sephardic songs are written. Over the centuries Ladino has integrated many Hebrew words as well as words from the various tongues spoken where these Jews made their homes. The interaction between these peoples and the communities in the countries where they lived, gave rise to a cultural expression that incorporates many melodic and rhythmic elements of the Mediterranean.

Palestina hermoza y santacuanto sos dezventuradaalevanta y tú sola cantaque tú deves ser nuestra morada

En pensando en la tierra santami cuerpo se hinche de tremblorel stado tuyo me encantami alma se hinche de dolor.

Tierra sos del Criador bendichacuanto sos lexos de tus hijosma tu hemozura mos hazepaz y amor ariento el coraçón.

Palestine, beautiful and holy,how wretched you have become.Rise up and sing,because you should be our home.

Thinking about the holy land,my body fills with trembling.Your plight captivates me,my heart fills with sorrow.

Land blessed by the Creator,even though your children are far from you,your beauty gives uspeace and love in our hearts.

Instrumental: Sama'i Bayati (qadim) Anonymous

This piece’s title tells us several things about its musical form. Sama'i is the 10-beat Iqa' (rhythmic mode or pattern), Bayati is the predominant maqam (melodic mode or scale), this one particularly “minor” sounding, where there is typically a microtone on the second degree of the scale. Qadim can be translated to “old.” Modern Sama'i form typically includes a 3/8 section stated after all four khana, or thematic verses, and the taslim, or recurring main theme. The lack of a 3/8 section in this Sama'i further supports the common notion that this piece dates back at least 200 years.


Psalm 137 (sung in Hebrew) Salamone Rossi (ca.1570–1630)

By the time of the Renaissance, there were few other places west of the Rhine where a Jew could live (Spain, England and most of France had expelled all their Jews by 1500). But at the enlightened court of Mantua (the seat of royal luxury and artistic magnificence), Jews were not only tolerated, but often allowed to intermingle freely with non-Jews. In this atmosphere, Jews were affected in an exceptional degree by the prevailing literary, artistic and humanistic tendencies. The shining star of Jewish musicians of the Renaissance period, and a considerable musical figure in any context, was Salamone Rossi, a singer, violinist and composer at the court of Mantua from 1587 until 1628.

During the period of his employment at Mantua, he wrote volumes of songs, dances and concert music for his Christian patrons who, in gratitude, exempted Rossi from wearing the stipulated Jewish badge of shame. Yet, on the other hand, Rossi was never totally assimilated into the Christian community, choosing himself to append to his name the word "Hebreo" -Salamone Rossi the Jew, and remaining actively involved with Jewish actors and musicians.

In the field of instrumental music Rossi was a bold innovator (he is known as the father of the trio sonata). But it is undoubtedly in the field of synagogue music that we find Rossi' s most daring work. For hundreds of years, Jews had clung to an ancient musical tradition whereby instruments were banned from the synagogue as a sign of mourning for the destruction of the ancient Bet HaMikdash. New melodies of gentile origin were considered a deviation from the pure Near-Eastern tradition, and, as such, were forbidden.

But Rossi and his Jewish contemporaries began to question why the music of their synagogues should continue to sound so “old-fashioned.” And once strictly segregated Jewish neighborhoods (called ghettos) were established in Mantua in 1612 (surprisingly late, considering Venice’s first Jewish ghetto was established in 1516), Italian Jews were forced to turn increasingly inward. Now their appetites for “new music” would be satisfied, and the synagogue would provide the venue.

Rossi is the first Jew ever to compose, perform and publish polyphonic settings of the synagogue liturgy for mixed choir. In the preface to the publication of this synagogue music, Rossi acknowledged the spiritual inspiration for his art:

From the time that the Lord God first opened my ears and granted me the power to understand and toteach the science of music, I have used this wisdom to compose many songs. The Lord has been my strength and He has put new songs into my mouth. Inspired, I wove these into an arrangement of sweet sounds, and I designated them for items of rejoicing on the holy festivals. I did not restrain my lips, but ever increased my striving to enhance the Psalms of David, King of Israel, until I set many of them and shaped them into proper harmonic form, so that they would have greater stature for discriminating ears.

In the year 1630 the great city of Mantua was stormed by invading Austrian troops. The Jewish ghettowas ravaged, its inhabitants fled the town and choral music was no longer heard in the synagogue.


Al naharot bevel sham yashavnu gam bachinubezochrenu et tsiyyon.

Al aravim betochah talinu kinnoroteinu.

Ki sham she'elunu shoveinu divrei shir vetolaleinusimcha shiru lanu mishshir tsiyon.

Ech nashir et shir adonai al admat nechar.

Im eshkachech yerushalayim tishkach yemini.

Tidbaq leshoni lechiki im lo ezkerechi im lo a'ale etyerushayim al rosh sim chati.

Zechor adonai livnei edom et yom yerushalayimhaomerim aru aru ad hayesod bah.

Bat bavel hashsheduda ashrei sheyeshallem lach etgemulech shegamalt lanu.

Ashrei sheyochez venipets et olalayich el hassala!

By the rivers of Babylon – there we sat down andthere we wept when we remembered Zion.

On the willows there we hung up our harps.

For there our captors asked us for songs, and ourtormentors asked for mirth, saying, "Sing us one ofthe songs of Zion!"

How could we sing the Lord's song in a foreignland?

If I forget you, O Jerusalem, let my right handwither!

Let my tongue cling to the roof of my mouth, if I donot remember you, if I do not set Jerusalem abovemy highest joy.

Remember, O Lord, against the Edomites the day ofJerusalem's fall, how they said, "Tear it down! Tearit down! Down to its foundations!"

O daughter Babylon, you devastator! Happy shallthey be who pay you back what you have done tous!

Happy shall they be who take your little ones anddash them against the rock!


Qubbat al-Sakhrah (sung in Arabic) Traditional Arabic nasheed

The Dome of the Rock (Arabic: ةرخصلا ةبق Qubbat al-Sakhrah, Hebrew: עלסה תפיכ Kippat ha-Sela) is a shrine located on the Temple Mount in Jerusalem’s Old City. It was initially completed in 691 CE, built on the site of the Roman temple of Jupiter Capitolinus, which had in turn been built on the site of Herod's Temple (which was destroyed by the Roman’s 70 CE). The original dome collapsed in 1016 and was rebuilt in 1021. Aside from being one of the oldest existing masterworks of Islamic architecture, the site of the Dome of the Rock is highly significant for both Muslims and Jews, as what is commonly called the Foundation Rock is believed to be the place where Abraham attempted the sacrifice of his son (Isaac, as found in the Hebrew Bible, and Ishmael, according to Islamic tradition).

Talmaeo limaean al-barq.Yuharu bisr muta'ammiluha fi mahasinuha.

Wa-yaqsur lisan rayuha ean tamthiliha.

Allah yafeal ma yasha' Allah yafeal ma yurid.Ma alhukm 'illa li-Allah alwahid alfard almajeid.Yaefu Allah bifadlihi eaman yasha' min aleabid.Wa-min waqf bibabihi yas'aluh 'an laa yakhib.Easahu ann yajud li biziarat 'ila alhabib.

It is shining like a lightning.The sight of whoever contemplates it is dazzled by its marvelous beauty.

And whoever sees it will never be able to sufficiently illustrate its fascination.

Allah does whatever He pleases Allah does whatever He wants.The command is for none but Allah the unique, majestic and glorious.By His grace, Allah forgives whom He pleases of His servants.And whoever comes to His door asking, knows he will not be disappointed.I wish He graciously grant me a visit to the beloved (Muhammad).


Yefe Nof (sung in Hebrew) Judah Ha-Levy (1075–1141)

Yefe nof mesos tevel kirya lemelech ravLecha nichsefa nafshi mpaatei maarav

Hamon rahamay nichmar ki ezkere kedemKvodcha asher gala venevcha asher charav

Umi itneni al kanfei nesharim adArve bedimati afarcha veytarev

Drashtich veyim malkech ein bach veyim bimkomTsri giladech nachash saraf vegam akrav

Halo et avanaich achonen veeshakemVetaam regavaich lefi midvash yeerav

Beautiful city, delight of the world, city of the greatking!My soul yearns for you from the far-off west!

It saddens my heart to remember what you werebeforeYour exiled glory and the destruction of yourtemple.

If only I could fly to you on the wings of eagles,My tears would soak your soil and mingle with it!

I seek you though have no king; and though whereonceThere was balm in Gilead, there are now onlyvipers and scorpions.

How can I not be moved by your stones and kissthem,When the taste of your earth on my lips is sweeterthan honey!


Sallatu Allah (sung in Arabic) Traditional Sufi nasheed

One of the challenges in creating a musical program such as this, which strives to represent equally the Abrahamic traditions of Christianity, Judaism and Islam - is the fact that while Christian and Jewish traditions provide scholars and performers alike with an abundance of repertoire, there is, in stark contrast, no Islamic liturgical music, save the chanting of the Qur’an (which, it should be noted, is not technically viewed as “music” in the Islamic tradition, and would nevertheless be inappropriate in this concert setting). Sacred music, however, should hardly be seen synonymously with liturgical music, and this program’s assembly of repertoire from a variety of spiritual traditions, historical cultural communities, and religious sects demonstrates that.

Sufism can be defined as the inner mystical dimension of Islam. Practitioners of Sufism, referred to as Sufis, often belong to different orders or congregations formed around a mawla (grand master or guru), who traces a direct chain of teachers back to the Prophet Muhammed, whom Sufis regard as their leader and prime spiritual guide. Sufis strive for ihsan (perfection of worship) as detailed in a hadith (a description or “report” of the words, actions, or habits of the Prophet Muhammed): "Ihsan is to worship Allah as if you see Him; if you can't see Him, surely He sees you.”

Classical Sufis are characterized by various traditions and practices, such as abstinence from worldly pleasures (often for the purpose of pursuing spiritual goals), the adoption of a frugal lifestyle, riddance of material possessions, abstinence from physical pleasures, and even body mortification and selfinfliction of pain. Historic Sufi communities, spreading across several continents, languages and cultures well over a thousand years are especially attached to the practice of dhikr, the repeating of the name of God. While some Muslims consider Sufism an intensification of Islamic faith and practice, others do not recognize it as legitimate sect of Islam. Moreover, while religious scholars have, in fact, categorized Sufism as a sect of Islam, others call it a mystical-ascetic aspect of Islamic teaching concerning with the purification of the inner self. In summary, it is important to recognize thatrelationship between traditional Islamic scholar, traditional Islamic belief, and Sufism is highly complex, and a range of scholarly and public opinion on Sufism in Islam has been commonplace for hundreds of years.

20 The Rose EnsembleSallatu Allah, salamu Allah ealaa alhadi rasulu Allah.

Saraa alhabib 'ila alquds fdahu abi wanafsi.

Easaa tasfu bihi nafsi 'ilaa alssama' nahwa Allah.

Aya sakhratu almieraji, biki alrrasulu whhaj.

Ata 'ilayki bi'ifrajimaeahu jibril nahwa Allah.

Muhammad 'aba alzzuhraarjjuka jud nazra.

Essaya 'ahzaa binazratnziaratun la rasula Allah.

Blessing of Allah, peace of Allah be upon our guide the messenger of Allah

The beloved took a journey to Jerusalem Me and my parents give up our lives for him.

My soul is purified by him and elevates up to heaven towards Allah.

O the Rock of Ascension to heaven, thanks to you the prophet shines his own light.

He came to you to be released to heaven and Gabriel brought him up to Allah.

O Muhammad, father of Al-Zahra (Fatima) I implore you to grant me a look.

I wish I could enjoy the blessing of visiting the Messenger of Allah.

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Palästinalied (sung in Middle-High German) Walther von der Vogelweide (ca.1170–1230)

Nû lebe ich mir alrêrst werde,sît mîn sündic ouge sihetdaz hêre lant und ouch die erde,der man vil der êren gihet.Nû ist geschehen, des ich ie bat:ich bin komen an die stat,dâ got mennischlîchen trat.

In diz lant hât er gesprocheneinen angeslîchen tac,dâ diu witwe wirt gerochenund der weise klagen macund der arme den gewalt,der dâ wirt an ime gestalt.Wol ime dort, der hie vergalt!

Nû lât iuch des niht verdriezen,daz ich noch gesprochen hân.Ich wil iu die rede entsliezenkurzlîch und iuch wizzen lân,swaz got mit dem menschen iewunders in der werlt begie,daz huop sich und endet hie.

Now my life has gained its meaningSince these sinful eyes beholdThe sacred land with meadows greeningWhose renown was often told.This was granted me from God:To see the land, the holy sod,Which in human form he trod.

To this land, so He has spoken,Shall a fearful judgment come.Widows' bonds shall then be brokenAnd the orphans' foe be dumb,And the poor no longer cowerUnder sad misuse of power.Woe to sinners in that hour!

Now do not ignore I beg youAll the things you heard me sayI'll expound at last the matterThen ye shall be on our wayAll great deeds of awe and fearThat have ever come to earThey began and end right here.

Jerusalem, surge (sung in Latin) Carlo Gesualdo di Venosa (1561–1613)

Jerusalem, surge, et exue te vestibus jucunditatis;

induere te cinere et cilicio:quia in te occisus est Salvator Israel.

Deduc quasi torrentem lacrimas per diem et noctem,et non taceat pupilla oculi tui.Quia in te occisus est Salvator Israel.

Arise, O Jerusalem, and put off your garments of rejoicing;

cover yourself with sack-cloth and ashes:for the Saviour of Israel has been slain in your midst.

Let your tears run down like a river, day and night,and let not the apple of your eye cease.For the Saviour of Israel has been slain in your midst.

22 The Rose EnsembleLamentationes cum quattuor paribus vocibus, 1587 (sung in Hebrew & Latin) Orazio Vecchi (1550–1605)

Transcription and translation and contribution to program notes: Dr. Stanley Romanstein

The Book of Lamentations (Hebrew: הָכיֵא , ‘Êykôh, from its incipit meaning "how") is a collection of poetic laments on the destruction of Jerusalem. In the Hebrew Bible it appears in the Ketuvim ("Writings"), beside the Song of Songs, Book of Ruth, Ecclesiastes and the Book of Esther (the Megilloth or "Five Scrolls"). In the Christian Old Testament, it follows the Book of Jeremiah, as the prophet Jeremiah is its traditional author.

It is generally accepted that the destruction of Jerusalem by Babylon in 586 BC forms the background to the poems. The book is partly a traditional "city lament" mourning the desertion of the city by God, its destruction, and the ultimate return of the divinity, and partly a funeral dirge in which the bereaved bewails and addresses the dead. In Judaism, the book is traditionally recited on the day of fasting called Tisha B'Av ("Ninth of Av"), which calls the faithful to mourn the destruction of both the First Temple and the Second Temple. In Christian liturgical practice, the Lamentations of the Prophet Jeremiah are recited during the last three days of Holy Week – i.e., on Maundy Thursday, Good Friday and Holy Saturday – during Matins, the first Hour of the Divine Office.

Vecchi’s four-voice setting of the Lamentations of Jeremiah was published in Venice by Angelo Gardano in 1587 and beautifully balances an emphasis on text with musical simplicity. Beyond the fundamental sharing of this Biblical text between Jews and Christians, this religious bond was even more explicit in the Renaissance, when composers of the day set the verses of the Latin translation beginning with a letter of the Hebrew alphabet: aleph, bet, gimel, etc.

Incipit lamentatio Hieremiae prophetae.

Aleph. Quomodo sedet sola civitas plena populo.Facta est quasi vidua Domina gentium.Princeps provinciarum facta est sub tributo.

Beth. Plorans ploravit in nocte & lacrime eius inmaxillis eius.Non est qui consoletur eam ex omnibus caris eius.Omnes amici eius spreverunt eam & facti sunt eiinimici.

Gimel. Migravit Iudas propter afflictionem &multitudinem servitutis.Habitavit inter gentes nec invenit requiem.Omnes persecutores eius apprehenderunt eam interangustias.

Hierusalem, convertere ad Dominum Deum tuum.

The beginning of the lamentations of the ProphetJeremiah.

Aleph. How deserted lies the city once filled withpeople.How like a widow she is who was once great amongthe nations.She who was the queen among the provinces hasbecome a slave.

Beth. Bitterly she weeps at night and tears areupon her cheeks.Among her lovers there is none to comfort her.All her friends have betrayed her and they havebecome her enemies.

Gimel. After affliction and harsh labor Judah hasgone into exile.She dwells among the nations; she finds no restingplace.All who pursue her have overtaken her in the midstof her distress.

Jerusalem, turn again to the Lord your God.


Irme quiero madre a Yerushalayim (sung in Ladino) Traditional Sephardic

Only a few written examples of Sephardic music have survived. However, in addition to the descriptions of Sephardic musical practice taken from early sources, the Sephardim's oral heritage provides a guide to this immensely rich musical and poetic culture.

Irme quiero madreA YerushalayimA pisar las tierrasY artarme d'eyas

En el me arimo yoEn el m'asiguro yoEn el Senyor de todo el mundo

A Yerushalayimla veo d'enfrenteOlvido mis hijosI mis parientes

Mother, I want to goTo JerusalemTo pluck the grassesAnd fill myself with them.

In Him I am supportedIn Him I see my own image,The Lord of all the world.

To Jerusalem!I see it before me,I forget my childrenAnd my parents.

Bakkara Abram (sung in Arabic) Maronite liturgical chant

Bakkara Abramol maamourbil waheedee saoubat_TourHayaa sickeena wan_narwal wakouda Lebnel BarLamma hamma bil ghoulamNadal_lahou ya Abram.La touzee bnakal habibEbnee fee meleel ayamyafdeehee Fauouqas_saleeb.

Nadathoul ommou Ibrahimbit_teeflee Ayna tath_hab.Nadaha tha sirron Aazeemma baynee wabnee war_rabEntee fil beitee salleeqalat Ith_hab bissalam.Wal yahder_rabbou khoutak.yarda Anka wal ghoulamYaqbal quorbana douaak.

At daybreak Abrahamled his only son, at the order of God,toward the mountain.He had there ready the knife and the fireFor the sacrifice.But at that moment, her heard God callingto Abraham, ‘Do not harm your only son.For my Son, through the coming years,will sacrifice himself on the cross.’

The mother of the child to Abraham,’Where are you going with the child?’He replied to her, ‘This is a great secretbetween me, my son and God,so stay at home and pray.’‘Go with peace,’ she said,‘God will lead your pathand will be pleased with you and your son,and He shall accept your offering.’


Ahavat Hadassa (sung in Hebrew) Rabbi Shalom Shabazi, Yemen, 17th century

The Bible and the Talmud record that spontaneous music making was common among the ancient Jews on all important occasions, religious and secular. Hebrew music was both instrumental and vocal. Singing was marked by responsorial, antiphonal, and refrain forms, and singing and dancing were accompanied by instruments.

When the kingdom of Israel was established, music was developed systematically. The part played by music in the Temple was essential and highly developed. New instruments were the nevel, a harp; the halil, possibly a double oboe; the asor, a 10-stringed instrument probably like a psaltery; and the magrepha, an instrument of powerful sound, used to signal the beginning of the service. Various types of cymbals originally used in the Temple were prohibited after its restoration. Ritual music was at first only cantillation (recitative chanting), of the prose books of the Bible. Later the prayers and biblical poetry were chanted, presumably in a modal system similar to the ragas of Hindu music or the maqamat of Arab music, i.e., melodies with improvisations. And with the growth in importance of the synagogue came the rise of the chazan, or cantor.

Ahawat Hadasa a'l levavi niksherawaani betokh jola poa'mai solelim

Lu yesh reshut li aa'la eth'aberaTokh shaa'rey siyon asher hem nehelalim

Shah'rit waa'rbit bat nedivim ezkeraLibi wera'-yonai beh'eshek nivhalim

Bini'm zamirot mindod eto'raroWaani weraa'-yati berina sohalim

Vinu a'dat kodesh beshira h'ubaraH'atan wehakala beh'upa nikhlalim

The love of Hadassah (Israel) is tied to myheartAnd my steps are sunk deep in the exile.

If I could I would go up and joinWithin the gates of Zion which are praised.

Morning and evening I'll remember thedaughter of Israel.My heart and thoughts are shaken with desire.

With music of psalms I'll wake up fromwandering,My love and I will sing for joy.

We are connected to the holy communitythrough songs,The groom and the bride become one underthe wedding canopy..


Tala'al-Badru 'alayna (sung in Arabic) Traditional Sufi

Tala'al-Badru 'alayna,min thaniyyatil-Wada'wajaba al-shukru 'alayna,ma da'a lillahi da'

Ayyuha al-mab'uthu finaji'ta bi-al-amri al-muta'Ji'ta sharrafta al-Madinahmarhaban ya khayra da'

Marhaban Ahllan wasahllan bika ya wajha elsururAnta wallhi yaMohamed anta muftahu alsudur

O the White Moon rose over usFrom the Valley of Wada'And we owe it to show gratefulnessWhere the call is to Allah

O you who were raised amongst uscoming with a work to be obeyedYou have brought to this city noblenessWelcome! best call to God's way

You are most welcome,O the visage of happiness.You are, I swear by Allah,O Muhammad the key to joy of hearts.

Ebtihal (sung in Arabic) Traditional Palestinian

Ya min kllma nudi 'ajab wa-min bijilalihi yunsh’u alssahaba.

Wa-ya min kallama fi aldduja Musa bilatfen kalamen thumma alhamahu alrisalata wa-alkhitaba.

Wa-ya min rdd Yussuf baed bueden wa-kan 'abuhu yantahibu anthabana.

Wa-ya min khssa Ahmad wa-astafah wa-smmahu hbybana wa-'aetaq fi shafaeatih alrriqaba.

Oh you, who responds to whoever calls and by His greatness, He creates clouds.

Oh you, who kindly spoke in the dark to Moses inspiring his message, and his speech.

Oh you, who restored Yussuf (Joseph) from his distance following the desperate complaints of his father.

Oh you, who chose Ahmad and elected him calling him the beloved, and accepting his intercession to liberate the slaves.


Yā ribon Alam (sung in Aramaic) Rabbi Israel Najara Zefat (1555–1628)

Yā ribon alam ve’almayaant hu malka melech malchaya

Ovadei gevurtach vetimhayashefar kodamai lehachavaya

Shevachin assader tzafra veramshalach Elaha kadisha di bera kol nafshaIrin kadishin uvnei enashachevat bara ve’of shemaya

Ravrevin ovadach vetakifinmakich ramaya zakif kefifinLu yechi gevar shenin alfeenla ye’ul gevurtach bechushbenayaLemikdashach tuv u’lekodesh kudshinatar di beh yechedun ruchin venafshinVizamerun lach shirin verach’shinbirushlem karta deshufraya

Yah, Sovereign of all the WorldsYou are the King of kings

Of Your mighty deeds and wondersIt pleases me to proclaim

I offer praises morning and eveningto You, holy God, creator of all soulsHeavenly angels and mortalsbeasts of the field and birds of the sky

Great and mighty are your deedsshaming the proud and elevating up thehumbleEven if one lived a thousand yearsthese would not suffice to tell of your mightyactionsReturn to Your Temple and to the Holy ofHoliesthe place where all spirits and souls will rejoiceThere they will sing to You songs and praisesin Jerusalem, the city of beauty

StaffJordan Sramek, Founder/Artistic and Executive

DirectorPeter Carlson, General ManagerAlyssa Anderson, Communications Associate and

Assistant to the Executive/Artistic DirectorHolly Hearon, Development and Research AssociateJen Krook, Office Manager

BoardRichele Messick, PresidentAndrea Specht, Vice-PresidentTy Inglis, TreasurerPete Parshall, SecretaryJordan Sramek

The Rose Ensemble

Funding for this tour has been provided in part by the Otto Bremer Foundation.

Upcoming Touring Concerts

Friday, Oct. 28Clinton, NYLand of Three Faiths

Sunday, Oct. 30Kalamazoo, MILand of Three Faiths

Thursday-Friday, Dec. 1-2Burlington, VTA Rose in Winter

Sunday, Dec. 3Arlington, VAA Rose in Winter

Saturday-Sunday, Dec. 10-11Milwaukee, WIA Rose in Winter

July 2017World Symposium of Choral MusicBarcelona, Spain

Festival des Choeurs Lauréats Vaison-la-Romaine, France


Foundation & Corporate Sponsors

Katherine B. Andersen Fund of the St. Paul Foundation

Athwin FoundationF. R. Bigelow FoundationBoss FoundationBremer BankBrin Jewish Arts EndowmentGreenwood FoundationOtto Bremer FoundationAnna M. Heilmaier FoundationArt and Martha Kaemmar Fund of the HRK

Foundation

Thomas Ryan Mulcahy Fund of the Filia FoundationMademoiselle Miel ChocolatierMardag FoundationMcKnight FoundationMinnesota Historical and Cultural Heritage GrantMinnesota State Arts BoardSampson Family Charitable FoundationTarget FoundationArchie D. & Bertha H. Walker FoundationWenger Foundation

$10,000 to $15,000Gayle and Timothy Ober, The Allegro Fund of the

Saint Paul Foundation

$5,000 to $9,999Catherine MayerJoseph S. and Jane Y. MicallefPaul and Joyce RiedeselJean SchubertJoan T. Smith

$2,500 to $4,999M. Brian Hartz and Michael BoeLorraine R. HartRoger and Virginia Wilson

$1,000 to $2,499 Anonymous (1) Misato Sakai and Dominique ConseilLaurie, Andrea and Jacob Gapko

in memory of Josef GapkoRichard Geyerman

in memory of Mindy Sue Geyerman, DaughterDouglas R. Heidenreich Joseph Hoopman

matched by Aetna Foundation John and Ruth Huss, The John and Ruth Huss Fund

of the Saint Paul Foundation Ty Inglis Ittner Family Fund of the InFaith Community

Foundation Warren Howe and Jan Karon

Rose Ensemble Donors—Thank You!

Gerald Kollodge Eileen and Keith LindbergVicki and David McKenna, McKenna Family FundThomas and Sally Patterson James Payne Anne Jin Soo Preston and Mark Preston Douglas and Laura Rose Greg and Jenzi Silverman

in honor of the fabulous Rose Ensemblemusicians!

Andrea Specht Jo-Ann and Frank Sramek Jordan Sramek

in honor of Gayle and Tim OberArturo Steely Jennifer Turrentine Kathleen Van Bergen Terry and Susan Wolkerstorfer

Jerusalem: Treasures from the Holy Land Donors 29

This list represents donations made between August 25, 2015 and August 26, 2016. We strive for accuracy when acknowledging our contributors. If your name has been inadvertently omitted or incorrectly listed, please contact us at 651.225.4340.

30 Donors The Rose Ensemble

$500 to $999 Anonymous (2) Terry and Vicki Anderson Raymond Ottman and Daniel

Baseman John and Grace Cogan Lin Brehmer and Sara Farr Stephen and Lynn Filipas Steven Guire and Diana Guire

Knight matched by GoogleJonathan Guyton Pete and Rebecca Helme James Balogh and Patricia Kosian Kenneth Maly Bill McJohn William North John Nuechterlein Pete and Carol Parshall Lisa and Andy Robertson Holly Hearon and Lorna

Shoemaker Samuel Black and Kathy Stinnett

$250 to $499 Anonymous (11) Lynn Abrahamsen Deborah McKnight and James AltAlyssa Anderson Timothy Claus and Louise

Anderson Robert Anderson

in memory of Albert and Beatrice Bernsdorf

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matched by VOYA

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in honor of Dolores BurkGordon E. HermansonSteve and Lynn Hodulik Gerald and Merry HoekstraMichael Hollerich Anne and Doug Hopper Linda Hucke Betty Hylden Kathleen Davis and Ron InkalaRuth Johnson Joe and Georgia Kandiko Keith Relyea and Jeannie Kant

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in memory of Marion KawulokAnne Pierce and Gerald KeglerMiriam Kelen Linda Kelsey Paul Klaas James A. and Annearle M. KleinAmanda Knoke Drake Hokanson and Carol KratzPatrick Krekelberg Joseph Kuznik Becky Lakowske Jim Lawliss Bob Lee Peter Lenagh

in honor of Virginia WatsonLinda K. Lingen Barbara Marquardt Jennifer Marshall and Matthew

Haines Larry Martin Ann Martinsen Thomas R. McCallum Mary Ann Mcleod Janet Meany Clayton and Gerry MichaelsDennis Mirovsky Jim and Carol Moller M.M. Monahan Diane Mountford Alan Muirhead James Munn Steven C. Nelson Rebekah Njaa Fr. Michael O'Connell Carol and Doug Ogren

Mary Harrington and Jessie Okie in memory of Susan Mary Shuman Okie

Gerard and Louise Olson Robert and Gail Onan Elizabeth Ostenson Marion Ott Julie Owen Nancy Pasley Mary Dragich and John PastorCarol Pearl Deborah Steinbar and William

Petersen in memory of Sr. Mary Jean

Tuttle, OSBHans-Olaf Pfannkuch Daniel Pickens-Jones

matched by Google Ted Policka Kate Power in memory of Warren Eason and

Dorothy Bond ShewmonManuela Ratner Julie Redmond Cheryl and Hugh Reitan Thomas J. Rice Thomas and Nancy Riley Jean Rivard Keith Rodli and Katharine GrantLouise Rosemark

in memory of Jim RosemarkJim and Sandy Rummel Paula Sanders Greg Sauve Lise Schmidt Kurt Schultz Susan Schwarze Janet Shefelbine Andrew Sigel



Bernie and Juliana SimmonsRobert Smith Nell Snaidas Cindy Spillers in memory of Sr. Roseane Giguere,

CSJBill and Sara StoutGary Strandemo in memory of Ana Maria

StrandemoLinda Taylor Lawrence and Liz Tempel Claire Anne ThoenDan Pennie, Elizabeth Pennie

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Doug Throckmorton in memory of DoraLee Delzell Throckmorton

Kathryn Urberg Nancy Walton in honor of Eleanor H. WaltonBarbara WeissbergerNancy WellingtonNancy Werner Graham Wood Wright's Music Street, Inc.

Up to $99 Anonymous (28) Michael Wilson and Scott AbbottSharon Abrahamsen Susan AchenbachTimothy Adams James and Georgene AngristEric Ansel Barbara AslaksonSharon Bakker

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EffingerAbbie Betinis Eric Betthauser Maureen Bird David and Patricia BorchertLindsey Bordner Marilyn Borich John and Leni Broadhurst David and Susan BrostromCheryl Brown in memory of Kitty AndersenChristopher Brunelle Ellen Brynteson Carol Buche Steve Budas Elizabeth Capouch Cindy Carlsson Rosemary CasparCatherine Casper Paula CayembergPatrice Cezzar Col. and Mrs. Paul W. Child Jr.Jane and Gary Clements Judy and David Cline Phyllis Conlin Katie Conlin Richard Conner Eleanor and James CoomberMark Warnken and Nancy Coppa

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in honor of Dr. Jordan SramekLee Diekman Adele Dolan Linda Dolan in memory of Peter PostMegan Dolezal Frank Dreisbach Regina Driscoll Kevin Duffy David Duggan Traci Eaton J. Michele Edwards Donna and Dean Effinger Barbara Ekstrand Susan and Ronald EllefsonRobert Emery Judith Enfield Susanne Engstrom Jeff and Jan Everson Robert Farlee John Flynn Ruth and Robert Foster Yvonne Foster Patricia Gaarder Jan and Jim Gallagher Gayle Gaskill


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Mobley Mark King Margaret Kirkpatrick Terri Ach and Bunter KnowlesNorine Knudsen Thomas Koberstein Ralph Koglin Don Phelps and Kathi KonesLeona Krieg Maelene Krig Mary A. Krohnke Jen and John Krook

in memory of Thomas KrookMarit Lee Kucera Valerie and Jerome Kyllo Leo Lake Jeremy Lang Jay and Kathy Larsen Laurie Larsen Amy and Hans Larson Marilyn Leach Martha Lewis-Hunstiger Samuel Libra

in honor of Kathy LeeKip Lilly Stephanie Linstrom Ronald Low Myron Lowe Sheila and David Lynch-SalamonJudith Lyons Kimberley MacLennan Katherine Madson Kari Maffitt Beatrice Magee Marty Mahowald Daniel Mahraun Bob and Mary Ellen ManskeEdward and Barbara MartinezPatty Martinson Rudy Maxa Harriet McclearyCraig McDaniel Nancy and Gregory McDanielsSandra McDonald Shannon McDonough Lisa McGowan Pamela Mcinnes Ralph McQuarter Beth Meester Cory Mehan Jane Mercier Dennis Hauck and Stephan

Michaud Linda-Rose Michel

In honor of Dr. Christopher Thompson and Monsieur Michel Dupont

Kay Miller Robin Moede Meredith Montgomery Stephen Moore


Katie Sheehan Suzanne Brust and John Shepard Harry Skye Karen Wilson and Ellie Slette Judith Smutek Deborah Sorenson Albert and Catherine Spottke Martin Stachnik Steven Stadler Sheila Pernot Stamps John R. Stanek Sharon Stenglein Donna Stephenson Cynthia Stokes Philip and Brielle Stoyke John M. Stuart Kim Sueoka Carolyn Sundquist Leslie Swenson Timothy Takach Erik Taketomo Jeanne Tanamachi Sean and Anne Taylor Tyra Taylor William J. Teska David Evan Thomas

in honor of Pete ParshallRichard and Caroline Thompson Melita Thorpe Michael and Rachel Tierney Richard Trombley Debra Trumm Linda Trygstad Paul Tuff Peter and LeAnna Tuff Joan Velasquez Sylvester Vicic Jon Walsh

Alice Moormann Maryanne Moren Elizabeth Morgan Collete Moriarty David Morris Susan Morton Sarah Mothershead Martha Munger and Donald

Mowry Josephine Musumeci Kunga Namgyal and Karma Tsomo Jennifer and Pete Newburg Chris Nickel-Felton Diane Niemela Rudy Niemiec Paula Nordhem in honor of Kris KautzmannLara and Tim Norkus-Crampton Doreen Nystedt Becky O'Brien Patricia O'Brien John O'Donnell Maria Teresa Olivari Rodney Olsen in memory of Laurie GarfieldDuane Olson Diane Olson Joseph and Clara Osowski Steven and Karen Ostovich Winston and Cheryl Ostrow Paul and Barbara Otte Melanie Ounsworth William Pace Steve Parks Katharine Patterson Mary Payne in memory of Ancil N. Payne, Jr.

James Pearson in memory of Mark SmithGary Peter Solvay Peterson Sherry Phillips Phil Platt Janice Plimpton Alexis Pogorelskin Karen Popovich Nancy and Bert Poritsky Rita Quigley Meghan Quinn Betty and Edward Radcliffe Vivian Ramalingam Mary Rapaport Gretchen Revie Martin Kreuzer and Patricia

Richgels Rick and Lisa Marie Riddle Jude Rikala Avesa Rockwell Jacob Rodenbiker

in honor of Anne Marie HansenMaria Jose Martin and Tom Rowan

in memory of Antonio VegaLaurence Ruggeri Stephen Russman Allen Salyer Coral Sampson Sandra Sandell Kristine Sawyer Kenyon Sayler Susan K. Schmidt Julie Schnell Christa Schulz Andrea Schussler Connie Schwartz Lorene Schweder

Jerusalem: Treasures from the Holy Land 35

James H. Leslie and Lynnanne Warren

Eric Watkins Daniel and Judith Waxlax

in honor of People Who Truly Enjoy Music

Christine and Dan Weatherman Leslie Wegener Jim Weiske Chris and Jill Westermeyer Mary White Gregory and Kathy Widin Norman Barrett Wiik Mary Willert Dyke and Katie Williams Willie's Supervalu Deborah Wills Carole Wilson Keith Wilson Joyce Windsperger-Rubio Eric Wolf Scott Wolfram Jerry A. Wright Lois Yellowthunder

in honor of Robert BeutelCarolyn Young Theresa Zaske Susan Zubalik Yvonne Zubalik

TEST YOUR CHORAL SMARTS!

Classical MPR’s new Choral Quiz will test your knowledge of music that sings. See how many

pieces you can identify by hearing just a few notes and determine if you’re a “shower singer,”

a “karaoke hero” or a “choral connoisseur.”

TAKE THE CHORAL QUIZ AT CLASSICALMPR.ORG/CHORAL

Documents

JERUSALEM - Rose Ensemble Rose Ensemble... · Jerusalem: Treasures from the Holy Land Thank you! • The clergy and staff of Christ Lutheran Church in Minneapolis and Pilgrim Lutheran