Musical Arts of Santa Cruz presents The SantaCruzChorale ... Christmas... · Artistic Director Christian Grube, artistic director of the Santa Cruz Chorale since July 2006, is emer-itus

❦ Saturday, December 16, 2017, 8:00pm

❦ Sunday, December 17, 2017, 4:00pm

Holy Cross Church

126 High Street, Santa Cruz

Christmas with the ChoraleC

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director

T h e S an t a C r uz C h o r a l e S e a s o n 3 5 ❦ 2 0 1 7 – 2 0 1 8

ArtisticDirectorChristian Grube, artistic director of theSanta Cruz Choralesince July 2006, is emer-itus professor of choralconducting at theUniversity of Arts,

Berlin. As director of the Berlin State andCathedral Boys’ Choir and the Chamber Choir ofthe University of Arts, Professor Grube has conducted and toured with his choirs throughoutthe world. In 1995, because of the diplomaticinfluence of his work, he was awarded theNational Medal for Distinguished Service, thehighest civilian honor given by the German government.

Professor Christian Grube continues to spendpart of the year in Europe, holding workshopsand serving as a guest conductor with variouschoral groups. He teaches conducting at theUniversity of Arts, Berlin, and performs andtours with the University Chamber Choir. Therest of the year he lives in the Santa CruzMountains, where he gives private conductinglessons.

2 The Santa Cruz Chorale Season 35 ❦ 2 0 1 7 – 2 0 1 8

AccompanistA native of Russia, Vlada Volkova-Moran holdsdiplomas from the Tula Music College, MoscowLenin Pedagogical University and the MoscowTchaikovsky Conservatory as a piano teacher,accompanist, music educator and performingartist.

Vlada works as the organist at Peace UnitedChurch of Christ and serves as the main organistfor the Diocesan Choir of Monterey. She is alsothe principal accompanist for CabrilloSymphonic Choir and Temple Beth El Choir.

Vlada has appeared in concerts with the SantaCruz Chorale, Ariose Singers, UCSC ConcertChoir, Monterey Chamber Orchestra, CadenzaOrchestra, Espressivo Orchestra and with manyother local singers and instrumentalists.

As a big fan of chamber music, Vlada often performs with the Santa Cruz Chamber Players,and she is a member of the Loma PrietaEnsemble and the Celebrated Piano Ensemble.

Vlada has performed many organ recitals inSanta Cruz and the larger Bay Area. She hasbeen featured as a solo artist with the SantaCruz Baroque Festival, New Music Works, and isthe founder and artistic director of the annualNew Year's Eve “Organists Kaleidophone” con-cert series in Santa Cruz.

She runs large piano studio in Santa Cruz andteaches organ privately. She is an active memberof American Guild of Organists and the MusicTeachers Association of California, and her students can often be heard in the concertsorganized by these organizations.

About the CoverThe artwork on our program cover is from theupper portion of “Adoration of the Magi” byDomenico Ghirlandaio (1449-1494). It shows fourangels holding a scroll with the first notes andwords of the Gloria. The painting, originally commissioned as an altarpiece for the adjacentchurch, is now displayed in the gallery of theOspedale degli Innocenti, which at that time wasthe orphanage for Florence, Italy.

Season 35 ❦ 2 0 1 7 – 2 0 1 8 The Santa Cruz Chorale 3

Guest Concert: New ChoirNew Choir and The Santa Cruz Chorale

Sunday, March 18, 2018, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

Morning and Evening Songs

In response to the enthusiastic acclaim and warmreception at their performance this past season,the New Choir returns to Santa Cruz in a programof music celebrating the joy, promise and hopeof the dawning day and the mystery, melancholyand awe of the peaceful, comforting night. Theprogram will explore the passing hours of theday as portrayed in the Renaissance madrigals ofJohn Wilbye and Claudio Monteverdi, theRomantic harmonies of Schubert, Brahms andMendelssohn, the introspective settings of modern poetry by Samuel Barber and BenjaminBritten, as well as the jubilant depictions of thenew day in the world to come expressed in tradi-tional spirituals and more!

Organists KaleidophoneWill Ring in the New YearSunday, December 31, 2017, 4:00pmPeace United Church of Christ 900 High Street, Santa Cruz

The 13th annual New Year’s Eve “OrganistsKaleidophone” will be a feast of music for organsolo, duet and other instruments and voices performed by local organists and their musicalfriends. A champagne and chocolate receptionwill follow. The concert is free. A goodwilloffering will be taken at the door with proceedsbenefiting the organ maintenance fund. Fordetails, call 831-460-1030 or e-mail:[email protected]

G.F. Handel, Blessed Are They ThatConsidereth the Poor (orFoundling Hospital Anthem); J.S. Bach, Cantata BWV 137; HenryPurcell, Jubilate Deo and Te DeumThe Santa Cruz Chorale

Saturday, April; 28, 2018, 8:00pmSunday, April 29, 2018, 4:00pmHoly Cross Church, 126 High Street, Santa Cruz

Handel composed his joyous anthem in 1749 toraise funds for a newly established London children’s charity. As it turned out, the performancewas a great success for the charity, and alsoquite beneficial for Handel’s own career. Thispiece will be complemented by Bach’s cantataPraise the Lord, and two of Purcell’s best-knownanthems, Jubilate Deo and Te Deum.

Musical Arts of Santa Cruz Upcoming Events 2018

2185 41st AvenueCapitola, CA 95010

(831) 476-8700

www.drraffodental.com


The Santa Cruz ChoraleConductor and Artistic Director

Christian Grube

Board of DirectorsNiel Warren, President

Suzanne Duval, Vice PresidentAlisa Klaus, Treasurer

Tom Pennello, SecretaryMargie Erickson, Mary Crawford, Alexandra FlorimontePaul Lawton, Gary Hintz, Christian Grube (ex officio)

Production CreditsNiel Warren, Event Production

Paul Lawton, Stage ManagementRobert Ley, Printed Program

Rosella Crawford-Bathurst, Ticket SalesGale Frances, Box Office

Diane Bridgeman, Lois Van Buren, ConcessionsAlexandra Florimonte, Jean Laroche, Julia van der Wyk,

Annette von Oepen, Niel Warren, PublicitySuzanne Duval, Paul Schmitz, Facebook

Julia van der Wyk, WebsiteKathleen Roberts, Graphic Artist

Cecilia Condes, Volunteer CoordinationGabrielle Stocker, Ron Goodman, Music Library

Tom Pennello, CD Compilation, Editing and Production

Contact InformationThere are many ways to stay in touch with us.

Visit our website: www.santacruzchorale.org, a good place to find the latest info on concerts andfundraisers, buy tickets, donate, advertise, schedule auditions, and sign up for our newsletter.

You may also leave your email address at the box office and we do the signup for you. (Note: your email address saves us printing and postage and is never shared with third parties!)

Like our Facebook page: www.facebook.com/SCZChorale. Here you can leave feedback, find concert info, links to reviews, photos, fun stuff, and

“events” that allow you to invite friends to our concerts.

Interact with us on Twitter: @SantaCruzChoral.

Call us or send a letter with your donation, your questions, or your request to be added to the mailing list:

P.O. Box 272, Santa Cruz, CA 95061 831-427-8023


Reminders❦ Please turn off cell phones, watch alarms, andother devices that might disrupt the concert.

❦ Please refrain from taking photos or makingaudio or video recordings of performances. Nosuch activities are allowed without advance written permission.

❦ Due to the nature of live performance, all programs are subject to change.

Members of the Santa Cruz ChoraleSopranosTanya DavidsonAlexandra Dillinger★❉ Suzanne DuvalMargie EricksonAlexandra FlorimonteBarbara GaskellKaren GordonVirginia HolcombeRuth KasparJean LarocheAlissa RoedigGabrielle StockerJulia van der WykApril Zilber

AltosAnne Bonner❉ Diane BridgemanCecilia CondesMary Crawford★ Rosella Crawford-Bathurst

Alisa KlausSharon NelsonDeana SlaterCora SorensonLois Van BurenMary Ann WielandWendy Wyckoff

TenorsJas CluffKevin CrewsRon GoodmanGary HintzPaul LawtonRobert LeyJerry Paul★❉ Tom PennelloRichard Roullard

BassesBrad BurgonRoger ChaffinJesse CunhaDenis HaskinLars JohannessonLuiz Razera★❉ Paul SchmitzNiel WarrenStafford Warren

★ Sectional conductor❉ Section leader

The Monterey BaySinfoniettaValerie Tisdel, Violin 1

Alice Talbot, Violin 2

Eleanor Angel, Viola

Kristin Garbeff, Cello

Stan Poplin, Bass

Mihail Iliev, Bassoon

Vlada Volkova-Moran, Continuo, Organ

Lars Johannesson, Recorder

Alisa Roedig, Recorder


ProgramAve Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Parsons

Wie soll ich Dich empfangen? . . . . . . . . . . . . . . . . Johann Sebastian Bach

Ein Kindelein so löbelich . . . . . . . . . . . . . . . . . . . Georg Philipp Telemann

Brich an, o schönes Morgenlicht . . . . . . . . . . . . . . Johann Sebastian Bach

Te Deum in A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Felix Mendelssohn

Ave maris stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edvard Grieg

Schaut hin, dort liegt im finstern Stall . . . . . . . . . Johann Sebastian Bach

Mary’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brian W. Holmes

Ich steh an deiner Krippen hier . . . . . . . . . . . . . . Johann Sebastian Bach

A Hymn to the Virgin . . . . . . . . . . . . . . . . . . . . . . . . . . . Benjamin Britten

Ave Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josquin des Prez

Magnificat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dietrich Buxtehude

Intermission

Canon in D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johann Pachelbel

Monterey Bay Sinfonietta

Hodie Christus natus est . . . . . . . . . . . . . . . . . . Jan Pieterszoon Sweelinck

CChristmas with the Chorale

Musical Arts of Santa Cruz presents

The Santa Cruz Chorale

Christmas with the Chorale

Christian Grube, Conductor & Artistic Director


The Crown of Roses . . . . . . . . . . . . . . . . . . . . . . . Peter Ilych Tchaikovsky

Sleep, Little Baby, Sleep . . . . . . . . . . . . . . . . . . . . . . . . . . Robert S. Cohen

Es wird scho glei dumpa . . . . . . . . . . . . . . . . . . . . . . . . . Anton Reidinger

El cant dels ocells (Carol of the Birds) . . . . . . . . . . . . . . . . Monte Mason

Vlada Volkova-Moran, organ

Psallite Deo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johann Sebastian Bach

The Joy of Love, This is the Truth. . . . . . . . . . . . . . . . . . . . Kirke Mechem

Suzanne Duval, soprano solo

Ave Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Xaver Biebl

In the Bleak Midwinter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gustav Holst

Stille Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Gruber

Quempas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Praetorius


Program Notes, Texts and Translations❦ Ave MariaRobert Parsons (c. 1530-1572)

Unfortunately little is known about the composer Robert Parsons, but this lovingly composed AveMaria stands as a worthy monument to his life. The piece opens in a worshipful tone, as the sopranos move with long notes and a heavenly calm above the lower voices. The intensity of praisegradually increases, as each soprano entrance is a note higher than the previous one, and the culmination is reached when “Dominus tecum” (“the Lord is with Thee”) is sung on the highest note.The tone becomes more introspective with the words “benedicta tu...” (“blessed art thou...”), and thepiece ends as the word “amen” moves through all voices (again with progressively higher entrances),finally returning to the calm tone of the beginning.

Ave Maria, gratia plena, Dominus tecum.Benedicta tu in mulieribus,Et benedictus fructus ventris tui. Amen.

❦ Wie soll ich Dich empfangen? Chorale from Christmas Oratorio (BWV 248)

Johann Sebastian Bach (1685-1750)Melody: Hans Leo Hassler (1564-1612), Text: Paul Gerhardt (1607-1676)

The function of chorales in Bach’s oratorios is to express the reaction of the congregation (and byextension, the reaction of all humanity) to the events described. In keeping with Bach’s intention, atvarious places in the first part of our program a chorale from the Christmas Oratorio will serve as acommentary.

In “Wie soll ich Dich empfangen?” a humble soul wonders how to properly approach Him (literally,“receive” Him)—Him, for whom the whole world yearns. The melody by Hassler is one that Bachused again and again as a chorale theme in his St. Matthew Passion; thus, when he uses the melodyin the context of Christmas, the melody itself (irrespective of the words) is linking His birth with Hisdeath on the cross.

Wie soll ich dich empfangenUnd wie begegn’ ich dir?O aller Welt Verlangen,O meiner Seelen Zier!O Jesu, Jesu, setzeMir selbst die Fackel bei,Damit, was dich ergötze,Mir kund und wissend sei!

Hail Mary, full of grace, the Lord is with Thee;Blessed art thou amongst women,And blessed is the fruit of thy womb. Amen.

How can I fitly greet Thee,How rightly Thee extol?Of Man the best beloved,Thou treasure of my soul!O Lord, I pray Thee carryThe torch to light my way, That I may know thy pleasure And serve Thee day by day.

English words: Henry S. Drinker


❦ Kyrie from Missa (brevis) sopra “Ein Kindelein so löbelich”

Georg Philipp Telemann (1681-1767)Based on a Christmas carol for 8 voices, by Hieronymus Praetorius (1560-1629)

Telemann’s Latin Missa is a short mass, which is to say it consists of the Kyrie and Gloria. (We willsing only the Kyrie.) It is based on an old German Christmas carol, Ein Kindelein so löbelich, and thecarol—written in archaic German—serves as the antiphon for the Kyrie of this mass. The first and second line of the carol are present in one voice or another throughout the Kyrie.

Ein Kindelein so löbelich* ist uns gebohren heute,

Von einer Jungfrau’n säuberlich, zu Trost uns armen Leuten.

Wär uns das Kindlein nicht gebohrn,So wär’n wir allzumal verlorn.Das Heyl ist unser aller.Ey, du süßer Jesu Christ, daß du Mensch gebohrn bist,

Behüt uns vor der Höllen.

Kyrie eleison.Christe eleison.Kyrie eleison.

* [“Löbelich” is a non-existent word that combines “lieblich” (dear) and “loben” (to praise). The resulting adjective ascribes to the Child the attributes of being “praise-worthy” and “dear.”]

❦ Brich an, o schönes Morgenlicht Chorale from Christmas Oratorio

Johann Sebastian BachOriginal version of melody: Johann Schop (1590-1667), Text: Johann Rist (1607-1667)

Joy bursts exuberantly from this chorale, as the beauteous light of morning fills the heavens withglory and all behold the Infant who brings salvation.

Brich an, O schönes Morgenlicht,Und lass den Himmel tagen!Du Hirtenvolk, erschrecke nicht,Weil dir die Engel sagen,Dass dieses schwache KnäbeleinSoll unser Trost und Freude sein,Dazu den Satan zwingen,Und letztlich Frieden bringen!

A dear little Child so worthy of praise has been bornto us this day,

By a pure Virgin, to console us, poor people.

Had that little Child not been born,We would have been lost forever.Redemption is for us all.Oh, Thou sweet Jesus Christ, since Thou wast born

human,Preserve us from hell.

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

Transl. K.G.

Break forth, O beauteous morning lightAnd fill the heav’ns with glory!Ye shepherds folk, restrain your fright,And hear the angel’s story:This little Child whom you will seeOur comfort and our joy will beAgainst the fiend sustain us,And peace at last regain us.



❦ Te Deum in AFelix Mendelssohn (1809-1847)(It is uncertain whether Mendelssohn composed his Te Deum in English or German.)

The Te Deum laudamus (or Te Deum) is an early Christian hymn. The text is an outpouring of praiseto God: it enumerates the many reasons praise is due, it names heavenly and earthly beings thatbring praise, and it prays for the many blessings the Lord gives. Despite the formal structure of the TeDeum text, Mendelssohn’s composition is not a simple recitation of formalized statements. Instead,he emphasizes certain passages by juxtaposing texts sung by the full choir to texts sung by smallerensembles of differing vocal character. He also calls attention to certain text passages by alternatingbetween homophonic and polyphonic settings, or by changing the dynamics.

The composition opens in the character of a hymn, as the tutti choir sings “we praise Thee...” in ahomophonic setting. The music expands into a short polyphonic passage, so that, as the voices enterone after the other, the fact is underlined that “all the earth doth worship Thee:..;” but the settingreturns to a resolute homophony for the majestic words “...the Father everlasting.” A smaller ensemble of lower voices enters with the words “to Thee all angels cry aloud,” and this is followedby an ensemble of higher voices singing of the celestial “Cherubin and Seraphin (who) continually do cry....”

Then everything changes. The ensembles are replaced by the full choir—which enters in a hushedpiano—singing the word “Holy.” But most striking is the abrupt change of key as the word is spoken.The choir sings “Holy” a second time, now in mezzoforte—as if having recovered from shockedamazement. When “Holy” is sung the third time, the words “Holy: Lord God of Sabaoth” burst into agrand forte. This crescendo on the thrice-spoken word is followed by a polyphonic passage singingthat “heav’n and earth are full....” Beginning in a low range, the words move up through the voices—in imitation of that fullness—and the culmination is a homophonic setting in a high range, that isindeed full of the “...majesty of thy glory.”

Much more could be said about this composition, but perhaps the most lasting impression is left bythe intimate prayer for mercy and faith with which it ends. The words “O Lord, have mercy upon us”are sung with a melody of utmost simplicity, and as the melody is repeated over and over, it drawsattention to the eternal nature of the prayer.

We praise thee, O God,We acknowledge Thee to be the Lord.All the earth doth worship Thee,The Father everlasting.

To Thee all angels cry aloud:The heavens, and all the powers therein.To Thee cherubim and seraphimContinually do cry:

Holy, Holy, Holy,Lord God of Sabaoth;Heaven and earth are full of the majestyOf thy glory.


Hail, star of the sea,Nurturing mother of God,And ever VirginHappy gate of heaven.

Loosen the chains of the guilty,Send forth light to the blind,Our evil do thou dispel,Entreat for us all good things.

The glorious company of the apostles praise Thee.The goodly fellowship of the prophets praise Thee.The noble army of martyrs praise Thee:

The holy Church throughout all the worldDoth acknowledge Thee;

The Father of an infinite majesty;Thine honorable, true and only Son;Also the Holy Ghost, the comforter.

Thou art the King of Glory, O Christ;Thou art the everlasting Son of the Father.

When Thou tookest upon Thee to deliver man,Thou didst not abhor the Virgin’s womb.When Thou hadst overcome the sharpness of death,Thou didst open the kingdom of heaven to all believers.

Thou sittest at the right hand of God in the glory of the Father.We believe that Thou shalt come to be our judge.We therefore pray Thee, help thy servantsWhom Thou hast redeemed with thy precious blood.

Make them to be numbered with thy saints in glory everlasting.O Lord, save thy people,And bless thine heritage.Govern them and lift them up forever.

Day by day we magnify Thee,And we worship thy name, ever world without end.

Vouchsafe, O Lord, to keep us this day without sin.O Lord, have mercy upon us.O Lord, let thy mercy lighten upon us,As our trust is in Thee.

O Lord, in Thee have I trusted;Let me never be confounded.

❦ Ave maris stellaEdvard Grieg (1843-1907), Words: Plainsong Vespers hymn to Mary (from c. 8th century)

The Norwegian Edvard Grieg was one of the leading composers of the Romantic era. The freely flow-ing musical lines of this prayer reflect the innocent character of the Virgin Mary.

Ave, maris stella,Dei mater alma,Atque semper virgo,Felix coeli porta.

Solve vincla reisProfer lumen caecis,Mala nostra pelle,Bona cuncta posce.


Vitam praesta puram,Iter para tutum,Ut, videntes Jesum,Semper colaetemur.

Sit laus Deo patri,Summo Christo decus,Spiritui Sancto:Tribus honor unus.Amen.

❦ Schaut hin, dort liegt im finstern Stall Chorale from Christmas Oratorio

Johann Sebastian BachMelody: Martin Luther (1483-1546); based on a secular folk song, Text: Paul Gerhardt

For this chorale Bach uses the melody of one of the best-known German Christmas hymns, FromHeaven Above to Earth I Come (“Vom Himmel hoch, da komm ich her”). By linking that hymnmelody with Gerhardt’s text (“Behold in gloomy stable stall”), Bach underlines the contrast betweenthe high heavens, whence He comes, and the lowly stable now housing the Child.

Schaut hin, dort liegt im finstern Stall,Des Herrschaft gehet überall!Da Speise vormals sucht ein Rind,Da ruhet jetzt der Jungfrau’n Kind.

❦ Mary’s SongBrian W. Holmes (born 1946), Words: Charles Causley (1917-2003)

This performance is a world première.

Holmes is a professor of physics at San Jose State University, having earned his PhD in experimentallow temperature physics from Boston University. He is also a free-lance horn player who has performed with the San Jose Symphony and Opera San Jose. As a composer, Holmes often writes forsolo voice and chorus, as well as for brass and chorus, and he is known for his settings of texts related to Christmas.

Holmes composed the text of the poem Mary’s Song as a lullaby, and the music is well suited to helpthe infant “King Jesus” dream sweetly. In accordance with the charmingly naive text, a calm melodyrises and falls above a swaying 3/4 rhythm in the lower voices—keeping the Baby oblivious to Hisfate as He is gently rocked to sleep.

Sleep, King Jesus, your royal bedIs made of hay in a cattle shed.Sleep, King Jesus, do not fear,Joseph is watching and waiting near.Sleep, King Jesus, sleep, King Jesus,Sleep, King Jesus, sleep.

Warm in the wintry air you lie,The ox and the donkey standing by.

Bestow a pure life,Prepare a safe way:That seeing Jesus,We may ever rejoice.

Praise be to God the Father,To the most high Christ be glory,To the Holy SpiritHonor, to the three equally.Amen.

Behold! In gloomy stable stallThere lies the ruler of us all;Where once the hungry oxen fedThe Virgin finds her Child a bed.



With summer eyes they seem to say:Welcome, King Jesus, on Christmas Day!

Sleep, King Jesus, your diamond crown Shines high in the sky where the stars look down.Let your reign of love begin,That all the world may enter in.Sleep, King Jesus, sleep, King Jesus, Sleep, King Jesus, sleep.

❦ Ich steh an deiner Krippen hier Chorale from Christmas Oratorio

Johann Sebastian Bach, Melody: Martin Luther, Text: Paul GerhardtWith a tone of intimacy and abject submission, the believer here places his or her life in the Lord’s serviceby bringing to the cradle those gifts which He Himself bestowed: “my spirit,...soul,...heart and mind.”

Ich steh an deiner Krippen hier,O Jesulein, mein Leben;Ich komme, bring und schenke dir,Was du mir hast gegeben.Nimm hin! es ist mein Geist und Sinn,Herz, Seel und Mut, nimm alles hin,Und laß dir’s wohlgefallen!

❦ A Hymn to the VirginBenjamin Britten (1913-1976), Text: from an anonymous poem, c. 1300.

Amazingly, Benjamin Britten was only 16 years old when he composed A Hymn to the Virgin.According to Paul Spicer (himself a composer and conductor) “as young as he was...Britten producedin this carol a tiny masterpiece. This is one of the most well-known and best-loved of his choral pieces.”

The medieval text is in the macronic style, i.e., it combines two languages. In Britten’s Hymn themain choir praises the Virgin in English, and a smaller echo choir responds in Latin.

Of one that is so fair and bright, Velut maris stella, (Like the star of the sea,)Brighter than the day is bright, Parens et puella: (Mother and maiden)I cry to Thee, thou see to me,Lady, pray thy Son for me, Tam pia, (So tender)That I may come to Thee. Maria!

All this world was forlorn, Eva peccatrice, (Eve, a sinner)Till our Lord was yborn, De te genetrice. (Of you, his mother)With “ave” it went away, Darkest night and comes the day Salutis; (Of salvation)The well springeth out of Thee. Virtutis. (Of virtue)

Lady, flow’r of ev’rything, Rosa sine spina, (Rose without thorns)Thou bare Jesu, Heaven’s King, Gratia divina: (Of divine grace)Of all thou bear’st the prize,Lady, queen of paradise Electa: (Chosen)Maid mild, mother es effecta. Effecta. (Fulfilled)

I stand beside thy cradle here,O Jesus Child, to tenderThe all which Thou hast given me, Which I to Thee surrender.Take Thou my spirit, take my soulMy heart and mind in thy control,And graciously receive them.



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❦ Ave MariaJosquin des Prez (1450-1521)

Martin Luther famously said that Josquin is “a master of the notes: the notes must do as he wants,whereas other composers must do as the notes want!” Often composers do not live to see their music fully appreciated, but not so in the case of Josquin—indeed, his Ave Maria was highlyacclaimed as a masterpiece from the moment it was heard. It is regarded not only as Josquin’s ownmost famous motet but as one of the most famous pieces of the 15th century. The transparent lines ofthis polyphonic composition imitate each other as they sing of the many “angelic virtues” of theVirgin Mary. As the motet ends, devout praise culminates in a moment of absolute silence—a silenceof speechless awe and reverence. The polyphonic setting then becomes homophonic, as, in onevoice and on long, drawn-out notes, the motet ends with humanity’s heart-wrenching supplication:“Oh mother of God remember me. Amen.”

Ave Maria, gratia plena,Dominus tecum, Virgo serena,

Ave coelorum Domina, Maria plena gratia, coelestia,Terrestria, mundum replens laetitia.

Ave cujus nativitasNostra fuit solemnitas;Ut lucifer lux oriensVerum solem praeveniens.

Ave pia humilitas,Sine viro fecunditas,Cujus annuntiatioNostra fuit salvatio.

Ave vera virginitas, Immaculata castitas,Cujus purificatio nostra fuit purgatio.

Ave praeclara omnibusAngelicis virtutibusCujus fuit assumptioNostra glorificatio.

O mater Dei, memento mei.Amen.

❦ Magnificat(Attributed to) Dietrich Buxtehude (1637-1707), Words: Luke 1:46-55

Buxtehude was one of the most famous and versatile church musicians of his time. Students including Bach, Handel and Telemann traveled from afar to Lübeck to learn from him, and to this dayBuxtehude’s organ works are standard repertoire for organists all over the world. (When Buxtehuderetired, both Bach and Handel were interested in becoming his successor at the Marienkirche inLübeck, but neither was willing to fulfill one of the requirements: the successor was obligated to

Hail Mary, full of graceThe Lord is with thee, O serene Virgin.

Hail, Queen of heaven, Mary full of grace, filling the worldWith heavenly and earthly joy.

Hail, whose birthBrought us joy,As Lucifer, the morning star,Went before the true sun.

Hail, pious humility,Fruitful without a man,Whose annunciationBrought us salvation

Hail, true virginity,Immaculate chastity,Whose purification brought our cleansing.

Hail, glorious one in allAngelic virtues,Whose assumptionWas our glorification.

O Mother of God, remember me.Amen.


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marry Buxtehude’s daughter. This arrangement was common practice, and Buxtehude himself hadmarried the daughter of his predecessor.)

The words of the Magnificat are those spoken by the Virgin Mary, telling her cousin Elizabeth thatshe is to bear the Son of God. Instruments add to the exultant character of Buxtehude’s setting, as thetutti-choir and a solo ensemble take turns singing Mary’s words of praise.

Magnificat anima mea Dominum,Et exultavit spiritus meusIn deo salutari meo.Quia respexit humilitatemAncillae suae,Ecce enim ex hocBeatam me dicent omnes generationes.Quia fecit mihi magna qui potens est,Et sanctum nomen ejus.Et misericordia ejus a progenieIn progenies timentibus eum.Fecit potentiam in brachio suo,Dispersit superbos mente cordis sui.

Deposuit potentes de sede,Et exaltavit humiles.Esurientes implevit bonis,Et divites dimisit inanes.Suscepit Israel puerum suum,Recordatus misericordiae suae,Sicut locutus est ad patres nostros,Abraham et semini ejus in secula.

Gloria patri et filio, Et spiritui sancto,Sicut erat in principio,Et nunc, et semper,Et in saecula saeculorum. Amen.

Intermission

❦ Canon in DJohann Pachelbel (1653–1706)

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The Pachelbel Canon is one of the most well known pieces of classical music, right up there withBeethoven’s Fifth Symphony and Mozart’s Eine Kleine Nachtmusik. But its popularity is a recent thing.Pachelbel was well-known and successful in his lifetime, then his works fell into obscurity beforebeing rediscovered in the 1970s. No one knows exactly when it was written (suggested date range1680–1706).

My soul doth magnify the Lord,And my spirit hath rejoicedIn God my Savior.For he hath regarded the low estateOf his handmaiden,For, behold, from henceforthAll generations shall call me blessed.For he that is mighty hath done to me great things,And holy is his name.And his mercy is on them that fear himFrom generation to generation.He hath shewed strength with his arm,He hath scattered the proud in the imagination of theirhearts.He hath put down the mighty from their seats,And exalted them of low degree.He hath filled the hungry with good things,And the rich he hath sent empty away.He hath holpen his servant Israel, In remembrance of his mercy,As he spake to our fathers,To Abraham, and to his seed forever.

Glory be to the Father, and to the Son, And to the Holy Ghost,As it was in the beginning,And is now, and ever shall be,World without end. Amen.


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Nowadays, every string quartet at a wedding must play this piece, much to the chagrin of the cellist,who must play the same five notes over and over again with no respite. (We will be elaborating thebass line a bit for variety.) This bass line is something like a chaconne with a satisfying chord progression (I-VI-IV-V) that underlies many pop songs.

The other thing to notice is that it is a true canon for three voices, meaning that they follow each otherexactly, two bars apart. Starting with simple quarter notes, the voices rise in pitch and complexitythrough eighth, sixteenth and thirty-second notes, before calming down and exploring suspensions inthe harmony and coming to a luminious finish.

❦ Hodie Christus natus estJan Pieterszoon Sweelinck (1562-1621), Text: paraphrase of Luke 2:11, 13-14 and Psalm 33:1.

The Dutch master Sweelinck was a famed organist and teacher, but he was also a renowned composer of French, Italian, and Latin vocal works.

With overwhelming joy, this composition announces the coming of Christ: “Today, today Christ isborn, Noe, Noe.” The tenors open unisono with the heraldic words “Hodie, hodie...”—as if calling“hear ye, hear ye.” The call is enthusiastically taken up in a four-part homophonic setting, and afterChrist’s name is sung with longer notes—in anticipation of His coming—the voices suddenly burstinto unreservedly jubilant five-part polyphony that ends with joyous calls of “Noe, Noe, Noe” (i.e.,Noel—Christmas).

As the composition continues, the “Hodie, hodie...” announcement is repeated, and the followingpolyphonic passages relate that “ ... Christ is born;” “... the Savior appeared;” “...on earth the angelssing, archangels rejoice.” In each case the polyphony ends with exuberant calls of “Noe, Noe, Noe” or“alleluia, alleluia, alleluia.”

The last “Hodie, hodie” marks the beginning of the grand finale. In an ecstasy of praise that cannot becontained, the “righteous rejoice,” again and again singing “Gloria in excelsis Deo, alleluia,” “Noe,Noe, alleluia, Noe, Noe.” The vocal lines rapidly overtake each other, modulating through the keys asthey go, and the singers seem to vie with each other in their eagerness. After all the excitement, thecomposition ends as the voices come together to sing the final “Noe” on a chord of blissful joy.

Hodie, hodie Christus natus est, Noe, Noe;Hodie, hodie Salvator apparuit, alleluia, alleluia;Hodie, hodie in terra canunt angeli,Laetantur archangeli, Noe, Noe;Hodie exsultant justi, dicentes,“Gloria in excelsis Deo,Alleluia, Noe, Noe, alleluia.”

❦ The Crown of RosesPeter Ilych Tchaikovsky (1840-1893), Words: A.N. Pleshcheev (1825-1893)

The Christmas story is sometimes seen in relation to the passion and the redemption of humanity, andTchaikovsky’s Christmas song is in this tradition. Thus the “crown of rose thorns” placed on theChild’s head points to the “crown of thorns” placed on His head before the crucifixion.

Today, today Christ is born, Noe, Noe;Today, today the Savior appeared, alleluia, alleluia;Today, today on earth the angels sing,Archangels rejoice, Noe Noe;Today, today the righteous rejoice, saying,“Glory to God in the highest,Alleluia, Noe, Noe, alleluia.”


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When Jesus Christ was yet a childHe had a garden small and wild,Wherein he cherished roses fair,And wove them into garlands there.

Now once, as summertime drew nigh,There came a troop of children by,And seeing roses on the tree,With shouts they plucked them merrily.

❦ Sleep, Little Baby, SleepRobert S. Cohen (date of birth not known; lives in New Jersey)Words: Christina Georgina Rossetti (1830-1894)

Robert Cohen has composed for orchestra and chamber ensemble, as well as for dance and theatre.Sleep, Little Baby, Sleep, which so beautifully captures the mood of the British poet Rossetti’s poem,has been performed by choirs the world over.

The piece opens pianissimo, swells slightly to a soft piano, and subsides again to pianissimo. Suchare the dynamics with which the word “sleep” is sung twice, very slowly, on a long chord. As theword “sleep” is thus peacefully repeated, it seems to imitate the slow, inhale/exhale breathing of thesleeping Child, while the rocking 3/4 rhythm in the underlying accompaniment is as the cradle onwhich the Baby rests. The breathing character of the words “sleep” and “sweet sleep” remainsthroughout Cohen’s composition, while the rocking motion of the accompaniment is reinforced by“rocking” melodic interjections in all voices.

Sleep, little Baby, sleep,The holy Angels love Thee,And guard thy bed, and keepA blessed watch above Thee.

No spirit can come nearNor evil beast to harm Thee:Sleep, Sweet, devoid of fearWhere nothing need alarm Thee.

The love which doth not sleep,The eternal arms surround Thee:The Shepherd of the sheepIn perfect love has found Thee.

Sleep through the holy night,Christ-kept from snare and sorrow,Until Thou wake to lightAnd love and warmth tomorrow.

“Do you bind roses in your hair,”They cried, in scorn to Jesus there.The boy said humbly: “Take, I pray,All but the naked thorns away.”

Then of the thorns they made a crown,And with rough fingers pressed it down,Till on his forehead fair and youngRed drops of blood like roses sprung.

Transl. G. Dearmer


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❦ Es wird scho glei dumpaMelody and words: Anton Reidinger (1839-1912)

Reidinger was a Roman Catholic priest from Austria, who wished to rekindle interest in traditional“Nativity Plays.” Such reenactments of the Christmas story had been performed in Austria and northern Italy as early as the 12th century, and Reidinger lamented the waning of the folk tradition. It was in this context that he composed his Christmas cradlesong. The melody is based on an olderhymn in praise of the Virgin Mary, and the words are in an Austrian dialect. The song charms not onlybecause of the typically “Austrian sound” of the music, but also because diminutive words and endings (“dl,” “rl,” “li”) of the dialect are able to express affection for the Christ-child with particulartenderness.

Es wird scho glei dumpa,Es wird jå scho Nåcht,Då kim i zu dir her,Mein Heiland, auf d’Wåcht.Will singa a Liadl,Dem Liabling, dem kloan,Du mågst jå net schlåfn,I hör di nur woan.Hei, hei, hei, hei,Schlåf süaß, herzliabs Kind!

Måch zua deine ÄugerlIn Ruah und in FriedUnd gib ma zum ÅbschiedDein Segn nu gråd mit.Åft werd a mei SchlaferlA sorgenlos sein,Åft kånn i mi rualiAufs Niedalegn gfreun.Hei, hei, hei, hei,Schlåf süaß, herzliabs Kind!

❦ El cant dels ocells (Carol of the Birds)Monte Mason (b. 1949)

Vlada Volkova-Moran, organist

Carol of the Birds is of Catalan origin, was popularized by the great Cellist Pablo Casals, who oftenwould end concerts with an arrangement of this piece as a tribute to the people of his country. Thetune could date back to as early as 1600. Its original version contained 14 verses that colorfully detail32 different birds visiting the Christ child in his manger in Bethlehem. Monte Mason is organist andchoirmaster at St.Martin’s by the Lake, Minnetonka, Minnesota, and director of the Gregorian Singers,Minneapolis. —note by Vlada Volkova-Moran

It will soon be dark,It will be night,So I come to you, my Savior,To watch over you.I want to sing a little songTo the darling, the tiny one.You don’t want to sleep,I only hear you crying.Hei, hei, hei, hei,Sleep sweetly, beloved Child.

Close your little eyes,Be calm and peaceful,And now give me your blessingAs a farewell.Then my own slumberWill also be carefree,And I can surely alsoLook forward to my own rest.Hei, hei, hei, hei,Sleep sweetly, beloved Child.

Transl. K.G.



❦ Psallite Deo nostro, “Sicut locutus est,” from Magnificat in D major (BWV 243)

Johann Sebastian Bach, Words: Gottfried Wolters (1910-1989)

Wolters was an influential German choir conductor and composer, who was famous for his ability toinspire people to sing. He organized “open singing” (sing-along) sessions, in which his choir sang withthe audience. He had a particular love of European folk songs, and he organized large singing festivalsand tours for choirs from around the world. He believed that singing the music of different culturesfurthers understanding between countries, and his goal was to bring people together through song.Bach’s composition, set by Wolters to the text Psallite Deo, was sung at such festivals the world over.

Psallite Deo nostro in laetititia,Exsultate nomini eius in saecula,Cantate Domino, alleluia.

❦ The Joy of Love, This is the Truth (Number 1 from Seven Joys of Christmas)

Kirke Mechem (born 1925), Words and melody: traditional English.

The much acclaimed and prolific American composer Kirke Mechem has written choral and orchestral works as well operas. His over 250 compositions have been performed not only in theUnited States but around the world. Mechem lives in San Francisco.

The Joy of Love is from a sequence of carols that Mechem dedicated “with affection, and in admirationof a lifetime devoted to the joy of music,” to his teacher, Randall Thompson. A soprano solo sings themelody, and the choir responds in four-part harmony. The text first calls on rich and poor to listen towhat are Old Testament truths: God created Man; He created Woman to live with Man; humankindsuffered “endless woes;” He promised to “redeem us by His Son.” All the while the melody remainsin a minor key. But when the tenors and basses enter with the specific reference to Christmas—to“that season of the year (when) our blest Redeemer did appear”—the music suddenly changes to amajor key. [Interestingly, when the tenors and basses enter in two-part harmony singing of the coming ofChrist, Mechem inserts a short musical quote from Johannes Brahms’ Marian Songs (Marianlieder, op. 22):Mechem uses identical harmonies to announce His coming (“and at that sea - - son...”) as does Brahms for themen’s “Hail Mary” greeting (“gegrüßt seist du, Maria”), telling Mary she is to bear the Son of God.]

This is the truth sent from above,The truth of God, the God of love,Therefore don’t turn me from your door,But hearken all both rich and poor.

The first thing which I do relateIs that God did man create;The next thing which to you I’ll tell;Woman was made with man to dwell.

And we were heirs to endless woes,Till God the Lord did interpose;And so a promise soon did runThat He would redeem us by His Son.

Make music unto our God with gladness.Rejoice in his name in eternity.Sing unto the Lord, alleluia.

And at that season of the yearOur blest Redeemer did appear;He here did live, and here did preach,And many thousands He did reach.

Thus He in love to us behaved,To show us how we must be saved;And if you want to know the way,Be pleased to hear what He did say.


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❦ Ave Maria (Angelus Domini)Franz Xaver Biebl (1906-2001)

Biebl was a German composer who wrote primarily for choral ensembles. As was the case for RobertParsons and Josquin des Prez, the Ave Maria text inspired Biebl (in 1964) to compose a masterpiece.Biebl’s Ave Maria is his best-loved and most famous work.

When the Santa Cruz Chorale’s director first told the singers he was planning to include Biebl’s AveMaria in the 2017 Christmas program, longtime former Chorale member Bruce Bridgeman particularly looked forward to singing it. Bruce wrote the following letter to the Chorale:

“I just returned from the 50th anniversary reunion of the Cornell University Glee Club (CUGC) 1966Asian tour, where I learned the history of the famous Biebl work. After my time at Cornell, the CUGChad toured Germany and eastern Europe, with a stop in Munich to sing with the Bavarian RadioSymphony Orchestra. Its conductor was Franz Biebl. The CUGC sang concerts with the orchestra, andthe Glee Club’s conductor, Thomas Sokol, and Biebl became friends. Upon the Glee Club’s departureBiebl gave Dr. Sokol a set of his own compositions, and after returning to Cornell, Sokol realized thatthe Ave Maria was a choral gem without ever having heard it. It had been performed only locally inMunich, commissioned by a Munich fireman’s chorus. Sokol and the CUGC rehearsed and performedit at a conference of choral conductors; of course it caused a sensation, and the conductors of severalother men’s choruses (Michigan, Yale etc.) requested copies. Later a CUGC alumnus in San Franciscogave a copy to the director of Chanticleer, and the rest is history....” Bruce is no longer with us, butwe sing this piece in his memory.

Angelus Domini nuntiavit Mariae,Et concepit de Spiritu Sancto.

Ave Maria, gratia plena, Dominus tecum.Benedicta tu in mulieribus,Et benedictus fructus ventris tui, Jesus.

Maria dixit: Ecce ancilla Domini;Fiat mihi secundum verbum tuum.

Ave Maria, gratia plena...

Et Verbum caro factum estEt habitavit in nobis.

Ave Maria, gratia plena...

Sancta Maria, Mater Dei, Ora pro nobis peccatoribus,Sancta Maria, ora pro nobis, Nunc et in hora mortis nostrae.Amen.

The angel of the Lord declared unto Mary,And she conceived of the Holy Ghost.

Hail Mary, Full of grace, the Lord is with Thee.Blessed art thou among women,And blessed is the fruit of thy womb, Jesus.

Maria said: Behold the handmaid of the Lord;Be it unto me according to thy word.

Hail Mary, Full of grace...

And the Word was made flesh,And dwelt among us.

Hail Mary, Full of grace...

Holy Mary, Mother of God, Pray for us sinners,Holy Mary, pray for usNow and in the hour of our death.Amen.


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❦ In the Bleak MidwinterGustav Holst (1874-1934), Words: Christina Rossetti

Gustav Holst also brought fame to the poem by his compatriot Rossetti, when he composed what wasto become one of the most beloved Christmas carols.

In the bleak mid-winterFrosty wind made moan;Earth stood hard as iron,Water like a stone;Snow had fallen, snow on snow,In the bleak mid-winterLong ago.

Angels and archangelsMay have gathered there,Cherubim and seraphimThronged the air;But only His MotherIn her maiden blissWorshipped the belovedWith a kiss.

❦ Stille NachtFranz Gruber (1787-1863), Arr. Hermann Ebenhoech (1932-2011)

There are many settings of Silent Night, but the Chorale particularly enjoys singing the one byHermann Ebenhoech.

Noche de paz, noche de amor,Todo duerme en derredor,Entre los astros que esparcen su luz,Bella anunciando al niñito JesúsBrilla la estrella de paz.

Silent night, holy night,Son of God, love’s pure light,Radiant beams from thy holy face,With the dawn of redeeming grace,Jesus, Lord at thy birth.

Stille Nacht, heilige Nacht,Hirten erst kund gemachtDurch der Engel Halleluja.Tönt es laut von fern und nahChristus der Retter ist da!

What can I give him,Poor as I am?If I were a shepherdI would bring a lamb;If I were a wise manI would do my part;Yet what I can I give Him,Give my heart.


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❦ QuempasMichael Praetorius (1571-1621)

The so-called Quempas combines two 15th century Latin Christmas hymns, Quem pastores laudavereand Nunc angelorum gloria; a third hymn is usually added as a refrain. The first of these hymns givesthe Quempas its name. (English text adaptations for hymn melodies: “Quem pastores...,” ImogenHolst; “Nunc angelorum...” and “Magnum nomen...,” K.G.)

The tradition of Quempas singing dates back to the 15th century. The Quempas was sung inChristmas services, and children (either alone or in groups) took turns singing the lines of the versesof the first hymn from the four corners of the church. But Quempas singing was also part of the caroling tradition, and groups of choristers (also mainly children) performed in the streets, on villagesquares, and in homes. In the 1607 setting by Michael Praetorius, the hymn Nunc angelorum... is sungin four-part harmony; he also added the 9th century hymn, Magnum nomen Domini, as a refrain.

Verse 1:Shepherds left their flocks astraying,God’s command with joy obeying,When they heard the angel saying:“Christ is born in Bethlehem.”

Refrain:On this day of Jesus’ birthLet us pray for peace on earth.

In a manger lies the child,His mother mild a lullaby is singing.In Bethlehem this holy nightIs born the light, salvation to all is bringing.Lo, behold, for all to see,A miracle is unfolding:Enraptured souls His love now are beholding.

Verse 2:Wise Men came from far, and saw him;Knelt in homage to adore him;Precious gifts they laid before him:Gold and frankincense and myrrh.

Refrain:On this day of Jesus’ birthLet us pray for peace on earth.

Verse 3:Let us now in ev’ry nationSing His praise with exultation.All the world shall find salvationIn the birth of Mary’s Son.

Refrain:On this day of Jesus’ birthLet us pray for peace on earth. Program notes and texts by Karen Gordon



Santa Cruz Chorale AuditionsSingers with choral experience who read musicat an intermediate or advanced level are invitedto audition for the Chorale. Call 831-427-8023 orcheck our website to receive materials thatdescribe the audition and the responsibilitiesthat go along with membership in the ensemble.

AcknowledgementsThe Chorale is deeply indebted to the followingindividuals and institutions for their invaluablehelp in producing our concerts:

Sister Barbara Ann Long, OP, Liturgist/Musician,Holy Cross Church

Mr. Ron McLain, Maintenance, Holy CrossChurch, for his assistance with the productionof our concerts

Karen Gordon for her superb, informative and insightful program notes

Suzanne Duval for the loan of her keyboard.

Eileen Chang for substitute conducting inrehearsals

Tom Pennello for procuring scores and for hisvery helpful recordings of us in rehearsal andretreat

The staff and congregation of Holy CrossChurch, Santa Cruz

The staff and congregation of the Peace UnitedChurch of Christ, Santa Cruz

The Santa Cruz ChoraleFounded in 1983, the Santa Cruz Chorale dedicates itself to two goals: presenting its audiences with distinctive, exciting concerts ofchoral works from diverse periods, and giving itssingers the chance to experience the delight andartistic growth that come from making music atthe highest level. The Chorale has recorded threeCDs and has toured in Italy, Croatia, and Spain.

The Chorale’s 40-some members, who livethroughout Santa Cruz County and beyond, jointhe ensemble by audition. Although several areprofessional musicians, all volunteer their time,and all are amateurs in the original sense of thatword—people who seriously pursue an art for thelove of it.

Christian Grube has been our conductor and artistic director since 2006.

[email protected]


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Ticket income covers only about 34% of the costof producing concerts. The remaining 66%comes from foundations, businesses—but mostly from people like you. We appreciateyour generosity!

Help the Santa Cruz Chorale continue its traditionof distinctive vocal music in Santa Cruz County bysupporting us in one of the following ways:

Make a Donation Contribute with your checkin the enclosed envelope or with your credit cardat our website www.santacruzchorale.org/donate.

Give to the Annual Fund All donors and ticket buyers receive a letter in the Fall duringthe Annual Fund Campaign. However, theChorale accepts Annual Fund donationsthroughout the year to support operations.

Sponsor a Soloist, Chorale Section, Orchestra,or Conductor Bring top-notch musicians to SantaCruz to join the Chorale in concert.

Become a Concert or Season SponsorReceive public acknowledgement of your support at concerts and in programs, posters,and press releases.

Name the Chorale in your Will Ensure theChorale’s future by making the ultimate gift.

Transfer Stock Make a tax-deductible donation of stock to the Chorale.

Donate Food and Beverages Provide foodand beverages for our concert concessions table.

Advertise in our Program Promote yourbusiness while supporting the Chorale.

Sponsor an Equipment Purchase Help usrecoup the costs of replacing our old stage risers.

Volunteer Help us put on concerts, sealenvelopes, and label fund raising mail. Call 831-427-8023 if you are interested in volunteering.

Join our Mailing List Let us keep in touchwith you. Your email address saves us printingand postage; leave it with us at the box officeon your way out, or send it to us with theenclosed envelope.

For more information about how you can support the Santa Cruz Chorale, please call 831-427-8023. Donations may be mailed to:

The Santa Cruz Chorale P.O. Box 272Santa Cruz, CA 95061

Support the Santa Cruz Chorale

Thank you Contributors, Patrons, and Sponsors

for your part in 35 Years of Santa Cruz Chorale.

Bravo!

MaverickMailing.com

Documents

Musical Arts of Santa Cruz presents The SantaCruzChorale ... Christmas... · Artistic Director Christian Grube, artistic director of the Santa Cruz Chorale since July 2006, is emer-itus