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You are welcome at

St. Paul’s Lutheran Church Rehearsal home of Schola Cantorum on Hudson

440-448 Hoboken Avenue / Jersey City, NJ 07306 t. 201.963.5518 StPaulJerseyCity.org

Holy Week and Easter at St. Paul's Lutheran Church Palm Sunday, March 29, 10am

Maundy Thursday, April 2, 7pm Good Friday, April 3, noon and 7pm

Easter Vigil, April 4, 7pm Easter Sunday, April 5, 10am

St. Paul’s Center of Caring The Sharing Place a food pantry serving the poor and homeless in Hudson County on the last two Saturdays of each month, 8 am – noon Narcotics Anonymous Thursday Night Women’s Group, 7pm Alcoholics Anonymous Monday, Wednesday & Friday, 7pm The Lutheran Home for Children Hudson County CASA (Court Appointed Special Advocates for Children) Jersey City Food Co-op P.E.A.C.E Community Garden YMCA of Newark and Vicinity: 21st Century After-School Program

For 35 years, The Sharing Place has provided emergency food assistance, advocacy and is a vital resource to many in Hudson County.

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A message from Artistic Director and Founder, Deborah Simpkin King

Small world…large visionNever again will I forget John Muehleisen’s birthday.

It was in early June of 2014 that Facebook alerted me both to John’s birthday, and also to Craig Hella Johnson’s performance of Pietà, both taking place the same weekend. John was in Austin for the performance, and was really excited!

“Hey, John, am I ever going to see this score? And, happy birthday, by the way.”

John and I cross paths at professional conferences a couple of times a year, and seem to always find ourselves in conversations that continue into the wee hours in the hotel lobby. Various other colleagues contribute, of course, and we all go back to our lives afterwards feeling that, perhaps in some small way, we’ve come a little closer to universal harmony for looking together through a shared artistic lens. If memory serves, John’s notions of a large work on universal compassion predated the actual commissioning by Robert Bode and Choral Arts of what would become Pietà. What I know for sure is that we’ve been talking about it for at least five years. And there it was, in its post-premiere performance, and I hadn’t seen it yet!

Five minutes after my Facebook query, John had it in my inbox! It was a really busy day, with an unrelenting task list. I was so pleased to have it—but it would have to wait a day or two. Well, maybe just a peek. Nope, better not. Well, just one quick look…

Three hours later I emerged from the score with tears in my eyes, knowing it had to come to the East Coast. Mounting a production of this size would stretch every aspect of Schola’s resources, but I know Schola artists to be capable of plumbing the full depth of its message. The board was in complete support of this as the major project of Schola’s 20th anniversary season. So, initial plans for the March 2015 concerts were aborted. Pietà was coming to town!

One truly marvelous thing about a great work of art is that it never ceases to live, to be active, to have more things to say. Certainly this is true each time I approach the Bach Passions, Brahms’ Ein Deutsches Requiem, even a work as well known as Handel’s Messiah. In my almost ten months with Pietà, I can report that it is an extraordinarily ‘active’ score. John, as its composer, speaks humbly to having ‘gotten out of the way,’ to having let it come into being through him. Its message is vibrant and clear—increasingly so for me, over time. Our performances will be quite different than those of Choral Arts and Conspirare. The score is grounded enough to sustain differences in realization—ours, and (my prediction) many more to follow.

Through glorious music, powerful texts, and interpretive movement, we meet large concepts—of love, of compassion, of unity. The joy of exploring such ‘heady stuff’ with high school students is without parallel, and these young artists have entered in with impressive and inspiring insight. Today Pietà belongs to all of us, and will speak to each of us uniquely.

Has there ever been a better time and place to be alive? Has there ever been a time more in need of prophetic vision? With freedom to explore expansive vision, and technology to leverage options that bring the world closer, surely the possibilities are limitless! Embracing the future in contemplating the Eternal—it just doesn’t get better!

Large vision…limitless possibilityChoral artistry for the 21st century!

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We thank the following for their generous commitments to our 2014–2015 season

Platinum Sponsors ($15,000+)The Frank & Lydia Bergen FoundationMarjorie Bunnell Charitable Trust

Seraphim ($7,000+)NJ State Council on the ArtsRichard SeegerRoger & Mary Lou West

Cherubim ($2,500+)AnonymousExxonMobilDeborah Simpkin KingGordon KingCaroline L. SargentAlexander Wentworth

Guardian Angels ($1,000+)AIG

Angels ($500+)Merck Partnership for GivingAnonymousNicholas CerratoNicole LakeScott Pollack

Sponsors ($250+)The Bartol Charitable FoundationGive with LibertySt. Paul’s Lutheran ChurchMary BasileWilliam CarpenterTrayton DavisSuzanne Block GlattChristopher GreeneLaura GreenwaldBlair MacInnesRichard McAdamsCarol NelsonBetsy Sargent & Garry WatsonAlison SelfBill & Peggy SimpkinJane & Joseph SkiboBarbara G. WeilandDarlene Wyzga

PatronsPrash & Laura AkkapeddiMichelle ButchkoEdward & Sarah Foote ClaflinMark DaviesLinda GeorgePhil & Madeleine HendersonDorie JeffersonAndrew JonesSherry & Robert KosinskiMr. and Mrs. Seth LowenbergerFrances MarshSandra MartinyJoyce NestleDouglas P. OwenLeslie PennyIlya SperanzaKent TritlePenelope VanceKathy YatesAmy Miles Ziebarth

Donors (up to $100)Erica AppelMark AroKathleen KellyAlyson NavarroKaren Lea SiegelDenise & Ira WagnerLarry Zimmermann

Special ThanksNicholas Cerrato, for his assistance with percussion for Pietà

Philip Setzer, Special Guest Performer at the 2014 Gala2014 Gala Committee and Donors

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Music, Meaning, and Message in John Muehleisen’s Pietà: An Introduction and Overview

The word “pietà”—in addition to its association with the Michelangelo statue—is frequently translated as “pity.” The modern use of that word has sadly acquired a negative meaning; consequently, in this oratorio I have focused on its more profound connotations of “compassion” and “mercy.” The word “compassion” literally means to “suffer with” others in an empathetic way by supporting them in humility and love. It might be considered the opposite of “abandonment.” This mutual love and compassion is the life to which Pietà calls us.

The oratorio presents various aspects of compassion and mercy in a way that provokes listeners to consider how we manifest those qualities in our lives, lives filled with both joy and suffering. We embrace joy, but struggle with suffering. Ultimately, Pietà offers answers to suffering and loss, and a path to healing. My hope is that Pietà will be both a collective and a personal journey that provides a musical experience of emotional and spiritual intensity that transforms hearts and minds.

Pietà was commissioned by conductor Robert Bode and Choral Arts in Seattle, WA and premiered in March 2012. I’m deeply indebted to them for choosing to partner with me in bringing to life Pietà ’s message of hope and healing, which is so desperately needed in our world today.

Pietà unfolds across three different timelines:

ɶ The Present (Prologue and Epilogue) ɶ World War I (Scenes One and Two) ɶ Biblical Times: The end of the life of Jesus: His passion, burial, and resurrection (the Passion Interludes and

Scenes Three and Four)In parallel with these three timelines, Pietà plays out the notion of mutual compassion and love in three concentric circles, radiating out from the center.

1. The outer circle (Prologue and Epilogue) is where we enter and exit the work. After stating John 14 : 1 (“Do not let your hearts be troubled”), we are immediately confronted with difficult questions about why our hearts should NOT be troubled. In the Epilogue those questions are answered, and we are given a message of compassion and hope that balances the despair of the Prologue. These two sections allow listeners to enter into the message of Pietà on a personal level.

2. The middle circle (Scenes One and Two) concerns the relationship between Jack Kipling and his mother Carrie by way of Jack’s death during World War I and the loss felt by Carrie. By extension it concerns the mutual love of all mothers and sons, which naturally extends to all parents and their children.

3. In the center circle, the relationship between Mary and Jesus is played out in Scenes Three and Four, which occur during Biblical times, encompassing Jesus’ time in Pilate’s custody through His crucifixion, burial, and resurrection. In Chorale 4 “Let me arise…,” Jesus’ resurrection is mirrored in our personal rebirth, which transitions into the more universal message of the Epilogue.

The form of Pietà is based on the Passion oratorio, borrowing from Bach’s St. Matthew and St. John Passions. The plaintive oboe and English horn passages in several of the movements of Pietà (1.2, 3.2, 5.2, and 6.1) are variations on the opening music from the St. John Passion. Even Mary’s textless soprano solo and subsequent duet with Jesus (the tenor) in Scene 4 is based on that music; its mournful, dirge-like quality perfectly suited to expressing the pathos and sense of compassion in the scenes in which it is used. In addition, the first three chorales in Pietà draw on chorales from the St. Matthew Passion, but with texts by World War I poet Wilfred Owen in the first two and by William Blake in the third.

One other unique feature of Pietà is the use of the Passion Interludes—Byzantine and Russian Orthodox hymns—

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which wrench us back to Biblical times, reminding us of the Passion oratorio roots of Pietà. The stark juxtapositions of the Passion Interludes with the other two timelines weave the thread of compassion throughout history, both blurring the historical distinctions and unifying them so that the passions of Jesus and Mary and of Jack Kipling and his mother symbolize our own lives—our “passions,” our sufferings—making the message of compassion and hope in Pietà all the more universal and applicable to all people at all times in all places.

About the ComposerComposer John Muehleisen is increasingly in demand for commissions and performances nationally and

internationally, particularly from choral ensembles. His music has been described as “imaginatively harmonized…beautifully realized…and brilliantly crafted.” When Muehleisen was awarded Third Place for the 2013 American Prize in Professional Choral Composition, one of the judges wrote: “Lush, powerful, condensed, then expansive in continual ‘inhalations and exhalations of harmony’—all of this characterizes the masterful writing of composer John Muehleisen.” He has served as Composer-in-Residence for Opus 7 Vocal Ensemble almost continuously since 1996, as well as for the Dale Warland Singers (2003–2004), and Choral Arts in Seattle (2011–2012), which commissioned a concert-length oratorio titled Pietà, premiered in March 2012 to instant critical acclaim. Pietà was subsequently chosen by Craig Hella Johnson to open Conspirare’s innovative week-long ComPassion festival in June of 2014. The work will receive its East Coast premiere in March 2015 by Schola Cantorum

on Hudson, conducted by Deborah Simpkin King.Muehleisen’s works have been performed throughout North America, Europe, and Asia by numerous choral ensembles, including Choral Chameleon, Incheon City Chorale, John Alexander Singers, and Yale Schola Cantorum. He has received commissions from numerous ensembles, including Conspirare, Dale Warland Singers, The Esoterics, Harvard Glee Club, Northwest Girlchoir, Seattle Girls’ Choir, Seattle Pro Musica, South Bend Chamber Singers, and Volti. More than 40 of his choral works have been recorded commercially, most recently by the John Alexander Singers, Volti, and Opus 7, which will soon release a CD of world-premiere recordings of John’s choral works. His compositions have been featured at the Sixth World Choral Symposium; the 2007 NEA American Masterpieces Choral Festival in Austin, TX; at multiple ACDA conferences; and at the 2013 Chorus America Conference. His work for women’s choir, Joy, was performed in Avery Fisher Hall by The Distinguished Concerts Singers International in March 2014, conducted by Hillary Apfelstadt.John and Montana-based choral ensemble Dolce Canto—conducted by Peter Park—were awarded the 2014 Dale Warland Singers Commission Award co-sponsored by Chorus America and the American Composers Forum. They will be collaborating on the work with renowned poet and librettist, Charles Anthony Silvestri. John is also the recipient of the Louisville Orchestra Orchestral Composition Competition Award. Commissions, performances, and recordings of his works have been supported by grants from the Alice M. Ditson Fund of Columbia University, America Music Center, Jerome Foundation, Meet the Composer, National Endowment for the Arts, and New Music USA.John holds a Master of Music in Composition from University of Washington, where he studied with William Bergsma, William O. Smith, and Diane Thome. During doctoral studies at Indiana University he studied composition with John Eaton, Eugene O’Brien, and Harvey Sollberger, and orchestration with Donald Erb, with minors in Music Theory and Instructional Systems Technology. He has participated in master classes and summer residency programs with Lukas Foss, Milton Babbitt, Yehudi Wyner, Earle Brown, and Bernard Rands. After a dual career in software and music, John is now a full-time composer, publisher, and educator. John’s choral works are published by Colla Voce, Santa Barbara Music Publishing, and Alliance Music Publications. Most of his works are self-published and available through his website at www.johnmuehleisen.com.

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About the DominoesThe Dominoes (Treble Choir) are Saint Dominic Academy’s Chamber Choir. Mr. Joseph P. Napoli has directed The Dominoes for thirty-six years; several of his current members are daughters of former Dominoes who sang under his direction a generation ago.

The Dominoes have performed, by invitation, nine times at Carnegie Hall and will do so for a tenth time this May. They performed for Senator Barack Obama when he brought his Presidential campaign to Jersey City in January 2008. Other notable Dominoes performances were at the General Assembly of the United Nations, the

Winter Garden at the World Financial Center, with André Rieu at the Nassau Coliseum, and opening the Christmas Spectacular at Radio City. They previously performed with Schola Cantorum on Hudson at St. Malachy’s Church in March 2009.

The Dominoes attend adjudicated competitions each April. Last April, they were awarded a score of 98 out of a possible 100 points, placing them in the 99th percentile of groups that attend these competitions.

Members of the Dominoes will journey to Rome next Christmas and will perform at the New Year’s Day Mass celebrated by Pope Francis at the Vatican.

About Prep VoxFounded in 2009, Prep Vox (Chanters) is the official vocal group of St. Peter’s Preparatory School. It is both an elective course and a student activity, and the ensemble comprises some of the most passionate musicians at Prep. Although Vox is still quite young, the choir has consistently been performing all over New Jersey and recently released its sophomore album, “Suscipe.” Vox has also garnered prizes in various choral competitions, receiving a slew of honors at the recently concluded Llangollen Eisteddfod in Wales, United Kingdom, and at the Eighth World

Choir Games in Riga, Latvia where the choir won the gold prize and emerged as the category winner in the Male Chamber Choir category. Prep Vox was envisioned to be a choir that celebrates vocal music of all shapes and sizes, making their participation at this enormous undertaking very fitting indeed.

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About Omega Dance CompanyOmega Dance Company is a professional sacred dance company currently in residence at the Church of the Village in New York City. Comprising dancers and educators of diverse backgrounds, Omega ministers to faith communities throughout the NYC metropolitan area by presenting a broad range of dance repertory in worship settings, in concerts with spiritual themes, and by offering workshops that explore how movement can reveal the sacred. Omega’s first home was the Cathedral Church of St. John the Divine on Manhattan’s Upper West Side, where sacred dance pioneer Carla De Sola founded the company in 1974. Omega is proud to be celebrating its 40th anniversary season which includes performances at public and private events in venues such as Union Theological Seminary and the Church of St. Ignatius Loyola. Omega is thrilled to be participating in Schola Cantorum on Hudson’s production of John Muehleisen’s Pietà. For more information on upcoming performances and other events, visit

Omega online at www.omegadancecompany.com or on Facebook.

About Schola Cantorum on HudsonChoral programming with a social message is fundamental to the work of Schola Cantorum on Hudson. Schola members are drawn together both by their love of singing, and by their ardent belief in the power of music for nurture and positive change within individual lives, and in society as a whole.

Founded in 1995 by Dr. Deborah Simpkin King as an independent 501(c)3 non-profit choral/vocal organization, Schola performs its full concert season in both Manhattan and New Jersey. Substantially more than a singing group, the organization reflects both breadth and depth that bespeak the full meaning of a ‘schola’ (school). For example…

ɶ Alumnæ of our Scholar Programs are successful professionals in the music industry. ɶ Over 100 composers benefit daily from the promotional efforts of PROJECT : ENCORE™, an SCH subsidiary

business. ɶ Each annual thematic vision explores aspects of the human journey primarily through newly discovered,

newly written music, and a diverse stylistic mix. ɶ Concerts are filled with commissioned, premiere and post-premiere new compositions, bringing forward

fresh voices of visionary creative artists.

Do you share our vision?We see a bright future. We believe the Arts are midwife to the continual birthing of that bright future. If you share our vision, we invite you to explore with us what kind of involvement would be meaningful to you. Shall we talk?

ArtisticDirector@ScholaOnHudson.org OperationsDirector@ScholaOnHudson.org

888-407-6002For more, visit our web site at ScholaOnHudson.org.

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© 2014 John Greene, photographer

Dr. Deborah Simpkin King has been deemed “a choral force to be reckoned with in New York and New Jersey” by the American Record Guide. Noted conductor, program builder, artistic innovator, advocate and educator, she is increasingly active as a guest conductor, leader of master classes in conducting, and presenter at professional conferences. Her tenure as founding artistic director of Schola Cantorum on Hudson has seen its growth into an organization with an international reach, most notably in support of working composers through PROJECT : ENCORE™. Her commitment to giving back has led her into leadership positions with the New York Choral Consortium (initially Co-Chair with Kent Tritle; currently Chair) and within American Choral Directors Association (ACDA), as 20-year continuing Coordinator of the High School Choral Festival in New Jersey. The consistent personal mission within her broad spectrum of professional activity is

that of seeking to be instrumental to the deepening and enlivening of the human spirit through music.

Joseph Arndt joined Schola Cantorum on Hudson as accompanist this fall. He received his Master of Music degree from The Juilliard School and his Bachelor of Music degree from Westminster Choir College. He is Director of Music at Grace Church in Newark, where he directs three choirs and a concert series. He serves as Sub Dean of the Metropolitan NJ Chapter of the American Guild of Organists. He is also on the Board of Directors for the Hetrick Martin Institute, an organization now offering counseling, tutoring, and other services to at-risk LGBT youth in Newark.

About Our SoloistsMark Aro (Male Voice of Universality), tenor, is in his second season with Schola Cantorum on Hudson, and has served as Cantor with the music ministry at Our Lady of Czestochowa RCC in the Paulus Hook neighborhood of Jersey City since 2012. Mr. Aro earned a BA in music at Princeton University, and performed in a contemporary a cappella ensemble in his early post-college years. He is grateful to have found opportunities to engage in these artistic pursuits, and to work with other accomplished musicians in Schola.

Laura Greenwald Strom (Carrie Kipling; Understudy for Mary, Mother of Jesus), soprano, is Director of Vocal Studies and the Professional Concert Series at Caldwell University where she teaches voice and directs the University Chorale and Opera Workshop. She earned her DMA from Manhattan School of Music, her BME from Baldwin-Wallace College and a Master of Music in Voice Pedagogy from Westminster Choir College. Dr. Greenwald has performed in concerts and recitals in the New York metropolitan area, specializing in the music of women composers. She currently sings with Schola Cantorum on Hudson, performing in their select Schola Repertory Singers and Schola Sings Solo ensembles.

Santiago Restrepo (Jesus), tenor, was born in Medellin, Colombia, and left his home just two months ago to explore the vocal opportunities in this country. He is a recent graduate of the Bellas Artes Music School and was part of the “Red de escuelas de musica de Medellin” music program. This is his first season with Schola Cantorum on Hudson.

Jeffrey Soto (Jack Kipling), tenor, is new to the New York City area. He is a graduate of the Hartt School of Music with a degree in Vocal Performance, and sings at Grace Church in Newark. This is his first season with Schola Cantorum on Hudson.

Ilya Speranza (Mary, Mother of Jesus), soprano, is a graduate of the New England Conservatory of Music and the Juilliard School, at home on both the concert and opera stages. She has performed extensively throughout the

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United States and Europe singing with the New York City Opera National Tour, Lake Charles Symphony Orchestra, and Cincinnati Opera, to name a few. This is Ms. Speranza’s third season with Schola Cantorum on Hudson.

Darlene Southard Wyzga (Female Voice of Universality), soprano, has been an active singer and soloist in the New York/New Jersey area for more than twenty years. Equally comfortable performing in operas, oratorios, recitals, and ensembles, Ms. Wyzga has sung roles as diverse as The First Lady in Mozart’s Magic Flute, Pergolesi’s Stabat Mater, and the World Premiere of Elliot Levine’s Cantata of the Animals. This is Ms. Wyzga’s second season with Schola Cantorum on Hudson.

About Our UnderstudiesCaroline L. Sargent (Understudy, Female Voice of Universality), soprano, is a founding singing member and soloist of Schola Cantorum on Hudson and a former long-time member of the Board of Directors and active volunteer. A church musician and soloist for more than fifteen years, she holds a Bachelor of Music in Voice from Wittenberg University (Alida Atwell Vocal Scholar) and continued her graduate vocal and dramatic studies at The Catholic University of America. Carol is the 2002 winner of the NJ NATS Festival, Upper Adult Division, and the Senior Philanthropic Advisor for Far Brook School in Short Hills, NJ.

Nicole Lake (Understudy, Carrie Kipling), soprano, is a New Jersey native with a Bachelor of Music in Vocal Performance from Bucknell University. She has participated in various opera programs across the country and abroad. Nicole is loving her first season with Schola Cantorum on Hudson and is honored to be part of such an inspiring group.

Christopher Greene (Understudy, Male Voice of Universality, Jack Kipling, Jesus), tenor, has an MMus degree in Vocal Performance from Temple University where he also studied conducting with Robert Page. He was for 15 years a member of New York Choral Artists, singing with the New York Philharmonic, the American Symphony, the Israel Philharmonic, and other major orchestras, under the batons of Leonard Bernstein, Leon Botstein, Robert Craft, Sir Colin Davis, and Kurt Mazur, among others. As a tenor soloist, he has performed in works by Paul Hindemith (Hin und Zurück), Aaron Copland (The Tender Land), Benjamin Britten (Winter Words), and other major operatic composers. In addition to serving for 22 years as Director of Music at St. Paul’s Lutheran Church in Jersey City, NJ, Mr. Greene serves as Executive Director of St. Paul’s Center of Caring, a non-profit social service agency that serves the homeless and indigent families of Hudson County, NJ.

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The DominoesRhea Ansay

Khloe CabalfinAndrea Charris-Fernandez

Valerie CronickOctavia DavilaDana DeCastro

Mariangelica DeCastroIsabel DeLeon

Danielle DomporMegan Dowden

Alani EspinaJoelle Francisco

Katherine GomezMariana Gomez

Rose HeunAlessandra Izaguirre

Alexa Jacobsen

Shannon KelleyAnjali Kumar

Christina LittleAlyssa Littles

Daniella MendezNicole NagornyIsabella Pedrera

Eva ReidAlyssa Roaquin

Tara-Taiz RomanRachely Romero

Kimberly ServelloNatalie TorresSophie Toure

Christina TrinidadJennifer Valencia

Karen Vallo

Prep VoxAndrew AlfonsoJohn Pio Balingit

Zach BirdsallAdrian CamanoDante Carrasco

Michael CastaldoIsaiah ChagasJames Clark

Fernando CordovaVince DagotDante Dias

Jon Carlo DominguezRyan Donaldson

Alex DrilonFrank GeltrudeHenry Khost

Enrico LagascaMike Larkin

James MendykKevin Millad

Josiah NgAnthony PinerosJason Pope-BayneReese QuinonesSebastian RealMike SalamehJeremiah SilvaDani Valentin

PJ WalsheMarc WrightResty Yongco

InstrumentalistsMeredyth Coleman and Mark Snyder,

oboe and English hornDan Granda and Paul Robertson,

percussion

Joseph Arndt, organ

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Schola Cantorum on HudsonErica T. Appel

Mark AroSusan Baer

Donald BoosFrank BorrotoNkechi Fyle

Christopher GreeneLaura Greenwald Strom

Andrew JonesGordon King

Stephan KirchgraberSherry Kosinski

Nicole LakeSara Livolsi

Betsy Mackenzie-StubbsJohn Maderazo

Joseph Martin-StoweAlyson Navarro

Carol NelsonLam NguyenNaomi Perley

Amanda ReganSantiago Restrepo

Caroline L. SargentAlison SelfBlane Shaw

Karen Lea SiegelJeffrey Soto

Ilya SperanzaJames SplondKerry Stubbs

Svetlana TzenovaAlex Wentworth

Roger WestJulian Whitley

Darlene Southard Wyzga

AcknowledgementsThe work of Schola Cantorum on Hudson is made possible in part by generous grants from

The New Jersey Cultural Trust, The Marjorie Bunnell Charitable Fund, The Frank and Lydia Bergen Foundation and

the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts

We wish to express our deepest appreciation for the hospitality of our rehearsal venues: St. Paul’s Lutheran Church, Jersey City, NJ,

Rev. Jessica Lambert, Pastor, and Chris Greene, Music Director and

St. John’s in the Village Episcopal Church, West Village, NYC Gordon King, Organist and Choirmaster

Special thanks to our gracious performing homes: Church of St. Joseph, Greenwich Village

Fr. John P. McGuire, Pastor, and Linda Jones, Parish Administrator and

Church of the Immaculate Conception, Montclair, NJ The Rev. Joseph A. Scarangella, Pastor, and Preston Dibble, Music Director

We gratefully acknowledge the many people who worked off-stage in support of these performances.

Joseph Arndt, Rehearsal and Concert Accompanist

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This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts.

Please silence all cell phones, pagers, watch alarms, and other electronic devices.

Choral Artistry for the 21st Century! Please DO feel free to real-time Tweet, photograph, and share your live performance experience!

Pietà(an oratorio by John Muehleisen)

1. Prologue

1.1 - Processional

1.2 - Exhortation and Questions: “Do not let your hearts be troubled”Voices of Universality

2. Scene One (The Son)

2.1 - Passion Interlude I (The Son): “Today the Master of Creation stands before Pilate”

2.2 - Jack Kipling’s Final Letter: “Just a hurried line…”2.3 - Song: “Just before the battle, Mother”

Jack Kipling

2.4 - Chorale 1: Soldier’s Dream (“I dreamed kind Jesus fouled the big-gun gears”)

3. Scene Two (The Mother)

3.1 - Passion Interlude II (The Mother): “Today the blameless Virgin saw Thee suspended upon the Cross”

3.2 - My Boy JackCarrie Kipling

3.3 - Chorale 2: At a Calvary Near the Ancre (“One ever hangs where shelled roads part”)

4. Scene Three (Calvary)

4.1 - Passion Interlude III (The Crucifixion): “Today He who hung the earth upon the waters is hung upon the cross”

4.2 - The Passion of the Son

4.3 - Lament4.4 - The Passion of the Mother

Mary, Mother of Jesus

4.5 - Chorale 3: On Another’s Sorrow (“Can I see another’s woe?”)

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5. Scene Four (Pietà)

5.1 - Passion Interlude IV (The Descent from the Cross)

5.2 - Lullaby (Mary’s Song)Mary, Mother of Jesus

5.3 - Duet: “Do not lament me, O Mother”Jesus and Mary, Mother of Jesus

5.4 - Passion Interlude V (Burial): “The Noble Joseph”

5.5 - Resurrection: “Show us Thy Glorious Resurrection”

5.6 - Chorale 4: “Let me arise and open the gate”

6. Epilogue

6.1 - Answers and Exhortations

6.2 - AlleluiaReaders: Nkechi Fyle, Amanda Regan, Christopher Greene, Julian Whitley

6.3 - Closing Hymn: “God of Love, King of Peace”The audience is invited to stand and sing the Closing Hymn, found on the next page.

Schola Cantorum on Hudson is a proud member of the

NY and NJ Choral Consortia

“It takes a Village…”…has become one of our favorite oft-repeated truths.

Sponsorships of large efforts (such as a new composition commission, a full concert, a tour—named or anonymous)

are always welcome, as are the equally-meaningful gifts of different scope.

Thank you for your gift!giving@ScholaOnHudson.org

www.ScholaOnHudson.org/Support

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closing hymn

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œœ œœ œœnGiveGiveGiveGive

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6.3. Closing Hymn "O God of Love, O King of Peace"

Tune: HESPERUS (1854) Music by: Henry Baker (1835–1910)

Words by: Henry Williams Baker (1821–1877)

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1.2 - Exhortation and Questions: Choir: Do not let your hearts be troubled. John 14 : 1

Female Voice of Universality: How can we not let our hearts be troubled?

Choir: Do not let your hearts be troubled.

Male Voice of Universality: How can we not be filled with despair?

Voices of Universality: How can we not cry out against this?

Choir, Voices of Universality: This is not the way it is supposed to be.A son has died. A brother has been lost. A child has been broken, torn, abandoned.We are lost in a turbulent stream of emotions.Grief. Anger. Guilt. Fear. Shame. Outrage. Bewilderment. Loss.Our hearts are deeply troubled.They cry out, No. No. No.Not now. Not this way.

excerpts from the Homily given by the Rev. Anne E. Kitch at the Requiem Eucharist and Celebration of Life for Matthew Shepherd

2.1 - Passion Interlude I (The Son) (Chanters)Today the Master of Creation stands before Pilate.Today the Creator of All is condemned to die on the Cross.Of His own will, He is led as a Lamb to the slaughter.He who fed His people with manna in the desert is transfixed with nails.His Side is pierced, and a sponge of vinegar touches His lips.The Redeemer of the World is slapped on the face.The Maker of all is mocked by His own servants.How great is the Master’s love for mankind!For those who crucified Him, He prayed to His Father, saying:“Forgive them this sin, for they know not what they do.”

Stichera (Tone 6) for “Lord, I Call” verses from Orthodox Holy Friday Vespers

2.2 - Jack Kipling’s Final LetterChoir: From Jack Kipling on September 25, 1915, at the Battle of Loos

Jack Kipling: Just a hurried line as we start off tonight. The front line trenches are nine miles from here so it won’t be a very long march. This is the GREAT effort to break through and end the war.

The guns have been going deafeningly all day, without a single stop. We have to push through at all costs so we won’t have much time in the trenches, which is great luck.

Funny to think one will be in the thick of it tomorrow. One’s first experience of shell fire not in the trenches but in the open.

This is one of the advantages of a Flying Division; you have to keep moving.

We marched 18 miles last night in the pouring wet. It came down in sheets steadily.

They are staking a tremendous lot on this great advancing movement as if it succeeds the war won’t go on for long.

Pietà Libretto

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Jack Kipling’s Final Letter, continued

You have no idea what enormous issues depend on the next few days.

This will be my last letter most likely for some time as we won’t get any time for writing this next week, but I will try and send Field post cards.

Well so long dears. Dear love John.

Choir: He was killed two days later when his unit went into action in what became known as the battle of Loos. His body was never identified.

Chanters (representing the Dead)If any question why we died, Tell them, because our fathers lied.

from Epitaphs of the War (1914–1918) by Rudyard Kipling

2.3 - Song: “Just Before the Battle, Mother” (Jack Kipling)

Verse 1. Just before the battle, Mother,I am thinking most of you,While upon the field we’re watchingWith the enemy in view.

Comrades brave are ’round me lying,Filled with thoughts of home and GodFor well they know that on the morrow,Some will sleep beneath the sod.

Refrain. Farewell, Mother, you may neverPress me to your heart again,But, O, you’ll not forget me, Mother,If I’m numbered with the slain.

Verse 2. Oh, I long to see you, Mother,And the loving ones at home,But I’ll never leave our banner,Till in honor I can come.

Tell the traitors all around youThat their cruel words we know,In every battle kill our soldiersBy the help they give the foe.

Verse 3. Hark! I hear the bugles sounding,’Tis the signal for the fight,Now, may God protect us, Mother,As He ever does the right.

Hear the “Battle-Cry of Freedom,”How it swells upon the air,Oh, yes, we’ll rally-’round the standard,Or we’ll perish nobly there.Refrain

traditional Civil War song (words and music by George F. Root)

2.4 - Chorale 1 (Choir)

I dreamed kind Jesus fouled the big-gun gears;And caused a permanent stoppage in all bolts;And buckled with a smile Mausers and Colts;And rusted every bayonet with His tears.

And there were no more bombs, of ours or Theirs,Not even an old flint-lock, nor even pikel.But God was vexed, and gave all power to Michael;And when I woke he’d seen to our repairs.

Soldier’s Dream (Wilfred Owen)sung to “Wie wunderbarlich” #46 from Bach St. Matthew Passion

Pietà Libretto, continued

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3.1 - Passion Interlude II (The Mother)Today the blameless Virgin [Mary] saw Thee suspended upon the cross, O Word.She mourned within herself and was sorely pierced in her heart.She groaned in agony from the depth of her soul.Exhausted from tearing her hair and cheeks and beating her breast,She cried out lamenting:“Woe is me, O my divine child!Woe is me, O light of the world!Why hast Thou departed from my eyes, O Lamb of God?”Then the bodiless hosts were seized with trembling and cried:“O Incomprehensible Lord, glory to Thee!”

Stichera (Tone 2) for “Lord, I Call” verses from Orthodox Holy Friday Vespers

3.2 - My Boy JackCarrie Kipling: ‘Have you news of my boy Jack?’

Choir: Not this tide.

Carrie Kipling: ‘When d’you think that he’ll come back?’

Choir: Not with this wind blowing, and this tide.

Carrie Kipling: ‘Has any one else had word of him?’

ChoirNot this tide.For what is sunk will hardly swim, Not with this wind blowing, and this tide.

Carrie Kipling: ‘Oh, dear, what comfort can I find?’

ChoirNone this tide, Nor any tide, Except he did not shame his kind — Not even with that wind blowing, and that tide.

Then hold your head up all the more, This tide,And every tide; Because he was the son you bore, And gave to that wind blowing and that tide!

Rudyard Kipling

Pietà Libretto, continued

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3.3 - Chorale 2 (Choir)

One ever hangs where shelled roads part.In this war He too lost a limb, But His disciples hide apart; The Soldiers now bear with Him.

Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied.

The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate.

At a Calvary Near the Ancre (Wilfred Owen)sung to “O Haupt voll Blut und Wunden” #54 from Bach St. Matthew Passion

4.1 - Passion Interlude III (Chanters)Today He who hung the earth upon the waters is hung upon the tree.The King of the angels is decked with a crown of thorns.He who wraps the heav’ns with clouds is wrapped in the purple of mockery.He who freed Adam in the Jordan is slapped on the face.The Bridegroom of the Church is affixed to the cross with nails.The Son of the Virgin is pierced by a spear.We worship Thy Passion, O Christ.Show us also Thy glorious Resurrection.

from Antiphon XV from the Orthodox Christian Matins of Holy Friday*“The Fifteenth Antiphon at the Matins of Holy Friday…is a highly dramatic moment in the [Orthodox]

liturgical tradition. The lights in the church are extinguished (‘It was now about the sixth hour, and darkness came over the whole land until the ninth hour. ...’ Luke 23:44) as the clergy process carrying an icon of

Christ’s body, which they then proceed to nail physically upon the cross in the middle of the church. The first time [I] witnessed this liturgical ritual as practiced in the Antiochian tradition, it was incredibly powerful,

and continues to be so, year after year.” – Vladimir Morosan

4.2 - The Passion of the SonTreble Choir (The Divine)Glory...Glory...Glory...Glory...Glory...Glory...Glory...Glory...Glory....

Choir (The Human)Today He who hung the earth upon the waters is hung upon the cross.

Treble Choir; Choir; Mary, Mother of JesusHe who is King of the angels is arrayed in a crown of thorns.He who wraps the heaven in clouds is wrapped in the purple of mockery.He who in Jordan set Adam free receives blows upon His face.The Bridegroom of the Church is transfixed with nails.The Son of the Virgin is pierced with a spear.

from Antiphon XV from the Orthodox Christian Matins of Holy Friday

Pietà Libretto, continued

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4.4 - The Passion of the Mother

ChoirStabat mater dolorosajuxta crucem lacrimosa,dum pendebat Filius.

The sorrowful Motherstood weeping beside the Crossupon which hung her Son.

Mary, Mother of JesusI stood in deep sorrow,weeping by the cross on which they’d hung my Son,the nails piercing His hands and feet.

ChoirCujus animam gementem,contristatam et dolentem,pertransivit gladius.

Whose lamenting soul,suffering and grieving,a sword had pierced

Mary, Mother of JesusAs I suffered and grieved, a sword of sorrow pierced my lamenting soul!

ChoirO quam tristis et afflictafuit illa benedictaMater Unigeniti!

Quae moerebat et dolebat,Pia Mater dum videbatNati poenas inclyti.

O how sad and aff lictedwas that blessedMother of the Only-begotten

Who was grieving and suffering,Loving Mother, as she beheldthe torments of her noble Son.

Mary, Mother of JesusO how sad, how afflicted I was.How painful was my mourning as I watched the torments of my Son.

ChoirQuis est homo qui non fleret,Matrem Christi si videretin tanto supplicio?

Quis non posset contristari,Christi Matrem contemplaridolentem cum Filio?

Who would not weep,seeing the Mother of Christin such distress?

Who could not be saddenedto behold Christ’s MotherSuffering with her Son?

Mary, Mother of JesusWho would not weep to see me in such agony?

Who could not be saddened contemplating the depth of my grieving over my Son?

Pietà Libretto, continued

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Pietà Libretto, continuedThe Passion of the Mother, continued

ChoirPro peccatis suae gentisvidit Jesum in tormentiset flagellis subditum.

For the sins of His peopleShe saw Jesus in tormentand subjected to the whip.

Mary, Mother of JesusFor the sins of our own peopleI saw my Son in tormentand subjected to the lash.

I saw my own sweet Childdeserted and dying as He breathed His last.

ChoirVidit suum dulcem Natummoriendo desolatum,dum emisit spiritum.

She saw her sweet begotten sondying forsaken,as He gave up the spirit.

Latin text from the “Stabat Mater” sequence of the Roman Catholic ChurchEnglish translation compiled by John Muehleisen

English paraphrase for soprano solo by John Muehleisen

4.5 - Chorale 3 (Choir)

Can I see another’s woe, And not be in sorrow too? Can I see another’s grief, And not seek for kind relief?

Can I see a falling tear, And not feel my sorrow’s share? Can a father see his child Weep, nor be with sorrow fill’d?

Can a mother sit and hear An infant groan an infant fear? No, no! never can it be! Never, never can it be!

And can he who smiles on all Hear the wren with sorrows small, Hear the small bird’s grief and care, Hear the woes that infants bear,

And not sit beside the nest, Pouring pity in their breast;

And not sit the cradle near, Weeping tear on infant’s tear; And not sit both night and day, Wiping all our tears away? O, no! never can it be! Never, never can it be!

He doth give his joy to all; He becomes an infant small; He becomes a man of woe; He doth feel the sorrow too.

Think not thou canst sigh a sigh And thy maker is not by; Think not thou canst weep a tear And thy maker is not near.

O! he gives to us his joy That our grief he may destroy; Till our grief is fled and gone He doth sit by us and moan.

On Another’s Sorrow (William Blake)based upon “Jesus meine Freude” from Bach Motet, BWV 227, and Ein Feste Burg by Martin Luther

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5.1a - “Give me this Stranger” (Chanters)Come, let us bless Joseph of eternal memory,Who came by night to Pilate and begged for the Life of all:

“Give me this Stranger, Who has no place to lay His head:Give me this Stranger Whom an evil disciple betrayed to death.

“Give me this Stranger,Whom His Mother saw hanging upon the cross,and with a mother’s sorrow cried, weeping:“Woe is me, O my Child,Light of mine eyes and Beloved of my bosom,for what Simeon foretold in the temple now has come to pass:a sword has pierced my heart:but change my grief to gladness by Thy resurrection.”

from Orthodox Christian Vespers of Holy Friday

5.1b - “…in her waiting arms”Choir: The noble Joseph, when he had taken down Thy most pure Body from the tree, with compassion gently placed You in her waiting arms.

John Muehleisen, adapted from the hymn “The Noble Joseph” from the Orthodox Christian Vespers of Holy Friday

5.2 - Lullaby (Mary’s Song) (Mary, Mother of Jesus)

Lullay, lullay, little One,Such a gift as God’s own Son: Come to Earth Our hope to be,Sleeping soft upon my knee.

Heu!, heu! martyred One,Such a gift as God’s own Son: Come to Earth To broken be,Hung so cruel upon a tree.

Ave!, ave! Holy One,Such a gift as God’s own Son: Lying still Upon my knee,In my arms, forever free.

Robert Bode

5.3 - DuetJesus and Mary, Mother of Jesus(Vocalise)

Jesus: Do not lament me, O mother, lying lifeless in your arms,

Mary, Mother of Jesus: Woe is me, O my Child, O my sweet springtime, O my sweetest Savior, where has Thy beauty gone, O my Son?

Jesus: the Son conceived in the womb without seed.

Pietà Libretto, continued

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Pietà Libretto, continuedDuet, continued

Mary, Mother of Jesus: Light of my eyes and Beloved of my bosom for what Simeon foretold in the temple now has come to pass: a sword has pierced my heart:Jesus: Do not lament me, O mother. For I shall arise and be glorified with eternal glory as God,

Mary, Mother of Jesus: but change my grief to joy by Thy resurrection. from Orthodox Lamentations for Holy Friday

ChoirLord, now lettest Thou Thy servant depart in peace,According to Thy word;For mine (her) eyes have seen Thy salvation,Which Thou hast prepared before the face of all people.A light to lighten the Gentiles,And the glory of Thy people, Israel.

Luke 2:29–32Mary, Mother of JesusFather, into Thy hands I commit the spirit of my dear Son.It is finished, my work now done.Father, unclasp my hands, I now open my arms to release the Son,To Rise again, His work well done.

Poetic paraphrase of #6–7 of the Seven Last Words (John Muehleisen)

5.4 - Passion Interlude V (Burial) (Chanters)The noble Joseph, when he had taken down Thy most pure Body from the tree,wrapped it in fine linen, and anointed it with spices, and placed it in a new tomb.

from Orthodox Christian Vespers of Holy Friday

5.5 - Resurrection (Choir)Show us Thy glorious Resurrection.Glory! Glory! Glory!He who is King of the angels,Show us Thy glorious Resurrection.He who wraps the heaven in clouds,Show us Thy glorious Resurrection.He who in Jordan set Adam free,Show us Thy glorious Resurrection.The Bridegroom of the Church,We venerate Thy Passion.The Son of the Virgin,We venerate Thy Passion, O Christ!Show us Thy glorious Resurrection.Glory! Glory! Glory!Today, He who hung the earth upon the waters is hung upon the Cross.Glory! Glory! Glory!

adapted from Antiphon XV from the Orthodox Christian Matins of Holy Friday

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5.6 - Chorale 4 (Choir)Let me arise and open the gate,to breathe the wild warm air of the heath, And to let in Love, and to let out Hate, And anger at living and scorn of Fate, To let in Life, and to let out Death.

from A Reverie by Mary M. Singleton (Violet Fane ) (1843–1905)

6.1 - Answers and Exhortations (Choir)Today we cry out, “How?” “How can we know the way out of the abyss?” “How can we love?”“How can we live?”And the answer is there. Believe in a love that conquers all—even death.Love, which is more powerful than any voice of hate.That is God’s love.

excerpts from the Homily given by the Rev. Anne E. Kitch at the Requiem Eucharist and Celebration of Life for Matthew Shepard

Love must be sincere. Hate what is evil; cling to what is good. Be devoted to one another in brotherly love. Honor one another above yourselves. Be joyful in hope, patient in affliction, faithful in prayer. Share with God’s people who are in need. Practice hospitality.Bless those who persecute you; bless and do not curse. Rejoice with those who rejoice; mourn with those who mourn. Live in harmony with one another. Do not be proud, show kindness to the lowly.Do not be conceited.Do not repay anyone evil for evil. Do what is right in the eyes of everyone. As far as it depends on you, live at peace with everyone.Do not take revenge, my friends…On the contrary:“If your enemy is hungry, feed him;if your enemy is thirsty, then give him drink.Do not be overcome by evil, but overcome evil with good.”

Romans 12:9–10, 12–19a, 20–21

6.2 - AlleluiaSpoken: “I mourn the loss of thousands of precious lives, but I will not rejoice in the death of one, not even an enemy. Returning hate for hate multiplies hate, adding deeper darkness to a night already devoid of stars. Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that.”

Martin Luther King Jr.All: Alleluia!

6.3 - Closing Hymn: O God of Love, O King of PeaceThe audience is invited to stand and sing the Closing Hymn, found on page 15.

Pietà Libretto, continued

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~ Sing with Schola? ~

ɶ Do you read music? ɶ Do you have vocal training and choral experience? ɶ Are you drawn to new music and a wide range of musical expression? ɶ Do you seek a singing family with which to grow and ‘process’ life?

Then Schola might be right for you!

www.scholaonhudson.org_auditions 888-407-6002, ext 3

~ Schola Tech News ~Those who follow Schola know of our deep commitment to new music, and many will know of our advocacy initiative, just five years old, devoted to acquiring post-premiere performances of worthy works, called PROJECT  : ENCORE™. With over 125 works now in its catalog, almost 100 composers represented, and both a national and an international following, it was time for an upgraded home for this 100% cloud-based resource! Presenting with pride:

ProjectEncore.org(formerly ScholaOnHudson.org/project_encore)

Webmaster: Wayne Eastwood

In addition, we have a new advocacy initiative to announce:

SoundCloud.com/schola-on-hudsonLive performance recordings of recent Schola repertoire

Much more than a choir, Schola is an organization committed to

ɶ Meaningful programming and its high quality, dynamic presentation in performance; ɶ Advocacy for new music and working composers; and

ɶ Education of and engagement with the next generation.

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Find a home with Citizen Artists at work in the world!Choral programming weaving together a rich stylistic tapestry with a social message is increasingly fundamental to the work of Schola Cantorum on Hudson. It is our hope that you’ll share our enthusiasm for this form of Citizen Artistry with your active participation and support. Here are some ways you can do that.

ɶ Participate in the work of Schola by contributing your expertise and energy. We currently have project-based task forces developing in areas that include education, sociology, e-audio/-video, music publishing, promotion and marketing. Many forms of operational support are welcome. Let’s talk!

ɶ Contribute financially to the work of Schola, either online at ScholaOnHudson.org or by check to Schola Cantorum on Hudson, PO Box 3914, Jersey City, NJ 07303.

ɶ Sing with Schola! For those with fluent music reading skills, vocal and choral training and experience, and an interest in a non-traditional range of musical expression, Schola provides a vibrant singing family. The summer months are the active audition season, but auditions can be entertained throughout the year, with the option of acceptance should an opening appear during the season.

To explore how you can become part of the Schola Family of Citizen Artists, call 888-407-6002 x3 or write OperationsDirector@ScholaOnHudson.org

~ Schola Summer Choral Festival ~Once annually Maestra King opens and explores the treasures found in

time-honored masterworks with the larger singing community!Singers from throughout the region join Schola singers in a week of rehearsals

and a concluding performance of a major choral work.

Third Annual FestivalJuly 12–16, 2015: Haydn’s Lord Nelson Mass

with Organist Preston Dibble,Director of Music at Church of the Immaculate Conception

LocationChurch of the Immaculate Conception

30 North Fullerton Avenue, Montclair, NJ

Email for more information: Festival@ScholaOnHudson.org

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After-School Children’s Music ProgramMusic Fundamentals, Vocal Training,

Participation in Children’s Choir

Free of ChargeAn Outreach Programof the Music Ministry

St. John’s in the Village224 Waverly Place

(212) 243-6192www.stjvny.org

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Schola Cantorum on HudsonBoard of Directors

Gordon King, ChairNicole Lake, Secretary

Richard Seeger, TreasurerAlexander Wentworth, Mary Lou West

Artistic and Executive StaffDeborah Simpkin King, Artistic Director and Founder

Christopher Greene, Executive DirectorDarlene Southard Wyzga, Director of Operations and Project : Encore™ Manager

Wayne Eastwood, WebmasterJoseph Arndt, Rehearsal and Concert Accompanist

Support StaffKaren Lea Siegel, Publications ManagerMark Aro, Media Design Coordinator

Wayne Eastwood, New Music Initiative CoordinatorRoger West, Personnel Records ManagerMary Lou West, Box Office Coordinator

Alexander Wentworth, Technology CoordinatorAlyson Navarro, SoundCloud Manager

Gordon King, InReach Conductor

SCH is committed to accommodating audience members with disabilities whenever possible. If you require special assistance on the day of the concert,

please contact us and every effort will be made to assist you.

Sign up to have Schola news delivered to your inbox at

ScholaOnHudson.org

Please ‘like’ us on Facebook at facebook.com/ScholaOnHudson. Sign up for our Twitter alerts at twitter.com/ScholaOnHudson.

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We Have Had Singing!Schola singers—current and alums—have voted, and the repertoire for May is being formed out of favorites from Schola’s history. For 20 years, we have gathered to share and process life through song as the Schola Family of Singers, from 9/11 to Hurricane Sandy, from births and graduations to deaths and other significant life transitions. All are guaranteed a good time in this music celebration of Schola’s first 20 seasons!

Saturday, May 16, 2015 • 8 pmChurch of St. Joseph in Greenwich Village371 Avenue of the Americas, New York, NY

Sunday, May 17, 2015 • 5 pmChurch of the Immaculate Conception 30 N. Fullerton Avenue, Montclair, NJ

Special price of just $20 for today’s audience, when purchasing online, using code: Pieta

Schola Alumni:Although the voting is in,

it is not too late to register to sing in May! Email OperationsDirector@ScholaOnHudson.org

for more information.

20th Season Gala!Thursday, May 28, 2015 • 6:30 pmSouth Orange Performing Arts Center (SOPAC) - a 90-second walk from NJ Transit’s South Orange Train StationTickets available online at: ScholaOnHudson.org or email Gala@ScholaOnHudson.org for more info.

Schola Summer Choral FestivalSunday through Thursday, July 12–16Church of the Immaculate Conception, 30 N. Fullerton Avenue, Montclair, NJRegister to sing, no audition necessary. Email Festival@ScholaOnHudson.org for more info.

Take Schola home with you!CDs on sale: 2 for $20; 3 for $25, after the concert.

Next Season, 2015–2016Schola will be looking at how we become ‘complete’—within ourselves, with each other, and with our world. The final (May) concert will focus specifically on the immigration experience in America, and will feature a new work Schola has commissioned from composer Jake Runestadt.

ScholaOnHudson.org ProjectEncore.org

20th Season and BeyondWhat lies ahead for Schola…