Download 10th Anniversary Choral Celebration

10th Anniversary
Choral Celebration
O’MALLEY SACRED MUSIC SERIES
TEDDY EBERSOL PERFORMANCE SERIES
The 10th Anniversary Choral Celebration was made possible by
the Teddy Ebersol Endowment for Excellence in the Performing Arts.
DEBARTOLO PERFORMING ARTS CENTER PRESENTING SERIES
SAT, MAR 28 AT 7:30 P.M.
LEIGHTON CONCERT HALL
UNIVERSITY OF NOTRE DAME
NOTRE DAME, INDIANA
Ticket Office: MON–FRI, NOON–6 P.M. | 574.631.2800
Composer Biographies
BRAD BALLIETT
New York City-based musician Brad Balliett is in high demand as a composer and
bassoonist. In addition to fulfilling multiple commissions each year, Brad is an artistic
director for the innovative and socially-conscious chamber music collective Decoda
(Affiliate Ensemble of Carnegie Hall), and performs with the leading new music
groups in New York, including Signal, Metropolis Ensemble, and Alarm Will Sound.
Brad is principal bassoon of the Princeton Symphony, and has performed with the
Houston Symphony, Metropolitan Opera Musicians, New York City Ballet, International
Contemporary Ensemble, and Hartford Symphony Orchestra. Festival performances
include Marlboro, Tanglewood, June in Buffalo, Newport Jazz Festival, Festspiele
Mecklenburg-Vorpommen, and the Lucerne Festival. His creative collaboration with
Elliot Cole and Doug Balliett as the band Oracle Hysterical has yielded a number of
operatic works, including a spoken-word opera premiered at the Lucerne Festival as a
Spotlight Artist in composition. With his twin brother, Doug, Brad hosts a weekly radio
show on WQXR’s Q2 Music called The Brothers Balliett, curates a monthly concert
series at Spectrum in the Lower East Side, and will begin teaching a course at the Juilliard School’s Evening Division in
the fall. As a teaching artist, Brad regularly leads composition and song-writing workshops in schools, hospitals, prisons, and homeless shelters. Brad graduated summa cum laude from Harvard University in 2005, and holds a Master of
Music from Rice University. His hobbies include writing sonnets, running, and blissing out to Shakespeare.
JAMES BLACHLY
Currently the Zander Fellow with the Boston Philharmonic, James Blachly is a
conductor dedicated to passionate music making and the creation of rich musical
experiences for audiences of all ages and backgrounds. He is the artistic director of
the New York-based Sheep Island Ensemble, performing imaginative programs in
unusual venues, and the co-founder of Make Music NOLA, an El Sistema-inspired
program in New Orleans. This past summer, he conducted a large-scale benefit
concert for six El Sistema-inspired programs in New York City hosted by Jamie
Bernstein, joining with concertmaster Krista Bennion Feeney of the Orchestra of
St. Luke’s to perform Bartok’s Concerto for Orchestra.
Mr. Blachly made his Boston debut in 2014 with the Boston Philharmonic Youth
Orchestra conducting Ravel’s Rapsodie espagnole, and this summer was assistant
conductor to Gil Rose and chorus master for the critically acclaimed Odyssey Opera
production of Verdi’s Un giorno di Regno. Equally at home with professional
orchestras and amateurs, Mr. Blachly has worked with the Portsmouth Symphony (New Hampshire), Symphony Pro
Musica (Massachussetts) and he will conduct the Spokane Symphony Orchestra (Washington) this coming season in
three educational concerts. With the Boston Philharmonic Youth Orchestra, he has initiated the Young Composers
Initiative, reading and recording the compositions of young composers from Harvard, NEC, Boston University,
Berklee School of Music, and Boston Conservatory.
As a composer, he studied with Robert Cuckson, as well as with Charles Wuorinen and John Corigliano. His compositions have been celebrated as “vigorous and assured” by Chamber Music America, and a “splendidly crafted tour de
force” by the Miami Herald Tribune. His compositions have been performed at The Stone, Zankel Hall, and across the
U.S., as well as for the Pope, and broadcast on the CBC.
He studied conducting with Donald Schleicher at the University of Illinois, and composition with Robert Cuckson at
Mannes College the New School for Music. He has worked privately with Larry Rachleff, Jeffrey Grogran, James Ross,
and Michael Gilbert.
Composer Biographies
CARY BOYCE
Cary Boyce is artistic co-director and composer-in-residence of the production group
and new music ensemble, Aguavá New Music Studio, which specializes in projects
involving contemporary music. His music has been heard around the world in
concerts and festivals in more than 25 countries, on nationally syndicated public
radio and television, and in two films by Prix-de-Rome-winning director Evelyne
Clavaud, Aria ou les rumeurs de la Villa Medicís, and her artistic documentary
Mandiargues: L’amateur d’imprudence. Boyce’s credits include original music for
the soundtrack of the Public Broadcasting System (PBS) documentary American
Horizons: The Photography of Art Sinsabaugh, also part of the Sinsabaugh exhibit
currently touring museums in the United States, and music for Harp Dreams, the PBS
documentary on the USA International Harp Competition which won three regional
Emmy Awards in 2011, including one for original music.
His oratorio, Dreams within a Dream, was the subject of a public radio special
released in 2004. Boyce’s Ave Maria was featured on the Dale Warland Singers’ Cathedral Classics nationally
syndicated radio special, as well as on their concerts in Minnesota. Boyce’s music, often performed by Aguavá New
Music Studio, has also been featured on such syndicated shows as Harmonia, Center Stage from Wolftrap, CD-Tipp
(Europe), and syndicated on Deutsche Welle. His cantata, Ave Maris Stella, was premiered by Aguavá at the International Festival Cervantino in Mexico, and subsequently broadcast throughout Latin America by the BBC. His Hodie
Christus natus est premiered at Washington National Cathedral’s 50th anniversary holiday concert, winning the
National Young Composers Award. His quartet, Nightshade, was recorded for Aguavá by the Corigliano String Quartet.
Current projects include The Flower of Departure, a concerto for viola, chorus, and orchestra.
Dr. Boyce is the recipient of numerous grants and awards, including awards from Arts International, National
Endowment for the Arts, Pew Charitable Trusts, and Indiana Arts Commission. In 2006 he was awarded an ASCAP
2006 Rudolf Nissim Prize “Special Distinction” Award for his oratorio Dreams within a Dream, which was
commissioned and premiere with the Bloomington Chamber Singers in 2003. Boyce frequently tours with Aguavá as
a conductor, pianist, or singer. Cary also teaches “Choral Masterworks” and “Music in Culture,” the first interdisciplinary music course at the Indiana University Jacobs School of Music.
Born in Santa Rosa, California in 1955, Cary Boyce studied at California State University, Sacramento, took his Master
of Music degree at University of North Texas while studying with Martin Mailman, and he earned a doctorate in
composition at Indiana University Bloomington with teachers Eugene O’Brien and Claude Baker. He has been an active
participant in diverse artistic and musical outreach endeavors of his community, not only as a composer, but also as a
producer and music essayist with public radio, online journals, major orchestras, and community presses. The music
of Cary Boyce is published by G. Schirmer, Boosey & Hawkes, and by Aguavá New Music Studio. He remains active as a
tenor, pianist, and conductor.
Photo by Sabina Frank
GABRIELA LENA FRANK
Identity has always been at the center of Gabriela Lena Frank’s music. Born in
Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of
Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently
through her compositions. Inspired by the works of Bela Bartók and Alberto Ginastera,
Frank is something of a musical anthropologist. She has traveled extensively throughout South America and her pieces reflect and refract her studies of Latin American
folklore, incorporating poetry, mythology, and native musical styles into a western
classical framework that is uniquely her own. She writes challenging idiomatic parts
for solo instrumentalists, vocalists, chamber ensembles, and orchestras.
Moreover, she writes, “There’s usually a story line behind my music; a scenario or
character.” While the enjoyment of her works can be obtained solely from her music,
the composer’s program notes enhance the listener’s experience, for they describe
how a piano part mimics a marimba or pan-pipes, or how a movement is based on a particular type of folk song,
where the singer is mockingly crying. Even a brief glance at her titles evokes specific imagery: Leyendas: An Andean
Walkabout; Cuatro Canciones Andinas; and La Llorona: Tone Poem for Viola and Orchestra. Frank’s compositions also
reflect her virtuosity as a pianist—when not composing, she is a sought-after performer, specializing in contemporary
repertoire.
This season, Frank serves a composer-in-residence to both the Houston Symphony for who she wrote Karnavalingo to
welcome incoming music director Andrés Orozco-Estrada and the Detroit Symphony Orchestra. A 2009 recipient of
the prestigious John Simon Guggenheim Memorial Foundation Fellowship to assist in research and artistic creation,
Frank’s recent premieres include Will-o’-the-Wisp for piccolo player Mary Kay Fink and the Cleveland Orchestra; Saints
for The Berkeley Symphony, soprano Jessica Rivera and the San Francisco Girls Chorus; and Concertino Cusqueño for
the Philadelphia Orchestra. A frequent collaborator with artists in other disciplines, Frank has developed a number
of projects with the Pulitzer Prize-winning Cuban playwright Nilo Cruz, among them La Centinela y la Paloma (The
Keeper and the Dove), a song cycle for Dawn Upshaw and the Saint Paul Chamber Orchestra and Journey of the
Shadow for the San Francisco Chamber Orchestra. Other recent premieres include Nocturno Nazqueño for the New
York International Piano Competition; Hilos for the Alias Chamber Ensemble; Puntos Suspensivos for Ballet Hispanico;
Inca Dances for guitarist Manuel Barrueco and Cuarteto Latinoamericano—which received a 2009 Latin Grammy for
Best Classical Contemporary Composition; New Andean Songs for the Los Angeles Philharmonic’s Green Umbrella new
music series; Peregrinos for the Indianapolis Symphony; and Two Mountain Songs for a consortium comprised of the
Young People’s Chorus of New York, the San Francisco Girls Chorus, and Anima.
Having collaborated with a broad range of artists, Frank’s other works include Quijotadas for the Brentano String
Quartet; Jalapeño Blues for Chanticleer, based on the Spanglish poetry of renowned Chicano poet Trinidad Sanchez
Jr.; Compadrazgo, a double concerto for David Finckel and Wu Han with the ProMusica Orchestra; La Llorona: Tone
Poem for Viola and Orchestra for the Houston Symphony with principal Wayne Brooks under the baton of Hans Graf;
Dos Canciones de Cifar for baritone and piano, commissioned by the Marilyn Horne Foundation with Carnegie Hall;
¡Chayraq! and Ritmos Anchinos for the Silk Road Project; Cinco Danzas de Chambi for viola and piano, commissioned
by the Aspen Summer Music Festival; Canto de Harawi for the Da Camera Society of Houston; Manchay Tiempo for the
Seattle Symphony under the baton of Jun Märkl; Inkarrí for the Kronos Quartet; Illapa: Tone Poem for Flute and
Orchestra for flutist Leone Buyse and the Shepherd Symphony Orchestra; and Three Latin-American Dances for the
Utah Symphony Orchestra under the baton of Keith Lockhart.
Three Latin-American Dances was subsequently recorded by the Utah Symphony for the Reference Recording label
and has been hailed as “dazzling” and exhibiting “wit, brilliance, atmosphere, and poetry” (Classics Today), and “a rare
treasure of modern orchestral music” (Hong Kong/China Hi Fi Review). Leyendas: An Andean Walkabout, performed by
its commissioner, the Chiara String Quartet, was released in early 2007 on the New Voice Singles label. In reference to
this recording, the American Record Guide called Frank “a remarkable composer.” Recent recordings include an
all-Frank disc on Naxos featuring Hilos, among other works, by the Alias Chamber Ensemble; Inca Dances with guitarist
Manuel Barrueco and the Cuarteto Latinoamericano, released on the Tonar Music Label; and several chamber/orchestral works for the Filarmonika label as part of the groundbreaking “Caminos del Inka” project under the directorship of
conductor Miguel Harth-Bedoya.
Frank attended Rice University in Houston, Texas, where she earned both a B.A. (1994) and M.A. (1996). She studied
composition with Paul Cooper, Ellsworth Milburn, and Sam Jones, and piano with Jeanne Kierman Fischer. Frank
credits Fischer with introducing her to the music of Ginastera, Bartók, and other composers who utilized folk elements
in their work. At the University of Michigan, where she received a D.M.A. in composition in 2001, Frank studied with
William Albright, William Bolcom, Leslie Bassett, and Michael Daugherty, and piano with Logan Skelton.
Gabriela Lena Frank’s music is published exclusively by G. Schirmer, Inc.
Photo by Mats Bäcker
SVEN-DAVID SANDSTRÖM
No composer has made such an impression on contemporary Swedish musical life
as Sven-David Sandström. His catalogue of works, which includes some 300
compositions, gives proof not only of an impressive productivity, but also contains
an amazingly wide range: everything from magnificent operas and oratorios to
intimate choral and chamber music. With his unlikely combination of creativity and
diligence in the craft of composition, restless curiosity and firmly-rooted mastery of
form, Sandström alternates, to all appearances unconcerned, between a sophisticated
orchestral texture and musical melodies, film music and music for the church. In the
2000s he has focused especially on sacred choral music.
Sven-David Sandström had his breakthrough in 1972 with Through and through, an orchestral work that was met with
international response when two years later it was performed by the Concertgebouw Orchestra in Amsterdam.
Sandström quickly established himself as a leading modernist in the younger generation of Scandinavian composers, not seldom with scores of a terrifying degree of difficulty. Pierre Boulez chose, for example, to conduct his piece
Utmost with the BBC Symphony Orchestra.
Around 1980 a decisive turning point occurred in Sven-David Sandström’s tone language. Without abandoning the high
demands on his executants his musical form of address became simpler, more emotional. The epoch-making Requiem
De ur alla minnen fallna, a mighty fresco over the infanticide of the Holocaust, stands out today as one of the most
prominent works in 20th-century Swedish music. A number of choral works began to pour from Sandström’s pen, all of
them eagerly sought after by Sweden’s many elite choirs. At the same time his interest in the stage was aroused and
resulted in, among other works, six original ballet scores.
High Mass (1994), a monumental work for five female vocal soloists, large choir and orchestra, modeled on J.S. Bach’s
Mass in B minor, was received with high acclaim. With the Mass text laid out in 25 movements, just like the model, the
tone language is nonetheless Sandström’s own throughout. This powerful Mass was also performed ten years later in
Bach’s city of Leipzig with the Gewandhaus Orchestra under the baton of Herbert Blomstedt, and a recording was
issued on Deutsche Grammophon.
Already in the 1980s Sven-David Sandström had composed a couple motets for choir after baroque models: a kind of
homage to Henry Purcell and Dietrich Buxtehude. After High Mass he started to feel an affinity with the old masters,
especially Bach. Sandström has expressed the wish to link himself to the tradition. He has therefore given us Ordet
(The Word) (2004), a large-scale “passion” with the evangelist part tailored for Anne Sofie von Otter. For the librettist
he chose the poet Katarina Frostensson, with whom he had collaborated already in the successful opera Staden (The
Town) (1996). Further, he composed a Christmas Oratorio (2004), the cantata Wachet auf (2008) and, commissioned
by Helmuth Rilling’s Internationale Bachakademie Stuttgart, a Magnificat (2005) with an orchestral texture
for baroque period instruments. Rilling and the Oregon Bach Festival are also behind the commission of the colossal
Messiah (2009), set to the exact same text as Handel’s well-known version.
The series of six motets after Bach’s originals occupies a special position. The initiative was taken by choir professor
Stefan Parkman and resulted in Lobet den Herrn. This inspired Ingemar Månsson, who was once the conductor of the
Hägersten Motet Choir where Sandström had sung with the tenors for many years, to place an order for Singet dem
Herrn, a work for double choir. In 2008 Sandström was able to conclude this unique collection of motets, each one
dedicated to a capable Swedish choir leader.
Also in his occupational role Sven-David Sandström has been inspired by the great cantor of St. Thomas. In 2008,
when his ten-year professorship in composition at the prestigious Indiana University Bloomington came to an end,
he was able to realize a long-cherished dream: to compose, like Bach, for all the feast days of the ecclesiastical year.
He has gladly taken upon himself to deliver music on a regular basis: one work every other week. The compositional
process evolves in close cooperation with the musical ensembles at Stockholm Cathedral and Gustaf Sjökvist. But also
with choir leader Mona Ehntorp in the Stockholm suburb of Hässelby’s congregation, and its more modest resources.
This is a gift, as unique as it is generous, to the Swedish Church and its active musical life. Sven-David Sandström’s
complete church-year cycle was finished in 2011 with 65 works to cover all the Sundays. The major part of these works
is music of varying complexity for a cappella choir, but there are also cantatas for soloist and organ, as well as purely
instrumental works.
by Camilla Lundberg
Photo by Jenn Cress
TIMOTHY C. TAKACH
Reviewed as “gorgeous” (Washington Post) and “stunning” (Lawrence Journal-World),
the music of Timothy C. Takach is rapidly gaining momentum in the concert world.
Applauded for his melodic lines and rich, intriguing harmonies, Takach is a full-time
composer and has received a number of commissions from various organizations
including VocalEssence, St. Olaf Band, Cantus, Pavia Winds, cellist Kirsten Whitson,
The Singers–Minnesota Choral Artists, and University of Notre Dame’s DeBartolo
Performing Arts Center. His compositions have been performed on A Prairie Home
Companion, the Boston Pops holiday tour, multiple all-state and festival programs and
at venues such as the Library of Congress, Kennedy Center, and Royal Opera House
Muscat.
Takach has been awarded grants from American Composers Forum, Metropolitan
Regional Arts Council, Minnesota State Arts Board, Meet the Composer, and yearly
ASCAP Plus awards since 2004. He received a B.A. in Music Theory and Composition at St. Olaf College, Northfield,
Minnesota, where he graduated with honors. Takach lives in Minneapolis with his wife and two sons.
Photo by Tony Rinaldo
AUGUSTA READ THOMAS
The music of Augusta Read Thomas is majestic, it is elegant, it is lyrical, it is “boldly
considered music that celebrates the sound of the instruments and reaffirms the
vitality of orchestral music” (Philadelphia Inquirer). Her deeply personal music is
guided by her particular sense of musical form, rhythm, timbre, and harmony. But
given this individuality, her music is affected by history—in Thomas’s words, “Old
music deserves new music and new music needs old music.” For Thomas, this means
cherishing her place within the musical tradition and giving credit to those who have
forged the musical paths she follows and from which she innovates. “You can hear the
perfumes of my metaphorical grandparents,” Thomas states.
“There is a wonderful tradition that I adore, I understand, and care about, but I have
my two feet facing forward.” Thomas’s vision toward the future, her understanding
of the present, and her respect for the past is evident in her art. Most striking in her
respect for the past is evident in her art. Most striking in her music, however, is its exquisite humanity and poetry of
the soul. The notion that music takes over where words cease is hardly more true than in her musical voice.
Born in Glen Cove, New York, Thomas was appointed University Professor of Composition at the University of
Chicago in 2011. University Professors are selected for internationally recognized eminence in their fields as well as
for their potential for high impact across the University. Thomas will become the 16th person ever to hold a University
Professorship, and the fifth currently at the University. Additionally, she was the Mead Composer-in-Residence with
the Chicago Symphony Orchestra (CSO) from May 1997 through June 2006, a residency that culminated in the
premiere of Astral Canticle—one of two finalists for the 2007 Pulitzer Prize in Music. During her residency with the
CSO, under the direction of Daniel Barenboim, Thomas not only premiered nine commissioned works, but also
founded, along with Cliff Colnot, and curated the MusicNOW series. In addition to Barenboim, Thomas’s music has
been championed by other leading conductors including Pierre Boulez, Esa-Pekka Salonen, Oliver Knussen, Seiji
Ozawa, Mstislav Rostropovich, Leonard Slatkin, David Robertson, Christoph Eschenbach, Ludovic Morlot, and Xian
Zhang. Her music has been commissioned by leading ensembles and organizations around the world including: Love
Songs (Chanticleer); Chanting to Paradise (NDR [German Radio] Orchestra); Song in Sorrow (The Cleveland Orchestra);
Orbital Beacons, Aurora, In My Sky at Twilight, Ceremonial, Carillon Sky, Words of the Sea, Trainwork, Tangle, and Astral
Canticle (Chicago Symphony Orchestra); Prayer Bells (Pittsburgh Symphony); Bells Ring Summer (La Jolla Chamber
Music Society); Galaxy Dances, and Cello Concerto (National Symphony); Violin Concerto (Radio France and the BBC
Orchestra); Helios Choros I (Dallas Symphony); Helios Choros II (London and Boston Symphony Orchestras); Helios
Choros III (Orchestre de Paris); Pulsar (BBC); Terpsichore’s Dream (Utah Symphony); Canticle Weaving (Los Angeles
Philharmonic); and Cantos for Slava (ASCAP Foundation).
From 1993 to 2001, Thomas was an assistant professor, then associate professor of composition at the Eastman School
of Music, and from 2001 until 2006 she was the Wyatt Professor of Music at Northwestern University. In 2007-2008,
Thomas was a Visiting Scholar in the Department of Music in the Division of the Humanities at the University of
Chicago. Frequently, Thomas undertakes short-term residencies in colleges, universities, and festivals across the
United States and in Europe.
Thomas studied composition with Jacob Druckman at Yale University, with Alan Stout and Bill Karlins at Northwestern
University, and at the Royal Academy of Music in London. She was a Junior Fellow in the Society of Fellows at Harvard
University (1991–94) and a Bunting Fellow at Radcliffe College (1990–91), and often teaches composition at Tanglewood. Thomas has also been on the Board of Directors of the American Music Center since 2000, as well as on the
boards and advisory boards of several chamber music groups.
In addition to the numerous commercial recordings of her music available on major record labels, Thomas has
released five of her own albums independently.
Augusta Read Thomas’s music is published exclusively by G. Schirmer, Inc.
Notre Dame Vocale
Carmen-Helena Téllez, artistic and music director
Three Motets from Notre Dame
Our Father (2014)
J.J. Wright (b. 1985)
Come, You Blessed of Our Father (2014)
Caleb Wenzel (b. 1988)
Nunc dimittis (2013)
Jamie Caporizo, mezzo-soprano
Timothy L.R. Michuda, violin
Natasha Stojanovska, piano
Justin Appel (b. 1980)
Kyrie (2014)
Cary Boyce (b. 1955)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Dijo Cifar: a los pescadores (2014)
On texts from the “Songs of Cifar and the Sweet Sea”
by Pablo Antonio Cuadra (1912-2002)
Gabriela Lena Frank (b. 1972)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Benjamin Liupaogo, tenor
Commentary on the Program and Commissions
The Doctoral Conducting Studio at Notre Dame examines not only the historical masterpieces of sacred music, but
also the diverse ways to create sacred music for our time. As part of this comprehensive approach, all conductors
engage with the art of composition, like the great sacred music directors of the past. This evening’s collection of
independently composed motets showcases the variety of approaches by conductor-composers currently in the
DMA program.
Trained as a jazz pianist and improviser at the New School for Jazz in New York, J.J. Wright joined Notre Dame’s
Conducting Studio as a Grammy-nominated artist and as the winner of a Latin Grammy. He recently recorded his
debut album of original compositions and covers from Jon Brion, Sufjan Stevens, and Phil Collins to favorable press
reviews that define his work as “uncommonly fresh and quietly inventive.” Also a composer of sacred music,
J.J. seeks an original voice that pays homage to important influences, such as J.S. Bach, Steve Reich, Meredith Monk,
and Cannonball Adderley.
J.J.’s motet Our Father, a setting of the Lord’s Prayer, evokes the layering of multiple voices in prayer, to achieve
subtle but unexpected vertical sonorities. This work is part of J.J.’s innovative Vespers for the Feast of the Immaculate
Conception, in which he surrounded canonic Baroque compositions by Giacomo Carissimi (1605–1674) and
Marc-Antoine Charpentier (1643–1704) with his own jazz-infused settings, to create a unique and contemporary
Vespers liturgy.
Commentary continued
Caleb Wenzel’s work as a composer has garnered awards from numerous professional, amateur, and educational
ensembles and organizations including American Choral Director’s Association, Texas Music Teacher’s Association,
Arlington Music Teacher’s Association, and The International Foundation for Sacred Music Composers. An emerging authority on the role of music in worship, Caleb has composed extensively for liturgical praxis. In 2012, Caleb was
selected to participate in an American choral composers seminar jointly hosted by ACDA and Library of Congress. As
a result, his work, Ecce Agnus Dei, was premiered by Princeton Singers in Washington D.C. In 2011, Caleb was selected
to address members of the Minnesota State Congress on the cultural significance of music in religious congregations.
In 2012, he was invited to lecture at University of Notre Dame’s international sacred music conference, “James
MacMillan and the Musical Modes of Mary and the Cross,” after which he joined Notre Dame’s doctoral program. In
addition to his liturgical compositions, Caleb is currently preparing the first complete performance edition of the
Latin Psalm motets of Sebastian Knüpfer, music director of the Thomaskirche in Leipzig, Germany from 1657 to 1676.
Come, You Blessed of my Father was premiered at the Oregon Bach Festival Composers Symposium under the
direction of Grammy-winning conductor, Craig Hella Johnson. It addresses its text simply and directly, but also with
passionate fervor manifested in rich harmonies and choral textures.
Justin Appel hails from Washington State. Through the experience of hearing organ and choral music in some of the
great English, Dutch, and German chapels and cathedrals, Justin became an avid disciple of sacred music. Justin
worked for nearly a decade as a choir director, pianist, and organist at Reformed and Episcopal churches before taking
a master’s degree in Sacred Music with an emphasis in choral conducting from the University of Notre Dame, studying
with Nancy Menk, also studying organ with Craig Cramer. An interest in daily worship took him to Solesmes to study
Gregorian chant semiology. At present, Justin is a student in the Doctor of Musical Arts program in choral conducting
at Notre Dame, working with Carmen-Helena Téllez. His current research interests revolve around the Anglican choral
tradition and Eastern Orthodox repertoires, traditions that inform his compositional work.
Nunc Dimittis combines the lush film-score idiom of Alex Baranaowski with the moto perpetuo minimalism of Philip
Glass in a setting for liturgical choir. Throughout the work, the choir serves as a string-like foundation for a lyric violin
solo while the piano rhythmically propels the music forward, grounding the whole structure with a harmonic pedal
(a note that remains fixed while others move freely). Taken together, this music represents a possible approach to
utilizing “popular” elements in sacred music, while also combining virtuosity for the instrumental players with
uncomplicated musical participation for a traditional church choir.
by Carmen-Helena Téllez
The first part of the Ordinary of the Mass may take its Biblical origins from 1 Chronicles 16:34, “O give thanks unto the
LORD; for he is good; for his mercy endureth for ever,” (KJV) and also Luke 18:13, “And the publican, standing afar off,
would not lift up so much as his eyes unto heaven, but smote upon his breast, saying, God be merciful to me a sinner.”
According to Fr. Pierre Loret, the Kyrie was a part of the mass of Pope Gregory (540–604 A.C.E.), “… a carry-over from
the Greeks, doubtless from the time of Pope Gelasius.” (A.C.E. 492-496—p. 54, The Story of the Mass: From the Last
Supper to the Present Day; 1982, Liguori Publications).
The triple-ternary form (AAABBBAAA) is found prolifically in the Tridentine mass from the Renaissance forward, but
suggestions of it are found much earlier, as in the ternary form of Machaut’s Messe di nostre dame (ca. 1400). Even
the chants compiled in the Liber Usualis have recommendations for a similar triple-ternary performance (see article II,
“Rubrics for the Chant of the Mass, Liber Usualis (p. xv, Desclee, 1959, ed. Benedictines of Solesmes).
by Cary Boyce
Songs of Cifar and the Sweet Sea, a work in progress, is an ongoing vocal cycle setting the poetry of Pablo Antonio
Cuadra for various settings: as “art songs” for tenor/baritone and piano, as well as songs for SATB choir, baritone/
soprano soloists, and two pianos. While the songs are created to flow as a narrative set, certain songs can be
performed as stand-alones or with a select number of others from the cycle at the discretion of the performers.
Songs of Cifar and the Sweet Sea draws on poetry by the Nicaraguan poet, Pablo Antonio Cuadra (1912-2002). As a
young man, Cuadra spent more than two decades sailing the waters of Lake Nicaragua, meeting peasants, fisherman,
sailors, woodcutters, and timber merchants in his travels. From such encounters, he was inspired to construct a cycle
of poems that recount the odyssey of a harp-playing mariner, Cifar, who likewise travels the waters of Lake Nicaragua.
In my initial reading of the poems, I was struck by how Cuadra writes of commonplace objects and people but ties
them to the undercurrents of his country’s past of indigenous folklore. Despite Cuadra’s plain vocabulary, ordinary
things are thus rendered mythical, revealing Cifar’s capacity for wonder and passionate lyricism. The poems, which
begin with Cifar’s birth and end with his death as an old man, still clinging to an oar some eighty-odd poems later, are
rich material for a composer’s imagination, indeed.
With this treasure trove to spark my imagination, poems are carefully cobbled together without changing Cuadra’s
cadence or phrasing so that more than one poem may be featured in any given song. Characters come and go
throughout, lending a truly operatic feel to the cycle.
Dijo Cifar: A los Pescaderos (Said Cifar:To the Fishermen) is the latest addition to this cycle, commissioned by
University of Notre Dame’s DeBartolo Performing Arts Center, and premiered by conductor Carmen-Helena Téllez for
its 10th Anniversary Choral Celebration. Here, our protagonist Cifar pauses amidst the tumultuous events of his life to
pay tribute to the mariners of Lake Nicaragua.
by Gabriela Lena Frank
Texts & Translations
Kyrie
Kyrie eleison Christe eleison Kyrie eleison Lord have mercy
Christ have mercy
Lord have mercy
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Dijo Cifar: A los Pescaderos (Said Cifar: To the Fishermen)
Dijo Cifar
Cifar said
Cantare a los heroes Celebrare a los hombres cuya estatura supere la estatura de los demas mortales.
I will sing to the heores
I will celebrate the men
whose stature surpasses
that of the other mortals
Pero conocf la tempestad la furia de los vientos
la cefiuda impasividad de las aguas homicidas.
But I met the tempest
The fury of the winds
the frowning impassiveness
of the suicidal waters.
Cantare – me dije entonces – a los hombres de! Lago, a los humildes pescadores. La pobreaza se empefia en rodearlas de silencio. I will sing – I told myself then –
to the men of the Lake.
to the humble fishermen.
Poverty insists in
surrounding them with silence
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
text by Pablo Antonio Cuadra
Notre Dame Chorale
Alexander Blachly, director
Eli, Eli (1928)
György Déak-Bárdos (1905–1991)
The Blue Bird (1910)
Charles Villiers Stanford (1852–1924)
Say Sad (2015)
Brad Balliett (b. 1982)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Sing Joyfully and Merrily
James Blachly (b. 1980)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Texts & Translations
Eli! Eli!
Et circa horam nonam clamavit Jesus voce magna, dicens, Eli! Eli! lamma sabacthani?
And about the ninth hour, Jesus cried out saying, “My God! My God! Why have you abandoned me?
The Blue Bird
The lake lay blue below the hill,
O’er it, as I looked, there flew
Across the waters, cold and still,
A bird whose wings were palest blue.
The sky above was blue at last,
The sky beneath me blue in blue,
A moment ere the bird had passed,
It caught his image as he flew.
—Mary E. Coleridge
Say Sad
Say sad. Say sun’s a semblance of a bled
blanched intransigence, collecting rue
in ray-stains. Smirching pages. Takes its cue
from sateless stamens, flanging. Florid head
got no worries, waitress. Say you do. Say
photosynthesis. Light, water, airy bread.
What eats its source, its orbit? Something bad:
some plural petal that will not root or ray.
Sow stray. Salt night for saving, dreaming day
for heap, for hefting. Originary ash
for stall and stilling. Say it will, it said.
Corolla corona, bliss-bane—delay
surge and sediment. Say instrument and gash
and ruminant remnant. Rex the ruse. Be dead.
by Karen Volkman
Sing Joyfully and Merrily
Sing joyfully unto God our strength,
sing we merrily unto God: sing loud,
make a cheerful noise unto the God of Jacob!
Take the song, take the shalme, bring hither
the tablet, bring forth the timbrel, the pleasant
harp and the viol, with the lute.
Blow up the trumpet in the new moon,
blow upon the trumpet in the new moone,
ev’n at the time appointed
and upon our solemn feast day:
for this is a statute for Israel, and a law of Jacob.
—Psalm 81: 1-4, Coverdale and Geneva translations
Notre Dame Glee Club
Daniel Stowe, director
“Salve Regina”
Lux aurumque
Dappled Things
Timothy Takach (b. 1978)
Eric Whitacre (b. 1970)
Augusta Read Thomas (b. 1964)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Two Shanties
Ambletown
Johnny Come Down to Hilo
arr. Timothy Takach
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Commentary on the Program and Commissions
Dappled Things was commissioned by the DeBartolo Performing Arts Center in celebration of the 10th Anniversary
Season. In it, Augusta Read Thomas sets Gerard Manley Hopkins’s poem Pied Beauty not in traditional linear fashion,
but rather she takes the conceit of the poem—an effusive laundry list of things fractured and segmented in some
fashion—and mirrors that “dappled-ness” in the musical style by breaking the text up into fragments and reassembling
it as a somewhat jumbled mosaic. At times the texture suggests that of medieval hocket, memorably described as
“moth-eaten” by music historian Joseph Kerman. All the while, though, the music proceeds in buoyant waltz time, mirroring the exuberant mood of the poem.
Eric Whitacre’s Lux aurumque, very well-known as a mixed-chorus piece, is particularly effective in its men’s-voice
version, with tonal clusters moving in and out of focus beneath a sustained tenor pedal note. In his Salve Regina
(commissioned by the DeBartolo Performing Arts Center in 2013), Timothy Takach writes for a three-part semi-chorus
and four-part full chorus in homage to Franz Biebl’s Ave Maria, but this inspired piece illustrates Takach’s own lyrical
gift as well as his inventive harmonic and rhythmic sense.
Texts & Translations
“Salve Regina”
Hail, Queen, Mother of mercy: our life, our sweetness, and our hope, hail. To you we cry, exiles; sons of Eve. To thee do
we sigh, moaning and weeping in this valley of tears. Ah then, our Advocate, those merciful eyes of yours turn towards
us; and Jesus, the blessed fruit of your womb, after this exile show unto us. O clement: O holy: O sweet Virgin Mary.
Pray for us O holy Mother of God, as we are made worthy of the promises of Christ.
Lux aurumque
Light.
Warm and heavy as pure gold and the angels sing softly
to the new-born babe. (Edward Esch)
Dappled Things
GLORY be to God for dappled things—
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.
(Pied Beauty—Gerard Manley Hopkins, 1844–1889)
Ambletown
O Amble is a fine town with ships about the bay
I’m wishing in my heart I was there today
I’m wishing in my heart I was far away from here
Sitting in my parlor and talking with my dear
Chorus:
And it’s home, dearie, home, and it’s home I want to be
My topsails are hoisted and I am out to sea
The oak and the ash and the bonnie birchen tree
They’re all a-growing green in the North country
And it’s home, dearie, home
A letter came today, but somehow I cannot speak
And the proud and happy tears are a-rolling down my checks
There’s someone here, she siad, you’ve been waiting for to see
With your merry hazel eyes, looking up from off my knee
But the letter never said if we have a boy or girl
Got me so confused that my heart is all a whirl
So I’m going back to port, where I’ll quickly turn around
And take the fastest ship, which to Ambletown is bound
Well, if it be a girl, she shall wear a golden ring
If it be a boy, you can name him after me.
With his buckles and his boot and his little jacket blue
He’ll walk the quarterdeck, like his daddy used to do
When Johnny Comes Down to Hilo
Traditional
I’ve never seen the like since I’ve been born
An Arkansas farmer with sea boots on
I love a little gal across the sea,
She’s a Bajan beauty and she says to me
Chorus:
When Johnny come down to Hilo, poor old man
Oh, wake her! shake her!
Shake that gal with the blue dress on.
When Johnny come down to Hilo, poor old man
Who’s been here since I’ve been gone
Pretty little gal with the blue dress on
Those Hilo gals they dress so fine
They ain’t got Jesus on their mind
Oh, my wife died in Tennessee
And they sent her jaw bone back to me
I hung her jaw bone on the fence
I ain’t heard nothing but the jaw bone since
Notre Dame Vocale, Chorale, and Glee Club
Carmen-Helena Téllez, conductor
Psalm 23 / Friede auf Erden (2014)
for Three Choral Groups
Sven-David Sandström (b. 1942)
Commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center in celebration of the 10th Anniversary Season.
World premiere
Texts & Translations
PSALM 23 / Friede auf Erden
for Three Choral Groups
Sven-David Sandström
Psalm 23
The Lord is my shepherd; I shall not want.
He maketh me to lie down in the green pastures: he leadeth me beside the still waters.
He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy
staff they comfort me.
Thou preparest a table before me in presence of mine enemies: thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.
Friede auf Erden/Peace on Earth
Da die Hirten ihre Herde
Ließen und des Engles Worte
Trugen durch die niedre Pforte
Zu der Mutter mit dem Kind,
Fuhr das himmlische Gesind
Fort im Sternenraum zu singen,
Fuhr der Himmel fort zu klingen:
Friede! auf der Erde!
There the shepherds their herds
left and the angel’s words
carried by the lowly gate
to the mother with the child,
led the heavenly followers
away in the starry space to sing,
continued the sky sounding:
Peace! on the earth!
Seit die Engel so geraten,
O wie viele blut’ge Taten
Hat der Streit auf wildem Pferde,
Der geharnischte vollbracht!
In wie mancher heiligen Nacht
Sang der Chor der Geister zagend,
Dringlich flehend, leis verklagend:
Friede! auf der Erde!
Since the angels thrive so,
O like many bloody acts
had the struggle on wild horses,
the armor-clad fully-plowed!
In like some holy night
sang the Choir of Spirits fearing,
urgently imploring, sofly accusing:
Peace! on the earth!
Doch es ist ein ew’ger Glaube,
Dass der Schwache nicht zum Raube
Jeder frechen Mordgebärde
Werde fallen allezeit:
Etwas wie Gerechtigkeit
Webt und wirkt in Mord und Grauen
Und ein Reich will sich erbauen,
Das den Frieden sucht der Erde.
But it is an eternal faith
that the weaklings not to the robbers
from each shameless murder-gesture
will to-fall always:
Something like justice
wove and produced in murder and dread
and a realm wants to be pleased,
that the peace sought the earth.
Mählich wird es sich gestalten,
Seines heiligen Amtes walten,
Waffen schmieden ohne Fährde,
Flammenschwerter für das Recht,
Und ein königlich Geschlecht
Wird erblühn mit starken Söhnen,
Dessen helle Tuben dröhnen:
Friede! auf der Erde!
Gradually will it be taken-shape,
govern themselves its holy office,
weapons to forge without danger,
flame-swords for the right,
and a royal species
begins to blossom with strong sons,
whose bright pipes roar:
Peace! on the earth!
English translation by Joe Monzo
ENSEMBLES
Notre Dame Vocale, Carmen-Helena Téllez, artistic director and conductor
Notre Dame Vocale premieres tonight three works by composers Sven-David Sandström, Cary Boyce and Gabriela
Lena Frank, commissioned for the celebration of the 10th anniversary of the DeBartolo Performing Arts Center. Recently created in 2013, Notre Dame Vocale is an advanced vocal ensemble intended as the performing arm of research
and creative projects in sacred music composition and sacred music drama at Notre Dame. Its first performance was
at the inaugural concert of the Sacred Music Festival of Quito, Ecuador, in March 2013, where it presented the Latin
American premiere of James MacMillan’s Cum Vidisset Jesus, a work commissioned by Sacred Music at Notre Dame.
Vocale collaborates with Notre Dame’s presenter, the DeBartolo Performing Arts Center in offering virtuosic vocal
and choral works by living composers. Most recently it performed Morton Feldman’s iconic composition Rothko
Chapel with ensembleND, and the virtuosic Proverb with Third Coast Percussion. Notre Dame Vocale is also the
resident ensemble for Notre Dame’s sacred music conferences and the designated core ensemble for the program
of sacred music dramas with funding from the Mellon Foundation. In that capacity it performed the chamber vocal
ensembles in the recent performance at the DPAC of Mendelssohn’s Elijah with the celebrated opera baritone Nathan
Gunn. Notre Dame Vocale will be also the featured ensemble in the third Mellon Interdisciplinary Sacred Music Drama
focusing on Dante’s Divine Comedy, when it will premiere a new work by American composer Robert Kyr. Vocale is also
planning its first CD recording of the compositions it has premiered. Composed of graduate students in conducting
and voice, and frequently hosting guest artists from the region, Notre Dame Vocale is led by Professor of Conducting
Carmen-Helena Téllez.
Notre Dame Vocale works within a studio model of co-creative participation. The present program was prepared in
consort with assistant conductors Michael Accurso, Justin Appel, Caleb Wenzel, J.J. Wright, Michael Duryea, Brendan
Barker, Erin Donegan, Joshua Boggs, and Blake Bruchhaus.
Venezuelan-American conductor, producer and scholar Carmen-Helena Téllez has been called “a quiet force behind
contemporary music in the United States today” by the New York-based journal Sequenza21. A multifaceted artist, she
takes a co-creative approach to new music performance, devoting special attention to vocal-instrumental and staged
genres, involving interdisciplinary media and musical scholarship, in an approach that The Washington Post has called
“immersing and thrilling.”
Carmen-Helena Téllez has been responsible for the commission and world premiere of many staged and choral works
that have garnered the highest critical praise, including the video-opera Unicamente la verdad, by Mexican composer
Gabriela Ortiz and video artist Rubén Ortiz-Torres, the choral suite Sun-Dogs by James MacMillan, Mario Lavista’s
Missa ad Consolationes Dominam Nostram, and Ingram Marshall’s Savage Altars, among many others.
Carmen-Helena Téllez has also brought important operas and staged oratorios to audiences in the American Midwest
for the first time, including Osvaldo Golijov’s opera Ainadamar, John Adams’s opera-oratorio El Niño, as well as the
American premiere of Ralph Shapey’s oratorio Praise, originally composed for the celebrations of the 50th anniversary of the foundation of Israel. As part of her increasingly focused dedication to interdisciplinary presentation, she
co-created an immersive theatre production of Don Freund’s Passion with Tropes, and designed and conducted for the
University of Sao Paulo a multimedia performance of Orff’s Carmina Burana as a Faustian commentary on the artist
and fascist society.
In the Fall of 2012 she joined Notre Dame as Professor of Conducting for the Sacred Music Program, where she heads
the series of projects in Interdisciplinary Sacred Music Drama with support from a major grant from the Mellon
Foundation. She came to Notre Dame after 20 years as Professor of Choral Conducting, and Director of Graduate
Choral Studies and the Director of the Latin American Music Center at the prestigious Jacobs School of Music of
Indiana University, where she also directed their Contemporary Vocal Ensemble. She continues also as the Artistic
Co-Director of Aguavá New Music Studio, a production group that also sponsors the interdisciplinary vocal project
Kosmologia. She has been the Resident Conductor of CONTEMPO: The Chicago Contemporary Chamber Players, the
Music Director of the National Chorus of Spain, Music Director of the Pocket Opera Players of New York, and a Visiting
Professor at Dartmouth College and the University of Chicago. She is currently working on an art-video installation
based on Pulitzer composer Shulamit Ran’s Credo/Ani Ma’Amin. Her art video The Bells of Leopardi, based on a staged
performance of a composition by Yehuda Yannay, can be viewed in YouTube.com. As an outgrowth of these explorations, Carmen-Helena Téllez has returned to composition, and she included some of her own works in a production by
NON:op open opera in Chicago in 2014.
Notre Dame Chorale, Alexander Blachly, music director
Under the leadership of Dr. Alexander Blachly, Chorale is the official concert choir of the University of Notre Dame.
A mixed ensemble of voices specializing in choral works from the Renaissance to the present, it performs on campus
a fall and spring concert in the Leighton Concert Hall of the Marie P. DeBartolo Center for the Performing Arts in
November and April. In addition, the Chorale performs Handel’s Messiah with Chamber Orchestra in the Leighton
Concert Hall in early December. Each year’s events include, besides the concerts on campus, a Winter Tour to cities
around the U.S. in January, an evening concert on Friday of Commencement Weekend and participation in the
Baccalaureate Mass the next day. The Chorale also takes an international tour every three or four years during the
summer, which, in 1997, included cities in Italy (Rome, Orvieto, Spoleto, Assisi, Siena, Florence, Venice, Padua). In May
2000 the Chorale traveled to southern France (Nice, Arles, Aix-en-Provence), Switzerland (Geneva), southern Germany
(Munich, Passau), Austria (Salzburg) and northern Italy (Venice). In May 2005 the Chorale toured New Zealand’s South
Island, performing in Christchurch, Timaru, Dunedin, and Nelson. In May 2007 the Chorale returned to New Zealand,
this time with concerts primarily in the North Island and sight-seeing in the South Island. In May 2011 the ensemble
traveled to Rome for a week’s stay, with a side trip to Florence and Assisi; this tour included singing for the Pope at
the General Audience, singing for Saturday Mass in St. Peter’s Basilica, and full concerts in the Basilica San Francesco
in Assisi and in Sant’ Ignazio in Rome. In May 2014 the Chorale traveled to Prague, Vienna, and Salzburg, with concerts
in the Old St. Nicholas Church on the Square in Prague and in the Imperial Chapel of the Schönbrunn Palace in Vienna.
Alexander Blachly is Professor of Music and Director of the Notre Dame Chorale. He is also the founder-director of
Pomerium, a professional a cappella ensemble based in New York that has been specializing in the sacred choral
music of the fifteenth and sixteenth centuries since 1972. Mr. Blachly is the 1992 recipient of the Noah Greenberg
Award given by the American Musicological Society to stimulate historically aware performances and the study of
historical aware performances and the study of historical performing practices. He earned his post-graduate degrees
at Columbia University. Prior to coming to Notre Dame in 1993 Mr. Blachly taught courses and directed vocal groups
at Sarah Lawrence College, Rutgers University, and the University of Pennsylvania, where for eight years he directed
the ensemble Ancient Voices. He is the author of articles on tempo relationships in music of the Renaissance; on the
transition ca. 1500 from beating time by tapping on a shoulder, hand, or book to indicating time by a baton waved in
the air; on the so-called “German” dialect of Gregorian chant; on the origin and practice of notating and performing
proportions in fourteenth- and fifteenth-century music; on the intended performance manner and hidden meaning
of Baude Cordier’s famous “circle canon” ca. 1400; and on the origin and purpose of Thomas Tallis’s famous fortyvoice motet Spem in alium. Mr. Blachly is currently writing a book on “Pythagorean Music of the Middle Ages
and Renaissance.”
Notre Dame Glee Club Founded in 1915, the Notre Dame Glee Club celebrates its 100th season of continuous operation in 2014-15. The
70-voice chorus presents a wide-ranging repertory in several formal campus concerts as well as in dozens of informal
performances at University events, with a membership drawn from all courses of study at the university.
In recent years the Club has performed on tour in over 40 U.S. states and 20 countries. In the course of regular
European tours (most recently in the spring of 2011, with another slated for the spring of 2015), the Club has
performed in Ireland, England, France, Spain, Austria, Italy, Switzerland, Germany, and the Czech Republic. In 1997
the Glee Club appeared in Israel with the Jerusalem Symphony and in 2001 the Glee Club visited Asia, singing in
Singapore, Bangkok, Beijing, Shanghai, Hong Kong (with the Hong Kong Sinfonietta), and Taipei. In 2005 they toured
in Mexico and Central America, and returned to Guatemala in May and June of 2009 with the Notre Dame Symphony
Orchestra. In May and June of 2013 the Club toured northern Spain, including a pilgrimage on foot along the Camino
de Santiago and capacity-crowd concerts in Burgos, León, and Salamanca Cathedrals.
The most recent of several Glee Club recordings is On the Rocky Road to Dublin, released in 2012; another recording
is due for release in conjunction with the Centennial Alumni Reunion in October 2015.
Daniel Stowe has been a member of the University of Notre Dame faculty since 1993. In addition to directing the Glee
Club, he is also conductor of the Notre Dame Symphony Orchestra and the Notre Dame Collegium Musicum.
Ensemble Rosters
NOTRE DAME VOCALE
NOTRE DAME CHORALE
Carmen-Helena Téllez,
artistic and music director
Alexander Blachly, director
Natasha Stojanovska,
collaborative pianist
Soprano
Jessica Bush
Michelle Bythrow
Erin Donegan
Samantha Dotterweich
Sarah Noone
Alto
Joshua Boggs
Jamie Caporizo
Hillary Doerries
Emma Kusters
Suze Kim-Villano
Tenor
Brendan Barker
Benjamin Liupaogo
Sean Martin
Caleb Wenzel
Michael Duryea
Bass
Michael Accurso
Justin Appel
Blake Bruchhaus
Stephen Drendall
J.J. Wright
Soprano
Erin Bishop
Meghan Cain
Carmen Casillas
Molly Knapp
Katie Lee
Sarah Martinez
Natalie Mayer
Mimi Michuda
Maura Monahan
Daniella Reboucas
Jennifer Richardson
Tierney Vrdolyak
Michelle Williams
Mara Wilson
Alto
Brendan Barker
Julie Borzage
Sophie Buono
Melissa Cross
Becca Fritz
Madison Jaros
Christen Leen
Julia Oksasoglu
Samantha Piekos
Molly Porter
Aniela Tyksinski
Tenor
Greg Demet
Nicholas Herzog
Christian Hokaj
Eric Krebs
Benjamin Liupaogo
Corey Pennycuff
Kody Stutzman
Juan Velazquez
Bass
Justin Appel
Brian Celeste
Christopher Daniel
Theodore Howe
Edward Lim
Paul Stevenson
Ian Tembe
Patrick Tingleff
Lucas Unruh
Yilong Yang
Ensemble Rosters
NOTRE DAME GLEE CLUB
Daniel Stowe, director
Tenor I
Ricardo Castañeda
Andrew Fritz
Soren Kyhl
Daniel Le
Bruno Mediate
Michael Prough
Michael Shakour
Hunbo Shim
Andrew Spitzer
Francesco Tassi
Jamie Towey
Tenor II
James Argue
Jack Brooks
Maxwell Bullard
Jimmy Capella
Thomas Dean
Matthew Donohue
Patrick Fasano
Nick Goldsmith
Steve Jakubowski
Paul Kearney
Kieran Kelly
Erik Klaus
James O’Connor
Michael O’Malley
Zachary Osterholz
Daniel Pedroza
Rahul Ramani
Tony Stedge
Carlos Torres
Christopher Torres
Bass I
Nick Barella
Jonathan Bartolome
Joseph Copp
Nicolas Garcia
Christian Gorski
Jay Johnstone
Hunter Kuffel
John Linczer
Ryan McMullen
Joe Moran
Steve Perry
Brian Richman
Joey Schachner
Ben Swanson
Merrick Topping
Drew Turner
Bass II
Christianos Burlotos
Gregory Corning
Walker Embrey
Brendan Evans
Mark Gazda
Michael Gregory
Oliver Hanes
Nicholas King
Paul Kuczynski
Patrick Lyon
John McKeegan
John McKune
Michael Moss
Anthony Murphy
Nick Pennington
Stuart Streit
Chandler Swift
Kevin Warten
Matthew Williams
WSBT–TV is the official media sponsor of
the 2014–2015 Presenting Series.
Visiting artist accommodations provided by
the Morris Inn.
Express Press Incorporated supports the
Presenting Series by underwriting the printing
of this program.