From
Sorrow to
Happiness
Gammage Auditorium
April 26, 2007
7:30 p.m.

MU S IC
erbergerCollege
of Fine Arts
ARIZONA STATE UNIVERSITY

"Ways of Happiness, Paths of Peace:
Bernstein, Bloch, and Music of the Jewish Tradition"

Final Concert

"From Sorrow to Happiness"
Arizona State University Chamber Singers
Arizona State University Choral Union
Arizona State University Symphonic Chorale
Arizona State University Symphony Orchestra
Carole FitzPatrick, soprano
Jamilyn White, soprano
Danielle Krison, alto
Robert Barefield, baritone
David Schildkret, conductor

"While it is named the Sacred Service or Sabbath morning service, it embraces the whole
of humanity, rather than a creed or sect....Forlif0 minutes I hope it will bring to the
souls, minds, and hearts of the people a little more confidence, make them a little more
kind and indulgent than they were, and bring them peace. I have not written to astonish
the world with a spectacular achievement. I have a message to deliver—that is all."
—Ernest Bloch

Translations
Program

Jeremiah (Symphony No. 1)
Leonard Bernstein
(1918 — 1990)

Jeremiah (Symphony No. 1)

Prophecy
Profanation
Lamentation
Carole FitzPatrick, soprano
Avodath Hakodesh (Sacred Service)

Ernest Bloch
(1880 — 1959)

Part I
Meditation
Mah Tovu
Borechu
Shema Yisroel
Mi Chomocho
Adonoy Yimloch
Tour Yisroel

How doth the city sit solitary,
That was full of people!
How is she become as a widow!
She that was great among the nations,
And princess among the provinces,
How is she become tributary!
She weepeth sore in the night,
And her tears are on her cheeks;
She hath none to comfort her
Among all her lovers;
All her friends have dealt treacherously with her,
They are become her enemies.

Part II: Kedushah (Sanctification)

Judah is gone into exile because of affliction,
And because of great servitude;
She dwelleth among the nations,
She findeth no rest.
All her pursuers overtook her
Within the narrow passes.

Part III
Silent Devotion

Jerusalem hath grievously sinned...
How doth the city sit solitary...a widow

Yihyu Lerozon
Seu Sheorim

Taking the Scroll from the Ark
Part IV: Returning the Scroll to the Ark
Part V: Epilogue
Vaanachnu

Prelude to the Kaddish: May the time not be distant, 0 God
Tzur Yisroel
Adon 0 lam

(Lamentations, 1:1-3)

(Lamentations, 1:8)

They wander as blind men in the streets,
They are polluted with blood,
So that men cannot
Touch their garments.
Depart, ye unclean! they cry unto them,
Depart, depart! touch us not...

(Lamentations, 4:14-15)

Wherefore dost Thou forget us forever,
And forget us so long time?...

Benediction
Jamilyn White, soprano
Danielle Krison, alto
Robert Barefield, baritone

Turn thou us unto Thee, 0 Lord...

(Lamentations, 5:20-21)

Avodath Hakodesh (Sacred Service)
Part One
Meditation
Mah Tovu

How lovely are your tents, 0 Jacob, your dwelling-places, 0 Israel! In Your
abundant lovingkindness, 0 God, let me enter Your house, reverently to
worship in Your holy temple. Lord, I love Your house, the place where
Your glory dwells. And so I bow down and adore You, 0 God, my Maker.
May my prayer be offered in an acceptable time; God, may You, in Your
great mercy, answer me with the truth of Your salvation.

Part Two: Kedusha (Sanctification)
We sanctify Your name on earth, even as it is sanctified in the heavens
above, and in the words of your prophet we say: Holy, Holy, Holy is the
Lord of Hosts; the fullness of the whole earth is His glory! God our
strength, God our Lord, how excellent is Your name in all the earth! His
glory is blessed in all places of His dominion.
Our God is one; He is our Father; He is our King; He is our Helper; and in
His mercy He will answer our prayers in the sight of all the living.
The Lord will reign for ever, your God, 0 Zion, from generation to
generation. Hallelujah!

Borechu

Praise the Lord, to whom all praise is due! Praise the Lord, to whom all
praise is due, for ever and ever!
Shema Yisroel

Part Three

Hear, 0 Israel: the Lord our God, the Lord is One! Praised be His name
whose glorious kingdom is for ever and ever.

Silent Devotion

Veohavto

Let the words of my mouth and the meditations of my heart be acceptable
to You, 0 Lord, my Rock and my Redeemer. Amen.

You shall love the Lord your God with all your heart, and with all your
soul, and with all your might. And these words, which I command you this
day, shall be upon your heart. You shall teach them diligently to your
children; and shall speak of them when you sit in your house, and when you
walk on your way, when you lie down, and when you rise up. And you shall
bind them for a sign upon your hand; and they shall be for frontlets
between your eyes. And you shall write them upon the doorposts of your
house, and upon your gates.
Mi Chomocho

Who is like You, 0 Lord, among the mighty? Who is like You, glorious in
holiness, extolled in praises, working wonders? When Your children beheld
Your sovereign power, they exclaimed: "This is my God! The Lord shall
reign for ever and ever!"
Tzur Yisroel
0 Rock of Israel, arise to the help of Israel. Our Redeemer is the Lord of
Hosts, the Holy One of Israel. Blessed are You, Lord (blessed is He, and
blessed is His name), the Redeemer of Israel. Amen.

Seu Sheorim

Lift up your heads, 0 gates! And be lifted up, you everlasting doors! That
the King of Glory may come in. Who is this King of Glory? The Lord of
Hosts—He is the King of Glory! Selah!
Taking the Scroll from the Ark
Toroh Trivoh

The Torah, which God gave through Moses, is the heritage of the
congregation of Jacob. 0 house of Jacob, come and let us walk in the light
of the Lord.
Shema Yisroel

Hear, 0 Israel: the Lord our God, the Lord is One!
Lecho Adonoy

Yours, 0 Lord, is the greatness, and the power, and the glory, and the
victory, and the majesty. For all that is in the heaven and the earth is Yours.
Yours is the kingdom, 0 Lord; and You are exalted as head above all.

0 magnify the Lord with me, and let us exalt His name together.

Tarr Yisroel
0 Rock of Israel, arise to the help of Israel. Our Redeemer is the Lord of
Hosts, the Holy One of Israel. Come to the help of Israel!

Hodo al Erek
His glory is in the earth and in the heavens; He is the strength of all His
servants, the praise of them that truly love Him, the children of Israel, the
people He brought near to Himself. Hallelujah!

Adon Olom
He is the eternal Lord, who reigned before any being had yet been created;
when all was done according to His will, already then His name was called
"King."

Part Four: Returning the Scroll to the Ark

Toras Adonoy
The law of the Lord is perfect, restoring the soul; the testimony of the Lord
is sure, making wise the simple. The precepts of the Lord are right,
rejoicing the heart! The fear of the Lord is pure, enduring for ever.
Behold, a good doctrine has been given unto you: My Torah—forsake it
not.
Et; Chayim (a peace song)

It is a tree of life to those who hold fast to it, and those who uphold it are
happy. Its ways are ways of pleasantness, and all its paths are peace.
Part Five: Epilogue

Vaanachnu (Adoration)
We bow the head and bend the knee and magnify the King of the king of
kings, the Holy One, blessed be He.
(sung in English): May the time not be distant, 0 God, when Thy Name shall be
worshipped in all the Earth, when unbelief shall disappear and error be no more. May
the day come when all men shall invoke Thy Name, when corruption and evil shall give
way to purity and goodness, when superstition shall no longer enslave the mind, nor
fetishism blind the eye! 0 may all men recognise that they are brethren, so that one in
spirit and one in fellowship, they may be forever united before Thee. Then shall Thine
kingdom be established on earth and the word of Thine ancient seer be fulfilled!
On that day, the Lord shall be One, and His name shall be One.
(sung in English) And now ere we part, let us call to mind those who have finished their
earthly course and have been gathered to the eternal home. Though vanished from bodily
sight, they have not ceased to be, and it is well with them; they abide in the shadow of the
Most High. Let those who mourn for them be comforted, let them submit their aching
hearts to God, for He is just and wise and merciful in al/His doings, though no man can
comprehend His ways. In the divine order of nature both life and death, joy and sorrow,
serve beneficent ends, and in the fullness of time we shall know why we are tried and why
our love brings us sorrow as well as happiness. Wait patiently allye that mourn, and be
ye of good courage, for surely your longing souls shall be satisfied.

And after everything has returned to chaos, He will reign alone in awesome
majesty. He was, He is, and He shall be in glory.
And He is One; none other can compare to Him, or be joined with Him;
He is without beginning, without end, to Him belong power and dominion.
And He is my God, my living Redeemer, my Rock in time of trouble and
distress; He is my banner and my refuge, my benefactor when I call on
Him.
Into His hands I entrust my spirit, when I sleep and when I awaken; as with
my spirit, my body also: the Lord is with me, I will not fear.
Benediction
May the Lord bless you and keep you. May the Lord let His countenance
shine upon you and be gracious to you. May the Lord lift up His
countenance upon you and give you peace. Amen.

Program Notes
by David Schildkret
TONIGHT'S CONCERT concludes our month-long series on Jewish

music. At the first concert in the series, I pointed out that the phrase
"Jewish music" could have a variety of meanings. Even though tonight's
program includes only two works, each presents a somewhat different view
of Jewish music. Leonard Bernstein's Jeremiah clearly has Jewish roots—it
in cludes traditional Jewish melodies, and the text for the final movement
comes from the Lamentations ofJeremiah in Hebrew—yet its desperate
anguish is universal. Ernest Bloch's Sacred Service, on the other hand, seems
more explicitly Jewish: it is, after all, a musical setting of a Jewish worship
service. Here too, the Hebrew text is a point of departure for universal
ideas. Jeremiah and the Sacred Service are in a sense two sides of the same
coin: Bernstein explores universal ideas using Jewish material; Bloch takes
Jewish material and underscores its universality.
The title of the program, "From Sorrow to Happiness," comes from the
preamble to the Kaddish in the Reform service for the Sabbath Morning:
"In the divine order of nature both life and death, joy and sorrow, serve
beneficent ends, and in the fullness of time we shall know why we are tried
and why our love brings us sorrow as well as happiness." It also describes
the passions in the concert itself—to say nothing of the ways we may
experience them in worship, in our personal journey towards faith and
understanding, and in daily living.
When I first began to study Bernstein's Jeremiah (a symphony for large
orchestra and soprano written in 1942, when the composer was 24 years of
age), I was impressed by its intensity of feeling and by what struck me as
adolescent angst. There was plenty of cause for anxiety in Bernstein's life:
he was on his own in New York City with no steady employment. He had
serious unresolved issues with his father, an immigrant and successful
businessman who had ambitions for his son other than a life in music (the
work is dedicated to Bernstein's father). Bernstein was probably struggling
to deny his homosexual tendencies. The world was at war for the second
time in a generation, and the United States had just entered that war,
concentrating its whole energy on winning it. Yet while all of this may have
contributed to the mood of Jeremiah, it quickly becomes apparent that the
sorrow and agony are more fundamental and based on a fairly common
experience: someone (in this case, the prophet Jeremiah) foresees terrible
doom and tragedy, but the warnings go mocked and ignored. The prophet
is left to lament the inevitable destruction that results from the unheeded
warnings.

Bernstein suggests this plot line with the three words that entitle the
movements: "Prophecy," "Profanation," and "Lamentation." In the first
movement, the prophet speaks through the orchestra in a voice that is by
turns disconsolate, angry, pleading, and profound. At the climaxes, marked
by hymnlike phrases in the brass, the voice of God speaks with
overpowering majesty. The movement dies away from exhaustion: after
one last attempt at a warning (the music of the opening returns) the
prophet, spent, no longer has the energy to sound the alarm. The people
respond in the second movement. The opening melody is based on a
traditional Hebrew chant, distorted into a hedonistic dance. Later in the
movement, melodies from the first movement return, horribly corrupted by
the jeering of the unbelieving people. In the face of the warnings, the
people mock and go on with their profane lives. This is all couched in
irregular dance rhythms that Bernstein would use again later in works like
Candide and West Side Story.
The final movement introduces the soprano soloist singing words from the
biblical Lamentations of Jeremiah. It begins with melodies for the Ninth of Av,
a holyday marking the destruction of the Temple in Jerusalem (it was
destroyed twice: first by the Babylonians in 586 BCE—the loss that
Jeremiah laments—and again by the Romans in 70 CE, both times in the
Hebrew month of Av, late July or early August in the Gregorian calendar).
The soprano, a lone voice, mourns the destruction. Using a woman's voice
to represent the prophet Jeremiah may be a bit unexpected. Bernstein may
have wished to underscore the comparison of desolate Jerusalem to a
widow in the text, but the choice of the soprano also serves to generalize
the emotions. After scenes of loss and destruction, it is often the sisters,
widows, and mothers who are left behind to mourn. This reminds us that
Jeremiah is not a work about the destruction of the Temple, but a broader
contemplation of the consequences of scorning the truth. Melodies from
the first movement return in this final movement, echoed in poignant
tones. Bernstein himself acknowledged that the end of the work—again,
broken and tragic—"is really more a kind of comfort, not a solution." The
sorrow here is too profound for a solution, for how do you solve
humanity's persistent blundering toward destruction in spite of
passionate—even shrill—admonitions to change course? How many
contemporary situations might be examples of this very pattern of a
warning given repeatedly only to be ignored or mocked and ultimately
followed by a calamity?
***

Bloch might have said that the solution to Bernstein's dilemma in Jeremiah
lies in recognizing our common humanity and our place within the grand
design of nature. This was the central aim of his Sacred Service, which he
viewed as much as an oratorio (a grand concert work) as a liturgy.
A composer, conductor, and music educator of Swiss origins who made
most of his career in the United States, Bloch received the commission for
the Sacred Service in 1930. Temple Emanuel in San Francisco, a leading
Reform Jewish congregation, wanted a setting of the Sabbath Morning
service for soloist, choir, and orchestra. It took Bloch until 1933 to
complete the work. He was 53 years of age—the same age, coincidentally,
as Bernstein was in 1971 when he wrote Mass, another liturgy cum drama,
and a far more optimistic work than Jeremiah. Bloch began by immersing
himself in the text of the service as found in the Union Prayer Book of
1922. In a letter to friends in San Francisco, he enthused: "I have now
absorbed [the text] to the point where it has become mine and as it were
the very expression of my soul....It has become a cosmic poem, a
glorification of the Laws of the Universe....It has become the very text I
was after since the age of ten...a dream of stars, of forces...the Primordial
element...before the worlds existed—I declaim out loud, amidst the rocks
and forests in the great silence, and the music slowly elaborates itself...."
The music, episodic and mercurial, captures perfectly Bloch's rhapsodic
ardor. Each word and phrase is given careful attention and put to music as
though it were a rare gem deserving a unique and dramatic setting. (It is
worth noting here that Bloch used the traditional Ashkenazic pronunciation
of Hebrew for his composition, as would have been typical in the 1930s.
Since this is a concert and not a worship service, I have chosen to remain
faithful to his original vision and not modernize the Hebrew.) The words
are sung to fluctuating, naturalistic rhythms and meters—flowing, but rarely
regular—and the orchestra surrounds the singing with a wash of color and
melody.
The service is divided into five parts. Part One begins with an instrumental
"Meditation" that introduces a crucial six-note melody in the basses. This
melody forms the essential fabric for much of the music, recurring both in
whole and in part throughout the score. This is followed by Mah tovu, a
vision of the "tents of Jacob"—for Bloch, "Jacob" and "Israel" are
synonyms for "humanity." The call to public prayer, Borechu, leads to the
main section of the movement, the Shema. Bloch describes this as "the
great Jewish 'Profession of Faith'—the essential affirmation of Unity"* and
* The descriptive quotations here and following come from Bloch's notes
on the Sacred Service, prepared in 1933 for the benefit of the critic Olin
Downes. The document is now in the University of Georgia Library.

compares it to the Credo and the Islamic Shahadah. After stating the
essential oneness of God in what Bloch calls "cosmic" tones, the music
becomes tender and reverential, portraying God's bestowing of the Law as
an act of affection. This is followed by some celebratory music (Mi chomocho
and Adonoy yimloch), which is interrupted by Tzur Y isroe I, a "rather tragic"
plea for God's help that represents "all the misery, the sufferings of
Humanity." This is a traditional melody, the only such tune in the work.
While Part One includes several prayers (and omits some material that
would ordinarily occur between them), Part Two, the Kedushah
(Sanctification), is a continuous excerpt from the Amida, a series of seven
blessings offered while standing (amida means "standing"). Bloch says,
"The music here comes from another world—seraphic—mysterious." This
leads to Isaiah's vision of the heavenly throne surrounded by angels
chanting, "Holy, Holy, Holy." The movement ends with an ecstatic chorus
proclaiming that God will endure "from generation to generation," which
Bloch calls a "gigantic idea, 'beyond man'—the Cosmos—outside of Space
and Time."
Part Three opens with music that accompanies the Silent Devotion. The
choir then sings the response, Yyu lerozon (may the words of my mouth...).
Then the cantor commands, "Lift up your heads, 0 gates," but the choir
does not understand: they repeat his words as though trying to
comprehend. Bloch's idea for the cantor's declaration harks back to the
very issue in Jeremiah. He sees it as "darkness receding—out of man's
heart." It is "man liberating himself from...all [that] lowers him and
prevents him from seeing the Truth, from going forward, from making this
little planet a possible place to live." When the cantor declares that the
King of Glory will go in, the choir asks, in a "very naive and primitive
manner," "Who is this King of Glory?" and the cantor proclaims, "The
Lord of Hosts!" Then the Torah scroll (the scripture) is taken from the ark.
The instrumental music that accompanies this action recalls the opening of
the work, repeating prominently the six-note theme. The cantor announces
that the Law is the heritage of the congregation of Jacob, the Shema is
briefly repeated, and a chorus celebrates God's glory.
In a service, the Torah would be read at this point. Part Four presents the
prayers that would follow the scripture readings. Bloch sets the entire text
for Returning the Scroll to the Ark, a thanksgiving for the Law, as a
continuous unit. After a short exhortation to "exalt [God's] name
together" ("together," i.e., "unity," is the operative idea), the choir sings the
hymnlike Hodo alErek, which Bloch says expresses "the joy and peace of
mankind." In somber tones, the cantor admonishes us not to forsake
God's law, and this is followed by a quiet, rhapsodic thanksgiving for the
Torah, Et5z Chaim, labeled "a peace song" in the score.

Bloch treats the final part, "Epilogue," as a summary of the musical and
philosophical ideas in the Sacred Service. The beginning of Part V recalls the
opening of the work and the middle of Part III, now with a tone that is
both reverent and joyous. The prayer of supplication (Vaanachnu) leads to
the preamble to the Kaddish, the mourner's prayer, but the Kaddish itself is
not sung. This is the only section of the work in English, and Bloch was
adamant that it should always be sung in the language of the audience.
"This whole text," Bloch wrote, "...is...a projection, more general, more
universal, of the hidden philosophy of the Service proper." He changes
one word, substituting "fetishism" (by which he means "attraction to ism.?')
for "idolatry," and this occasions a lengthy comment in the notes to Olin
Downes. One sentence is trenchant as we juxtapose the Sacred Service with
Jeremiah: "Any kind of 'fetishism' blinds reason—prevents man from seeing
the Truth, to be just and far-sighted." At the conclusion of this recitation,
Bloch inserts TurYisroel again in place of the Kaddish, using the same
traditional melody that appeared in Part I.
Mankind's urgent prayer for help leads to the closing hymn. In the 1922
Union Prayer Book, Eyn keloheynu appears here, but Bloch described Adon
0 lam, the closing of the Friday evening prayer, as "more beautiful, deep,
philosophical—{it] seems to me the real answer and real conclusion." The
music rises, as Bloch says, "from very far away—out of Time—out of
Space" to offer "a philosophy, or metaphysics, which outgrows all creeds,
all religions, all 'Science."' The last strophe of this hymn was the
culmination for Bloch: humanity must accept that it is "too small, too
stupid, too limited...to understand" and therefore must submit to the
"Huge Forces, the ultimate Laws, the last and superior Truth of the
Universe." The gentle and majestic Benediction concludes the work in a
spirit of triumph: the six-note melody suffuses the choral writing until it
breaks out in one last enraptured statement. This finally dispels the sorrow
of Jeremiah to conclude our performance—and our month-long look at
Jewish music—in an exultant attitude of happiness.

Biographies
Carole FitzPatrick, soprano, received her Bachelor's degree from the
University of Texas and two Master's degrees from Yale, then moved to
Europe in 1988. After engagements in Dortmund and Osnabruck,
Germany, she joined the ensemble of the State Theater in Nuremberg. Her
extensive opera repertoire during her 17 years there includes works by
Mozart, Verdi, Puccini, Strauss, and Wagner. She has sung over 50 major
roles in German opera houses, including Hannover, Mannheim,
Duesseldorf and Berlin. Her concert work has been extensive as well,
including concert tours in France and Spain, and performances in Finland,
Austria, the Czech Republic, Luxemburg, and Russia. Ms. FitzPatrick has
been a vocal advisor for the Nuremberg State Theater's Opera Studio for
Young Singers since its inception, giving both master classes and private
voice lessons to the participants. She was selected by the City of Osnabruck
as Citizen of the Year and was named by the professional magazine
OpernWelt as one of its Singer of the Year candidates. She joined the faculty
of the ASU School of Music in 2005.

Robert Barefield, baritone, is an ASU School of Music faculty member,
and a frequent performer in opera, oratorio, and recital. He has performed
throughout the country including the New Orleans Opera, the Central City
Opera, the Ohio Light Opera, the Abilene Philharmonic, the Evansville
Philharmonic, the Maryland Lyric Opera, the South Texas Symphony,
Houston's Opera in the Heights, the Mississippi Symphony, and the Dorian
Opera Theatre. Operatic roles have included Figaro in The Barber of Seville,
Germont in La Traviata, Sid in Albert Herring, Eisenstein in Die Fledermaus,
the title role in Gianni Schicchi and John Proctor in Robert Ward's The
Crucible. As an oratorio soloist, Barefield's performances have included
Orff s Carmina Burana, the Sea Symphony of Vaughan Williams,
Mendelssohn's Elijah and Handel's Messiah.
An accomplished recitalist, Robert Barefield has performed programs
throughout the United States and in Europe. His wide-ranging repertoire
has encompassed major works such as Schubert's Winterreise, as well as
premiere performances of songs by composers, including David Conte,
Simon Sargon and Robert Maggio.
For many years, he served on the opera faculty at the Fairbanks Summer
Arts Festival in Alaska. Articles on voice-related topics by Robert Barefield
have appeared in The Journal of Singing, The American Music Teacher and Music
Educators Journal. He has offered lecture/recitals on a variety of topics at
national and international music conferences.

Barefield received the Doctor of Musical Arts degree from the University of
Cincinnati College-Conservatory of Music, where he was a Corbett Opera
Scholar. Prior to his work at ASU, he served on voice faculties at Southern
Methodist University, the University of Mississippi and West Chester
University of Pennsylvania. His current and former voice students are
active as performers and educators throughout the United States.

David Schildkret is Professor of Music and Director of Choral Activities
at Arizona State University. He conducts Chamber Singers and the Choral
Union, teaches classes in conducting and choral repertory, and oversees the
doctoral program in choral conducting. Schildkret holds the Doctor of
Music and the Master of Music degrees in Choral Conducting from Indiana
University School of Music and the Bachelor of Arts in Music from Rutgers
University.
Prior to his appointment at ASU, he served for seven years as the Dean of
the Salem College School of Music in Winston-Salem, North Carolina,
where he conducted choirs and taught courses in music history and
conducting. He has also taught at Centre College in Danville, Kentucky,
and at the University of Rochester. Since 1999, he has been the Music
Director of the Mount Desert Summer Chorale in Bar Harbor, Maine, and
he has served as Director of Music at Scottsdale United Methodist Church
since 2003.
His conducting experience includes nine seasons as Music Director of the
Finger Lakes Symphony Orchestra in Geneva, New York, numerous
appearances as guest conductor with regional choirs at all levels, and
appearances with various small orchestras and ensembles, in addition to
conducting his collegiate groups. A noted expert on the music of the
eighteenth century, Schildkret has given numerous talks and published
papers on the music of Bach, Mozart, and Handel. His articles have
appeared in the newsletters of the Mozart Society of America and the
Society for Seventeenth-Century Music, in the Choral Journal, Bach, Eighteenth
Century Life, and the NATS Bulletin. He has published reviews in the
American Choral Review and has written liner notes for numerous
recordings.
Schildkret is active in a number of professional societies, including The
American Bach Society, which he served for nine years as secretarytreasurer, the Arizona Music Educators Association, and the College Music
Society. He is the Repertoire and Standards chair for Colleges and
Universities in the Arizona Chapter of the American Choral Directors
Association and is the board member for the state of Arizona in the newlyfounded National Collegiate Choral Organization.

Gregory Gentry (D.M.A.,

M.M. University of Missouri—Kansas City
Conservatory of Music) conducts the ASU Symphonic Chorale and the
Phoenix Symphony Chorus. At the School of Music, he teaches courses in
graduate and undergraduate choral conducting, graduate choral literature,
and graduate score study. Upcoming conducting engagements include the
University of Nebraska-Omaha Honor Choir, festival choirs with
MidAmerica Productions and Distinguished Concerts International at
Carnegie Hall, Arizona Regional Honor Choirs, and the Colorado All-State
Choir. Gentry is the former Director of Choral Activities at the University
of Alabama where he administered the graduate and undergraduate choral
conducting programs.
Gentry's technique has been primarily guided by his studies with Eph Ehly,
George Lynn, and Robert D. Penn. Both a singer and percussionist, he has
performed under the baton of Dave Brubeck, Aaron Copland, Karel Husa,
and Robert Shaw. He has prepared choirs for Shinik Hahm, John Rutter,
Gunther Schuller, Richard Westerfield, and Michael Christie. While Russian
choral music is numbered among his sub-specialties, Gentry's choral
research presentations have included "Conducting with Increased
Metaphoric Communication Through Context Specific Somatic
Vocabulary" at the 2007 Hawaii International Conference on Arts &
Humanities, "Con Spezzati: Performance Demonstration of the Venetian
Polychoral (double choir) style of the 16th Century — `Singet dem Herrn'
from Psalmen David by Heinrich Schutz" at the 2007 Pacific Southern
Division Conference of The College Music Society, and "Baroque
Performance Practice Expose: An Overview of Salient Performance
Concepts of Baroque Choral Music" at the 2006 Western Division
Conference of the American Choral Directors Association in Salt Lake City.
In addition to Gentry's 2004 choral recording contract with Concordia
Publishing House, his choral editions have been published by National
Music Publishers and Musica Russica and performed by the National High
School Honor Choir at the 2005 ACDA conference in Los Angeles.
Gentry is an active member of the American Choral Directors Association,
Chorus America, the National Association for Music Education, the
National Collegiate Choral Organization, is Vice President of Pacific
Southern Division of the College Music Society, a Choral Repertory and
Standards Committee Chair for the Arizona American Choral Directors
Association, and a founding member of Southwest Liederkranz.

Orchestra

The Arizona State University Orchestra Program (Timothy Russell,
Chair) in the Herberger College of the Arts School of Music is dedicated to
providing the finest musical and educational opportunities for those
qualified individuals interested in studying and performing a wide variety of
orchestral music. As one of the country's foremost university orchestra
programs, the faculty and administration are committed to the training and
development of professional orchestral performers (instrumentalists and
conductors), orchestral music educators, music therapists, musicologists,
theorists, composers, arts administrators, and future arts supporters. The
students share in this commitment, aspiring to the highest possible
standards of musical excellence.
Currently the program includes three ensembles: the University Symphony
Orchestra, the Chamber Orchestra, and the Sinfonietta. The University
Symphony Orchestra presents approximately seven concerts on the ASU
campus each year in the internationally acclaimed Gammage Auditorium
for Performing Arts, designed by Frank Lloyd Wright, as well as at other
venues around the Valley of the Sun and the state of Arizona.
Please visit our websites at http://music.asu.edu for further information
on the Arizona State University School of Music, and
http://music.asu.edu/performance/orchestras.htm for its Orchestra
Program.

Arizona State University Symphony Orchestra

Timothy Russell, Director of Orchestras
Violin I
Xian Meng**
Rachael Massengill
Agnieszka Laskus
Angela Cassette
Christian
Simmelink
Steven Crichlow
Laura Speck
Tamara Freida
Xi Wang
Ricardo
Elias-Rodriguez
Jenwei Yu
Patricia Cole
Taylor Morris
Alyssa Saint
Violin II
Chrystal Smothers*
Sarah Bowfin
Eliza Hesse
Gina Dyches
Holly Roberts
Vanessa Castillo
Bonnie Teplik
Crystal Gheen
Allison Kellis
Jessica Brooksby
Molly McCarthy
Chung Gum Kang
Kate Bivona
Viola
Matthew W.
Gordon*
Louis Privitera Jr.
Megan Leigh Smith
Alexander Vittal
Courtney D.
Chapman
April Losey
Cicely DeSalle
Padua Canty
Brandon S.
Matthews

Cello
Nelly Rocha*
Hope Shepherd
Jenna Dalbey
Amy L. Huzjak
Vanessa Belknap
Willie Braun
Ruth Wenger
Jennifer
McConaghie
Adele Stein
Bass
Lucian Manolache*
Christopher Rose
Daniel Stotz
T. J. Maliszewski
Rossine Parucci
Juan J. Garcia
Joe Tyksinski
William Brichetto
Ray Thiry
John Sims
Kale Gans
Flute
David Nischwitz^
Katie Valadez^
Kathryn Schaap
Piccolo
Katie Valadez
Kathryn Schaap
Oboe
Caryn Creamer*
Katie Mordarski
English Horn
Hung Quoc Nguyen
Clarinet
Mark Kleine*
Jennifer Kabbas
Eb Clarinet
Andrew DeBoer

Bass Clarinet
Andrew DeBoer
Bassoon
Hugo Doege*
Ashley Haney
Contra Bassoon
Mikaela Miller
Horn
Adam A. Nelson*
Eric Damashek
Guan-Lin Yeh
Jordan Robert
DeAnna Rene
Uranga
Trumpet
Timothy Wootton*
Micah Wilkinson
Bill Anonie
Trombone
Matthew Petterson*
Tim Ness
Bass Trombone
Keith Munson
Tuba
Christian Carichner
Harp
Virginia Blake
Piano
Brandon S.
Matthews
Celesta
Chia-I Chen
Timpani
Tyler Stell
Matt Watson

Percussion
Matt Holm*
Laura Wiedenfeld
Matt Watson
Tyler Stell
** Concertmaster
* Principal
^ Co-principals
Orchestra
Assistants
Jacob Harrison
Brandon S. Matthews
Jana Minov
Orchestra
Librarians
Jacob Harrison
Jan Matthews
Orchestra Manager
Rossine Parucci
Orchestra Office
Specialist
Linda Bennett

Choirs

The ASU Choral Program (David Schildkret, Chair) provides singers with
outstanding opportunities to apply their knowledge of voice, music history,
and music theory to create a compelling musical experience for the listener
and performer. The range of ensembles offers both the singers and the
ASU community the opportunity to experience first hand the great
repertory for vocal ensemble, from intimate a cappella pieces for just a few
voices, to the grand works for large chorus and orchestra. Participation in
choirs equips members for a lifetime of choral singing, whether as
professional members of paid ensembles, as section leaders in church and
community choruses, or as members of volunteer choirs.
The Arizona State University Chamber Singers (David Schildkret,
conductor) is a highly-select ensemble whose members are doctoral
students, master's students, and advanced undergraduates. The Chamber
Singers performs the outstanding works for small chorus, including a
cappella literature from the Renaissance through the present, compositions
with piano or small instrumental ensemble, and works for chorus and
chamber orchestra.
The ASU Symphonic Chorale (Gregory Gentry, conductor) is a large
mixed ensemble of highly motivated music majors and experienced singers
from around the university. Repertoire consists of music from each of the
major style periods.
Founded in the 1950s, the Arizona State University Choral Union is
devoted to singing the masterworks for large chorus and orchestra.
Members are auditioned volunteer singers from the ASU community,
including students, faculty and staff, and residents of the Phoenix
metropolitan area. Intensive weekly rehearsals take place from August
through April. The Choral Union sings several times each season with the
ASU Symphony Orchestra. Recent performances have included works
Orff s Carmina Burana, Mahler's Second Symphony, and Prokofiev's Alexander
Nevski.

The Choral Union welcomes new members and will hold auditions in
August. We rehearse Tuesday evenings from 7:15 to 9:15 p.m. Contact
David Schildkret at david.schildkretfcD,asu.edu for more information. For
more details about the ASU Choral Program, visit our website at
http: / /rnusic.asu. edu/ choirs

Arizona State University Choral Union
David Schildkret, conductor
Ryan D. Garrison, assistant conductor
Norman Jenson, rehearsal accompanist
Soprano
Tammy Allgood
Karen R. Annis
Phyllis Banucci
Lauren Bass
Iris Blake
Lisa Bulloch
Marie Burch
Annie Campbell
Jeannie Chang
Diane Cole
Kristen Coiling
Katherine Conner
Victoria Conner
Emmalyn
Corman
Lila Deidiker
Kristie Etling
Barbara Gould
Jan Hackmeister
Rachel Hastings
Mary-Rose Hayes
Kimberlee
Headlee
Kristinn
Heinrichs
Caitlin Horrocks
Carissa Howden
Ingrid Israel
Dellamae
Jennison
Ella Johnson
Patricia Kenady
HyunJung Kim
Jee-Hyun Kim
Katherine Kirby
Soo-Lin Lee
Erin Lewis
Kelli Lignell
Sister Joan Marie
Madden

Linda
McCormick
Katherine Motil
Judy Nordstrom
Michaline
Olijnyk
Gaydon Peck
Tacy Pillow
Julie Roman
Janis Ryan
Shari SamuelsonWesely
Kate Sessions
Haylee Smith
Wendy Stapley
Jean J. Steele
Leslie Sturdevant
Allison Swain
Eleanore Wardlaw
Lauren WinstonMcPherson

Madeline Moore
Marianne Murzyn
Chrissie N ewburg
Muriel Osder
Judith Pannell
Irene Pappas
Colleen Porter
Kelly Pott
Glenda Rauscher
Nedda Reghabi
Diane Renne
Nancy Rosenthal
Lu Sanford
Jenna Sawyer
Anne Stumpf
Lee Van Camp
Judy Waltz
Margaret Webb
Carol K. West
Heidi Whipple
Amy Yosowitz

Alto

Tenor
John Adams
Richard Fawley
Michael Fillman
Brent C. Gardner
Richard S. Haines
Melanie Henrichs
Mike Kaiser
Vincent Lane
Todd Maclntyre
Robert Moodie
Ron Raynes
Bernard Van
Emden
Phil VanderMeer
Dick Watt

Tara Bamford
Mary Jo Becker
Marilyn Brafford
Alice Buseck
Barbara Daniel
Stefanie Duch
Arlys Eaton
Megan Faraoni
Susan L. Fuhrer
Gini Gregg
Dorothy Johnsen
Janet Kurdziel
Sarah Larimer
Jane Little
Angela Marshall
Jackie McGarry
Jackie Medina
Susan Miles

Bass
Robert
Charlesworth
Ho Yan Chu
William Coghlan
Michael Dezort
David F. Doeller
Edward Flora
Christoph Gales
Paul Gales, Jr.
Paul Gales, Sr.
Ryan D. Garrison
Allen Holloway
John Irvin
Norman Jenson
Robert Johnsen
Arnold Maltz
Brian McQueen
Charles C.
Newton
Charles Ratliff
Warren Riggers
Robert Rosenthal
Dan Ryan
Dan Sagramoso
Jose Sanchez
Bob Simington
Jeff Wilkinson

Special thanks to all series participants, and to

Arizona State University Chamber Singers
David Schildkret, conductor
Ryan D. Garrison, assistant conductor
Jennifer Garrett, teaching assistant
Emily Helvey, accompanist

Rabbi Barton Lee, Hillel Jewish Student Center at ASU
for his help with the Sacred Service and his advice on the translation
Joel Gereboff, ASU Jewish Studies Program
and

Alto
Jennifer Allen
Kimberly Badger
Jennifer Garrett
Kerry Ginger
Brianna Kramer
Danielle Krison
Michele Paynter
Paise

Soprano
Veronica De
Larrea
Ingrid Israel
Joanna Provencal
Riki Sloan
Melissa Solomon
Allison Stanford
Jamilyn White

Tenor
Paul Betz
Timothy Glemser
Ryan C. Keller
Kenny Miller

Bass
Yevgeniy
Chainikov
Brady Cullum
Ryan D. Garrison
Joshua Hillmann
Jae Ho Lee
John Miller
Robert Wright

Arizona State University Symphonic Chorale
Gregory Gentry, conductor
Michele Paynter Paise, assistant conductor
Riki Sloan, manager
Jeremy Peterman, rehearsal pianist
Soprano
Lauren Bass
Iris Blake
Esther Boivin
Elisabeth
Coleman
Erica Glenn
Rachel Hastings
Kimberlee
Headlee
Katherine Kirby
Lyndsey Miller
Tiffany
Mortensen
Katy Olsen
Michele Paynter
Paise
Joanna Provencel
Courtney Ray
Laura Safsten
Leeann Skoda
Riki Sloan

Melissa Solomon
Cassie Wamboldt
Meredith Young
Heabin Yu
Alto
Amanda Arnett
Rachel Avery
Ashley Ball
Deborah
Burnham
Danielle Callahan
Megan
Christensen
Debra Jo Davey
Lauren Edwards
Maris Fernandes
Heather Fulton
Penny Ho lemon
Chelsea Jenkins
Danielle Krison
Nichol Meshew

Supertitle operator: Sara Stapley

Elizabeth Partel
Beth Ratay
Sally Romley
Tenor
Rodale Cooley
John Felicetta
Timothy Glemser
Colte Julian
Michael Lottes
Joshua Martin
Christopher
Meade
Edson Melendez
Daniel
Morehouse
Nicholaus Pullin
Francis Zagarrigo

Bass

Scott Bennett
Mire! De La
Torre
Michael Dezort
Elvin Dioquino
Ryan Downey
Bryce Doyle
Lee Howard
Geoff Ibe
Christopher M.
Kelley
Patrick Kuzara
Jae Ho Lee
John Miller
Matthew
Montana
Scott Scripps
Andrew Sievers
Marcus Sue'sue'
Robert Wright

Supertitle preparation: David Schildkret

Aaron Scholar, Bureau of Jewish Education of Greater Phoenix
for their help and support in organizing and promoting the series

Beth El Congregation and Har Zion Congregation
for hosting the Informances

Rachel Leket-Mor, ASU Libraries
Music Library Staff
for organizing and hosting the library exhibit

Arizona Opera
for loan of the supertitk equipment

Gregory Gentry, Timothy Russell, and student assistants
for their assistance in preparing the choirs and orchestra

Herberger College Public Relations
for their work on the website and publicity materials

Development Offices at Herberger College and
the College of Liberal Arts and Sciences
for organizing the VIP reception

Linda Bennett, Orchestra Program Secretary
for her work organizing the orchestra and rehearsal schedule

Carol Webber, Choral Program Secretary
for her tireless efficiency

Out of respect for the performers and those audience
members around you, please turn all cell phones,
pagers, and watches to silent mode. Thank you.
Upcoming Choral Event
Monday, April 30, 7:30 p.m.
Men's Chorus, Brook Larson, conductor
Women's Chorus, Michele Paynter Paise, conductor
First United Methodist Church
215 E. University Drive, Tempe

We invite you to visit the exhibit
"Teach Them Diligently to Your Children: Jewish Ritual and Music"
A display of prayer books, ritual objects and memorabilia
from the ASU libraries and private collections
ASU School of Music Library
3rd floor, west wing
March 20 - June 20

Read more about the composers, other events, and participants in
this series at the website:
http: / /music.asu.edu/bloch

Events Information Call 480-965-TUNE (480-965-8863)

02006 ASU Herberger College of Fine Arts 0706