June Dear Music Lover, We are enormously gratified and privileged to be coming back home to Jersey City, and

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1 June 2006 Dear Music Lover, We are enormously gratified and privileged to be coming back home to Jersey City, and into our gorgeous new artistic residence, the historic Holy Rosary Roman Catholic Church. From the time of our first meeting with Fr. Rino and other parish members and staff, it has seemed quite literally to be a match made in heaven. We have been welcomed with open, generous arms, and hope to return the favor in many ways, as we grow both performance and educational activities here. We are very glad that you have found us today, and hope that you will consider purchasing advance tickets for all of next season s exciting concert offerings. Once again, we are honored to bring you a world premiere! When I corresponded with composer Jorge Córdoba regarding rights to perform his 7 Haiku, he was kind enough to send from Mexico a number of his other compositions for my review. I was immediately attracted to the beautiful Celebración Para El Arcoiris. Upon asking him about the possibility of including that piece, also, on this program, he told me that it had not yet received a performance. So, you will be the first ever to hear the work! In it, I believe you will truly hear all the colors of the rainbow, as do we! In glancing at next season s concert offerings, you will notice that we are bringing you the everpopular Christmas portion of Handel s Messiah, with orchestra, in December. We also hope to have a new Schola Advent/Christmas compact disc available for purchase at that concert. Many exciting plans keep our board members and other wonderful workers in the business of Schola hopping, and our ability to pursue large dreams for art in this community are made possible by ever-increasing individual, corporate, and foundation giving. As additional plans are solidified, you can learn about them on our recently updated web site, at so please visit us there regularly. Through the web site, you can also purchase tickets and find out how to express interest in becoming part of the work of SCH, whether as a singer, a non-singing participant in our musical family, or even as a potential host of an away concert. We are so pleased that you are with us today. I hope you will stay for the brief reception to follow this concert in the undercroft of the church. I personally look forward to greeting you, and to hearing your thoughts on today s music, and on the work of Schola in this community. Good music to all! Deborah Simpkin King SCH Artistic Director DSKsing@comcast.net

2 Auditing Tax Planning Financial Planning Management Services Tax Preparation Estate Planning Business Valuations Litigation Support Services 222 We congratulate Marlene Karu and Schola Cantorum for bringing beautiful music into our lives Eisenhower Parkway Livingston, New Jersey Tel Fax Contact: Michael H. Karu, CPA Member of American Institute of CPAs and the New Jersey Society of CPAs

3 Program Notes by Deborah Simpkin King, Ph.D. Juan Gutiérrez de Padilla (c ) was born and musically trained in Spain, and set sail for New Spain some time before October of 1622, by which time he was singer and co-adjutormaestro at Puebla Cathedral, which had already become a major center of music in the Indies. In 1629, he became maestro de capilla, a post he retained until his death. During his tenure, the budget for music was extraordinarily high, and the cathedral services far surpassed those in Mexico City at that time. His choir was large and well-trained. Padilla composed largely in the Renaissance polyphonic style, known in the 17th century as the prima prattica. In our initial group, the first two motets are settings of intensely passionate texts: the first, the vision of the mother of Jesus at the foot of the cross, in the traditional Stabat mater text; the second, the expression of one so grieved as to turn music into weeping. The third motet is a rare example of Padilla s employ of canonic devices. Of the six voice parts, two canonically present a chant line, at the interval of a fourth. If you listen carefully, you will hear the second sopranos and the second altos singing this chant line in much longer notes than the other parts are given. Our second set of pieces is edited and reconstructed by ethnomusicologist Christopher Moroney, and draws upon what is known of Aztec musical practices, as represented in various extant codices, paintings, and written accounts of musical performances by eyewitness chroniclers of the period. All three are sung in the classic Nahuatl language, as it is believed to have been spoken in the 16th century, and draw upon traditional drum patterns in the form of onomatopoetic Nahuatl syllables. Teponazcuicatl, or Procession of the Drum, reveals Christian influence, likely as a recreation of an earlier form, to celebrate the apparitions of the Virgin Mary to the Nahua Indian Juan Diego. Dios itlazo nantzine is one of two musical entreaties to the Virgin Mary by Don Hernando Franco (fl. c ), and one of the earliest known pieces by a native (as opposed to Spanish-born) Mexican composer. Gaspar Fernandes (c ) was born in Portugal, and began his long tenure as Chapel Master of the Puebla Cathedral in Within his choirs were many indigenous Mexicans, and the original manuscript of Dame albriçia mano Anton bears the description Negrito a 4. Manuel de Sumaya ( ), with whose work we complete our first half, was born in or near Mexico City, and is known to have been at least half Native American. He was praised as a child singer, and was trained in counterpoint at Mexico City Cathedral by the distinguished Chapel Master Antonio de Salazar. When Salazar s eyesight failed him in 1715, there was intense competition for the position of his replacement between Sumaya and a cathedral musician much his senior. Candidates were grilled on their knowledge of music theory, counterpoint, and composition throughout a two-week period. As part of that competition, Sumaya was given the Spanish text of

4 Sol-fa de Pedro and told to produce a polyphonic villancico on it overnight, the expectation being that the applicant would take the syllables of the text ( sol meaning sun and also the pitch g, etc.) and realize them as exact pitches in the composition. Within these rigorous demands, Sumaya penned one of the most expressive and inspired villancicos of the New World repertoire polishing it off in less than twenty-four hours! He won the position. A villancico is a Spanish musical and poetic form consisting of several stanzas (coplas) linked by a refrain (estribillo). In the case of Sumaya s Sol-fa de Pedro, you will hear the refrain three times, surrounding two stanzas. It would require more than an expert ear to perceive all of the pitch correlations to textual solfeggio syllables, but some of the text painting might be audible to the careful listener. For example, in the refrain, listen for the voices warbling (rapid movement in all parts), and movement in half-steps at the text chromatic explanation. In the words of composer Max Lifchitz: The people of Latin America have been the reluctant victims of injustice and repression throughout most of their modern history. Military leaders ( caudillos and caciques ) have stopped at nothing to ensure that the status quo the oppression of the many by the few remained in place. Latin American poets are in effect the only witnesses to the atrocities committed on their compatriots. In societies where the press and the media are easily manipulated, the words of these poets are the only existing testimony that clearly depicts the violence systematically inflicted upon innocent men, women, and children. It is with this uncomfortable reality of Latin American societies, as set to music by Max Lifchitz (b. 1948, Mexico City) that we begin the second half of our concert this afternoon. Mr. Lifchitz sets the politically-charged texts in a simple and direct manner, often employing harsh dissonance for harsh realities. Listen for the repeated ascending interval of a second in both the piano and in the bass line in the first piece, which underscores the unending socio-political difficulties, and concludes the movement with defiant non-resolution. Equally defiant, though making use of popular rhythms, is the second villancico in the set. Active as a composer, performer, and educator, and a graduate of The Julliard School and Harvard University, Mr. Lifchitz has been on the faculty of The State University of New York at Albany since Mexico s National Anthem: After independence from Spain in the early 19th century, many popular nationalistic songs were written. In 1853, President Santa Ana announced a nation-wide contest for the lyrics for a national anthem. One of the entrants, an accomplished poet named Francisco González Bocanegra, was originally not interested. However, his fiancée was confident in his skills and, under false pretenses, lured him into a room of her parents house and locked him inside, refusing to let him out until he wrote an entry for the contest. After four hours, Bocanegra finally

5 won his freedom by slipping a poem under the door. His fiancée and her father approved of the submission, and so did the judging committee. His entry won unanimously. A melody by Spaniard Jaime Nunó was adopted and the anthem was first presented in September 1854 for the nation. Jorge Córdoba Valençia (b. 1953, Mexico City) is a composer, pianist, and choral conductor whose works have been presented internationally. It is with his 7 Haiku, premiered in 1993, that we begin the next group; and it is with his piece Celebración Para El Arcoiris which we are privileged to give its world premiere performance today! that it concludes. The texts of the 7 Haiku are Spanish translations of haiku by five Japanese poets. Córdoba s compositional vocabulary is refined and often highly evocative, in reflection of the poetic style of his texts. The set was premiered by Córdoba s own Coro de Madrigalistas in Blas Galindo ( ) is considered one of the most important composers of the second nationalistic school in Mexico, the first school including Carlos Chávez ( ), one of Latin America s best-known composers. Galindo studied with Chávez at the National Conservatory of Mexico. Of the two Galindo selections, La Fraternidad comes from the Cantata a Juárez of 1957, a large work for narrator, soloists, choir, and orchestra. This short a cappella chorus was written for the centennial of President Juárez s Political Manifest. Dos corazones heridos was written in 1948, and sets a poem of popular origin in a strict canonic form, producing a work that sounds much like a popular type of song in Mexico that usually narrates the misfortunes of a character, in this case, those of two hearts. We are so privileged to bring you Córdoba s Celebración Para El Arcoiris for the first time ever! The composer is also the poet, so it follows logically that text and music speak as one expression. The seven entries of the voices in the opening measures set the seven colors of the rainbow in the sky and the seven pitches of the C-major scale in our ears. The sweeping melody presented by the sopranos in the first section is a perfect expression of the rainbow s embrace of the heavens. The stacking of voice entries, which forms the final section of the piece, is reminiscent of Debussy s cathedral structures, reaching, as it were, to the sky. Of the four selections that conclude our celebration of Mexican music today, the middle two are written by Manuel M. Ponce ( ), considered the pioneer of Mexican musical nationalism. Among his oeuvre are 100 art songs, one of which is the well-known Estrellita. And, certainly, if there is one Mexican folk song that needs no introduction, it is that with which we close! Enjoy!

6 You can make a difference! We are delighted that you attend and enjoy our concerts. These musical offerings and our educational program require a considerable amount of effort and funding. Fortunately, more than half of Schola Cantorum on Hudson s annual operating budget comes from generous gifts from people like you! We invite you to join us by contributing to our Annual Fund. In this way, you will help us continue providing the highest quality choral and educational programs for Hudson County and the New York metropolitan area. How do you make a gift to SCH? Annual Fund envelopes are available at the reception area. Simply fill one out and include a check made payable to Schola Cantorum on Hudson. Or mail your taxdeductible gift to: Schola Cantorum on Hudson, P.O. Box 3914, Jersey City, NJ Thank you for your interest, your attendance, and your enthusiasm. We are grateful for your support. Capture life s moments with beauty and distinction Jennifer Marecki Photographer Jennifer_Marecki@yahoo.com 398 Manhattan Avenue, Apt. 2L Brooklyn, NY 11211

7 About Schola Cantorum on Hudson Schola Cantorum on Hudson formed as an independent chorus in the fall of The group s artistic mission is to enrich the life and the cultural awareness of the community by providing the highest quality of choral music and educational opportunities. Our outreach efforts include offering sight-singing classes to the community, our Cantorum Kids Program, and our Choral Scholar Program, in which local high school students of exceptional musical promise participate as full singing members of SCH. Our educational efforts extend to inreach, as well, as we have begun offering class voice instruction for a half hour each week prior to rehearsal. Besides a three-concert season, SCH participates in a variety of community events and is increasingly performing concerts beyond Hudson County, into Manhattan, and Northern, Central, and Southern New Jersey. The individual members of SCH have been drawn together by a shared love of great choral music and by a dedication to the highest standard of performance of that repertoire. About Our Artistic Director Dr. Deborah Simpkin King, Founder and Artistic Director of Schola Cantorum on Hudson, holds a Ph.D. in Musicology from the University of North Texas, a Master of Music degree in Music Education from North Texas State University, and a Bachelor of Music degree in Vocal Performance from Texas Christian University. She has held graduate, undergraduate, and administrative posts on several campuses, teaching courses in music history, voice, sight-singing, and choral conducting. Dr. King is also a published editor and writer. Her edition of full anthems by Baroque composer John Blow is published by Oxford University Press. For the past eleven years, she has coordinated the annual High School Choral Festival for the New Jersey Chapter of the American Choral Directors Association, which attracts high school choirs from throughout the state, and incorporates competitive sight-singing. A voice teacher for more than thirty years, Dr. King teaches privately in East Orange and Jersey City, NJ. She is the alto voice in the professional vocal quartet Chantez!, conducts choral workshops, and presents master classes on choral and vocal techniques. Dr. King also has served as Music Director at St. John s Episcopal Church in Montclair for eleven years, where she is both organist and choirmaster. Dr. King has two sons: Patrick Daniel, 28, Production Assistant for The Daily Show; and Michael Alexander, 20, a junior (and a tenor!) at Westminster Choir College, majoring in vocal performance.

8 About Our Accompanist Nicole San Giovanni is a 2002 graduate of the Mason Gross School of the Arts at Rutgers University, where she majored in Music Education. She currently teaches vocal music at Franklin Middle School and Nutley High School in Nutley, NJ, and serves as choral director for the Franklin Middle School Chorale and Debonaires, as well as the Nutley High School Choralettes. Ms. San Giovanni has provided piano accompaniment for many vocalists and choirs in the New Jersey area, including the Rutgers Children s Choir, the Region 1 Junior High School Mixed Choir, and most recently the Region 1 Women s Choir under the direction of our very own Deborah Simpkin King. Recorder Robert W. Butts J. Mark Dunn Roland Hutchinson Andrew Pecota Percussion John Gleich Fernando Hashimoto Instrumentalists Viola da Gamba Roland Hutchinson Lautenwerk J. Mark Dunn

9 Singing Members of Schola Cantorum on Hudson Sopranos Caroline L. Sargent, Section Leader Katherine Bolcar * Marlene Karu Sherry Kosinski Mary Jo Oakley Mary C. Quinn Karen Lea Siegel Gail Watson * Altos Sara Solberg, Section Leader * Laura Clayman * Cynthia Darling Sandy Martiny Joan MacPherson Diane Michael Joyce Nestle Bernadette Oberndorf Neela R. Taub Tenors Salvatore A. Diana, Section Leader * Frank J. Borroto Gordon King Alexander Wentworth * * small-group singers for Sol-fa de Pedro on leave Accompanist Nicole San Giovanni Basses Daniel Brondel * Mark I. Davies Jim Gard Gilberto Gomez * Salvatore Spataro Roger West * Schola Cantorum on Hudson happily welcomed Cynthia Darling and Laura Clayman to our singing ranks in March. Audition now for the Season! Auditions are being heard for all voices. Singers will be asked to present a prepared selection of their choice, demonstrate range through scales, and sight-read. Set up an audition with our Artistic Director, Deborah Simpkin King, at DSKsing@comcast.net or by calling More information about auditions is available on our web site at

10 This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, administered by the Hudson County Office of Cultural & Heritage Affairs, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders. Program Please silence all cell phones, pagers, watch alarms, and other electronic devices. Please hold applause until the end of each section. Thank you! I: Iberian Culture in New Spain Three Motets Stabat mater dolorosa Versa est in luctum Vidi turbam magnam Juan Gutiérrez de Padilla II: Indigenous Influence in Mexican Cathedral Music Teponazcuicatl Song XLIV, Canto B, from the codex Cantares Mexicanos arr. and musical reconstruction, Christopher Moroney Dios itlazo nantzine Motete by Don Hernando Franco arr. Christopher Moroney Katherine Bolcar, Soprano; Daniel Brondel, Countertenor Dame albriçia mano Anton Gaspar Fernandes arr. Christopher Moroney Katherine Bolcar, Soprano; Daniel Brondel, Countertenor III: Mexican Baroque Sol-fa de Pedro Manuel de Sumaya, ed. Craig H. Russell

11 Intermission Villancicos Rebeldes 1. He Visto IV: Society and Nationalism in Music 2. Negro Soy de Panama Max Lifchitz El Himno Nacional Mexicano (Mexican National Anthem) music by Jaime Nunó words by Francisco González Bocanegra arr. Deborah Simpkin King V: Poetry in Music 7 Haiku Jorge Córdoba V. 1. Voy a caballo (Basho) 2. Sobre el arrozal (Buson) 3. Pongo a la luna (Hokushi) 4. Un murciélago (Shiki) 5. Veloz la rana (Basho) 6. Niebla del alba (Buson) 7. Vuelan hermosas (Moritake) La Fraternidad, from Cantata a Juárez Blas Galindo Dos Corazones Blas Galindo Arbolucu, te sequeste arr. Carlos Chavez Celebración Para El Arcoiris Jorge Córdoba V. VI: Songs in the Popular Style El Butaquito arr. Ramon Noble, ed. Deborah Simpkin King Estrellita Manuel Ponce, arr. Ramon Noble A la orilla de un palmar Traditional Mexican, ed. Deborah Simpkin King Alevántate Manuel M. Ponce La Cucaracha Mexican Traditional, arr. Jonathan Rathbone

12 Stabat mater dolorosa The sorrowful Mother stood by the cross, tearful, while her Son hung there. Through her sorrowful spirit, afflicted with sadness and grief, has passed a sword. Versa est in luctum My harp is turned to mourning and my music into the voice of weeping. Spare me, Lord, for my days are nothing. Vidi turbam magnam I saw a great multitude, which none could number, out of all nations, standing before the throne. Teponazcuicatl (Procession of the Drum) Painted by the flowering ear of corn my heart comes to life. Now the various flowers of corn, our sustenance, are scattered about, bursting into bloom in front of the divine presence of our mother, Holy Mary. Your heart is alive in your painting. And we, the lords of this land, sing all together from the book of songs. In perfect harmony we dance before you, oh Bishop, our father, you issue proclamations over there by the water. In the beauty of the flowers did God create you. He paints you as a song, oh Holy Mary. Oh Bishop, our father, you issue proclamations over there by the water. The Toltecs are painted, yes, completed are their books. Your whole heart came to be perfect. Here, with the Toltec art, I ll live. The flowers of the fragrant cocoa come scattering down spreading perfume. Fragrant poymatli drizzles down. And there, I, the singer, will walk. Listen, oh listen to my song of joy! Our flowers are arisen in this place of rain. Dios itlazo nantzine (Beloved Mother of God) Beloved Mother of God, eternal Virgin, most exalted, may you intercede at the appointed time in the realm of the dead for us and our ancestors. Translations In heaven you are in the honored presence of your beloved offspring, Jesus Christ; because there your heart is close to your beloved child, Jesus Christ. Dame albriçia mano Anton (Be joyful, brother Anton) Be joyful, brother Anton that Jesus is born in Guinea! Who gave birth to him? A virgin and an old man are his parents. Let s bring him candies, let s go there! Sing it to me! He-he-he! and this is how we ll go and see. Ha-ha-ha! and this is how we ll arrive and behold him, and all the blacks will dance for him, heh-heh-heh! Chorus: And all the blacks will dance for him, ha-ha-ha, and all the blacks will dance for him! His mother is like a star; already the newborn baby is like a modest and holy man. I ve got my little guitar now! My merry feet are dancing already! Let s go there! Sing it to me! He-he-he! and this is how we ll go and see. Ha-ha-ha! and this is how we ll arrive and behold him, and all the blacks will dance for him, heh-heh-heh! Chorus I want to see him first! Let s go there! Sing it to me! Heh-heh-heh! and this is how we ll go and see. Ha-ha-ha! and this is how we ll arrive and behold him, and all the blacks will dance for him, heh-heh-heh! Chorus Sol-Fa de Pedro This plaintive song is Peter s lament. Let everyone listen to see if it isn t so. The warblings of its voices deftly portray the tribulation of his emotions, through their chromatic expression and the sweet yet discordant playing. Because Peter says in his lament, I have found what I lost to the sun the time I cried because he enlightened me.

13 Come, come and listen, you will see the song in the lament. Come and hear from the counterpoint the sweetness and subtlety of the sun the time I cried because he enlightened me. From the depths of my sorrow when I fell down, he raised me up to my lost glory, and gave me glory without end. Villancicos Rebeldes He Visto Police. Soldiers. Buses and more buses. Or on horse Or on foot. In groups, with weapons. Dear city, I see your restless face Full of fear. Wild vegetation, growing on houses climbing walls, devouring, growing. If all of a sudden you are awakened by a knife of light: How will you feel? Will you cover your eyes? Will you know how to put up resistance? Get ready. A tough day is just beginning. Negro Soy de Panamá I am a black man from Marañón, a black man from Guachapalí a black man since the day when I was born in that dark corner. I am a black man from Maranñón, a black man from Guachapalí. Ah! please touch me here where my heart is! I have always been black, emerged from the ocean black As black I will fight until I die; There are black men who indeed behave like black men! I am a black member of the black race, a black man with a drum, a black man who dances the cumbia and the curacha a black man of fantasy and love! Because I belong to the black race, it does not mean that I am garbage to everybody else Someday the sun will rise earlier than usual A slave? Never again! Texts and Translations El Himno Nacional Mexicano Mexicans, when the war cry is heard, have sword and bridle ready. Let the earth s foundations tremble at the loud cannon s roar. May the divine archangel crown your brow, oh fatherland, with an olive branch of peace, for your eternal destiny has been written in heaven by the finger of God. But should a foreign enemy dare to profane your soil with his tread, know, beloved fatherland, that heaven gave you a soldier in each of your sons. Mexicans, when the war cry is heard, have sword and bridle ready. Let the earth s foundations tremble at the loud cannon s roar. 7 Haiku Voy a caballo I travel on a horse, my shadow travels trembling there in the end. Sobre el arrozal Over a rice field the cherry tree flowers fall starry sky Pongo a la luna I place the moon between the pine branches as I move. Un murciélago A bat that flies in the night is dark sound. Veloz la rana Speedily the frog to the old puddle goes; water ripples. Niebla del alba Fog of the dawn as a blurred dream, the people pass by.

14 Vuelan hermosas Do they fly beautifully, the fallen flowers? They are butterflies! La Fraternidad We seek harmony, accord, fraternity, Through all means to reconcile freedom with order. Happy combination from which real progress originates. Dos Corazones Two broken hearts placed on a scale. One seeks justice, the other revenge. And the heart with the greatest wound rests only by crying. Arbolucu, te sequeste (Tree of Sorrow) Tree of sorrow, I bewail you, with the fountain at your feet: for your trunk is full of vigor, and your foliage full of love. Celebración Para El Arcoiris Red, Yellow, Blue Green, Orange, Indigo Violet Rainbow! Rainbow! Rainbow! Rainbow, musical flower, your seven colors ring in the sky. Rainbow, musical flower, inverted smile, accumulation of yearnings. Rainbow illusion Rainbow emotion Rainbow, one voice Rainbow, reflection Rainbow, your essence is the presence of light. Rainbow, your essence is the presence of love. Rainbow! Rainbow! Rainbow! Texts and Translations El Butaquito I have a small chair I have a large chair I have a small chair, my dear love, give me a hug. How many times have you fooled me with your dark falsehood? And you tell me that you love me. Oh, oh, if it would be true. Estrellita Little star from heaven afar, who knows my love and sees my suffering, come down and tell me if you love me a little, because I can t live without your love. You are my star, my beacon of love. You know that soon I will die. Little star from heaven afar, who knows my love, who knows my suffering, come down and tell me if you love me a little, because I can t live without your love. A la orilla de un palmar Near the palm grove I saw a beautiful young girl Her mouth like coral, her eyes like two stars. When she passed by, I asked her if she was with someone, and she responded crying, I live alone in the palm grove. I am an orphan. I have no mother nor father nor even a friend who can console me. Alone I live my life near the palm grove, and alone I come and go like the waves of the sea. Alevántate Arise, my sweet love. What I feel is to take away your slumber, but arise and hear my melancholy song that your loved one sings, that your owner sings, and it s because of your love. What I ask of you, my love, is while I live in this world that you love no other man nor give your heart to another.

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16 Choral Scholar Update Our fourth Choral Scholar, Crystal Charles, is a sophomore at Westminster Choir College as a vocal performance major. Last November, Crystal took first place among freshman women in the statewide vocal competition sponsored by the National Association of Teachers of Singing. José Candelaria is in his last year of study at the University of Miami. Gilberto Gomez recently graduated from Westminster Choir College and toured with a theater company, before returning to Schola Cantorum this January as a full singing member. Our very first Choral Scholar, Natasha Badillo, has also been a full singing member in the past, and still sings with us occasionally. About the Choral Scholar Program SCH s Choral Scholar Program is designed for high school juniors and seniors of outstanding vocal promise who intend to pursue a career in music. The Choral Scholarship enables the student to participate fully as a singing member of SCH and to receive partial tuition for private vocal instruction. SCH experience, training, and written recommendations go with our Scholars as they apply to various conservatories and music schools. Scholars are selected toward the end of their sophomore or junior year through a process that includes submitting application materials, undergoing singing and sight-reading auditions with the Artistic Director, and meeting for interviews with the SCH Educational Outreach Committee. If you, as a teacher, parent, student, or friend, know of a young person you feel might qualify for our Choral Scholar Program, please contact our Artistic Director by phone ( ) or (DSKsing@comcast.net). Additional information about this program may be obtained by visiting our web site, Educational Outreach and Inreach From its inception, the leadership of SCH has been involved in music education outreach in our extended community. The Choral Scholar Program is only one way that SCH reaches out to the community. The Cantorum Kids program invites a selected school choir (elementary, middle, or high school) and director to work with our Artistic Director periodically throughout the year in preparation for collaboration on a selected concert. Sight-Singing Classes provide an introduction to the fundamental elements of music necessary to the development of sight-reading skills. Advanced classes can be scheduled upon request. In January, SCH took an new and innovative step, to offer its members the opportunity to refine their understanding and application of advanced vocal technique through a weekly voice class taught by Dr. Deborah Simpkin King. Visit www. scholaonhudson.org for more information about any of these programs. Professional Development Credits New Jersey public school music teachers considering auditioning for membership in Schola Cantorum on Hudson should be aware that application has been made to Trenton for SCH to become a provider of Professional Development Credits. We hope to have this available to members by Fall 2006.

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18 We would like to thank the following for their generous support Golden Benefactor ($10,000+) The Frank and Lydia Bergen Foundation Archangel ($5,000+) The Provident Bank Foundation Guardian Angel ($2,000+) ExxonMobil Salvatore Spataro Alexander Wentworth Roger & Mary Lou West Angel ($1,000+) Amica Mutual Insurance Co. Salvatore A. Diana Penelope Vance & William Hobbie III Benefactor ($500+) ITT Aerospace/Communications Division Mr. George Meltzer Caroline L. Sargent Mr. and Mrs. George A. Sargent Salvatore Stratis Abigail Press Sponsor ($250+) Daniel Brondel Mark I. Davies Thomas A. DeGise Joyce Nestle Patron ($100+) Bromirski Funeral Home Denise D Agostino Hamilton Park Ale House Deborah Simpkin King Gordon King Richard McAdams David J. Novak Mr. and Mrs. William Simpkin Richard P. Taub and Betty G. Farrell Time Warner Randall J. and Mary E. Vitray Donor ($50+) Mario Alvarado Leon Carapetyan Peggy Reynolds Maureen T. Savage Friend (up to $50) Anonymous Robert Antczak William Carpenter Edward Goldman Laura Greenwald Iris and Jay Leonard Monica Neblett Karen Lea Siegel

19 Acknowledgements Special thanks to Holy Rosary Roman Catholic Church and Fr. Rino Lavaroni for the use of this beautiful space. Many thanks also to: Mary Lou West, our faithful concert day helper, and also to Emma Solberg, Elizabeth McAdams, Gideon McAdams, Donald Siegel, and the many other concert day volunteers. Nelly Vúksic, Conductor of the Americas Vocal Ensemble, for her invaluable assistance in locating folk music for this performance. J. Mark Dunn, for the loan of the recorders and the Lautenwerk used in today s performance. This Lautenwerk was made by Stephen Sǿrli. Frank Borroto, for his excellent translation work, and for diligently teaching us good Spanish diction. John Terins, our tireless, faithful, and patient printer. Jethro Antoine and Patricia Lawler for their support and behind-the-scenes assistance.

20 Schola Cantorum on Hudson Board of Directors Salvatore A. Diana, Chairman Joyce Nestle, Secretary Salvatore Spataro, Treasurer Mark I. Davies, Immediate Past Chair Daniel Brondel, Jim Gard, Caroline L. Sargent, Penelope Vance, Alexander Wentworth Development Caroline L. Sargent, Coordinator Jim Gard, Gustavo Gomide, Sandy Martiny, Penelope Vance, Roger West Finance Salvatore Spataro, Coordinator Mark I. Davies, Alexander Wentworth Marketing & Publicity Salvatore A. Diana, Coordinator Christina Blosser, Jim Gard, Linda Gard, Mary C. Quinn, Sophia Zalios Artistic Vision & Planning Daniel Brondel, Coordinator Deborah Simpkin King, Artistic Director Education Daniel Brondel, Salvatore A. Diana, Deborah Simpkin King Publications Karen Lea Siegel, Coordinator Daniel Brondel, Virginia Lis, Samuel Pizarro, Regina Regan, Neela R. Taub Special anks To Bernadette Oberndorf, Concert Day Operations Neela R. Taub, Music Librarian* Roger K. West, Database Manager Frank J. Borroto, Pre-Sold Tickets Coordinator Venue Joyce Nestle, Caroline L. Sargent, Sara Solberg (advisor), Deborah Simpkin King Ms. Oberndorf is also a singing member of SCH, but is taking a year s leave from performing. We thank her for her willingness to assist with our concert day preparations in the meantime. *Special thanks to Ms. Taub, who includes substantial engraving activity in her definition of Music Librarian SCH is committed to accommodating audience members with disabilities whenever possible. If you require special assistance on the day of the concert, please contact us in advance and every effort will be made to assist you.