2023-24 Season
Southern California Master Chorale’s 2023-24 season was a vibrant celebration of community, diversity, and the transformative power of music. From uplifting collaborations across Orange County to honoring the voices of women composers, from the festive brilliance of Christmas brass to the theatrical majesty of The Hunchback of Notre Dame, each concert brought its own unforgettable experience. The season concluded with the luminous beauty of voices and strings in The Vast Eternal Sky, leaving audiences inspired by music’s ability to connect us across time and tradition.
Unity Concert
October 1, 2023
First Christian Church, Anaheim
Mertiáge’s 2023-24 season starts with a celebration of choral music from around Orange County as featured guest artists in First Christian Church of Orange’s Unity Concert. This free concert also features Men Alive: Orange County’s Gay Men’s Chorus and the Second Baptist Church Gospel Choir of Santa Ana. Each ensemble celebrates choral music in its own, unique way that proves music can be a unifying force for good.
Her Voice Soars
October 8, 2023
Anaheim United Methodist Church, Anaheim
Embark on a dynamic journey celebrating the brilliance of women in music in Mertiáge’s first concert of the 2023-24 season. This musical odyssey spans across centuries, from the medieval mystique of Hildegard de Bingen, a polymath of words, composition, philosophy, and visionary insights, to the Baroque virtuosos Alleotti and Leonarda. Revel in the enchanting part songs crafted by the formidable Clara Schumann, Fanny Mendelssohn, and Lili Boulanger. The celebration doesn’t stop there; it pulses forward into the present with the contemporary mastery of musical geniuses such as Elaine Hagenberg, Emma Lou Diemer, Cecilia McDowall, and the iconic Carole King. Join the vibrant symphony of voices, echoing through time and genres, as we honor their enduring contributions to the world of music.
Welcome to what I feel is an extraordinary musical journey that honors the exceptional creativity, resilience, and innovation of women composers throughout our history. We gather here tonight, we lend our voices of Meritáge, to hear the “voice” of these wonderful composers. From our first rehearsal we knew this would be a concert that reverberates with the enduring legacies of these visionary artists who have enriched the world of choral music, a realm traditionally dominated by male composers, with their distinctive voices, unique perspectives, and unwavering determination. Their compositions, often marginalized or underestimated, stand as testaments to their brilliance and deserve not just recognition but profound celebration and reverence. Tonight, we invite you to immerse yourselves in the profound beauty, emotional depth, and historical significance of their work.
Our musical odyssey commences with the hauntingly beautiful “Kantus” by Hildegard of Bingen, a medieval mystic, composer, and polymath. While she was firmly grounded in the realities of her time, she is also the first composer we have with a name written upon the chants she composed. What we hope you notice is the flowing, free-form ethereal chant that expresses the texts so effortlessly and expressively. We then follow it with a motet of by Rafaella Aleotti. As alluded to before, her time and life was extremely complicated, yet there is restraint, respect, and reverence in all her work. We then jump
more than a few hundred years to Cecilia McDowall and her setting, accompanied by the organ, of the Lacrimosa from the Requiem Mass along with text of da Vinci (just a few decades prior to Aleotti!). It is a passionate composition that matches the expression, albeit more overtly, than our Medieval and
Renaissance settings with which we opened.
Clara Schumann, a virtuoso pianist and composer, graces our program with one of her exquisite choral compositions. Her profound musicality, poignant lyricism, and enduring legacy unveil a woman who defied societal norms to become a luminary of the Romantic era. We follow it with exquisite songs
of Fanny Mendelssohn-Hensel and Lili Boulanger. Both women easily earn the moniker “genius” and these are two of my favorite compositions.
Of particular interest are the two settings of Sara Teasdale that we are performing for you. I encourage you to research her life and her poetry. Never have I read of someone so willing to lose themselves to love. All that she was, all that she could be, was defined by love. There is beauty, but also immense pain in her poetry and I think Zimmerman and Hagenberg have set her texts beautifully.
We touch on some of the very creative sounds and texts from other cultures as we begin our second half of the concert. “Past Life Melodies” is fascinating, “The Mi’kmaq Song,” specifically the “I’ko” tune, is a fantastic way to escape the concert hall, and the haunting “Grandmother Moon” is a wonderful setting of a Mi’kmaq poem as it honors that community’s animistic view of the controller of all female life.
Our last set includes some wonderfully pleasant jazz, pop, and lighter musical fare. And while we savor the rich tapestry of music by women composers, let us remain cognizant of the numerous hurdles they surmounted in their creative journeys. These composers forged ahead with unwavering determination, defying conventions, and societal norms to share their unique musical voices with the world – and we are all the richer for it!
Tonight’s concert stands as a testament to the enduring power of music to transcend time, gender, and cultural boundaries. It also serves as a poignant reminder that creativity should know no bounds and that the voices of women composers deserve not merely to be heard but to be celebrated and wholeheartedly embraced. We hope that these “soaring voices” inspires you to delve further into the opulent realm of music by women composers and encourages your support for the continued advancement of women in the sphere of classical music.
Karitas
St. Hildegard of Bingen (1098-1179)
Miserere Mei, Deus
Raphella Aleotti (c.1570-c.1646)
I obey thee, O Lord (Lacrimosa)
from DaVinci Requim
Ceclia McDowall (b. 1951)
Schilflied
Fanny Mendelssohn-Hensel (1805-1847)
Hymne au Soleil
Lili Boulanger (1893-1918)
Despedida
Maria Grever (1885-1951)
The Year’s at the Spring
Amy Marcy Cheney Beach (1867-1944)
It Comes as No Surprise
from Doctor Zhivago
Lucy Simon (1940-2022)
Life Has Loveliness to Sell
from Four Lyrics of Sara Teasdale
Phyllis E. Zimmerman (1934-2012)
The Music of Stillness
Elaine Hagenberg (b. 1979)
Past Life Melodies
Sarah Hopkins (b. 1958)
The Mi’kmaq Song
Lydia Adams (b. 1953)
Grandmother Moon
Eleanor Daley (b. 1955)
Warum sind denn die Rosen so Blass
Fanny Mendelssohn-Hensel (1805-1847)
Case of You
Joni Mitchell (b. 1943)
A Soft Place to Land
Sara Bareilles (b. 1979)
Someone to Watch Over Me
George & Ira Gershwin
arr. Teena Chinn
You’ve Got a Friend
Carole King (b. 1942)
Sing to Me
Andrea Ramsey (b. 1977)
Grace Before Sleep
Susan Labarr (b. 1981)
Christmas Fanfare
December 17, 2023
Anaheim United Methodist Church, Anaheim
With the resounding energy of a full brass ensemble and percussion, Meritage celebrates the Christmas season with grandeur and gusto! Your holiday facorites, and some soon-to-be favorites, sound even better this year when Meritage is accompanied by an all brass ensemble that will surely fill the hall and your hearts with the joyous music of Christmas.
The songs and sounds of Christmas are among our most favorite of our concert seasons and we are so happy you have gathered here with us for this concert. We truly feel that few things can move the spirit like choral harmonies and that fact is elevated when accompanied by the regal resonance of brass. In this concert we share together, we not only celebrate the festive season but also seek solace in the transformative power of choral music—an art form that, like a comforting fire in the hearth, soothes the wounds of a world that can often be arduous and unyielding.
As we embark on this hectic, yet important season, we hope you find this melodic sojourn as a respite from all that is going on in the world. As many of us take a break from shopping, cleaning, planning, visiting, or preparing for the end of year, we come together to sit to listen and, I hope, to be moved. Much of tonight’s concert is bombastic, joyful, and invigorating. From the opening fanfare of Hodie! and Rejoice and Be Merry, to the charming echo carol While By My Sheep, you will hear a fantastic conversation between our voices and the brass.
I hope you sing loudly on our sing-alongs. I have tried to find arrangements that “sing well” but also give the brass and choir a chance to shine. In these moments you become a performer, and it it is the heart of this performance, where the world’s burdens can momentarily dissipate. I trust your voice will become a refuge for those around you—an oasis where the complexities of life are distilled into harmonies that offer a sanctuary for the weary heart and solace for the troubled mind.
I hope that the repertoire, a curated selection that traverses the emotional spectrum, becomes a poignant narrative of resilience. From jubilant carols that lift spirits to contemplative arrangements that provide moments of introspection, each note is a testament to the power of music to illuminate the darkest corners of our lives and to instill a sense of hope, even when the path ahead seems uncertain. There is a charmingly progressive story in Do You Hear What I Hear, excitement in Go Where I Send Thee, and amazing metaphors in the carol, I Saw Three Ships. But, the centerpiece of the concert, where all of this comes together, is John Rutter’s Gloria. This three-movement masterwork is a feast for the singers and brass players alike. You will hear fantastic rhythms and cadences. The first movement is a wonderful expression of what makes brass work – the offset entrances, the roll of percussion and the depth of the organ. The second movement is one of my most favorite parts of the concert – the ethereal spiraling of the organ, the close choral harmonies, and the lush brass hymnody is all just preparation for one of the best climaxes in all the repertoire when we finally say they word, “Rex”—a sound truly worthy of a “King!”
And as we approach the final crescendo of this musical masterpiece, I find the grand finale as a fitting testament to the fortitude of the human spirit. The collective voices, entwined with the regal brass, have over 60 changes in tempo, mode, or time signature that creates a resplendent, nearly overwhelming cacophony. Rutter takes seemingly insurmountable tempo and register changes, and makes them enjoyable, even rewarding. He makes music that echoes with the proclamation that, despite the challenges we face, the indomitable spirit of humanity can be fortified by the transformative magic of music.
This concert is a wonderful synthesis of choral resilience and brass magnificence, we invite you to not only revel in the beauty of sound but to recognize the healing power that music imparts. May the harmonies resonate within your soul and may the brass fanfares be a source of inspiration—an affirmation that, even in the harshest of times, the alchemy of music has the ability to elevate, console, and ultimately make the world a more harmonious place. From the Meritage Vocal Arts Ensemble to each cherished listener, may this Christmas concert be a testament to the season, the enduring ability of music to illuminate the shadows, and perhaps most importantly, proof that harmony can be a sanctuary, a respite from the challenges that confront us, and a reminder that even amidst the harshness of existence, beauty and solace can be found in the cadence of music.
Hodie!
Matthew J. Armstrong
Rejoice and Be Merry
John Rutter
While by My Sheep
Hugo Jüngst, arr. Linda Spevacek
Fum, Fum, Fum
Traditional
Jingle Bell Rock
Bobby Helms
That’s Christmas to Me
arr. Pentatonix/Taylors
O Come, All Ye Faithful
Traditional, arr. David Willcocks
Angels We Have Heard on High
Traditional
Festival First Noel
Traditional, arr. Dan Forrest
Do You Hear What I Hear
Noel Regney & Gloria Shayne, arr. Harry Simeone
Go Where I Send Thee
arr. André Thomas
I Saw Three Ships
Traditional, arr. John Frederick Hudson
Hark! The Herald Angels Sing
Felix Mendelssohn, arr. David Willcocks
Gloria
I. Gloria in excelsis
II. Domine Deus
III. Quoniam tu solus sanctus
John Rutter
God Rest Ye Merry Gentlemen
Traditional
Silent Night
Franz Gruber & Joseph Mohr, arr. Patrick Hawes
Joy to the World!
Antioch, George F. Handel & Isaac Watts
adapt. Lowell Mason, arr. William P. Rowan
Merry Christmas, Darling
Richard Carpenter & Frank Pooler
Don Oiche Ud I Mbeithil
arr. David Downes
Carol of the Bells
Mykola Leontovych, arr. Peter J. Wilhousky
We Wish You a Merry Christmas
Traditional, arr. Jonathan Willcocks
Sing We Now of Christmas
French Carol, arr. Fred Prentice
The Hunchback of Notre Dame
April 13 & 14, 2024
Huntington Beach Central Library Theater, Huntington Beach
Music by Alan Menken
Lyrics by Stephen Schwartz
Book by Peter Parnell
Based on the Victor Hugo novel and songs from the Disney film. Originally developed by Disney Theatrical Productions.
The story of Quasimodo and Esmeralda soars to new heights in this breathtaking journey of love, courage, and the enduring human spirit. Inspired by Disney’s classic animated feature, this stunning and emotionally resonant musical is a theatrical concert experience that will leave you spellbound with the music by Academy Award-winning composer Alan Menken (Beauty and the Beast) and lyrics by Stephen Schwartz (Wicked), that features the unforgettable songs Out There, Someday, and God Help The Outcasts.
The Hunchback of Notre Dame is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.
www.mtishows.com
But why did it take so long for The Hunchback of Notre Dame to make the jump from screen to stage? It only took Disney’s Beauty and the Beast less than three years to be turned into a hit Broadway musical. The truth is it did not take long at all. The musical version of The Hunchback of Notre Dame actually opened in Berlin in 1999, only three years after the premiere of the film. The musical became one of Berlin’s longest-running musicals when it closed in June 2002 after more than 1200 performances, having entertained over 1.4 million people. It took another 12 years before the musical would be reimagined and brought to audiences in the United States. The current version of The Hunchback of Notre Dame opened at the La Jolla Playhouse in 2014 and, while a Broadway run has not been in the cards for Quasimodo and his friends, the musical has been enjoyed across the country and internationally ever since.
With music by Disney and Broadway legend Alan Menken, who brought us Beauty and the Beast, The Little Mermaid, Aladdin, and Little Shop of Horrors and lyrics by Stephen Schwartz who penned the lyrics and brought us Pippin, Godspell, The Prince of Egypt and the mega-hit Wicked, The Hunchback of Notre is unique in the musical canon in that it soars with a score actually written for a choir. Menken and Schwartz brilliantly use the choir as the voice of the Cathedral that looms above the city of Paris. From the festivities unfolding in its shadows, to the darkest corners of the city and the innermost thoughts of Quasimodo, Esmeralda, and Frollo, the haunting melodies of the Cathedral are omnipresent.
The work is also unique in that multiple languages are represented on stage and are used to evoke very specific settings and emotions. While a majority of the work is performed in English, you will also hear Greek and Latin in choral arrangements reminiscent of the traditional Catholic mass and hymns. Showcasing the sultry and joyous folk rhythms of a culture that was not accepted by the people of Paris, you will hear the native language of the Romani people who, at the time, were called “gypsies” with much disdain by the authorities. Peppered in throughout the musical you will also find, of course, French.
Whether in the private corners of the Cathedral or the joyous midday celebration of the Festival of Fools, at the heart of the musical are characters searching for truth and belonging. They are fighting for social justice and acceptance. They are fighting selflessly for each other and for what is right. Their stories are at once exciting and heartbreaking. And this is why The Hunchback of Notre Dame has stayed with audiences since Quasimodo first yelled “Sanctuary!” in 1996 and continues to be a relevant, modern story for our time.
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Featured Soloists
In Rehearsal
The Vast Eternal Sky
June 2 & 8, 2024
Anaheim United Methodist Church, Anaheim
Laguna Presbyterian Church, Laguna Beach
Meritáge is bringing together a lively mix of choral singing and a lush string quartet to create a night of beautiful music. Picture 60 voices harmonizing with the sweet sounds of the strings, playing both classic works by Mozart and Dvorak to modern hits by Elaine L. Bearer, Ola Gjeilo, Elaine Hagenberg, and Eric Whitacre,. The concert promises a relaxed and enjoyable atmosphere, with each instrument taking its turn in the spotlight. It’s the perfect way to spend a summer night, soaking in the melodies and enjoying the unique blend of voices and strings.
Flower Into Kindness
Jake Runestad
Tundra
Ola Gjeilo
Domine, Ad Adjuvandum Me Festina
Giovanni Battista Martini
Ave Verum Corpus, KV 618
Wolfgang Amadeus Mozart
Arise Ye Subterranean Winds (from The Tempest
Henry Purcell
Think of Me from The Phantom of the Opera
Andrew Lloyd Weber
Somebody Somewhere from The Most Happy Fella
Frank Loesser
Five Hebrew Love Songs
- Temuná (A Picture)
- Kalá Kallá (Light Bride)
III. Laróv (Mostly)
- Éyze Shéleg! (What Snow!)
- Rakút (Tenderness)
Eric Whitacre
Sunflower
Jacob Narverud
L’Alma Rapita: Gesualdo di ritorno
Elaine Bearer
To the Moon
Mark Peter
Song to the Moon from Rusalka
Antonín Dvorák
Ombra Mai Fu from Xerxes
George Frideric Handel
Found/Tonight from Dear Evan Hansen and Hamilton
Benj Pasek and Justin Paul
Lin Manuel Miranda
Light from Next to Normal
Tom Kitt and Brian Yorkey
O Love
Elaine Hagenberg
Light Beyond Shadow
Dan Forrest
Welcome to an evening of exquisite choral music presented by the Meritáge Vocal Arts Ensemble. Tonight’s program features a rich tapestry of works spanning centuries and styles, showcasing the versatility and expressive power of these fine singers. As we come to the end of our season, I thought it best to try and add a special level of elegance and beauty, adding to the lush choral textures, by finding repertoire accompanied by a string quartet. You’ll see immediately the depth, power, and soaring sounds of the repertoire.
We begin with Jake Runestad’s Flower Into Kindness, a contemporary choral work that captures the transformative power of the texts by the Sufi mystic Tagore. Runestad, known for his evocative and emotionally charged compositions, uses lush harmonies and lyrical melodies to convey the message of growth and compassion. The soprano solo expands into the choir, divided into seven parts as they “learn the song of kindness.” A wonderful vocal quartet centers the choir and by the time the strings join in, it has truly “blossomed” to a rich, warm texture that underscores the hope and love, inviting listeners to reflect on their own capacity for empathy and benevolence. We follow this immediately with Ola Gjeilo’s Tundra, composed in 2008, a vivid musical depiction of the Arctic landscape. With text by Charles Anthony Silvestri, the piece paints a picture of the stark, yet breathtaking beauty of the tundra. The rich harmonic language and dynamic contrasts, complemented by the strings’ expansive sound, evoke the desolate yet serene environment, creating an atmospheric and immersive listening experience. It is this piece, and the lyric “The Vast Eternal Sky” from which I derived tonight’s concert title.
We then move back a few centuries to the beginning of the when strings and voices were brought together. Giovanni Battista Martini’s Domine, Ad Adjuvandum Me Festina is a Baroque gem, exuding both grandeur and fervor. This motet, set to the opening verse of Psalm 70 (“O Lord, make haste to help me”), combines intricate counterpoint with vigorous rhythms, reflecting the urgency of the plea. Along with a virtuosic quartet of solo voices, the addition of strings enhances the piece’s Baroque elegance, providing a supportive and resonant foundation that highlights the technical prowess of the choir. Mozart’s Ave Verum Corpus, composed in 1791, his last completed sacred composition, is a short but profoundly moving motet, I feel it is one of our most sublime musical expressions of devotion and reverence. The serene and profound lines of the choir are beautifully complemented by the strings, which add a layer of warmth and depth. This collaboration creates an aura of divine tranquility, treating the sacred text with great sensitivity and depth.
As is typical in Meritáge concerts, we have wonderful soloists interspersing their offerings. Then, for the conclusion of our first half we bring back Eric Whitacre’s Five Hebrew Love Songs, which we did two seasons ago. This collection of exquisite miniatures set to texts by his wife, Hila Plitmann, capture a different facet of love, from the playful and flirtatious to the deeply romantic and introspective. The string accompaniment provides a rich, colorful backdrop that enhances the emotional nuances of the choral parts as well as fully realizing the idiomatic sounds of the Hebrew culture.
We begin our second half with Sunflower by Jacob Narverud, a haunting yet uplifting piece that celebrates the beauty and resilience of the sunflower. As is typical with poetry, this is actually a metaphor for hope and perseverance, encouraging listeners to find light and positivity even in challenging times. The gorgeous solo cello ties full choral writing together with a profound sense of wonder and weight.
Elaine Bearer’s L’Alma Rapita: Gesualdo di ritorno is inspired by the well-known madrigal of Carlo Gesualdo, “Moro, Lasso”, published in 1611, using Gesualdo’s fascinating chord progressions and lively word painting. You will hear sudden and unexpected shifts of dynamic, of tempo, of major and minor chords – all expressing the duality of sadness, loneliness, with passion and excitement. Gesualdo was famous for the brutal murder of his wife and her lover, whom he discovered in flagrante delicto, and for his extraordinary music. The addition of a string quartet to this a capella madrigal, adds 21st century textures. We are honored to have Elaine joining us today for our concert!
From one living composer to another, we are proud to be the WORLD PREMIERE of our own Mark Peter and his setting of Shelley’s To the Moon. A serene and reflective piece that captures the quiet beauty and mystery of the night sky. Peter’s sensitive setting of the text evokes the yearning, contemplation, and the moon’s ultimate forsaking of an unworthy world.
As a mirror to the previous set we continue with Elaine Hagenberg’s O Love. Again, with solo cello adding a depth of emotion, this heartfelt and lyrical piece speaks to the enduring power of love that “seeks [us] through the pain.” Hagenberg’s composition beautifully captures the essence of the text, offering a message of comfort and hope, all by the power of love. It is a touching reminder of the strength and resilience of the human spirit and what it chooses to believe in.
Dan Forrest’s epic Light Beyond Shadow completes our journey from darkness to light. Again, a beautiful text along with rich choral harmonies, an expressive piano part, and the strings’ supportive texture create a journey of emotional depth. The interplay between voices and strings brings a sense of balance and harmony, reflecting the piece’s message of finding light beyond the shadows in our vast eternal sky.
We hope you enjoy this evening’s performance and find inspiration in the diverse range of choral works presented. We hope you agree that the collaboration between the Meritáge Vocal Arts Ensemble and our fantastic string players adds a special dimension to the music, enhancing its beauty and emotional impact. Thank you for joining us, and we look forward to the exciting future with Meritáge Vocal Arts Ensemble and all the changes ahead!
In Performance
