The AD HOC Singers

Spring Concert: My Soul's Desire

with guest vocalist Patricia Hussey, mezzo-soprano;
violinists Ed Kapusciarz and Judy Thompson, violin;
cellist Linda Kapusciarz, 'cello; and Sue Dickson, organ
Louise Lee, Director


4:00 PM Sunday, April 11, 2010 at
Graham Road United Methodist Church,
2929 Graham Road, Falls Church, VA

I

Lamentations William Byrd (1543-1623)
    De lamentatione Ieremiae Prophetae: (3:40, 5.3 mb) From the Lamentations of Jeremiah the Prophet:
    HETH. Cogitavit Dominus dissipare murum filiae Sion;
    tetendit funiculum suum, non avertit manum suam a perditione;
    luxique antemurale et murus pariter dissipartus est.
HETH. The Lord resolved to destroy the wall of the daughter of Zion;
he has stretched out a line and has not stayed his hand from destruction;
and the bulwark hath mourned, and the wall hath been destroyed together.
    TETH. Defixae sunt in terra portae eius;
    perdidit et contrivit vectes eius.
    Regem eius et principes eius in gentibus;
    non est lex, et prophetae eius non invenerunt visionem a Domino.
TETH. Her gates are sunk into the ground;
he hath destroyed, and broken her bars.
Her king and her princes are among the Gentiles;
the law is no more, and her prophets have found no vision from the Lord.
    JOD: (3:46, 5.4 mb)
    JOD. Sederunt in terra, conticuerunt senes filiae Sion,
    consperserunt cinere capita sua, accincti sunt ciliciis;
    abiecerunt in terram capita sua virgines Ierusalem.

JOD. The elders of the daughter of Zion sit silent on the ground;
they have thrown ashes upon their heads;
the virgins of Jerusalem hang down their heads to the ground.
    Ierusalem, Ierusalem, convertere ad Dominum Deum tuum. Jerusalem, turn to the Lord thy God.

II

Lord, let me know mine end (5:57, 8.6 mb) Maurice Greene (1696-1755)
words from Psalm 39
    Lord let me know mine end, and the number of my days: that I may be certified how long I have to live;
    Behold, Thou hast made my days, as it were a span long; and my age is even as nothing in respect of Thee.
    And verily every man living is altogether vanity.
    For man walketh in a vain shadow and disquieteth himself in vain; he heapeth up riches and cannot tell who shall gather them.
    And now, Lord, what is my hope? Truly my hope is even in Thee. Hear my prayer, O Lord, and with then ears, consider my calling.
    Hold not thy peace at my tears. O spare me a little, that I may recover my strength: before I go hence, and be no more seen.
Give Ear, O Lord (4:51, 7.0 mb)
from "Comfortable Dialogs betweene Christ and a Sinner" (1583)
Thomas Weelkes (1575-1623)
text by William Hunnis (d 1597)
    Give ear, O Lord, to hear a sinner's careful cry: and let my woeful 'plaints ascend, above the starry sky.
    To grace receive the soul that puts his trust in Thee: And mercy grant to purge my sins: mercy, good Lord, mercy.
        Mercy, good Lord, mercy.
    My soul desires to drink from fountains of Thy grace, To slake this thirst, O God vouchsafe, turn not away Thy face,
    But bow Thy tender ear with mercy when I cry, and pardon grant for all sins past: mercy, good Lord, mercy.
        Mercy, good Lord, mercy.
    Behold, behold at length, O Lord, my true repentant mind, Which knocks with faith and hope thereby Thy mercies great to find.
    Thy promise thus hath pass'd, from which I will not fly; Who doth repent, trusting in Thee shall taste of Thy mercy:
        Mercy, good Lord, mercy. Amen."
Tim Burr, Tenor
Sue Dickson, organ
If Ye Love Me (1:40, 2.4 mb) Thomas Tallis (c1505-1585)
John 17:15-17
    If Ye love Me, keep my commandments, and I will pray the Father, and he shall give you another Comforter,
    that he may bide with you forever, ev'n the spirit of truth.

Additional Program Notes (2:07, 1.5 mb)Louise Lee

III

Three MadrigalsClaudio Monteverdi (1576-1643)
O Rossignuoltext by Pietro Bembo (1470-1547)
    O rossignuol ch'in queste verdi fronde
    sovra 'l fugace rio fermar ti suoli,
    e forse a qualche noia ora t'involi
    dolce cantando al suon de le roche onde;
    alterna teco in not'alt'e profonde
    la tua compagna, e par che ti consoli.
    A me, perch'io mi strugga e pianti e duoli
    versi ad ognor, nissun già mai risponde,
    né di mio danno si sospira o geme.
    E te s'un dolor preme,
    può ristorar un altro piacer vivo,
    ma io d'ogni mio ben son cass'e privo.
Nightingale in the green canopy,
how sweetly you sing, and listen!
sweetly your mate answers you
in notes high and low.
Poor me! I sing my love song forever,
but there is no one to sing with me.
Crudel! Perche mi fuggi? (2:17, 3.3 mb)text by Giovanni Battista Guarini (1538-1612)
    Crudel, perché mi fuggi
    s'hai della morte mia tanto desio?
    tu sei pur il cor mio.
    Credi tu per fuggire,
    crudel, farmi morire?
    Ah! non si pò morir senza dolore
    e doler non si pò chi non ha core.
Cruel one, why do you flee from me?
Tho you so desire my death,
yet you are my very heart.
Do you thinking that by fleeing
you will make me die?
Aha! No one dies without pain;
one with no heart feels no pain.
Lasciate mi morire (1:46, 2.6 mb)lament on the death of Eurydice from l'Orfeo (1614)
    Lasciate me morire,
    E che volete voi, che mi conforte
    In cosi dura sorte,
    In cosi gran martire?
    Lasciate me morire!
Oh let me die,
for such a cruel fate,
for such bitter pain
there is no comfort.
Oh let me die!

Jenny Bland, Conductor

IV

Two Motets, SWV 59 and 60Heinrich Schütz (1585-1672)
Quo, nate dei (2:50, 4.1 mb)
    Quo, nate Dei, quo tua descendit humilitas,
    quo tua flagravit charitas,
    Quo tuus attigit amor, quo pervenit compassio?
    Quid tibi retribuam pro omnibus quae retribuisti mihi?
    Rex meus et Deus meus.
How greatly did you humble yourself, Son of God,
how ardently your love burned!
How limitless was your love, how infinite your compassion!
How can I repay you for all you have given to me?
My king and my God.
Calicem salutaris accipiam (2:14, 3.2 mb)
    Calicem salutaris accipiam et nomen Domini invocabo,
    Vota mea reddam tibi Domine coram omni populo tuo,
    Et misericordias tuas in aeternum cantabo
I will receive the cup of salvation and call upon the name of the Lord,
I will make my offerings to you, Lord, in the presence of all your people,
And I will sing of your mercies into eternity.

V

Missa Brevis in G (Missa rotate coeli desuper)Franz Josef Haydn (1732-1809)
Kyrie (0:50, 1.2 mb)
    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Gloria (0:47, 1.1 mb)
    Gloria in excelsis Deo
    Et in terra pax hominibus bonae voluntatis.
    Laudamus te, benedicimus te,
    Adoramus te, glorificamus te.
    Gratias agimus tibi propter magnam gloriam tuam.
    Domine Deus, Rex coelestis,
    Deus Pater omnipotens.
    Domine Fili unigenite,
    Jesu Christe.
Glory to God in the highest
And on earth peace to men of good will
We praise Thee, we bless Thee,
We adore Thee, we glorify Thee,
We give thanks to Thee for Thy great glory.
Lord God, heavenly King,
God the Father almighty.
Lord God, the only begotten Son,
Jesus Christ.
Credo (1:39, 2.4 mb)
    Credo in unum Deum, Patrem omnipotentem,
    factorem coeli et terrae, visibilium omnium et invisibilium.
    Et in unum Dominum Jesum Christum, Filium Dei unigenitum.
    Et ex Patre natum ante omnia saecula.
    Deum de Deo, lumen de lumine, Deum verum de Deo vero.
    Genitum, non factum, consubstantialem Patri:
    per quem omnia facta sunt.
    Qui propter nos homines, et propter nostram salutem
    descendit de coelis.
    Et incarnatus est de Spiritu Sancto ex Maria Virgine:
    et homo factus est.
    Crucifixus etiam pro nobis:
    sub Pontio Pilato passus, et sepultus est.
    Et resurrexit tertia die, secundum Scripturas.
    Et ascendit in coelum: sedet ad dexteram Patris.
    Et iterum venturus est cum gloria, judicare vivos et mortuos:
    cujus regni non erit finis.
    Et in Spiritum Sanctum, Dominum et vivificantem:
    qui ex Patre Filioque procedit.
    Qui cum Patre et Filio simul adoratur et conglorificatur:
    qui locutus est per prophetas.
    Et unam, sanctam, Catholicam et Apostolicam Ecclesiam.
    Confiteor unum baptisma in remissionem peccatorum.
    Et exspectio resurrectionem mortuorum.
    Et vitam venturi saeculi. Amen.
I believe in one God, the Father almighty,
maker of heaven and earth, and of all things visible and invisible.
And in one Lord Jesus Christ, the only-begotten Son of God,
born of the Father before all ages;
God of God, light of light, true God of true God;
begotten, not made; consubstantial with the Father,
by Whom all things were made.
Who for us men, and for our salvation,
came down from heaven,
and was incarnate by the Holy Ghost of the Virgin Mary,
and was made man.
He was crucified also for us,
suffered under Pontius Pilate, and was buried.
And the third day He arose again, according to the Scriptures,
and ascended into heaven. He sitteth at the right hand of the Father:
and He shall come again with glory, to judge the living and the dead:
and His kingdom shall have no end.
And in the Holy Ghost, the Lord and Giver of life,
Who proceedeth from the Father and the Son,
Who, together with the Father and the Son, is adored and glorified:
Who spoke by the prophets.
And one holy, catholic, and apostolic Church.
I confess one baptism for the remission of sins.
And I expect the resurrection of the dead,
and the life of the world to come. Amen.
Sanctus (0:41, 1.8 mb)
    Sanctus, Sanctus, Sanctus
    Dominus Deus Sabaoth.
    Pleni sunt coeli et terra gloria tua.
    Osanna in excelsis.
Holy, Holy, Holy
Lord God of Hosts,
The heavens and the earth are full of thy glory.
Hosanna in the highest.
Benedictus (0:51, 1.2 mb)
    Benedictus qui venit in nomine Domini.
    Osanna in excelsis.

Blessed is He who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei (1:19, 1.9 mb)
    Agnus Dei, qui tollis peccata mundi:
    Miserere nobis; dona nobis pacem.
Lamb of God, who takest away the sins of the world:
have mercy upon us; grant unto us peace.

Violinists: Ed Kapusciarz and Judy Thompson
Cellist: Linda Kapusciarz


Intermission


VI

Una Donna Comme Me Non Vi Fu (3:53, 5.6 mb)
from Il Mondo Della Luna
Franz Josef Haydn
libretto by Carlo Goldoni (1707-1793)
    Una donna come me non vi fu
    Nè, vi sarà, non vi fu ne vi sarà, no,
    Io son tutta carità'
    Domandate a chi lo sa
    "Si ch'è vero," ognun dirà
    Io malizia in sen non ho
    Sono stata ognor cosi
    Poche volte dico no
    Quando posso, dico si
    Mal lo dico, già si sa,
    Salval sempre l'onesià.
    Salva sempre l'onestà
A woman like me there never was
Nor ever will there be, no
I am all love and faithfulness,
I am all charity,
Ask anyone who knows me,
Yes it's true, everyone will say so,
I have no malice in my breast,
I have always been this way,
Few times I say no,
Whenever possible, I say yes,
But they say, as you already know,
It's always safe to be honest.
Liebst du um Schönheit (2:09, 3.1 mb) Clara Schumann (1819-1896)
text by Friedrich Rückert (1788-1866)
    Liebst du um Schönheit, O nicht mich liebe!
    Liebe die Sonne, Sie trägt ein gold'nes Haar!
If you would love beauty, o love me not!
Love the Sun; she has golden hair!
    Liebst du um Jugend, O nicht mich liebe!
    Liebe den Frühling, Der jung ist jedes Jahr!
If you love youth, then love not me!
Love the Spring, young again each year!
    Liebst du um Schätze, O nicht mich liebe.
    Liebe die Meerfrau, Sie hat viel Perlen klar.
If your love is for treasures, do not love me.
Love the mermaid – she has a trove of sparkling pearls.
    Liebst du um Liebe, O ja, mich liebe!
    Liebe mich immer, Dich lieb' ich immerdar.
If you love Love, oh yes, love me, love me always;
I love you forever.
Ouvre ton Coeur (Open Your Heart) (2:18, 3.3 mb) Georges Bizet (1838-1875)
    La marguerite a fermé as corolle,
    L'ombre a fermé les yeux du jour.
    Belle, me tiendras-tu parole?
    Ouvre ton coeur à mon amour.
The daisy has closed its petals,
The shadow closed its eyes for the day.
Beauty, will you speak with me?
Open your heart to my love.
    Ouvre ton Coeur, ô jeune ange, à ma flamme,
    Qu'un rêve charme ton sommeil.
    Je veux reprendre mon âme,
    Comme une fleur s'ouvre au soleil!
Open your heart, oh young angel, to my flame
So that a dream may enchant your sleep.
I wish to reclaim my soul,
As a flower turns to the sun!
Ging Heut Morgen Über's Feld (4:31, 6.5 mb) Gustaf Mahler (1860-1911)
    Ging heut morgen übers Feld,
    Tau noch auf den Gräsern hing;
I walked across the fields this morning;
dew still hung on every blade of grass.
    Sprach zu mir der lust'ge Fink:
    "Ei du! Gelt? Guten Morgen! Ei gelt?
    Du! Wird's nicht eine schöne Welt?
    Zink! Zink! Schön und flink!
The merry finch spoke to me:
"Hey! Isn't it? Good morning! Isn't it?
You! Isn't it becoming a fine world?
Chirp! Chirp! Fair and sharp!
    Wie mir doch die Welt gefallt!
    Auch die Glöckenblurn' am Feld
    Hat mir lustig, gutter Ding',
    Mit den Glockchen, klinge, kling,
    Ihren Morgengruß geschellt:
    Wird's nicht eine schöne Welt?
How the world delights me!
Also, the bluebells in the field
merrily with good spirits
tolled out to me with bells (ding, ding)
their morning greeting:
Isn't it becoming a fine world?
    Kling, kling! Schönes Ding!
    Wie mir doch die Welt gefällt! Heia!
Ding, ding! Fair thing!
How the world delights me!
    Und da fing im Sonnenschein
    Gleich die Welt zu funkeln an;
    Alles Ton und Farbe gewann
    Im Sonnenschein!
And then, in the sunshine,
the world suddenly began to glitter;
everything gained sound and color
in the sunshine!
    Blum' und Vogel, groß und Klein!
    Guten Tag,
    Ist's nicht eine schöne Welt?
    Ei du, gelt? Schöne Welt!
Flower and bird, great and small
Good day,
Is it not a fine world?
Hey, isn't it? A fair world?
    Nun fängt auch mein Glück wohl an?
    Nein, nein, das ich mein,
    Mir nimmer blühen kann!
Now will my happiness also begin?
No, no – the happiness I mean
Can never bloom!

Patricia Hussey, Mezzo-Soprano
Louise Lee, Piano

VII

Hinunter ist der Sonnen Schein (1:49, 2.6 mb)Melchior Vulpius (c1560-1615)
    Hinunter ist der Sonnen Schein,
    die finstre Nacht bricht stark her ein
    Leucht uns Herr Christ du wahres Licht,
    laß uns im Finstern tappen nicht.
Now the sun has gone to rest,
dark night falls swiftly,
Illumine us, Christ, with your true light;
Do not leave us to grope in darkness.
    Dir sei Dank dass du uns den Tag
    vor Schaden Gfahr und mancher Plag
    durch deine Engel hast behüt
    aus Gnad und väterlicher Güt.
We thank you for preserving us this day
from harm, danger and distress
through your angels out of
mercy and fatherly kindness.
    Womit wir han er zürnet dich,
    dasselb verzeih us gnädiglich
    und rechn es unsrer Seel nicht zu
    laß us schlafen mit Fried und Ruh.
However we may have angered you,
Forgive us for it in your mercy,
Do not hold our souls to account;
Let us sleep in peace.
Zum Abendsegen (For the Evening Service) (1:51, 2.7 mb)Felix Mendelssohn-Bartholdy (1809-1847)
    Herr, sei gnädig unserm Fleh'n,
    und erfülle uns mit deinem Geist;
    und schreib in unser Herz dein Gebot,
    Herr, erhör uns!
Lord, have mercy upon us,
and incline our heart to keep thy law,
and write all these thy laws in our hearts,
we beseech thee!
Nana (Lullaby) (1:51, 2.7 mb)Manuel de Falla (1876-1946)
    Duérmete, niño, duerme, duerme, mi alma,
    Duérmete, lucerito de la mañana.
    Nanita, nana, Nanita, nana.
    Duérmete, lucerito de la mañana.
Go to sleep my child, my soul,
my little star of the morning,
sleep well, my beautiful morning star.
Patricia Hussey, Mezzo-Soprano
Louise Lee, Piano
Abendlied zu Gott (Evening Song to God) (5:16, 7.6 mb) Franz Josef Haydn
    Herr! Herr! Der du mir das Leben
    bis diesen Tag gegeben,
    dich bet ich kindlich an!
    Ich bin viel zu geringe
    der Treue, die ich singe,
    und die du heut an mir getan.

Lord, who has given me life
up to this day,
I pray to you as a child.
I am much too insignificant
for the loyalty you have shown me
today and whose praises I sing.

About the Music

What better instrument to express man's deepest hopes and aspirations than the human voice itself?

The Biblical book of Lamentations comprises several poetic recitations that bemoan the fall Jerusalem to the neo-Babylonians in 586 B.C. Its tone and imagery convey deep grief, guilt for past sins, and longing to return again to God's favor. It is thought that this poetry was recited each subsequent year in commemoration of the catastrophe. Probably the author was not actually Jeremiah the prophet but rather, one or more worship leaders who remained in Judah during the years following Jerusalem's destruction.

Whether the Lamentations were sung in that early era is not known, but certainly some of the same sentiments and vocabulary are contained in various Psalms; verses from Lamentations as well as the Psalms became part of early Christian sung liturgy, thought to have been derived from Jewish cantillation.

As a liturgy for the Christian year evolved, it became customory to sing the Lamentations on Thursday, Friday, and Saturday of Holy Week, at first in Gegorian or other single-voiced chant; later, around the middle of the fifteenth century, in polyphony.

A peculiar tradition in polyphonic settings of the Lamentations is that of setting music to the Hebrew alphabet letters which stand at the head of each verse. In fact, composers vied with one another to lavish theire most intricate counterpoint on these Hebrew letters (Aleph, Beth, Heth, Jod, etc.) as if decorating an illuminated manuscript.

Because of their connection to the Romany Holy Week liturgy, Byrd's Lamentations were not suitable during his lifetime to be sung in the parish churches and collegiate chapels of the new Anglican religious establishment. Therefore they were not published, but survived in manuscript from which a performing version was reconstructed and published in 1928. An Italian contempory of Byrd summed up the technique and style of composing music for the Lamentations: "All the parts proceed with gravity and modesty, nearly always singing together.... The composer makes use of dissonances, suspensions and harsh passages to make his work more doleful and mornful, as the sense of the words and the significance of the season demand."

The Anglicans were not to be outdone in the penitence department, as demonstrated in many beautiful anthems, like Weelkes' Give Ear, O Lord.


As the sixteenth century drew to a close, Italian composers experimented with expressive musical devices that led to the first operas and to, among other choral forms, madrigals that were a far cry from the cheerful "Fa-la-la" type. Monteverdi was prolific in output of these dramatic madrigals.

In the early 1600's the young German Heinrich Schütz visited Italy, to study with masters of these new trends in choral music. He was mainly interested in the techniques of Gabrieli's church music, with multiple choirs and instrumental ensembles. But while there he published a book of Italian secular madrigals, influenced by Monteverdi and others. Then in 1625 there appeared Schütz's "Cantiones Sacrae", a book of four-part motets originally intended to be unaccompanied. The words of these compositions are in Latin and mystic in nature, close theologically to Catholicism despite Schütz lifelong Lutheran affiliation. Among these motets are the set called Passion motets, of which Quo, nate dei and Calicem salutaris accipiam are the final two. The Italian madrigalists' influence is apparent in the musical style of these motets.


Haydn wrote his Missa Brevis in G when he was a very young man, mainly self-taught at the time. In fact, in his later years he scarcely remembered having written it, but scholarship has fairly conclusively proven that it is his work. This mass is exuberant, with very lively string playing, but ends with an Agnus Dei that sounds a dignified, serious note.

It was not unusual for composers to tighten the mass text by assigning different phrases to be sung simultaneously by the various voice parts, so that the entire Mass would not be very long. [Sometimes ths iwas the preference of an individual cleric, or was called for on a particular liturgical occasion.]


Il Mondo Della Luna is one of some twenty-eight works Haydn wrote for the musical stage. Composed in 1771, it is a drama giocoso (opera buffa) set to the libretto of one of the most celebrated librettists of his time, Carlo Goldoni. This aria is sung by Lisetta, the maidservant of the wealthy Buonafede. She is also his mistress, only because of the comforts his money offers. Lisetta is secretly in love with a servant in another household, but Buonafede refuses to allow their marriage because he wants her for himself. She participates in a fantastic plot of "moon travel" to trick Buonafede and succeeds at finally winning her way and permission to marry!


Clara Schumann, wife of Robert Schumann, was a fine pianist and composer in her own right.


Bizet published only a few songs during his lifetime and many of his early songs were written as excercises in composition and not intended for performance. Ouvre ton Coeur was part of a dramatic piece the Bizet composed as a student in Rome, known as the ode-symphony Vasco de Gamma. The song features bolero rhythm that Bizet was so fond of, which provides energy and color. It has a Spanish flair which foreshadows Bizet's best known work, the opera Carmen.


Mahler's early song cycle, Lieder eines fahrende Gesellen, was written as a personal response to unrequired love, as Mahler turns to his own lyrics in the composition to help resolve emotional loss and despair. These songs are referred to in Einglish as Songs of the Wayfarer. The message is that the man who has found only sadness in love goes forth into the world as a wanderer. Mahler's love of nature is threaded throughout the lyrics and in his masterful treatment of the voice and accompaniment imitating nature, love, anger, death, and resolve. In Ging Heut Morgen Über's Feld, the traveler seems almost to have convinced himself that fortune will soon smile on him, but he draws back, alas, once again, from the possibility.


About the Guest Artist

Patricia Hussey recently completed her Master's Degree in Vocal Performance and Vocal Pedagogy from George Mason University. She has sung in more than 600 performances of 70 professional opera productions, including roles with Washington National Opera as Grimgerde in Die Walkure, Julie in Dangerous Liaisons, Samantha in The Ballad of Baby Doe, and the Page in Rigoletto. She performs frequently with the choruses of the Washington National Opera, the Washington Concert Opera, and the Wolf Trap Opera Company.

Solo appearances include concerts at the Kennedy Center Concert Hall, the National Theater, the Folger Shakespeare Theater, the Smithsonian, and the White House.

Upcoming performances with the Washington National Opera this spring in clude Hamlet, and she will sing the role of the Principessa in GMU's spring production of Puccini's Soeur Angelica.

Pat has just started a new career as a voice teacher, opening SingerPatH Voice Studio in Falls Church. For more information, see her website www.singerpath.com.


The AD HOC Singers
Louise Lee, Director
Sopranos
Hellen Gelband 
Nancy Kolinski
Karen Lee
Julie Mack
Norma Meyer
Margaret Smith
Altos
 Louise Bedichek 
Jenny Bland
Susan Lesser
Carol Pierstorff
Laura Schneider
Mary Wadleigh
Tenors
Tim Burr
 Brent Chivers 
Joe Kolinski



Basses
 Martin Bernstein
Jim McElfish
Maurice Singer
Jon Westergaard
Peter Wolfe

Louise Lee is a graduate of Smith College and Indiana University, where she received a Master of Music degree in organ performance, studying with Oswald Ragatz. Ms. Lee performs frequently as a piano accompanist. She is organist at Arlington Forest United Methodist Church. Ms. Lee has directed the Ad Hoc Singers since she founded the group in 1975.

The Ad Hoc Singers, an amateur chamber chorus devoted to traditional choral literature from the fifteenth through the twentieth centuries, has been in existence under the direction of Louise Lee since 1975. They perform regularly at churches and other locations throughout the area. Good sight readers interested in joining the group should call 703-538-2557 to set up an audition, or speak with Ms. Lee after the concert.

Thanks to Jean Arnold for the program, Jenny Bland for some of the translations, and Michael Donaldson for his contribution to the program notes.

Thanks also to the great staff at Welsh Printing in Falls Church, Virginia, and to Graham Road United Methodist Church for the use of their sanctuary and facilities for this concert.



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