VOYAGES

VOYAGES

February 14, 2025, 7:30 pm | St. Stephen’s Church, Belvedere

February 15, 2025, 7:30 pm | St. Mark’s Church, San Francisco

February 16, 2025, 4:00 pm | The 222, Healdsburg

110 minutes with 1 Intermission

SOPRANOS

Kelly Ballou

Cheryl Cain

Yuhi Aizawa Combatti

Rhiannon Guevin

Becky Lau

ALTOS

Sam Faustine

Peter Kenton

Brie Anne Martin

Sally Mouzon

Leandra Ramm

TENORS

Elliott James-Ginn Encarnación

Ryan Peterson

Tim Silva

BASSES

Daniel Brakefield

Clayton Moser

Matthew Peterson

Joe Valkevich

Corby York

L’Invitation au Voyage | John Corigliano (b. 1938)

From Corigliano, “This a capella choral work, composed in 1971, is a setting of Richard Wilbur’s translation of Baudelaire’s L’Invitation au Voyage. Wilbur’s poignant setting pictures a world of obsessive imagination — a drugged vision of heaven full of sensual imagery. The music echoes the quality of the repeated refrain found in this lush translation: ‘There, there is nothing else but grace and measure, richness, quietness and pleasure.’”

Fest- und Gedenksprüche | Johannes Brahms (1833-1897)

Johannes Brahms’ Fest- und Gedenksprüche, Op. 109 (1889), is a collection of three choral motets composed for unaccompanied mixed choir. Written to commemorate significant civic and religious occasions, these pieces reflect Brahms’ deep connection to German Lutheran traditions and his mastery of contrapuntal writing. The motets are characterized by their rich harmonic language, intricate counterpoint, and profound solemnity. Brahms draws on biblical texts, crafting music that balances grandeur with introspection. The work is a testament to Brahms’ ability to blend tradition with his unique voice, contributing to the rich legacy of 19th-century sacred choral music.

God’s World (2025)* | José Daniel Vargas (b. 2001)

Information coming soon.

When David Heard | Eric Whitacre (b. 1970)

Eric Whitacre’s When David Heard (1999) is a powerful a cappella choral work that sets the biblical text from 2 Samuel 18:33, where King David mourns the death of his son Absalom. Whitacre’s composition captures the raw, visceral emotion of grief through expansive harmonic textures, intricate dissonances, and poignant silences. The piece is notable for its dynamic contrasts and the way it stretches and suspends time, creating a haunting atmosphere of mourning and reflection. When David Heard exemplifies Whitacre’s distinctive approach to choral writing, blending contemporary harmonic language with deep emotional expression.

Ich bin der Welt abhanden | Gustav Mahler (1860-1911)

Gustav Mahler’s Ich bin der Welt abhanden gekommen (1901) is poignant music from the Rückert-Lieder cycle, setting Friedrich Rückert’s introspective poetry. The work reflects Mahler’s preoccupation with themes of isolation and transcendence. Scored for a cappella chorus, it features a delicate, ethereal feel that underscores the text’s introspective mood. The melody is expansive and lyrical, evoking a sense of timeless detachment from the world. Mahler’s harmonic language here is rich yet restrained, creating an atmosphere of serene resignation. This piece is considered one of Mahler’s most intimate and introspective works, exemplifying his late Romantic style.

Descending | Joan Tower (b. 1938)

Joan Tower’s Descending (2012) for a cappella chorus is a compelling exploration of vocal texture and harmonic descent. The piece is built around the concept of falling melodic lines, which are meticulously layered to create a rich, resonant soundscape. Tower’s use of dissonance and close harmonies evokes a sense of tension and gravity, while the gradual descent symbolizes both physical and emotional decline. The work’s structure is marked by dynamic contrasts and shifting textures, showcasing Tower’s mastery of choral writing.

Stop This Day and Night With Me | Jake Heggie (b. 1961)

Jake Heggie’s Stop This Day and Night With Me (2015) is a choral work that sets text from Walt Whitman’s Song of Myself. The piece reflects Heggie’s lyrical style, characterized by its expressive melodic lines and rich harmonic language. The composition captures the expansive and inclusive spirit of Whitman’s poetry, with dynamic shifts and varied textures that evoke a sense of intimacy and grandeur. Heggie’s sensitive text setting enhances the natural rhythms and cadences of Whitman’s verse, creating a work that is both contemplative and celebratory. This piece is a testament to Heggie’s ability to blend narrative depth with musical elegance.

Ay Li Lu (somewhere in infinity) | Jacob Mühlrad (b. 1991)

Jacob Mühlrad’s Ay Li Lu (somewhere in infinity) (2023) is a contemporary choral work that explores themes of infinity and existential reflection through innovative vocal techniques and rich harmonic textures. The piece is inspired by Mühlrad’s interest in the intersections of music, spirituality, and human experience. Drawing on his background in both classical composition and Jewish liturgical traditions, Mühlrad crafts a soundscape that is both meditative and expansive.

Ay Li Lu employs extended vocal techniques, including whispers, humming, and overlapping vocal lines, creating a sense of boundless space and time. The title itself suggests a lullaby or a gentle, eternal call, while the subtitle “somewhere in infinity” evokes a place beyond physical and temporal limitations. Mühlrad’s harmonic language is characterized by dissonant clusters that resolve into moments of unexpected consonance, reflecting the tension between the finite and the infinite. The work is a poignant, introspective journey, pushing the boundaries of contemporary choral music.