Viva la Musica!Choir * Orchestra

Shulamit Hoffmann, conductorAnna Khaydarova, pianist

Lauren Haber, soprano Jacqueline Goldgorin, mezzo-soprano

Corey Head, tenorJosé Mendiola, bass

Dan Forrest Non Nobis DomineMozart Church Sonata

Mozart “Coronation” MassRené Carlos Ochoa Misa del Pueblo

Evan Mack Words like Freedom

Saturday, January 18, 2020, 3 p.m.

Admission by donation at the door ($25 suggested)St. Marks Episcopal Church

600 Colorado Avenue, Palo Alto, CA 94306

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Viva la Musica! Founded 2001

A non-profit public benefit corporation

Viva’s mission is to provide enriching artistic experiences by inspiring, educating, and entertaining with quality performances of noteworthy music from diverse eras and cultures

Upcoming Concerts

Saturday, June 13, 2020, 8 p.m.Beethoven Ninth Symphony

Viva Choir & Bay Area Rainbow SymphonySan Francisco Conservatory of Music, 50 Oak Street, S.F., CA 94102

Info at bars-sf.org

Sunday, November 22, 2020, 3 p.m.Pre-Tour Farewell Concert

Masses of Masses: Mozart, Beethoven, and OchoaSt Marks Episcopal Church, 600 Colorado, Palo Alto, CA 94306

Upcoming Tour

Vienna & Salzburg for Beethoven’s 250th birthday (December 10-20, 2020)Registration still open for choristers and non-performers

Viva’s Tour History

Carnegie Hall, New York (2019)Vilnius, Riga, Tallinn, Helsinki, St. Petersburg (2017)

Prague and Dresden (2011)Carnegie Hall, New York (2009)Carnegie Hall, New York (2008)

Vienna & Salzburg for Mozart’s 250th birthday (2006)Vermont International Choral Festival (2005)

Collaborations

Master Sinfonia Chamber OrchestraMendelssohn Die erste Walpurgisnacht (2018)

Brahms Requiem (2012)Beethoven Mass in C (2010)

Symphony ParnassusKarl Jenkins In These Stones Horizons Sing (2008)

Beethoven Ninth Symphony (2007)

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ProgramNon Nobis Domine Dan Forrest (contemporary)

Choir & Orchestra

Duration approximately 5 minutes

Church Sonata in C, KV 329 W. A. MozartAllegro (1756-1791)

Orchestra

Duration approximately 4 minutes

“Coronation” Mass W. A. Mozartin C Major, KV 317

Choir & Orchestra

SoloistsLauren Haber, soprano

Jacqueline Goldgorin, mezzo-sopranoCorey Head, tenorJosé Mendiola, bass

1. Kyrie: Andante maestoso, piu andante

2. Gloria: Allegro con spirito

3. Credo: Allegro molto, adagio, primo tempo

4. Sanctus: Andante maestoso

5. Benedictus: Allegretto, allegro assai, allegretto, allegro assai

6. Agnus Dei: Andante sostenuto, andante con moto, allegro con spirito

Duration approximately 25 minutes

Misa del Pueblo René Carlos Ochoa (contemporary)

Choir & Orchestra

SoloistsLauren Haber, soprano

Anna Khaydarova, piano

1. Señor Ten Piedad 2. Gloria 3. Por Eso 4. Santo 4. Por Tu Cruz 5. Por Cristo 6. Amen 7. Cordero de Dios

Duration approximately 10 minutes

Words like Freedom Evan Mack (contemporary)

Choir & Piano

SoloistsLauren Haber, soprano

Anna Khaydarova, piano

Duration approximately 5 minutes

Front cover image: Salzburg University Church.Designed by architect Fischer von Erlach. Built between 1694 and 1707.

Salzburg’s largest and most magnificent Baroque church.Viva performed there in December, 2006,

in honor of Mozart’s 250th birthday.Photograph courtesy of Stanley Hutchinson

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Notes, Texts & TranslationsProgram notes © Shulamit Hoffmann, 2020

Non Nobis DomineThis short Latin hymn is used as a prayer of thanksgiving and expression of humility.

Non nobis Domine Not unto us, O Lord, not unto us, Sed nomini tuo da gloriam But to thy name give the glory.

Amen.

Church SonataMozart composed seventeen orchestral Church or Epistle Sonatas. These short, one movement works were designed to be inserted between Mass movements during church service. Scholars think that Mozart wrote the Sonata KV 329 for the first performance of the “Coronation” Mass: it is in the same key as the Mass, and uses the same fulsome instrumentation—unusual for Church music. The piece revels in the trompetto figurations that the trumpets so readily afford. Confident, ascending twirls, forte and piano, mark the first subject; a polite discussion between strings and oboes makes up the second. With strings, oboes, horns, trumpets, timpani, and organ at his command, Mozart seems to be having a jolly good time, and the music unfurls exuberantly.

“Coronation” MassIn January, 1779, Mozart reluctantly returned to Salzburg, his hometown, after a disastrous eighteen-month European tour, during which he had not been able to secure a professional post; the love of his life, Aloysia Weber, had given him up for Josef Lange; and his mother had died while with him in Paris. As no other professional opportunity was forthcoming, Mozart took up a position in the service of the Archbishop of Salzburg.

The instructions of his appointment were to “unbegrudgingly and with great diligence discharge his duties both in the cathedral and at court and in the chapel house, and as occasion presents, to provide the court and church with new

compositions of his own creation.” At the first opportunity Mozart fulfilled this last demand by composing what would come to be known as the “Coronation” Mass. This is Mozart’s most splendid early sacred work, and one senses the young composer giving it his all, putting his best compositional foot forward and fully justifying his new appointment. The celebratory nature of the music belies the personal disappointments that Mozart had endured. Indeed, the piece is filled with aplomb and assurance. Not only is the music wonderful in and of itself, but the text setting and the way the music captures and reflects both the literal meaning and the implied moods of the text is masterful. Mozart dates his score “March 23, 1779,” most likely the date of completion of the work, as was his habit, and it was probably performed for Easter Day service barely two weeks later.

Mozart described the task of writing a Mass in a letter: “Our church music is very different from that of Italy, all the more so since a mass with all its movements, even for the most solemn occasions when the sovereign himself reads the mass (e.g. Easter Day), must not last more than three quarters of an hour. One needs a special training for this type of composition, and it must also be a mass with all instruments—war trumpets, tympani etc.” Thus was Mozart obliged to write in the form that was preferred by the Archbishop, a hybrid of the compact “Short Mass” and the grandeur—produced by horns, trumpets, and timpani—of a “Solemn Mass.” The “Coronation” Mass is the grandest and most popular of all Mozart’s sacred works written in Salzburg, and it stands proudly along side the Requiem and the C minor Mass, the two iconic sacred works from his Vienna period.

Even as early as the nineteenth century, this Mass was already popularly referred to as the “Coronation” Mass. The nickname first grew out of the belief that Mozart had written the Mass for Salzburg’s annual celebration of the crowning of the Shrine of the Virgin at the church of Maria Plain, just outside Salzburg, where a “miraculous” painting was installed. The more likely explanation is that the Mass was one of the works performed during the coronation festivities in Prague, either as early as August 1791 for Leopold II, or certainly for Leopold’s successor Francis I in August 1792, after Mozart’s death.

Mozart had a felicitous relationship with the city of Prague, and, on a visit there, he had written home requesting that the parts for his Mass in C be sent him. It is credible that a mass of his would be performed at a coronation ceremony in a city that so appreciated his music. Evidence to support this theory is that an extant set of parts, dating from 1792, exists in Prague, and the same parts were probably used the year before. In all probability, then, the moniker “Coronation” might well have derived from such an occasion. Certainly, the music’s resplendent pomp befits a coronation.

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The first movement of the Mass, Kyrie, opens in dignified splendor, winds and timpani punctuating the exclamations of the full chorus and the violins marching in processional, unison, dotted rhythms. With a shift to lyricism, the soprano soloist enters, followed by the tenor, with an oboe tailgaiting, commenting on the duet. Opera buffs will recognize the soprano’s exquisite opening phrase: more than a decade later, Mozart would use the same phrase and the same instrumental introduction in Fiordiligi’s aria, “Come scoglio” in Cosi fan Tutte. Following the soprano solo in the Kyrie, the chorus closes the movement with the majesty of the opening.

The second movement, Gloria, is set in sonata-allegro form, with exposition, development, and recapitulation sections. It opens with ebullience as it expresses glory and praise of God, and tenderness for “men of goodwill.” In this movement, the choral statements offset the music of the four soloists, like gold or platinum settings of fine jewelry show off precious gems. There is angst and urgency in the minor key setting of “who takes away the sins of the world” and ineffable sweetness in “you alone are holy.” Foregoing the customary fugue, Mozart skids headlong into a closing “Amen” romp.

In the third movement, Mozart avoids the pitfalls of the wordy and rambling Credo text first by using rondo form, the recurring rondo subject being the music of “Credo in unum Deum.” Through Mozart’s virtuosic, fleet-footed setting of the text, a lot of Latin text is sung in a very short time—not easy for the chorus, but wonderfully exciting. Much of this music is set as a fugato, with the texture growing more dense as each voice enters and overlaps with the others. The violinists tear through a veritable torrent of sixteenths in a style that has become known as the rauschende Violinen (translated variously as “rustling,” or “tremendous” violins). Indeed! The tempo slackens in the middle section for the soloists’ poignant “Et incarnatus est” and the chorus’ powerful “Crucifixus.” The rustling violins and the chorus return to close this, the longest and densest movement of the Mass, brilliantly, without a hint of academe, in the jubilant “Et resurrexit.”

The fourth movement, Sanctus, opens with the chorus in unison rhythm conveying the maestoso (majestic) injunction of the composer. But soon Mozart’s ineffable optimism is heard in a bubbling allegro gallop with ebullient shouts of “Hosanna in the highest.”

The reflective mood of the fifth movement, Benedictus, is set by the strings’ dolce melody. Taken over by the quartet of soloists, it is made into a full-bodied statement about “He who comes in the name of the Lord.” But, as if optimism should not be contained, more “Hosannas” spill over from the Sanctus in the chorus’ spirited, dance-like interjections.

The orchestra introduces an eloquent finale, the Agnus Dei, setting the stage for the soprano soloist. Once again, Mozart, ever the opera composer, knows the potent affect of his melody. This exquisite, tear-inducing, supernal aria he will use again nine years later as the Countess Almaviva’s aria, “Dove sono,” in The Marriage of Figaro. The Mass music segues into the “Dona nobis pacem.” For this, Mozart returns to the melody of the first soprano aria of the Kyrie, setting “dona nobis” words to that first melody, not for any liturgical connection, but for sheer melodic beauty. The three other soloists join the soprano for a final quartet fling. The chorus, enthusiastic to join the party, revs up the tempo a notch, and the finale canters home with hopeful, indeed, joyful appeals for peace.

Kyrie

Kyrie, eleison Lord, have mercy Christe, eleison Christ, have mercy Kyrie, eleison. Lord, have mercy.

Gloria

Gloria in excelsis Deo, Glory to God in the highest, et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te, we adore you, we glorify you, gratias agimus tibi propter we give you thanks magnam gloriam tuam, for your great glory, Domine Deus, Rex caelestis, Lord God, King of heaven, Deus Pater omnipotens. God the Father all-powerful.

Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, qui tollis peccata mundi, who takes away the sins of the world, miserere nobis; have mercy on us; qui tollis peccata mundi, who takes away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Who sits at the right hand Patris, miserere nobis of the Father, have mercy on us. Quoniam tu solus Sanctus, For you alone are Holy, tu solus Dominus, you alone are Lord, tu solus Altissimus, you alone are the Most High, Iesu Christe, Jesus Christ, cum Sancto Spiritu: with the Holy Spirit: in gloria Dei Patris. in the glory of God the Father.

Amen

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Credo

Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father almighty, factorem caeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible.

Et in unum Dominum, Iesum Christum And in one Lord, Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, et ex Patre natum ante omnia saecula. born of the Father, before all ages. Deum de Deo, Lumen de Lumine, God from God, Light from Light, Deum verum de Deo vero, true God from true God, genitum non factum, begotten, not made, consubstantialem Patri; one in being with the Father; per quem omnia facta sunt. through Whom all things were made. Qui propter nos homines Who for us men et propter nostram salutem and for our salvation descendit de caelis. came down from heaven. Et incarnatus est de He was brought into his human flesh and form Spiritu Sancto ex Maria Virgine, by the Holy Spirit from the Virgin Mary, et homo factus est. and thus was made truly man.

Crucifixus etiam pro nobis sub Pontio Pilato, He was crucified for us under Pontius Pilate; passus et sepultus est, suffered, and was buried. et resurrexit tertia die, On the third day He rose again secundum Scripturas, according to the Scriptures; et ascendit in caelum, He ascended into heaven sedet ad dexteram Patris. and sits at the right hand of the Father.

Et iterum venturus est cum gloria, He will come again in glory iudicare vivos et mortuos, to judge the living and the dead, cuius regni non erit finis. and of His kingdom there shall be no end.

Et in Spiritum Sanctum, And in the Holy Spirit, Dominum et vivificantem, the Lord and giver of Life, qui ex Patre Filioque procedit. who proceeds from the Father and the Son.

Qui cum Patre et Filio simul Who, with the Father and the Son, adoratur et conglorificatur: is adored and glorified: qui locutus est per prophetas. who has spoken through the Prophets.

Et unam, sanctam, catholicam et And one, holy, catholic and apostolicam Ecclesiam. apostolic Church.

Confiteor unum baptisma I confess one baptism in remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum, And I look for the resurrection of the dead et vitam venturi saeculi. and the life of the age to come.

Amen.

Sanctus & Benedictus

Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is He who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

Agnus Dei

Agnus Dei, Lamb of God, qui tollis peccata mundi: who takes away the sins of the world: miserere nobis. have mercy on us.

Agnus Dei peccata mundi: Lamb of God, qui tollis peccata mundi: who takes away the sins of the world: dona nobis pacem. grant us peace.

Misa del PuebloComposer Dr. René Carlos Ochoa writes, “Misa del Pueblo was originally written for a small church choir in San José, California. Thanks to Fr. Kevin Joyce who was a constant inspiration as this music was first conceived, and to my friend and colleague, Shulamit Hoffmann, for suggesting and encouraging me to create a concert version. The music is intended to be ‘folksy’ and ‘popular’ in its style. Guitar, strings, and trumpets add to the Mariachi flavor.”

Señor Ten Piedad

Señor ten piedad de nosotros Lord have mercy on us Jesucristo ten piedad de nosotros Christ have mercy on us Señor ten piedad de nosotros Lord have mercy on us

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Gloria

Gloria al Señor en el cielo, Glory to God in the Highest, Gloria en la tierra; Glory on the Earth; Gloria al Señor en el cielo, Glory to God in the Highest, y en su pueblo paz. and on His people peace.

Te alabamos, te bendecimos, We praise you, we bless you por tu inmensa gloria; for your great glory; te adoramos, te glorificamos, we adore you, we glorify you, te damos gracias! we give you thanks! Hijo único, Jesucristo, Only son, Jesus Christ, hijo del Padre; son of the Father; Cordero de Dios que quitas Lamb of God who takes away el pecado del mundo! the sin of the world!

Señor, Señor Dios ten piedad de nosotros; Lord, Lord God, have mercy on us; tu que estas sentado you who are seated a la derecha del Padre! at the right hand of the Father!

Sólo tú eres Santo, sólo tú Señor, Only you are Holy, only you are Lord, sólo tú Altisimo, Jesucristo; only you are the Most High, Jesus Christ; con el Espiritu Santo with the Holy Spirit en la gloria de Dios! in the glory of God!

Por Eso

Por eso, Therefore, con los angeles y con todos los santos, with the angels and all of the saints, Te alabamos, diciendo sin cesar: we praise You, saying without pause:

Santo

Santo, Santo, Santo es el Señor, Holy, Holy, Holy is the Lord, Dios del Universo. God of the Universe. Llenos están el cielo Filled are the heavens y la tierra de tu gloria. and the earth with your glory. Hosanna en el cielo. Hosanna in the highest. Bendito el que viene Blessed is he who comes en el nombre del Señor. in the name of the Lord. Hosanna en el cielo. Hosanna in the highest. Dios del Universo. God of the Universe.

Por Tu Cruz

Por tu cruz y resurrectión, Through your cross and resurrection, nos has salvado Señor, you have saved us Lord, Salvador, Salvador del mundo, Savior, Savior of the world, sálvanos, Salvador; sálvanos, Salvador! save us, Savior; save us, Savior!

Por Cristo

Por Cristo, con el y en El, Through Christ, with him and in him, a Ti, Dios Padre omnipotente, to You, Almighty Omnipotent God, en la unidad del Espiritu Santo, in the unity of the Holy Spirit, todo honor y toda gloria, all honor and all glory, por los siglos de los siglos: through the ages of the ages:

Amen

Amen, Amen, si Señor, Amen! Amen, Amen, yes Lord, Amen!

Cordero De Dios

Cordero de Dios, que quitas Lamb of God, who takes away el pecado del mundo, the sin of the world, ten piedad de nosotros. have mercy on us. Cordero de Dios, que quitas Lamb of God, who takes away el pecado del mundo, the sin of the world, danos la paz! give us peace!

Words Like FreedomPoetry by Langston Hughes

Sung in honor of Martin Luther King Day, January 20, 2020.

There are words like FreedomSweet and wonderful to say

On my heart-strings freedom singsAll day, every day.

There are words like LibertyThat almost make me cry. Freedom!

If you had known what I know,You’d know, you’d know why.

There are words like Freedom, mm, yeah!Free to pray, Free to love, Free to dance, Free to live, Free to love.

Free,Free, I wanna be free. Freedom, Freedom!

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Violin IVirginia Smedberg, ConcertmasterRachel Magnus HartmanHazel KeelanToshiya Nishi

Violin IILisa ZadekOleks MakarenkoMargaret HallKay Wang

VioloncelloRobin SnyderJennifer Mathers

ContrabassMarie Laskin

ContinuoAnna Khaydarova

OboeLianne ArakiAlayne Gyetvai

French HornCathleen TorresDavid Dufour

TrumpetGuy ClarkLaura Shea-Clark

TimpaniDoug Chin

GuitarEd Daranciang

PercussionTim Whipple

SopranoDoris Arensberg-LehrJan GradyAmy JervisLauren HaberElena KozakSara McNinchPamela NissleyPat OsborneEtienne VickLily Yang

AltoBarbara GehrelsBarbara KelseyCatherine LymanCarol MeyerAnn RitterJennifer WisdomJoyce Wright

TenorLouise MorinAlison Yuen NybergHoward RobertsPierre Saint-Hilaire

BassMichel ConradEd DaranciangRobert KozakMatthew ReeveJeffrey SmedbergTim Whipple

Chorus & Orchestra Artistic DirectorShulamit Hoffmann founded Viva la Musica in 2001, and has since served as the organization’s artistic and executive director. Viva’s twenty-year legacy includes its twinned focus on established repertoire as well as the music of living composers; major choral-orchestra works as well as small-form choral works; eight performance tours, domestic and international, with choir, orchestra, and soloists; and collaborations with other arts organizations.

Dr. Hoffmann’s choirs performed at Carnegie Hall under John Rutter in 2008. In 200, she

made her own Carnegie Hall conducting debut in Vivaldi’s Gloria, and she returned to Carnegie last June to conduct Dan Forrest’s Requiem for the Living with a 160 voice choir, orchestra, and soloists.

Dr. Hoffmann has taught at the College of San Mateo since 2002, and, before that, at Idaho State University, Brigham Young University Extension Idaho, University of Cape Town, and the University of Witwatersrand. She is particularly gratified that several of her former students are themselves now college professors of music.

She earned her doctorate in music education from Teachers College, Columbia University, her dissertation entitled Expression in Live Choral Performance: Meanings, Modalities, Processes, Synergies. She holds masters degrees in both choral conducting and piano performance, a bachelor of music degree in music and English literature, and two licentiate teaching diplomas, from the Royal Schools of Music, London, and from the University of South Africa.

She has twice received Congressional Recognition Awards for service to her community (2013 and 2002), and her biography is entered into the Congressional Record of the United States. In 2013, she was the Foster City honoree for the San Mateo County Mayors’ Diversity Award. Named Outstanding Graduate Student in the School of Music and Dance at San José State University, she is also the recipient of scholarships from Columbia University, San José State University, the University of South Africa, and several national scholarships from her native South Africa.

She was a recording artist for the South African Broadcasting Corporation, and has served as festival adjudicator for the California Music Educators Association, and as program chair and president for local chapters of both the National Federation of Music Clubs and the California Music Teachers’ Association.

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Anna Khaydarova has served as Viva la Musica’s collaborative pianist since 2005, having sung with the choir in 2003-2004. Ms. Khaydarova received her bachelor’s degree with honors from Tashkent University, Uzbekistan, and her master’s degree from Notre Dame de Namur University, California. She was a prizewinner in the Bartok-Prokofiev-Kabalevsky International Competition in Redford, Virginia, and in an NDNU Concerto Competition, soloing with the Redwood Symphony. She is music director at Island United Church in Foster City, teaches

piano in San Mateo, and accompanies choirs at the Mozart School in Palo Alto. Ms. Khaydarova was the featured soloist in Beethoven’s Choral Fantasy in Viva la Musica’s December 2013 performances. Viva is enormously proud that Ms. Khaydarova has been chosen as accompanist for the MIDAM 2020 Vienna and Salzburg performance residency.

SoloistsLauren Haber, soprano, made her international debut as the title role of Suor Angelica with the Sienna Music Festival. Performances include Madame Lidoine from Dialogues des Carmélites with the Aaron Copland Opera Studio, Mimì from La Bohème with The CoOPERAtive Program, Ottavia from L’incoronazione di Poppea with the Aaron Copland Opera Studio, La Ciesca from Gianni Schicchi with the Queens Symphony Orchestra, and Suor Angelica with the New York Lyric Opera Theatre. As Artist in Residence with the New York Lyric Opera Theatre, Ms. Haber made her Weill Hall debut as Il Paggio in

Rigoletto. She has performed Mimì from La Bohème with the International Vocal Arts Institute in Canada, Donna Anna from Don Giovanni at the Westchester Summer Vocal Institute, Fiordiligi from Così Fan Tutte with the New York Opera Exchange, and Woglinde from Das Rheingold with the Hellenic Music Foundation; Elijah with the Queens College Symphony Orchestra, and Mozart’s Requiem and Carmina Burana with the Long Island Youth Symphony. She holds Master’s Degree in Vocal Performance from Manhattan School of Music, and was a participant in the Martina Arroyo Foundation Role Performance Seminar.

Collaborative Pianist Jacqueline Goldgorin, soprano, began her career in Los Angeles. Ms. Goldgorin has performed with Gateway Classical Orchestra, Chelsea Opera, Opera of the Hamptons, Opera on the Hudson, Connecticut Grand Opera, New York Metro Vocal Arts Ensemble, West Bay Opera and Opera San Jose. In concert, she has performed the Mozart Requiem as Soloist in Argentina, Uruguay and Brazil with Pacific Chorale and soloist in the Verdi Requiem with Gateway Classical Music Society. She made her San Francisco debut singing Paula in a concert of

highlights from Rio de Mujeres by Hector Armienta, and has enjoyed singing roles with Golden Gate Opera, Opera San Jose, West Bay Opera and Verismo Opera in the bay area. Recent engagements include Fiora in L’amore dei tre Re with Empire Opera, the premiere of a new work by Brent Miller with Magik*Magik Orchestra, a recital series of Spanish and Argentinian music in NYC and California, and soloist in Mozart’s Requiem.

Corey Head, tenor, specializes in Early Music with a special affinity to J.S. Bach. His solo concert performances include The Evangelist in Bach’s St. John Passion, and tenor soloist in the Magnificat, Christmas Oratorio and many of his cantatas. Oratorio roles include Ahasuereus in Handel’s Esther, “The Evening” in Telemann’s Die Tageszeiten, tenor soloist in Handel’s Messiah, and Vivaldi’s Dixit Dominus (RV. 807). He recently performed the role of Mordocai in Cristiano Lidarti’s Esther—in Hebrew—with both San Francisco Renaissance Voices and Albany Consort.

Other appearances include: Tenor Soloist in Bach’s B-Minor Mass, Mozart’s C Minor Mass, and Uriel in Haydn’s Creation; Tenor Soloist for Mozart’s Requiem and Orff’s Carmina Burana with Marin Symphony; The Moor in Rimsky-Korsakov’s Mlada and Charles Edward in Bernstein’s Candide both with the San Francisco Symphony; Tenor Soloist for San Francisco Concert Chorale in Carmina Burana and Britten’s Rejoice in the Lamb; Tenor Soloist in Jean Gilles’ Requiem, the role of

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Viva la Musica RepertoireChoral-orchestral

Orchestral *

Baroque (1600-1750)

Bach Easter Oratorio Bach Magnificat, BWV 243 Buxtehude Magnificat Charpentier Te Deum Corelli Christmas Concerto Op. 6, no. 8* Handel Messiah, Parts 1, 2, 3 Ignacio de Jerusalem Versos* Pachelbel Magnificat Pisendel Fantasie: Imitation des Caractères de la danse* Purcell Funeral March for Queen Mary* Ruggierri Gloria Torelli Christmas Concerto Op. 8, no. 6* Vivaldi Concert for Orchestra, RV 151* Vivaldi Concerto for Two Oboes, RV 535* Vivaldi Concert for Two Trumpets, RV 537* Vivaldi Dixit Dominus, RV 807 Vivaldi Gloria RV 589 Vivaldi Magnificat RV 610 Vivaldi The Four Seasons Concerti* Vivaldi Domine ad adjuvandum me festina, RV 593

Classic (1750-1800)

Abel Sinfonia Op 7 No. 6* J.C. Bach Magnificat C. P. E. Bach Magnificat H 722 Wq 215 Durante/Pergolesi Magnificat Pergolesi Stabat Mater Mozart Ave Verum Corpus, KV 618 Mozart Double Piano Concerto, K.365/316a* Mozart Triple Piano Concerto, KV 242* Mozart Coronation Mass, KV 317 Mozart Church Sonata for Orchestra, KV 329* Mozart Credo Mass, KV 257 Mozart Dixit and Magnificat, K 193

The Chamberlain in Cupid and Death, and the role of “He” in William Boyce’s Solomon: A Serenata, all with San Francisco Renaissance Voices; the role of Damon in Handel’s Acis and Galatea with both Marin Baroque and Marin Oratorio; Tenor Soloist in Beethoven’s Mass in C Major, Haydn’s Lord Nelson Mass, Vivaldi’s Dixit Dominus (RV 807), and C.P.E. Bach’s Magnificat all with Viva la Musica.

José Mendiola, baritone, has collaborated with many amazing bay area groups in his short career. His debut performance was on the opera stage as Alessandro, in the world premier of Where Angels Fear to Tread with Opera San Jose. Graduated from San Jose State University, he has performed with The Men Harmonics of the Choral Project in Cupertino, The Chamber Singers of San Jose State, The Silicon Valley Symphony Singers and other talented community ensembles.

Working with young musicians as a music instructor, he has taught voice and brass fundamentals through

the San Jose Youth Symphony. Mr. Mendiola has worked with The Los Altos United Methodist Music Ministry as the interim director of the Chancel Choir, collaborated with The Chris Bryant Guitar School in Los Gatos as a voice instructor, and is currently working as a Team Lead for the Pilot Team production of the Model 3 at Tesla Inc.

He looks forward to continuing exciting opportunities in the local music community. Frequently welcomed by Viva la Musica as a guest soloist, Mr. Mendiola is thankful and honored to work with such an accomplished ensemble.

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Dan Forrest Jubilate Deo Ola Gjeilo Sunrise Mass Ola Gjeilo Dark Night of the Soul & Luminous Night of the Soul Mark Hayes Gloria Ed Henderson (arr.) El Cielo Canta Stanley Hoffman Three Hannukah Pieces Lara Hoggard Personent Hodie Gustav Holst Christmas Day Hal Hopson Carols Karl Jenkins Adiemus Karl Jenkins Armed Man Mass Suite: A Mass for Peace Karl Jenkins (arr.) A Celebration of Christmas Karl Jenkins In These Stones Horizons Sing Karl Jenkins Stella Natalis Kirke Mecham Seven Joys of Christmas Glen McClure Kyrie (with steel drums) Henry Mollicone A Christmas Celebration Richard Nance A Child My Choice René Carlos Ochoa Misa del Pueblo Daniel Pinkham Christmas Cantata Ariel Ramirez Misa Criolla Ariel Ramirez Navidad Nuestra Robert Ray Gospel Magnificat Ottorino Respighi Ancient Airs and Dances, Suites 1 & III* John Rutter Brother Heinrich’s Christmas John Rutter Gloria John Rutter Mass of the Children John Rutter Magnificat Conrad Susa Carols and Lullabies Gwyneth Walker Rejoice!

Approximately 500 short choral worksfrom Medieval—Contemporary

Mozart Eine Kleine Nachtmusik, KV 525* Mozart “Per Pieta” Tenor aria with orchestra* Mozart Requiem, KV 626 Mozart Serenata Notturno, KV 239* Haydn Mass in Time of War (Paukenmesse), Hb. XXII:9 Haydn Missa in Angustiis (Lord Nelson Mass), Hb.XXII:11 Haydn Te Deum for Empress Maria Theresa, Hb.XXIIIc:2 Haydn Toy Symphony*

Romantic (1800-1900)

Beethoven Choral Fantasy Beethoven Mass in C, Op. 86 Beethoven Ninth Symphony Beethoven The Creatures of Prometheus Overture, Op. 43* Brahms A German Requiem Fauré Requiem Foote Aria and Gavotte for String Orchestra * Holst St Paul’s Suite* Schubert Magnificat in C, D. 486 Mendelssohn Die erste Walpurgis Nacht

Contemporary (1900-present)

LeRoy Anderson Sleigh Ride* Kim André Arnesen Magnificat Kim André Arnesen Requiem Carol Barnett The World Beloved: A Bluegrass Mass Randol Bass A Feast of Carols Randol Bass A Savior is Born Randol Bass Gloria Bernstein Suite from West Side Story Dwight Bigler (arr.) The First Noël Craig Bohmler Joy to All The World Benjamin Britten A Ceremony of Carols Craig Courtney A Musicological Journey through the Twelve Days of Christmas Richard Evans (arr.) Wexford Carol Dan Forrest Requiem for the Living

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Viva la Musica in Vienna & Salzburg

December 10—20, 2020Plus two travel days

Choristers and non-performers welcome.Celebrate Beethoven!

Perform Beethoven Ninth Symphony & Beethoven Mass in Cin Vienna, December 16, Beethoven’s 250th birthday

with Vienna Symphony Orchestra and soloists.Concert under professional management.

Perform Mozart “Coronation” Mass in Vienna December 14.

Welcome staff meet you at Vienna airport.Orientation meeting on arrival.Accommodations in four-star hotels in Vienna and Salzburg.Sumptuous buffet breakfast.Six city sight-seeing tours with licensed guides.

Luxury coach ground transportation.

Viva sings a concert of sacred choral musicin Salzburg’s historic Müllnerkirche.

Return to Vienna for group farewell dinner at a traditional Austrian restaurant.

Tour under the auspices of MidAm International, NYC.

For cost, registration, itinerary, and flight informationEmail shu@vivalamuisca.orgCall 650-346-5084

Donors2019

CorporateYourCause

Archangels Anonymous

AngelsCarol MeyerPierre St. Hilaire & Louise Morin

SeraphsLisa Reiche

Cherubs Art & Antoinette DenisonBarbara GehrelsJan GradyLinda HoustonJimmy & Jean KanBarbara KelseyJames Kleinrath, DDS& Melody SingletonCatherine LymanAlison NybergEithne PardiniAnn RitterMichael & Barbara SpitznerSandi Tatman PhDJoyce Wright

PuttiAnonymous (1)Hatsuko Arima-StenzelBetsy Daly-CaffellMichel ConradRobert KozakEleanor ManserSara McNinchEtienne VickJennifer Wisdom

Donors of Goods & ServicesLarry Keiffer, Box OfficeTherese Curotto, Terri Cook, Dan Caulfield, Jane Goold-Caulfield Front of HouseStanley Hutchinson, ITLarry Keiffer, BookkeepingKevin McAuliffe, Tax PreparationCarol Meyer, Bank CourierMichel Conrad, Stage ManagementMany Hands, Stage Crew

Viva la Musica BoardShulamit HoffmannStanley HutchinsonMatthew ReeveChristina Roman

Viva la Musica is a nonprofit public-benefit 501(c)3 corporation. Donations of cash and goods are tax-deductible to the extent of the law.

Donations can be made by check, cash, or credit card. Online, by mail, in person. As a one-time gift or in monthly installments.

Donate your vehicle, hassle free. http://www.vivalamusica.org/Donations/Car_Donations.html

Remember Viva in your will: Viva can accept planned gifts in the form of bequests, beneficiary designations, or appreciated assets such as stocks and bonds.

Web: www.vivalamusica.org | Email: music@vivalamusica.org | Call: 650-346-5084 Mail: 700 Promontory Point Lane #1303, Foster City, CA 94404

Facebook: VivalaMusica.org

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Viva la Musica!Performs in Vienna & Salzburgon Beethoven’s 250th birthday

Thursday, December 10—Sunday, December 20, 202010 day residency plus 2 travel days

Singers and non-singers invited to join the tour

Mozart “Coronation” MassShulamit Hoffmann, guest conductor

December 14, Vienna

Beethoven Ninth SymphonyPeter Tiboris, conductor

& Beethoven Mass in C Tim Sharp, guest conductor

December 16, Vienna

Sacred works for choirShulamit Hoffmann, guest conductor; Anna Khaydarova, keyboard

December 18, Salzburg

Accomodations, meals, sight-seeing tours, concerts, transportationUnder the auspices of MidAm International of NYC

Information: email shu@vivalamusica.org or call 650-346-5084