JERUSALEM:

Treasures from the Holy Land

Jordan Sramek (Founder/Artistic Director, tenor, psaltery, hurdy-gurdy) Bethany Battafarano, Anna Christofaro, Elizabeth Windnagel (soprano) Alyssa Anderson, Natalie Nowytski, Clara Osowski (alto) Garrett Eucker, Bradley King (tenor)

Mark Dietrich (bass)

David Burk (oud, cittern) with very special guests

Yair Dalal (oud, violin) Dror Sinai (percussion) Zafer Tawil (qanoun, violin, nay, oud, percussion)

JERUSALEM:

Treasures from the Holy Land

Minnesota Statewide Tour

Sept. 17-30, 2016

Universal calls of the Abrahamic faiths CALL to GOD: Shema’ hael CALL for PEACE: Da pacem Domine CALL to PRAYER: Adhan

Judaism (Yemenite tradition) Christianity (Roman tradition) Islam (Palestinian tradition)

Cives caelestis patriae Shfal Rouach Law hasha allah Vidi civitatem sanctam

Latin plainchant Shlomo Ibn Gabirol (1021–1053) Traditional Arabic nasheed Orazio Vecchi (1550–1605)

Palestina Hermoza y Santa

Traditional Sephardic (Sarajevo)

Instrumental: Sama'i Bayati (qadim) Psalm 137

Anonymous Salamone Rossi (ca.1570–1630)

Qubbat al-Sakhrah Yefe Nof Sallatu Allah

Traditional Arabic nasheed Judah Ha-Levy (1075–1141) Traditional Sufi nasheed

INTERMISSION Jerusalem, surge Palästinalied Instrumental: Muhayer Beshref

Carlo Gesualdo di Venosa (1561–1613) Walther von der Vogelweide (ca.1170–1230) Anonymous, Ottoman, ca.1500

Lamentationes cum quattuor paribus vocibus (1587) Irme quiero madre a Yerushalayim

Orazio Vecchi (1550–1605) Traditional Sephardic

Bakkara Abram

Maronite liturgical chant

Ahavat Hadassa Rabbi Shalom Shabazi, Yemen, 17th century Tala'al-Badru 'alayna / Ebtihal Traditional Sufi / Traditional Palestinian Yā ribon Alam Rabbi Israel Najara Zefat (1555–1628)        

Season Sponsors

Jerusalem: Treasures from the Holy Land

Thank you! The Rose Ensemble wishes to express its gratitude to the following individuals and institutions: • The clergy and staff of Christ Lutheran Church in Minneapolis and Pilgrim Lutheran Church in St. Paul for rehearsal space  • Patrick Spradlin, Jean Beckmann, George Marsolek and Central Lakes College, Brainerd • Ward Merrill and the staff at Backus Community Center, International Falls • Chris Bollman and Sacred Heart Music Center, Duluth • Amy Stearns, Beth Gilbert and the staff at the Historic Holmes Theatre, Detroit Lakes • Jeffrey Meyer, Bruce Vieweg, Roxane Case and Concordia College, Moorhead • Kevin Ramach and the staff at Ted Mann Concert Hall, Minneapolis • Matthew Farrell, Mary Jo Bot and St. Cloud State University • Darcy Lease Gubrud and Ridgewater Community College, Willmar • Dan Mahraun for transcription and research assistance. William Hudson for research assistance. • Dr. Stanley Romanstein for musicological assistance

• Dr. Bradley Miller, Jennifer Deane and the University of MN-Morris • Sister Lucille Matousek and the School Sisters of Notre Dame, Our Lady of Good Counsel Campus, Mankato • Jill Schroeder and the staff at Marshall High School • Karen Yant, Marshall Area Fine Arts Council • Patricia Arndt and the staff Lourdes High School, Rochester • Pete and Carol Parshall, Yaron Klein, and Jordan Sramek for hosting guest artists • Paul Riedesel, Action Market Research • Wagdy Elisha for Arabic transliterations and translations • Sam Black, Andi Casaus, Hanna Dorn, Stefanie Hofman, Jan Karon, Milan Kovacovic, Carol Parker, Jo-Ann and Frank Sramek, Joel Tracey, Elyse Carter Vosen • Thanks also to all Rose Ensemble volunteers who so graciously and selflessly offer their time and talents

Special thanks to these community businesses: • • • • •

Days Inn International Falls AmericInn of St. Cloud AmericInn Fargo South Country Inn and Suites Willmar Country Inn & Suites by Carlson

• • • • • •

AmericInn & Conference Center Mankato Super 8 Morris AmericInn Lodge & Suites Detroit Lakes AmericInn Marshall Boulder Tap House, St. Cloud Susan Brown, Mademoiselle Miel Chocolatier

4 The Rose Ensemble

About The Rose Ensemble Founded in 1996 by Artistic Director Jordan Sramek, The Rose Ensemble unites virtuosic artistry and scholarly research to produce imaginative and inspiring musical programs that connect each individual to compelling stories of human culture and spirituality from around the world. The Rose Ensemble’s repertoire, spanning over 1,000 years and 25 languages, brings to life rarely heard music from archives and manuscript libraries across the globe. In recent years, the Ensemble has thrilled audiences throughout the United States and Europe with unique programs illuminating the music, history, languages, and cultures of Malta, Hawaii, France, Ukraine, the Middle East, and Cuba. The Rose Ensemble maintains an active regional, national, and international touring schedule. In the past two years, The Rose Ensemble has presented concerts and outreach programs in over 30 cities in 16 states across the U.S., with appearances at the Indianapolis Early Music Festival (IN), Chautauqua Music Festival (NY), Madison Early Music Festival (WI), Academy of Early Music (MI), Camerata Musica (WA), Columbus Early Music (OH), and the National Gallery in Washington, D.C. The Ensemble was honored in 2014 to represent the U.S., by invitation of the State Department, at the biennial International Festival of American Renaissance and Baroque Music, Misiones De Chiquitos, in Santa Cruz, Bolivia. In 2017, The Rose Ensemble will represent the U.S. at the World Symposium on Choral Music in Barcelona, Spain and also perform at the prestigious Festival des Choeurs Lauréats in Vaison-la-Romaine. The Rose Ensemble musicians have received acclaim for their ability to perform both as an ensemble and as individual soloists while Mr. Sramek has been lauded for his diverse programming and ground-breaking research. The Ensemble is the recipient of the 2005 Margaret Hillis Award for Choral Excellence and took first place in both secular and sacred categories at the 2012 Tolosa (Spain) International Choral Competition. Mr. Sramek is the 2010 recipient of the Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal. The Rose Ensemble has produced ten critically acclaimed recordings and is preparing to record its 11th CD in 2017, Music of Baroque Malta.

About our Guest Artists Yair Dalal is a composer, violinist, oud player, singer and teacher. A prolific ethnic musician, he plays an important role in shaping the global world music scene. Over the last decade he has put out 12 albums that authentically represent Israeli, Jewish and Middle Eastern cultures, fusing them through music.   Much of Dalal’s work reflects his extensive musical skills in both classical European, jazz and Arabic music and also reflects the strong affinity he has for the desert and its inhabitants. Dalal’s family came to Israel from Baghdad and his Iraqi roots are embedded in his musical work. Whether on his own or with his Alol ensemble, Dalal creates new Middle Eastern music by interweaving the traditions of Iraqi and Jewish Arabic music with a range of influences originating from diverse cultural milieus. Dalal continually works to preserve musical heritages from becoming extinct: the Babylonian Jewish Iraqi musical heritage and the music of the Bedouins (the Sinai desert nomads).

Jerusalem: Treasures from the Holy Land



5

Over the years Dalal has performed in concerts and festivals worldwide in venues such as New York’s Carnegie Hall and Lincoln Center, Womad festivals from England to Australia and New Zealand, as well as a humble authentic nomad’s desert tent. Collaborating with top musicians from different disciplines and heritage, Dalal lectures at various music educational institutes and universities in Israel and worldwide. Besides his musical endeavors, Dalal is a peace activist. He devotes much of his time and energy building bridges of understanding and creativity between different cultures, particularly between Jews and Arabs. Dalal performed at the Nobel Peace Prize gala concert in 1994 honoring the Israeli Prime Minister Yitzhak Rabin, Foreign Minister Shimon Peres and Palestinian Chairman Yasser Arafat. Dalal has won several awards in Israel acknowledging his music and his contribution to Israeli music. He was nominated in 2000 for a Grammy as part of Jordi Savall’s ensemble and honored by the BBC Awards for World Music in 2003 for his achievements. Dror Sinai is an international performer, educator, and performing artist, as well as the founder of RHYTHM FUSION, Inc. in Santa Cruz, California. In 2002, he received the Gail Rich award for supporting the arts, and is a founding member of the World Music Committee for the Percussive Arts Society.   Dror has performed as a solo artist and has appeared in ensembles of many different musical styles with other talented artists, including Yair Dalal, Omar Faruk Tekbilek, Yuval Ron, and Alessandra Belloni.   Dror has presented lectures, clinics, and workshops to diverse audiences, including Universities, schools, community gatherings, adults and children, and has taught both professionals and amateurs. He has been a featured instructor for Spectra of the Santa Cruz Arts Council, and at clinics during PASIC (Percussive Arts Society International Convention). Working for world peace as a way of life, he taught and performed on the “Peace Boat,” as well as at The World Sacred Music Festival in Fes, Morocco in 2009.   Dror curated the Israeli Musical Instruments exhibit at the MIM-Musical Instruments Museum. Today he also leads musical and cultural explorations, bringing tour groups to Morocco. Zafer Tawil An accomplished Palestinian musician based in New York City, Zafer Tawil is a virtuoso on oud, violin, and qanoun, and is a master of Arabic percussion. He has performed with numerous musicians, ranging from the pop star Sting to avant-garde composer/performer Elliot Sharpe to masters of Arabic music such as Simon Shaheen, Chab Mami, Bassam Saba, and George Ziadeh, and many others. Zafer has composed music for a number of film soundtracks, most recently Jonathan Demme’s My Favorite American (not yet released), Rachel Getting Married, and the documentary Until When. He has held workshops on Arabic music at numerous universities throughout the United States. His recordings include “Mumtastic,” by Shusmo; Gaida Hinawi’s debut CD, “Levantine Indulgence”; and two CDs by Amir AlSaffar’s Two Rivers: “Two Rivers Musicians,” and the yet-to-be-released, “Enaana.” 

6 The Rose Ensemble

Texts, Translations & Program Notes For as long as human beings have gathered for a collective purpose, a signal or call has been employed, whether by using the voice, an object, or specialized instrument. Religious ceremonies often feature a call to prayer – a signal conveyed to members of the community indicating that it is time to engage in a scheduled prayer ritual. The Abrahamic faiths are no exception to this ancient practice, and calls are manifest in a variety of ways – whether utilizing the voice or signaling with bells or horns. In the world of Latin (Gregorian) chant, piecing together the evolution of a particular melody or text over several centuries and thousands of miles – although tedious – is entirely possible. Manuscripts containing early Latin chant (featuring all its various forms of notation and dialect) can be found today in libraries and archives across the world. But what remains of the tradition of early Hebrew chant (in its notated form) is hardly countless volumes of concrete proof but, rather, a mere handful of parchment fragments. Thankfully, the blessed ability of human memory and a preserved tradition over generations allows the Jewish chazzan to utilize specific musical modes and melodies, and the art of Hebrew cantillation, whether drawing upon Biblical or para-liturgical texts. Similarly, while the first notated examples of Islamic/Arabic chant did not appear until hundreds of years after that of Christian Europe, centuries of oral tradition, collective memory, and religious schools have indeed preserved Islamic recitation practices. The Muslim muezzin in modern times now draws from that ancient collective memory to recite the adhan from mosques around the world, five times a day, whether rooted in Egyptian modal and ornamental musical practices, or that of Turkish, Indonesian, Persian (etc.) and in the case of this concert, Palestinian. CALL to GOD: Shema’ hael

Judaism (Yemenite tradition, sung in Hebrew)

Shema’ hael Asher yishma’ bakolot, wehael hamakabel hatefilot.

CALL for PEACE: Da pacem Domine

Listen, oh, God who listens to the voices And God who receives the prayers.

Christianity (Roman tradition, sung in Latin)

REFRAIN Da pacem, Domine, in diebus nostris Quia non est alius Qui pugnet pro nobis Nisi tu Deus noster.

Give peace, O Lord, in our time Because there is no-one else To fight for us If not you our God

Rogate quae ad pacem sunt Jerusalem:et abundantia diligentibus te.

Pray for the peace of Jerusalem: they shall prosper that love thee

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS CALL to PRAYER: Adhan

Islam (Palestinian tradition, sung in Arabic)

Allahu akbar Ashhadu anna la ilaha ill Allah Ashhadu anna Muhammadan rasul Allah Hayya ala as-salah Hayya ala al-falah Allahu akbar La ilah ill Allah

The

baroque

orchestra Jacques Ogg

artistic director

Fresh, colorful performances, and joy-filled music making. Information about Lyra’s music, history, and people at lyrabaroque.org

Allah is the greatest I testify that there is no God but Allah I testify that Muhammed is the messenger of Allah Come to prayer Come to success/salvation Allah is the greatest There is no God but Allah

7

8 The Rose Ensemble Cives caelestis patriae

Latin plainchant

Chapter 21 of the Book of Revelation begins with John’s vision of the holy city, New Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. He goes on to describe the twelve foundations of the wall of the city, being garnished with all manner of precious stones. This gorgeous hymn describes three particular foundation jewels (and their mystical meanings) of the New Jerusalem. Theories vary widely about the historical performance practice of plainchant – or what is often referred to as “Gregorian” chant. Since the time when Christianity incorporated Latin plainchant into its fully-planned liturgies, early Medieval monastic communities in particular developed myriad approaches to chanting, varying regionally not only with regard to pronunciation of text and style of singing, but the usage (or non-usage) of instrumental accompaniment. The performance of para-liturgical texts (those describing spiritual ideas or events, often from sacred literature like the Bible, but not necessarily part of a structured liturgy) such as this hymn, were for centuries commonly accompanied by instruments of all kinds. Our presentation features a seemingly unlikely combination of plucked instruments with undeniable ancestry: the qanoun and the psaltery. In Europe’s Christian era, an instrument consisting of a soundboard with several pre-tuned strings that were plucked came into use. This instrument – the psaltery - was also known by the name canon (from the Greek word κανών , which means "rule", "principle", and also "mode") and was used to accompany cantillation or even the recitation of poetry. In comparison, the qanoun (Arabic: ‫ نوناق‬, qānūn; Greek: κανονάκι, kanonaki) is a string instrument played either solo, or more often as part of an ensemble, in much of the Middle East. As the historical relative of the santur (a hammered dulcimer of Persian origin) from the same geography, the qanoun is thought to trace its origins back to Assyria, where it may have been used in Mesopotamian royal courts and religious ceremonies.

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Cives celestis patrie regi regum concinite, qui est supremus opifex civitatis uranice in cujus edificio talis exstat fundatio.

Citizens of the father's realm, sing together to the king of kings, who is the almighty architect of that city beyond the skies, thus constructed and thus founded.

Saphirus habet speciem celestis throni similem designat cor simplicium, spe certa prestolantium, quorum vita et moribus delectatur altissimus.

The sapphire has a kind of beauty like the beauty of the heavenly throne; its meaning: the heart of simple folk who stand and wait in certain faith their actions and their way of life delight the heart of him on high.

Beryllus est lymphaticus ut sol in aqua limpidus, figurat votum mentium ingenio sagacium, quis magis libet mysticum summe quietis otium.

Beryl, pale yellow, crystalline like sunlight in the purest water, this signifies our inward prayers to the mind of those that understand; what delight greater can there be than the mystic quiet of holy rest?

Chrysoprassus purpureum imitatur concilium, est intertinctus dureis quodam muscillo jaculis hoc est perfecta cartias, quam nulla sternit feritas.

Chrysoprase, of royal purple shows the nature of good counsel, veined through with a little network of a dorian, mossy tint, it is like perfect charity uncowed by any savagery.

Jerusalem pacifera, hec tibi sunt fundamina, felix et deo proxima, que te meretur, anima, custos tuarum turrium non dormit in perpetuum.

Jerusalem, O peace bringer! All these stones serve as your foundations, happy, and next to God himself, is the soul that deserves to dwell in you. He who keeps and guards your towers will be forever unsleeping. Amen.

9

10 The Rose Ensemble Shfal Rouach (sung in Hebrew)

Shlomo Ibn Gabirol (1021–1053)

Shlomo Ibn Gabirol was an 11th-century Andalucian poet and Jewish philosopher. He published over a hundred poems, as well as works of philosophy, ethics, satire, and those exploring Biblical interpretation. Despite his short life, Ibn Gabirol won fame during his lifetime, and even more so after his death when his writings became more widely known. At the age of 28, he wrote his most famous book Mekor Chayim (“Origin of Life”), in the Arabic language; this philosophical work gained great popularity in its Latin translation Fons Vitae (“Fountain of Life”). The Arabic original was lost but the Latin version is fully preserved, and a Hebrew translation was published in 1926. The manner of Ibn Gabirol's death is shrouded in mystery: legend has it that he was trampled to death by an Arab horseman – ironically, the legendary tragic ending of another Jewish composer on our program, Rabbi Judah Ha-Levy. Shfal ruach berech vekoma akadmecha berov pachad veeima

Humble, inferior and worthless, I will welcome you with immense fear and awe

Lefanecha ani nechshav beeinai ketolaat ktana baadama

Before you I am considered in my eyes, a small worm in the ground

Melo olam asher ein kets legodlo hakamoni yehalelcha ubame

Entirety of the world, whom there is no end to His greatness, How can one like me praise you, and with what?

Hadarcha lo yachilun malachei rum veal achat ani kama vekama

Your grace cannot be contained by heavenly angels, let alone by me.

Hativota vehigdalta chasadim lecha tagdil lehodot kol neshama

You have been gracious and expanded your kindness, every soul will greatly thank you.

Ashacher el bereshit raayoni asher lishmo tehalel kol neshama

I will seek God in the source of my purpose, He, to whose name every soul will praise

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Law hasha allah (sung in Arabic)

11

Traditional Arabic nasheed

Translation/transliteration: Mr. Wagdy Elisha, PhD Candidate, Lutheran Theological Seminary at Philadelphia A nasheed is a spiritual or cultural song usually making reference to Islamic beliefs, history and religion, as well as current events. Our performance draws attention to the striking similarity between the melody of the previous piece, Shfal ruach, and this beautiful spiritual song for the Muslim feast of Ramadan.

La auhash Allah! La auhash Allah! Yala ya keram. La auhash Allah menka ya shahr al-seyam. La auhash Allah menka ya shahr Ramadan.

May God not let you go! May God not let you go! Let’s say it O honorable people. May God not let you go O month of fasting. May God not let you go O month of Ramadan.

La auhash Allah menka ya shahr Ramadan. La auhash Allah menka ya shahr al-Qur’an. La auhash Allah menka ya shahr al-ghofran. La auhash Allah menka ya shahr al-ehsan.

May God not let you go O month of Ramadan. May God not let you go O month of Qur’an. May God not let you go O month of forgiveness. May God not let you go O month of charity.

Inna shahr al-Saom wallah. Wallah rahelan. Yaghfero al-Mawla li-man sala wa-sama.

The month of fasting has gone, gone departing. The Mighty God forgives [the sins] for all who pray and fast. Indeed, the Mighty God forgives [the sins] for all who pray and fast.

Ahe, Yaghfero al-Mawla li-man sala wa-sama. Inna fi al-Jannah baban khaledan esmoho alRayyan.

The Jannah [Paradise] has an eternal gate called alRayyan.

Men ajli al-soyaam. Ahe, aismuho al-Rayyan men ajli al-soyaam.

It is for fasters [to enter from it]. Indeed it is called al-Rayyan for fasters of Ramadan.

CLASSICAL MPR PRESENTS

PICTURE YOURSELF IN A WORLD-CLASS STUDIO

Attention, classical instrumentalists, singers and composers, aged 14 – 18! Now’s your time to shine in our annual showcase. Semi-finalists will record in our world-class studio and hear their work on Classical MPR. Finalists will perform — or have their compositions premiered — in a live broadcast from the Fitzgerald Theater. ®

SUBMISSIONS OPEN NOW THROUGH DECEMBER 5, 2016, AT 9 A.M. Enter at classicalmpr.org/varsity

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Vidi civitatem sanctam (sung in Latin)

13

Orazio Vecchi (1550–1605)

Orazio Vecchi was one of the Italian Renaissance’s most gifted writers. He was a prolific creator of dozens of published madrigals and canzonettes – light, entertaining, skillfully written music for small groups of singers. Vecchi broke new ground by weaving together solos, duets, poetry, and music for greater numbers of singers into a full evening’s entertainment – the so-called “madrigal comedy.” As prolific and celebrated as Vecchi was in the world of secular music, he devoted his life to composing, conducting, singing and playing music for the Catholic Church. During his lifetime, Vecchi published four volumes of sacred choral music: two collections of motets scored for 4-8 voices (included therein this setting of Vidi civitatem sanctam), a collection of 32 hymns for use throughout the church year, and his setting of the Lamentations of Jeremiah, found in our program’s second half. Vidi civitatem sanctam Hierusalem novam descendentem de coelo a Deo paratem, paratam sicut sponsam ornatam viro suo. Alleluia.

I saw the holy city, New Jerusalem, coming down out of heaven from God, made ready as a bride adorned for her husband. Alleluia.

Pilgrim Lutheran Church St. Clair Sunday Evenings

PROUD HOST OF ROSE ENSEMBLE REHEARSAL & PERFORMANCE Contemplative Evening Worship Resumes September 11 for our 2016-2017 Season

2nd, 3rd & 4th Sundays 6:51 pm

Celtic Contemplative Communion a Celtic journey into the mysteries

Compline: Contemplative Night Prayer Featuring the Minnesota Compline Choir

Nordic Contemplative Evening Prayer Celebrating the rich and haunting music of the Scandinavian peoples

Come at 6:30 pm for an extended prelude by that month’s guest musicians.

Upcoming at

Pilgrim Lutheran Sunday Sept. 18, 6:51pm DEBUT of Compline: Contemplative Night Prayer Sunday Oct. 16, 8:30 & 11:00 am Nordic Morning Prayer Wednesdays, Oct. 26 & Nov. 2, 6:15 pm Sun, Oct. 30, 9:45 am "Reformation Church—Being Lutheran" Forums by Bishop Peter Rogness Wednesdays, Nov. 9 & Nov. 16, 6:15 pm Forums on faith formation, by Dawn and Jonathan Rundman Christmas Eve: 4 pm — Intergenerational 6:51 pm — Celtic 10 pm — Festival

Pilgrim Lutheran Church 1935 Saint Clair Avenue Saint Paul 55105

A Home for Hungry Minds and Souls An ELCA Congregation A Reconciling in Christ Congregation A Caring for Creation Congregation Pastor Carol Tomer, Lead Pastor

PilgrimStPaul.org – 651-699-6886 Sunday Worship at 8:30 & 11:00 am , Sept. 18-May 14 Sunday Worship at 9:30am, Summer & Dec. 18-Feb.19

14 The Rose Ensemble Palestina Hermoza y Santa (sung in Ladino)

Traditional Sephardic (Sarajevo)

We can describe Jewish Music as having three distinct “streams.” One is the Ashkenazi, or Western stream, which includes Klezmer, and is music originating in Eastern Europe and extending to the rest of Europe and the Americas. The second stream is the Sephardi, which refers to Mediterranean cultural sources, including Spain, Portugal, North Africa, Greece, and Turkey. The third stream is the Mizrahi, literally ‘Eastern,’ and refers to the music of Jewish people who resided for centuries amidst Arabic cultures. Of course these three streams are not completely separate, but intersect in many places. Sephardi literally means ‘Spanish,’ and alludes to the fact that until the Spanish expulsion of all non-Christians in 1492, a very fruitful Jewish culture existed in Spain; when these Jewish communities were expelled they migrated to places all around the Mediterranean basin - Morocco, Egypt, Turkey, Greece, etc. They took with them a 15thcentury version of Spanish called Ladino (Judeo-Spanish), in which most Sephardic songs are written. Over the centuries Ladino has integrated many Hebrew words as well as words from the various tongues spoken where these Jews made their homes. The interaction between these peoples and the communities in the countries where they lived, gave rise to a cultural expression that incorporates many melodic and rhythmic elements of the Mediterranean. Palestina hermoza y santa cuanto sos dezventurada alevanta y tú sola canta que tú deves ser nuestra morada

Palestine, beautiful and holy, how wretched you have become. Rise up and sing, because you should be our home.

En pensando en la tierra santa mi cuerpo se hinche de tremblor el stado tuyo me encanta mi alma se hinche de dolor.

Thinking about the holy land, my body fills with trembling. Your plight captivates me, my heart fills with sorrow.

Tierra sos del Criador bendicha cuanto sos lexos de tus hijos ma tu hemozura mos haze paz y amor ariento el coraçón.

Land blessed by the Creator, even though your children are far from you, your beauty gives us peace and love in our hearts.

Instrumental: Sama'i Bayati (qadim)

Anonymous

This piece’s title tells us several things about its musical form. Sama'i is the 10-beat Iqa' (rhythmic mode or pattern), Bayati is the predominant maqam (melodic mode or scale), this one particularly “minor” sounding, where there is typically a microtone on the second degree of the scale. Qadim can be translated to “old.” Modern Sama'i form typically includes a 3/8 section stated after all four khana, or thematic verses, and the taslim, or recurring main theme. The lack of a 3/8 section in this Sama'i further supports the common notion that this piece dates back at least 200 years.

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Psalm 137 (sung in Hebrew)

15

Salamone Rossi (ca.1570–1630)

By the time of the Renaissance, there were few other places west of the Rhine where a Jew could live (Spain, England and most of France had expelled all their Jews by 1500). But at the enlightened court of Mantua (the seat of royal luxury and artistic magnificence), Jews were not only tolerated, but often allowed to intermingle freely with non-Jews. In this atmosphere, Jews were affected in an exceptional degree by the prevailing literary, artistic and humanistic tendencies. The shining star of Jewish musicians of the Renaissance period, and a considerable musical figure in any context, was Salamone Rossi, a singer, violinist and composer at the court of Mantua from 1587 until 1628. During the period of his employment at Mantua, he wrote volumes of songs, dances and concert music for his Christian patrons who, in gratitude, exempted Rossi from wearing the stipulated Jewish badge of shame. Yet, on the other hand, Rossi was never totally assimilated into the Christian community, choosing himself to append to his name the word "Hebreo" -Salamone Rossi the Jew, and remaining actively involved with Jewish actors and musicians. In the field of instrumental music Rossi was a bold innovator (he is known as the father of the trio sonata). But it is undoubtedly in the field of synagogue music that we find Rossi' s most daring work. For hundreds of years, Jews had clung to an ancient musical tradition whereby instruments were banned from the synagogue as a sign of mourning for the destruction of the ancient Bet HaMikdash. New melodies of gentile origin were considered a deviation from the pure Near-Eastern tradition, and, as such, were forbidden. But Rossi and his Jewish contemporaries began to question why the music of their synagogues should continue to sound so “old-fashioned.” And once strictly segregated Jewish neighborhoods (called ghettos) were established in Mantua in 1612 (surprisingly late, considering Venice’s first Jewish ghetto was established in 1516), Italian Jews were forced to turn increasingly inward. Now their appetites for “new music” would be satisfied, and the synagogue would provide the venue. Rossi is the first Jew ever to compose, perform and publish polyphonic settings of the synagogue liturgy for mixed choir. In the preface to the publication of this synagogue music, Rossi acknowledged the spiritual inspiration for his art: From the time that the Lord God first opened my ears and granted me the power to understand and to teach the science of music, I have used this wisdom to compose many songs. The Lord has been my strength and He has put new songs into my mouth. Inspired, I wove these into an arrangement of sweet sounds, and I designated them for items of rejoicing on the holy festivals. I did not restrain my lips, but ever increased my striving to enhance the Psalms of David, King of Israel, until I set many of them and shaped them into proper harmonic form, so that they would have greater stature for discriminating ears. In the year 1630 the great city of Mantua was stormed by invading Austrian troops. The Jewish ghetto was ravaged, its inhabitants fled the town and choral music was no longer heard in the synagogue.

16 The Rose Ensemble Al naharot bevel sham yashavnu gam bachinu bezochrenu et tsiyyon.

By the rivers of Babylon – there we sat down and there we wept when we remembered Zion.

Al aravim betochah talinu kinnoroteinu.

On the willows there we hung up our harps.

Ki sham she'elunu shoveinu divrei shir vetolaleinu simcha shiru lanu mishshir tsiyon.

For there our captors asked us for songs, and our tormentors asked for mirth, saying, "Sing us one of the songs of Zion!"

Ech nashir et shir adonai al admat nechar.

How could we sing the Lord's song in a foreign land?

Im eshkachech yerushalayim tishkach yemini.

If I forget you, O Jerusalem, let my right hand wither!

Tidbaq leshoni lechiki im lo ezkerechi im lo a'ale et yerushayim al rosh sim chati.

Let my tongue cling to the roof of my mouth, if I do not remember you, if I do not set Jerusalem above my highest joy.

Zechor adonai livnei edom et yom yerushalayim haomerim aru aru ad hayesod bah.

Remember, O Lord, against the Edomites the day of Jerusalem's fall, how they said, "Tear it down! Tear it down! Down to its foundations!"

Bat bavel hashsheduda ashrei sheyeshallem lach et gemulech shegamalt lanu.

O daughter Babylon, you devastator! Happy shall they be who pay you back what you have done to us!

Ashrei sheyochez venipets et olalayich el hassala!

Happy shall they be who take your little ones and dash them against the rock!

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Qubbat al-Sakhrah (sung in Arabic)

17

Traditional Arabic nasheed

The Dome of the Rock (Arabic: ‫ ةرخصلا ةبق‬Qubbat al-Sakhrah, Hebrew: ‫ עלסה תפיכ‬Kippat ha-Sela) is a shrine located on the Temple Mount in Jerusalem’s Old City. It was initially completed in 691 CE, built on the site of the Roman temple of Jupiter Capitolinus, which had in turn been built on the site of Herod's Temple (which was destroyed by the Roman’s 70 CE). The original dome collapsed in 1016 and was rebuilt in 1021. Aside from being one of the oldest existing masterworks of Islamic architecture, the site of the Dome of the Rock is highly significant for both Muslims and Jews, as what is commonly called the Foundation Rock is believed to be the place where Abraham attempted the sacrifice of his son (Isaac, as found in the Hebrew Bible, and Ishmael, according to Islamic tradition).

Talmaeo limaean al-barq. Yuharu bisr muta'ammiluha fi mahasinuha.

It is shining like a lightning. The sight of whoever contemplates it is dazzled by its marvelous beauty.

Wa-yaqsur lisan rayuha ean tamthiliha.

And whoever sees it will never be able to sufficiently illustrate its fascination.

Allah yafeal ma yasha' Allah yafeal ma yurid. Ma alhukm 'illa li-Allah alwahid alfard almajeid. Yaefu Allah bifadlihi eaman yasha' min aleabid. Wa-min waqf bibabihi yas'aluh 'an laa yakhib. Easahu ann yajud li biziarat 'ila alhabib.

Allah does whatever He pleases Allah does whatever He wants. The command is for none but Allah the unique, majestic and glorious. By His grace, Allah forgives whom He pleases of His servants. And whoever comes to His door asking, knows he will not be disappointed. I wish He graciously grant me a visit to the beloved (Muhammad).

18 The Rose Ensemble Yefe Nof (sung in Hebrew)

Judah Ha-Levy (1075–1141)

Yefe nof mesos tevel kirya lemelech rav Lecha nichsefa nafshi mpaatei maarav

Beautiful city, delight of the world, city of the great king! My soul yearns for you from the far-off west!

Hamon rahamay nichmar ki ezkere kedem Kvodcha asher gala venevcha asher charav

It saddens my heart to remember what you were before Your exiled glory and the destruction of your temple.

Umi itneni al kanfei nesharim ad Arve bedimati afarcha veytarev

If only I could fly to you on the wings of eagles, My tears would soak your soil and mingle with it!

Drashtich veyim malkech ein bach veyim bimkom Tsri giladech nachash saraf vegam akrav

I seek you though have no king; and though where once There was balm in Gilead, there are now only vipers and scorpions.

Halo et avanaich achonen veeshakem Vetaam regavaich lefi midvash yeerav

How can I not be moved by your stones and kiss them, When the taste of your earth on my lips is sweeter than honey!

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Sallatu Allah (sung in Arabic)

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Traditional Sufi nasheed

One of the challenges in creating a musical program such as this, which strives to represent equally the Abrahamic traditions of Christianity, Judaism and Islam - is the fact that while Christian and Jewish traditions provide scholars and performers alike with an abundance of repertoire, there is, in stark contrast, no Islamic liturgical music, save the chanting of the Qur’an (which, it should be noted, is not technically viewed as “music” in the Islamic tradition, and would nevertheless be inappropriate in this concert setting). Sacred music, however, should hardly be seen synonymously with liturgical music, and this program’s assembly of repertoire from a variety of spiritual traditions, historical cultural communities, and religious sects demonstrates that. Sufism can be defined as the inner mystical dimension of Islam. Practitioners of Sufism, referred to as Sufis, often belong to different orders or congregations formed around a mawla (grand master or guru), who traces a direct chain of teachers back to the Prophet Muhammed, whom Sufis regard as their leader and prime spiritual guide. Sufis strive for ihsan (perfection of worship) as detailed in a hadith (a description or “report” of the words, actions, or habits of the Prophet Muhammed): "Ihsan is to worship Allah as if you see Him; if you can't see Him, surely He sees you.” Classical Sufis are characterized by various traditions and practices, such as abstinence from worldly pleasures (often for the purpose of pursuing spiritual goals), the adoption of a frugal lifestyle, riddance of material possessions, abstinence from physical pleasures, and even body mortification and selfinfliction of pain. Historic Sufi communities, spreading across several continents, languages and cultures well over a thousand years are especially attached to the practice of dhikr, the repeating of the name of God. While some Muslims consider Sufism an intensification of Islamic faith and practice, others do not recognize it as legitimate sect of Islam. Moreover, while religious scholars have, in fact, categorized Sufism as a sect of Islam, others call it a mystical-ascetic aspect of Islamic teaching concerning with the purification of the inner self. In summary, it is important to recognize that relationship between traditional Islamic scholar, traditional Islamic belief, and Sufism is highly complex, and a range of scholarly and public opinion on Sufism in Islam has been commonplace for hundreds of years.

20 The Rose Ensemble Sallatu Allah, salamu Allah ealaa alhadi rasulu Allah.

Blessing of Allah, peace of Allah be upon our guide the messenger of Allah

Saraa alhabib 'ila alquds fdahu abi wanafsi.

The beloved took a journey to Jerusalem Me and my parents give up our lives for him.

Easaa tasfu bihi nafsi 'ilaa alssama' nahwa Allah.

My soul is purified by him and elevates up to heaven towards Allah.

Aya sakhratu almieraji, biki alrrasulu whhaj.

O the Rock of Ascension to heaven, thanks to you the prophet shines his own light.

Ata 'ilayki bi'ifraji maeahu jibril nahwa Allah.

He came to you to be released to heaven and Gabriel brought him up to Allah.

Muhammad 'aba alzzuhra arjjuka jud nazra.

O Muhammad, father of Al-Zahra (Fatima) I implore you to grant me a look.

Essaya 'ahzaa binazratn ziaratun la rasula Allah.

I wish I could enjoy the blessing of visiting the Messenger of Allah.

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Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Jerusalem, surge (sung in Latin)

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Carlo Gesualdo di Venosa (1561–1613)

Jerusalem, surge, et exue te vestibus jucunditatis;

Arise, O Jerusalem, and put off your garments of rejoicing;

induere te cinere et cilicio: quia in te occisus est Salvator Israel.

cover yourself with sack-cloth and ashes: for the Saviour of Israel has been slain in your midst.

Deduc quasi torrentem lacrimas per diem et noctem, et non taceat pupilla oculi tui. Quia in te occisus est Salvator Israel.

Let your tears run down like a river, day and night, and let not the apple of your eye cease. For the Saviour of Israel has been slain in your midst.

Palästinalied (sung in Middle-High German)

Walther von der Vogelweide (ca.1170–1230)

Nû lebe ich mir alrêrst werde, sît mîn sündic ouge sihet daz hêre lant und ouch die erde, der man vil der êren gihet. Nû ist geschehen, des ich ie bat: ich bin komen an die stat, dâ got mennischlîchen trat.

Now my life has gained its meaning Since these sinful eyes behold The sacred land with meadows greening Whose renown was often told. This was granted me from God: To see the land, the holy sod, Which in human form he trod.

In diz lant hât er gesprochen einen angeslîchen tac, dâ diu witwe wirt gerochen und der weise klagen mac und der arme den gewalt, der dâ wirt an ime gestalt. Wol ime dort, der hie vergalt!

To this land, so He has spoken, Shall a fearful judgment come. Widows' bonds shall then be broken And the orphans' foe be dumb, And the poor no longer cower Under sad misuse of power. Woe to sinners in that hour!

Nû lât iuch des niht verdriezen, daz ich noch gesprochen hân. Ich wil iu die rede entsliezen kurzlîch und iuch wizzen lân, swaz got mit dem menschen ie wunders in der werlt begie, daz huop sich und endet hie.

Now do not ignore I beg you All the things you heard me say I'll expound at last the matter Then ye shall be on our way All great deeds of awe and fear That have ever come to ear They began and end right here.

22 The Rose Ensemble Lamentationes cum quattuor paribus vocibus, 1587 (sung in Hebrew & Latin)

Orazio Vecchi (1550–1605)

Transcription and translation and contribution to program notes: Dr. Stanley Romanstein The Book of Lamentations (Hebrew: ‫ הָכיֵא‬, ‘Êykôh, from its incipit meaning "how") is a collection of poetic laments on the destruction of Jerusalem. In the Hebrew Bible it appears in the Ketuvim ("Writings"), beside the Song of Songs, Book of Ruth, Ecclesiastes and the Book of Esther (the Megilloth or "Five Scrolls"). In the Christian Old Testament, it follows the Book of Jeremiah, as the prophet Jeremiah is its traditional author. It is generally accepted that the destruction of Jerusalem by Babylon in 586 BC forms the background to the poems. The book is partly a traditional "city lament" mourning the desertion of the city by God, its destruction, and the ultimate return of the divinity, and partly a funeral dirge in which the bereaved bewails and addresses the dead. In Judaism, the book is traditionally recited on the day of fasting called Tisha B'Av ("Ninth of Av"), which calls the faithful to mourn the destruction of both the First Temple and the Second Temple. In Christian liturgical practice, the Lamentations of the Prophet Jeremiah are recited during the last three days of Holy Week – i.e., on Maundy Thursday, Good Friday and Holy Saturday – during Matins, the first Hour of the Divine Office. Vecchi’s four-voice setting of the Lamentations of Jeremiah was published in Venice by Angelo Gardano in 1587 and beautifully balances an emphasis on text with musical simplicity. Beyond the fundamental sharing of this Biblical text between Jews and Christians, this religious bond was even more explicit in the Renaissance, when composers of the day set the verses of the Latin translation beginning with a letter of the Hebrew alphabet: aleph, bet, gimel, etc. Incipit lamentatio Hieremiae prophetae.

The beginning of the lamentations of the Prophet Jeremiah.

Aleph. Quomodo sedet sola civitas plena populo. Facta est quasi vidua Domina gentium. Princeps provinciarum facta est sub tributo.

Aleph. How deserted lies the city once filled with people. How like a widow she is who was once great among the nations. She who was the queen among the provinces has become a slave.

Beth. Plorans ploravit in nocte & lacrime eius in maxillis eius. Non est qui consoletur eam ex omnibus caris eius. Omnes amici eius spreverunt eam & facti sunt ei inimici.

Beth. Bitterly she weeps at night and tears are upon her cheeks. Among her lovers there is none to comfort her. All her friends have betrayed her and they have become her enemies.

Gimel. Migravit Iudas propter afflictionem & multitudinem servitutis. Habitavit inter gentes nec invenit requiem. Omnes persecutores eius apprehenderunt eam inter angustias.

Gimel. After affliction and harsh labor Judah has gone into exile. She dwells among the nations; she finds no resting place. All who pursue her have overtaken her in the midst of her distress.

Hierusalem, convertere ad Dominum Deum tuum.

Jerusalem, turn again to the Lord your God.

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Irme quiero madre a Yerushalayim (sung in Ladino)

Traditional Sephardic

Only a few written examples of Sephardic music have survived. However, in addition to the descriptions of Sephardic musical practice taken from early sources, the Sephardim's oral heritage provides a guide to this immensely rich musical and poetic culture. Irme quiero madre A Yerushalayim A pisar las tierras Y artarme d'eyas

Mother, I want to go To Jerusalem To pluck the grasses And fill myself with them.

En el me arimo yo En el m'asiguro yo En el Senyor de todo el mundo

In Him I am supported In Him I see my own image, The Lord of all the world.

A Yerushalayim la veo d'enfrente Olvido mis hijos I mis parientes

To Jerusalem! I see it before me, I forget my children And my parents.

Bakkara Abram (sung in Arabic)

Maronite liturgical chant

Bakkara Abramol maamour bil waheedee saoubat_Tour Hayaa sickeena wan_nar wal wakouda Lebnel Bar Lamma hamma bil ghoulam Nadal_lahou ya Abram. La touzee bnakal habib Ebnee fee meleel ayam yafdeehee Fauouqas_saleeb.

At daybreak Abraham led his only son, at the order of God, toward the mountain. He had there ready the knife and the fire For the sacrifice. But at that moment, her heard God calling to Abraham, ‘Do not harm your only son. For my Son, through the coming years, will sacrifice himself on the cross.’

Nadathoul ommou Ibrahim bit_teeflee Ayna tath_hab. Nadaha tha sirron Aazeem ma baynee wabnee war_rab Entee fil beitee sallee qalat Ith_hab bissalam. Wal yahder_rabbou khoutak. yarda Anka wal ghoulam Yaqbal quorbana douaak.

The mother of the child to Abraham, ’Where are you going with the child?’ He replied to her, ‘This is a great secret between me, my son and God, so stay at home and pray.’ ‘Go with peace,’ she said, ‘God will lead your path and will be pleased with you and your son, and He shall accept your offering.’

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24 The Rose Ensemble Ahavat Hadassa (sung in Hebrew)

Rabbi Shalom Shabazi, Yemen, 17th century

The Bible and the Talmud record that spontaneous music making was common among the ancient Jews on all important occasions, religious and secular. Hebrew music was both instrumental and vocal. Singing was marked by responsorial, antiphonal, and refrain forms, and singing and dancing were accompanied by instruments. When the kingdom of Israel was established, music was developed systematically. The part played by music in the Temple was essential and highly developed. New instruments were the nevel, a harp; the halil, possibly a double oboe; the asor, a 10-stringed instrument probably like a psaltery; and the magrepha, an instrument of powerful sound, used to signal the beginning of the service. Various types of cymbals originally used in the Temple were prohibited after its restoration. Ritual music was at first only cantillation (recitative chanting), of the prose books of the Bible. Later the prayers and biblical poetry were chanted, presumably in a modal system similar to the ragas of Hindu music or the maqamat of Arab music, i.e., melodies with improvisations. And with the growth in importance of the synagogue came the rise of the chazan, or cantor.

Ahawat Hadasa a'l levavi nikshera waani betokh jola poa'mai solelim

The love of Hadassah (Israel) is tied to my heart And my steps are sunk deep in the exile.

Lu yesh reshut li aa'la eth'abera Tokh shaa'rey siyon asher hem nehelalim

If I could I would go up and join Within the gates of Zion which are praised.

Shah'rit waa'rbit bat nedivim ezkera Libi wera'-yonai beh'eshek nivhalim

Morning and evening I'll remember the daughter of Israel. My heart and thoughts are shaken with desire.

Bini'm zamirot mindod eto'raro Waani weraa'-yati berina sohalim

With music of psalms I'll wake up from wandering, My love and I will sing for joy.

Vinu a'dat kodesh beshira h'ubara H'atan wehakala beh'upa nikhlalim

We are connected to the holy community through songs, The groom and the bride become one under the wedding canopy..

Jerusalem: Treasures from the Holy Land TEXTS & TRANSLATIONS Tala'al-Badru 'alayna (sung in Arabic)

Traditional Sufi

Tala'al-Badru 'alayna, min thaniyyatil-Wada' wajaba al-shukru 'alayna, ma da'a lillahi da'

O the White Moon rose over us From the Valley of Wada' And we owe it to show gratefulness Where the call is to Allah

Ayyuha al-mab'uthu fina ji'ta bi-al-amri al-muta' Ji'ta sharrafta al-Madinah marhaban ya khayra da'

O you who were raised amongst us coming with a work to be obeyed You have brought to this city nobleness Welcome! best call to God's way

Marhaban Ahllan wa sahllan bika ya wajha elsurur Anta wallhi ya Mohamed anta muftahu alsudur

You are most welcome, O the visage of happiness. You are, I swear by Allah, O Muhammad the key to joy of hearts.

Ebtihal (sung in Arabic)

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Traditional Palestinian

Ya min kllma nudi 'ajab wa-min bijilalihi yunsh’u alssahaba.

Oh you, who responds to whoever calls and by His greatness, He creates clouds.

Wa-ya min kallama fi aldduja Musa bilatfen kalamen thumma alhamahu alrisalata wa-alkhitaba.

Oh you, who kindly spoke in the dark to Moses inspiring his message, and his speech.

Wa-ya min rdd Yussuf baed bueden wa-kan 'abuhu yantahibu anthabana.

Oh you, who restored Yussuf (Joseph) from his distance following the desperate complaints of his father.

Wa-ya min khssa Ahmad wa-astafah wa-smmahu hbybana wa-'aetaq fi shafaeatih alrriqaba.

Oh you, who chose Ahmad and elected him calling him the beloved, and accepting his intercession to liberate the slaves.

26 The Rose Ensemble Yā ribon Alam (sung in Aramaic)

Rabbi Israel Najara Zefat (1555–1628)

Yā ribon alam ve’almaya ant hu malka melech malchaya

Yah, Sovereign of all the Worlds You are the King of kings

Ovadei gevurtach vetimhaya shefar kodamai lehachavaya

Of Your mighty deeds and wonders It pleases me to proclaim

Shevachin assader tzafra veramsha lach Elaha kadisha di bera kol nafsha Irin kadishin uvnei enasha chevat bara ve’of shemaya

I offer praises morning and evening to You, holy God, creator of all souls Heavenly angels and mortals beasts of the field and birds of the sky

Ravrevin ovadach vetakifin makich ramaya zakif kefifin Lu yechi gevar shenin alfeen la ye’ul gevurtach bechushbenaya Lemikdashach tuv u’lekodesh kudshin atar di beh yechedun ruchin venafshin Vizamerun lach shirin verach’shin birushlem karta deshufraya

Great and mighty are your deeds shaming the proud and elevating up the humble Even if one lived a thousand years these would not suffice to tell of your mighty actions Return to Your Temple and to the Holy of Holies the place where all spirits and souls will rejoice There they will sing to You songs and praises in Jerusalem, the city of beauty

The Rose Ensemble Staff Jordan Sramek, Founder/Artistic and Executive Director Peter Carlson, General Manager Alyssa Anderson, Communications Associate and Assistant to the Executive/Artistic Director Holly Hearon, Development and Research Associate Jen Krook, Office Manager Board Richele Messick, President Andrea Specht, Vice-President Ty Inglis, Treasurer Pete Parshall, Secretary Jordan Sramek

Upcoming Touring Concerts Friday, Oct. 28 Clinton, NY Land of Three Faiths

Sunday, Oct. 30 Kalamazoo, MI Land of Three Faiths

Thursday-Friday, Dec. 1-2 Burlington, VT A Rose in Winter

Sunday, Dec. 3 Arlington, VA A Rose in Winter

Funding for this tour has been provided in part by the Otto Bremer Foundation.

Saturday-Sunday, Dec. 10-11 Milwaukee, WI A Rose in Winter

July 2017 World Symposium of Choral Music Barcelona, Spain Festival des Choeurs Lauréats Vaison-la-Romaine, France

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The Rose Ensemble



Foundation & Corporate Sponsors

Katherine B. Andersen Fund of the St. Paul Foundation Athwin Foundation F. R. Bigelow Foundation Boss Foundation Bremer Bank Brin Jewish Arts Endowment Greenwood Foundation Otto Bremer Foundation Anna M. Heilmaier Foundation Art and Martha Kaemmar Fund of the HRK Foundation

Thomas Ryan Mulcahy Fund of the Filia Foundation Mademoiselle Miel Chocolatier Mardag Foundation McKnight Foundation Minnesota Historical and Cultural Heritage Grant Minnesota State Arts Board Sampson Family Charitable Foundation Target Foundation Archie D. & Bertha H. Walker Foundation Wenger Foundation

Jerusalem: Treasures from the Holy Land

Rose Ensemble Donors—Thank You!

Donors

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This list represents donations made between August 25, 2015 and August 26, 2016. We strive for accuracy when acknowledging our contributors. If your name has been inadvertently omitted or incorrectly listed, please contact us at 651.225.4340. $10,000 to $15,000 Gayle and Timothy Ober, The Allegro Fund of the Saint Paul Foundation $5,000 to $9,999 Catherine Mayer Joseph S. and Jane Y. Micallef Paul and Joyce Riedesel Jean Schubert Joan T. Smith $2,500 to $4,999 M. Brian Hartz and Michael Boe Lorraine R. Hart Roger and Virginia Wilson $1,000 to $2,499 Anonymous (1) Misato Sakai and Dominique Conseil Laurie, Andrea and Jacob Gapko in memory of Josef Gapko Richard Geyerman in memory of Mindy Sue Geyerman, Daughter Douglas R. Heidenreich Joseph Hoopman matched by Aetna Foundation John and Ruth Huss, The John and Ruth Huss Fund of the Saint Paul Foundation Ty Inglis Ittner Family Fund of the InFaith Community Foundation Warren Howe and Jan Karon

Gerald Kollodge Eileen and Keith Lindberg Vicki and David McKenna, McKenna Family Fund Thomas and Sally Patterson James Payne Anne Jin Soo Preston and Mark Preston Douglas and Laura Rose Greg and Jenzi Silverman in honor of the fabulous Rose Ensemble musicians! Andrea Specht Jo-Ann and Frank Sramek Jordan Sramek in honor of Gayle and Tim Ober Arturo Steely Jennifer Turrentine Kathleen Van Bergen Terry and Susan Wolkerstorfer

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The Rose Ensemble

Donors

$500 to $999 Anonymous (2) Terry and Vicki Anderson Raymond Ottman and Daniel Baseman John and Grace Cogan Lin Brehmer and Sara Farr Stephen and Lynn Filipas Steven Guire and Diana Guire Knight matched by Google Jonathan Guyton Pete and Rebecca Helme James Balogh and Patricia Kosian Kenneth Maly Bill McJohn William North John Nuechterlein Pete and Carol Parshall Lisa and Andy Robertson Holly Hearon and Lorna Shoemaker Samuel Black and Kathy Stinnett $250 to $499 Anonymous (11) Lynn Abrahamsen Deborah McKnight and James Alt Alyssa Anderson Timothy Claus and Louise Anderson Robert Anderson in memory of Albert and Beatrice Bernsdorf Nina and John Archabal Jennifer and Drew Baese Henry and Diane Benz Peter Carlson and Brad Betlach matched by VOYA

Barbara and Michael Byrne Andrew Martin and Tom Crann Jeff and Dawn Daehn Karen L. Dingle in honor of Hilary Godard and Martha Ritter for their friendship and help Kevin Edberg Scott and Louise Fritchie Mr. Daniel Garvin John Hartman and Michele Gersich Sharon Giorgini James and Laurie Hacking Mary and Dan Haltvick George Skinner and Anne Hanley Merritt C. Nequette and Nancy Hartung Marty and Linda Haugen Cara Gould Holmberg and David Holmberg Alan Hyden Alfred and Sharon Kauth Nicholas Koch Marjorie and Theodore Kolderie Melodee Kornacker Adam Kuenzel Rick and Susie Macpherson Richele and Steve Messick Alfred P. and Ann M. Moore Jacques Ogg Tony Barrett and Tammy Ostrander Margaret Hustad Perrin and David Perrin Gregory and Ann Peterson Christopher Plum Paul Hanson and Steve Riendl

Bruce Rovner and Ann Barclay Rovner matched by Emerson Robert Lee and Mary Schaffner Julie Setnosky Mary Shamrock Sarah Shefelbine Don Helgeson and Sue Shepard Charles and Myrna Smith Monika Stumpf Thomas Sukowicz Mary Sue and Donald Wester matched by General Mills Susan Moore and Doug Winn Marilyn Benson and Tim Wulling $100 to $249 Anonymous (2) Brian Baldwin Carol Barnett John Michael Barone Caroline Bassett Marcia Benshoof in honor of Kathy Lee Lorelee Benz Lisa and Eric Berglund Robert Beutel in honor of Lois Yellowthunder Kathy and Tony Bibus Robert and Joan Bierscheid Kit Bingham D.J. Bitzan Jewelers, Inc Nicole Blume Peder Bolstad Holly Breymaier C.O. Brown-McClure Agency Christine Kraft and Nelson Capes Thomas and Candy Carlson Norm and Janet Carpenter

Jerusalem: Treasures from the Holy Land Ann Hayward Cathcart Steve and Cindy Chapman Pat Collins and Dan Cherryhomes Helen Cleveland David Couenhoven Stefan De Boel Carmel and Christopher DeMaioribus David and Gini Duval Judy Anne Dwyer George Ehrenberg Mike Elson Jake and Laura Endres Frank Fallon Sara and Karl Fiegenschuh Peg Flanagan Janet Folsom Michael H. Foote Frederick and Barbara Gable Rhonda Gilbraith Joseph Gillespie Walt and Reanna Gislason Bill and Paula Glade Sharon Kleckner and John Graham Jane Grunklee Sandra Hall John and Cricket Henley in honor of Dolores Burk Gordon E. Hermanson Steve and Lynn Hodulik Gerald and Merry Hoekstra Michael Hollerich Anne and Doug Hopper Linda Hucke Betty Hylden Kathleen Davis and Ron Inkala Ruth Johnson Joe and Georgia Kandiko Keith Relyea and Jeannie Kant

Kris and John Kaplan Stanley Kaufman Celeste Kawulok in memory of Marion Kawulok Anne Pierce and Gerald Kegler Miriam Kelen Linda Kelsey Paul Klaas James A. and Annearle M. Klein Amanda Knoke Drake Hokanson and Carol Kratz Patrick Krekelberg Joseph Kuznik Becky Lakowske Jim Lawliss Bob Lee Peter Lenagh in honor of Virginia Watson Linda K. Lingen Barbara Marquardt Jennifer Marshall and Matthew Haines Larry Martin Ann Martinsen Thomas R. McCallum Mary Ann Mcleod Janet Meany Clayton and Gerry Michaels Dennis Mirovsky Jim and Carol Moller M.M. Monahan Diane Mountford Alan Muirhead James Munn Steven C. Nelson Rebekah Njaa Fr. Michael O'Connell Carol and Doug Ogren

Donors

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Mary Harrington and Jessie Okie in memory of Susan Mary Shuman Okie Gerard and Louise Olson Robert and Gail Onan Elizabeth Ostenson Marion Ott Julie Owen Nancy Pasley Mary Dragich and John Pastor Carol Pearl Deborah Steinbar and William Petersen in memory of Sr. Mary Jean Tuttle, OSB Hans-Olaf Pfannkuch Daniel Pickens-Jones matched by Google Ted Policka Kate Power in memory of Warren Eason and Dorothy Bond Shewmon Manuela Ratner Julie Redmond Cheryl and Hugh Reitan Thomas J. Rice Thomas and Nancy Riley Jean Rivard Keith Rodli and Katharine Grant Louise Rosemark in memory of Jim Rosemark Jim and Sandy Rummel Paula Sanders Greg Sauve Lise Schmidt Kurt Schultz Susan Schwarze Janet Shefelbine Andrew Sigel

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The Rose Ensemble

Donors

Bernie and Juliana Simmons Robert Smith Nell Snaidas Cindy Spillers in memory of Sr. Roseane Giguere, CSJ Bill and Sara Stout Gary Strandemo in memory of Ana Maria Strandemo Linda Taylor Lawrence and Liz Tempel Claire Anne Thoen Dan Pennie, Elizabeth Pennie Thomas, and Sarah Pennie Thompson Doug Throckmorton in memory of DoraLee Delzell Throckmorton Kathryn Urberg Nancy Walton in honor of Eleanor H. Walton Barbara Weissberger Nancy Wellington Nancy Werner Graham Wood Wright's Music Street, Inc. Up to $99 Anonymous (28) Michael Wilson and Scott Abbott Sharon Abrahamsen Susan Achenbach Timothy Adams James and Georgene Angrist Eric Ansel Barbara Aslakson Sharon Bakker

Helen Balcome James Baltzell Adrienne Banks James Barnard Michelle Barry Scott Bartell Bonita Benson Thomas Bersell in honor of Donna and Dean Effinger Abbie Betinis Eric Betthauser Maureen Bird David and Patricia Borchert Lindsey Bordner Marilyn Borich John and Leni Broadhurst David and Susan Brostrom Cheryl Brown in memory of Kitty Andersen Christopher Brunelle Ellen Brynteson Carol Buche Steve Budas Elizabeth Capouch Cindy Carlsson Rosemary Caspar Catherine Casper Paula Cayemberg Patrice Cezzar Col. and Mrs. Paul W. Child Jr. Jane and Gary Clements Judy and David Cline Phyllis Conlin Katie Conlin Richard Conner Eleanor and James Coomber Mark Warnken and Nancy Coppa

Joanna and Dick Cortright Richard Cozine Irma Cragun Jon and Katherine Cranney Mary and Bill Cunningham Sharon D'Amico Melissa Dargay Daniel Davidson II Ann Davis Karen Davis Margot Demarais David and Jean Devries in honor of Dr. Jordan Sramek Lee Diekman Adele Dolan Linda Dolan in memory of Peter Post Megan Dolezal Frank Dreisbach Regina Driscoll Kevin Duffy David Duggan Traci Eaton J. Michele Edwards Donna and Dean Effinger Barbara Ekstrand Susan and Ronald Ellefson Robert Emery Judith Enfield Susanne Engstrom Jeff and Jan Everson Robert Farlee John Flynn Ruth and Robert Foster Yvonne Foster Patricia Gaarder Jan and Jim Gallagher Gayle Gaskill

Jerusalem: Treasures from the Holy Land TR Pottery LLC Kathryn-Ann Geis Amy Giddings Barbara Gill Katherine Goffin Florence and Eric Gossett Judith L. Grimes Ann Scheltens Gunter Michael Hagburg David and Sally Hagman Lois Hall Mary Korman and Lee Hanley Gil and Sally Hanson Jean Haskell Marguerite and James Hassett Herbert Hayek Alan Heider Maiya Henson Ruth Hetland Louise Hill Julie Himmelstrup Lanny Hoff Kristin Hoffman Richard Holappa Paula Holbrook Sara Hollingsworth Ivana Horacek Douglas Hoverson Kirsten Howard Mia and Marc Hoyer Richard Hruby John Hughel Shirley Huhn Edward Jackson Patricia Jakobsen L. Jardine Christine Jenkins Jill Jepson

Patricia Jimenez Amy Johnson Carol A. Johnson Darcie Johnson Deborah and Mark Johnston Bridgit Jordan Dr. Winston Kaehler Kathryn Kahn Crosby Kearsley Rodger Kelly Jerry Kester Neal Keye Wes Kim Joan Kimball Andy Mobley and Loretta KimmetMobley Mark King Margaret Kirkpatrick Terri Ach and Bunter Knowles Norine Knudsen Thomas Koberstein Ralph Koglin Don Phelps and Kathi Kones Leona Krieg Maelene Krig Mary A. Krohnke Jen and John Krook in memory of Thomas Krook Marit Lee Kucera Valerie and Jerome Kyllo Leo Lake Jeremy Lang Jay and Kathy Larsen Laurie Larsen Amy and Hans Larson Marilyn Leach Martha Lewis-Hunstiger Samuel Libra

Donors

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in honor of Kathy Lee Kip Lilly Stephanie Linstrom Ronald Low Myron Lowe Sheila and David Lynch-Salamon Judith Lyons Kimberley MacLennan Katherine Madson Kari Maffitt Beatrice Magee Marty Mahowald Daniel Mahraun Bob and Mary Ellen Manske Edward and Barbara Martinez Patty Martinson Rudy Maxa Harriet Mccleary Craig McDaniel Nancy and Gregory McDaniels Sandra McDonald Shannon McDonough Lisa McGowan Pamela Mcinnes Ralph McQuarter Beth Meester Cory Mehan Jane Mercier Dennis Hauck and Stephan Michaud Linda-Rose Michel In honor of Dr. Christopher Thompson and Monsieur Michel Dupont Kay Miller Robin Moede Meredith Montgomery Stephen Moore

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The Rose Ensemble

Donors

Alice Moormann Maryanne Moren Elizabeth Morgan Collete Moriarty David Morris Susan Morton Sarah Mothershead Martha Munger and Donald Mowry Josephine Musumeci Kunga Namgyal and Karma Tsomo Jennifer and Pete Newburg Chris Nickel-Felton Diane Niemela Rudy Niemiec Paula Nordhem in honor of Kris Kautzmann Lara and Tim Norkus-Crampton Doreen Nystedt Becky O'Brien Patricia O'Brien John O'Donnell Maria Teresa Olivari Rodney Olsen in memory of Laurie Garfield Duane Olson Diane Olson Joseph and Clara Osowski Steven and Karen Ostovich Winston and Cheryl Ostrow Paul and Barbara Otte Melanie Ounsworth William Pace Steve Parks Katharine Patterson Mary Payne in memory of Ancil N. Payne, Jr.

James Pearson in memory of Mark Smith Gary Peter Solvay Peterson Sherry Phillips Phil Platt Janice Plimpton Alexis Pogorelskin Karen Popovich Nancy and Bert Poritsky Rita Quigley Meghan Quinn Betty and Edward Radcliffe Vivian Ramalingam Mary Rapaport Gretchen Revie Martin Kreuzer and Patricia Richgels Rick and Lisa Marie Riddle Jude Rikala Avesa Rockwell Jacob Rodenbiker in honor of Anne Marie Hansen Maria Jose Martin and Tom Rowan in memory of Antonio Vega Laurence Ruggeri Stephen Russman Allen Salyer Coral Sampson Sandra Sandell Kristine Sawyer Kenyon Sayler Susan K. Schmidt Julie Schnell Christa Schulz Andrea Schussler Connie Schwartz Lorene Schweder

Katie Sheehan Suzanne Brust and John Shepard Harry Skye Karen Wilson and Ellie Slette Judith Smutek Deborah Sorenson Albert and Catherine Spottke Martin Stachnik Steven Stadler Sheila Pernot Stamps John R. Stanek Sharon Stenglein Donna Stephenson Cynthia Stokes Philip and Brielle Stoyke John M. Stuart Kim Sueoka Carolyn Sundquist Leslie Swenson Timothy Takach Erik Taketomo Jeanne Tanamachi Sean and Anne Taylor Tyra Taylor William J. Teska David Evan Thomas in honor of Pete Parshall Richard and Caroline Thompson Melita Thorpe Michael and Rachel Tierney Richard Trombley Debra Trumm Linda Trygstad Paul Tuff Peter and LeAnna Tuff Joan Velasquez Sylvester Vicic Jon Walsh

Jerusalem: Treasures from the Holy Land James H. Leslie and Lynnanne Warren Eric Watkins Daniel and Judith Waxlax in honor of People Who Truly Enjoy Music Christine and Dan Weatherman Leslie Wegener Jim Weiske Chris and Jill Westermeyer Mary White Gregory and Kathy Widin Norman Barrett Wiik Mary Willert Dyke and Katie Williams Willie's Supervalu Deborah Wills Carole Wilson Keith Wilson Joyce Windsperger-Rubio Eric Wolf Scott Wolfram Jerry A. Wright Lois Yellowthunder in honor of Robert Beutel Carolyn Young Theresa Zaske Susan Zubalik Yvonne Zubalik



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