Thank you for visiting the Minnesota Chorale in cyberspace!
Our mission calls us to “celebrate the human voice and its power to educate, unite, enrich, and inspire.” As long as the circumstances of fighting the spread of the coronavirus keep us from doing this work in person, we will use technology to live out our mission. Each week, we’ll post musical content online for you, vocal and instrumental selections performed by our artistic staff and singers, which we hope will lift your spirits in the challenging days ahead.
Our mission calls us to “celebrate the human voice and its power to educate, unite, enrich, and inspire.” As long as the circumstances of fighting the spread of the coronavirus keep us from doing this work in person, we will use technology to live out our mission. Each week, we’ll post musical content online for you, vocal and instrumental selections performed by our artistic staff and singers, which we hope will lift your spirits in the challenging days ahead.
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On August 1st, Brendon set out on foot from the George Floyd Memorial in Minneapolis, bound for Aurora, Colorado, a journey of nearly 850 miles. We caught up with Brendon just outside of Decorah, Iowa, for this week’s Musical Meditation. He sings “Beyond the Open Door” by the group Forgive.
For more info about Brendon’s prayer walk for peace and justice, and how you can support him along the way, please click this link. |
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The Minnesota Chorale and our family of choirs have had the good fortune to work with Brendon Adams and 29:11, the musical ensemble he founded and directs, on several projects in the past two years. Starting with our joint performance with the Minnesota Orchestra in celebration of the centennial of Nelson Mandela’s birth in 2018, through our concert tour of South Africa later that summer, and in concerts in the summer and fall of 2019, we have been thrilled at every opportunity to share the stage with 29:11, and we have shared our audiences' delight in their music-making.
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On this week’s Musical Meditation, Brendon Adams sings “Senzenina,” a deeply moving freedom song from South Africa whose history is intimately connected with the struggle to end apartheid. Brendon explains the importance and the meaning of the song in his comments that follow his rendition.
Beginning August 1st, Brendon is setting out on foot from Minneapolis to Denver, with the intention of completing a “prayer walk” for peace and justice. You can learn more about his journey and how to support him along the way at this link. |
In this week's Monday Musical Meditations we’re delighted to share with you this recording from a concert last fall by Border CrosSing. BC founder and conductor Ahmed Anzaldúa writes:
“Jazz pianist Mary Lou Williams wrote a large body of choral music during her life. These works are performed very rarely due to their obscurity and the difficulty in obtaining the scores. Most of this music came after she retired from performance for nearly four years at the height of her career and had a spiritual conversion. Her first record after she came back from retirement was a musical setting of the Catholic Mass. In 1962, the Catholic Church canonized the Peruvian Saint Martin de Porres, the son of a freed slave named Ana Velazquez and a Spaniard who refused to recognize him because he was born black. Mary Lou Williams wrote this piece to commemorate the event, and it is the opening track of her seminal record “Black Christ of the Andes.” St. Martin de Porres, venerated throughout Latin America, is the patron saint of those who seek racial harmony and was regarded as a miraculous healer during his life.”
“Jazz pianist Mary Lou Williams wrote a large body of choral music during her life. These works are performed very rarely due to their obscurity and the difficulty in obtaining the scores. Most of this music came after she retired from performance for nearly four years at the height of her career and had a spiritual conversion. Her first record after she came back from retirement was a musical setting of the Catholic Mass. In 1962, the Catholic Church canonized the Peruvian Saint Martin de Porres, the son of a freed slave named Ana Velazquez and a Spaniard who refused to recognize him because he was born black. Mary Lou Williams wrote this piece to commemorate the event, and it is the opening track of her seminal record “Black Christ of the Andes.” St. Martin de Porres, venerated throughout Latin America, is the patron saint of those who seek racial harmony and was regarded as a miraculous healer during his life.”
“St. Martin de Porres”by Mary Lou Williams
Border CrosSing Ahmed Anzaldúa, conductor Recorded in concert on October 19, 2019 at Church of the Ascension, Minneapolis |
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Dear Friends:
For the final Monday Musical Meditation in June, we pay tribute to our longstanding partnership with the Metropolitan Symphony Orchestra (MSO) led by conductor William Schrickel together with Executive Director Jon Lewis. Over the past twelve years, we have engaged in many collaborative programs with the MSO. Our most recent partnership occurred in March 2019 when we presented the world premiere of Jocelyn Hagen's The Notebooks of Leonardo da Vinci, an exciting multi-media work for chorus, orchestra, and video. This season marks William Schrickel's twentieth anniversary as music director of MSO. In thinking back on our work together, he especially remembers our November 2013 collaboration on Mahler's Symphony No. 2 presented at Central Lutheran Church in Minneapolis: For the MSO musicians and me to be able to perform with the Minnesota Chorale and you is a tremendous privilege. My peak musical experience in all my years as a performer was leading the Mahler “Resurrection” Symphony with the Minnesota Chorale. All of us in the MSO family are looking forward to our next shared concert. Today we share MSO's recording of Linda Tutas Haugen’s The Fable of Old Turtle for Narrator and Orchestra featuring Keith Bear performing on the Native American Flute. The recording was made in February 2014 with Keith Bear as soloist, Linda Haugen narrating, and William Schrickel conducting the Metropolitan Symphony Orchestra. We have included Linda's program note for reference. Thank you so much to the Metropolitan Symphony Orchestra, William Schrickel, and Minnesota composer Linda Tutas Haugen for allowing us to share this beautiful work. We cherish our ongoing partnership with MSO and look forward to the time that we can come together again around our shared passion for community collaboration and music making. Kathy Saltzman Romey Artistic Director |
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Bemidji Pioneer—Pat Rall—February 28 2013
When two cultures co-mingle to become one, the wisdom that ensues erases the earthly boundaries to become one spiritually.
This week Bemidji children have listened to the “Fable of Old Turtle” as narrated by composer Linda Tutas Haugen and Native American flutist Keith Bear. The story of Old Turtle by Douglas Wood, with illustrations by Cheng-Khee Chee in the new printing, reaches across generations and cultures with its message of love and forgiveness.
“I was in Grand Forks from 1999 to 2002, working under a three-year fellowship writing several musical pieces for the community,” Haugen said. “I discovered this book and I just loved it, it brought together a lot of different elements and I thought it would be appropriate for Grand Forks given there’s a river there.”
Haugen went on to explain how she wanted to bridge the different cultural groups in Grand Forks and she kept hearing about this wonderful flutist, Keith Bear, and they finally met. Haugen asked Bear if he would be interested in playing with an orchestra. Bear said he did not read music and so began the long journey they took together in composing the musical composition.
They started working together by phone; Haugen in the Twin Cities and Bear in North Dakota. Bear would play one of his flutes and Haugen would try to figure out how the sound of it could be translated into standard musical notation. In the end, Haugen listened to the sound of 27 flutes before she sat down to compose the music. The finished piece was first played by the Greater Grand Forks Symphony Orchestra in 2001 and at the Turtle Mountain Reservation in 2002.
Bear, whose native name is O’Mashi Ryu Ta-Northern Lights, is a Mandan-Hidatsa storyteller and flutist from Fort Berthold, N.D.
At concerts, he appears wearing the regalia that his wife, Jo Esther Parshall Bear, sewed from deer and elk shot by his sons; decorated with quill work and beading by his daughters, and leggings tattooed with the battle history of his people.
The horse hair hanging on the leggings denotes disgust with the weak warrior killed in battle. But the horse hair hanging from the tunic, near the heart, honors a brave warrior – one who gained respect even though killed in battle. On the front of the tunic hangs a white weasel, an animal known for its ability to master its environment and an eagle feather stands proudly at the back of his braided hair. Bear is an elegant man who speaks with great humility about his gifts.
And a man who enjoys the humor in ordinary life as Bear retold the story of how he first described the “key” of his instruments.
“I was working with a person from the National Symphony and she wanted to know what key(s) my flutes were in and I said monkey,” said Bear. “I just monkey with my flutes until they sound right to me. I have made over 40 flutes and each one is called by name: double barrel is shotgun; triple barrel is Gatling gun and my smallest piccolo is meadow lark. They are all made from in the traditional manner from cedar.”
“You know,” Bear added, “I learned to play by listening to the wind.”
When two cultures co-mingle to become one, the wisdom that ensues erases the earthly boundaries to become one spiritually.
This week Bemidji children have listened to the “Fable of Old Turtle” as narrated by composer Linda Tutas Haugen and Native American flutist Keith Bear. The story of Old Turtle by Douglas Wood, with illustrations by Cheng-Khee Chee in the new printing, reaches across generations and cultures with its message of love and forgiveness.
“I was in Grand Forks from 1999 to 2002, working under a three-year fellowship writing several musical pieces for the community,” Haugen said. “I discovered this book and I just loved it, it brought together a lot of different elements and I thought it would be appropriate for Grand Forks given there’s a river there.”
Haugen went on to explain how she wanted to bridge the different cultural groups in Grand Forks and she kept hearing about this wonderful flutist, Keith Bear, and they finally met. Haugen asked Bear if he would be interested in playing with an orchestra. Bear said he did not read music and so began the long journey they took together in composing the musical composition.
They started working together by phone; Haugen in the Twin Cities and Bear in North Dakota. Bear would play one of his flutes and Haugen would try to figure out how the sound of it could be translated into standard musical notation. In the end, Haugen listened to the sound of 27 flutes before she sat down to compose the music. The finished piece was first played by the Greater Grand Forks Symphony Orchestra in 2001 and at the Turtle Mountain Reservation in 2002.
Bear, whose native name is O’Mashi Ryu Ta-Northern Lights, is a Mandan-Hidatsa storyteller and flutist from Fort Berthold, N.D.
At concerts, he appears wearing the regalia that his wife, Jo Esther Parshall Bear, sewed from deer and elk shot by his sons; decorated with quill work and beading by his daughters, and leggings tattooed with the battle history of his people.
The horse hair hanging on the leggings denotes disgust with the weak warrior killed in battle. But the horse hair hanging from the tunic, near the heart, honors a brave warrior – one who gained respect even though killed in battle. On the front of the tunic hangs a white weasel, an animal known for its ability to master its environment and an eagle feather stands proudly at the back of his braided hair. Bear is an elegant man who speaks with great humility about his gifts.
And a man who enjoys the humor in ordinary life as Bear retold the story of how he first described the “key” of his instruments.
“I was working with a person from the National Symphony and she wanted to know what key(s) my flutes were in and I said monkey,” said Bear. “I just monkey with my flutes until they sound right to me. I have made over 40 flutes and each one is called by name: double barrel is shotgun; triple barrel is Gatling gun and my smallest piccolo is meadow lark. They are all made from in the traditional manner from cedar.”
“You know,” Bear added, “I learned to play by listening to the wind.”
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Jerry Rubino is the Artistic Director of Voices of Experience and a singer with the Minnesota Chorale. He is also a busy freelance musician in the Cities, holds a 30+ year position at Spirit of Hope United Methodist Church, and for the last five years has served in many capacities with the Twin Cities Gay Men’s Chorus, currently directing one of its small outreach ensembles, OutLoud!
Jerry writes: I’m so happy that I was asked to share this song with our Minnesota Chorale family and am proud that this arrangement was written by James Deignan, a local Twin Cities musician.
Just before this health crisis hit, we were preparing some repertoire for a concert that would address the issues surrounding stigmas and stereotypes. A brand new TTBB arrangement appeared on my desk of the song "True Colors" – made especially famous by Cyndi Lauper. As it became clear that we would not be able to continue to sing together in person, we wondered about producing one of these virtual videos of the song. Thankfully, one of the ensemble singers is skilled in the technology needed to create these recordings – and a project was hatched. In the midst of these unprecedented times, we also celebrate PRIDE. We remember that out of riots, PRIDE was born. As we hold our diverse family close to our hearts, we celebrate the rainbow of colors that make up our communities. It is not our intent to take focus away from current unrest but to celebrate the hard work of our community and show our support during this challenging PRIDE month. Please feel free to share this with those who may be encouraged by the message of the song. |
We are dedicating the month of June to recognize and celebrate the important work of our many artistic partners. This week in our Monday Musical Meditation, we uplift the incredible activity of long-time friends and collaborators – conductor María Guinand and composer Alberto Grau along with their chorus, the Schola Cantorum de Venezuela.
We first collaborated with the Schola Cantorum in 2000 at the international choral festival America Cantat III in Caracas, Venezuela. Two years later, our 2002 Bridges program featured conductors María Guinand and Cristian Grases along with artists from the Schola Cantorum de Caracas in a collaboration entitled North Meets South: A Festival of the Americas, which included the premiere of Guararé, written by Alberto Grau for the Minnesota Chorale.
Last summer, members of the Chorale joined Border CrosSing and alumni singers of the Schola Cantorum de Venezuela in performances with the Minnesota Orchestra of La Pasión según San Marcos (The Passion According to St. Mark) under the direction of María Guinand. Ahmed Anzaldua prepared the chorus in this powerful and demanding work, written by Argentinian composer Osvaldo Golijov which had been commissioned by Helmuth Rilling and the International Bach Academy of Stuttgart for the 250th anniversary of J.S. Bach’s death. The concerts were transformational for performers and audience members alike, and conveyed the power of choral music to unite and inspire. In this same spirit, I share the following message from María and Alberto:
We first collaborated with the Schola Cantorum in 2000 at the international choral festival America Cantat III in Caracas, Venezuela. Two years later, our 2002 Bridges program featured conductors María Guinand and Cristian Grases along with artists from the Schola Cantorum de Caracas in a collaboration entitled North Meets South: A Festival of the Americas, which included the premiere of Guararé, written by Alberto Grau for the Minnesota Chorale.
Last summer, members of the Chorale joined Border CrosSing and alumni singers of the Schola Cantorum de Venezuela in performances with the Minnesota Orchestra of La Pasión según San Marcos (The Passion According to St. Mark) under the direction of María Guinand. Ahmed Anzaldua prepared the chorus in this powerful and demanding work, written by Argentinian composer Osvaldo Golijov which had been commissioned by Helmuth Rilling and the International Bach Academy of Stuttgart for the 250th anniversary of J.S. Bach’s death. The concerts were transformational for performers and audience members alike, and conveyed the power of choral music to unite and inspire. In this same spirit, I share the following message from María and Alberto:
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Dear Friends:
From the Schola Cantorum de Venezuela, we want to convey to you our words of solidarity and friendship in these difficult moments that you and your community are experiencing. Today more than ever, our voices need to be heard as a song of fraternity and love for humanity. We need to strengthen our bonds as a Choral Planetarian family and share with families, friends, and community our continuous search for spiritual growth and for beauty. This is what we convey in our song Te Quiero with voices from all around the globe – many of them from Venezuelans who have had to migrate but keep the faith and hope in a more promising future. Now is a very important moment to be resilient, to maintain our choral spaces open and strong. We stand by you with our voices! SCHOLA CANTORUM DE VENEZUELA Alberto Grau and María Guinand Thank you to María, Alberto, and the Schola Cantorum de Venezuela for this message of love, hope, and encouragement, and for all that they do to promote global understanding and meaningful exchange within our singing community. Kathy Saltzman Romey, artistic director |
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About Te Quiero
Te Quiero is originally a popular song from the Argentinian composer, Alberto Favero on a moving poem of Mario Benedetti (b. 1920), one of the best-known poets from Uruguay. Benedetti’s solidarity with the Latin American people and the sincerity with which he expresses the social, political, and economic problems of the continent have won him world-wide recognition. This choral arrangement of Te Quiero by Argentinian Liliana Cangiano gives a new dimension to this work.
Translation of Te Quiero
If I adore you it is because you are my love, my intimate friend, my all;
and in the street, arm in arm, we are so much more than two.
Your hands are my caress, my daily affirmations.
I love you because your hands work for justice.
Your eyes are my lucky charm against misfortune.
I adore you for your gaze that looks to and creates the future.
Your mouth is yours and mine, your mouth is never mistaken:
I love you because your mouth knows how to cry out for rebellion.
And for your sincere face and wandering spirit and your weeping for the world--
because you are the people, I love you.
And because our love is neither famous nor naive,
and because we are a couple that knows we are not alone.
I want you in my paradise, which is to say, in my country;
I want the people to live happily even though they aren’t allowed to!
Te Quiero is originally a popular song from the Argentinian composer, Alberto Favero on a moving poem of Mario Benedetti (b. 1920), one of the best-known poets from Uruguay. Benedetti’s solidarity with the Latin American people and the sincerity with which he expresses the social, political, and economic problems of the continent have won him world-wide recognition. This choral arrangement of Te Quiero by Argentinian Liliana Cangiano gives a new dimension to this work.
Translation of Te Quiero
If I adore you it is because you are my love, my intimate friend, my all;
and in the street, arm in arm, we are so much more than two.
Your hands are my caress, my daily affirmations.
I love you because your hands work for justice.
Your eyes are my lucky charm against misfortune.
I adore you for your gaze that looks to and creates the future.
Your mouth is yours and mine, your mouth is never mistaken:
I love you because your mouth knows how to cry out for rebellion.
And for your sincere face and wandering spirit and your weeping for the world--
because you are the people, I love you.
And because our love is neither famous nor naive,
and because we are a couple that knows we are not alone.
I want you in my paradise, which is to say, in my country;
I want the people to live happily even though they aren’t allowed to!
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Dear Friends:
On this two-week anniversary of George Floyd’s brutal murder, we continue to support the collective call for justice and change as we also reflect on our own shortcomings as an organization, which mirrors systemic inequity and white privilege embedded within our communities. Local, national, and global protest have given voice to the vital importance of coming together to confront deep-rooted, societal racism and inequality. This week, our Monday Musical Meditation affirms the work and mission of Twin Cities ensemble Border CrosSing led by Dr. Ahmed Anzaldua: “To integrate historically-segregated audiences and musicians through the performance of choral music. We envision a landscape where singers and audiences more closely reflect the racial and cultural composition of the Twin Cities.” In our collaborations with Border CrosSing on El Messias and Osvaldo Golijov’s La Pasión según San Marcos, we have witnessed Ahmed’s incredible passion for reframing and adding to the choral canon with a focus on music and artists from Latin America. Border CrosSing has performed Demos Gracias on numerous occasions, most recently in summer 2019 as one of the movements from Osvaldo Golijov’s “La Pasión según San Marcos” presented in concerts with the Minnesota Orchestra, which brought together singers from Border CrosSing, the Minnesota Chorale, and alumni from the Venezuelan chorus Schola Cantorum under the direction of María Guinand. We are deeply grateful to Ahmed for allowing us to share this performance with you and for his ongoing work to elevate Latin American voices and music within our community. Kathy Saltzman Romey Artistic Director |
Demos Gracias
Osvaldo Golijov composed Demos Gracias as part of his Passion setting, “La Pasión según San Marcos.” Demos Gracias is a tribute to the mothers of the Plaza de Mayo. During the “Dirty War” (1976 to 1983), the Argentine dictatorship’s greatest rival proved to be a group of older women who, dressed in traditional clothes, stood every day at the Plaza de Mayo in front of the government palace and protested the loss of their children and loved ones. For decades they have continued to meet at the Plaza de Mayo to continue this protest until the government comes clean about what happened during the Dirty War. Demos Gracias is a set of variations on the theme of Todavía Cantamos, a protest song from this period which is introduced by the altos. The text is drawn from various psalms, with the central idea of preserving our faith in the face of the worst adversity. ––Ahmed Anzaluda |
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Dear Friends:
It has been a very challenging week in the Twin Cities. The passing of former Minnesota Chorale artistic director Joel Revzen on Monday, May 25th coincided with the horrific and brutal death of George Floyd. We grieve for both of these men and for the many victims of COVID, violence, and racism within our community, across this country, and around the globe. We especially mourn the recent destruction of so many family businesses and community spaces which serve neighborhoods throughout Minneapolis and St. Paul. In the midst of this tragedy, there has been an incredible outpouring of solidarity, generosity, and advocacy in acts of kindness and support for our community. We are so grateful for Twin Cities residents Brendon and Gaylene Adams, co-founders and leaders of the South African music ensemble 29:11, a 12-person group of eight passionate singers and four instrumentalists from Cape Town, South Africa. This inspiring ensemble of young people has become a partner of the Minnesota Chorale and Minnesota Orchestra during their annual 4-month residencies in the Twin Cities. They plan to return in February 2021 to continue their work in schools, churches, and civic settings, sharing their songs of love, hope, and reconciliation with our community. [http://nhiexchange.org/] Brendon has been on the streets of Minneapolis with his son praying, singing, and sharing words of comfort and love with all who will listen. Additionally, he has been working tirelessly on behalf of 29:11 members, who are living amidst the ever-growing COVID pandemic in South Africa and which is concentrated in city centers like Cape Town and Johannesburg. As an organization focused on international exchange, we find ourselves in an interesting predicament as we are not able to facilitate the usual physical exchanges we are accustomed to. With recent events most close to home here in Minneapolis, I find myself doing a double take and wondering if I am living through Apartheid all over again. So, every day I am seeking and discovering different opportunities to “exchange” both near and far to meet critical needs of the tangible, social and spiritual. Thank you for joining with us as we continue the fight for freedom, justice and equality. ––Brendon Adams |
This week, we lift up the message and ensemble of 29:11 in our Monday Musical Meditation with their most recent performance of Nkosi Sikelel' iAfrika, the pan-African liberation song and national anthem of South Africa. We reach out to all the members of 29:11 and our community with prayers of support and encouragement as we share in our collective battle with COVID, discrimination, inequity, and political injustice. Thank you Brendon and Gaylene for your work and for giving voice to the call for freedom, peace, and liberty for all. In Song,
Kathy Saltzman Romey, Artistic Director |
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Today in our Monday Musical Meditation, we celebrate the birthday of Barbara Brooks, who serves as Artistic Advisor and Principal Accompanist to the Minnesota Chorale. I have had the great privilege of working with Barb since I began with the Chorale in 1990. She is a deeply passionate artist, who brings incredible skill, insight, soul, and vibrancy to her coaching, accompanying, and music directing. In our thirty years of collaboration, I continue to be inspired and uplifted by her both personally and professionally. We yearn for the day when we can come together again with Barb in music making and community. Until that time, we thank her for all that she contributes to support the work of the Minnesota Chorale and enjoy her talent and artistry in this performance of J.S. Bach's Prelude in C# Major from the Well-Tempered Clavier.
From the entire Minnesota Chorale family, we wish her a very happy birthday and pay tribute to all that is wonderfully Barb! With deepest appreciation, affection, and admiration, Kathy Saltzman Romey, Artistic Director |
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For today's Monday Musical Meditation, we offer a musical tribute to the younger members of our Minnesota Chorale Family of Choirs.
Congratulations to those singers, who are graduating from Prelude and moving forward in our choir program, and to our graduating Minneapolis Youth Chorus seniors, who have significantly contributed to the community, engagement, and artistry of this wonderful ensemble for so many years. It is both a privilege and joy to be a part of your musical and personal journey. We want to thank Cindy Bergstrom, conductor of Prelude, for leading this choir of enthusiastic 3rd, 4th and 5th graders in our introductory choral experience which leads into the Minneapolis Youth Chorus. We also extend our deepest appreciation to conductor Patrice Arasim and pianist/associate conductor Walter Tambor for their incredible leadership of the Minneapolis Youth Chorus, our auditioned ensemble open to Minneapolis Public School students grades 6 and higher. MYC seeks to enrich the lives of participants by providing singers with the opportunities to develop their musical gifts in an environment dedicated to the celebration of diversity and pursuit of artistic excellence. We are extremely grateful to our talented conductors and to the many donors, who have so generously supported us in this work. Both programs are offered at no charge to participants with all costs borne by the Minnesota Chorale. Again, congratulations to all of our singers for a wonderful year of music making and community. We hope that singing will continue to be a part of your life now and in the future. Yours in Song, Kathy Saltzman Romey, Artistic Director Bob Peskin, Executive Director Alyssa Breece, Operations Director |
Edward Elgar, Pomp and Circumstance
Berlin Philharmonic – Simon Rattle, conductor Berlin Waldbühne, June 24, 2018 |
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Friends:
Today we offer a musical tribute to Minnesota Chorale's fourth artistic director Joel Revzen, who contracted COVID in mid April. This morning, his wife Cynthia shared the following encouraging news on CaringBridge: (LINK) "...Joel is making slow and steady progress - he asks all to continue to send those good vibes, and also to practice Patience. With him. For him. Thank you for your ever-flowing stream of good wishes. It is making such a difference." With the arrival of spring, we celebrate the return of sunshine and flowers, music in our community, and Joel's ongoing recovery with the final chorus from Haydn's Creation – "Singt dem Herren alle Stimmen!" ("Sing to the Lord, All Ye Voices!") from the 1995 recording with the St. Paul Chamber Orchestra and Minnesota Chorale under the baton of Joel Revzen. We hope you enjoy this anthem of praise and will join us in sending our support and prayers to Joel and Cynthia, and the hospital caregivers attending to COVID patients, who are helping to restore Joel to his vibrant, energetic, healthy self. Yours in Song, Kathy Kathy Saltzman Romey Artistic Director, Minnesota Chorale |
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This week, we feature Chorale executive director (and bass) Bob Peskin, singing with his a cappella quartet, The Fairlanes. He writes, “My career has always included performing both classical and popular music—each genre speaks to me in its own way."
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This week, Chorale artistic director Kathy Saltzman Romey introduces a selection featuring Minneapolis Youth Chorus pianist & assistant conductor Walter Tambor.
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This week, we’re happy to present Jerry Rubino, director of our Voices of Experience choir for senior adults, operated jointly with MacPhail Center for Music. A consummate musician—conductor, vocal music arranger and editor--Jerry is well known to local audiences as an extraordinary pianist. Make sure you’re all warmed up before hitting the “play” button on Jerry’s video, so you’ll be ready to sing!
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Download Song Lyrics By Clicking on the Title Below: |
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This week, we’re delighted to present one of the most brilliant pianists we know, Barbara Brooks. Our organization is fortunate to have Barbara as our accompanist and artistic advisor. Here, she plays "Nimrod" from Elgar's Enigma Variations. So turn up the volume, click on the link, and enjoy!
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