As Our Voices Begin to Risea world premiere concert event

August 16, 2012 7:00 pmAdmission $18

Temple Ahavat AchimMiddle StreetGloucester, MA

Proceeds to benefit The Grace Centera day center for the homeless sponsored by Gloucester’s places of worship

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This concert event is given…

in loving memory of Robert Taylor,who perished in the Middle Street Fire

for those who lost their homes in the burningof the Lorraine Apartments building

to memorialize the damage to theTrinity Congregational Church

and for the community support for therebuilding, opening and dedication

of the new Temple Ahavat Achim building

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TEMPLE AHAVAT ACHIM: OUR STORY

On the night of December 14, 2007, flames burst through the roof of an apartment building on Middle Street in Gloucester, Massachusetts. Embers blew onto the synagogue next door and Temple Ahavat Achim’s historic, 180-year-old building burned to the ground. Our Torahs, our sidurim, our library, our menorahs, our bimah - over a century of Jewish life lost in a night, now little more than an ash heap caked in ice and mud.

Poignantly, as the sun rose the next morning it was Shabbat, a time for Jews everywhere to gather for prayer and reflection. The sun also rose on our now homeless 105-year-old congregation. All seemed lost.

The Unitarian Universalist Church on Middle Street immediately took us in, however. Congregants and friends quickly filled the sanctuary as we began our prayers. The mayor, the governor, city officials, local clergy and neigh-bors joined us in our celebration of the Sabbath. Amidst the grieving, the congregation searched for renewal. Charred and soaked, stinking of the conflagration, all was hushed. No one present will ever forget the moment fire fighters, still ash covered themselves, crossed the threshold into our tem-porary sanctuary bearing remnants of our holy objects gathered from the smoldering pit: an offering of sympathy and sharing. The youngest of our congregation spontaneously began to sort through the refuse, carefully fold-ing the talit and stacking the kipa, symbolically restoring their place as holy objects, though now useless.

In our time of grieving we reminded ourselves that we are a congregation, of people not a building, not holy objects, but a community. Then our thoughts turned to finding a new home, rebuilding our temple, and embrac-ing the process of renewal. First we embarked on a program of fundrais-ing, discovering the generosity not only of our congregation but of Jews and non-Jews around the world who shared our grief. We rebuilt on the site of our destroyed building remaining in the midst of the other houses of wor-ship and in the midst of the Gloucester community which reached out to us in the depths of our despair. We created a building of bright, open and flex-ible space which today hosts this marvelous concert. As our voices begin to rise this afternoon in remembrance and celebration, we welcome you with open arms and hearts.

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PROGRAM

Shehechiyanu Larry Constantinefor violin, soprano, alto, tenor and a cappella choir

Sarah Wetzel, sopranoGillian Hurst, alto

Antanas Meilus, tenorScott Hufford, violin

featuring TAA ShirimElaine Byrne, Miriam Pett, Bonnie Polan,

Carole Sharoff, and Larry ConstantineBriana Polan, conductor

Adagio Samuel Barberfor strings (1910-1981)

Briana Polan, conductor

Prayer of St. Gregory Alan Hovhaness for trumpet and organ (1911-2000)

Thomas M. Palance, trumpetPriscilla Walter, organ

Concerto in G minor, RV 439 Antonio Vivaldifor flute, keyboard, and strings (1678-1741) Movements I & VI

Briana Polan, flutePriscilla Walter, piano

Thomas M. Palance, conductor

Elijah, Op. 70 Felix Mendelssohn (1809-1847) No. 3 “Ye people, rend your hearts” No. 4 “If with all your hearts ye truly seek me” No.31 “O rest in the Lord, wait patiently for Him” No. 39 “Then, shall the righteous shine forth”

Gillian Hurst, altoAntanas Meilus, tenor

Briana Polan, fluteMark Dirksen, conductor

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Alleluia Randall Thompsonfor a cappella choir (1899-1984)

Cal Kline, conductor

Cantata No. 2 “As Our Voices Begin to Rise” Robert J. Bradshawfor trumpet, choir with soloists, piano and strings (b.1970) I. Holy, Holy, Holy II. Avinu Malkeinu III. Prayer IV. 11:46 p.m.: Anne Burton calls 911 V. 12:30 a.m.: The fire escalates to eight alarms and Temple Ahavat Achim is engulfed by the raging inferno VI. 9:00 a.m.: Firefighters carrying items salvaged from the synagogue enter the Unitarian Universalist Church where Jewish congregants are holding Sabbath services VII. December 20: The fire is extinguished VIII. June: Temple Ahavat Achim will rebuild on Middle Street

Wendy Betts, sopranoSarah Wetzel, sopranoAntanas Meilus, tenor

Robert J. Bradshaw, conductor

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ABOUT THE PREMIERE

dedicated to the Temple Ahavat Achimand all who were affected by the Middle Street Fire

Cantata No. 2

As Our Voices Begin to RiseDecember 14, 2007

for trumpet, SATB choir w/soloists, piano and strings

byRobert J. Bradshaw

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NOTES

In December 2007, tragedy struck the city where I live. An eight-alarm fire raged in downtown Gloucester, destroying an apartment complex, the Temple Ahavat Achim and taking a man’s life, the caretaker of Trinity Con-gregational Church. Although the city was very lucky that all of downtown was not destroyed - due to the hard work of the firefighters and a thick blan-ket of newly fallen snow that helped extinguish embers on rooftops - I could not stop thinking about the loss.

The next day we found ourselves driving through the area and my wife asked me to pass by the street where it happened. I was not prepared. How many times had I stood on that corner? Swimming lessons at the YMCA across the street. Library visits to the right. Performances at Trinity on the left. I could go on and on…

Everything was covered with ice and illuminated by spotlights. No photo-graph could ever capture what I saw. Then, my son noticed there was smoke rising from the rubble and firefighters were still dousing the site with water. From the backseat I heard, “Daddy, why is it still burning? Will it get to our house?” This was not an idle question. I could hear the terror in his voice. For days, he kept mentioning the fire and asking if we were in danger. If he was this deeply affected, how much pain were the people feeling who were directly involved in the fire? These emotions could not be ignored.

When I sat down to write, a flood of frenzied thoughts filled my staves and overtook the original plan for the composition. Taking stock, I carefully began to structure the rhythmic, melodic and harmonic elements into cohe-sive musical ideas and began to organize them in the computer. As meticu-lous as I am when it comes to composing, I am equally so when researching my program notes or printing the scores and parts. Therefore, I also began to research the two themes I had decided to include in the work. It was ap-parent, right from the beginning, that I would be writing a polytonal work. To me, this was an appropriate way to represent the many different perspec-tives of the people involved in the tragedy.

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This composition begins with the performance of two melodies that in-spired the creation of the work: “Holy, Holy, Holy” and “Avinu Malkeinu”. Due to the fact that this piece was first performed at the Temple Ahavat Achim in Gloucester, Massachusetts, the melodies were presented by the string orchestra and not sung. However, if this cantata is being performed in a setting where it would be appropriate to sing the original versions of these wonderfully spiritual works, I encourage the performers to do so - even so far as including the audience (or congregation) in the performance by print-ing the words and melodies in the program.

• • • • •

I Holy, Holy, Holy

“Holy, Holy, Holy” is a hymn (text) written by Reginald Heber about the Trinity as taught by Christian Theology. It was originally intended for wor-ship on Trinity Sunday, which occurs eight weeks after Easter. Although Christian hymns are frequently based on familiar melodies, this music was composed specifically for the text by John Bacchus Dykes in 1861. Dykes set over 300 hymns. Many of his works are still sung during worship services today.

• • • • •

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II Avinu Malkeinu

The melody of “Avinu Malkeinu” is based on the mode called “Ahava Raba”, common to Jewish prayers and Klezmer music. This scale is the 5th mode of the G Harmonic Minor scale: D, Eb, F#, G, A, Bb, C.

Expanded and adapted over time, the text of this ancient prayer is included in services from Rosh Hashanah through Yom Kippur. It is not however, re-cited on the Sabbath, as the Sabbath is a day of joy. It is recited while stand-ing before the open Ark, and after the repetition of the Amidah.

The Talmud credits the origin of this prayer to Rabbi Akiba: “Once Rabbi Eliezer came before the Ark and recited the 24 blessings (said on fast days), but his prayer was not answered. Rabbi Akiba then came before the Ark and exclaimed, ‘Our Father, our King, we have no king but you; our Father, our King, have mercy upon us for Your own sake!’ whereupon the rain fell” (B. Taanit 25b).

• • • • •

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III Prayer (Brikh Rachamana)

B’rich Rachamana, Malka d’Alma, Maray d’hai N’shima. Omein.

You are the Source of Life for all that is, and Your blessing flows through me. Amen.

• • • • •

IV 11:46 p.m.

On December 14, 2007, at 11:46 p.m., Anne Burton, a resident of the Lor-raine Apartments building, calls 911 and reports hearing fire alarms going off but smells no smoke. A firefighting crew arrives on the scene and imme-diately calls for a full response. Fire is visible in the windows of a basement apartment at street level on School Street. Firefighters attempt to rescue Robert Taylor through a small window in his third-floor apartment but are driven back by heavy black smoke.

TEXT: (from “Mourners’ Kaddish”)Yis’ga’dal v’yis’kadash sh’may ra’bbo, b’olmo dee’vro chir’usay v’yamlich malchu’say, b’chayaychon uv’yomay’chon uv’chayay d’chol bais Yisroel, ba’agolo u’viz’man koriv; v’imru Omein.

V 12:30 a.m.

At 12:30 a.m. the fire response is escalated to eight alarms. The Temple Ahavat Achim, home to Cape Ann’s first and only Jewish congregation, is engulfed. Fire departments from North Andover, Saugus, Salem, Beverly and other area communities join the fight.

TEXT: (from “Mourners’ Kaddish”)Y’hay shmay rabbo m’vorach l’olam ul’olmay olmayo.

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VI 9:00 a.m.

At 9 a.m. Jewish congregants have gathered for Saturday Sabbath services in the Unitarian Universalist Church. Gov. Deval Patrick joins the hastily organized service, which begins as firefighters bring in burned Torah prayer shawls, religious books and other materials salvaged from the synagogue. Four Torahs are lost, along with the entire temple library.

TEXT: (from “Mourners’ Kaddish”)Yisborach v’yishtabach v’yispoar v’yisromam v’yismasay, v’yishador v’yis’aleh v’yisalal, shmay d’kudsho, brich hu, l’aylo min kl birchoso v’sheeroso, tush’bechoso v’nechemoso, da,ameeran b’olmo; vimru Omein.

VII December 20

The fire is finally extinguished. The search for Robert Taylor’s remains is called off due to severe weather. His body is not recovered until December 28th.

TEXT: (from “Mourners’ Kaddish”)Y’hay shlomo rabbo min sh’mayo, v’chayim alaynu v’al kol Yisroel; v’ imru Omein.

VIII June

The Temple Ahavat Achim will rebuild on the site of the fire-ravaged syna-gogue. Spokespersons say the decision reflects the commitment to remain within the ecumenical mix of churches along Middle Street, where the con-gregation had been since 1950.

TEXT: (from “Mourners’ Kaddish”)Oseh sholom bimromov, hu ya’aseh sholom olaynu, v’al kol yisroel; vimru Omein.

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MOURNERS’ KADDISH

TRANSLITERATION

Yis’ga’dal v’yis’kadash sh’may ra’bbo, b’olmo dee’vro chir’usay v’yamlich malchu’say, b’chayaychon uv’yomay’chon uv’chayay d’chol bais Yisroel, ba’agolo u’viz’man koriv; v’imru Omein.

Y’hay shmay rabbo m’vorach l’olam ul’olmay olmayo!

Yisborach v’yishtabach v’yispoar v’yisromam v’yismasay, v’yishador v’yis’aleh v’yisalal, shmay d’kudsho, brich hu, l’aylo min kl birchoso v’sheeroso, tush’bechoso v’nechemoso, da,ameeran b’olmo; vimru Omein.

Y’hay shlomo rabbo min sh’mayo, v’chayim alaynu v’al kol Yisroel; v’imru Omein.

Oseh sholom bimromov, hu ya’aseh sholom olaynu, v’al kol yisroel; vimru Omein.

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ENGLISH TRANSLATION

May the great Name of God be exalted and sanctified, throughout the world, which he has created according to his will. May his Kingship be established in your lifetime and in your days, and in the lifetime of the entire household of Israel, swiftly and in the near future; and say, Amen.

May his great name be blessed, forever and ever.

Blessed, praised, glorified, exalted, extolled, honored elevated and lauded be the Name of the holy one, Blessed is he - above and beyond any blessings and hymns, Praises and consolations which are uttered in the world; and say Amen.

May there be abundant peace from Heaven, and life, upon us and upon all Israel; and say, Amen.

He who makes peace in his high holy places, may he bring peace upon us, and upon all Israel; and say Amen.

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PHONETIC SETTING

To aid in the performance of this work, and to reduce rehearsal time, the Ar-amaic text of the Mourner’s Kaddish is set using a phonetic transliteration.

The following represents how the performers see the text in the score.

Yit-ga-dal v’yit-ka-dash sh’mei ra-ba, b’al-ma di-v’ra chi-ru-tei, v’yam-lich mal-chu-tei b’chai-yei-chon uv’yo-mei-chon uv’chai-yei d’chol-beit Yis-ra-eil, ba-a-ga-la u-viz-man ka-riv, v’im’ru: A-mein.

Y’hei sh’mei ra-ba m’va-rach l’a-lam ul’al-mei al-ma-ya!

Yit-ba-rach v’yish-ta-bach, v’yit-pa-ar v’yit-ro-mam v’yit-na-sei, v’yit-ha-dar v’yit-a-leh v’yit-ha-lal, sh’mei d’ku-d’sha, b’rich hu, l’ei-la min kol bir-cha-ta v’shi-ra-ta, tush-b’cha-ta v’ne-che-ma-ta, da-a-mi-ran b’al-ma, v’im’ru: A-mein.

Y’hei sh’la-ma ra-ba min sh’ma-ya, v’cha-yim, a-lei-nu v’al kol-Yis-ra-eil, v’im’ru: A-mein.

O-seh sha-lom bim-ro-mav, hu ya-a-seh sha-lom a-lei-nu v’al kol-Yis-ra-eil, v’im’ru: A-mein.

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TEMPLE CONCERT SINGERSWendy Betts, Music Director

Priscilla Walter, Piano

The Temple Concert Singers come from Cape Ann churches, Our Savior Lu-theran Church in Topsfield, Cape Ann Symphony Singers, St. John’s Episco-pal Church choir in Beverly Farms, and beyond. When Priscilla Walter and I asked for experienced music- reading singers who might be interested, the excitement grew. EVERYONE wanted to help in this very special opportu-nity for creating music together, in community, for such a worthwhile cause!

- Wendy Betts

Soprano Alto Wendy Betts Lourdes Bilbao Joan Bradshaw Janet Boynton Martha Crain Patty Clark Molly Derr Barbara Cornell Johanna Donovan Lisa Cheney Jacqueline Gravell Amy Dow Terri Hansen Mary Fiske Denise Shea Gillian Hurst Elaine Starrett Briana Polan Debbie Twining Katzi Rueda Sarah Wetzel Priscilla Walter Nancy Weinberg

Tenor Bass Clark Baxter Paul Bonner Bob Cornell Grey Bowden Scott Deffer R. Bruce Bradshaw Cal Kline Larry Constantine Ed Mowrey Mark Dirksen Nelson Pike Rich Salandrea Jer Read Walter Stone Jim Thompson Paul Weiss Fred Witte

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BEAUPORT CHAMBER PLAYERS

Beauport Chamber Players is a group of musicians dedicated to the per-formance of modern art music. This music is as diverse as those writing it - influenced by popular, folk and classical music from around the world.

BCP is an ever changing ensemble of freelance musicians from the Bos-ton area, originally organized by Composer in Residence, Robert J. Brad-shaw. Members can be heard on countless recordings and in performances throughout the United States and abroad.

BCP welcomes new musicians to perform these works and new audiences to enjoy the performances! Never experienced new classical music? Think it is stuffy, boring and written two hundred years ago? Well, think again! This is a vibrant and living art that is exciting, passionate and diverse.

Please, accept this invitation to join in our celebration of new music!

Flute Briana Polan, flute

Trumpet Thomas M. Palance

Piano Priscilla Walter

Violin I Alan Hawryluk Peter Stickel Lydia Earley

Violin II Scott Hufford Grace Weatherall Madeleine Downs

Viola Dayla Stoerzbach Joe Simcox Allie McCormack

Violincello John Bumstead Michael Hamill

Contrabass Michael Pearlman Resident Composer Robert J. Bradshaw

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ARTISTS

Robert J. BradshawComposer/Conductor

Robert J. Bradshaw (1970) is an innovative composer of acoustic and electro-acoustic music who engages listeners through expertly crafted compositions creating thought-provoking aural expressions of the human condition. “Leave your paradigms at home and be prepared for some-thing genuinely new and exciting.” (Brian Evans, Australia Opera and Ballet Orchestra)

Bradshaw’s concert music has been performed and record-ed throughout the world from Europe to Asia, and Middle East to Australia. In the U.S. his music has been heard in many prestigious venues including Lincoln Center and during The Kennedy Center’s 2010 International VSA Fes-tival at the Shakespeare Theatre Company’s Sidney Har-man Hall.

A recipient of many awards and grants, his music has been supported by noteworthy arts organizations including the National Endowment for the Arts, Meet the Composer, MetLife Creative Connections program, American Music Center, American Composers Forum, Massachusetts Cultural Council, Harvard Musical Association, Harpley Foundation, Ar-gosy Foundation, The Bruce J. Anderson Foundation, The Goldhirsh Foundation, and the Music Drives Us Foundation.

Commissions include works for the James Pappoutsakis Flute Competition, the New Eng-land String Ensemble Musical Heritage Initiative and the American String Teachers As-sociation with NSOA. Of particular note is the Australian Trumpet Guild’s commission of the opera “Gabriel” (www.gabrieltheopera.com) which has also been honored with a grant from the American Music Center (CAP), named winner of a Boston Metro Opera Main-stage Award, recorded by the Palmetto Camerata and was premiered in concert at the 35th Annual Conference of the International Trumpet Guild 2010, courtesy of Opera Australia and the Australian Opera and Ballet Orchestra.

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ARTISTS(continued)

Wendy BettsMusic Director, Temple Concert SingersSoprano Soloist

Wendy Betts operates an independent voice studio in Rockport where she works with students of all ages.  She is Organist/Director of Music Arts for Our Savior Lutheran Church in Topsfield, directing adult and children’s choirs and hand chime ensembles.  Wendy is founder and mu-sic director for Share-the-Music, a not-for-profit vocal group of 22-25 members who stage performances from the American Songbook, raising funds for worthy local charities.  She has been choral director for the Cape Ann Symphony Singers since 2005. In Delaware, West Virgin-ia, Maryland, Pennsylvania, South Carolina, and Georgia as well as Massachusetts, Wendy has scripted, costumed, staged, and sung performances based on the lives of Pau-line Viardot, Emily Dickinson, and Jenny Lind. She also has performed “Afternoon in a Victorian Parlor” in which she delighted in sharing the stage with her daughter Brittany and her voice students. Here in Massachusetts, she is often accompanied by Priscilla Walter and Patty Clark.  Her mission is to help others develop their vocal talents and to help them celebrate their own unique gifts in confident public performances.

Larry ConstantineComposer/Vocalist

Larry Constantine studied theory and composition at the New England Conservatory, is a veteran of the Zamir Chorale of Boston, and has had commissioned works per-formed by the Rockford Symphony, Chorus Humanitas, and others. He is a member of Temple Ahavat Achim and serves on the board of directors. An award winning au-thor, his fourth novel under the pen name Lior Samson was recently published.

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ARTISTS(continued)

Mark DirksenConductor/Vocalist

Mark Dirksen is a graduate of the University of Massachu-setts (Organ Performance) and Temple University (Choral Conducting.)  He has served churches and choirs in Mas-sachusetts, Illinois, West Virginia, Delaware and Pennsyl-vania, and is an active Realtor® on the North Shore.

Scott HuffordSoloist, Violin

Raised in Dodge City, Kansas, Scott attended Wichita State University and the University of Illinois, Springfield, and has played in orchestras and sung in choirs in Kansas, Illinois, Georgia, and Indiana.  He has lived in Massachu-setts for the past 20 years, playing the violin and singing tenor with a number of performing groups north of Bos-ton.  Scott lives in Beverly with his wife and daughter and works in Boston for the Massachusetts Cultural Council, a state agency that provides support  for arts and culture in the Commonwealth.  Previously, Scott has worked for the Children’s Museum of Indianapolis, the Indiana Arts Commission, the Okefenokee Heritage Center in Way-cross, Georgia, and the Ulrich Museum of Art in Wich-ita, Kansas.

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ARTISTS(continued)

Gillian HurstVocal Soloist, Alto

Gillian Hurst is a junior at Westminster Choir College studying vocal performance. She is a member of the re-nowned Westminster Choir.  She was recently seen with them in the opera chorus of the Spoleto Music Festival’s North America premier of Phillip Glass’ Kepler and as the alto soloist in Tarik O’Regan’s The Ecstasies Above.  She has also been a soloist for the Westminster Schola Canto-rum and as the alto soloist in Kodaly’s Missa Brevis and Biebel’s Ave Maria.  Earlier this year she sang at Central Park with Andrea Bocelli, Celine Dion and Bryn Terfel.  In 2011, she was a first round classical singer competition finalist.  Unfortunately, she could not attend the second round as she was recording Benjamin Britten’s “Rejoice in the Lamb” as the alto soloist.  The CD will be released on Naxos within the next two years.  In addition to other solo appearances, Gillian was a soloist with the Cape Ann Symphony Singers in the 2009 Holiday Concert.  She is honored to be creating music for this memorial with an incredibly talented community. 

Cal KlineConductor/Vocalist

For over forty years Cal has performed as a conductor, instrumentalist, organist and soloist throughout Cape Ann, the North Shore and the Midwest. Cal has been a member of the Cape Ann Symphony, the Indianapolis Symphony Chorus and elite Piccolo Chorus and Chorus North Shore, just to highlight a few. During his time with Chorus North Shore, he served as president, associate conductor, and soloist. He has been organist for First Baptist Church in Manchester-by-the-Sea, as well as guest organist for many of the churches on the North Shore. Cal finds it to be a great honor to be part of this wonderful occasion tonight.

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ARTISTS(continued)

Antanas MeilusVocal Soloist, Tenor

Antanas Meilus resides in the Boston Area.  He holds a BA in Music with minor studies in History from Salem State Uni-versity where he was a four time Presidential Arts Scholar as well as a recipient of the Salem State College Center for Creative and Performing Arts Creativity Award.   While a student, Antanas was part of the touring cast in the Inter-national Lyric Academy production of Mozart’s The Magic Flute in the role of Monostotos; there he traveled through-out Southern Italy performing and studying with many in-ternationally renowned vocal coaches and teachers. Antanas is currently a permanent cast member at the Starline Room Dinner Theatre where he has played such roles as Lun Tha in The King and I. This summer he makes his music direction debut with the Young Company at Stoneham Theater with their production of “Once on This Island.” He also has been instructing voice at Stoneham since this past winter. Recent concert appearances include Tenth Anniversary 9/11 Memorial Concert in Salem, MA and The Lithuanian Children’s Relief Fund Benefit Concert in Boston, MA.  Antanas hopes to seek out graduate studies in the effects of cultural censorship on national identity. 

Thomas PalanceConductor/Soloist, Trumpet

Thomas Palance is a renowned trumpet performer and edu-cator known for his versatility and innovative teaching style. In 1982, Tom toured Europe with the American Cham-ber Winds and was Director of Bands at Manchester High School West. In 1985 in addition to performing with numer-ous leading artists such as Dizzy Gillespie, Doc Severinsen, Diane Schuur, Red Skelton and Bob Hope, Tom held the positions of assistant principal trumpet with  United States Navy Band’s premiere Concert Band and was chief in charge and soloist of the Commodores Jazz Ensemble. These groups performed regularly at the White House, the Pentagon, Ken-nedy Center and other prestigious  venues in Washington, DC. Tom retired from the Navy after twenty years of service and currently resides in Ipswich, where he continues to teach and to freelance. He formed The Orchestra on The Hill in 2009 and is presently its musical director. Tom is currently on the faculty at the Boston Conservatory and at Salem State University, and is also an artist and clinician with Yamaha Musical Instruments. 

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ARTISTS(continued)

Briana PolanConductor/Soloist, Flute

Briana holds a Master of Music in Instrumental Conducting from the Frost School of Music at the University of Miami and a Bachelor of Arts in Music Education and Flute Perfor-mance from Connecticut College. Upon graduating from Mi-ami, Briana was a high school band director, and taught choir, music theory, and theatre arts. She is currently an associate conductor for the Middlesex Concert Band, and conducts and performs regularly with The Orchestra on the Hill and the Reading Civic Concert Band. In addition, Briana founded and directs the TAAShirim, the chorus at Temple Ahavat Achim and plays with the Alle Brider Band. She is currently pursuing a career in law.

Priscilla WalterPianist

I am a professional musician and music teacher. My work of over 40 years includes: piano and organ instruction; or-ganist/choir director positions at St. Paul Lutheran Church Gloucester, Topsfield Congregational Church and Ascension Memorial Episcopal Ipswich; keyboard accompanist for adult and children’s choirs and musical theater including Methuen Young People’s Theater (10 yrs), Newburyport Choral Society (18 yrs), Cape Ann Symphony Chorus (presently), accompa-nist for private voice studios, public school elementary music education, and freelance performance venues. I most recently served as interim organist /choir director at St. John Episcopal Church, Beverly Farms. (2009 and again in 2011-12)

Sarah WetzelVocal Soloist, Soprano

Sarah Wetzel, soprano, a resident of Gloucester, MA, holds a Bachelor of Arts degree in Music and French from Heidelberg College, Tiffin, Ohio. She has appeared as guest artist with the Egmont Trio, the Phillips Consort of Viols, the Gloucester Legends production of Gift of Vision and as soloist with Spectrum Singers, Master Singers of Worcester, and Chorus North Shore. Ms. Wetzel has performed recitals with Music at St. John’s, Gloucester; Market Square, Portsmouth, New Hampshire; Music at Trinity, Topsfield; at King’s Chapel and Music in the Cathedral, St. Paul’s, Boston. She was a founding member and soloist with the early music ensemble Coro Stella Maris. In June 2012 she returned as guest artist with the Cape Ann Chamber Music series.

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THANK YOU!

Temple Ahavat Achim

Wendy Betts Elaine Byrne

Mark DirksenBill Fonvielle

Cal KlineMarilyn Kramer

Michael PearlmanBenjamin Polan

Bonnie PolanBriana Polan

Carole SharoffPriscilla WalterDavid Wesson

The Unitarian Universalist Society of Rockportfor kindly letting us use their church for rehearsals.

The Cape Ann Community