MOZART

This program celebrates the brilliance and emotional range of Wolfgang Amadeus Mozart, whose music continues to inspire with its elegance, depth, and exuberant spirit.

We begin with Laut verkünde unsre Freude, K. 623, a brief yet radiant piece composed for the dedication of a Masonic lodge in 1791. Its noble fanfare and choral proclamations reflect Mozart’s deep connection to Enlightenment ideals and the ceremonial grandeur of the Masonic tradition.

Baritone Julio Ferrari joins the ensemble for Per questa bella mano, K. 612, a rare and virtuosic concert aria written in 1791. Scored for bass voice and an equally dazzling solo double bass, this aria is both a romantic serenade and a showcase of Mozart’s playful inventiveness. The ornate writing highlights the voice’s expressive richness and the unexpected lyricism of the double bass.

Soprano Chelsea Hollow is featured in Exsultate, Jubilate, K. 165, composed in 1773 when Mozart was just 17. This motet, written for a castrato soloist in Milan, sparkles with youthful exuberance and operatic brilliance. Its final movement, the jubilant “Alleluia,” has become one of Mozart’s most beloved vocal works.

The evening concludes with Mozart’s final symphony, Symphony No. 41 in C Major, K. 551—nicknamed “Jupiter.” Completed in 1788, this monumental work combines grandeur, complexity, and a triumphant spirit. Its finale, a masterclass in counterpoint, weaves together five distinct themes in an exuberant celebration of musical intellect and joy, affirming Mozart’s status as a master of symphonic form.

September 20, 2025 | 7:30 PM

St. Mark’s Lutheran Church, San Francisco

Single Tickets

Laut verkünde unsre Freude, K.623

Per questa bella mano, K. 612

Julio Ferrari, baritone

Daniel Turkos, obligato double bass

Exsultate, Jubilate, K. 165

Chelsea Hollow, soprano

Symphony No. 41 in C Major “Jupiter”, K. 551

Messiah

December 21, 2025 | 4 PM

St. Mark’s Lutheran Church, San Francisco

PROGRAM PAGE

Single Tickets

Handel | Messiah (abridged)

Shawnette Sulker, soprano

Kyle Tingzon, countertenor

Alexander John Perkins, tenor

Corby York, baritone

Zephyr Symphony

Don Scott Carpenter, conductor

Few works in the choral-orchestral repertoire have achieved the enduring cultural and spiritual impact of George Frideric Handel’s Messiah. Composed in just 24 days in 1741, this English-language oratorio has become synonymous with both the grandeur of sacred music and the intimate expression of personal faith. This performance brings together the Zephyr Symphony and Zephyr Chorus under the direction of Don Scott Carpenter, joined by a distinguished quartet of soloists: soprano Shawnette Sulker, countertenor Kyle Tingzon, tenor Alexander John Perkins, and baritone Corby York.

Rather than telling a single narrative, Messiah is structured in three parts: the prophecy and birth of Christ, his passion and resurrection, and the promise of redemption. Drawing from Scripture and curated by librettist Charles Jennens, the text forms a theological meditation rather than a dramatization—inviting audiences into contemplation rather than spectacle.

Soprano Shawnette Sulker brings radiant clarity to arias such as “Rejoice greatly” and “I know that my Redeemer liveth,” her voice imbued with both virtuosity and conviction. Kyle Tingzon’s countertenor lends haunting beauty to “He was despised,” a moment of profound pathos and dignity. Tenor Alexander John Perkins delivers the narrative clarity and expressive fervor central to “Comfort ye” and “Thou shalt break them,” while Corby York anchors the work with the commanding authority of “The trumpet shall sound” and “Why do the nations so furiously rage together?”

The Zephyr Chorus and Symphony—vibrant new voices in San Francisco’s musical landscape—approach Messiah with both reverence and fresh energy. Under Carpenter’s direction, this performance balances Baroque elegance with dynamic immediacy, honoring the historic tradition while speaking to today’s audiences.

As the “Hallelujah” chorus resounds and the final “Amen” ascends, we are reminded that Messiah is more than music—it is a communal act of praise, resilience, and hope that continues to resonate across centuries and cultures.

Elijah

Mendelssohn | Elijah

March 7, 2026 | 7:30 PM

St. Mark’s Lutheran Church, San Francisco

Single Tickets

Andrew Thomas Pardini, Elijah (bass-baritone)

Mary-Hollis Hundley, soprano

Leandra Ramm, contralto

Elliott James-Ginn Encarnácion, tenor

Zephyr Symphony

Don Scott Carpenter, conductor

Felix Mendelssohn’s Elijah (1846) is a masterful oratorio that bridges the grandeur of the Baroque with the emotional depth of the Romantic era. Drawing direct inspiration from the sacred oratorios of Handel and Bach, Mendelssohn crafted a deeply dramatic and profoundly spiritual work, using the life of the Old Testament prophet Elijah as both a musical and moral canvas. With its sweeping choruses, richly textured orchestration, and vivid character portrayals, Elijah continues to captivate audiences nearly two centuries after its premiere.

This performance brings together the Zephyr Symphony and Zephyr Chorus under the direction of Don Scott Carpenter, with a distinguished quartet of soloists: Andrew Thomas Pardini (Elijah), Mary-Hollis Hundley (soprano), Leandra Ramm (contralto), and Elliott James-Ginn Encarnácion (tenor).

As Elijah, Andrew Thomas Pardini delivers a commanding and emotionally nuanced portrayal of the prophet—a figure of uncompromising faith, prophetic fire, and, at times, profound despair. His dramatic arias and recitatives convey the full humanity of a man caught between divine mission and personal doubt.

Mary-Hollis Hundley’s soprano offers a shining voice of hope and assurance, particularly in moments of comfort and divine promise. Leandra Ramm brings warmth and spiritual gravity to her role, most notably in the beloved aria “O rest in the Lord,” while Elliott James-Ginn Encarnácion lends lyrical power and clarity to the tenor’s narrative and exhortatory roles.

The Zephyr Chorus rises to Mendelssohn’s majestic and demanding choral writing, from the thundering cries to Baal to the tender reassurance of God’s presence. Paired with the Zephyr Symphony’s sensitive and dynamic playing, the result is a sound world rich with both grandeur and intimacy.

In Elijah, Mendelssohn offers more than a historical or religious drama; he gives us a timeless meditation on perseverance, faith, and the human condition. Through fire, drought, doubt, and redemption, Elijah’s journey invites us all to listen—beyond the wind and the earthquake—for the still, small voice of hope.

In Praise & Protest

Saturday, March 21, 2026, 7:30 pm | St. Mark’s Church, San Francisco

Hail, Gladdening Light - Charles Wood | Magnificat á 8 - Giovanni da Palestrina

Mass in G Minor for Double Chorus - Ralph Vaughan Williams

The New Colossus - Saunder Choi | Après Moi, le Déluge - Luna Pearl Woolf

This bold and moving choral program explores sacred beauty, social conscience, and the enduring power of the human voice across five centuries. From luminous evening hymns to searing protest works, the evening offers a journey through music that elevates, interrogates, and ultimately calls us to act.

The program opens with Hail, Gladdening Light by Irish-English composer Charles Wood. Rooted in the Anglican choral tradition, this late-19th-century setting of the ancient Greek hymn Phos Hilaron glows with serene reverence. Scored for double choir, the piece rises from hushed invocation to radiant exultation, capturing both the mystical stillness of dusk and the joy of spiritual illumination. Wood’s harmonic language evokes the cathedral’s echoing vaults and establishes a mood of contemplative grandeur.

This atmosphere prepares the listener for Magnificat à 8 by Giovanni da Palestrina, a masterwork of Renaissance polyphony. Scored for two four-part choirs, Palestrina’s setting of Mary’s song of praise unfolds in noble arcs of imitative counterpoint and graceful interplay. The music’s clarity and balance reflect the composer’s gift for marrying form and devotion—crafting sacred architecture in sound. Its inclusion anchors the program in the sacred traditions of Western music, offering a moment of sublime equilibrium.

Ralph Vaughan Williams’ Mass in G Minor bridges past and present, drawing inspiration from the Renaissance masters while channeling a deeply personal spiritual vision shaped by the trauma of World War I. Composed in 1921, the Mass employs modal harmonies, plainsong-like melodies, and intricate choral textures to create a mystical and introspective work. Scored for double choir and solo quartet, it is at once a homage to the ancient church and a cry for transcendence in the modern world—a spiritual reckoning as much as a sacred offering.

The second half turns toward contemporary works that confront the brokenness of our world with prophetic force. Saunder Choi’s The New Colossus transforms Emma Lazarus’s iconic sonnet—engraved at the base of the Statue of Liberty—into a choral act of protest and lament. As an immigrant himself, Choi sets the text with rich, layered textures and emotional urgency, challenging the myth of welcome in an era of exclusion. The piece becomes a meditation on national identity and moral responsibility, reframing a historic symbol as a site of struggle.

Luna Pearl Woolf’s Après Moi, le Déluge delivers the program’s stark and unforgettable conclusion. Scored for solo cello and a cappella chorus, the work juxtaposes 18th-century devotional poetry by Christopher Smart with excerpts from a 2005 speech by Congressman Jim McDermott, decrying the U.S. government’s response to Hurricane Katrina. Woolf’s music is visceral and haunting, casting a spotlight on environmental collapse, systemic neglect, and political indifference. The cello wails and protests alongside the chorus, creating a soundscape of anguish and accusation.

Together, these five works create a concert experience that transcends time and genre. What begins in sacred stillness crescendos into collective outcry—a journey from light to reckoning, and perhaps, to the glimmer of hope born from awareness and action.

Spring

Brahms | Symphony No. 3 in F Major

Mozart | Piano Concerto No. 21 in C Major

Vivaldi | Spring from Four Seasons

April 18, 2026 | 7:30 PM

St. Mark’s Lutheran Church, San Francisco

Single Tickets

Franz Zhao, piano | Gail Hernández Rosa, violin | Zephyr Symphony | Don Scott Carpenter, conductor

This program brings together three masterworks spanning the Baroque, Classical, and Romantic eras—each capturing a distinct facet of musical expression, and all brought to life by the Zephyr Symphony under the baton of Don Scott Carpenter.

We begin with Spring from The Four Seasons by Antonio Vivaldi. Performed tonight by violinist Gail Hernández Rosa, this iconic Baroque concerto paints a vivid musical portrait of nature’s renewal. From the joyful chirping of birds to gentle rains and rustic dances, Vivaldi’s score brims with color and imagination. Paired with its accompanying sonnet, Spring is both a celebration of the natural world and a showcase of the soloist’s virtuosity and nuance.

Next, we enter the elegant world of Mozart with his Piano Concerto No. 21 in C Major, K. 467. Pianist Franz Zhao joins the Zephyr Symphony for this luminous work, composed in 1785 at the height of Mozart’s creative powers. The outer movements sparkle with rhythmic clarity and symphonic brilliance, while the Andante—immortalized in film and adored for its serene, floating beauty—offers a transcendent moment of calm. Zhao’s sensitive interpretation reveals both the charm and emotional depth of this beloved concerto.

We conclude with Johannes Brahms’s Symphony No. 3 in F Major, Op. 90. Composed in 1883, this work is Brahms at his most personal—concise, lyrical, and quietly heroic. The opening motto—F–A–F, “Frei aber froh” (“Free but happy”)—sets the tone for a symphony that blends Romantic passion with Classical restraint. The Zephyr Symphony navigates the sweeping gestures and subtle transitions with warmth and refinement, culminating in a rare symphonic ending: one that whispers closure instead of thundering triumph.

Together, these works offer a rich spectrum of emotion and craft, illuminating the enduring power of orchestral music across centuries.