Tributes
In Memoriam: Cara Bradbury 1938-2020
It is with great sadness we share the news that former longtime Contra Costa Chorale accompanist Cara Bradbury passed away peacefully in her sleep on Tuesday, September 1, 2020, just two weeks after her 82nd birthday. She was the accompanist for the Contra Costa Chorale from 2004 through 2016, and also worked in the music department at St. Joseph/Mission San Jose in Fremont.
Music was everything in Cara’s life. She held a B.A. in Music Composition from Mills College, where she studied with Darius Milhaud and Leon Kirchner. Additional piano instructors included Margaret Thompson, Naomi Sparrow, and Nathan Schwartz.
Cara worked for many years in dance and theater. She toured and performed nationally for several years with the Lewitzky Dance Company (a leading international modern dance company at the time) as Music Director/Accompanist, Resident Composer, and sound technician. At the same time, she taught music courses related to Dance and Theater in many colleges and universities throughout California. She worked with the Theater and Dance Department at UC Berkeley for almost forty years and continued, after that, to accompany dance classes and choir at Mills College.
She worked with numerous singers and instrumentalists, choruses, churches, and opera companies over the years, including several productions by the West Marin Chorus and Orchestra of her own Christmas cantata, “The Foretelling” in the early 1980s, and served as rehearsal accompanist and orchestral musician for Trinity Lyric Opera’s production of Vaughan Williams’s “The Pilgrim’s Progress” at Lesher Center in Walnut Creek in 2006.
The Chorale received this news from Cara’s friend Debbie Rossetto, who took care of Cara in the years following her fall, and who sent us this note:
“As time went on and Cara struggled to hold on to the active and energetic person she always was and as her body and mind fought very hard to recover, she eventually yielded to the call for her to come Home. Cara’s lovely spirit and beautiful smile were ever-present. Her long and short term memory were very good for the most part. She remembered the important things … [especially all of her friends]. She spoke fondly and lovingly of everyone and constantly recalled so many memories and situations she longed to experience once again.
“We believe she lived this long because she always had something to look forward to … reuniting with her friends, students and fellow musicians to do the things that were most important to her in her life. Music…playing, singing, composing, teaching, collaborating. Her dream was to return to St. Joseph and be an active part of our music department once again. Though her dream did not come true on earth, she is definitely in Heaven making that dream a reality.
“One of her very best days was two weeks ago on her 82nd birthday. So many of you sent your birthday greetings, well wishes and prayers to Cara … She loved all of you very much and was grateful and appreciative of all the opportunities afforded her at St. Joseph Church and the many other churches, universities, colleges, theaters, stages and musical platforms she graced over the past 75+ years.
“Due to the current COVID-19 situation, we are unable to celebrate her life in the usual way. Her services will be private, but we hope to offer a future Memorial Mass celebration for her and so many others who lost their lives this year during the pandemic. Thank you all for your support and friendship to Cara. She loved each and every one of you. You each held a special place in her heart.”
Godspeed, Cara Bradbury. You served your arts well.
Tributes from Chorale Members:
I have a story to tell about Cara. Several times we attended the opera together and we met for dinner at Jardiniere. Cara knew the maitre d’ and in time I got to know him as well. The day it was announced that we had won the KDFC Star Spangled Banner contest, Cara was late, way late. The maitre d’ asked me where Cara was and I told him I was anxious to see her because I had good news. He asked me about it and I told him. When Cara finally arrived I ran to her and gave her a big hug as I told her the news. We ate dinner and ordered cheese cake to share. The cheese cake arrived with “Congratulations” written on it. She was a fun person to be with.
Steve Toby, Bass
I will personally miss Cara as I shared a number of very special events with her. She had season tickets to the San Francisco Opera and she shared those tickets with me on several occasions. But one evening stands out in particular. Cara and I were going to Opening Night (in 2015 or 2016?). We were dressed up for the exciting occasion and were making our way to first have dinner together in the City and then the Opera. We had a reservation at La Jardiniere, just behind the Opera House. We were still in Oakland driving in her van when another car backed up into the street right smack in front of us. There was no time to avoid hitting this car. Cara was driving and she tried to swerve to the left. We hit the back end of the offending car but the impact was great enough that it sent us down (yes, down, as we were in the Oakland hills) into the front yard of a home where a family was sitting on their deck enjoying the evening. We crashed through a wrought-iron fence and landed at a 45 degree angle in some tall bushes. What I remember so vividly was when we came to a full stop in the bushes, Cara and I looked at each other with silent inquiring eyes: are you hurt? I’m OK. It was that look that she gave me that I’ll never forget. When we both realized that we were not hurt, we carefully extricated ourselves from the van as we were worried that the van might flip over. We checked on the family whose front yard we now occupied and, although startled, they were completely unhurt. We checked on the driver of the offending car, and he too was unhurt. To make this jarring story short, a tow truck was called and Cara and I walked back to my car that was parked safely behind a library. We then drove into the City and, against all odds, made it in time for the opening curtain of the opera. Having missed dinner, we started eating ginger chewies that Cara had stashed in her purse. You know, the ones from Trader Joe’s? But the most remarkable aspect of the evening wasn’t the escape from injury on all people’s part, nor was it that we actually made it in time for the Opera, but that I saw the true character of Cara. Throughout the whole ordeal, Cara never lost her cool. She remained calm and sensible and took matters in hand. She saw to it that everyone was safe and went about taking care to see that the situation was righted. And then! …..to have the stamina to proceed to the City and watch an Opera! You can’t keep a good woman down. Cara had fortitude. I will never forget that evening. I will never forget Cara.
Susan Lambert, Soprano
I remember Cara as the accompanist to the Mills College Choir. She was so talented. She impressed me every time we were rehearsing and especially during our concerts. She was perfection. One thing that particularly stood out for me, however, was her ability to quickly and easily read very complex time signatures. When the choir was struggling with passages that were so difficult that they seemed insurmountable, Cara was at the piano playing them with ease. At one particularly difficult spot that we had gone over and over and still hadn’t gotten quite right, Cara took control and played the notes in the time signature slowly and with precision until we got it. She was talented, sweet, patient, and just lovely in every sort of way.
Alice Knudsen, Tenor
A Tribute to Joseph Liebling
April 4, 1927 – July 4, 2020
Portrait by Raphael Shevelev
Joe Liebling was a powerhouse in the world of the choral arts and without him, the Contra Costa Chorale wouldn’t be here today, Even though he is not longer here in body, his spirit will be with us always. Rest In Peace, dear music man.
Cindy Beitmen, CCC Artistic Director
Joe was a vibrant creative presence in my family home, bringing music and laughter to us kids as well as piano instruction! Also an avid hiker, we enjoyed his presence on many walks along with Madi Bacon and Calvin Simmons. I am honored to be a part of the legacy of excellent choral singing that he laid for all of us.
Andrea Weber, Tenor
I met Joe in 1962 at Antioch College where I was a student and part time staff in the Music Department. I have greatly enjoyed running into him in the Bay Area over the past 50 or so years – what a dynamic and joyful person he was! I am enormously saddened by his death.
Kate Buckner, Alto
As a tenor smack in the middle of the front row it was with tremendous joy and honor to discover and be under the spell of Joe Liebling conducting the 1st half of Haydn’s Lord Nelson Mass. This great man whom we’d all heard about was diminutive in size with a white beard like one of Santa’s elves, but soared in stature. His face and manner were beatific. Joe Liebling’s energy radiated a contagious delightful load of love, both for those of us under his baton and encompassing the audience as well. The man was magic and touched us all with his masterful yet delightful effervescence. May his memory never die as we continue to hold the grace he shared within us.
Ruth Block, Tenor
I will always remember Joe Liebling rehearsing the Kyrie from the Lord Nelson Mass. He stood in front of us and passionately said that we were asking for mercy, Lord have mercy, and said he wanted to hear it so as to believe what we were singing. “Make me believe!” he pleaded with us. I may not have this exactly right. But above all I remember his passion and his seeking to draw the same from us.
Steve Toby, Bass
I had the privilege and the pleasure of singing under Joe’s leadership and excellent conducting from the time that he started the Oakland Symphony Chorus. When he became the conductor of the Oakland Symphony Chorus, I followed him there for the next several years. Carol, our accompanist and his wife at the time, became my daughter’s piano teacher. Later, Joe taught piano to that same daughter and also to my son. The payment for those lessons was my doing work in his backyard pulling weeds while he taught them!! Although neither child continued with the piano, they both have fond memories of Joe. A special memory for me is the opportunity that we in the Oakland Chorus had to actually meet two very special musical giants. First was singing under the direction of the great choral conductor, Robert Shaw, following much dedicated preparation by Joe. The second was meeting one of the giants of musical composition, Igor Stravinsky. Again Joe had prepared us so well to perform Stravinsky’s Symphony of Psalms, that the great man praised us highly, saying that it was an inspiration for him to compose again.
I feel honored to have experienced many more wonderful choral works under the direction of Joe Liebling. Although I am saddened by his passing, I will always be grateful for what he added to my life with both tremendous growth in and appreciation for choral music.
Carole Strauss, Tenor
Many years ago when I was a member of the Chorale’s board, Joe came to a meeting and asked quietly if we could buy a tuxedo for the young pianist who had been accompanying us for one rehearsal season and was to play at our upcoming performance. This soon-to-graduate from music school pianist was embarrassed to have had to tell Joe he had no appropriate attire to wear and didn’t know anyone from whom he could borrow, and didn’t have enough money to rent attire. Joe wanted to offer help for his career, not just one performance. Because of Joe’s caring about this young musician’s future, the Chorale quietly collected enough money to buy a tuxedo and black patent leather shoes. I wish all of you could have seen the surprise and gratitude in the pianist’s eyes when our president gave him our gift.
Joy Svihra, Soprano
Obituary
Joseph Liebling, the music director of numerous Bay Area choruses, notably the Oakland Symphony Chorus and the Richmond Symphony Chorus (now known as the Contra Costa Chorale), of which he was the founding music director, has died of heart failure. His death was confirmed by his former colleague and long-time friend, Carol Handelman.
A native of New York, Liebling held degrees in piano and orchestral conducting from Juilliard and Columbia University. While still a student at the High School of Music and Art, he was inspired by the guest conducting of famed choral conductor Robert Shaw. He immediately began conducting and was also able to join Shaw’s Collegiate Chorale, in which he sang for seven years until he formed his own chorus, The Master Singers. Their concerts received rave reviews and two years later he toured nationally under the auspices of Columbia Artists, conducting a professional vocal ensemble with the same name.
On the day in May, 1966 that he arrived in the Bay Area from Ohio, Liebling saw an article by music critic Paul Hertelendy in the Oakland Tribune, asking; “Why is there no fine choral music in the bay area?” He contacted Hertelendy, who informed him that twobay area orchestra conductors were currently seeking choral directors. By the following May the Oakland Symphony Chorus, now conducted by Liebling, was receiving glowing reviews, as was his newly-formed Oakland Symphony Chamber chorus. A third chorus, which he formed for the Richmond Symphony, also received a warm critical reception. Unfortunately that orchestra did not survive, but the chorus still performs as the Contra Costa Chorale.
From 1966 to 1989 he was the music director of the Oakland Symphony Chorus, working with Oakland Symphony music directors Gerhard Samuel, Harold Farberman, Calvin Simmons and Richard Buckley, as well as guest conductors including Roger Norrington, Raymond Leppard and Carlos Chavez. In 1968, after performances of works by Stravinsky at the Oakland Symphony attended by Stravinsky himself, the composer’s secretary Robert Craft wrote to Liebling: “Your chorus is absolutely marvelous, and their performances were the best ever. Mr. Stravinsky has spoken several times of his delight at the sound of both the pieces. And I am happy to say that the experience was a turning point in his recovery.”
At the end of his first season as the Oakland Symphony Chorus’s music director, Oakland Symphony music director Gerhard Samuel obtained a Ford Foundation grant to give Liebling a full concert conducting the orchestra and chorus. Thereafter he appeared as a guest conductor every season. Following a performance of Bach’s Christmas Oratorio, the Contra Costa Sun wrote “It was indeed an evening of splendor, one that was musically and spiritually uplifting, under Liebling’s intelligent and artful direction.”
In 1973 Liebling provided a large “un-named chorus” for performances of the Verdi Requiem with the San Francisco Symphony under Seiji Ozawa (previously the orchestra had used the Stanford University Chorus). This chorus was praised so enthusiastically that he was invited to assist in the formation of the San Francisco Symphony Chorus, which he did, making him the conductor of both the Oakland and San Francisco symphony choruses for the remainder of that season.
From 1974 to 1982 he served on the Choral Advisory Board of the National Endowment for the Arts, which was tasked with framing the guidelines for grants to choral organizations as well as evaluating applications for funding by choruses from all over the country. In the course of reviewing and evaluating those applications he discovered that he and Margaret Hillis, the conductor of the Chicago Symphony Chorus, were the only symphony chorus conductors in the United States to ever have the privilege of conducting concerts combining their chorus with the orchestra which sponsored them.
An energetic, busy man, at various times he was on the faculties of Sonoma State College, Laney College, Merritt College, The San Francisco Conservatory, Holy Names University and St. Mary’s College, and at one point was conducting seven different choruses. He prepared the chorus for a number of performances with conductor George Cleve’s Midsummer Mozart Festival. In 1989 he “retired” to spend more time at the piano, accompany singers, play classical repertoire, participate in jams of an assortment of musical genres, join a Klezmer band, conduct occasional singalongs and fill in when other conductors needed a sub. In May of 2016, he rejoined the Contra Costa Chorale for their 50 th anniversary concert, conducting the first movement of Haydn’s Lord Nelson Mass, the first piece they performed in their debut season in 1966.
In 2010, when Arlene Sagan, long-time conductor of the Berkeley Community Chorus and Orchestra, became ill, he was asked to fill in while she recuperated. Her recovery was very slow and he conducted the ensemble through the Spring of 2011. Over the years he was a close associate and great friend of the Berkeley Community Chorus and Orchestra.
He is survived by his sister, Ruth-Ann (Cookie) Goldstone, of Shaftsbury, Vermont and niece Barbara Robertson and nephew Jeffrey Goldstone.
In lieu of flowers, donations may be made to the Oakland Symphony, Crowden School, and Berkeley Community Chorus and Orchestra.