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NORTHFIELD MINNESOTA U A

Kenneth Jennings, Conductor

In Concert 1990 I rrprf"~ri

Top: St. Olaf Choir at Washington Memorial Monument in Philadelphia, 1920. Bottom: St. Olaf Choir, 1989-90.

Note: The taking of photographs and the use of recording devices are prohibited. Concert-goers are requested to check cameras, tape recorders, video cameras, and pagers. Please ask an usher for checking location. "Great Tour East" Was First Stop on Road to National and International Recognition for the St. Olaf Choir

The world was marking the start of a its concerts would include a perfor­ new decade. Europe, having been made mance before Norway's king and safe for democracy, was adjusting to a queen. new set of borders. In the United States "The Great Tour East" was, how­ the Twenties were getting ready to roar. ever, the Choir's first real "national" And, in Northfield, Minn., F. Melius tour. The crowds were small as they Christiansen was plotting a route and headed East, one of the members of the locating sponsors in preparation for tak­ 1920 chorus recalled recently. That was ing the choir of St. Olaf College on "because we had not gained wide what was to become the most impor­ recognition yet. But on the return trip tant tour of its eight-year history. from New York, news about our earlier By the conclusion of that 1920 tour concerts had spread, and we sang to to the great performing halls of the East packed houses." Coast and the Upper Midwest, the St. Spreading the word about the Choir Olaf Choir had established itself as one were some of the nation's best music of the country's best. Its a cappella critics. Their reviews included phrases style, the religious music which it pre­ such as these: sented, and the brilliance with which it "One of the rarest expositions of the sang that music gave a new dimension superlative in choral singing" (Chicago to choral performance and became the Herald-Examiner); model upon which hundreds of vocal "Such exquisite choral singing ... groups would establish programs of stands alone among the musical their own. achievements heard here in many a In January and February of this day" (Chicago Evening News); year, the St. Olaf Choir marks the 70th "One of the finest choral bodies ever anniversary of that historic trip by heard in Washington" (Washington undertaking a tour following nearly the Evening Star); and same route. This also marks the 22nd "The most remarkable musical event and final national tour for director of the season" (Baltimore Sun). Kenneth Jennings, who will retire at For sheer enthusiasm, however, the end of the 1989-90 academic year. nothing could compete with the review in the New York Evening World: Spreading the Word "Like the life-restoring breeze from the Northwest that sweeps over New Touring has been a part of the life of York at the close of a suffocating the St. Olaf Choir from its earliest days. August day after a thunderstorm, the Within only a few months of its found­ St. Olaf Choir descended upon us at a ing in 1912, the Choir was performing concert in Carnegie Hall and bestowed in Chicago and at stops along the way. upon us in the overwrought dying After less than a year and a half, it had music season a benison of song." embarked on an international tour, trav­ In short, the tour established the eling by steamer to Scandinavia, where group as a major force in American choral music, a position which it has the 75th anniversary of its founding, the maintained ever since. St. Olaf Choir traveled to the Orient, performing in Japan, China, Taiwan, and Hong Kong. An invitation to be National and one of only five choirs in the world to World Prominence participate in the Seoul Olympic Arts Festival in Seoul, Korea, in the summer Three factors have contributed to the of 1988, came as a singular honor for continuing prominence of the St. Olaf the Choir and its director. Choir in choral music. This year's tour will take the group First is the inspired leadership of to LaCrosse and Milwaukee, Wis.; founder F. Melius Christiansen and the Fort Wayne, Ind.; Ann Arbor and two gifted directors who succeeded Grand Rapids, Mich.; Kitchener, him: his son, Olaf, who led the Choir Ontario; Buffalo and Rochester, N.Y.; from 1941 to 1968, and Kenneth Jen- Springfield, Mass.; New York, N.Y.; nings, who has guided it for the past 22 Washington, D.C.; Lewisburg and years. Pittsburgh, Pa.; Indianapolis, Ind.; Second is the talent and dedication Madison, Wis.; Chicago, 111.; and of the students who make up the Choir. Minneapolis, Minn. Third is the annual tour. Rooted in The Choir is also an integral part of the success of the 1920 excursion, the the St. Olaf Christmas Festival. This annual tour has carried the St. Olaf program, which is also directed by music tradition not only to great con­ Jennings, features five of the College's cert halls, but also to hundreds of choirs and its symphony orchestra, and churches, community centers, and it draws more than 14,000 visitors to schools. the campus each year. It has been taped Under Jennings' direction the St. three times by the Public Broadcasting Olaf Choir has performed in all the System (PBS) for broadcast around the major music centers of the United nation, most recently in 1989. The New States and in many prestigious music York Times has called it "one of the festivals abroad. International tours in ten Christmas events in the U.S. not to 1970, 1972, and 1980 included the be missed." Heinrich Schiitz Festival (Holland), the The St. Olaf Choir also has made a Lyon (France) Festival, the Tongerin number of audio recordings, many of (Belgium) Festival, the Niirnberg which are available for purchase in the (Germany) Orgelwoche, the Bergen lobby at most concerts on the tour. (Norway) Festival, and the Strasbourg They can also be ordered by writing to: (France) International Music Festival, St. Olaf Records, St. Olaf College where Jennings conducted the opening concert of the 1972 festival Bach's Bookstore, Northfield, Minn. 55057, 507-663-3048. Mass in B minor — with the St. Olaf Choir, the Strasbourg Philharmonic and international soloists. In 1975 the Choir spent the January Interim Term in Vienna and also partic­ ipated, by invitation from the Vatican, in events for the Week of Christian Unity in Rome. In 1986, celebrating St. Olaf College St. Olaf, founded in 1874, is a four- nationally and internationally for its year, co-educational, liberal arts college programs in the sciences and mathemat­ of the Evangelical Lutheran Church in ics. The most popular major of current America. students is biology, with 325 majors, The mission statement of St. Olaf followed by economics (319), English puts into contemporary language goals (301), mathematics (298), psychology which the college has held for more (250), music (185), chemistry (182), than 100 years, noting that St. Olaf and political science (182). The College "provides an education committed to is also noted for an international studies the liberal arts, rooted in the Christian program which sends hundreds of stu­ gospel, and incorporating a global per­ dents annually to all corners of the spective. In the conviction that life is globe. More than half of every graduat­ more than a livelihood, it focuses on ing class has spent some time in study what is ultimately worthwhile and fos­ abroad on a St. Olaf program. ters the development of the whole per­ son in mind, body, and spirit." Acclaimed Arts Program The 3,086 students of St. Olaf are drawn from nearly every state in the St. Olaf holds accreditation in all country and from 17 foreign countries. four areas of the fine arts: art, dance, They enjoy a 350-acre campus that is music, and theater. both spectacularly beautiful and A distinguished faculty enables the equipped with state-of-the-art facilities. music department to offer two degrees: A student-faculty ratio of 12.6 to 1 bachelor of music, with a major in encourages individual learning and performance, theory-composition, teaching, while the diverse backgrounds church music, or music education; and of the students foster opportunities for bachelor of arts, with a music major cultural and religious expression. program, a history-literature or theory- It is through the St. Olaf Choir that composition emphasis program, or a many people hear, literally, about the teaching credentials program. College, but St. Olaf is also recognized It is not necessary to major in one of these areas, however, to be active in music. About one-third of all students are involved in making music through course work, private lessons, or participation in one of the College's many ensembles. These include the St. Olaf Choir and five other choral organ­ izations, the St. Olaf College Orchestra, the St. Olaf Band, and a variety of smaller ensembles. Whether as partici­ pants or as enthusiastic members of the audience, St. Olaf students enjoy a rich musical environment.

(Continued, Next Page) Excellence and Access who could benefit from them. In 1989-90, 54 percent of St. Olafs stu­ Just as audiences regularly applaud dents received some form of financial the excellence of St. Olaf s musical aid; more than 14 percent of the Col­ ensembles, so, too, has there been lege's budget is devoted to this impor­ national recognition of the educational tant enterprise. program as a whole. In order to make sure that St. Olaf is The 1988 edition of The Selective able to sustain that commitment to Guide to Colleges (by New York Times access, the College has embarked on a Education Editor Edward B. Fiske) major fund-raising campaign which, gives the College four stars for among other things, will increase the academic quality and comments that endowment by $17 million with St. Olaf "provides a competitive, high- $10 million of that amount earmarked quality, broad-based education in an to underwrite student financial support. atmosphere of concern and friendship." St. Olaf has also been singled out for its affordability: Money magazine called it St. Olaf College admits students of any race, "one of the 10 best buys" in college color, national and ethnic origin to all rights, priv­ education and People magazine ileges, programs and activities generally accorded included it on a list of 10 "value- or made available to students. It does not discrim­ packed schools." inate on the basis of race, color, sex, national and Under the leadership of President ethnic origin or handicap in administration of its Melvin D. George, St. Olaf has striven educational policies, financial aid program, and to strengthen its value to students and all other programs. to make its programs available to all The Program

HODIE CHRISTUS NATUS EST O Vos OMNES Juan Esquivel Giovanni Pierluigi Palestrina c. 1563-1613 1525-1594 Hodie Christus natus est: Noe, Noe! O vos omnes, qui transitis per viam, This day Christ is bom: Noel, Noel! All ye that pass by, Hodie Salvator apparuit: Noe, Noe! attendite et videte This day the Savior has appeared: Noel, Noel! behold and see Hodie in terra canunt Angeli, si dolor sicut dolor meus. This day the Angels sing on earth, if there be any sorrow like unto my sorrow. Canut Angeli, laetantur Archangeli. — Lamentations 1:12 The Angels sing, and Archangels rejoice. exultant justi, dicentes: Hodie Without pause This day the just exult, saying: Gloria in excelsis Deo. Noe, Noe! SURREXIT PASTOR BONUS Orlando di Lasso Glory to God in the highest. Noel, Noel! 1532-1594 Surrexit pastor bonus, The good shepherd has arisen, Palestrina SICUT CERVUS qui animam suam posuit who willingly laid down his life ad fontes aquarum: Sicut cervus desiderat pro ovibus suis, As the deer longs for the water-brooks, that his sheep might live, ita desiderat anima mea ad te Deus. et pro grege suo so longs my soul for you, O God. and for his flock — Psalm 42 mori dignatus est. Alleluia. to die was deemed worthy. Alleluia. Without pause II VERBUM CARD FACTUM EST Hans Leo Hassler 1564-1612 THE RIGHTEOUS* Johann Kuhnau, 1660-17221 Verbum caro factum est, Johann Sebastian Bach, 1685-1750 The Word was made flesh, See, the righteous must die, et habitavit in nobis, and there is none whose heart is moved and dwelt among us, to feel it, et vidimus gloriam ejus, and good, faithful people have been and we beheld his glory, taken hence, gloriam quasi unigeniti a Patre, and no one thinks of it. glory as of the only begotten of the Father, These righteous people have been sent away plenum gratiae et veritatis. from affliction; full of grace and truth. they that rightly and well have walked John 1:14 among us shall then be peaceful, reposing within their chambers.

*Optional JESUS, SOURCE OF EVERY BLESSING* Bach m (from CANTATA 147) MAGNIFICAT Jean Berber Jesus, source of every blessing, (For Choir, Soprano, Flute, and Tambourine) b. 1909 Hope and joy, my heart's delight; Jesus, from all grief protect me, Magnificat anima mea Dominum Through your life-redeeming might. My soul magnifies the Lord Be my eye's bright sun and pleasure, Et exultavit spiritus meus in Deo salutari meo. Be my spirit's joy and treasure; and my spirit rejoices in God my Savior. Never will I let you part Quia respexit humilitatem ancillae suae; From my sight or from my heart. For God has looked with favor on this lowly servant; THE HOLY SPIRIT HELPETH Us Each Ecce enim ex hoc beatam me dicent behold, from this day I will be called blessed The Holy Spirit helpeth us, for we know not omnes generationem. what we should rightly pray for: by all generations. but yet the Spirit for us intercedeth with Quia fecit mihi magna qui potens est; inexpressible groanings. The God who is mighty has done great things The searcher of hearts ever knoweth the mind for me, dwelling in the Spirit, Et sanctum nomen eius, because the Spirit pleads for all the saints and holy is the name of the Lord, according to the will of God. Et misericordias eius a progenie timentibus eum. Romans 8: 26, 27 whose mercy is on the God-fearing in every Chorale: generation. O thou consoling fire, gift divine, Fecit potentiam in brachio suo, Our joyful hearts with strength incline Strong is the arm of the Lord, To serve thee ever with steadfast love, Dispersit superbos mente cordis sui. That earthly sorrow cannot move. Who has scattered the proud in the arrogance O Lord, now let thy might prevail of their hearts. To gird with strength our weakness frail, Deposuit potentes de sede, That we may conquer through thee alone, God has cast down the mighty from their Through life and death brought to thy thrones, high throne. et exaltavit humiles. Hallelujah! and lifted up the lowly. Esurientes implevit bonis, God has filled the hungry with good things, Et divites dimisit inanes. And the rich sent empty away. Suscepit Israel puerum suum, God has come to the help of Israel, the Lord's servant, Recordatus misericorediae suae, Remembering mercy, Sicut locutus est ad patres nostros, Which was promised to our forebearers, Abraham et semini eius in saecula. *Optional to Abraham and his children forever. Alleluia. INTERMISSION

IV I SAW A STRANGER YESTERE'EN GLORIA Ralph Vaughan Williams (For Violin and Chorus) Jacob Avshalomov (from MASS IN G MINOR) 1872-1958 CHARLES GRAY, Violin, Assistant Professor b. 1919 of Music, St Olaf College Gloria in excelsis Deo Gloria be to God on high I saw a stranger yestere'en, et in terra pax hominibus bonae voluntatis. I put food in the eating place, and on earth peace to people of good will drink in the drinking place, Laudamus te, benedicimus te, music in the listening place. We praise you, we bless you, And in the sacred name of the Triune adoramus te, glorificamus te. he blessed myself and my house, we adore you, we glorify you. my cattle and my dear ones. Gratias agimus tibi propter magnam gloriam And the lark said in her song, tuam often goes the Christ in the stranger's guise. We give thanks to you for your great glory, Bless. Domine Deus, Rex caelestis, Deus Pater Old Gaelic Rune omnipotens. Lord God, heavenly king, God the Father almighty. SONG OF CHERUBIM Domine Fili unigenite, Jesu Christe, (IZHE XERUVIMY) b. 1933 Lord, the only begotten Son, Jesus Christ, (Sung in Church Slavonic) Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Like a choir of angels Qui tollis peccata mundi, miserere nobis. mystically represented, You who take away the sin of the world, Who sing to the life giving Trinity have mercy on us. Three-fold holy hymns of grateful praise, Qui tollis peccata mundi, suscipe deprecationen Now let us lay aside all daily cares nostram. of this earthly life, You who take away the sin of the world, That we may receive Thee, O King: hear our prayer. Lord of all we receive Thee, Qui sedes ad dexteram Patris, miserere nobis. Who comes borne by angel choirs You who sit on the right hand of the Who sing invisibly their hymns of glory. Father, have mercy on us. Alleluia. Quoniam tu solus sanctus, tu solus Dominus, You alone are holy, you alone are Lord, tu solus altissimus, Jesu Christe, You alone are most high, Jesus Christ, Cum sancto spiritu, in gloria Dei Patris. Amen with the Holy Spirit, in the glory of God the Father. Amen HOLY, HOLY, HOLY, LORD OF SABAOTH HACIA BELEN VA UN BORRICO Alexander Gretchaninov an. Alice Parker, 1864-1956 Holy, Holy, Holy, Lord of Sabaoth, Towards Bethlehem goes a donkey, Heaven and earth are full of Thy glory. I remember, I remember, Thine are kingdoms, thrones, laden with chocolate. dominions, might and majesty. It carries its chocolate-pot, Thy name be hallow'd on earth I remember, I remember as it is hallow'd in heav'n. I remember, yet I forget, Thou givest strength to the weak; its chocolate mill and its stove. Thou rememb'rest the poor Mary, Mary come here running, and the distress'd. because they are eating up all the chocolate. And upon them that fear Thy Name Show'rs of blessings Inside the gate of Bethlehem unnumbered shall fall; I remember, I remember, Peace shall follow them; gypsies have entered; By still waters their path shall be. and from the child which is in the cradle Sing then of mercy, the swaddling clothes have they taken. of judgment, of kingdoms, Mary, Mary, come here running, Of thrones, dominions because they are seizing the swaddling clothes. and pow'r for evermore. Mary, Mary, come here flying, Holy, Holy, Holy, Lord God of Hosts; because they are carrying off the swaddling Come to us, O Lord, in splendor bright, clothes. Fill our hearts with everlasting light. Amen. With a hat of straw How STILL HE LIES Brent Pierce at the gate arrives a Galician; while he was worshipping the Child How still the child lies in quiet splendor. a calf ate his sombrero. How peacefully he lies in the manger so bare. Mary, Mary come here running, He lies in peace while the angels in heaven sing because the calf is eating the hat, Glory to God on the night of his birth. Mary, Mary, come here flying, to comfort the Galician who is here crying. Sleep on, sleep on, O infant divine. How quiet the night. O sleep little child, sleep on.

O holy child, son of God, hear us praise thee. Our hearts sing with joy on this night of your birth. How still he lies asleep. WAKE, AWAKE an. F. Melius Christiansen 1871-1955 Wake, awake, for night is flying! The watchmen on the heights are crying, Awake, Jerusalem, arise! Midnight's solemn hour is tolling, His chariot wheels are nearer rolling; He comes; prepare, ye virgins wise. Rise up with willing feet. Go forth, the bridegroom meet, Hallelujah! Bear through the night your well-trimmed light, Speed forth to join the marriage rite.

Hear Thy praise, O Lord, ascending From earth and heavenly voices, blending With harp and lute and psaltery. At the pearly gates in wonder We stand and swell the voice of thunder, In bursts of choral melody; No vision ever brought No ear hath ever caught Such bliss and joy: We raise the song, we swell the throng. To praise Thee ages all along.

OPTIONAL

Go TELL IT ON THE MOUNTAIN an. Carolyn Jennings

JUSTICE, O GOD Felix Mendelssohn

BEAUTIFUL SAVIOR an. F. Melius Christiansen A Conversation with Kenneth Jennings

By Lois Rand Kenneth Jennings has spent nearly his entire career at St. Olaf College. He Lots Rand is a musician and writer has directed the St. Olaf Choir for 22 whose husband, Dr. Sidney A. Rand, years following his two predecessors, St. Olafs sixth president, appointed F. Melius Christiansen and Olaf C. Dr. Jennings as director of the St. Olaf Christiansen. His career has been filled Choir. She holds a B.A. in music with with a heavy campus schedule, regular emphasis on conducting and an M.A. in and greatly acclaimed choir tours in the organ, both from Colorado College. In United States and abroad, and addition to Mrs. Rand's years of profes­ numerous guest appearances, work­ sional activity in conducting, teaching shops, and residencies. and writing, she is an accredited public At home, too, he has been sur­ relations consultant. While serving with rounded by music. Carolyn Jennings, her husband during his appointment as pianist and composer, is a member of United States Ambassador to Norway, the St. Olaf music faculty. Their three she was organist at the American Luth­ children are musically accomplished, eran Church in Oslo, Norway. Now liv­ and two of them have sung in the ing in Minneapolis, the Rands enjoy an St. Olaf Choir. active semi-retirement and maintain During Christmas vacation in this, close ties with St. Olaf College. the last year before Dr. Jennings' retirement, he reflected on his career, its commitments and its rewards.

Kenneth L. Jennings Kenneth Jennings attended public schools theory, music appreciation, choral literature in Fairfield and Westport, Conn., and grad­ and conducting, and directed the Manitou uated from Staples High School in Westport Singers, Viking Chorus, Chapel Choir and as salutatorian of the class of 1943. From the college's first Campus Choir. During his 1944 to 1946, while stationed in Europe in years as director of the Chapel Choir he the United States Army, he was a member expanded the group's responsibilities to of and soloist with the Fifth Infantry Soldier include the yearly presentation of a major Chorus under the direction of St. Olaf grad­ work with the college orchestra. uate Luther Onerheim. Following military In 1958 he began work on a doctorate at service, Jennings enrolled at St. Olaf, where the University of Illinois. His request for a he was a four-year member of the St. Olaf degree program in choral conducting Choir and tenor section leader for three resulted in the establishment of the years. A magna cum laude graduate of the university's Doctor of Musical Arts (DMA) class of 1950, he received a scholarship to program in choral music, and he was the Oberlin Conservatory, where he earned a first student admitted into the program. His Master of Music degree in composition in thesis, "English Festal Psalms of the 16th 1951. and 17th Centuries," is cited as a reference From 1951 to 1953 he taught at Mitchell in three articles on psalmody and Anglican College in Statesville, N.C. In 1953 he was chant in the New Grove Dictionary of Music invited to return to St. Olaf as a faculty and Musicians. member and traveled with the St. Olaf In 1968 Jennings was appointed Director Choir as assistant conductor on its of the St. Olaf Choir. In 1970 he was pro­ European tour in the summer of 1955. Over moted to the rank of Professor and in 1983 a period of years, he taught voice, music was named Tosdal Professor of Music. Rand:

The St. Olaf Choir has become a tradition. As only the third director in nearly eighty years, would you com­ ment on the character and continuity of this tradition?

Jennings:

The Choir's format developed quickly under F. Melius and had crys­ tallized by 1920. He produced a proto­ type which is still viable. He was exposed as a student in Leipzig to the a cappella style of singing of the many choral societies of Europe. He was con­ vinced this would be the perfect solu­ tion for young American colleges with their emerging choral ensembles. Adopting the Bach choir as a model, he introduced the Bach motets, added pieces from the Russian choral school and also composed many works combining women's and men's

Through the years he has expanded the Carnegie Hall and the Kennedy Center for Choir's repertoire, programming new and the Performing Arts, Haydn's Lord Nelson avant garde music along with the great Mass, William Schumann's Concerto on choral repertoire of previous centuries and Old English Folktunes, and Rachmaninoff's occasionally adding works with instruments The Bells. to the essentially a cappella program. Since Jennings has numerous compositions, 1968 Jennings has also been artistic director arrangements and editions published by of the annual St. Olaf Christmas Festival, Augsburg-Fortress, Curtis, Hinshaw, Kjos, which draws more than 12,000 visitors Schirmer, Belwin-Mills, and Walton, and he annually. The 1976, 1983 and 1989 has been active as a guest conductor, Christmas Festivals were telecast nationally lecturer, workshop leader and clinician on the Public Broadcasting System (PBS). throughout the United States. In 1970 Jennings and the St. Olaf Choir His recordings include seven St. Olaf began what was to be a long collaboration Choir recordings, of which several have with the Minnesota Orchestra. Under the received awards, and five St. Olaf Christmas direction of Stanislaw Skrowaczewski the Festival recordings. The St. Olaf Choir is choir performed Berlioz' Lelio, Haydn's also featured in College Choirs at Christ­ Creation and The Seasons, the Mozart mas, produced by Book-of-the-Month, and Requiem and a concert version of The in the Daphnis and Chloe Suites in the Magic Flute, Bruckner's Mass in E minor, Minnesota Orchestra's recordings of the and Ravel's Daphnis and Chloe Suites, with works of Ravel. performances in Carnegie Hall. Under the With the academic year 1989-90, direction of Neville Marriner, they per­ Jennings completes 37 years of teaching and formed Bach's Magnificat and Handel's conducting at St. Olaf College. Coronation Anthems, with performances in choruses, a new idea then. Olaf used sound is the result of good singing and more early music, especially of tasteful balances. All three of us have sixteenth century composers, as well as worked for polish and unity while Bach. I have added more contemporary approaching the challenge differently. works and some oratorio literature. Rand: Rand: You have a remarkable gift for pro­ What about the "St. Olaf Choir gramming. Do your programs spring tone?" from a music educator's goals or from an innate sense of juxtaposition and Jennings: flow?

F. Melius classified voices according Jennings: to instrumental sounds, such as strings, flutes, reeds. He liked reedy voices and Some of each. I try to give students a believed they blended best, so he most chance for expression appropriate to often chose them. Olaf had a more the educational setting. To plan a technical way of producing a blend, serious program takes a lot of time I involving pointed vowels and firm lie awake at night weighing choices. pitches. I use a freer, more singing style, We need to speak intimately to those in with more flexibility. I don't use the the audience, both the untrained and word "blend," but rather talk about the sophisticated. We need a sense of "agreement." I like to leave a little movement and a dramatic high point, space between singers so they can be but not too many highs or lows, louds their individual selves. This produces a or softs, lest they lose their effectiveness. warmer, but still unified sound. Good I like to lighten up a bit at the end, and I try to include one piece that's quite farther than they ever dreamed. The different and presents some challenge. attitude that it's fine to put time and energy into being the best you can be Rand: flows in the bloodstream of the College. Intensive, serious, committed work is I've noticed you often repeat certain encouraged and accepted. The St. Olaf pieces such as Bach's Singet dem Herrn, atmosphere allows the art of students to and F. Melius' Praise to the Lord and flourish. Wake, Awake. Rand: Jennings: Would you share some "highs" from Fine works offer something new your tour memories? every time. These pieces say something musically and spiritually. Wake, Awake Jennings: has great vitality, a valuable attribute not easy to find. There have been an incredible number of highs. One of the greatest Rand: was the 1972 opportunity to perform Bach's Mass in B minor in the Stras­ You occasionally stretch beyond a bourg cathedral with a French orches­ cappella to use some instruments with tra and international soloists. The the voices. What prompted you to orchestra was rather blase at first, make these exceptions to tradition? expecting little of a choir from Ameri­ ca's hinterland. At rehearsal, when the Jennings: Choir warmed up on Jesu, Meine Freude, the orchestra suddenly became One can narrow a tradition so much very serious. that it begins to invert on itself. Today Home concerts provide incompar­ we have very skilled instrumentalists; able moments before very receptive this contrast sets off the voices in a new audiences. People wonder how we can way and offers wider repertoire. Broad­ sing Beautiful Savior so many times, ening options doesn't abuse tradition, but when I reach that climax, it's a which many times was born simply of great refreshment to me. the circumstances of an earlier time. Rand: Rand: How do you feel about turning over What mix of student talent, disci­ the podium now to another director? pline, vocal training and commitment does it take to produce the Choir's con­ Jennings: sistently silken, seamless sound? I've had a wonderful time with many Jennings: beautiful music-making moments. To create music with the human voice is The students are wonderful, brighter marvelously satisfying. I have no and more intelligent than ever. Many regrets, but I'm not one to hang onto come to St. Olaf because of the music. things. It's time to turn this position We take them seriously and carry them over, and I wish the very best to the next director. St. Olaf Choir 1989-90

Soprano I Tenor H Jennifer Anderson, Rockford, III Byron Almen, Minnetonka, Minn. Jennifer Berg, Madison, Wis. Robert Arnold, Carlisle, Mass. Mary Boehlke, Rosemount, Minn. Eric Bennett, Hudson, Wis. Deanna Ellis, Pine Island, Minn. Robert Griffin, Madison, Wis. Lisa Jones, Delavan, Minn. Jason Gruhl, Brainerd, Minn. Beth Lechtenberger, Lincoln, Neb. Ted Koland, Bloomington, Minn. Margaret McClure, Lewisburg, Pa. Steve Odland, Luveme, Minn. Leslie Mick, Waukesha, Wis. John Raduege, Woodruff, Wis. Kristina Swiglo, Glen Ellyn, III Sherry Wallin, Cottage Grove, Minn. Bass I David House, Denver, Colo. Soprano n Mark Jennings, Northfield, Minn. Maren Christenson, Moorhead, Minn. Steffen Johnson, Brainerd, Minn. Schele Gislason, Willmar, Minn. Jin Kim, Eagan, Minn. Kristin Juel, Shoreview, Minn. Matthew Maakestad, Raddiffe, Iowa Chrysanthy Maniatis, Englewood, Colo. Thomas Piehl, Columbus, Ohio Kama Olson, Minneapolis, Minn. Kurt Runnestad, Wayne, Neb. Mamie Sadlowsky, New Brighton, Minn. Julianne Schuster, Marion, Iowa BassD Kristin Vann, St. Cloud, Minn. Eric Brandt, Hibbing, Minn. Amy Walter, Duluth, Minn. Anthony Campbell, Northfield, Minn. Benjamin Fisher, Quakertown, Pa. Alto I Christopher Hellie, Benson, Minn. Julie Buckley, Moorhead, Minn. Mark Henning, Merrill Wis. Judith Ellwanger, Milwaukee, Wis. Mark S. Johnson, Avoca, Minn. Michelle Matta, Northfield, Minn. Michael Johnson, Luck, Wis. Andrea Pearson, Downers Grove, III Matthew Miller, Owatonna, Minn. Karen Rahfeldt, Sekiu, Wash. Eric Parson, Lawrence, Kan. Heather Scorgie, Libertyville, III Bradley Sperber, Littletown, Colo. Patricia Thompson, Springfield, Mo. William Wilson, Duluth, Minn. Marin Tollefson, Bumsville, Minn. Allison Wee, Northfield, Minn. INSTRUMENTALISTS Violin Alton Julie Buckley, Moorhead, Minn. Jane Dickinson, Wilbraham, Mass. Sonja Gerstenkorn, Milaca, Minn. Angela Eggert, Mankato, Minn. Kama Olson, Minneapolis, Minn. Marit Hedstrom, Minnetonka, Minn. Viola Sarah Kuhlman, Decorah, Iowa Charles Gray, Norihfield, Minn. Martha Kunau, Preston, Iowa Cello Laurie Rapp, Waukesha, Wis. Matthew Miller, Owatonna, Minn. Jan Strand, Goodhue, Minn. Bass Deanne Zibell, Shoreview, Minn. Scott Jensen, Danville, Ky. Flute Tenor I Marin Amundson, Lamberton, Minn. Kelly Ammerman, Eau Claire, Wis. Oboe Jason Drabek, Bloomington, Minn. Andrea Neff, Cottage Grove, Minn. Chris Hanssen, Northfield, Minn. Marnie Sadlowsky, New Brighton, Minn. Kyle Moldenhauer, Twin Brooks, S.D. Bassoon Geoffrey Pemble, Moorhead, Minn. Andrew Kuster, New Ulm, Minn. Hans Peterson, St. Paul Minn. Continue Byron Almen, Minnetonka, Minn.

Kenneth Jennings, Director B.J. Johnson, Manager