OCfAVO THE PROGRAM MAGAZINE OF THE SINGERS

October 26, 1986 December 7, 1986 December 14, 1986

BOARD OF DIRECTORS ARTISTIC STAFF

Margaret D. Ankeny Dale Warland tDuane Bell Music Director Dixon Bond Sigrid Johnson tArland D. Brusven Assistant Conductor James L. Davis tCharles W. Gaillard Jerry Rubino Thelma Hunter Pianist Jon N. Kietzer tTerry S. Knowles ADMINISTRATIVE STAFF tMichael W. McCarthy Marie B. Sathrum Estelle Sell General Manager Boake A. Sells Mary K. Steinke Amy Thirsten John R. Thomas Assistant Manager James R. Treanor Paul William Gerike tDale Warland Librarian tExecutlve Committee

SOPRANO ALTO TENOR BASS Janet Johnson Roxanne L. Bentley Paul J. Anderson David Benson -Sigrid Johnson Linda Burk Larry Bach Steve Burger Deborah J. Loon -Joanne Halvorsen James Flskum Michael Dalley Barbara Nelson Karen M. Johnson Paul William Gerike Wayne Dalton Solvelg K. Nelson Christine Ludwig -John William WaynneB. Julie Ann Olson Joan Quam- Henley Horntcke Lea Anna Sams- MacKenzie Tim Johnson Fredrick Lokken McGowan Kay E. Sandeen Gary A. Kortemeler -Jerry Rubino Marie Spar Carrie Stevens Steve Pearthree Arthur Rudolph- Ruth Spiegel Denise Wahlln David Reece LaRue -Linda Steen Donelle Zimdars Timothy Sawyer Julian Sellers Claudia Zylstra Frank Steen Paul A. Theisen "Sectton Leader Thday's performance Is being recorded. No cameras or recording devices may be used during performances. Please turn off any electronic beeping devices (watches, pagers, etc.) or leave them with an usher prior to the performance. Latecomers will be seated at the discretion of the house manager. As a courtesy to other patrons, please be aware that the excellent acoustics of this hall magnify sounds such as rustling programs, cellophane wrappers, and whispering.

Published 1986 by The , Inc., P.O.Box 16207/EIway Station, St. Paul, Minnesota 55116 612/292-9780

2 DALE WARLAND

Dale Warland occupies a preeminent from 1967 to 1986. In addition, he is in place in this nation's choral life. A dis- demand as a guest conductor. Among tinguished conductor, sought-after clini- his many conducting honors are per- cian and lecturer, and frequently-per- formances with the Swedish Radio formed composer/arranger, Warland Choir (Stockholm), the Danish Radio and his choirs have made a significant Choir (Copenhagen), the Houston Con- contribution to choral music both at cert Chorale, and many All-State Cho- home and abroad through concerts, ral Festivals throughout the United tours, broadcasts, recordings and pro- States and Canada. fessional affiliations. A graduate of St. Olaf College, Dale Dr. Warland is the founder and direc- Warland holds a master's degree from of The Dale Warland Singers, an the and a doc- ensemble he has brought to national tor of musical arts degree from the Uni- and international acclaim. He has versity of Southern California. Other toured abroad with the Singers in Swe- academic honors include a Tanglewood den, Norway, and Germany. In the scholarship, a Ford Foundation grant United States, he frequently appears which enabled him to study choral with his Singers on American and music in England, Sweden, and Nor- National Public Radio, including the way, and a Bush Foundation grant to "St. Paul Sunday Morning" program research English choral literature. Dr. and "A Prairie Home Companion Warland is a member of the American Show." Dr. Warland has produced Society of Composers, Authors, and eleven recordings with the Singers, Publishers (ASCAP)and is former co- including the first digital recording of chair of the National Endowment for choral music in this country. the Arts Choral and Recording panels. Dr. Warland is also music director of He is currently a director of the Associa- the Rapid City Festival Chamber Sing- tion of Professional Vocal Ensembles ers, and is a leading force in college cho- (APVE)and a life member of the Ameri- ral music, having held the position of can Choral Directors Association professor of music at (ACDA).

3 THE DALE WARLAND SINGERS

Paul J. Anderson Is a charter member Linda Burk received a bachelor of of the Singers. A graduate of Mankato music degree from the Lawrence Uni- State University, he holds a bachelor of versity Conservatory of Music and a science degree In music education and master of music degree from the Univer- history, and a master's In guidance and sity of Minnesota where she re-estab- counseling. lished and conducted the University Women's Chorus. She also served as assistant conductor of the University Larry Bach Is an assistant professor of Chamber Singers. Linda Is a voice music at North Central Bible College Instructor and a soloist with the House where he serves as department chair- of Hope Presbyterian Church choir and man. He conducts the college's choral Is serving her second season as assis- ensembles and his chorale has toured tant conductor with the Macalester Col- in the United States and Europe. He lege Festival Chorale. holds a vocal performance degree from W. Virginia Wesleyan and a master's Michael Dailey received a bachelor of degree in choral conducting from the music degree In music education from University of Minnesota. Larry has also Concordia College, Moorhead and studied at the American Institute for received his master of music degree In Musical Studies in Graz, Austria. applied voice from the University of South Dakota, where he performed the lead role in 's opera David Benson Is a graduate of Trlnlty "The Boor." Michael has been a regional College in Deerfield, Illinois, where he finalist In the Metropolitan Opera Audi- received a bachelor of arts degree In tions, a district winner In the NATS music education. He Is presently pursu- Young Artist Competition, and an Ing a graduate degree In choral con- apprentice artist with the Des Moines ducting at the University of Minnesota. Metro Opera. He teaches vocal music at Watertown High School, and conducts the choir at Cross of Glory Baptist Church In Wayne Dalton teaches at several Twin Hopkins. Cities colleges, and has performed In recital and as a soloist with the Bach Society of Minnesota, Plymouth Music ROlalnne Bentley has been a member Series, and the choruses of Macalester of The Dale Warland Singers for seven and Kalamazoo Colleges. He studied years. She has been an alto soloist for Lieder performance In Los Angeles and several1\vln Cities churches as well as Vienna and was a finalist In the Metro- for the Macalester College Festival Cho- politan Opera Western Regional Audi- rale, the Bemidji Oratorio Society, the tions. After receiving his doctorate at Saint Paul Chamber Orchestra, and the Claremont College, he taught at Middle- Europa Cantat In Lucerne, Switzerland. bury and Dartmouth Colleges and per- formed throughout New England and New York. Steve Burger has been featured as a soloist with the Singers as well as with James Fiskum Is the vocal music the Minnesota Chorale. A graduate of director at Big Lake High School. He Luther-College, he continued his studies holds a bachelor of science degree In with Donald Holness at St. Olaf College. vocal music education from Bemidji Steve traveled through Europe as a State University. Jim has sung with the member of the Seventh Army Chorus Bemidji Chorale and has served as while he was stationed in Germany. assistant conductor of the Bemidji State

4 Classical Mornings with John Zech

beginning at six WCALfm

5 University Choir. He has also attended Macalester College, where she was a the Europa Cantat in Namur, Belgium. member of the Concert Choir under the direction of Dale Warland. She studied Paul William Gerike works as a free- voice at the MacPhail Center for the lance musician, performing, arranging, Arts and has been active as a church and composing. He also is the director of soloist In the Twin CIties. This is her music at Lake Nokomis Lutheran seventh season with the Singers. Church in and sings with the Adelphol ensemble. Paul received a Karen M. Johnson Is a charter mem- bachelor of music degree from Hartt ber of The Dale Warland Singers. She College of Music In Hartford, Connecti- has been featured as a soloist, and has cut, and an associate of arts degree also sung with The Dale Wariand from S1. Paul's College in Concordia, Chamber Singers, Family Singers, and Missouri. Symphonic Chorus. Karen studied voice with her father, Edwin G. Amundson, Alto section leader Joanne Halvorsen and also Paul J. Christiansen of Concor- holds a bachelor of arts degree In music dia College, Moorhead, and at Bemidji from Hamline University. She has been State College. She has been a soloist a soloist at S1. Paul's United Church of with church choirs, has appeared In Christ, the Oratorio Society of Hamline oratorio productions, and has served as University, and the Saint Paul Chamber alto soloist with the Twin Cities Catholic Orchestra. Joanne has also performed Chorale at The Church of S1. Agnes in with the Lakeshore Players, Patchwork S1. Paul. Theatre, Masquers Theatre, and Is cur- rently singing with Paragon, a variety Sigrid Johnson is the assistant con- dance band, and the quartet Fourte, ductor of The Dale Warland Singers and also serves as a soprano section leader. John William Henley, a music educa- A resident of Northfield, Sigrid teaches tor and conductor, Is the tenor section at S1. Olaf College where she conducts leader and Italian coach for the Singers. the Manitou Singers. A graduate of S1. He has studied at S1. Olaf College, the Cloud State University where she University of California-Los Angeles, received a bachelor of music degree, the Aspen Choral Institute, and the Sigrid completed her master of music University of Minnesota. He has served degree In the area of vocal performance as a soloist with the Singers, and Is In at the University of Michigan. his sixth season with the ensemble. Gary A. Kortemeier received his Wayooe B. Hornicke holds a bachelor bachelor of music degree In vocal per- of arts degree in music education from formance from Illinois Wesleyan Uni- Augsburg College In Minneapolis, and versity, and taught vocal music at High- has furthered his vocal training at the land Community College In Freeport, MacPhail Center for the Arts with Illinois. In the past six years he has LeRoy Lehr. Waynne has sung with the appeared with the Minnesota Opera Bach Society and the Minnesota Cho- Company, Don Stolz Industrial Produc- rale and Is frequently called upon as a tions, the Brandywine Singers, and as a guest artist throughout the 1\vln Cities. tenor soloist and section leader for Presently with the Edina School Dis- Westminster Presbyterian Church In trict, Waynne Is a soloist at Grace-Trln- Minneapolis. tty Community Church In Minneapolis. He has been a member of The Dale War- Fredrick Lokken holds a bachelorof land Sirigers since 1976. music degree In vocal performance from the University of Wisconsin-Madison, a Janet Johnson received a bachelor of master of arts degree In theology from arts degree In English education from Fuller Theological Seminary, and a

6 master of divinity degree from Luther she received a bachelor of music degree Northwestern Theological Seminary. In vocal performance and music educa- Fred has directed choirs In California tion. While at Concordia, she was a and St. Paul, and has sung with the member of the Concordia Choir. the 'VIlnnesota Chorale. He Is currently a Concert Band, and the Orchestra. and olotst at Holy Trinity Lutheran Church toured Europe with the Orchestra In In Minneapolis. May 1986.

Deborah J. Loon Is a graduate of S1. Steve Pearthree received a bachelor of Olaf College where she received a bach- music degree after studying at the Uni- elor of arts degree In political science. versity of Wisconsin-Superior and the As a member of the St. Olaf Choir, she University of Minnesota. Following his was a soloist and section leader, as well graduation he traveled to Norway as a as a soloist with the St. Olaf Orchestra. Fulbright Scholar. In addition to his. In addition to her musical activities. work with the Singers. Steve also sings Deborah Is active In the area of public at the Church of St. Patrick In Edina. affairs. "

Christine LUdwig teaches at Christ the King School In Minneapolis. An active member of the American Orff- Schulwerk Association. she received her bachelor of arts degree In elemen- tary education and music from the Col- lege of St. Catherine. Chris also sings In the music program at the Church of the Annunciation In south Minneapolis and plays recorder with Cantante dl Camera.

Barbara Nelson Is a graduate of Luther College and holds a bachelor of arts degree In music education. Formerly a professional singer with the Minnesota Chorale. she has been a guest soloist for any local organizations and churches. he has also appeared as a soloist with the Minnesota Orchestra under the direction of Leonard Slatkin. Barbara works as a private plano and voice Instructor.

Solveig K. Nelson attended S1. Olaf College and received a bachelor of music degree In music education from Yankton College. She Is a violinist and has most recently been a soloist and choir director In Lincoln, Nebraska. She Is active In community theatre and Is currently working and performing at Gustlno's In Minneapolis.

Julie Ann Olson Is a recent graduate of Concordia College In Moorhead where

7 Joan Quam-MacKenzie is completing and internationally. An active free- a degree in music at Macalester College lance musician, Jerry often performs in where she studies voice with Charlotte solo and chamber music recitals Straka and piano with Celeste O'Brien. throughout the Twln Cities and has per- She has been a member of the formed with the Minnesota Opera, Min- Macalester Concert Choir and has nesota Composers Forum, and the St. appeared as a soloist with that ensem- Paul Chamber Orchestra. ble. Joan also sings at Mount Zion Tem- ple in St. Paul. She has worked as a rehearsal and performance pianist for Arthur Rudolph-LaRue recently several musicals and is presently moved to the Twin Cities from Oregon employed as a liturgical pianist in where he sang in the Portland Opera Waconia. Chorus. A member of Cantante di Cam- era, he also sings at Unity Church in St. Paul. Arthur studies voice at the Uni- David Reece graduated from Illionis versity of Minnesota. State University with a degree in vocal performance. He was a soloist with the Rockford Chorale, and has performed in Lea ADna Sams-McGowan is working theatre and musical productions. He toward a degree in music education and currently works as a free-lance musi- performance at Macalester College. Lea cian, and has sung with the Paul Kaye Anna sings with the Zion Lutheran Singers and at St. Olaf Church in Min- Church choir in Cottage Grove and has neapolis. David has also appeared as a given private vocal instruction to ele- soloist with the Minnesota Orchestra mentary school students. under the direction of Leonard Slatkin.

Kay E. Sandeen received a bachelor of Bass section leader Jerry Rubino is a arts degree in music education from graduate of the Curtis Institute of Music Hamline University in St. Paul. She has and Temple University. He is the accom- taught music for nine years, has sung panist for the Singers and also serves as with the Hamline Oratorio Society, and pianist and coordinator of special musi- has worked extensively with Masquers cal events at the International Market Theatre Company as a performer, cos- Square in Minneapolis: Jerry maintains tumer, and instrumentalist. Kay is a a private voice and piano studio and has free-lance soloist and organist, and has served as pianist for the Hawaiians, a performed in many area churches. contemporary gospel recording and per- forming group that appears nationally InFnst:

01985 First Bank System

8 Timothy Sawyer holds a bachelor of soloist at the Cathedral Church of St. arts degree In music education from Mark and periodically performs in Min- Bethel College, Is completing a master's nesota Composers Forum concerts. degree In vocal performance at the Unl- -'erslty of Minnesota, and has done Carrie SteveDs received her bachelor aduate work at Westminster Choir of music degree from the University of ollege. He has appeared as soloist with Wisconsin-Madison, her master of the Minnesota Opera, the University of music degree from Boston University, Minnesota Opera Theatre and Sym- and participated in the 1986 Minnesota phonic Chorus, the Montana Chorale, Opera Institute. Winner of the 1986 the Robert Berglund Chorale, and has Twin CIties Schubert Club Competition, been an artist-fellow of the Bach Aria she currently performs with the Minne- Festival and Institute. Tim was the first- sota Opera, Cantante dl Camera, and Is place winner In the 1982 NATS a performing artist with Thursday . auditions. Musical. Carrie is also serving as alto soloist and section leader at St. Paul's JuliaD SeUen holds a bachelor of arts House of Hope Presbyterian Church. degree In German from Florida Presby- terian College. An active soloist, Julian Paul A. TheiseD Is the liturgical music has sung with the Munich Bach Choir, director at the Church of St. Therese Pro Muslca of Salt Lake City, and other where he Is also a cantor. He has stud- choral groups In Florida and Minnesota. Ied voice privately, and sang with the Minnesota Chorale before joining the Marie Spar holds a bachelor of arts Singers In 1982. degree In vocal music education from St. Olaf College where she was a soloist with the St. Olaf Choir and Orchestra. DeDise WahliD holds a bachelor of arts She has sung with the Minnesota Cho- degree In English and art from Concor- dia College, Moorhead, where she was a rale and traveled with that ensemble to the Casals Festival in San Juan, Puerto soloist with the Concordia Choir. She Rico in June 1985. Marie currently currently teaches at the secondary level teaches in White Bear Lake. in Buffalo, and Is working toward a master's degree In art history at the University of Minnesota. Ruth Spiegel received a bachelor of -rts degree in music education from astern Michigan University and has DoDeUe Zimdars received her bachelor done graduate work at the University of of arts degree in vocal music from Iowa In vocal performance. She has a Bemidji State University. She has sung background in opera and has recently with the Minnetonka Choral SOCiety performed solo and choral works In the and portrayed Abby Hutchinson as a St. Croix Valley area. member of the Hutchinson Family Singers. Frau SteeD is a graduate of Concordia College, Moorhead, and the University Claudia Zylstra Is a graduate of Calvin of Minnesota. He has appeared as a College In Grand Rapids, Michigan soloist with the Singers, and has also where she studied vocal performance been a soloist with church choirs and in and was active In the choral program. oratorio productions. She has participated in community cho- ral organizations In Chicago and In Wis- Soprano section leader LiDda SteeD Is consin. Prior to joining the Singers, she also a member of the Hutchinson Fam- was a soloist and member of the Paul ily Singers, a vocal quintet which recre- Kaye Singers. ates concerts of the 1850s. She is a

9 AMADEUS Sunday, October 26, 1986 Orchestra Hall 7 p.m.

This concert is sponsored in part by Campbell-Mithun, Inc. Wolfgang Amadeus Mozart (1756-1791)

I. Religious Works Regina Coeli, K. 276 Ave Verum, K. 618

II. Canons and Nocturnes Gehn wi.r im Prater. gehn wir in d'Hetz, K. 558 ("Off to the Prater, off to the Hetz") Mi laqnero tacendo, K. 437 ("guietly Will I Now Complain") o du eselhafter Peierl, K. 560 ("Oh. you mulish Peierl"] Ecco quel fiero istante. K. 436 ("Lo, Time's Most Cruel Moment") Bona nox! bist a rechta Ox, K. 561 ("Good Night! You are really an ox")

III. Opera Choruses Placido e il mar, from Idomeneo ("Calm Is The Sea") Viva pur la Giardiniera. from La Finta Giardiniera ("Long Live the Garden Girl")

INTERMISSION

10 IV. Requiem. K. 626 Beverly Myers. Soprano Thomas Dyrnlt, Tenor Jacqueline Pierce. Mezzo-Soprano Michael Riley. Bass-Baritone I. Introitus: Requiem II. Kyrie III. Sequenz No. 1 Dies irae No. 2 Thba mirum No.3 Rex tremendae No.4 Recordare No. 5 Confutatis No.6 Lacrimosa .' IV. Offertorium No. 1 Domine Jesu No. 2 Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna

Instrumentalists

Violin Basset Born Frederick Sewell* Marlene Pauley Julia Persitz Shelly Hanson James Riccardo Bassoon Helen Foli Lynn Moran Riccardo Brenda Mickens Cheryl Kelley David Mickens Mark Bjork Trumpet Melinda Marshall Gary Bordner Claudette Laureano Michael Brand Viola Trombone Tamas Strasser Glenn Monson Andrea Een Steven Lund Vivi Erickson Brian Van Stavern Cello Timpani Joshua Koestenbaum David John Olson Dale Newton Piano Bass Jerry Rubino Gregory Hippen Orchestra Contractor Steven Lund *Concertmaster

11 SOLOISTS

Beverly Myers, Soprano Jacqueline Pierce, Mezzo-Soprano Beverly Myers has performed In opera, Jacqueline Pierce Is a graduate of West- operetta, oratorio, and musical theatre minster Choir College and has toured productions throughout the United with the Chorale. In New States and Canada. Her many operatic York Ms. Pierce has been a soloist with engagements have Included appear- the Metropolitan Opera, the 'Bach Aria ances with The Opera Co. of Philadel- Group, the American Symphony, the phia, The Chautauqua Opera, The New York Philharmonic, and Opera Cleveland Opera, The Annapolis Opera, Orchestra of New York among others. and the Hartford Opera Theatre. Ms. She has also sung with the Cleveland Myers' travels have Included several Orchestra and the Oklahoma City Sym- tours under the auspices of Columbia phony. She has performed as a soloist Artists Community Concerts, as well as with the New York Choral Artists, appearances with the Williamsburg Muslca Sacra and the 92nd Street "Y" Bach Festival, and the Brockport, Colo- Choral Series. She has recorded on nial, and Green Bay Symphonies. RCA, Angel and New York labels. Ms. A frequent performer with Muslca Pierce has served on the chorus panel 0 Sacra and the New York Philharmonic, the National Endowment for the Arts Ms. Myers was a soloist In RCA's and Is the contractor for many of New recording of the Beethoven Choral Fan- York's most prestigious and acclaimed tasy. She has also recorded for Opus 1 professional choruses. Records, and has appeared with the National Shakespeare Co. of New York In performances of "The World of Gil- bert and Sullivan." A native of New York, Ms. Myers Is a graduate of the Manhatten School of Music and has been the recipient of grants from The Sullivan Foundation and the National Opera Institute.

12 Thomas Dymit, 'lenor Michael Riley, Bass-Baritone Born and raised In the Chicago area, Michael Riley is well-known to 1\vin Thomas Dymltjolned the Chicago Sym- Cities audiences, having performed phony Chorus In 1978. Shortly after here extensively while he was with the joining that ensemble, he was under- Minnesota Opera from 1973 to 1979. studying soloists such as Seth McCoy, During that time he appeared fre- Anthony Rolfe-Johnson, Ermanno quently as a soloist with the Minnesota Mauro, and Neil Rosenshein. Orchestra, the Saint Paul Chamber As the result of an audition for Erich Orchestra, the Bach Society, the Cathe- Lelnsdorf, Mr. Dymit was given the role dral of St. Mark, and the University of of Zorn In a concert performance of Minnesota, as well as with The Dale Wagner's "Die Meistersinger" with the Warland Singers. Mr. Riley was also a Chicago Symphony Orchestra in 1983. member of the faculty at St. Olaf The following season he returned to College. ng the part of The Naked Youth In Since leaving the 1\vln Cities for New erformances of Schoenberg's "Moses York, Mr. Riley has debuted with the und Aron" which was recorded by New York Philharmonic under the London Records. Since that time, Mr. direction of Rafael Kubelik, and has Dymit has performed under the direc- made several appearances at Carnegie tion of conductors James Levine and Hall. He has been a participant in the Kurt Masur at the Ravinia Festival, and Marlboro, Santa Fe and Deer Valley has sung with Margaret Hillis in the Chamber Music Festivals, has toured renowned "Do-It-Yourself Messiah" In for Columbia Artist's Community Art- Chicago, Handel's "Israel In Egypt" in ists Series, and has presented hundreds Daytona Beach, and the Verdi Requiem of informal recitals as an Affiliate Art- in Indiana. 1st. Mr. Riley has sung more than 150 Mr. Dymlt's repertoire also includes roles with opera companies and orches- Beethoven's Symphony No.9 and the tras across the country. Choral Fantasy, Berlioz's "L'Enfance du Christ," Orff's "Carmina Burana," the Bach Mass In B Minor, "Creation" and "The Seasons" by Haydn, and numer- ous other works.

13 PROGRAM TEXTS

-A note to our audience: Mozart's canons are rarely performed due to the coarse nature of their texts. Musically. we feel they merit your attention and for that reason have chosen to include several in today's performance.

Regina Coell, K.276 Regina coeli, laetare, alleluia. Creator. Father. we praise Thee, Quia quem rnerutstt, portare, alleluia. alleluia. Resurrexit sicut dixit. alleluia. o Lord, we magnify Thee and bless Ora pro nobis Deum. Alleluia. Thee. alleluia. Regina coett, laetare. alleluia. We rejoice now with loud voices. alleluia. o Lord. how gracious Thy Name. Alleluia. Creator, Father, we praise Thee. alleluia.

Ave Verum, K.618 Ave verum Corpus natum de Maria .Jesu, Word of God Incarnate, of the Vir- Virgine: gin Mary born; Vere passum immolatum in cruce pro On the Cross Thy sacred Body for us homine: men with nails was torn. Cujus latus perjoratum undaJluxit et Cleanse us by the Blood and Water sanguine: streaming from Thy pierced side. Esto nobis praegustatum in mortis Feed us with Thy Body broken. now and examine. in death's agony.

Gebn wir 1m Prater, gebn wir in d'Betz, K. 558 Gehn unr im Prater. gehn wir in Off to the Prater, off to the Hetz, off to d'Hetz, gehn wir zum Kasperl. the Punch and Judy show. The puppet Der Kasper! tst hank. der Bar ist ver- is ill. the bear has died. what else could recki, was tat' ma in der Hetz drauss? we do in the Hetz? At the Prater there 1m Prater gibt's Gelsen und Haufen. are pigs and plies full of muck. vollDreck.

Mi lagnero tacendo, K. 437 Mi lag nero tacendo della mia sorte guietly willi now complain of my bitter auara: ma ch'io non r'nrru, 0 cara, non fate; that I should love thee, 0 dearest. lo sperar da me. do not expect it of me. Crudele. in che t'ojfendo? Se resta a o cruel one. do I offend thee? to rest questa petto il tnisero diletto. di sos- within this heart of mine, the misery pirar per te? and pleasure. to always long for thee?

14 o du eselhafter Peierl. K. 580 o du eselhajter Peierl! 0 du Peir- 0 you mulish Peierl! 0 you Bavarian lischer Esel! Du bist sojaul als uiie mule! You are as lazy as an old nag ein Gaul, der weder Kopj noch Haxen that has neither brains nor legs. 'tat. Mit dir tst gar nichts anzujangen; You're goodjor nothing at all; I'll bet ch seh dich noch am Galgen hangen. you end up hangingjrom the gallows. Du dummer Gaul, du bist sojaul, du You dumb nag, you are so lazy, you dummer Peterl bist sojaul als wie ein dumb Peierl, you're as lazy as an old Gaul. 0 lieber Freund, ich bitte dich, nag. Oh dear jriend, I beg oj you, go ' o leek mich doch geschwind im Arsch! ahead and kiss my behind! Ah, dear Ach, lieber Freund, verzeihe mir, den jriend,jorgive me,-- I'll whip your Arsch petschier ich dir Peierl! behind. Peierl! Nepomuk! Peierl! For- Nepomuk! Peierl! Verzeihe mir! give me!

Ecco quel fiero istanle. K. 438 Ecco quelfiero istante; Nice, mia Nice, Lo, times most cruel moment; Nice, my addio. Come utero, ben mio, COSt lon- Nice, farewell. How shall Ilive, my dar- tandate? 10 vivra sempre in pene, io ling, so far away from thee? Life will non avra pill bene; etu, chi sa se mai hold only sorrow, no more will my heart ti sovverrai di me! beat in joy; and you, my love, will you sometimes remember, think of me!

Bona nOldbisl a rechla Ox. K. 581 Bona nox! bist a rechta Ox; bona Good night! You are really an ox; good notte, Liebe Lotte; bonne nutr, pjui, night, dear Lotte; good night, for shame; pjui; good night, good night, heut good night, good night, we've still a long m ussma noch weit; gute Nacht, gute way to go today; good night, good night, Nacht, scheiss ins Bett, dass' kracht; mess in your bed until it collapses; good gute Nacht, schleifjei g'sund und night, sleep fine and well and stretch reck' den Arsch zum Mund. your rear to your mouth.

Placido e 11 mar from Idomeneo Placido e il mar, andiamo, tutto ci ras- Calm is the sea, then onward, fortune sicura,jelice avrem ventura, sui par has reassured us, our fate will shine tiamo or' or. Soavi Zeffiri soli sptrate, and prosper, soon, we will part this deljreddo borea lira calmate, d'aura shore. Breezes far at sea gently piacevole cortesi siate, se da voi spar assuaging, come tame the north wind gesi per tutto amor. and soothe his raging; bring us your tenderness, grant us your blessing. Let your love waft kindly to all, we implore, let your breath calm the sea and guard us, we implore.

Viva pur la Giardiniera from La Finla Giardiniera Viva pur la Giardiniera, che serbo Long live the Garden Girl, whose heart jedele il core! Viva! Viva il Conte, viva remained faithful! Hail! Long live the amore, cheja tutti rallegrar! Count, long live the god of love, who makes us all rejoice!

15 Requiem, K.828 I. Introitus: Requiem Requiem aeternam dona eis, Domine: Eternal rest give unto them. 0 Lord; et lux perpetua luceat eis. Te decet and let perpetual light shine on them. l' hymnus. Deus. in Ston, et tibi red- hymn becometh Thee. 0 God. In Slon: detur votum in Jerusalem: exaudi and a vow shall be paid to Thee In Jeru- orationem meam. ad te otnnis caro salem. 0 hear my prayer; all flesh come veniet.-Requiem aeternam ... to Thee. Eternal rest give unto them. 0 Lord.

II. Kyrie Kurie, eleison. Christe. eletson. Lord have mercy on us. Christ have Kyrie. eleison. mercy on us. Lord have mercy on us.

III. Sequenz I. Dies irae Dies irae, dies illa Day of wrath and doom Impending. Solvet saeclum inJavilla: Davld's word with Sibyl's blending! Teste David cum Sibyl/a. Heaven and earth In ashes ending! Quantus tremor estfuturus, Oh, what fear man's bosom rendeth, Quando judex est venturus. When from heaven the Judge Cuncta stricte discussurus! descendeth, On whose sentence all dependeth!

2. Thba mirum Thba. mirum spargens sonum Wondrous sound the trumpet flmgeth, Per sepulcra regionum Through earth's sepulchres It rtngeth, Coget omnes ante thronum. All before the throne It brlngeth. Mors stupebit et natura. Death Is struck and nature quaking. All Cum resurget creatura. creation Is awaking. To Its Judge an Judicanti responsura. answer making. Lo! the book exactly Liber scrtptus proferetur, worded. Wherein all hath been In quo totum continetur. recorded; Thence shall judgement be Unde mundusjudicetur. awarded. Judex ergo cum sedebit. When the Judge His seat attatneth, Quidquid laiet, apparebit: And each hidden deed arralgneth. Nil inultum remanebit Nothing unavenged remalneth. Quid sum miser tunc dicturus? What shall I. frail man. be pleading? Quem patronum roqaturus, Who for me be Interceding. Cum vixjustus sit securus? When the just are mercy needing?

3. Rex tretnerulae Rex tremendae majestatis. King of majesty tremendous. Qui salvandos salvas gratis. Who dost free salvation send us. Salva me,jons pietatis. Fount of pity. then befriend us.

16 4. Recordare Recordare, Jesu pie, Think. kind Jesu, my salvation Quod sum causa tuae viae: Caused Thy wondrous Incarnation; Ne me perdas illa die. Leave me not to reprobation. uaerens me, sedisti lassus: Faint and weary Thou hast sought me. Redemisti Crucem pass us: On the Cross of suffering bought me. 1l:zntus labor non sit cassus. Shall such grace be vainly brought me? Justejudex ultionis, Righteous Judge. for sin's pollution, Donumfac remtsstonis Grant Thy gift of absolution, Ante diem ration is. Ere that day of retribution. Ingemisco, tamquam reus: Guilty now I pour my moaning, Culpa rubet vultus me us: All my shame with anguish owning; SuppLicanti parce, Deus. Spare. 0 God, Thy suppliant groaning. Qui Mariam absolvisti, Through the sinful woman shriven, Et latronem exaudisti, Through the dying thief forgiven, Mihi quoque spem dedisti. Thou to me a hope hast given. Preces meae non sunt dignae: Worthless are my prayers and sighing, Sed tu bonusfac benigne, Yet, good Lord, in grace complying, Ne perenni cremer igne. Rescue me from fires undying. Inter oves locum praesta, With Thy sheep a place provide me, Et ab haedis me sequestra, From the goats afair divide me, Statuens in parte dextra. Th Thy right hand do Thou gUide me.

5. Confutatis Corifutatis maledictis, When the wicked are confounded, Flammis acribus addictis: Doomed to flames of woe unbounded, Voca me cum benedictis. Call me, with Thy Saints surrounded. Oro supplex et acclinis, Low I kneel, with heart submission! Cor contritum quasi cinis: See. like ashes my contrition! Gere curam meifinis. Help me In my last condition!

6. Lacrimosa acrimosa dies illa, Ah! that day of tears and mourning! Qua resurget exfautlla From the dust of earth returning. Judicandus homo reus. Man for judgement must prepare him; Huic ergo parce, Deus: Pie Jesu Spare, 0 God. in mercy spare him! Domine, Dona ets requiem. Amen Lord, all pitying, Jesu blest, Grant them Thine eternal rest. Amen.

TV:Offertortum l. Domine Jesu Domine Jesu Christe, Rex gloriae, Lord Jesus Christ. King of glory deliver Libera animas omniumfideLium the souls of all the faithful departed defunctorum de poems inferni et de from the pains of hell, and from the profunda lacu: Libera eas de ore deep pit. Deliver them from the lion's leonis, ne absorbeat eas tartarus, ne mouth, lest hell swallow them, lest they cadant in obscurum: fall into darkness: Sed signifer sanctus Michael And let the standard-bearer, St. Michael repraesentet eas in lucem sanctam: bring them Into the holy light.

17 Quam oUm Abrahae promisisti et Which Thou didst promise of old to semtru ejus, Abraham and his seed.

2. Hostias Hostias et preces tibi. Domine. laudis We offer Thee. O'Lord, a sacrifice of offerimus: tu suscipe pro animabus praise and prayer: accept them in V illis. quarum hodie memoriam behalf of the souls we commemorate Jactmus:Jac eas, Domine. de morte this day; and let them. 0 Lord. pass transire ad vitam. Quam oUm from death to life. That life which Thou Abrahae promisisti et semini ejus, didst promise of old to Abraham and his seed.

V, Sanctus Sanctus, Sanctus. Sanctus Holy. Holy. Holy. Lord of Hosts. Dominus. Deus Sabaoth. Heaven and earth are full of Thy glory. Pleni sunt caeli it terra gloria tua. Hosanna in the highest! Hosanna in excelsis.

VI. Benedictus Benedictus. qui venit in nomine Blessed is He that cometh in the name Domini. of the Lord. Hosanna in excelsis. Hosanna in the highest!

VII. Agnus Dei Agnus Dei. qui toWs peccata mundi: Lamb of God. who takest away the sins dona eis requiem. of the world. give them rest. Agnus Dei. qui tollis peccata mundi: Lamb of God. who takest away the sins dona eis requiem. of the world. give them rest. Agnus Dei. qui toIUspeccata mundi: Lamb of God. who takest away the sins dona eis requiem sempiternam. of the world. give them eternal rest.

VIII. Communio: Lux aeterna Lux aeterna luceat eis, Domine: Cum Let eternal light shine upon them. 0 Sanctis tuis in aeternum: quia pius Lord. with Thy saints for ever. because es. Thou art merciful. Requiem aeternam dona eis, Domine: Eternal rest give unto them. 0 Lord: et lux perpetua luceat eis. Cum Sanc- and let perpetual light shine upon them. tis tuis in aeternum: quia pius es. With Thy saints for ever: because Thou art merciful.

18 PROGRAM NOTES

Regina Coell, K.278 Canons and Nocturnes Ave Verum, K.818 Like most of the composers who have I'\s organist and Konzertmeister to the ever lived in Vienna, Mozart relaxed chapel of Archbishop Hieronymous Col- with his friends in their homes or in loredo in Salzburg, Mozart naturally taverns around the city. They enter- was expected to supply suitable, generic tained themselves with parlor games, . sacred music in the conservative tradi- songs, and dances or with walks and tion for Mass and church festivals. In outdoor serenades. In a long tradition addition to satisfying Colloredo, Mozart that includes such composers as was also obliged to follow the edicts of Purcell, J.S. Bach, and Beethoven, Joseph IIwhich limited the length and Mozart enjoyed composing puzzle . complexity of certain liturgical works. canons and rounds. His letters reveal Mozart complied with the edicts, but an aptitude for language and word play, often with little enthusiasm or including that of a ribald and coarse originality. nature. Coupling his witty texts with Regina Coeli (K.276), composed his superb sense of musical counter- around 1779, is an example of his late point, Mozart produced canons that are Salzburg style. Using the text but not tiny masterpieces. These German the chant of this Marian anthem, the canons were composed sometime in the work would have been performed at fall of 1788. The first, sung in Viennese Vespers or at a Marian festival between dialect, describes an excursion to the Easter and Pentecost. Unlike his earlier Prater amusement park to see the Hetz, setting of the same text (K.127), here a theater devoted to bear-baiting and Mozart avoided virtuosic solos, choosing animal fights until 1796. The second instead a concerto style where the solos canon pokes fun at his friend, Johann provide the contrasting episodes and Nepomuk Peierl, a tenor from Munich the chorus adds the punctuation of whose Bavarian accent prompted much Handelian-like "allelujahs." The solo laughter and teasing. The last is a setting will be sung tonight by a cham- clever farewell song bidding good night ber ensemble from within the full to the company in at least five lan- chorus. guages. Each good night is paired with a In contrast, Ave Verum (K.618) was funny, sometimes off-color, German written in friendship for Anton Stoll in rhyme. Baden (near Vienna). Composed in July The Italian pieces are nocturnes, 1791 while Mozart and his wife were probably used for informal, outdoor trying to recuperate from illness by tak- serenading. Written around 1783, these ing the Baden spa waters, the piece works are associated with Gottfried and probably was intended for the celebra- Franziska Jacquin, the teen-aged tion of Corpus Christi at the local parish friends and music students of Mozart. church where Stoll served as choir The songs require a vocal trio and three director. Accordingly, the music is woodwind instruments, here, basset restrained and unostentatious in style, horns and clarinets. Both examples are but its daring harmonies, unexpected based on the poetry of Metastasio and melodic leaps, and dramatic use of over- make use of Italianate lyrical melodies lapping lines at the conclusion reveal a and woodwind colors that Mozart loved. highly personal, even Romantic, response to the text. The Ave Verum Chorus from (domeneo, K.388 continues to be one of Mozart's most Both of these early operas were com- enduring sacred works. missioned for performance during Car- nival or Mardi gras in Munich-by

19 1778 the new residence of Elector Karl his own, the Requiem was sketched and Theodor, formerly of Mannheim. partially written between more pressing Impressed by the court orchestra's size commitments-"La clemenza di Ttto" and virtuosity, Mozart worked hard to and "Die Zauberfl ote.' When Mozart obtain a musical appointment there. died on December-S, 1791, only the Consequently, these operas aimed to Requiem and Kyrie were fully scored. please both the audiences and the opera The sequences and offertory were orchestra. sketched. Perhaps afraid that she would ldomeneo (K.366, premiered in 1781) have to refund the large advance pay- is an opera seria, an heroic, serious ment on the work, Mozart's widow opera loosely based upon classical Costanze asked first the composer mythology. But unlike its stiff and sty- Joseph Eybler, and then her husband's lized predecessors, Mozart's work student, Franz Siissmayer, to finish the humanizes its characters and gives the score. Siissmayer took on the task, music real drama. Also new is the inte- working from notes, sketches, and sup- gration of national styles. The libretto posedly, the verbal directions of the and lyrical style are Italian, while the dying composer. He wrote out the dramatic prominence given to the cho- orchestration from the sketches and fil- rus is French, and the lavish orchestra- led in the last four parts. In 1800 the tion is AustrojGerman. This chorus deception was uncovered, generating provides a moment of calm in Act II almost two hundred years of scholarly before the famous tempest scene. speculation and intrigue. Although set in Crete, the music sug- Like many of his late works, the gests Italy with its Siciliana rocking Requiem eclectically borrows from old meter and parallel-third harmonies. and new, secular and sacred musical The accompaniment depicts the rip- traditions, while still imparting pling of a calm sea. Mozart's own lyricism and dramatic logic. The work opens with dark orches- Chorus from La Finta Giardiniera. tral colors, devoid of flutes, clarinets, K.198 horns, and oboes (although it is now La Finta Giardiniera (K.196 from 1775) thought that Siissmayer erred by apply- ing this orchestration to the entire was Mozart's second opera buffa. As in others of this type, the plot spins a com- work). The tone is a solemn D minor in old ecclesiastical, contrapuntal style. plex web of love, intrigue and misunder- standings all set to brisk recitatives, lyr- The soprano solo's Gregorian psalm tone provides a further connection with ical arias, and humorous ensembles. At the past. The Kyrie is also formal. For only 19 years of age, Mozart was able to the fugue, Mozart borrowed a subject clearly delineate his characters in used before by Handel, Bach, and both music even when they sang together. Haydns. This bustling final chorus, taken from For the sequences, however, Mozart the German Singspiel version of 1780, provides the drama's denouement. Its turned to modern dramatic musical dancing, triple meter, strongly accented style in order to describe Judgement rhythms, and homophonic choral wri- Day. The cries of the damned (Dies Irae) are accompanied by trembling strings ting provide a noisy conclusion of gaiety and unstable harmonies, while the and goodwill. trombone (in Mozart's day associated with funeral music) sounds the end of Requiem. K.828 time [Tuba mirurn]. Tocreate the image Mozart's Requiem has beguiled music of a fearsome, judging king (Rex lovers and bedeviled scholars since its tremendae), Mozart borrowed from the creation in 1791. Commissioned imposing, aristocratic style of the old secretly by Count Franz Walsegg, per- French overture with its double dotted haps intending to pass off the work as rhythms and grand style. The terror is

20 then contrasted with human pleas for Mozart connected the two sections of mercy by the solo quartet (Recordarej In the Offertory by repeating a fugue. Its long. lyrical lines. The plea Is Probably taking his cue from his master expressed even more vividly In the next and referring to earlier sacred works. .chorus as the orchestra and men of the Siissmayer repeated the procedure for horus depict the desperate confusion the remaining four sections of the Mass. and flames of hell against the tranquil The Sanctus and Benedlctus alternate sweet sounds of heaven as portrayed by chorus and solo writing, and are joined the women's voices. The last of the by a fugue. The tripartite statement of sequences speaks of that tearful day. the Agnus Dells joined harmonically to Although only the first eight measures the ending. For the Communlo, can be proven to have come from Siissmayer repeated the music from the Mozart. they are among the most effec- opening sections, thus rounding out the tive of the entire work. Against sobbing work's prayers with Mozart's traditional strings. the chorus grieves, first quietly, music. then with gasps, and then In an ascend- Th the great credit of Mozart and Ing wall. Only with the naming of Jesus Sussmayer, the Requiem transcends Its as the Saviour does the music turn to uncertain moments and Imparts a fer- the major mode. and then only briefly. vent statement of faith and hope.

-Alice Hanson

CON C E R T S M C F:

The Dale Warland Chamber Singers Thursday, November 13, 1986. Walker Art Center I 8 p.m.

Re-discover America in a salute to the musical bounty of our nation. Minnesota Public Radio's Mindy Ratner is your host for this American Music Week Tribute featuring the Twin Cities premiere choral group performing works by Craig Carnahan. Carleton Macy, Amonon Wolman and Dale Warland. Tickets are available for $7/$5 through the Walker Art Center box office-375-7622

21 A CHORAL CHRISTMAS CARD A Family Christmas Program Sunday, December 7. 1986 Orchestra Hall 2p.m.

Today's pre-concert lobby performance was presented by the Angelica Cantanti I. Processional and Welcome The Little Drummer Boy Onorati -Simeone (Katherine K. Davis) o Filii et Filiae Volckmar Leisring (Let All Ye Sons and Daughters Sing) The Lamb John Tavener The Dale Warland Singers and Angelica Cantanti II. '1Was the Night Before Christmas Ken Darby III. Carols From Around the World The Angels and the Shepherds Bohemian () El Rorro (The Babe) Mexican Lullaby (Jeffrey Van) The Friendly Beasts Medieval French (Stephen Paulus) o Come. Little Children J.A.P. Schulz (Carolyn Jennings) Kling, Glacken Iraditiorial German Carol (Ring, Little Bells) Dale Warland

22 IV. Christmas Sing Along V. A Christmas Reading by Rev. William B. Rolland The Best Christmas Pageant Ever Barbara Robinson VI. Christmas Chestnuts It's The Most WondeJjul Time Eddie PolajGeorge Wyle oj The Year (Jerry Rubino) The Christmas Song (Chestnuts Mel ThrmejRobert 'Yells Roasting on an Open Fire) (Jerry Rubino) We Need a Little Chri~tmas (from the Jerry Herman musical "Mame") (Jerry Rubino)

VII. Concert Variations on "0 Tannenbaum" Carlos Salzedo Kathy Kienzle, Harp

VIII. Traditional Carols What Child is This? English (Dale Warland) The First Noel English (Stephen Paulus) The Dale Warland Singers o Come All Ye FaithJul Cantus Diversi Away in a Manger American Audience, Angelica CantanU, The Dale Warland Singers

Flute Harp Julia Bogorad Kathy Kienzle Angelica Cantaati Soprano I Soprano II Alto I Alto II Aaron Clapp Sonya Berger Alicia Bolz Kevin Anderson Kim Bargren UnChung Chung Keith Anderson Steve Baumgartner Megan Bergman Tresa Ellickson Susan Beardsley Colleen Brady Jenny Coffey Danielle Matt Cramer Mike Bratsch Chris Fredricks Gryskiewicz Erin Hennessy Amy Graham Jenny Johnson Joel Heuschele Gem Laqui Angella Kairies Larissa Llllenurms Carrie Johnson Crissy Marino Jennifer Kersten Marti Nagle Kenny Jenny Nordstrom Dave Velaski Kerry Kochersperger Katherine Olson Westmoreland Christina Lee Dan Person Heather Solie Jessica Shelly Connie Orlins Brad Wright

23 ECHOES OF CHRISTMAS Sunday, December 14, 1986 Ordway Music Theatre 3p.m.

This CODcert is spoDsoret! iD part by the AmericaD Ezpress FOBDdaUoD ODbebaH of IDS FiDaDclal Services IDc., AmericaD Ezpress fiavel Related Services CompaDy, aDd ShearsoD LehmaD Brothers. ® I.

On Christmas Night English (David Willcocks) Jesus Christ the Apple Tree Elizabeth Poston Child oj Peace Jeffrey Van How Far is it to Bethlehem? English (Stephen Paulus) Ding Dong! Merrily on High Frenc (Stephen Paulu

II. Laud to the Nativity Ottorino Respighl (Lauda per la Nativita del Signore) (1879-1936) (sung in Italian) Margaret Brand. Angel Emma Small, Virgin Mary Timothy Sawyer, Shepherd

INTERMISSION

24 III. Three Hymns to the Virgin Mary l. Ave Maria Gregorian Chant 2. Ave Maria Thmas de Luis Victoria 3. Hymn to the Mother oj God John Tavener

o Be Joyful Jeffrey Van The Rose John Paynter The Ship Carol Stephen Paulus

HZ Birthday Carol David willcocks Lullay, Dear Jesus Polish (Cary John Franklin) What Child is This? English (Dale Warland) Still, Still, Still Austrian (Norman Luboff) Sing We Now oj Christmas French (Fred Prentice)

Instrumentalists Piccolo Bassoon Cynthia Stokes Charles Ullery Flute Carole Mason Smith Julia Bogorad Triangle Cynthia Stokes Steven Lund Oboe Guitar Thomas Tempel Jeffrey Van Marilyn Ford Harp English Horn Kathy Kienzle Marilyn Ford

25 SOLOISTS

Margaret Brand, Soprano

Margaret Brand is a frequent soloist with many Twin Cities and regional organizations, including the Saint Paul Chamber Orchestra, Bach Society, Duluth Symphony, Minnesota Opera, Western Opera Theatre, and the Minne- apolis Chamber Symphony. She is a member of the faculty at Carleton Col- lege and is a soloist at Hennepin Avenue United Methodist Church.

Timothy Sawyer, 'nlnor

Emma Small, Mezzo-Soprano, Timothy Sawyer has done graduate work at Westminster Choir College, and Emma Small is a member of the voice is completing a master's degree in vocal faculty at Macalester College and Aug- performance at the University of Min- sburg College, and also maintains a pri- nesota where he is a student of Clifton vate voice studio. She has appeared as Ware. He performs frequently in the a soloist with the Minnesota Opera, the Twin Cities area, and has been a soloist Minnesota Chorale, the Minneapolis with many ensembles. Chamber Symphony, the Maca1ester Festival Chorale, the Bach Society, and Mr. Sawyer was an Artist-Fellow in the the St. Mark's Cathedral Music Series. 1986 Bach Aria Festival and Institute, She also has participated in the David and is currently the assistant conductor Hockney Opera Project at the Walker of the University Varsity Men's Chorus, Art Center and the Contemporary Art and the director of music at Crossroads Museum of Chicago. Covenant Church in Forest Lake.

26 PROGRAM TEXTS

Laud to the Nativity by Ottorino Respighi

he Angel to the Shepherds: Fear Alas, how poor the arms which now not, ye shepherds abiding here on the enfold Thee! As Lord we worship and hillsides of Judea's regions. Lo, I bring adore Thee, Thou art descended from you a tiding: Joy to mankind, sung by on high to save us. Though poorly we . the angel host. Born In the city of David now receive Him, though naked He lies to a Virgin Is the Savior, the anointed, in the hay it will not grieve Him, if we Christ Jesus, whom God appointed to only will believe in Him, this heav'nly come from heaven, that ye might be Infant whom the Father gave us. saved. Shepherds: 0 fountain ofjoy eternal, Angels and Shepherds: And this lying upon the hay here we behold child, pure and holy, sent by the Lord Thee. Take our cloaks for the baby, 0 against evil to battle, lies In a stable blessed Mary, that sheltered thus He lowly within a manger, among the may be. Our flocks unguarded stand, sheep and the cattle. To shield him from we cannot tarry. Now no longer care we the breezes, Mary In bands of linen has for the cold: we have beheld Him, the gently bound him; His blanket, the hay Infant Jesus. Praise to Thee, honor, around Him. Thus art Thou come down unto Thee be glory, Father in Heaven, to earth, blessed Jesus. God Almighty. 0 Savior, of God begotten and born of a Virgin in humiliation, give The Shepherd: 0 Lord, Thou hast light to every nation, that by mankind descended to earth from heaven. Thou thy birth may never be forgotten. must be sore offended to lie thus In a stable rude before us. Poor is the prepa- Happy would we hasten back to our ration which we have made to welcome hillsides and our flocks, could we but Thine Incarnation. touch Him; yet we dare not ask this favor. Unclean shepherds, we are fear- The Shepherds at the Manger: Ah, ful that we might smutch him. how rude Is the stable where fast asleep the Infant Lord we discover! His Mother Mary: That ye may go rejoicing, men of as not able to find a bed, nor a blanket the fields, draw nearer and kneel before 1mto cover. Here Joseph also lies Him, touch Him and adore Him. Thus sleeping, too old and weary for to aid the blest by Him, go forth, your praises Mother. Thus She alone Is keeping voicing. watch o'er the babe, fairer than any other. Angels and Shepherds: Praise and honor and glory to Thee, 0 Father on Mary: My child, sweet be Thy slumber, high. Thou God Almighty, Father on though Thou must lie poor here In a high, glory, honor, praise unto Thee, manger. Bright angels without number Father Almighty. Glory to God in the hover around Thee, guarding Thee from highest and on earth peace among all danger. My son, with what affection I men of good will. gaze upon Thee! Fl1led with awe on Thy birth I ponder! Beholding Thy perfec- To save the world from evil Thou cam'st tion, I am removed far from poverty and in pity. 1b save the world from sin Thou sadness. My heart is filled with glad- cam'st in pity, it was not Thy duty, 0 ness, for joy far greater than my JoY Child of heav'nly beauty. Laud we Thy maternal comes from Thee, Child of name, extol thee, Lord of all majesty, Wonder! How blest am I who bore Thee! Father everlasting. Glory be unto God in

27 heaven. Peace on earth, good will the child who has come to save us from toward all men of good will. error. No rose was ever fairer; His beauty fills my soul with pure emotion. The Angel: Glory be unto God In My thoughts I cannot capture; my spirit heaven. lifts in rapture; it-soars ever higher! ~,

Mary: Upon me God bestowed His The Angel: For born is the promised favor, and I shall cease to laud and Messiah! praise Him never. I bore to men a Savior who shall be king of earth and heav'n forever. I bow in humble devotion O'er Angels aDd Shepherds: Amen.

PROGRAM NOTES

Laud to the Nativity Instruments and their simple, repeating by Ottorino Respighi melodic figure create a rustic setting. The Angel then expands upon the mel- Ottorino Resptghi first gained interna- ody with vocal virtuosity reminiscent of tional recognition with his program- Monteverdi's style. matic and colorful orchestral work, "The Fountains of Rome," written in As the angel choir departs, a solo 1916. Like many of his contemporaries shepherd, singing In arioso style, after World War I, he began to seek new reflects upon the message. His fellow inspiration from the music of the past, shepherds then describe the manger especially that of his native Italy. But in scene with music that suggests the old contrast to other Neoclassicists such as madrigal. Only the harmonies and Stravinsky and Hindemith who also accompaniment are rooted In the 20th championed musical objectivity and century. aesthetic distance, Resplght never lost Mary then sings her cradle song, the desire to make his music emotion- music which again grows out of small ally expressive and sensually beautiful. fragments that repeat, contract and During most of the 1920s he wrote expand. But her song seems more exottr music for the theater. His "Lauda" than the others thanks to its modal col- dates from this period and was com- oring, angular shape and its contrapun- pleted in 1930. tal accompaniment. Alljoln to praise Elsa Resplght, a composer and her God with a jubilant, antiphonal chorus. husband's biographer, includes in the But the men soon feel unworthy among score directions for staging the piece. such august company. Mary contradicts The notes suggest that the work may be them, inviting all to see and touch the seeking to capture the essence of the child. Everyone then unites In a climac- Nativity scene so often portrayed in tic song of praise. Bell-like in Its repeti- Renaissance paintings and frescoes. tion and colorful orchestration, the Evidently Respight envisioned mimed music soars to an ecstatic height. How- action accompanied by hidden musi- ever, the piece ends not with brilliant cians much like the tableaus and bombast, but with introspection as intermedia of the 16th century. Mary recites her blessings and ponders The work Is performed as a continu- the meaning of the events as the song of ous whole, although it Is divided into the angels returns and then dies away. dlscernable sections, each dominated by a soloist. The first part presents the Angel's message. Pastoral woodwind -Alice Hanson

28 Deliciornly close to Orchestra Hall.

~. <~afeLuxeford's loca:i~n is a ';:li~~~, just a block and a half ~from Orchestra Hall. A perfect stroll after a pre-performance dinner, or for a drink and lighter fare when the show has ended. Dinner served from 5:30 pm to 10:30 pm, light suppers 10:30 pm to midnight, Monday through Saturday. We're more than just close. We're deliciously different. Cafe Luxeford takes pride in a creative menu which changes daily. What doesn't change is the quality. Our cooks create from the freshest possible ingredients, right down to our spices. We're especially proud of our homemade bread and irresistible desserts. The bar at Cafe Luxeford is one of the few in town where you can sample quality wines without buying a whole bottle. Inter- esting vintage wines from France, Germany, Italy, Spain and California are available by the glass. We also offer an international beer list and a full bar as well. Join us soon. We'll make you very happy. r:J€ hmiOrd Open 7 AM till midnight Monday-Friday 5 PM till midnight Saturday

1101LaSalle in the Hotel Luxeford Suites, 332-6800

29 The Board of Directors of The Dale Warland We Sing Your Singers gratefully acknowledges the support of the following corporations, foundations, Praises! and individuals listed belpw. Funded in part by the following: (January I, 1986 - September 3D, 1986)

Guarautors Margaret Beltz Arthur and Doreen Pete and Margie Ankeny Russ Bursch Johnson Dayton Hudson Gelco Foundation Joel and Karen Johnson Foundation H. David Francis HelenE. Law for B. Dalton Bookseller,. Mr. and Mrs. Richard Holy Gary and Mary Lynn Leff Dayton's, and Thelma E. Hunter Minnesota Center Chorale Target Stores Beverly Chalfen Jackson Jim Norris Honeywell Foundation Roland L. Jensen David John Olson IDS Financial Services Mrs. Rene A. Kidder Sally and Steve Olson Inc. Terry S. Knowles William G. Olson The McKnight Foundation Mentor Corporation AgnesSeim Minnesota State Arts Nancy and Everett Beverly J. Shupe Board Rotenberry John J. and Mary Taylor National Endowment for Mr. and Mrs. Donald M. In-kind Contributors the Arts Sell Robert Spong Elsie Armstrong Benefactors Arturo L. Steely Augsburg Publishing Campbell-Mithun, Inc. Glenn H. and Mary K. House First Bank System Steinke TornBerthiaume Foundation for James R. Treanor Black Music Educators of First Bank Sa!nt Paul, Contributors the Twin Cities First Trust Saint Paul, Bolger Publications First Bank Minneapolis, Russel P. Allen Crocus Hill Electric Co. and community First Joyce L. Anderson Dayton Hudson Banks Anonymous Corporation General Mills, Inc. Polly Barten Susan Federbusch Charlotte W.Jones Mr. and Mrs. Judson First Bank Grand Michael W. and Kay Bemis First Bank System McCarthy James N. Berdahl General Mills, Inc. Boake and Marian Sells' Mr. and Mrs. Letf Erickson Paul Higham, Target Williams Steel and Stephen J. Evans Stores Hardware John and Jean Folin Holiday Corporation Mr. and Mrs. G. Richard Jeanne Holmquist Patrons Slade Hotel Luxeford Susan M. Barnes Karen Walhof IDS Financial Services Inc. G. Duane and Constance Donors Bell Jahn & Oilier Dixon and Judy Bond Craig and Alana Macalester College Arland D. and Sharon Alexander Minnesota Composers Brusven Sally A. Anson Forum James L. and Sherry Dr. and Mrs. Louis W. Frances Nelson Davis Banltt Northern States Power Charles W.and Jane Raymond and LaVerne Kathy Romey Gaillard Bingea Sea Note Cruises IDS Financial Services, Charlie DeVore Susan Schoenecker Inc. Katherine G. Doepke Anne Thlrsten Jon N. Kletzer Ronald B. and Betty A. Northwestern Bell Hemstad Donor Categories Clinton and Marie B. Larry Lee Hensel Guarantor: $5,000 or Sathrum George and Georgine more John R. and Patricia B. Holmes Benefactor: $1,000-4,999 Thomas Alan and Martha Patron: $250-999 Dale and Ruth Warland Hopeman Sponsor: $100-249 Elizabeth Jensen Contributor: $50-99 Sponsors Jerry R. and Lou Ann Donor: Under $50 Jack L. Armstrong Jesperson Wewelcome gifts other Arthur and Frances Bell Paul R. Johansen than cash.

30 This report of gifts made to The Dale Warland Singers has been carefully checked for errors. It is possible, however, that the names of some contributors have been unintentionally omitted, or perhaps, misspelled. If your name is misspelled or otherwise incorrectly listed, please advise our office, P.O. Box 16207, Elway Station, St. Paul, MN 55116.

The Dale Warland Singers are a member of the Association 01 Prolessional Vocal Ensembles (APVE). The Dale Warland Singers are the recipient of a McKnight Foundation Award administered by the Minnesota State Arts Board. This activity is made possible in part by a grant provided by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. This project is supported by a grant from the National Endowment lor the Art.. ,. The Singers' choral risers and acoustical shell are manufactured by Wenger Corporation, Owatonna, Minnesota 55060.

COMPLEMENTS B~ ANTIQUES - CUSTOM-MADE FURNITURE

FINALLY - FURNITURE TO SING ABOUT!

all handmade, all expertly finished

TIM JOHNSON, PROPRIETOR

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31 1a~~ ~ K S ELL E R 24 Twin Cities locations serving you.