N. Lincoln Hanks

N. Lincoln Hanks currently resides in California and teaches at Pepperdine University in Malibu. Hanks is nearing the end of his doctoral studies in composition at the Indiana University School of Music, having recently passed his oral examinations. His teachers of composition include Don Freund, Frederick Fox, and Claude Baker; he has also studied with John Harbison at the Aspen Music Festival. Awards and recognitions include National Winner-Collegiate Level of the 1990 MTNA Composition Competition, and the Indiana University School of Music Dean's Prize in Composition. Hanks has been commissioned by Brigham Young University's Winter Chorale, and was selected as a participating composer in the 1997 Chorus America National Conference and in the 1998 Society of Composers, Inc. National Conference.

Mr. Hanks maintains a keen interest in early music and is a founding member of The Concord Ensemble, a professional sextet of men's voices that specializes in early as well as contemporary vocal music. Hanks has also worked with Paul Hillier and Thomas Binkley.

Upcoming Singers Events

May 25-27 Ode to Joy: Beethoven's 9th Symphony and Selections from the Missa Solemnis with the Saint Paul Chamber Orchestra. Call the SPCO at 651/291-1144 for tickets and information!

June 6 New Choral Music Reading Session 7:00 PM at , Sundin Hall Admission free to the public! Call 612/339-9707 for details! The

N ow in its twenty-eighth season of concerts, tours, radio broadcasts, and critically acclaimed recordings, the Dale War land Singers is recognized as one of the world's foremost a capella choral ensembles. The 40 voice professional choir is based in /St.Paul.

The Dale Warland Singers has earned a reputation for its commitment to commissioning and performing new choral music. The ensemble has kept the choral genre fresh and alive by commissioning works from , Stephen Paulus, , Carol Barnett, Brent Michael Davids, Mary Ellen Childs, Augusta Read Thomas, janika Vandervelde, George Shearing, Peter Schickele, and Bernard Rands, among others. The Dale Warland Singers' New Choral Music Program solicits works from emerging composers, and through this program, over $100,000 in commissions has been awarded to forty-eight talented musicians.

In 1992, the Dale Warland Singers became the first-ever recipient of the Margaret Hillis Achievement Award for Choral Excellence. The organization shares this honor only with Chanticleer and the Vancouver Chamber Choir among professional choirs. The group's extraordinary efforts on behalf of composers and new music resulted in ASCAP Awards for Adventurous Programming in 1992,1993, 19p6, and 1999.

In addition to a subscription season in the Twin Cities, the Dale Warland Singers tours throughout the United States and abroad. In 1990, the ensemble traveled to Stockholm and Helsinki to represent North \merica at the Second World Symposium on Choral Music. During the 1999-2000 concert season, the group toured the Southeastern United States. It has appeared on 's original A Prairie Home Companion and is featured regularly on Public Radio International's Saint Paul Sunday. The annual Echoes of Christmas and Cathedral Classics broadcasts reach listeners nationwide. The First Art and Performance Today often feature the Dale Warland Singers.

The Dale Warland Singers also performs in collaboration with other Twin Cities arts organizations such as the James Sewell Ballet, the Saint Paul Chamber Orchestra, and the Orchestra. For many of these collaborations, the ensemble joins with volunteer singers from around the area to form the Warland . Symphonic Chorus. The Symphonic Chorus has worked under the batons of Edo de Waart, Leonard Slatkin, Hugh Wolff, the late Robert Shaw, Bobby McFerrin, Roger Norrington, and David Zinman.

The Dale Warland Singers record primarily on the American Choral Catalog label, and the choir released a new recording on this label during the 1999-2000 season. Featuring Leonard Bernstein's Chichester Psalms and 's Rejoice in the Lamb, it joins some 20 other Dale Warland Singers recordings including Blue Wheat, a collection of American folk music. The Seattle Times calls Blue Wheat, "the loveliest choral disc to emerge in a long time ... sung by what is probably America's lest chorus." Also among the Singers' lauded releases is December Stillness, which BBC Music Magazine

-"gaveits highest rating for performance and sound, calling it, u ••• splendid, melting stuff." The South Jersey's Courier-Post called the 1994 release, Cathedral Classics, "an unmatched musical experience," and The Oregonian stated Simply, "peerless." Earlier recordings by the Singers include, Fancie, A Rose in Winter, Christmas Echoes, and, Carols for Christmas as well as Choral Currents and 12 others.

3 Dale Warland Singers Roster

Dale Warland, Founder and Music Director Jerry Rubino, Associate Conductor


Beth Althof Marie Spar Dymit* Lynette Johnson Tenor Korissa Kirkwold Cathy Larsen Jared Anderson Lori Lewis Joel Beyer . Deborah Loon Osgood Jerry Elsbernd Eeva Savolainen Joel Fischer Naomi Staruch Bryan Fisher Monica Stratton Eric Hopkins Chris Jackson Brian Kremer Steve Staruch Alto Gregory Tambornino

Devjani Banerjee-Stevens Sara Boos Bass Erin Colwitz Galina Erickson Bruce Broquist Joanne Halvorsen * Matt Culloton Anne Holmes Ryan French Linda Kachelmeier Dave Jacobson Shelley Kline Pat McDonough Kathleen Robinson Tim O'Brien Bob Peskin* Jim Ramlet Terry Sheetz Brian Steele Mike Winikoff Woody Woodward

4 An AmERicAII CLAssic

Friday, May 12, 2000 8:00 PM Benson Great Hall, Bethel College I. Reincarnations Samuel Barber

I. Mary Hynes II. Anthony 0 Daly III. The Coolin

II. Before the Stars Peep N. Lincoln Hanks (World Premiere) (1998 New Choral Music Winner)

Favorites I o Magnum Mysterium Morten Lauridsen III. Tom o'Bedlam Jacob Avshalomov Kathleen Robinson, oboe Jay Johnson, percussion INTERMISSION

IV Spherical Madrigals Ross Lee Finney 1. When again all these rare perfections meet 2. All-circling point 3. His body was an orb 4. On a round ball 5. Nor doe I doubt 6. See how the earth

Favorites II Alleluia Randall Thompson

V 'fsalm 90 Charles Ives

Dean Billmeyer, organ Jay Johnson and Fred Opie, percussion Reincarnations Samuel Barber

In 1938 the director of Philadelphia's Curtis Institute of Music, Randall Thompson (whose Alleluia you'll hear near the end of our concert), invited 28-year old Samuel Barber back to his alma mater to found and conduct a chamber choir. Every Monday afternoon for the next three years, Barber hopped a train from New York to lead a two-hour rehearsal with his 24-voice Madrigal Chorus. Tucked in his briefcase was usually a new piece for these lucky singers, most of whom remember him for his beautiful music - not his skill on the podium. (Barber wrote a friend: "At first I came into rehearsal with trembling hands. Until I saw that they were afraid of me and that the accompa- nist's hands were trembling. Now I have them in my hands, but in case I beat wrong I've learned the gentle arrogance with which to blame it on them. This sounds conceited, but as you see I'm still rather scared of them. ") Mixed feelings aside, Barber created an especially rich group of works for his singers, including Reincarnations.

These three texts are Irish poet James Stephen's re-writing, or reincarnating, old Gaelic poems which in turn bring to life three memorable characters. The first is about Mary Hynes, whose loveliness was the subject of dozens of poems, most written generations after her death. Barber's setting begins white-hot, but grows more tranquil and rapturous.

Anthony 0 Daly, another real-life character, was convicted of leading an Irish peasant uprising in 1820 and hanged. This lament for his passing is the most intricately designed of the Reincarnations as well as the most gripping. The basses repeat the man's name and support a wrenching three-part canon above. Just as in Barber's popular Adagio for Strings, the music mixes grief and consolation on its way to a searing climax.

James Stephens described the word coolin: "a little, very special curl that used to grow exactly in the middle of the back of the neck of a girl. That term, 'little curl,' or 'coolin,' came to mean one's sweetheart." Barber's setting needs no introduction: this is music simply to revel in.

1. Mary Hynes

She is the sky Of the sun! She is the dart Of love!

She is the love Of my heart! She is a rune! She is above

The women Of the race of Eve As the sun Is above the moon!

Lovely and airy The view from the hill That looks down on Ballylea!

But no good sight Is good, until By great good luck You see

6 The Blossom Of Branches, Walking towards you, Airily!

2. Anthony 0 Daly

Since your limbs were laid out The stars do not shine! The fish leap not out In the waves' On our meadows the dew Does not fall in the morn, For 0 Daly is dead!

Not a flow'r can be born Not a word can be said! Not a tree have a leaf! For 0 Daly is dead!

Anthony! After you There is nothing to do! There is nothing but grief!

3. The Coolin (The Fair Haired One)

Come with me, under my coat, And we will drink our fill Of the milk of the white goat, Or wine if it be thy will. And we will talk, until Talk is a trouble, too, Out on the side of the hill; And nothing is left to do, But an eye to look into an eye; And a hand in a hand to slip; And a sigh to answer a sigh; And a lip to find out a lip! What if the night be black! And the air on the mountain chill! Where the goat lies down in her track, And all but the fern is still! Stay with me, under my coat! And we will drink our fill Of the milk of the white goat, Out on the side of the hill!

-Iames Stephens (1882-1950) Before the Stars Peep (World Premiere) N. Lincoln Hanks

Do you know your resting pulse rate? A good healthy one is a little less than 60 beats a minute. Throughout most of N. Lincoln Hanks' newest work, Before the Stars Peep, the rhythm ticks along at 54 beats a minute, and in the score he tells the singers this is "like the pulse of a contented man viewing his last sunset on a warm summer's eve." A swan song then, much of it hushed, inward- looking, and graced by a beautiful descending figure that patters in the upper voices like light rain against a tent roof. Near the end, though, the music breaks into a full-throated cry as the poet begs, "In the frosty evening toll the old bell for me." Quiet follows in a section entitled Afterglow, the rhythm slowing to 48 beats, a final darkness closing in.

And now the lowest pine-branch In the frosty evening Is drawn across the disk of the sun. Toll the old bell for me Old friends who will forget me soon, Once, in the sleepy temple. I must go on, Towards those blue death-mountains Perhaps my soul will hear. I have forgot so long.

In the marsh grasses [Afterglow:] There lies forever Before the stars peep My last treasure, I shall creep out into darkness. With the hopes of my heart. -Iohn Gould Fletcher (1886-1950) The ice is glazing over, Torn lanterns flutter, On the leaves is snow.

o Magnum Mysterium Morten Lauridsen

We have two sections tonight devoted to Favorites, works that the Singers love to sing as much as Dale Warland Singers audiences enjoy hearing. The first is by California composer Morten Lauridsen. It is his setting of the ancient Latin text associated with the Bethlehem manger scene. Lauridsen writes: "For centuries, composers have been inspired by the beautiful 0 magnum mysteri- um text with its juxtaposition of the birth of the newborn King amongst the lowly animals and shep- herds. This affirmation of God's grace to the meek, and the adoration of the Blessed Virgin are both celebrated through a quiet song of profound inner joy." (An insider's note: this score was commis- sioned by Marshall Rutter in honor of his wife, Terry Knowles, who was once a member of the DWS and served as Board president.)

o magnum mysterium, et admirabile sacramentum o great mystery, and wondrous sacrament, ut animalia viderent Dorninum natum, That animals should see the new-born jacentem in praesepio! Lord lying in their manger!

Beata Virgo, cujus viscera meruerunt Blessed is the Virgin whose womb was portare Dominum Christum. Alleluia! worthy to bear the Lord Jesus Christ. Alleluia!

Responsory, Matins for Christmas Day

8 Tam a'Bedlam Jacob Avshalomov

The hospital of St. Mary of Bethlehem located just outside London's walls was founded in the 14th century as a priory, but a decree from Henry VIII in 1547 changed it into England's first asylum for the insane. By the 17th century, its name had evolved to Bedlam and it was infamous for the cruelty meted out to its inmates and for selling tickets to gawkers. Jacob Avshalomov writes in the title page of this score: "Mad Tom - with feathers and ribbons in his hat, his hair long, his clothes rags, the mark of the Bedlamite branded upon him - was one of many who were let out of the overcrowded asylum to roam the country as licensed beggars. Singly or in groups, some still shackled, they trav- eled from village to village singing, sobbing, and dancing for their supper, heralding their approach with the sound of the ox-horn strung around Tom's neck."

Perhaps Avshalomov was attracted to this text because of his own less-than-glamorous experiences growing up. He was born in China of an American mother and Russian father, and in his late teens the family was so broke that Avshalomov had to work in a Shanghai slaughterhouse to make ends meet. He eventually found his way to the States where success struck: teaching positions at Columbia, Guggenheim fellowships, and appointment in 1954 to the post of the Portland (Oregon) Junior Symphony's permanent conductor - one year after winning the New York Music Critics' Circle Award with Tom o'Bedlam.

From the hag and hungry goblin When I have shorn my sowce face That into rags would rend ye And swigged my horned barrel And from the spirit that stan' by the naked man In an oaken inn do I pawn my skin In the Book of Moons, defend ye! As a suit of gilt apparel. That of your five sound senses The moons's my constant mistress You never be forsaken And the lonely owl my marrow l\lor never travel from yourselves with Tom The flaming drake and night-crow make Abroad to beg your bacon. Measure music to my sorrow. Nor never sing: "Any food, any feeding, And now I sing: (Refrain) Money, drink, or clothing, Come dame or maid, be not afraid, Poor Tom will injure nothing."

Of thirty bare years have I With an host of furious fancies Twice twenty been enraged Whereof I am commander And of forty bin three times fifteen With a burning spear, and a horse of air, In durance soundly caged To the-wilderness I wander. In the lordly lofts of Bedlam By a knight of ghosts and shadows On stubble soft and dainty, I summoned am to tourney Brave bracelets strong, sweet whips ding dong, Ten leagues beyond the wide world's end. With wholesome hunger plenty. Methinks it is no journey. And now I sing: (Refrain) All while I sing: (Refrain) Anonymous c. 1615

9 Spherical Madrigals Ross Lee Finney

Finney was born in Wells, Minnesota, north of 1-90 between Albert Lea and Blue Earth. As a young man he studied at the U, then in the I920s set sail for Paris as nearly every American composer did to study with Nadia Boulanger. He returned to the States and became a formidable composition teacher in his own right, first at Smith College 0929-49), then at the University of Michigan in Ann Arbor (1949-73), though he also served in WWII and earned a Purple Heart after stepping on a German mine. As a composer, Finney was famous for experimentation. He tried every technique from straight-ahead melody to the most ear-scratching atonality, and developed a particular affection in the 1960s for emerging electronic instruments. Finney's Spherical Madrigals (1947) takes its name from the circles, orbs, balls, and globes mentioned in the 17th-century texts he chose to set.

Love is a circle that doth restless move In the same sweet eternity of Love. Robert Herrick 0571-1674) I. When again all these rare perfections meet, Composed in the circle of thy face, As in their place, So as to make up all of one perfect sweet, Who is not then so ravish'd with delight, Ev'n of thy sight? Lord Herbert of Cherbury (1583-1648) To A Lady who did Sing Excellently II. All-circling point. All cent'ring sphere. The world's one, round, Eternal year. Richard Crashaw 0613-1649) In the Glorious Epiphany of Our Lord God III. His body was an orb, his sublime soul Did move on virtue's and on learning's pole: Whose reg'lar motions better to our view, Than Archimedes' sphere, the heavens did shew. John Dryden (1631-1700) Upon the Death of the Lord Hastings IV On a round ball A workeman that hath copies by, can lay An Europe, Afrique, and an Asia, And quickly make that, which was nothing, All, So doth each teare, Which thee doth weare, A globe, yea world by that impression grow, Till thy teares mixt with mine doe overflow This world, by waters sent from thee, my heaven Dissolved so. John Donne (1572-1631) A Valediction: of weeping V Nor doe I doubt But when the world first out of Chaos sprang So smil'd the Dayes, and so the tenor ran Of their felicity A spring was there, An everlasting spring; the jolly yeare Led round in his great circle... Crashaw Out of Virgil: In the praise of the Spring VI. See how the arched Earth does here Rise in a perfect Hemisphere! The stiffest Compass could not strike

10 A line more circular and like; Nor softest Pense! draw a Brow 50 equal as this Hill does bow. It seems as for a Model laid, And that the World by it was made. Andrew Marvell (1621-1678) Upon the Hill and Grove at Bill-borrow

Alleluia Randall Thompson

This Favorite has a personal connection for many in the DW5. When a member of the choir gets married, his or her colleagues often gather at the wedding to sing Thompson's Alleluia. Those stand- ing at the altar during the four minutes it takes to sing this work will remember the experience for the rest of their days. Alleluia dates from 1940 when Thompson was busy administering the Curtis Institute of Music. Though he went on to create symphonies, concertos, and dozens of other choral selections, this imaginative setting of a Single word remained his signature work.

11 Psalm 90 Charles Ives

Several years ago the New York Times asked a dozen musicians to name the most under-rated and over-rated of the great composers. One man, Charles Ives, won each category. For critics, Ives was a hack, a tinkerer of annoying sounds that simply don't add up to good music. For fans, Ives was the quintessential crusty New Englander, an American Original who stripped away veneers of 19th-cen- tury European romanticism and demanded (as he once said) "you stand up and use your ears like a man!"

It took Ives thirty years to complete his setting of Psalm 90. Gregg Smith, who edited the score, says the text moved Ives "very deeply, and each time he went back to it he would have set himself a still higher goal. In the end, though, Mrs. Ives recalled his saying that it was the only one of his works that he was satisfied with."

Ives' penchant for innovation is everywhere in Psalm 90. At the mid-point he divides the choir into 22 parts and tightly clusters the voices for an elbows-on-the-keyboard effect. Near the end he asks for soft but stubbornly dissonant bells - an echo of the sounds he heard as a boy when the bells of Danbury, Connecticut called the faithful to worship.

Lord, thou hast been our dwelling place From one generation to another Before the mountains were brought forth Or ever thou hadst formed the earth and the world Even from everlasting to everlasting, Thou art God. Thou turnest man to destruction And sayest, "Return, ye children of men." For a thousand years in thy sight are but as yesterday when it is past, and as a watch in the night. Thou carriest them away as with a flood; They are as asleep; In the morning They are like the grass which groweth up. In the morning it flourisheth and groweth up; In the evening it is cut down and withereth. For we are consumed by thine anger, and by thy wrath are we troubled.

Thou hast set our iniquities before thee, our secret sins in the light of thy countenance. For all our days are passed away in thy wrath: We spend our years as a tale that is told. The days of our years are threescore years and ten; And if by reason of strength they be four score years, Yet is their strength labour and sorrow; For it is soon cut off, and we fly. Who knoweth the pow'r of thine anger? Even according to thy fear, so is thy wrath. So teach us to number our days, That we may apply our hearts unto wisdom. Return, 0 Lord, how long? And let it repent thee concerning thy servants. o satisfy us early with thy mercy; That we may rejoice and be glad all our days. Make us glad according to the days wherein thou hast afflicted us And the years wherein we have seen evil. Let thy work appear unto thy servants, and thy glory unto their children. And let the beauty of the Lord our God be upon us: And establish thou the work of our hands. Amen The Book of Psalms 12 1999-2000 Dale Warland Singers Donors ( These generous contributors support the Dale Warland Singers' local concert season, touring state- wide and nationally, recording, commissioning new music and the Presto! education program. This list reflects gifts given between January 1, 1999 and April 30, 2000. To become a contributor to the Dale Warland Singers, please call (612) 339-9707.


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Assistant Conductor NATIONAL Carol Barnett ENDOWMENT 16 Composer-In-Residence FOR THE ARTS • An AmERicAII CLAssic •

Dale Warland, Music Director and Conductor jerry Rubino, Associate Conductor with Dean Billmeyer, organ Kathleen Robinson, oboe jay johnson, percussion Fred Opie, percussion

8 PM Friday, May 12 Benson Great Hall - Bethel College and Seminary Dale Warland, Music Director and Conductor The 1999-2000 season marks founder Dale Warland's twenty-eighth season as Music Director of the Dale Warland Singers. Warland has devoted his professional life to attaining the highest artistic level in choral singing. Through musicianship and attention to detail, he has built one of the finest choral ensembles in the United States. Under Warland's leadership, the Dale Warland Singers has thrilled choral music enthusiasts, not just in its Twin Cities home, but through- out North America and Europe.

Warland's outstanding achievements in the field of choral music were recognized in june 1995, when he received the Michael Korn Founder's award at the annual Chorus America Conference in Seattle. This award, the highest honor for a choral conductor in the United States, .as previously been given to outstanding choral conductors such as Robert Shaw, Margaret Hillis, and Roger Wagner.

In addition to his active schedule as Music Director of the Dale Warland Singers, Warland is in demand as a guest conductor, lecturer, composer, and clinician. He has conducted the Swedish Radio Choir, the Danish Radio Choir, the Oregon Bach Festival Chorus, and Israel's Cameran Singers. He had also rehearsed and prepared choirs for performances of major works in collaboration with notable conductors including Robert Shaw, Edo de Waart, Leonard Slatkin, and Stanislaw Skrowaczewski. At Kryzstzof Pederecki's request, he has prepared the St. Luke Passion for major choruses in Los Angeles, Caracas, Stuttgart, and the Oregon Bach Festival. In 1990, he also prepared Penderecki's Polish Requiem, the culminating event of the Second World Symposium on Choral Music held in Helsinki. Warland has been featured as a guest conductor at Carnegie Hall, the Cincinnati Conservatory of Music, the Zimriya Festival in jerusalem, and with the Estonian Philharmonic Chamber Choir. He has also served on the faculty of the All japan Chorus League National Competition in Fukuoka, japan, and has lectured on American music at the Sibelius Academy in Helsinki. Most recently, Dr. Warland delivered the "2000 Springfield Music Lecture" at Rhodes College in Memphis, conducted the Utah Chamber Artists, lectured at Brigham Young University and conducted the Mormon Tabernacle Choir. This summer he will be featured in the Rene Clausen choral workshop and in conducting workshops at the . In june, Warland will conduct the Rachmaninoff Vespers as part of the Grant Park, Illinois, Music Festival.

Warland is an active composer and a member of the American Society of Composers, Authors and Publishers (ASCAP). He has served as co-chair of both the choral and recording panels of the National Endowment for the Arts and has received major grants from the Ford Foundation, he Bush Foundation, and the Minnesota State Arts Board.

Before devoting himself full-time to the Singers, Warland maintained an academic career which included 19 years as Director of Choral Music at Macalester College, St. Paul. He holds degrees from St. Olaf College, the University of Minnesota and the University of Southern California, and has received distinguished alumni awards from two of the institutions. Warland also holds an honorary doctorate from Augustana College in Sioux Falls, South Dakota.