The St. Olaf College Artist Series Presents The Dale Warland Singers and

Friday, April 7, 1989 Boe Memorial Chapel St. Olaf College 8:00 p.m. The Dale Warland Singers Founded in 1972, The Dale Warland Singers has become one of the nation's premiere professional choral ensembles. Based in the Twin Cities of Minneapolis and St. Paul, the group has achieved an international reputation for excellence, earned through an extensive schedule of local concerts tours, broadcasts and recordings. The' accomplishments of the group have brought its members before audiences throughout North America and Europe. Noted for a vast repertoire of a cappella music, the ensemble inspires audiences with programs ranging from great choral classics to American folk songs and choral jazz. In addition, the ensemble is well known and admired for its commitment to new music, including many commissions and premieres, and over 400 20th-century works in programs. Dale Warland, Music Director Since his student days as conductor of the Chanticleer St. Olaf College Viking Chorus, Dale War- land has devoted his professional life to During the past decade, San Francisco's attaining the highest musical level in choral Chanticleer has established itself as America's singing. Consummate musicianship and premiere male vocal ensemble, and one of lofty goals have been Warland's tools in the most widely acclaimed choral groups in building one of the finest choral ensembles the world today. Unique among profes- in the world: The Dale Warland Singers. sional American ensembles, Chanticleer's Numerous tours, regular broadcasts on thrilling a cappella sound results from an National and American Public Radio, and of voices formed by eight to 14 critically acclaimed recordings have won twelve singers ranging from bass to Dale Warland and his Singers millions of soprano. Chanticleer's remarkable "Sing it fans worldwide. all!" repertoire has grown to include new Warland has received considerable interpretations of early music, contempor- acclaim and many academic honors for his ary, classical, folk, popular, spirituals and expertise in choral music. A tenured pro- gospel, and a growing number of commis- fessor of music at Macalester College in St. sions and custom signature arrangements. Paul since 1967, Warland resigned his posi- Founded in 1978 by Louis Botto, Chanti- tion in 1986 to devote his full energies to cleer began with a single performance in San directing The Dale Warland Singers. In 1988, Francisco's Mission Dolores. Immediately he received the St. Olaf College "Distin- sought after for its programs drawn from guished Alumnus Award." Warland's the rich male vocal tradition of the 15th advanced degrees include the master's and 16th centuries, Chanticleer has produced degree from the University of Minnesota five recordings and performed over 750 and the doctor of musical arts degree from concerts in the United States, Canada and the University of Southern California. Europe. In addition to his busy schedule as music director of The Singers, Warland is in demand as a guest conductor, lecturer, composer and arranger. Program

Please hold applause until the end of each section. Your fathers, your mothers Fire above, fire below Hoping in vain for the prayers I that they have a right to expect from you THE DALE WARLAND SINGERS Do you dream that, perhaps, they say to all Christians here below: "Pray for us, though you don't know us, Trois Chansons Bretonnes Henk Badings because us guys don't do it! We have been deserted in Purgatory b. 1907 Pray for those who don't pray! Sung in French/Translated by Susan Reed Pray for us! 1. La nuit en mer (Night on the Sea) Pray ceaselessly! The breeze swells our sail For us guys Here is the first star, shining are ingrates." on the wave that rocks us. ... Theodore Bo/rel Friends, let us sail in silence. In the night all sounds are stilled 3. Soir d' ete (Summer Evening) as though all on earth had died Lisen, my pet, let's come down from the hill people like things, birds like roses, For the day is sinking to the rosy horizon all are sleeping. Let us profit by the time before it dies: But the sea is the Living Come, my Lison, to our abode! A moving immensity In the immense peace of evening, Forever storming the jetties romance arises Disdainful of long nights' work Little crickets, and the open plain, and days- embraced by Phoebus, savors the ecstasy Nothing exists save her - of the last rays that the great Beacon and its sad reflection From eyes come wheedling voices: in the finest place They are lullabies, little birds, My friends, let us toss out the net And its door closes then, wrapped in our sails, And Rose, the farmer's wife, bare brow to the stars, Let us sleep! Sings the same thing between two cradles! Let us dream in deepest peace It's that very pure time of our loved ones in this world when, through the branches Let us sleep in our schooners passes the murmur of the great, calmed as children in their cradles wind. And tomorrow at high tide Langorous time, We will meet at the store Time when the lover rests happily Triumphant! on the arm of the Beloved; ... Theodore Bo/rel It's the moving time when everything enchants us, 2. La complainte des ames (The Souls When the chimes ring the Angelus from Lament) afar Virgin Mary, And it's the gray time Oh good mother, when the soft breeze is imbued Oh good mother of Jesus, and misted with the scent of hay: Here is the bitter lament It's the time Sung by those who no longer - longer - when all are loving, longer - When, weary of blasphemy, We come this autumn night The Wicked himself is a little better: to knock at Friends' doors The heart is divested of all which defiles it It is Jesus Christ who commands us The Soul kneels before the Lord! to awaken the sleeping Lison, my little one, let us quickly pray Ah! You who sleep in the black night So as not to be left from Eternity, Ah! Do you dream from time to time And may it urge us to flee this life that in the burning flames of Purgatory At this enraptured time are, perhaps, all your parents of a summer evening. They are there - ... Theodore Bo/rel II Ave Maria Ave Maria, Gratia plena, CHANTICLEER Hail Mary, full of grace, Dominus tecum, Virgo serena, The Lord is with thee, joyous Virgin. Gaude Virgo, Mater Christi Ave cujus conceptio ]osquin des Prez Hail thee whose conceiving, c.1440-1521 Solemni plena gaudio, full of solemn gladness, Gaude Virgo, Mater Christi, Coelestia, terrestria, Rejoice Virgin, Mother of Christ fills heaven and earth Quae per aurem concepisti, mundum replens laetitia. Who you conceived (through your ear) with new joy. Gabriele numtio. Ave cujus nativitas. by Gabriel the messenger. Hail thee whose birth was to us Gaude, quia Deo plena Nostra fuit solemnitas; Rejoice, for full of God a holy day, 0 thou who surpassest Peperisti sine poena, Ut lucifer lux oriens, you died without punishment the shining light in the east, Cum pudoris lilio. Verum solem praeveniens. with the lily of modesty. the very sun. Gaude, quia tui Nati, Ave pia humilitas, Rejoice because your Son, Hail thy humanity, Quem dole bas mortem pati, Sine viro foecunditas, who you suffered to undergo death, thy conception without a man, Fulget resurrectio. Cujus annunciatio shines in the resurrection. thou whose annunciation Gaude, Christo ascendente, Nostra fuit salvatio. Rejoice, for Christ who ascends was our salvation. Et in coelum te vidente, and watches you in heaven Motu fertur proprio. Salve Regina Giovanni Palestrina is driven by eternal inspiration. c. 1525-1594 Qaude, quae post ipsum scandis, Salve regina, mater misericordiae, Rejoice, you who ascended after him Hail, Queen, mother of mercy, Et est honor tibi grandis, vita, dulcedo et spes nostra, salve. for there is immense honor for you Our life, our comfort and our hope, hail. In coeli palatio. Ad te clamamus exsules filii Evae. in the palace of heaven. To you we cry, exiles, children of Eve. Ubi fructus ventris tui Ad te suspirarnus, gementes et flentes Where the fruit of your womb, To you we sigh, groaning and weeping Per te detur nobis frui in hac lachrymarum valle. through you, will be given to us in this vale of tears. In perenni gaudio. Eia ergo, advocata nostra, in everlasting joy. Come then, our advocate, Alleluia. illos tuos misericordes oculos ad nos converte, turn those your merciful eyes toward us, et [esurn benedictum, and after this exile, fructum ventris tui, show us blessed Jesus, nobis post hoc exilium ostende. the fruit of your womb. o clemens, 0 pia, o merciful, 0 good. o dulcis virgo Maria. o sweet Virgin Mary. III INTERMISSION THE DALE WARLAND SINGERS AND CHANTICLEER IV THE DALE WAR LAND SINGERS, Ave Regina Juan Gutierrez de Padilla CHANTICLEER 1590-1664 AND INSTRUMENTALISTS Ave Regina caelorum, Hail, Queen of the heavens, ave Domina angelorum; Echoes Steven Sametz hail, Mistress of the angels, b. 19.54 salve radix, salve porta, The Leaden Echo and The Golden Echo - hail, root (of Jesse); hail, portal {Maidens' Song from St. Winefred's WeI/} ex qua mundo lux est orta. The leaden Echo out of which a Light for the world is risen. How to keep - is there any any, is there Gaude Virgo gloriosa, none such, nowhere known some, bow Rejoice, glorious virgin, or brooch or braid or brace, lace, latch or uper omnes speciosa; catch or key to keep beautiful above all other, Back beauty, keep it, beauty, beauty, vale, 0 valde decora beauty, ... from vanishing away? hail, 0 exceedlinglv beautiful, o is there no frowning of these wrinkles, et pro nobis Christum exora. ranked wrinkles deep, and entreat Christ for us. Down? no waving off of these most mournful messengers, still messengers, Exult ate justi de Padilla sad and stealing messengers of grey? Exultate justi in Domino No there's none, there's none, 0 no there's Rejoice in the Lord, 0 you righteous! none, rectos decet collaudatio Nor can you long be, what you now are, Praise befits the upright. called fair, confitemini Domino in cithara Do what you may do, what, do what you Praise the Lord with the lyre, may, in psalterio decem cordarum And wisdom is early to despair; make melody to him with the Be beginning; since, no, nothing can be psalli te illi done harp of ten strings! To keep at bay Cantate ei canticum novum Age and age's evils, hoar hair, Sing to him a new song, Ruck and wrinkle, drooping, dying, death's bene psallite ei worst, winding sheets, tombs and worms play skillfully on the strings, with and tumbling to decay; in vociferatione So be beginning, be beginning to despair. loud shouts. o there's none; no no no there's none; Quia rectum est verbum Domini Be beginning to despair, to despair, For the word of the Lord is upright; Despair, despair, despair, despair. et omnia opera ejus in fide and all his work is done in faithfulness. diliget misericordiam He loves righteousness and justice; et judicium misericordia Domini the earth is full of the lena est terra steadfast love of the Lord. verbo Domini caeli firmati sunt By the word of the Lord the et spiritu oris ejus heavens were made, omnis virtus eorum. and all their host by the breath of his mouth. The Golden Echo When the thing we freely forfeit is kept Spare! with fonder a care, There is one, yes I have one (hush therel): Fonder a care kept than we could have kept Only not within seeing of the sun, it, kept Not within the singeing of the strong sun, Far with fonder a care (and we, we should Tall sun's tingeing, or treacherous the have lost it) finer, fonder tainting of the earth's air, A care kept - where kept? Do but tell us Somewhere elsewhere there is ah well where kept, where - where! one, Yonder - What high as that! We follow, One. Yes I can tell such a key, I do know now we follow - Yonder, yes yonder, such a place, yonder. Where whatever's prized and passes of us, Yonder everything that's fresh and fast flying of - Gerard Manley Hopkins us, seems to us sweet of us and swiftly away with, done away with, undone. v Undone, done with, soon done with, and yet dearly and dangerously sweet THE DALE WARLAND SINGERS Of us, the wimpled-water-dimpled, not-by- AND CHANTICLEER morning-matched face, The flower of beauty, fleece of beauty, too too apt to, ah! to fleet, Lift Boy Benjamin Britten Never fleets more, fastened with the 1913-1976 tenderest truth To its own best being and its loveliness of To be Sung on a Summer youth, it is an everlasting of, 0 it is an all Night on the Water Frederick De/ius youth! 1862-1934 Come then, your ways and airs and looks, locks, maiden gear, gallantry and gaiety Galbally Farmer Irish Folk Song and grace, Winning ways, airs innocent, maiden Down by the Sally Gardens manners, sweet looks, loose locks, long British Folksong locks, lovelocks, gaygear, going gallant, girl-grace - Sir Patrick Spens Robert Pearsall Resign them, sign them, seal them, send them, motion them with breath, 1795-1856 And with sighs soaring, soaring sighs, deliver Them; beauty-in-the-ghost, deliver it, early now, long before death Give beauty back, beauty, beauty, beauty, The Dale Warland Singers and Chanticleer are back to God, beauty's self and beauty's members of Chorus America. giver. Chanticleer is under the exclusive representa- See; not a hair is, not an eyelash, not the tion of California Artists Management, 1182 least lash lost; every hair is, hair of the Market St., Suite 418, San Francisco, CA 94102 head, numbered. (415) 861-2787. Nay, what we had lighthanded left in surly the mere mould The Dale Warland Singers, Inc. Will have waked and have waxed and have P.O. Box 16207/Elway Station walked with the wind what while we St. Paul, MN 55116 slept. (612) 292-9780 This side, that side hurling a heavyhanded hundredfold What while we, while we slumbered. o then, weary then why should we tread? o why are we so haggard at the heart, so care-coiled, care-killed, so fagged, so fashed, so cogged, so cumbered. Notes

I course of the polyphonic setting. Palestrina sets the text in two sections and in five Trois Chansons Bretonnes is rooted in a rigorously imitative voices. In the second traditional style and exhibits influences section, Eja ergo, the texture becomes rela- from Impressionism and the music of tively homophonic at both the mention of Honegger and Milhaud. The scoring, espe- Jesus and in the description of Mary. cially in the first two pieces, frequently The Ave Regina is set for eight voices alternates male and female voices. These divided into high and low . The two pieces also exhibit fluid rhythms and the choirs respond antiphonally, their respec- use of scales based on alternating whole tive sections typically polyphonic, but at the and half steps, traits common to Badings' text "Gaude gloriosa" the choirs begin to compositions. The third chanson stands as overlap in a style similar to the homophonic a contrast to the others, emphasizing regu- multiple choirs of the Venetians. lar rhythm patterns to create a dance qual- ity, employing a simple, folk-like melody. III II As did the other significant composers in the New World serving the Spanish crown, The master of his generation, des Prez was Juan Gutierrez de Padilla wrote a large '.composer of considerable variety. In addi- number of choral pieces which often served cion to his masses and motets there are to Christianize the Indian youth of Puebla approximately eighty secular works rang- in Mexico. But rather than fall in with ing from great poignancy (e.g. the lament standard baroque practice of the day, de of the death of Ockeghern) to the frankly Padilla's work in some instances exceeds vulgar. The second half of the program the standard and so, not surprisingly, was focuses on his shorter works. known in Rome during his lifetime. Part- The motet Gaude Virgo, Mater Christi is books also found their way to other mis- a work of subtle contrast with frequent sions, remote in that time, in California. alternation between low and high voices in Broad gestures combined with clarity and imitative textures. The work climaxes with vitality on a much smaller scale character- a section of near homophony at the men- ize the three motets on the program. There tion of "coeli palatio" (palace of heaven) and is an unusually smooth melismatic flow, concludes with imitative polyphony on "Alleluia." within which there are vivid and affective descriptions of the text. Here there are also Ave Maria is one of des Prezs most cele- examples of one of de Padilla's earmarks - brated motets. It is a work of supreme the change from a major tonality in one technical mastery cloaked by its aural sim- to a minor one in the other choir. plicity. There are several contrasting sec- tions of homophony and polyphony. The imitative textures are uncrabbed and open; IV this, combined with the choice of a bright mode, gives a sense of light, appropriate to Gerard Manley Hopkins (1844-1899) wrote the angelic salutation of the text. The Leaden Echo and The Golden Echo as a cho- Giovanni da Palestrina's stature has rus in a projected verse drama on the life of always been of legendary proportions. He St. Wine fred. According to legend, was credited as the savior of church music, Wine fred resisted rape by the Welsh chief- perhaps of all contrapuntal music. In Hans tain, Carodoc, who beheaded her as she Pfitner's opera Palestrina (1917), spirits of fled. A fountain miraculously sprang up the great composers and angels visit Pales- from the ground where her head fell. trina and inspire him to write the Missa Through the intercession of her uncle, St. Papae Marcelli. The story has it that this Beuno, Wine fred was restored to life. nass swayed the hearts of the churchmen St. Wine fred's well exists today in the .vho wanted to ban all contrapuntal music town of Holywell, close to St. Beuno's from the service. Church. It was a strong symbol for Hop- The Salve Regina is based on the plain- kins, a sacrament in nature, which he song of the same name; while the chant wrote "fills me with devotion every time I does not function as a canius [irmus, frag- see it and would fill anyone that has eyes ments appear and reappear during the with admiration ... " In Hopkins' drama The Leaden Echo and The The Dale Warland Singers Golden Echo are the songs of the maidens who have chosen to take vows of chastity Soprano Tenor and follow St. Winefred. They sing by the Janet Johnson Paul Anderson well, The Leaden Echo reflecting their lament 'Sigrid Johnson Larry Bach for the loss of mortal beauty, The Golden Deborah Loon James Fiskum Barbara Nelson Paul Gerike Echo answering that beauty may be Solveig K. Nelson 'John Henley reclaimed in immortality. Beauty is worthy, Julie Ann Olson Gary A. Kortemeier but only as part of the universal good. Melissa O'Neill Thomas Larson "Echoes is set as one continuous move- Lea Anna Sams-McGowan [Michael Olson ment in three sections, each section rising Lisa Burau Sawatsky David Reece from the e to f to g found in the original Marie Spar Steve J. Sandberg motive of the work. It is scored for double 'Linda Steen Timothy Sawyer choir, amplified harp, percussion, and 19 water glasses. I have used one line from Alto Bass Hopkins' Latin verses on the life of St. Joanne Halvorsen David Benson Winefred: Karen Johnson Steve Burger lam si rite sequor Lynette R. Johnson Michael Dailey Now if I duly follow the traces of the 'Anna Mooy Wayne Dalton vestigia facti Joan Quam-MacKenzie 'Jerry Rubino ancient deed, Lisa D. Strandjord Arthur Rudolph-LaRue Haec sunt egregie numine plena Denise Wahlin-Fiskum John D. Schonebaum These are outstandingly full of Donelle Zimdars Julian Sellers sacro. Claudia Zylstra Frank Steen Paul Theisen holy power. 'Section leader "This line is used as an incantation tOn leave throughout the piece, as a prayer by the maidens for hope in their future, as a reechoing answer arising from the depths of the spirit in the well, and as a byword to Chanticleer Hopkins' own philosophy that the mystery Counter-tenor Bass Baritone of art and nature would provide a corridor Kenneth Fitch Frank Albinder to the universal truth in all things." Joseph Jennings Steven Sarnetz, an active choral conduc- Steven Rickards Bass tor, is associate professor of music at Randall Wong Tim Gibler Lehigh University. He obtained the docto- Arizeder Urreiztieta rate and master's degrees in choral conduct- Tenor ing at the University of Wisconsin-Madison Kevin Baum General Director and a BA from . He has Mark Daniel Louis Botto Neal Rogers been visiting choral director at Harvard Matthew Thompson Music Director University and has conducted the Redlands Joseph Jennings Symphony Orchestra. His composition "0 Baritone llama de amor viva!" was commissioned in Chad Runyon 1986 by Chanticleer and performed at the Salzburg Festival in 1987. Echoes was written as part of a composer consortium commission through the Instrumen talis ts National Endowment for the Arts. The Piano commissioning groups include The Phila- Jerry Rubino delphia Singers, Michael Korn, director; the Dale Warland Singers; and Paul Hill's Harp Washington Chamber Singers. This is the Kathy Kienzle midwest premiere of the piece. Percussion Bob Adney Fred Opie