Welcome ...

And thank you for joining us for the Milwaukee Choristers' first-ever celebration of female composers!

There is no question that women have been making significant contributions to choral music since the middle ages; however, they have faced many obstacles as composers and performers throughout history and their achievements have gone largely overlooked. Tonight's program, crafted by Dr. James B. Kinchen, Jr., features some of the most influential female composers in Western music—as well as some of the Choristers' favorite contemporary female choral composers and arrangers. We invite you to read Dr. Kinchen's program notes (beginning on page 7 to learn more about these fascinating, talented women who broke barriers and made their mark, even if they did not achieve recognition during their lifetimes.

Please take note of some important dates for your calendar:

• Our next audition for new members will be Wednesday, May 3 at Wauwatosa Avenue United Methodist Church in Wauwatosa. Visit www.milwaukeechoristers.org for audition details and helpful information.

• The Choristers will join Dr. Kinchen’s UW-Parkside choirs and the UW-Parkside orchestra in a performance of Johannes Brahms' immortal A German Requiem on Saturday, April 29 at 7:30 p.m. and Sunday, April 30 at 3:30 p.m. at UW-Parkside Frances Bedford Concert Hall (900 Wood Rd., Kenosha). Visit www.uwp.edu/therita or call 262-595-2564 for ticket information.

• Looking ahead to next season, we will present our annual Christmas concerts on Friday, December 8 and Saturday, December 9, 2017 at St. Mary's Visitation in Elm Grove.

Again, thank you for joining us tonight. Thank you, also, for bringing nonperishable food items that will be distributed by Tosa Cares to families in need. We wish you a safe and fun summer!

—The Milwaukee Choristers

The Milwaukee Choristers | P.O. Box 26301 | Milwaukee, WI 53226-0301 414/354-1933 | [email protected] | www.milwaukeechoristers.org

To all our patrons: Please assist Wisconsin Lutheran College's custodial staff by taking all belongings with you and properly disposing of any refuse following our performance this evening. Thank you.

1 2 present "Sing!" Said She Dr. James B. Kinchen, Jr., Music Director Christine Simon Halverson, Assistant Director • Patricia Ilika Black, Accompanist

We ask that you hold your applause until the end of each grouping of songs

Be Strong! I Will Fill This House with Glory ...... Undine Smith Moore Blessed Be God ...... Betty Jean Jacobson All Hail the Power of Jesus’ Name ...... Amy (Mrs. H.H.A.) Beach

There is No Rose ...... Eleanor Daley Women’s Ensemble O Virtus Sapientiae ...... Cheryl Lynn Helm ...... based on a plainsong by Hildegard von Bingen Ave Verum Corpus ...... Stephanie Martin

The Word Was God ...... Rosephanye Powell Come Unto Me ...... Bernice Johnson Reagon A New Song ...... Patricia Ilika Black

INTERMISSION

Dos Gardenias ...... Isolina Carrillo/arr. Carlos Enrique Garcia Ana de la Cuesta Gerlach, flute American Ballads: No. 2 - Come All Ye Fair and Tender Ladies ...... Gwyneth Walker accompanied by Ana de la Cuesta Gerlach, flute

We Are – from Lessons ...... Ysaye Barnwell The Gift to Sing ...... Judith Baity Danzón a Matanzas ...... Ana Martin Ana de la Cuesta Gerlach, flute El Mar ...... Andrea Ramsey From a Distance ...... Julie Gold/arr. Teena Chinn Christine Simon Halverson, conductor

Hark, I Hear the Harps Eternal ...... Early American/arr. Alice Parker She’ll be Comin’ ‘Round the Mountain ...... American/arr. Emma Lou Diemer Daniel, Daniel, Servant of the Lord ...... African American/arr. Undine Smith Moore James Halverson, tenor solo and John Emanuel, bass solo

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6 Program Notes by Dr. James B. Kinchen, Jr.

magine with me for a moment an his other oratorios, such as Judas polyphony. Palestrina refined that art alternative universe, a universe Maccabeus, Esther, and Israel in in the Late Renaissance. Monteverdi in which, throughout history, the Egypt; or Bach’s Passion settings or was on the front edge of the New Imusical talents and gifts of women his B Minor Mass; when we think Baroque style. Bach and Handel came were valued, nurtured, and fostered of the great Requiems of Mozart, at the end of the age and brought the the same as those of men. It is a Brahms, Verdi, Berlioz, Britten – what Baroque style to such summation universe where parents would see if women had composed pieces of that everyone who came after them the same potential for their talented, comparable stature? And the opera! who desired to “say” anything of even precocious, young daughters as Can you imagine the major opera consequence had to find a new for their sons. They would envision houses of the world having two or way of saying it. And, so, finally, the same exciting future for their girls three dozen more strong works to Haydn seemed to bring together as for their boys. It is a universe in choose from in addition to the Verdi, the threads of the new language of which those parents would give their Puccini, et. al. that now comprise the Classicism, in essence, finding that girls, still in their first decade of life, operatic canon? What musical works, “new way.” Mozart brought to the over to established musical masters great as any we know, that might now solidified Classical style his and pedagogues, with the hope that exist in a universe that also supported incomparable genius and mastery. their potential, still embryonic, could women as composers to the same Then comes Beethoven with his big be helped to flower into something extent as men have been supported? and individualistic voice, pushing special, something that would make I opine that our musical repertories music in a different direction. And a unique contribution to the world. would be far, far richer! I could go on. But what if – what And those master musician-teachers if – there could have been women would be as likely to be women as And not only would the world be at that level in all of those periods men. In this imagined universe, enriched by masterworks composed helping to push and define musical these girls would have had abundant by women in all genres. There is trends, bringing to bear their creative opportunity to see women making another consequence that is more genius not only on their specific music, creating it and re-creating powerful and far-reaching than any compositions, but also on the large it, right alongside men. Such girls symphony, oratorio, concerto, or flow of music development? (And I might see a woman instead of a man opera might be in a mythical universe have used examples and hypotheticals ascend to the church organ to bring in which women composers had an from more remote musical history, its stately pipes to life. Might see the equal place at the table. Composers but, truth be told, women composers church choir or orchestra responding – the great ones and the notable ones have not been heard on the same level to the leadership of women as well – do not just compose music. They as their male counterparts even in our as men. Might hear the exciting also lead the progression of musical own time.) buzz surrounding the premiere thought, convention, and practice performance of a major work by a through time. Composers innovate. But there is a bright spot and it is female composer. The young girls Composers sometimes create new exceedingly bright! would have had older female role ways of using the materials of music. models, providing a real-life display Composers re-cast and modify In spite of the obstacles and, even, of possibility. genres. Sometimes composers take antipathy, there have been women the prevailing practice and clarify composers through time. Tonight’s Of course, that universe does not and solidify it. Sometimes their work concert is dedicated to showcase the exist, nor did it ever. But, just think, is an evolution from the status quo music of just a small sampling of IF it did, how many symphonies to something that will be significant those composers. We have not had crafted by women composers would in coming generations. Sometimes to search high and low for songs to stand in addition to – and in league they radically change the status quo program. Rather, our challenge has with – those of Mozart, Beethoven, and redefine the art in revolutionary been to cull the possibilities to a Brahms and others? Might there be ways. The High Renaissance master, manageable program, while sharing a “Mother of the Symphony”? When Josquin, normalized imitative a meaningful sampling of the work we think of Handel’s Messiah and

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8 of female composers. If one accepts on commission to dedicate a Smith Moore (1904 – 1989) wrote that we as a human race have tended congregation’s new worship space. more than 100 compositions, many to move more and more toward The composer, Undine Smith Moore, of which were inspired by spirituals enlightenment in some things over was known for the strength of her and folk music. She began teaching time, then one is not surprised musical gesture, a characteristic that piano, organ and music theory at that there is a preponderance of is very evident to those who hear Virginia State College (now Virginia representation from the 20th and 21st this work. Because she had several State University) in 1927, remaining centuries. So, how will the pieces extra-musical connections to the a member of the faculty there for 45 that you hear tonight differ from a people for whom this anthem was years. Moore composed “Be Strong! similar program composed by men? composed, and particularly church I Will Fill This House with Glory” in Ultimately, you will need to judge member and arts community activist, 1979 for the Wentz Memorial United that. It will be interesting to hear Simona Allen, a friend and sorority Church of Christ in Winston-Salem, your thoughts. For me, the answer sister who was most instrumental in North Carolina. While choral director to that question along gender lines securing the commission, Moore’s at Winston-Salem State University, is quickly subsumed under the more anthem, still in manuscript today, was Kinchen commissioned Moore to urgent matters of the personal style very much written with the specific write a pair of pieces for chorus and and utterance of each composer. church choir in mind for whom it orchestra that set the words of African I do not find myself necessarily was first intended. The anthem is American poets Phyllis Wheatley and conscious of a “feminine” voice in episodic in nature, devoting different Langston Hughes respectively. The this program. I will, however, assert musical setting to each new line of anthem of Chicago music educator this fact and will do so with pride. text. The anthem, Blessed Be God, and composer Betty Jacobson The quality of tonight’s program is found inspiration in words excerpted (1914-2008) was first be heard at very high – period. No equivocations principally from Psalms 46 and the graduation of her daughter, or apologies. “SHE” has written, out 139. It employs two musical ideas, Mary, from New Trier High School of the same impulses that compel the first rhythmic and robust, sung (Winnetka. IL) in 1962. According human creativity regardless of gender by unison male voices, followed by to Jacobson’s daughter, Martha, and with the same skilled use of the more reflective and lyrical material, “Blessed be God” was “used for many available musical materials. And, so, heard first in the women’s voices, years as a competition piece among gladly, WE SING! and then presented in soaring high schools in Illinois until it was imitation between women and men. no longer politically correct to use Tonight’s program begins with a set Before joining in the final, affirming religious music.” Amy Marcy Cheney of three anthems, each characteristic “Amens,” we hear the two ideas, the Beach (1867 — 1944) was the first in its own way of the mid-to-late opening theme being reprised by the successful American female composer 19th and 20th century genre of that men, the second theme continuing in of large-scale works, although initially name. The anthem of this period, the women’s voices, in counterpoint. forbidden from pursuing a career intended to be sung by a choir and Amy Beach’s anthem, All Hail the in music because of the stigma intended for general church use Power of Jesus’ Name, uses the words attached to women who appeared as across a wide range of denominations, of 18th century poet, Edward Perronet, performers on stage. A child prodigy serves to support the worship service words that are now well-known with perfect pitch and total recall, by encouraging and promoting in the hymn repertories of many Beach made her professional debut as worshipful feelings and responses. denominations. Beach’s treatment of a concert pianist at age 16. Self-taught Church anthems tend to have as their the text is strophic, though the tune in composition and orchestration, theme praise, thanksgiving, worship, is her original creation. After a soft, Beach dedicated herself to writing devotion, prayer, supplication, and unison rendition of the melody in the music during her 25-year marriage celebration. Their texts are most third stanza, the anthem ends with to Henry Harris Aubrey Beach, MD, often drawn from Scripture. Even the broad and grand final cadences who supported and encouraged her when female composers might not that anticipate the great Coronation craft. Widowed at 43, she revived her have had particularly welcoming that is to come. Beach was very much career as a pianist on concert tours in performance opportunities in some anchored in the late 19th century Germany and the U.S. other genres, the church anthem has musical style, a style that was tonal, offered generous opportunities to largely melodic, and harmonically These three pieces share a kind have one’s work accepted, published, consonant, though often enriched by of retrospective focus. O Virtus and performed without regard to the use of chromatics. Sapientiae is based on a plainsong gender. Be Strong! I Will Fill This or chant melody by the legendary House with Glory was composed The granddaughter of slaves, Undine Hildegard von Bingen, truly a

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10 “renaissance woman” of her time, as Mozart, and Edward Elgar, this composers sometimes choose to much as the time permitted a woman setting by Stephanie Martin, like make “statements” in their music. to be. Up until the 12th century, the Daley, a Canadian composer whose If the writer’s pen is more powerful music that came from the churches works owes a debt to centuries than the sword, then it may be all and convents was largely monophonic of British choral music, is mostly the more the case for the composer. – employing a single line of melody. chordal and very linear, and responds The first piece in this set is creedal in (The Gregorian Chants are the best- to the traditions of this text. nature and reflects what philosophers known examples of this kind of and theologians sometimes call music.) From the 12th century on, Hildegard von Bingen (1098 – 1179), “the First Cause” – “all things were people who composed and performed also known as Saint Hildegard and made by Him and without Him was music were increasingly more Sibyl of the Rhine, was a German not anything made that was made.” interested in the possibilities that were Benedictine abbess, author, composer, Strongly and insistently rhythmic, presented when two or more sounds artist, philosopher and visionary, “The Word Was God,” is quite direct. were put together – polyphony. That whose visions caused her to see Its text, from the beginning of Saint contemporary composer, Cheryl humans as “living sparks” of God’s John’s Gospel, utters forth two tenets Lynn Helm, has chosen to give love. The figure of Sapientia (Divine that are essential to most of the Hildegard’s music a polyphonic Wisdom), personified at several world’s Christian communities – setting is interesting in terms of points in the Old Testament, was that God is Creator and that Christ where music was starting to trend one of Hildegard’s most constant – Logos (the Word) – is co-equal in Hildegard’s day, but also because visionary companions. An antiphon with the Father in what theologians many scholars point to Hildegard’s for the Holy Trinity, Hildegard have come to call the “God-head.” music, even though monophonic, as begins “O Virtus Sapientiae” by Dr. Powell intended her 1996 work being forward looking in its melodic praising the power of Wisdom. as “a musical word-painting of the ranges, use of melisma (multiple American composer, Cheryl Lynn creation.” Wrote Powell, “The text notes to a single syllable or word), Helm (born 1957) was a Medieval and the theme are introduced simply, and the general desire to pull together studies minor who is especially beginning in unison and growing into the heavenly and the earthly into interested in composing a cappella homophony in the men’s voices. The single focus, which countered the choral music. This makes her setting simplicity represents the ‘nothingness’ generally dualistic mindset of her of the Hildegard chant a natural that existed before creation. The time. In the case of the next two fit! Canadian composer, pianist unison represents the oneness of songs, the music is new, but the and organist Eleanor Daley (born God and Christ (who is the Word). texts are ancient. The music that 1955) wrote “There Is No Rose” – The homophony represents the accompanies them, even though based on an anonymous medieval distinctness of God and Christ in original, is discernably influenced text – in 1996 for the Calgary Girls their roles. All that existed was God by the antiquity of the words. The Choir. Daley serves as the music and the Word (Christ). All of creation macaronic words (combining Latin and choir director at Fairlawn grew out of these two who are one.” with another language) of There is Avenue United Church in Toronto Jesus’ New Testament invitation to No Rose come from the late Middle and as accompanist for the Bach “Come unto me all ye that labor Ages. Canadian composer Eleanor Children’s Chorus. She is regularly and are heavy laden and I will give Daley’s treatment employs lots of commissioned by choral groups and you rest,” also makes a profound inter-linear imitation in the four- arts organizations throughout North statement. This original song, Come part treble choir. Her setting is not America and Europe. Stephanie Unto Me, on that text by Bernice only influenced by this metaphoric Martin (born 1962) composed “Ave Johnson Reagon, is on the soundtrack old text, but also by the centuries of Verum Corpus” in 2009 for the of the PBS documentary Africans in English choral tradition that have Gallery Choir, Church of Saint Mary America to help tell the story of the helped to shape Daley as a composer. Magdalene in Toronto, while serving African experience in the New World The words to Ave Verum Corpus also there as director of music. She is and of the pilgrimage of African hark back to the late Middle Ages, currently an associate professor of Americans through the dark days of and are attributed to Pope Innocent music at York University in Toronto. slavery. The undeserved persecution VI. They reflect the Catholic doctrine Martin is also artistic director and suffering that Jesus experienced of Transubstantiation, in which of Schola Magdalena, a women’s helped enslaved African Americans it is believed that the elements of ensemble specializing in chant and identify with Him in a special way, Eucharist become the Real Presence medieval polyphony. and made them especially receptive of Jesus. A popular text for many to His invitation. Call and response composers, including William Byrd, Like their male counterparts, women usually features a lead singer. The

11 use of call-and-response in this Choristers’ welcomed her back as Careless Love, for women, and fourth song is unusual in that it employs accompanist in 2013 after a hiatus of movement, Clementine, for men, a lead group. Patricia Ilika Black’s five years. She had previously held are each more jocular in nature. The A New Song is her statement of the position from 1993 until 2008. concluding Shenandoah unfolds in joy and praise as a cancer survivor. She is also the accompanist for the luxurious harmonies, reminiscent of Its essentially tripartite structure Kenosha Chamber Choir and Lakes the river itself. We sing the second of features two exuberant, extroverted High School in Lake Villa, Patricia’s the suite, Come Ye Fair and Tender sections that frame a quieter, more arrangement of “The Star Spangled Ladies. As the singers lament, “I reflective middle section in which Banner” is performed for thousands wish I were a tiny swallow,” the flute the composer muses about “the of people every year. (Please see indulges in bird-like figurations, for measure of my days” and her utter more details of Black’s life in the which it is so well-suited. frailty, which is really the condition “Biography” section of this program.) of the human race. In the face of Havana-born Isolina Carrillo this frailty, the composer prays “to Then, there is the subject of love, (1907 - 1996), was from a family live with purpose [and] cherish each which composers of all genders of musicians. At the age of eleven memory!” In the joyous “A” section through the ages have tended not she made her musical debut in her and its return, a core rhythmic motive to shun. Dos Gardenias (Two father’s orchestra, replacing a pianist (grouped in pulses of: 1-2-3—1-2- Gardenias), a well-known bolero by who had called in sick. She studied 3—1-2) drives the song forward. We Isolina was composed in 1945. The at the Municipal Conservatory of are very proud to give this composer’s Cuban bolero is generally a romantic Havana (now called the Amadeo personal testimony its world premiere text, with complex melodic and Roldán conservatory). She had a long performance! harmonic sequences, but a danceable and successful career as a composer, genre. Following is the text and pianist, and choral conductor. For Charles W Barkley Endowed translation: many years she was in charge of Professor of voice at Auburn program repertory selection at the University and a very active composer Two gardenias for you/With them I Institute of Radio and Television and arranger, Dr. Rosephanye Dunn mean to say “I love you, I adore you, in Havana. Many of her songs Powell (born 1962) studies the art my love”/Give them all of your atten- are well known nationally and of the African-American spiritual tion/Because they represent your heart internationally. A 1985 graduate of and voice care. She dedicated “The and mine. Two gardenias for you/ the Ignacio Cervantes Conservatory Word Was God” to the Philander They will have the warmth of a kiss/ of Music, Havana, Cuba, Carlos Smith Collegiate Choir of Little Rock, Of one of those kisses I gave you/And Enrique García (born 1950), a native Arkansas, which, at the time, was that you’ll never find/In the warmth of of Havana, Cuba, has been a very conducted by her husband, William another lover. productive and versatile composer Powell, before he was appointed The flowers will live and talk to you/ and arranger. He has traveled Director of Choral Activities at Just as when you are with me/And extensively in Cuba and abroad with Auburn. Milwaukee Choristers you will believe /That they are actually various small musical groups. His was honored to give one of the first saying “I love you” to you/But if one works have been broadcast by Radio performances of her exciting song, afternoon/The gardenias of my love Habana Cuba (an international radio “Arise Beloved,” singing it at the die/It’s because they have guessed/That station in Havana) and played by the Hal Leonard’s Conductor’s Craft your love for me has withered/Because Cuban National Symphony Orchestra. Workshop back in 2014. Song leader, there’s another lover. In addition, over the past 25 years he composer, scholar and social activist has been performing Cuban music Dr. Bernice Johnson Reagon (born Gwyneth Walker wrote American every night at the Hotel National in 1942) founded the all-black female Ballads – featuring five of Walker’s Havana. Prolific American composer a cappella ensemble Sweet Honey in favorite tunes from her childhood – Gwyneth Walker (born 1947) spent the Rock in 1972. A Georgia-native, in 1994 for the Bel Canto Chamber 14 years teaching composition she also was a founding member of Singers in Hanover, New Hampshire. and theory at Oberlin, Hartford the Student Nonviolent Coordinating The entire suite is written for chorus Conservatory and the Hartt School of Committee Freedom Singers during (one for treble voices; one for men; Music before deciding to concentrate the Civil Rights Movement. Dedicated the other three for mixed voices) and full-time on writing music for to her “fellow cancer survivors,” flute. Lonesome Traveler, the opening orchestra, chorus and solo voice. Her composer, pianist, and music piece of the set, starts in rather free music is celebrated for its energy, educator Patricia Ilika Black wrote tempo before picking up rhythmic beauty, reverence, drama and humor. “A New Song” in 2012. Milwaukee steam. The third movement,

12 We Are is the final song in Ysaye the persistent song of the soul, we space station the first time Americans Barnwell’s five song a cappella can overcome the gloom of life’s worked with Russians in space. In its suite, Lessons. One is impressed by darkest hours. Baity, who now lives comfortably popular styling, From Barnwell’s songs, that they are not and works in Los Angeles, establishes a Distance reminds us that we are “just” music, but attempt to situate a gliding chord flourish on the word community – and God is watching us themselves in a deeper spiritual “sing” and it becomes a recurrent to see if we get it right! and communal place. "We Are" motive, a kind of succinct refrain, as immediately connects the newborn the song moves through successive Composer and actress Ysaye with the universe. We belong, each of modulations before resting sweetly on Barnwell (born 1946) is a master us, is what seems to be the underlying a final chordal, choral embellishment. teacher and choral clinician meaning of this song. She calls upon Danzón a Matanzas (Danzón to in African American cultural polyrhythmic technique that has its Matanzas) is a composition for flute performance. She was a member of antecedent in West Africa. Each voice and piano by Ana Martin, a versatile the all-black female a cappella group becomes part of the rhythmic fabric, Cuban composer. The danzón is Sweet Honey in the Rock for 34 perhaps symbolizing how each person the national dance musical genre years. Her training as a sign language is part of the universal tapestry. And of Cuba. On January 1, 1879, the interpreter led the group to include not only are we connected in this first genuine danzón (as we know a sign language interpreter in the moment, but also timelessly with it today) – Las Alturas de Simpson ensemble. Dr. Barnwell composed our ancestors. "We Are" reminds us (Simpson’s Hill) and composed by “We Are” in 1991 for the Redwood that we are all part of the human Miguel Faílde (1852-1921) – was Cultural Work’s House Choir in community. Said Barnwell, “I believe performed in Matanzas (a city 64 Oakland, California, the Boys Choir that it is through the communal miles east of Havana), one of the of Harlem and MUSE: Cincinnati voice that we can begin to create and three most culturally important cities Women’s Choir. Before joining implement positive, harmonious in the country. The danzón was born Sweet Honey in the Rock she was strategies for change impacting the as an instrumental genre, always a professor in speech pathology at individual, the family, friends, the played by an orchestra, but later on the College of Dentistry at Howard community, the country and the a singer was added. The danzón was University and a health program world.” As Milwaukee Choristers very important to the development administrator in Washington, DC. anticipated its 75th anniversary of Cuban music, especially because Judith Baity (born 1944) has celebration in 2008, the decision of its popularity among people of become a friend of the Choristers was made to commission three new modest means. Three-fourths of through the years. As a young girl, the works for the chorus. Robert Harris, the earth’s surface is water. The sea Milwaukee-native was already from Evanston, Illinois, Robert is so essential to all life! The sea has playing for services and directing Morris, who was based in the Twin many faces and characters. El Mar is choirs at her family’s church, Cities, and Judith Baity were each about the Mediterranean and initially Calvary Baptist Church. She would invited to create a new piece for the about the hulk of a beached ship. become a successful composer and chorus. Each responded with very This sea on this day is an inviting arranger of solo instrumental and artful settings of words by African and welcoming place. After a slow orchestra works, choral and jazz American poets from the Harlem introduction, the composer, Andrea pieces, contemporary gospel and Renaissance, a particularly important Ramsey, has the voices capturing the children’s music. Baity wrote “Give flowering of the black arts during playful surges and recessions of the God the Glory” in 1988 for the 12th the first third of the 20th century. sea. From a Distance also reminds us annual Church Music Workshop The three pieces that resulted not that we are not alone, nor are we our at Jackson State University in only graced our regular season own. New York singer and songwriter Jackson, Mississippi. She serves as an concerts, but were also part of a very Julie Gold (born 1956) was working accompanist and music educator in memorable exchange with the fabled as a secretary and composing songs Los Angeles. The Choristers sang Brazeal Dennard Chorale of Detroit in her free time when she wrote and helped record selections from in the fall of 2008. We are happy to From a Distance. It would become her Mary McCleod Bethune Suite, reprise the Baity composition for this her greatest hit and a chart-topper which texts, taken from the great concert. In his poem, The Gift to for singer and actress Bette Midler, leader’s “Last Will and Testament,” I Sing, one of the Harlem Renaissance’s who recorded it in 1990. The song was happy to introduce Baity to. We earlier figures and Jacksonville native, won the Grammy’s Song of the Year have also performed her “Hold Thy James Weldon Johnson, celebrates the in 1991. It has been illustrated as a Peace,” and “In Life and Death We gift of song as the embodiment of the children’s book and was used as the Belong to God.” Pianist, composer, indomitable human spirit: through wake-up call for astronauts in the Mir arranger, and director of the HabAna

13 Martin Orchestra, which was founded Alice Parker’s masterful setting of Today, she continues to compose in 2010, Havana-born Ana Martin this old 19th century hymn-tune and teach. Emma Lou Diemer (born 1958) started studying music, captures in its rhythmic counterpoint (born 1927) is a professor emerita at ballet and Spanish dance when she the unpretentious exuberance the University of California, Santa was very young. Her parents provided and earnest enthusiasm of the Barbara. The Kansas City, MO native great support and inspiration for Appalachian worship experience. holds degrees from Yale and Eastman. her musical work. She has received Written for renowned choral master Diemer has done composer multiple awards during her 38 years Dale Warland and his award-winning residencies in Arlington, VA and of artistic endeavor and is a member singers, Emma Lou Diemer’s playful Santa Barbara, CA and was named of the National Association of Writers setting of an old tune, She’ll Be Composer of the Year by the American and Artists of Cuba (Unión Nacional Comin’ Round the Mountain, Guild of Organists in 1995. Known de Escritores y Artistas de Cuba). (which the composer attributes to to some during her later years as the Andrea Ramsey (born 1977) is an African American roots) is creatively “Dean of Black Women Composers, assistant professor of conducting wrought, moving through several Undine Smith Moore called herself and associate director of choral key changes, and employing shifting “a teacher who composes, rather than studies at the University of Colorado melodies, syncopations, call-and- a composer who teaches.” Her biggest - Boulder. She composed “El Mar” response, and imitation, before opus was Scenes from the Life of a (The Sea) in 2008 for the Olathe, emerging triumphantly at the end, Martyr: To the Memory of Dr. Martin Kansas Junior High School Honors the ultimate choral scherzo! Undine Luther King, Jr., for chorus, soloists, Choir Festival 25th anniversary Smith Moore’s 1953 arrangement narrator, and orchestra. concert. Dr. Ramsey is composer- of Daniel, Daniel, Servant of the in-residence for the Allegro Choirs Lord is considered one of the great a —Notes by James Benjamin Kinchen, of Kansas City. Although no song cappella spiritual arrangements of all Jr., with research assistance by has hit as big as From A Distance, time. Sung first in Historically Black Rachel Mosey and contributions Julie Gold continues to exercise College & University choral circles concerning Dos Gardenias and her gift for combining melody and back in the days when many things in Danzón a Matanzas from Ana de la lyric, as a quick trip to her website this country were strictly segregated, Cuesta Gerlach will show. Among the recording her arrangement was conceived with artists have sung Gold’s material the big, rich, and resonant timbres are: Jewel, The African Children’s of HBCU choirs in mind, such as Choir, Judy Collins, The Byrds, the one at her own Virginia State Donna Summer, Nanci Griffith, Patti College. The fast tempo of the song LaBelle, and Kathie Lee Gifford. A momentarily slackens for a moment full-time minister of music at Midway of drama: “The king in his sleep was Christian Church (Disciples of troubled, and early in the morning he Christ) in Midway, Kentucky, Teena rose…” Chinn is well-known as an arranger of pop music. Boston native Alice Parker (born 1925) began composing at an early The various folk traditions of the age. It was during her graduate United States have long provided rich studies at Juilliard that she met musical fodder for composers and America’s premiere choral maestro, arrangers. The tunes are engaging Robert Shaw, who taught her choral and unique. Their inherent interest conducting. With Robert Shaw, is enhanced by the lineage of these Parker transformed many hymns songs and the rich stories behind and folksongs into accessible choral them. For the singers of the old masterpieces. Her Melodious Accord American, shape-note hymn, Hark, Inc website biography says, “Her I Hear the Harps Eternal, the allure life-work has been in choral and of that “city far away” was a cause vocal music, combining composing, for excitement. The “harps eternal” conducting and teaching in a creative beckoned to them, inviting them to balance.” She has been commissioned leave a life of toil and hardship to join by such groups as the Vancouver the “Great I Am” in that better world Chamber Chorus, the Atlanta over on the “farther shore.” Symphony Chorus and Chanticleer.

14 Lyrics

Be Strong! I Will Fill This Crown Him, ye martyrs of our God, Laus tibi sit, sicut te decet, House with Glory Who from His altar call, O Sapientia. Extol the stem of Jesse’s rod, Be strong! All ye people of the land. Translation: And crown Him Lord of all. Thus saith the Lord of hosts. O strength of Wisdom For I anointed you, saith the Lord. Hail Him, the Heir of David’s line, who, circling, circled, According to the word that I covenant- Whom David Lord did call, enclosing all ed with you. The Lord incarnate, Man divine, in one lifegiving path, So my spirit remaineth with you. And crown him Lord of all! three wings you have: Fear not, the glory of this latter house one soars to the heights, Ye seed of Israel’s chosen race, shall be greater, one distils its essence upon the earth, Ye ransomed of the fall, Thus saith the Lord of hosts. and the third is everywhere. Hail Him who saves you by His grace, For I will fill this house with glory. Praise to you, as is fitting, And crown Him Lord of all. And in this place will I give peace. O Wisdom. Amen. Let ev’ry kindred, ev’ry tribe, Before Him prostrate fall! Ave Verum Corpus Blessed Be God On this terrestrial ball, Ave verum corpus, God is my rock, God is my fortress, To Him all majesty ascribe, And crown Him Lord of all. Natum de Maria Virgine, A very present help in time of need. Vere passum immolatum God is my rock, God is my fortress, in cruce pro homine; How precious are his thoughts to me. There is No Rose Cujus latus perforatum If I should count them, There is no rose of such virtue Unda fluxit sanguine, They are more in number than the As is the rose that bare Jesu. Esto nobis praegustatum sand, Alleluia. in mortis examine. They are more in number than the For in this rose contained was O dulcis, O pie, sand. Heaven and earth in little space. O Jesu, Fili Mariae, Search me, O God, and know my Res miranda. Miserere nobis. heart, By that rose we may well see Amen. That he is God in persons three. Try me, O God, and know my Translation: Pares forma. thoughts. Hail, true Body, Then leave we all this worldly mirth, O search me, O God, and know my Born of the Virgin Mary, And follow we this joyous birth. heart; Truly suffering, sacrificed Transeamus. Lead me in the way everlasting. on the cross for mankind, Blessed be God from everlasting to whose pierced side everlasting. O Virtus Sapientiae Flowed with water and blood: Amen. O virtus Sapientiae, May it be for us a foretaste of the Heav- quae circuiens circuisti enly banquet All Hail the Power of comprehendendo omnia in the trial of death. Jesus’ Name in una via, quae habet vitam, O, dear Jesus, O merciful Jesus, tres alas habens, All hail the pow’r of Jesus’ name, O Jesus, son of Mary, quarum una in altum volat, Let angels prostrate fall, have mercy on me. et altera de terra sudat, Bring forth the royal diadem, Amen. And crown Him Lord of all. et tertia undique volat.

15 We Are The Word Was God In every day there is joy, hope, time to For each child that’s born, love. In the beginning was the Word, and the A morning star rises and sings to the In every day there’s life! Word was with God. universe, And the Word was God. I have a new song, Who we are. The same was in the beginning with I have a new hymn, We are our grandmother’s prayers, God This is my song, my hymn of praise! And we are our grandfather’s dream- And the Word was God. A song of joy! ings. All things were made that have been I have a new song of joy and hope! We are the breath of our ancestors, made, A new song of life! We are the sprit of God. Nothing was made He has not made. We are one. All things were made by Him Come All Ye Fair and We are the mothers of courage and Tender Ladies fathers of time, Come Unto Me Come all ye fair and tender ladies, We are daughters of dust and the sons Come unto me, all ye that labor Take warning how you court your of great visions. And I will give you rest. men. We’re sisters of mercy and brothers of Come unto me, all that are heavy laden They're like the stars of a summer love, And I will give you rest. morning; We are lovers of life and the builders of First they appear and then they're gone. nations. Take my yoke upon thee, and learn of me If I'd known before I courted, We’re seekers of truth and keepers of For I am meek and lowly in heart; Then never would I have courted none. faith And ye shall find rest unto your soul. I'd have locked my heart in a box of We are makers of peace and the wis- golden, dom of ages. Come unto me all ye that labor, and I And shut it fast with a silver pin. will give you rest. The Gift to Sing For my yoke is easy, and my burden is I wish I were a tiny swallow, light. And I had wings, and I could fly. Sometimes the mist o’erhangs my path, I'd fly away to my false true lover And black’ning clouds about me cling, A New Song And when he'd speak, I would deny. But, oh, I have a magic way To turn the gloom to cheerful day, Alas, I’m not a tiny swallow, He has put a new song in my mouth, I softly sing. I have no wings, nor can I fly He has put a new song in my heart. And if the way grows darker still, So I’ll sit down here to weep in sorrow, A new song,; A hymn of praise, joy and Shadowed by Sorrow’s somber wing, And try to pass my troubles by. hope. With glad defiance in my throat, A new hymn of praise, joy and hope in Alas, I’m not a tiny swallow, I pierce the darkness with a note, our God. I have no wings, nor can I fly And sing, and sing, sing, sing. And on this earth in grief and sorrow, I softly sing. I have a new hymn, new praise, new I am bound until I die. I brood not over the broken past, joy Nor dread whatever time may bring; I wish I were a tiny swallow, I have a song of hope, of love, of life! No nights are dark, no days are long, And I had wings, and I could fly. While in my heart there swells a song, Lord, help me to know the years, I wish I were a tiny swallow, And I can sing. And the measure of my days, And I had wings, and I could fly. That I may know how frail I am. I turn the gloom to cheerful day, My age is as nothing to You. I pierce the darkness with a note, And I can sing. Help me not to waste a moment, While in my heart there swells a song, To embrace each day. And I can sing. To live with purpose, To cherish every memory. 16 El Mar *Felucca: a traditional wooden sailing God is watching us from a distance. boat used in the protected waters of El casco roído y verdoso del Viejo God is watching us. the Mediterranean. falucho God is watching us. Reposa en la arena God is watching us from a distance. La vela tronchada parece From a Distance Ooh, from a distance. Que aún sueña en el sol y en el mar From a distance the world looks blue and green Hark! I Hear the Harps El mar hierve y canta, And the snow capped mountains white. Eternal El mar es un sueño sonoro From a distance the ocean meets the Hark, I hear the harps eternal Bajo el sol de abril stream, Ringing on the farther shore, El mar hierve y ríe bajo el cielo azul And the eagle takes to flight. As I near those swollen waters, El mar rutilante, From a distance there is harmony, With their deep and solemn roar. Que ríe en sus liras de plata And it echoes through the land. Sus risas azules It's the voice of hope, Hallelujah, hallelujah, ¡Hierve y ríe el mar! It's the voice of peace. Hallelujah, praise the Lamb! Hallelujah, hallelujah, El aire parece que dureme encantado It's the voice of every man. Glory to the great I AM! En la fúlgida niebla de sol blanquecino. From a distance we all have enough, La gaviota palpita en el aire dormido, And no one is in need. And my soul, though stained with Y al lento volar soñoliento, There are no guns, no bombs, no sorrow, Se aleja y se pierde en la bruma del sol disease, Fading as the light of day, Passes swiftly o’er those waters Translation: No hungry mouths to feed. To the city far away. The old Felucca* rests in the sand From a distance we are instruments Its rusty hull is tinged with green. Marching in a common band; Hallelujah, hallelujah, The tattered sail folds over in the Playing songs of hope, Hallelujah, praise the Lamb! breeze. Playing songs of peace, Hallelujah, hallelujah, It is sleeping, dreaming, They're the songs of every man. Glory to the great I AM! Sensing the warmth of the sun, Souls have crossed before me, saintly, Yearning to be in the sea once again. God is watching us. God is watching us. To that land of perfect rest; Bubbling and singing, the sea ripples, God is watching us from a distance. And I hear them singing faintly Captivating like a dream, In the mansions of the blest. Beautiful and sonorous, he sings be- God is watching us. Hallelujah, hallelujah, neath the April sun. God is watching us. Hallelujah, praise the lamb! His blue swells and milk-silver froth God is watching us from a distance. Hallelujah, hallelujah, Glitter beneath the bluest sky From a distance you look like my Glory to the great I AM! His steady surf sounds rhythmic, musi- friend cal as silver lyres. Even though we are at war. His azure swells laugh deeply together. From a distance I just cannot compre- She’ll Be Comin’ Round the Mountain Bubbles and laughter! The sea! hend Then suddenly, all is quiet. The air What all this fighting is for. She'll be comin' round the mountain seems enchanted. From a distance there is harmony When she comes, The tired fire of a white-hot sun lingers, And it echoes thru the land. She’ll be comin' round the mountain Crackling on the horizon. It's the hope of hopes, When she comes Above, a seagull indulges the dormant It's the love of loves. She'll be comin' round the mountain air. Flying wearily, It's the heart of every man. She'll be comin' round the mountain He disappears, losing himself in the She'll be comin' round the mountain glowing embers of sunset. God is watching us. When she comes. God is watching us.

17 (Repeat Chorus.) When she comes Daniel, Daniel, We'll be singing hallelujah, Daniel, Daniel, Lord! She'll be drivin’ six white horses We'll be singing hallelujah, When she comes, Among the Hebrew nation, We'll be singing hallelujah She'll be drivin’ six white horses Our Hebrew, Daniel was found. When she comes. When she comes, They put him in a-the lion’s den. She'll be drivin’ six white horses, He stayed there all night long. Hallelujah, hallelujah, hallelujah, She'll be drivin’ six white horses, hallelujah, hallelujah! (Repeat chorus.) She'll be drivin’ six white horses When she comes. Now the king in his sleep was troubled, Daniel, Daniel, Servant of And early in the morning he rose, Oh, we'll all go to meet her the Lord To find God had sent a-his angel When she comes, Oh, the king cried, “Oh!” down Oh, we'll all go to meet her Daniel, Daniel, oh! To lock the lion’s jaws! When she comes, Daniel, Daniel, oh! (Repeat chorus two times.) Oh, we'll all go to meet her, A-that-a Hebrew Daniel, Oh, we'll all go to meet her, Servant of the Lord. Oh, we'll all go to meet her When she comes. Oh! Daniel, Daniel, oh! Daniel, Daniel, oh! A-that-a Hebrew Daniel, We'll be singing "Hallelujah" Servant of the Lord. When she comes, Daniel, Daniel, We'll be singing "Hallelujah"

Pandora's Box Explore the myths and legends that our ancestors used to navigate a confusing world: Prelude to Apollo & Hyacinth • Mozart Violin Concerto in D, Op. 35 • Tchaikovsky Paul Bunyan Suite • Bergsma Tickets: The Golden Spinning Wheel • Dvořák $5 student discounted rate made possible by Saturday, March 25, 2017 an anonymous donor 7:00 p.m. (doors open at 6:30) $12 senior St. Matthew's Lutheran Church, Wauwatosa $18 general admission featuring violinist Emmy Tisdel, winner of the 2017 Walter A. www.concordorchestra.org and Dorothy J. Oestreich Concerto 414.750.4404 Competition

18 Dates to Remember Saturday, April 29 and Sunday, April 30, 2017 -- Johannes Brahms' A German Requiem featuring the Milwaukee Choristers and the UW-Parkside choirs and orchestra 7:30 p.m. Saturday night and 3:30 p.m. Sunday afternoon | UW-Parkside Frances Bedford Concert Hall (900 Wood Rd., Kenosha)

Wednesday, May 3, 2017 – new member auditions 6:30 p.m. | Wauwatosa Avenue United Methodist Church (1529 Wauwatosa Ave., Wauwatosa)

Friday, December 8 and Saturday, December 9, 2017 – Christmas concerts 7:30 p.m. | St. Mary’s Visitation (1260 Church St., Elm Grove)

19 Dr. James B. Kinchen, Jr. Conductor James is an affiliate of the Center for Black Music Research James has been Music and holds membership in the Music Educators National Director of the Milwaukee Conference, the International Federation for Choral Choristers since 1993. Music, National Collegiate Choral Organization and Chorus America. An active member of American Choral A native of Jacksonville, Directors Association, he has served ACDA in several Florida, he has directed leadership capacities at state, regional and national levels. choral groups at Southern He has presented at state, divisional and national ACDA Illinois University, conventions, and has written for and reviewed new music Southeastern Illinois College, and new recordings for the Choral Journal at various Hampton University and times. He has been President of the Wisconsin Choral Winston-Salem State Directors Association (2007-2009) and the North Central University. His degrees are Division of the American Choral Directors Association, from Jacksonville University, Southern Illinois University a region that encompasses the Dakotas, Iowa, Minnesota, and the University of North Carolina-Greensboro. His Nebraska and Wisconsin. conducting teachers include William McNeiland, Robert Kingsbury, Robert Bergt, John Locke, Richard Cox and In addition to his responsibilities for teaching and Peter Perret. James is Professor of Music and Director of directing the university’s three choral groups, the Choral Activities at the University of Wisconsin-Parkside, University Chorale, Master Singers and Voices of Parkside, which faculty he joined in 1989. James also teaches courses in basic and choral conducting, vocal materials and methods and African American Music He made his Carnegie Hall conducting debut on Easter and assists in the preparation of future music teachers. In Sunday of 1998 under the auspices of MidAmerica frequent demand as a guest conductor, adjudicator and Productions, conducting a concert of “spirituals.” clinician, he is also on the music staff of Saint Paul Baptist He returned to that stage in March of 2004 to lead a Church, Racine. 190-voice choir and orchestra in a performance of the Fauré Requiem and again in March 2006 to conduct choral/orchestral forces in a performance of the Vivaldi Gloria. In March 2010 he conducted the New Christine Simon Halverson York City premiere of Glenn Edward Burleigh’s Kwanzaa Assistant Conductor work, the Nguzo Saba Suite for chorus, tenor solo, and orchestra at Avery Fischer Hall in the Lincoln Center Christine Simon Halverson was named assistant conductor of for the Performing Arts in a performance produced by the Choristers in 1994. She has DCINY. His travels as a choral conductor and scholar been a member of the chorus have taken him to Germany, Austria, Poland, the Czech since January of 1983 and, for Republic, Sweden, Italy, India and, on four occasions, most of that time, has been the first sopranos’ section leader. Cuba. In 2002, he was one of 18 Fellows selected for She also performs regularly as participation in the Chorus America-Chicago Symphony a soloist. Choral/Orchestral Conducting Workshop and Master Chris holds a choral music Class, where he worked with a faculty that included education degree from the Stephen Cleobury, Fiora Contino, Gustav Meier, Michael University of Wisconsin- Morgan, James Paul and Duaine Wolf. Eau Claire. She is handbell James has been a Wisconsin Teaching Fellow and has choir director at Wauwatosa twice received the university’s Stella Gray Teaching Presbyterian Church. Excellence Award, given to two outstanding teachers at the Chris currently serves as office manager for the Presbytery of university, in 2003-2004 and 2014-2015. He was also given Milwaukee. the university’s 2005-2006 Faculty Distinguished Service Award and the 2012-2013 Campus Diversity Award.

20 Choir and the staff accompanist for Lakes High School in Patricia Ilika Black Lake Villa, Illinois and has been the coach and arranger Accompanist for Kenosha’s Tremper Golden Strings keyboardists since 1996. She previously served as pianist for Evangelical United Methodist Church in Racine, music administrator for Racine Patricia Ilika Black returned Bible Church and music coordinator at Wesley Methodist. to the Choristers in 2013 Patricia was a member of the faculty at Beloit (Wisconsin) after previously serving as College before moving to the Racine area. She has taken accompanist from 1993 to several concert tours to Europe and the former Soviet Union 2008. with various music organizations, and as part of a cultural A native of the Chicago area, exchange. Patricia holds a bachelor’s A composer and arranger, four of Patricia’s newest degree in piano performance compositions were premiered at UW-Parkside in May, 2014 from the University of Illinois. by the Choral Arts Society of Southeastern Wisconsin. The As a graduate student, she Choristers performed her “Gypsy Spring” in 2007 and “Psalm studied performance and composition at the University of of Deliverance” in 1995. Patricia’s arrangement of “The Star Wisconsin (Madison), UW-Milwaukee, UW-Parkside and Spangled Banner” is performed for thousands of people every Northwestern University. year. Patricia is the accompanist for the Kenosha Chamber

Acknowledgments The Milwaukee Choristers would like to acknowledge the countless volunteer members and friends who had a hand in making this weekend’s concerts possible. THANK YOU for your hard work and dedication!

milwaukeechoristers.org

Lifting lives, developing musicians, encouraging potential, honoring heritage, celebrating humanity through the choral artart.. Guest Conducting • Clinics • Festivals • Residencies • Faculty/Professional Development • Adjudications

JAMES BENJAMIN KINCHEN, JR., Professor of Music and Director of Choral Activities University of Wisconsin-Parkside offi ce: 262-595-2111 Kenosha, WI 53141-2000 home: 262-884-1356 Music Director, Milwaukee Choristers cell: 262-880-0623 President, North Central Division of American Choral Directors Association email: [email protected]

21 The Milwaukee Choristers Soprano I Trudy Haas, Glendale Alto II Jeff Hosler, Cedarburg Marilyn Harrower, Richfield Dan Kaminski, West Allis Gail Bennett, Wauwatosa Carrie Arrouet, Brookfield Jean Jankovich, Brown Deer Morris Srinivasan, New Deborah Bernhardt, Serena Clardie, Milwaukee Mechelle King, Milwaukee Berlin Brookfield Linda Ertel, Wauwatosa *Rachel Mosey, Wauwatosa Keralyn Bolliger, Glendale Clare Fish, Wauwatosa Kelly Muston, Wauwatosa Rachel Chiariello, Milwaukee Kristine Gerbitz, Baritones Katie Pitzl, Cudahy Elleny Christopoulos, Mukwonago Christopher Bruett, Claudia Roessl, Brookfield Milwaukee Sandra Hook, Germantown Wauwatosa Rachel Rueckert, Waukesha Jean Grainger, Oak Creek *Kathy Keleher, Tom Couillard, West Allis Caitlin Schaffer, *Christine Simon Halverson, Oconomowoc Gregory Davidson, Oconomowoc Wauwatosa (Asst. Mary Jo Malone, Wauwatosa Milwaukee Lauren Twomey, Milwaukee Conductor) Kirsten O’Quinn, *John Emanuel, Julia Weinberg, Milwaukee Katie Immel, Franklin Menomonee Falls Whitefish Bay Peggy Welden, Milwaukee Debra Kelm, Sheboygan Angela Sarozek, Burlington Zachary Rendall, Milwaukee Jean Wesley, Milwaukee Laurie Knapp, Milwaukee Jody Siker, South Milwaukee Emily Whitcomb, Waterford Paige Konitzer, Milwaukee Jessica Sosnoski, Sussex Bass Karen Kirsch, Delafield Alto I Donna Tanzer, Wauwatosa Joseph Brickman, West Allis Stephanie Nichols, Patricia Witt, Whitefish Bay Cornelia Beilke, Wauwatosa Fred Gerlach, Milwaukee Wauwatosa Cindy Zauner, Milwaukee Suzanne Clegg, Cedarburg John Nate, Pewaukee Catherine Nolan, Milwaukee Kathy Estlund, Wauwatosa James Schacht, Wauwatosa Lynnae Ortiz, West Allis Tenor I Emily French, Milwaukee Ken Smith, Bristol Robin Sadler, Wauwatosa Caroline Gomez-Tom, Ben Bartos, Menomonee Justin Van Able, Oak Creek Katie Weinberg, Wauwatosa Milwaukee Falls *James Halverson, Accompanist Soprano II Penny Hargarten, Wauwatosa Toni King, Milwaukee Wauwatosa Pat Black, Racine Stephanie Armstrong, Michelle Klassen, Milwaukee Dan Heidemann, Franklin Wauwatosa Chris Krzyston, Sussex Norman Wahn, Wauwatosa Conductor Erin Booher, Wauwatosa Kristin Lehmann, Janelle Dougherty, Dr. James B. Kinchen, Jr., Wauwatosa Tenor II Sturtevant Milwaukee Melissa Moore, Milwaukee Ana de la Cuesta Gerlach, *Jeanne Tyszka, Franklin Richard Armstrong, *Section Leader Milwaukee Erica Wilkinson, Brookfield Wauwatosa Ashley Grainger, Milwaukee Jennifer Zastrow, Cedarburg Brian Ensign, St. Francis Board of Directors 2016-2017 President...... James Halverson, Tenor President-Elect...... Jeff Hosler, Tenor Secretary...... Patricia Witt, Alto Treasurer...... Norman Wahn, Tenor Directors-at-Large...... Carrie Arrouet, Alto ...... Trudy Haas, Soprano Caroline Gomez-Tom, Alto Past President ...... Toni King, Alto

22 Thank You to our Generous Donors Contributions to the Milwaukee Choristers, Inc. and the Milwaukee Choristers Foundation, Inc. December 1, 2015 – February 28, 2017

EIN PROSIT! Karen Kirsch Susan & John Wing (partially in memory of Barbara Christianson) Continuing support from the John Lutz Ramsey Family Grant Mary Jo & Thomas Malone Frances Wurlitzer (in memory of Ed & Anne Ramsey) Steve & 'Cille Ramsey (in memory of Ed Cindy Zauner & Anne Ramsey) CENTER STAGE ($1000 OR MORE) Faith & Lyle Rhodes (partially in memory SINGER'S CHAIR (up to $99) of Barbara Christianson & Doris Jensen) Toni King (partially in memory of Audrey Anderson (in memory of Doris Claudia & Edward Roessl Barbara Christianson) Jensen) Mark Weller John Parrish Rick & Stephanie Armstrong Harry & Marjorie Williams (in honor of Don & Phyllis Arndt (partially in the 2016 carolers who braved the cold) COMPOSER'S CIRCLE ($500 - $999) memory of Barbara Christianson & Doris Patricia Witt Jensen) Karen & Carl Engelhardt Jennifer Zastrow David & Luann Baker (in memory of GE Foundation (matching gift) Doris Jensen) Northwestern Mutual Foundation SOLOIST'S LOGE ($100 - $199) Julia Buran (volunteer support program) Kerry Barton Camille Cicinelli (in memory of Barbara Lloyd Gerlach The Bartos Family Christianson) Robert Jensen (in loving memory of Roger & Dolores Davidson Doris Jensen) Richard & Gloria Bergman Patricia Ilika Black Janelle Dougherty (in memory of Barbara Kirsten & John O'Quinn Christianson, Kay Sands & Doris Jensen) Joe & Barbara Bonfiglio Jeanne & Rich Tyszka (partially in Jane Frahm (in memory of Barbara Ken & Jennifer Brink memory of Barbara Christianson & Doris Christianson) Serena Clardie Jensen) Thomas & Althea Gorenc (in memory of Mary d'Amico Barbara Christianson) DIRECTOR'S BOX ($200 - $499) Mary Fulton (in honor of Kathleen Linda & David Gritter Estlund) Carrie & Marc Arrouet Ernest & Marilyn Haug (in memory of Caroline Gomez-Tom First Weber Group Foundation, Inc. Doris Jensen) (matching gift) Doyne & Marta Haas Dorothy Kassilke (in memory of Gordon Clair & Mary Baum Susan Hoaglund (partially in memory of Kassilke) Kay Sands) Keralyn & Fritz Bolliger (in memory of Mechelle King Barbara Christianson & Kay Sands) Sue Jacobson James Lange (in memory of Doris Jensen) Marilyn & Paul Ehler (partially in Jean Jankovich Richard & Marilyn Mathis memory of Barbara Christianson & Brian & Shawn Jensen (in memory of Rachel Mosey Doris Jensen) Doris Jensen) Jane Pagel (in memory of Barbara John Emanuel Jim & Elisabeth Kelly Christianson & Doris Jensen) Linda & Thomas Ertel (in memory of Debra & Jeffrey Kelm Mary Race Barbara Christianson, Kay Sands, Harvin Moore & Mary Jensen (in Tom & Barbara Smeltzer memory of Doris Jensen) Jay Krzyston & Doris Jensen) Shirley Stow Catherine Nolan Kathy & Robert Estlund (partially in Richard & Phyllis Tallmadge (in memory memory of Barbara Christianson) Don & Pat Olsen of Barbara Christianson) Fred & Ana Gerlach Leroy Rinzel Steven & Barbara Tallmadge (in memory Christine & Gerald Grunwald Rachel Rueckert of Barbara Christianson) Sandra & William Haack Allison Schweitzer Jeffrey & Lori Van Dalen Jim & Chris Halverson Ken Smith Barbara Westfahl (in memory of Doris Penny Hargarten Donna & Paul Tanzer Jensen) Marilyn & Graham Harrower James Ward Marie Zehnder (in memory of Barbara Dan Heidemann Peggy Welden Christianson)

23 Honorary Members These men and women were with The Milwaukee Choristers for 15 or more years.

Gail Anderson Dolores Davidson Betty Nordahl Jeanine Sonntag Donald Arndt Mary Ann Eckes Thomas Niebler Mary Stephani Gloria Bergman Marilyn Ehler Nola Prebelski Robert H. Strehlow Richard Bergman Karen Engelhardt Faith Rhodes Janice Sufferling Patricia Ilika Black Joanna Fairchild Mary Rundle Mark Sufferling (Accompanist) Barbara Foss Gerald Schmidt Kay Tornow Joe Bonfiglio Ernest Haug Beth Schuelke Joanne Weinberg Erin Bowles George Huhnke Roberta Seifert Sue Wing Jerry Bowles Dwight Johnson Dawn Skoczek Marie Zehnder David Brown Kern Konley Carol Slaybaugh Virginia Cameron John Lutz Thomas Smeltzer Choristers in Memoriam Kathryn Akers Luther Golden Dottie Moench *Lorraine Schoeller George Bausch Harold F. Haller *Donald F. Mohr *Marion Scholtka Liane Becker Joan Hanus *Idabelle (“Goldie”) Mohr Marie E. Schultz Paul Been Bernadine Hartzell Richard Moog *Joan Seeger Eric Bell Margaret Henry Gregory Mrozek Frank F. Sieckman * Lorraine Bell Billi Henske *Patricia Mrozek Robert Sieckman Kathryn Berthold Gerald Hinkes Eric Nelson *Carl Simon Jack C. Boder *Wayne Hofland Don Norris *Peggy Simon *Bonny Buran *John Hoaglund *Donald Omon *E. Jane Smith Robert R. Cameron *Doris Jensen Ben Pagel Nancy Stevens * Barbara Christianson *Gordon Kassilke *Olive Pagel Greg Stone *Gordon Christianson Eugene R. Kemmer Sue Painter * Roger Tornow Thomas Cleary *Dorothy Kincaid Charles Peterson Ellen Sargeant Trapp Gretta Comiskey *Franklin Kling *Robert Plack Dorothy Trauth *Ken Cook Lottie Klotwicz Karolyn Powell *Bart Trentadue *Ruth Cook *Eldon Knoche Robert Powell Judy Trentadue Robert Dale Dorothy Royt Krash Douglas Prebelski Geraldine Wachholz Charles “Chuck” Davis Marie Kraus *Doris Radke *Donald Wanek Esther Dawe Lillian S. LeMaster *Anne Ramsey *Betty J. Williams Richard Dawe Mildred Lawrence *Edward S.A. Ramsey Betty Jo Williamsen *Carol Eggert Willard Manthei *Charles Reiser Harry Wilson Phyllis Ewing Eugene Masters *Marion Renick Dr. George Woodward *Milton Fairchild Rose Mastrogiovanni Laurence E. Royt Jennifer Yorkey *Eileen Freshley *Marion McCormick *Ruth Royt Shirley Zimmerman Stuart Gale Gloria Metzger *Robert Ruggieri Don Zurn Margaret Gerlach *Anthony Mirasola * Kay Sands * Honorary Member

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