6 Jxl ~.m

VESPERS,Op.47 \J

SERGE RACHMANINOFF

THE DALE WARLAND S,NGERS DALE WARLAND, MUSIC DIRECTOR AND CONDUCTOR

•

7:30 p.m. Sunday, October 10, 1999 Edmunds Hall

CUUura£~nricnnrentPr~ram 7:30 p.m. Sunday, October 10, 1999 Edmunds Hall

Program

- Vespers, Ope 37 Serge Rachmaninoffr (All Night Vigil) (1873-1943)

1. Come, Let Us Worship 2. Bless the Lord, 0 My Soul 3. Blessed is the Man 4. Gladsome Light . 5. Lord, Now Lettest Thou 6. Rejoice, 0 Virgin *** 7. The Six Psalms 8. Praise the Name of the Lord 9. Blessed Art Thou, 0 Lord 10. Having Beheld the Resurrection of Christ 11. My Soul Magnifies the Lord 12. The Great Doxology 13. The Troparion "Today Salvation Has Come" 14. The Troparion uThou Didst Rise from the Tomb" 15. To Thee, the Victorious Leader

At concerts of Orthodox liturgical music it is traditional to refrain from applause (until the very end of the program).

** "At this point there will.be a brief pause in the program, marking the division between the Vespers and Matins portions of the All-Night Vigil. Theaudience is requested to remain seated. .

2 Translation

No.1 Deacon: Bless, master. Priest: Glory to the Holy, consubstantial, life-creating, and undivided Trinity, now and ever, and unto ages of ages. Amen. Come, let us worship God, our King. Come, let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before the very Christ, our King and our God. Come, let us worship and fall down before Him.

No.2 Bless the Lord, 0 my soul, blessed art Thou, 0 Lord. a Lord my God, Thou art very great. Blessed art Thou, 0 Lord. Thou art clothed with honor and majesty. Blessed art Thou, 0 Lord. The waters stand upon the mountains. Marvelous are Thy works, 0 Lord. The waters flow between the hills. Marvelous are Thy works, 0 Lord. In wisdom hast Thou made all things. Glory to Thee, 0 Lord, who hast created all!

No.3 Blessed is the man, who walks not in the counsel of the wicked. Alleluia, alleluia, alleluia. For the Lord knows the way of the righteous, but the way of the wicked will perish. Alleluia ... Serve the Lord with fear and rejoice in Him with trembling. Alleluia ... Blessed are all who take refuge in Him. Arise, 0 Lord! Save me, 0 my God! I. I Alleluia ... Salvation is of the Lord; and Thy blessing is upon Thy people. Alleluia ... Glory to the Father, and to the Son, and to the Holy Spirit,

3 both now and ever and unto ages of ages. Amen. Alleluia, alleluia, alleluia, glory to Thee, 0 God! Alleluia, alleluia, alleluia, glory to Thee, 0 God! Alleluia, alleluia, alleluia, glory to Thee, 0 God!

No.4 Gladsome Light of the holy glory of the Immortal One- the Heavenly Father, holy and blessed- 0 Jesus Christ! Now that we have come to the setting of the sun, and behold the light of evening, we praise the Father, Son, and Holy Spirit-God. Thou art worthy at every moment to be praised in hymns by reverent voices. o Son of God, Thou art the Giver of Life; therefore all the world glorifies Thee.

No.5 .Lord, now lettest Thou Thy servant depart in peace, according to Thy word, for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all peopl~ a light to enlighten the Gentiles, and the glory of Thy people IsraeL

No.6 Rejoice, 0 Virgin Theotokos, Mary full of grace, the Lord is with Thee . .Blessed art Thou among women, and blessed is the Fruit of Thy womb, for Thou hast borne the Savior of our souls.

No.7 Glory to God in the highest, and on earth peace, good will among men. (3x) o Lord, open Thou my lips, and my mouth shall proclaim Thy praise.

No.8 Praise the name of the Lord. Alleluia. Praise the Lord, a you His servants. Alleluia, alleluia. Blessed be the Lord from Zion, He who dwells in Jerusalem. Alleluia.

4 ·a give thanks unto the Lord, for He is good. Alleluia, alleluia. For His mercy endures forever. Alleluia. a give thanks unto the God of Heaven. Alleluia, alleluia. For His mercy endures forever. Alleluia.

No.9 Blessed art Thou, 0 Lord, teach me Thy statutes. The angelic host was filled with awe, when it saw Thee among the dead. By destroying the power of death, a Savior, Thou didst raise Adam, and save all men from hell! Blessed art Thou, a Lord, teach me Thy statutes. "Why, 0 women disciples, do you mingle myrrh with your tears of compassion?" the radiant angel in the tomb cried to the myrrhbearers. "Behold the tomb and understand! The Savior is risen from the dead!" Blessed art Thou, 0 Lord, teach me Thy statutes. Very early in the morning the myrrhbearers ran with sorrow to Thy tomb, but an Angel came to them and said: "The time for sorrow has corne to an end! Do not weep, but announce the resurrection to the apostles!" Blessed art Thou, a Lord, teach me Thy statutes. The myrrhbearers were sorrowful as they neared Thy tomb, but the Angel said to them: "Why do you number the living among the dead? Since He is God, He is risen from the tomb!"

Glory to the Father and to the Son and to the Holy Spirit. We worship the Father, and His Son, and the Holy Spirit: the Holy Trinity, one in essence! We cry with the Seraphim: "HoI)', Holy, Holy art Thou, 0 Lord!" Both now and ever, and unto ages of ages. Amen. Since Thou didst give birth to the Giver of Life, 0 Virgin,

5 Thou didst deliver Adam from his sin! Thou gavest joy to Eve instead of sadness! The God-man who was born of Thee has restored to life those who had fallen from it! Alleluia, alleluia, alleluia! Glory to Thee, a God! Alleluia, alleluia, alleluia! Glory to Thee, 0 God! Alleluia, alleluia, alleluia! Glory to Thee, 0 God!

No.ID Having beheld the resurrection of Christ, let us worship the holy Lord Jesus, the only Sinless One. We venerate Thy Cross, a Christ, and we hymn and glorify Thy holy resurrection, for Thou art our God, and we know no other than Thee; we call on Thy name. Come, all you faithful, let us venerate Christ's holy resurrection. For, behold, through the cross joy has come into all the world. Ever blessing the Lord, let us praise His resurrection, for by enduring the cross for us, He has destroyed death by death.

No. 11 My soul magnifies the Lord, and my spirit rejoices in God my Savior. Refrain: More honorable than the Cherubim and more glorious beyond compare than the Seraphim, without defilement Thou gavest birth to God the Word, true Theotokos, we magnify Thee.

For He has regarded the low estate of His handmaiden. For behold, henceforth all generations will call me blessed. Refrain: For He who is mighty has done great things for me, and holy is His name, and His mercy is on those who fear Him from generation to generation .... Refrain: He has put down the mighty from their thrones, and has exalted those of low degree;

6 He has filled the hungry with good things, and the rich He has sent empty away. Refrain: He has helped His servant Israel, in remembrance of His merc~ as He spoke to our fathers, to Abraham and to his posterity forever. Refrain:

No. 12 Glory to God in the highest, and on earth peace, Good will toward men. We praise Thee, we bless Thee, we worship Thee, we glorify Thee, we give thanks to Thee for Thy great glory. o Lord, Heavenly King, God the Father almighty. o Lord, Only begotten Son, Jesus Christ, and Holy Spirit! o Lord God, Lamb of God, Son of the Father, who takest away the sin of the world, have mercy on us. Thou. who takest away the sin of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord, Jesus Christ, to the glory of God the Father. Amen. Every day I will bless Thee and praise Thy name forever and ever. Vouchsafe, 0 Lord, to keep us this day without sin. Blessed art Thou, 0 Lord, God of our fathers, and praised and glorified is Thy name forever. Amen. Let Thy mercy, 0 Lord, be upon us, as we have set our hope on Thee. Blessed art Thou, 0 Lord, teach me Thy statutes. Blessed art Thou, a Lord, teach me Thy statutes. Blessed art Thou, 0 Lord, teach me Thy statutes. Lord, Thou has been our refuge

7 from generation to generation. I said: Lord, have mercy on me, heal my soul, for I have sinned against Thee. Lord, I flee to Thee, teach me to do Thy will, for Thou art my God; for with Thee is the fountain of life, and in Thy light we shall see light. Continue Thy mercy on those who know Thee. Holy God, Holy Mighty, Holy Immortal, have mercy on us. (3x) Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever and unto ages of ages. Amen. Holy Immortal, have mercy on us. Holy God, Holy Mighty, Holy Immortal, have mercy on us.

No. 13 Today salvation has come to the world. Let us sing to Him who rose from the dead, the Author of our life. Having destroyed death by death, He has given us the victory and great mercy .

• No. 14 Thou didst arise from the tomb and burst the bonds of Hades! Thou didst destroy the condemnation of death, 0 Lord, releasing all mankind from the snares of the enemy! Thou didst show Thyself to Thine apostles, and didst send them forth to proclaim Thee; and through them Thou didst grant Thy peace to the world, o Thou, who art plenteous in mercy!

No. IS To Thee, the victorious Leader of triumphant hosts, we Thy servants, delivered from evil, offer hymns of thanksgiving, o Theotokos! Since Thou dost possess invincible might, -: set us free from all calamities, so that we may cry to Thee: "Rejoice, 0 unwedded Bride!"

8 Rachmaninoff's Vespers , Sergei Rachmaninoff's All-Night Vigil, opus 37, stands as the crowning achievement of the "Colden Agel' of Russian Orthodox sacred choral music. This period, which began in the 1880s and lasted until the communist takeover in 1917, was a time when dozens of Russian composers, from such prominent figures as Tchaikovsky and Rimsky-Korsakov to lesser- known Uchoral specialists" such as Kastalsky, Chesnokov, Cretchaninoff, and Nikolsky, turned their creativeenergies to composing choral music on texts drawn from the Russian Orthodox liturgy. In doing so, they turned for melodic material to the well-spring of an- cient unison chants-known by such exotic names as Znamenny (meaning "notated by means of neumes"), Kievan (referring to Kiev, the Ucradle" of Russian Christianity and Eastern Slavic civilization), and Greek (ostensibly stemming from Byzantium, the Second Rome). To use these chants in contemporary liturgical circumstances, however, required dressing them up, so to speak, in new polyphonic attire. A long-standing problem that preoccupied Russian composers towards the late nineteenth century was what form this attire should take, so that Russian church music would sound characteristically Russian and not Italian or German. Important new directions were shown by the musicologist Stepan Smolensky (1848-1909), who brought to light the historical study of ancient chant, and the composer Alexander Kastalsky (1856-1926), who in his choral arrangements borrowed part-writing techniques from the Russian choral folk song. Both Smolensky and Kastalsky at various times headed the Moscow Synodal School of Church Singing, whose splendid 80-voice choir of men and boys emerged as a virtuoso choral instrument capable of a vast range of dynamic nuances and choral timbres. Such were some of the formative influences that shaped the creation of Rachmaninoff's choral masterpieces, the Divine Liturgy of St. John Chrysostom, written in 1910, and the AII- Night Vigil, written in 1915. The latter work was dedicated to Smolensky; Rachmaninoff sought Kastalsky's advice on the use of ancient chants; and the work was premiered March 10, 1915, in a concert by the Moscow Synodal Choir under the direction of Nikolai Danilin, a friend and classmate of Rachmaninoff's. ~ Viewed in the broad context of twentieth-century European music, Rachmaninoff's work is quite "conservative" and, at the same time, quintessentially Russian. It is a setting of the All-Night Vigil service, a curious liturgical concatenation of three services-Vespers, Mat- ins, and First Hour-which was introduced in Russia in the fourteenth century, but proved to be popular and enduring in Russia alone of all Orthodox nations. For his setting Rachmaninoff chose fifteen major psalms and hymns that form the unchanging framework of the Resurrectional Vigil (the service celebrated every Saturday evening). The music is for chorus a cappella, the traditional vocal complement in the Russian Ortho- dox Church, which has maintained the ancient-Christian patristic prohibition against mu- sical instruments of any kind. Ten of the fifteen hymns are based on unison chant melodies drawn from the service as it would have been sung in medieval Russia; for the remaining

9 five sections Rachmaninoff composed what amount to his own chant melodies. As in all chant-based works, the sacred text occupies a position of prime importance. In fact it serves as the main form-determining element in each section. Moreover, to ensurethe clear decla- mation of the text, the choral texture is typically homorhythmic: there is very little imitative polyphony and no fugal writing whatsoever. The tonal vocabulary is quite traditional, es- chewing all elements of "modernism." Within these seemingly austere limits, Rachmaninoff created a monumental work that el- evates the spirit by its lofty expressiveness and captivates the ear by its sheer beauty: Through the fixed texts of the Vigil-the sung prayers, psalms, and hymns-the composer depicts the epic grandeur of humanity's worshipful encounterwith its Creator. The vesperal por- tion of the service focuses on the themes of the Creation and the coming into it of the Eter- nal Light-the Incarnation of Christ. The matins portion has a different emphasis: the cel- ebration (which takes place every Sunday) of the single most important event in Christian cosmology-the Resurrection of Christ. (The Russian word for Sunday is Voskresen'ye- Resurrection. ) As his musical vehicle, Rachmaninoff uses a living, breathing instrument-the human cho- rus-in a way that few composers have used it before or since. His choral writing makes full use of the rich sonority and timbral colors that were developed by his predecessors in the Russian choral school of the late nineteenth-early twentieth centuries. Voices combine and divide in a seemingly endless variety of ways, soaring heavenward and plunging into the depths, praising and supplicating, as the liturgical text and the individual vision of the composer direct them. At times, solo voices and groups of voices take on dramatic identi- ties, yet the persistent use of chant keeps their utterings within the epic realm. Every Orthodox service opens with an intoned exclamation by the celebrants that declares and establishes the real presence, here on Earth, of the Heavenly Kingdom. The Vigil opens with a proclamation of "Glory to the Holy, Consubstantial, Life-creating, and Undivided Trinity," which is followed by a majestic choral call to worship, "Priidite, poklonimsia" (Psalm 95:6). The multi-layered melody is of Rachmaninoff's invention, but its undulating, step-wise movement and unsymmetric, text-related structure at once establish its kinship with the ancient Znamenny Chant. Vespers begins, as it does every day with Psalm 104, "Blagoslovi, dushe moya, Ghospoda," which hymns the wonders of God's creation. The use of the solo voice personalizes this song of praise, while the choral voices depict two contrasting realms-the earthly and the ~~eru~ - The singing and recitation of psalms is an essential element of every Orthodox service, and . for this purpose the Psalter is divided into twenty sections of roughly equal length. On Saturdays selected verses from Psalms I, 2 and 3, "Blazhen muzh," are-always sung. Sig- nificantly, they speak of righteousness, but within a world in which evil ("the council of the ' wicked") already exists. The three-fold alleluia refrains are reminiscent of those once sung by the entire congregation.

10 After another set of fixed psalms (of a penitential nature, which Rachmaninoff did not set) comes the "hymn of light" -"Svete tihiy", an ancient Christian hymn that dates at least to the third century. The hymn originally accompanied the entrance of the clergy into the church and the lighting of the evening lamp at sunset. The simple four-note motive of the Kievan chant is transmuted into a shimmering musical evocation of the Light Eternal. A solo voice lifts up a song of praise to the Trinity. Having encountered the Savior, the Light of the world, the Church sings in the words of St. Syrneon, "NIne otpushchayeshi" (Lord, now lettest Thou Thy servant depart in peace). The soloist personifies the venerable elder against a lullaby-like motif in the choral parts. It is understandable why Rachmaninoff wished for this hymn to be sung at his funeral. After giving due praise to God, the Orthodox Church always pays homage to the Virgin Mary-the Theotokos ("the one who gave birth to God"). "Bogoroditse Devo," perhaps the most widely-known hymn from Rachmaninoff's cycle, captures both the gentle sim- plicity of the angelic greeting and the awe-struck glorification of her response to God. At this point the vesperal portion of the All-Night Vigil draws to a close. Matins begins with the invitatory verses "Clory to God in the highest. .." ("Slava v vishnih Bogu") (Luke 2:14) and "O Lord, open Thou my lips ..." (uGhospodi, ustne moi otverzeshi" ...) (Ps. 51:15), and the ringing of bells, which Rachmaninoff masterfully depicts in layering and juxtapos- ing the choral voices. One of the musical high points of the "Vigil is "Hvalite imia Ghospodne" (verses from Ps. 135-136), the Polyeleos-the hymn of "many mercies." All the lights in the church are turned on, the doors are opened, and the clergy in full vestments proceed to the center of the church to stand with the people. Musically, two layers are evident: the virile, earthy Znamenny chant melody sung by the altos and basses and above it, the sopranos and ten- ors, wafting like choirs of cherubim and seraphim. The dramatic events of the Resurrection now unfold in a set of narrative hymns, each intro- duced by the piously whispered refrain (of the faithful spectators) "Blagosloven yesi, Ghospodi." Contrasts in the vocal scoring depict the cosmic drama occurring simultaneously in the heavenly realm (liThe angelic council was amazed ...") and on earth among the myrrh- bearing women, as they journey early in the morning to anoint Christ's body and instead encounter an angelic messenger. As the joyous message is reinforced again and again, the murmuring crowd of faithful emerges and joins in a universal hymn of praise iI Alleuia." The faithful's response to the Resurrection continues in the next hymn, "Voskreseniye Hristovo videvshe," which in the context of an actual service is sung immediately follow- ing the reading of Gospel account of the Resurrection. Some of the most austere and power- ful music occurs in this section, as the text recalls the terrible sacrifice on the cross that preceded the ultimate triumph over death. The Canticle of Mary, "Velichit dusha moya Ghospoda," serves as the Matins counterpart of "My Soul Magnifies the Lord" in Vespers. Mary's words are not treated at all in a dra-

11 - matic fashion, however. By composing a heavy chant-like melody that mainly resides in the basses, Rachmaninoff treats Mary's verses as an epic, prophetic utterance, which is taken up by all. Contrasted with this is the refrain "Chestneyshuyu Heruvim ..." in which Mary's high rank in the heavenly hierarchy is exalted. In terms of textual depth and musical complexity, the Great Doxology "Slava v vishnih Bogu" stands out as the main hymn of the entire All-Night Vigil. TIle text is carried by a simple Znamenny Chant melody (borrowed earlier for the "Lesser Doxology" at the start of Matins), which Rachmaninoff masterfully distributes to different voices. Every Christian theme, from glorification and thanksgiving to repentance and supplication, is contained in the text of this ancient (fourth century) hymn; and Rachmaninoff's music at every tum seems to resonate appropriately, As the hymn drives towards its culmination in the closing Thrice-holy, Rachmaninoff's treatment of the chorus becomes truly orchestral, again evok- ing images of bells. -

The Great Doxology is followed by one of two short hymns to the Resurrection, which are sung on alternate weeks in a liturgical context. Rachmaninoff included both of them in his Vigil. After the musical intensity of the Doxology, these hymns serve as a point of repose, inviting one to meditate upon the exalted mystery of the Resurrection. The Matins service has ended and the dismissal has been pronounced. But the All-Night Vigil is not yet over, as First Hour, a brief service from the daily monastic cycle, is chanted. At the end of the service, after the final prayer and blessing, it is a Russian custom to sing a hymn from the feast of Annunciation, "'Vzbrannoy voyevode," again in honor of the Mother of God. Rachmaninoff uses this triumphant hymn of victory to bring his All-Night Vigil to a resounding close. -Program notes by Vladimir Morosan, Madison, Connecticut Copyright © 1994, by Musica Russica used with permission

12 , The 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, Libby Larsen, Carol Barnett, Brent Michael Davids, Mary Ellen Childs, Augusta Read Thomas, [anika 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, 1996, 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 America at the Second World Symposium on Choral Music. During the 1999-2000 concert season, the group will tour the Southeastern United States. It has appeared on Garrison Keillor'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 Minnesota 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 Ed a de Waart, Leonard Slatkin, Hugh Wolff, the late , Bobby McFerrin, Roger Norrington, and David Zinman. The Dale Warland Singers record primarily on the American Choral Catalog label, and the choir will release a new recording on this label during the 1999-2000 season. Featuring Leonard Bernstein's Chichester Psalms and Benjamin Britten'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 best chorus." Also among the Singers' lauded releases is December Stillness, which BBC Music Magazine gave its highest rating for perfor- mance and sound, calling it, 1.1 ••• 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.

13 Dale Warland Singers Dale Warland, Music Director and Conductor

.Roster

Soprano Tenor Beth Althof Jared L. Anderson Marie Spar Dymit" Joel Beyer Lori R. Lewis Bryan Fisher Rebecca Lowe Joel C. Fischer Julie Olson Eric Hopkins Deborah Loon Osgood Brian Kremer Eeva Savolainen David Moore" Naomi Staruch Steve Staruch Monica Stratton Gregory Tambomino Jeanne Wegener Jane V. Wilson Bass - Matthew Culloton Alto Mark Dietrich Devjani Banerjee-Stevens Ryan French Sara Boos Dave Jacobson Erin E. Colwitz Tim O'Brien Galina Erickson Bob Peskin* Joanne Halvorsen* Jim Ramlet Anne Holmes Terry Sheetz Lynette Johnson WesSchultz Linda Kachelmeier Brian L. Steele Shelley Kline Michael Steiner Michael Winnikoff

*section leader

Larry Bach, Assistant Conductor Susan Billmeyer, Accompanist Debra K. Harrer, Tour Manager Bruce Taylor, Executive Director Laura Nichols-Endres, Director of Development Jim Ramlet, Librarian Tim O'Brien, Office & Personnel Manager

14 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 throughout 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, has previously been given to outstanding choral conductors such as _ Robert Shaw, Margaret Hillis, and Ro-ger Wa-gner. -

~ , 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, the Mormon Tabernacle Choir, 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. Most Recently, 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. 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-the 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 MacalesterCollege, St. Paul. He holds degrees from St. Olaf College, the 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.

15 Larry Bach, Assistant Conductor

Larry Bach received his Vocal Performance degree from West Virginia Wesleyan College and his Master of Music degree in Conducting from the University of Minnesota. He has also studied at the American Institute of Musical Studies in Graz, Austria. Bach is in his eighteenth year with North Central Bible College where he serves as Chairman of the Music Department, which has four full-time and sixteen adjunct professors. His work at North Central includes instruction in conducting along with directing the Concert Chorale, Festival Chorus and Orchestra and Worship Live. For six years, Bach sang wi th the Dale Warland Singers. Bach has also sung under prominent conductors Helmuth Rilling, Eric Erickson and Robert Shaw. Bach is currently a doctoral candidate in conducting at the University of Iowa, and he has traveled extensively through- out the United States as a church music clinician and guest conductor. Other awards and honors that Bach has received include placement in "Who's Who in American Colleges and Universities," "Who's Who in the Arts," and the International Distinguished Young Leadership Award .

•

The Cultural Enrichment Program (CEP) was instituted in 1983 by the Presbyterian College faculty ..Its purpose is to ensure that Presbyterian College graduates have the broad and rich cultural experience that is desired and even expected of liberal arts colleges. Lectures, concerts and recitals, dramatic productions, films, and art exhibits are included in the events that comprise the CEP calendar. Students must attend a minimum of forty events in the four years' residence at the college to meet graduation requirements. The Lectures and Fine Arts Committee has responsibility for selecting the events. Resbyterian College is a fully accredited, private, residential, baccalaureate institution related to the Presbyterian Church (U.S.A.). The College provides a liberal arts education within a community of faith, learning, and intellectual freedom. In 1880 William Plumer Jacobs, pastor of Clinton's First Presbyterian Church, who had earlier established Thornwell Orphanage, founded Presbyterian College primarily to provide education at a higher level for the orphans. For many years predominantly an institution for the education of men, Presbyterian College became fully coeducational in 1965. The College now selects academically qualified students, a majority of whom rank in the top quarter of their high school classes, without regard to race, religion, sex, handicap, nationality, or ethnic origin.

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