SIXTH WORLD SYMPOSIUM ~~~~ ~!gj~E§~ON CHORAL ~---r-~~----4~-\ MUS IC J-+---~ SINGS FAREWELL

SIXTH WORlD CHORAL SYMPOSIUM GRAND FINALE CONCER.T

OR.CH ESTRA HALL

SATURDAY, AUGUST 10. 2002

7:30 PM

Opening Remarks U. S. Representative Betty McCollum

Diana J. Leland, Secretary WCS6 Board of Directors I THE ST. OLAF CHOIR ST. OLAF COLLEGE NORTHFIELD, MINNESOTA ANTON ARMSTRONG, CONDUCTOR o Day Full of Grace Christoph E.F. Weyse orr. F. Melius Christiansen (Augsburg Fortress-11 026)

The lord Is the Everlasting Gad Kenneth Jennings (Mark Foster Music Company- 21 37)

Wayn6paq Taki Eduardo Alonso-Crespo (Chant to a Young Person) (earthsongs) Sung in Ooechuo

Past life Melodies Sarah Hopkins (Morton Music- 200 1)

This little light of Mine orr. Moses Hogan (Hal leonard Publishing)

Kyrie Glenn McClure (Saint Francis in the Americas: (earth songs) A Caribbean Mass) Sung in latin and Italian

II THE DALE WARlAND SINGERS MINNEAPOLlS/ST. PAUL. MINNESOTA DALE WARLAN D, CON DUCTOR

Snow (The King's Trumpeter) John Muehleisen (Colla Voce) Martin Hodel, trumpet

Hildegard Triptych Frank Ferko o vis aeternitatis (ECS Publishing-5442) o virtus Sapientiae (ECS Publishing 5444) Sung in latin To God, "in memoriam M.B." Dominick Argento (Boosey & Hawkes OCTB6819) Martin Hodel, trumpet

Confitemini Domino Alberto Grau World Premiere Performance (eorthsongs) Commissioned by the Sixth World Symposium on Choral Music Sung in Latin

My Soul's Been Anchored in the Lord Spiritual orr. Carol Barnett (Colla Voce 37-21022)

INTERMISSION -15 MINUTES-

III AN INVITATION TO THE SEVENTH WORLD SYMPOSIUM ON CHORAL MUSIC KYOTO. JAPAN 2005

IV THE VOCALESSENCE ENSEMBLE SINGERS , MINNESOTA PHILIP BRUNELLE, CONDUCTOR

My Beloved Is Mine, and I Am His Chris DeBlasio from The Best-Beloved (Wayne Leupold Editions, WLll0003)

Antiphon for the Virgin Tina Davidson from River of Love, River of Light Self-published, [email protected])

Love Opened A Mortal Wound Stephen Paulus World Premiere Performance (Paulus Publications) Commissioned by the Sixth World Symposium on Choral Music

My River Runs to Thee William Hawley from Four Reveries (Self-published, [email protected]) Gala del dlo (Day's Finery) Carlos Guastavino from Indianas # 1 (Ricordi BA12751) Sung in Spanish

If There Be Sorrow David Baker from Images, Shadows and Dreams: (Self-published, Five Vignettes [email protected])

EI Hambo Jaakko Mantyiarvi (Sulasol 387)

v MOORE BY FOUR MINNEAPOLIS. MINNESOTA SANFORD MOORE. CONDUCTOR

Duke's Place ("C-Jam Blues") Katz/Ellington arr. Sanford Moore (additional lyrics by Connie Evingsonl

Just Squeeze Me Ellington/Gaines arr. Sanford Moore

Ev'ry Time I Feel the Spirit Traditional arr. Sanford Moore

I Want to Be Ready Traditional arr. Sam Davis

love You Madly arr. Sanford Moore

VI COMBINED MINNESOTA CHOIRS

Shenandoah American Folk Song arr. James Erb (lawson Gould lG51846)

What 0 Mighty God Eric McDaniels arr. Michael Abels (Subito Musicl PROGRAM NOTES AN D TEXTS

THE ST. OLAF CHOIR

o DAY FULL OF GRACE - CHRJSTOPH E.F. WEYSE, ARK F. MELIUS CHRISTIANSEN

o day full of grace which we behold, How blest was that gracious midnight hour, Now gently to view ascending, When God in our flesh was given; Thou over the earth thy reign unfold, Then flushed the dawn with light and power, Good cheer to all mortals lending, That spread o'er the darkened heaven; That children of light in every clime Then rose o'er the world that sun divine May prove that the night is ending. Which gloom from our hearts hath driven.

Yea, were every tree endowed with speech, And every leaflet singing, They never with praise God's worth could reach, Though earth with their praise be ringing. Who fully could praise the light of life Who light to our souls is bringing?

With joy we depart for the promised land, And there we shall walk in endless light.

-Nicolai F.S. Grundtvig tr. 0. H. Smeby, G. T.Rygh, C. Doving

THE LORD IS THE EVERLASTING GOD - KENNETH JENNINGS

The lord is the everlasting God, God gives power to the faint, the Creator of the ends of the earth, and strengthens the powerless. who does not faint or grow weary; Even youths will faint and be weary, whose understanding is unsearchable. and the young will fall exhausted;

But those who wait for the lord shall renew their strength, they shall mount up with wings like eagles, they shall run and not be weary, they shall walk and not faint. Have you not heard? Have you not known?

-Text: Isaiah 40:28-31 WAYNApAQTAKI - EDUARDO ALONSO-CRISPO (CHANT TO A YOUNG PERSON)

Why does your life vocillote What person is invincible, Ifeverything is born for you. And what heart invulnerable, say. You ore seed you can't weaken. What law is inexorable, Which stone, which fire and what blood unliquefiable. And which wind can't your forces defeat? What strength is unbeatable, What can be difficult for you? And what weight irresistible. As huge as the river may be It can always be crossed. You are seed You can't vacillate. What sea can't be leaped. And which star cannot be collected. You must grow, enlarge, run, Advance, conquer, and stump.

What fortress is unreducible, -William Hurtado de Mendoza And what spike is unbreakable. Trans. Eduardo Alonso-Crespo

PAST LIFE MELODIES - SARAH HOPKINS

The melodic ideas of the work, like those in all of Sarah Hopkins' music, are simple in structure, and reach deep into the soul. The first melody was one which haunted the composer for many years-a melody which came to her at moments of extreme emotion. The second melody reRects her considerable interest in the music of various world cultures, and in this particular case, her eight years in Darwin where she had much contact with Australian Aboriginal art and music. The third section of the work utilizes a concept called harmonic-overtone singing, which is as ancient a technique as singing itself. Here the seporate harmonic voices weave and dart like 'golden threads' above the earthy drone sustained by the main body of the choir. The richness and subtlety of colours and the earthy hearty quality of the voices, along with an inner rhythm of very simple ideas and materials, offers the listener a communication with the very soul and heart of music itself.

-Program note by Stephen Leek THIS LITTLE LIGHT OF MINE - AfZR. MOSES HOGAN

This little light of mine, My God gave it to me, I'm gonna let it shine. I'm gonna let it shine.

All through the night, In my home let it shine, I'm gonno let it shine. All over the world let it shine.

-Traditional Spiritual

KYItIE - GLENN MCCLUItE (SAINT FltANCIS IN THE AMEItICAS: A CAItIBBEAN MASS)

lord have mercy, Christ have mercy; lord have mercy.

Most high and glorious God,illuminate the darkness of my heart, and grant an upright faith, perfect love, certain hope, profound humility, wisdom and understanding, 0 lord, that I might follow your holy and true commandment.

-St. Francis of Assissi (1182-1226)

THE DALE WARlAND SINGERS PROGAAM NOTES BY BItIAN NEWHOUSE

SNOW (THE KING'S TItUMPETER) - JOHN MUEHLEISEN

One of the best-known musicians in the Seattle area was Roy Cummings, a trumpeter and teacher at the University of Washington. His untimely death two years ago shocked the Seattle music community and, writes composer John Muehleisen, "left a great void in many lives, particularly those of his family and students." So Muehleisen's moving new score is dedicated to the memory of Cummings. The composer had the good fortune to find an anonymous epitaph for a man named Snow who'd once served the British court as a trumpeter.

Thaw every breast, melt every eye with woe, Here's dissolution by the hand of death! To dirt, to water, turned the fairest Snow. O! The King's trumpeter has lost his breath.

-Anonymous epitaph HILDEGARD TRJPTYCH - FRANK FERKO

"0 VIS AETERNITATIS" "0 VI RTUS SAPIENTIAE"

When Hildegard von Bingen was born in 1098 in Germany, her parents pledged her to serve the Church and at the age of three she began to have luminous spiritual visions. At 15 she took the veil and eventually founded a monastery in the Rhine Valley. For years, Hildegard told no one of her visions. But in 1141, she had a revelation from God commanding her to record everything she saw in her visions, and this changed her life. She wrote:

"And it came to pass, when I wos 42 years and seven months old, the heavens were opened and a blinding light of exceptional brilliance Rowed through my entire brain. And so it kindled my whole heart and breast like a flame, not burning but warming .. ."

She went on to write music and poetry, as well as treatises on natural history, medicine, and theology. Popes and kings sought her advice. Hildegard is renowned for all of this today and for being the first composer in history whose biography is known to us. The Chicago-based organist and composer Frank Ferko (b.19501 has become a Hildegard expert, and his fascination with her work has led him to compose several scores based on her legacy. Ferko says that the beauty and intensity of Hildegard's poetry made such an impression on him that he decided in 1997 to extend an earlier motet cycle with these three pieces for double choir. Hildegard Triptych is dedicated to Dale Warland.

As the first motet ("0 vis aeternitatis") opens, Hildegard's vision of God's strength is portrayed by a rhythmic figure imitating a heartbeat. The circling imagery of the third motet's text ("0 virtus Sapientiae") is reflected in two themes which the choirs present at the beginning, then circulate and quietly resolve.

o VIS AETERNITATIS o VI RTUS SAPIENTIAE

o strength eternal o strength of Wisdom, who has ordered all things in your heart, which circles the spheres through your Word you have created all comprehending everything just as you have desired, in the one way which holds life, and your Word himself having three wings, put on flesh of which one rushes to the heights in that form which was assumed by Adam. and another drips with sweat from and thus his raiment from the the earth, greatest sorrows hos been cleansed. and the third flies from all sides. o how great is the kindness of the Savior Praise be to you, as it is fitting to you, who liberates all through his incarnation o Wisdom. which the Divinity exhaled without the imprisonment of sin. And thus his raiment form the greatest sorrows has been cleansed. -Latin texts by Hildegard von Bingen Glory to the Father and to the Son (1098-1179) and to the Holy Spirit English translations by Frank Ferko

TO GOD, "IN MEMORJAM M.B." - DOMINICK ARGENTO

Dominick Argento (b.1927) dedicated his motet To God in memory of Marlene Baver, deputy organist-choirmaster at Plymouth Congregational Church, a member of the music staff at Macalester College and a close friend of Dale and Ruth Worland. Premiered in 1994 barely a mile from here, it pays tribute to Marlene's almost quarter-century of Plymouth service and her diverse talents. Besides filling in when organist Philip Brunelle was out of town, she was a fine trumpeter and flutist-no small thing given how different the embouchure required for each is. So in tribute to her, Dominick Argento's setting of Robert Herrick's poem ends with a touching solo trumpet line, marked in the score "distant and simple."

Do with me, God! As Thou didst deal with John, (Who writ that heavenly Revelation) let me (like him) first cracks of thunder heare; Then let the Harps inchantment strike mine eare; Here give me thornes; there, in thy Kingdome, set Upon my head the golden coronet; There give me day; but here my dreadfull night: My sackcloth here; but there my Stole of white.

-Robert Herrick, 1647

CONFITEMINI DOMINO - ALBERTO GRAU

World Premiere - Commissioned by the Sixth World Symposium on Choral Music

The optimism of the text of "Confitemini Domino" was appropriate to celebrate the Sixth World Symposium with a joyful choral work. It talks about praising God with exultant songs accompanied with instruments of beautiful sounds and conveys a message of brotherhood for men and women who have made choral music an important part of their daily work. The most important elements used in this choral composition are: • Imitation of Gregorian chant • Imitation of fanfares and trumpet sounds • Pronunciation of consonants as if they were syllables. • Use of irregular meters • Imitation of rhythms coming from Salsa and Tango • Dynamic contrasts achieved through the use of soloists singing sections of serene and nostalgic character and others full of enthusiasm. • Use of whispering voice accompanied by eurhythmic movements, one of the main elements of the composer's style.

-Program notes by Alberto Grau

Give praise to the lard upon the harp, Sing to Him a new song, Play upon the ten-stringed psaltery. Sing skillfully with a strong voice.

-Psalm 32: 2-3

MY SOUL'S BEEN ANCHORED IN THE LORD - CAR.OL BAR.NETT

This new arrangement by Carol Barnett has quickly become a favorite of Dale Warland and the Singers. Commissioned for their October 2001 Americana concert, it fills the ear with intense rhythms and dynamic contrasts. It was written in memory of Tim Peter through a gift from Jim, Donna and Wendy Peter, with matching funds from the National Endowment for the Arts.

THE VOCALESSENCE ENSEMBLE SINGERS PR.OGR.AM NOTES BY PHILIP BR.UNELLE

MY BElOVED IS MINE. AND I AM HIS ... FR.OM "THE BEST-BElOVED" (1990) - c-nus DEBLASIO

Chris DeBlasio (1959-1993) was one of America's versatile and gifted young composers. During his short life he pursued three musical interests: music theater, art song and sacred music. He studied composition at the Manhattan School of Music with John Corigliano. "My Beloved Is Mine, and I Am His" is the last of four motets on Jacobean poems composed in 1990 as The Best-Beloved. The work was commissioned by Trinity Church, New York City, and dedicated to larry King.

E'en like two little bank-dividing brooks, That wash the pebbles with their wanton streams, And having ranged and search'd a thousand nooks, Meet both at length in silver-breasted Thomes, Where at a greater current they conjoin: So I my Best-beloved's am; so He is mine.

E'en so we met; and after long pursuit, E'en so we joined; we both become entire; No need for either to renew a suit, For I was flax, and He was flames of fire: Our firm-united souls did more than twine; So I my Best-beloved's am; so He is mine.

If all those glittering Monarchs, that command The servile quarters of this earthly boll, Should tender in exchange their shores of land, I would not change my fortunes for them all: Their wealth is but a counter to my coin: The world's but theirs; but my Beloved's mine.

-Francis Quarles, 1592-1644

ANTIPHON FOR THE VIRGIN - TINA DAVIDSON

"Antiphon for the Virgin" comes from a set of seven texts about the Virgin Mary titled "River of love, River of light". "Antiphon," based on a poem by Hildegard of Bingen, evokes the medieval era of the poet and was composed to celebrate the centenary of the Fleisher Art Memorial in Philadelphia. Tina Davidson has been commissioned by Vocal Essence for a 3-movement work on the poetry of Teilhard de Chardin to be premiered by the Ensemble Singers in the 2003-2004 season.

Because it was a woman who built a house for death a shining girl tore it down. So now when you seek for blessings seek the supreme one in the form of a woman surpassing all that God mode since in her he become one of us.

-Hildegard of Bingen (1098-1179), translated by Barbara Newman LOVE OPENED A MORTAL WOUND - STEPHEN PAULUS

World Premiere - Commissioned by the Sixth World Symposium on Choral Music

A composition student of Paul Fetler and Dominick Argento, Stephen Paulus (b.1949) is well known for his much-performed choral works, numerous operas and chamber music. In 1973 he co-founded the Minnesota Composers Forum (now the American Composers Forum) with Libby larsen and has served as composer-in-residence with the Minnesota Orchestra and Atlanta Symphony. His opera, "The Postman always Rings Twice" was the first opera by an American composer to be performed at the Edinburgh International Festival.

"love Opened A Mortal Wound" is a poem by the 17th century Mexican nun Juana lnes de 10 Cruz. Stephen Paulus has used a rich harmonic palette moving at a fast pace to give the text a kinetic feel and an air of excitement that builds to the final phrase. This phrase, like the entire piece, is sung in English but then repeated in Spanish for an emphatic conclusion. The work was commissioned by Kay and Mike McCarthy for the VocalEssence Ensemble Singers.

love opened a mortal wound. In agony, I worked the blade to make it deeper. Please, I begged, let death come quick.

Wild, distracted, sick, I counted, counted all the ways love hurt me. One life, I thought-a thousand deaths.

Blow after blow, my heart couldn't survive this beating. Then-how can I explain it?

I came to my senses. I said, Why do I suffer? What lover ever had so much pleasure?

eQuilin en amor ha sido mas dichoso? -Sor Juana Ines de la Cruz (1648-1695)

MY RIVER RUNS TO THEE (995) - WILLIAM HAWLEY

Emily Dickinson's poem serves as the third movement of William Hawley's Four Reveries, which was premiered by the Vocal Arts Ensemble of Cincinnati, Ohio, conducted by Earl Rivers. In this 8-voice a cappella setting the river ebbs and Rows with the voices moving in and out of a serene texture of sound that closes with an ecstatic paean of hope.

My River runs to thee- Blue Sea! Wilt welcome me? My Riverwaits reply- Oh Sea-look graciously- I'll fetch thee Brooks From spotted nooks- Say-Sea-Take Me!

-Emily Dickinson (1830-1886)

"GALA DEL DiA" (DAY'S FINERY) (968) - CARlOS GUASTAVINO

The music of Guastavino demonstrates a tender nostalgia for his native Argentina, its peaple and its Rora and fauna - whether in his choral, or solo voice c ompositions. In the same way as composers such as Bartok, Vaughan Williams, Copland and Villa-Lobos, he strove to make the national into that which is universal. "Gala del dia" is the opening movement of his suite, "Indianas", for SATBand piano. like many Argentine folk dances it is divided into two larger segments ('primera' and 'segundo') each of which has an introduction, two stanzas and a refrain or 'vuelta'. The distinctive Argentine characteristic of juxtaposing 3/4 and 6/8 is evident in this piece.

It was a great honor for Philip Brunelle to spend an afternoon with this modest and humble man in the mid-1990s while in Buenos Aires. Guastavino died in October 2000.

I love the light of dawn because it kisses you and returns you alive, alive and fanciful.

Straight ear of grain in the wind of midday, I love the sun that gilds it, ripe and mine.

When the afternoon cries for its lost light, I love the trill you pin over my life.

I love so much the night which is infinite like your sweet, dark, tepid hour.

0, heart of night, day's gala! My life burns for your happiness.

-Arturo Vazquez "IF THER.E BE SOR.R.OW" (]993) - DAVID BAKER.

For many years a professor of jazz composition at the Indiana University School of Music David Baker is recognized as one of the most important figures in jazz music of our time. As a jazz cellist he has performed with Maynard Ferguson, Quincy Jones and Lionel Hampton, among others, and has been one of the pivotal figures at the Smithsonian in preserving the American jazz heritage.

Images, Shadows and Dreams is one of Baker's choral jazz works, "If There Be Sorrow" is the third movement. His music blends the elements of African American gospel, folk, and traditional tonality.

If there be sorrow, then let it be For things undone, For things unrealized, unattained. For all the things undone, undreamed. To these add one: Love withheld, restrained.

-Mar; Evans

EL HAMBO (]996) - JAAKKO MANTYJAR.VI

Composed as the second installment of the series "Justly Forgotten Peoples," Mantyjarvi has taken the hambo (a Swedish folk dance in 3/4 time) and augmented the rhythm to 5/4 time as a 'tribute to those folk musicians whose enthusiasm much exceeds their sense of rhythm'. The text is completely meaningless with the first three chords of the piece being violin tunings used in Norwegian folk music. The Ensemble Singers gave the U.S. premiere of "EI Hambo" in 1999 at the ACDA National Convention in Chicago, Illinois.

"MINNESOTA SINGS FAREWELL" CONCERT PERSONNEL

THE ST. OLAF CHOIR

The son of a Norwegian factory worker, Frederik Melius Christiansen was born in Eidsvold, , on April 1, 1871, and immigrated to the at the age of 17. He arrived in Washburn, Wisconsin, in the winter - cold, hungry and penniless, but musically talented. He studied at Augsburg College and conducted and performed in the Twin Cities area.

In 1897, he returned to Europe to study at the Royal Conservatory of Music in Leipzig, Germany. From 1900 to 1903, he taught the violin in Minneapolis before accepting an appointment as director of the fledgling music program at Saint Olaf College in Northfield, Minnesota.

In 1911-12, the St. Olaf Choir was founded as an outgrowth of the St. John's lutheran Church Choir in Northfield. For the next 30 years, Christiansen led the St. Olaf Choir, striving for perfect intonation, blend, diction and phrasing. He saw his contribution to music not as one of genius or inspiration, but one of hard work. That standard was refined and the repertoire widened under the direction of Christiansen's son, Olaf Christiansen, who provided distinguished leadership from 1941 to 1968. He added 16th-century and modern American music to the hymn settings of the lutheran tradition favored by his father. Kenneth Jennings, who led the ensemble from 1968 to 1990, broadened the repertoire even further. He reached beyond traditional Western European music to Eastern European and Asian music. The choirs he directed were noted for nuance of phrase and artistic sense of line. He also introduced the occasional use of instruments.

Today, in his twelfth year as conductor, Anton Armstrong has built on the Jennings tradition. He has retained the healthy and free sound that he enjoyed during his own years as a member of the choir in the 1970s. He has also continued to add to the repertoire, programming more music from Eastern Europe, Africa and from latin and South America. Armstrong has also turned to contemporary young composers for new compositions and arrangements for the ensemble.

Running through the concert program is a common thread: compositions of great musical integrity which are able to clearly communicate the Christian faith today. This is something Armstrong views as an inherent mission of St. Olaf as a college of the church. The object, he says, "is to provide music of hope, joy, compassion and love, ranging from simple folk tunes to more complicated art, music which will sensitize the listeners' heart and mind, as well as lift their spirits."

The St. Olaf Choir is acclaimed internationally, a result of 12 tours to Europe and Asia. In 1988, the St. Olaf Choir was one of only five choirs in the world invited to participate in the Seoul Olympic Arts Festival in South Korea. Two years earlier, the choir celebrated the 75th anniversary of its founding with a four-week concert tour to Japan, Taiwan, Hong Kong and the People's Republic of China. The achievements of the St. Olaf Choir were recognized in 1999 when the choir received the Wittenberg Award for distinguished service to church and society. This presentation represented the first time that a group was honored with the Wittenberg Award.

Broadcasts and recordings spread the inAuence of the St. Olaf Choir around the globe. The 2001 St. Olaf Christmas Festival Concert, titled "love Divine, Illumine Our Darkness," was taped by TPT television for a national one-hour special and has been aired on 98 percent of the nation's public television (PBS) stations. It is available in CD, DYD and YHS versions from St. Olaf Records. The St. Olaf Christmas Festival is broodcast notionally each year on public radio stations, as well as on hundreds of commercial radio stations. It is the longest-running festival on the same theme: a musical celebration of the birth of Christ. More than 500 student musicians porticipate in the four performances on the St. Olaf campus, which are cttended by nearly 12,000 peaple.

ANTON ARMSTRONG, CON DUCTOR

Anton Armstrong is the Harry R. and Thora H. Tosdal Professor of Music at St. Olaf College and Conductor of the St. Olaf Choir, a position he assumed in 1990. He came to this position following ten years in Grand Rapids, Michigan where he served on the faculty of Calvin College and conducted the Campus Choir, the Calvin College Alumni Choir and the Grand Rapids Symphony Chorus.

Anton Armstrong is a graduate of St. Olaf College and earned a Master of Music degree at the University of Illinois and the Doctor of Musical Arts degree from Michigan State University. He holds membership in several professional societies including the American Choral Directors Association, Choristers Guild, Chorus America, and the International Federation for Choral Music. He also serves as editor of a multicultural choral series for Earthsongs Publications and co-editor of the revised St. Olaf Choral Series for Augsburg Fortress Publishers. Dr. Armstrong is widely recognized for his work in the area of youth and children's choral music. He served for over twenty years on the summer faculty of the American Boychoir School, Princeton, New Jersey and held the position of Conductor of the St. Cecilia Youth Chorale, a 75-voice treble chorus based in Grand Rapids, from 1981-1990. He has conducted the Troubadours, a 30-voice boys ensemble of the Northfield Youth Choirs since 1991. He currently serves as a member of the Boord of Trustees of the American Boychoir School.

Dr. Armstrong is active as a guest conductor and lecturer throughout North America, Europe, Scandinavia, Korea, Singapore, Australia, New Zealand, and the Caribbean. In recent years he has guest conducted such noted ensembles as the Utah Symphony and Symphony Chorus, the Mormon Tabernacle Choir, and the St. Paul Chamber Orchestra. He has also collaborated in concerts with Bobby McFerrin and Garrison Keillor.

Anton Armstrong made his European conducting debut in 1992 at the International Bond and Choir Festival in Brussels, Belgium and returned to Vienna, Austria in March 2000 to conduct the 25th anniversary concerts of this festival. He led the St. Olaf Choir on a concert tour of Denmark and Norway in 1993, which included a performance at the Bergen International Festival, Norway, and in January 1997, he conducted the ensemble in a four-week concert tour to New Zealand and Australia. In June 2001 he led the St. Olaf Choir on a three-week concert tour of Central Europe. In the summer of 2001, Dr. Armstrong conducted the world Youth Choir sponsored by the International Federation of Choral Music with concerts in Venezuela and the United States.

TH E ST. OLAF CHOI R

SOPRANO I Tasha Athman, Miriam Ehrlichmann, Allison Gatzke, Sarah Hoffman, Koren Miller, leslie Ruth, Natalia Theimer, Katherine Tripoli, laura White, Ashley Witte

SOPRANO II Rachel Howe, Andrea luhrs, Sarah Nagell, Ivana Scbonoeovcc, Nicolle Shaffer, Sarah Souder, Gillian Ieoh, laura Wegmeyer

ALTO I laura Berg, Amy Bonhag, Jessica Cavis, laura Frank, Melissa Johnson, Stephanie Kirkman, Kristen Kuipers, Kira lace, Kelsay ludwig, Jaime Nelson

ALTO II Kristin Benschine, Kari Battin, Katherine Crawford, Rebecca Garbarino, lynn Hofstad, Emily Janssen, Tegan Madson, Elizabeth Swanson, Maret Wilson

TENOR I Jacob Barclay, Andrew Johnson, Brock Metzger, Jeffrey O'Donnell, Michael Schmitz, Kevin Stocks, Jonathon Von Stroh, Gregory Wright

TENOR II Jock Cox, Nathan lawrence, Thomas Moore, Christian Novak, Kurtis Parlin, Matthew Smith, Seren Strom-Jensen

BASS I Nathan DeWall, Michael loretto, Adam luebke, Matthew McDonald, Peter Olsen, Stefan Theimer, Paul Tlucek

BASS II Aaron Banman, Ryan Dolton, Alex Falconer, Daniel Grossman, Andrew Wick Klein, Peter Kuhlman, Matthew Kuhn, Kevin Seal, William G. Vosseler, Ion Walker, Charles Ziegler

THE DALE WARLAND SINGERS

Now celebrating its 30th anniversary season of concerts, tours, radio broadcasts, and critically acclaimed recordings, the Dole Worland Singers is recognized as one of the world's foremost a cappello choral ensembles. The 40-voice professional choir is based in Minneapolis/St. Paul. The Dale warland Singers has earned a reputation for its commitment to commissioning and performing new choral music. The ensemble has kept the choral genre fresh and alive by commissioning works from Dominick Argento, Stephen Paulus, Libby Larsen, Carol Barnett, George Shearing, Peter Schickele, Bernard Rands, Emma Lou Diemer, Alice Parker, Janika Vandervelde, Augusta Read Thomas, Aaron J. Kernis, and Frank Ferko among others. The Dale Warland Singers' Choral Ventures ™ Program solicits works from emerging composers, and through this program, over $150,000 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 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 toured the Southeastern United States. It has appeared on Garrison Keillor's original A Prairie Home Companion and has been featured on Public Radio International's Saint Paul Sunday. The annual Echoes of Christmas and Cathedral Classics broadcasts reach listeners nationwide. This season the Dale Worland Singers made their debut at the Ravinia Festival (Chicago) in July.

The Dale Warland Singers also performs in collaboration with other Twin Cities arts organizations such as the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Greater Twin Cities Youth Symphonies and the James Sewell Ballet.

The Dale Warland Singers record on the American Choral Catalog label, and the choir released a new recording on this label during the 1999-2000 season. Featuring Leonard Bernstein's Chichester Psalms and Benjamin Britten's Reioice 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 performance and sound, calling it, " ... splendid, melting stuff." The South Jersey's Courier-Post called the 1994 release of 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, Vols. 1 and II, Carols for Christmas, Choral Currents, as well as 12 others. A new Christmas recording will be released in the fall of 2002. DALE WARlAND, FOUNDERAND MUSIC DIRECTOR

The 2002- 2003 season morks founder Dole Worland's thirtieth season as Music Director of the Dole Worland 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 Worland's leadership, the Dole Worland Singers has thrilled choral music enthusiasts not just in its Twin Cities home, but throughout North America and Europe.

In June 2002, Dole Worland received the louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America at its annual conference in Boulder, CO. The award is given every other year "to on individual who through his or her work with a member ensemble of Chorus America has demonstrated innovative action and entrepreneurial zeal in developing a professional choral ensemble." In 2001, Dole Worland received the McKnight Distinguished Artist Award in recognition of his lifetime achievements as a choral conductor, and his continued contribution to the arts in Minnesota.

Worland's outstanding accomplishments in the field of choral music were also 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 give to outstanding choral conductors such as Robert Show, Margaret Hillis, and Roger Wagner.

In addition to his active schedule as Music Director of the Dole Worland Singers, Worland is in demand as a guest conductor, lecturer, composer and clinician. He has conducted the Swedish Radio Choir, Danish Radio Choir, Mormon Tabernacle Choir, and Israel's Cameran Singers. He has also rehearsed and prepored choirs for performances of major works in collaboration with notable conductors including Robert Show, Edo de Waart, leanard Slatkin, and Stanislaw Skrowaczewski. At Kryzstof Penderecki's request, Worland prepored The Passion According to St. luke for major choruses in los Angeles, Caracas, Stuttgart and the Oregon Bach Festival. In 1990, he also prepored Penderecki's Polish Requiem. Worland has served on the foculty of the All-Japan Chorus league Notional Competition in Fukuoka, Japan, and has lectured on American music at the Sibelius Academy in Helsinki. Most recently, he has been featured as guest conductor at Grant Pork Music Festival, with the Mormon Tabernacle Choir, Utah Chamber Artists, Estonian Philharmonic Chamber Choir, Opus 7 Vocal Ensemble, and was a ponel member at the Tolosa Choral Festival in Spain.

Worland is on active composer and a member of the American Society of Composers, Authors and publishers (ASCAP).He has served as co-choir of both the choral and recording ponels of the Notional Endowment for the Arts and has received major grants from the Ford Foundation, the Bush Foundation, and the Minnesota State Arts Boord. Before devoting himself full-time to the Dale Worland Singers, Worland maintained an academic career which included 19 years as Director of Choral Music at Macalester College, St. Paul. He holds degrees from St. Olaf College, the University of Minnesota, the University of Southern California, and has received distinguished alumni awards from two institutions. Worland also holds an honorary doctorate from Augustana College in Sioux Falls, South Dakota.

THE DALE WARLAND SINGERS SOPRANO Beth Althof, Margaret Burton, Sara Dick, Marie Spar Dymit", Pamela Marentette, Melissa Morey, Deborah loon Osgood, Sorah Schlomer, Dawn Schuffenhauer, Naomi Christensen Staruch, Monica Strattion

ALTO Kelly Becker, Abbie Betinis, Sara Boos, Joonne Halvorsen', lynette Johnson, Shelley Kline, Mary C. Maiden Mueller, Krista Palmquist, Momoko Tanno

TENOR Jared l. Anderson, lawrence Bach, Joel Beyer, Joel C. Fischer, Eric N. Hopkins, Justin Karch, David Nordli, Steven Staruch, Hal Snyder, Gregory Tambornino

BASS Jeffrey Bipes, Bruce Broquist, Matthew Culleton", Dave Jacobson, Brian Kremer, Michael Meyer, Kevin Norberg, Tim O'Brien, Brian E. Petty, Brad Runyan, Terry Sheetz, Brian l. Steele

, denotes section leader

THE VOCALESSENCE ENSEMBLE SINGERS

"A superb American choir ... an engaging group, polished, bright, and brilliantly balanced." -The London Times

Founded in 1969 under the name the Plymouth Music Series, Vocal Essence is recognized internationally for innovative exploration of music for voices and instruments. Each year the organization presents an engaging collection of concerts featuring the 100-voice VocalEssence Chorus, the 26-voice Ensemble Singers, guest soloists and instrumentalists.

The Vocal Essence Ensemble Singers, founded in 1991, embody the adventure, choral beauty and enthusiasm of Vocal Essence. They are chosen for their musicianship, vocal qualities and Aexibility in singing many styles of music. Under the leadership of artistic director Philip Brunelle and associate conductor Sigrid Johnson, their possion for the highest level of choral performance enlivens commissions and world premieres including works of DominickArgento, Conrad Suso, Eskil Hemberg, Stephen Paulus, libby larsen, Randall Davidson, Aaron Joy Kernis and Cory John Franklin.

In June 1994 the Ensemble Singers were invited to be the first professional American chorus to perform at the Internationale Orgelwoche Nurnberg. In 1997 they were the first professional U.S. chorus to sing at the prestigious Prague Spring Festival; they also song at london's Covent Gorden Festival, the Foire Saint Germaine in Paris, and the Flanders Festival in Belgium. In the summer of 2001, the Ensemble Singers returned to Europe for on extensive tour which included sold-out concerts in Berlin, Dresden, Cesky Krumlov (Czech Republic), Bratislava and Spa Piestany (Slovak Republic), Castle Rosenburg (Austria)' and Paris and Tours (France). Most recently the group traveled to Washington, DC for the world premiere of Barnum's Bird, a new opera by libby larsen co-commissioned by VocalEssence and the library of Congress.

The VocalEssence Ensemble Singers have appeared on many recordings, including three volumes of music by African American composers entitled WITNESS: Vol. I: Spirituals and Gospels; Vol. 1/:William Grant Still; and Vol. /1/: Towards the Future. Dominick Argento: An American Romantic was released in 1998. They are featured on Garrison Keillor'sCD Definitely Above Average and are heard by radio audiences across America and around the world as frequent guests on Garrison Keillor's public radio show, A Prairie Home Companion.

VocalEssence began as on arts outreach program of Plymouth Congregational Church in Minneapolis. The organization immediately established the marks of its future success: world, United States, and Midwest premieres; famous guest artists; commissions of new works (over 80 to dote); and a reputation for surprise. In the very first season Aaron Copland come to conduct - the firsttime he hod ever been asked to conduct his choral music.

In addition to championing lesser known works of the post, VocalEssence has on unwavering commitment to today's composers. It has received the ASCAP/Chorus America Award for Adventurous Programming of Contemporary Music the four times it has been eligible, and has been awarded the once-in-an-organizational lifetime Margaret Hillis Achievement Award for Choral Excellence. In May of 2002 the Plymouth Music Series changed its nome to VocalEssence, capturing the essence of its mission to explore music for the human voice, from the spoken word to choral singing. PHILIP BRUNELLE, VOCALESSENCE ARTISTIC DIRECTOR AND FOUNDER

Philip Brunelle, President of the Sixth World Symposium on Choral Music and Artistic Director of VocalEssence, is an internationally renowned conductor, choral scholar and performer. Believing that listeners and musicians alike must experience music of many genres and styles, he works enthusiastically-and tirelessly-to expond audiences for rarely heard works of the past and as well as new vocal, choral, operatic and orchestral music.

Philip attended the University of Minnesota for undergraduate and graduate work in music. At the age of 24, he received a Rockefellergrant to study in New Yorkat the Metropolitan Opera and following that became music director of the Minnesota Opera for 17 years. He has received honorary degrees from St. olaf College, Gustavus Adolphus College, United Theological Seminary and Saint John's University.Since 1969, when he founded VocalEssence (then the Plymouth Music Series), he has also served as the organist and choirmaster of Plymouth Congregational Church in Minneapolis.

Brunelle's conducting engagements span the globe. He has appeared with countless major orchestras and opera componies including the Chicago Symphony, Houston Grand Opera, BBC Singers, Berkshire Choral Festival, Washington Opera, Aldeburgh Festival, Swedish Royal Opera and Semper Oper in Dresden. InJune 2002, he conducted the world premiere in St. louis of Loss of Eden, a co-commission of VocalEssence and Opera Theatre of St. louis. Cary John Franklin. National audiences recognize him through frequent appearances on Garrison Keillor'sA Prairie Home Companion, beginning with the very first show in 1974. later this month he will continue to work with Garrison Keillor,appearing with him for concerts with the Cincinnati Pops, the Salt lake Symphony and the San luis Obispo Festival.

Philip has served on the choral music faculties of Westminster Choir College, the University of Minnesota, United Theological Seminary and the University of Maine. His choral editions and opera orchestrations are published by Boosey & Hawkes, G. Schirmer, Theodore Presser, Walton, and Editions Salabert (Paris, France). He writes a monthly column on choral repertoire for The American Organist. He has also been active in arts public policy and professional service endeavors, having served on the board of directors of Chorus America, the Minnesota State Arts Boord and the National Council on the Arts, which oversees the activities of the National Endowment for the Arts. He now serves on the Boord of Regents of St. Olaf College and the Boord of Directors of the Greater Minneapolis Convention and Visitors Association (GMCVA). For the past ten years he has selected the programming on the Northwest Airlines classical music channel.

Among Philip Brunelle's many awards are the Kod61y Medal from the government of Hungary, the Stig Andersson Award for contributions to Swedish music, the Royal Order of the Polar Star from the King of Sweden, the Minneapolis Award for "going the extra mile" to enrich the community, and the F. Melius Christiansen Award, the highest honor of the Minnesota Chapter of the American Choral Directors Association. Lost year he was inducted into the Minnesota Music Hall of Fame and was honored with the U.S. Bonk Solly Ordway Irvine Award for Commitment, recognizing lifetime achievement, contribution and leadership in culture and the arts. In April 2002, the GMCVA acknowledged his work in bringing the World Choral Symposium to the Twin Cities with the "Copper Top" award, referring to him as "Minnesota's Mr. Music."

THE VOCALESSENCE ENSEMBLE SINGERS SOPRANO Kathleen Hanson, Dora Kirchofner, Lori Lewis, Margaret Lanning Sobin, Andrea Schussler, Ruth Spiegel, Lindo Zelig

ALTO Katie Crawford, Kathleen Grammer, Nino Heebink, Barbaro Kastens, Koren Lovgren Kennedy, Morita link, Jaime Nelson TENOR. Kevin l. Bailey, Robert Griffin, Curt Hopmann, Mark Larsen, Thomas Larson, Brion Ohnsorg, Kurtis Parlin

BASS Christopher Brunelle, Steve Burger, Ryan French, Jerry Johnson, Michael Jorgensen, Jim Ramlet, Robert Smith

MOOR£ BY FOUR

Since its inception in 1986 at Ruby's Cabaret in Minneapolis, Moore By Four has been a fixture on the Twin Cities music scene. Their nine-week run at Ruby's Cabaret was a sensation, and the group went on to produce sold-out shows at local theatres and concert halls, appearing in their own television special and performing at countless special events including a Super Bowl appearance. Their holiday shows have been annual favorite drawing over 30,000 fans in fou rteen yea rs.

The sound of Moore By Four is similar to that of Manhanan Transfer, but with a brooder musical range stemming from the vocalists' grounding in gospel, jazz, pop music and theatre. Moore By Four is continually expanding its repertoire by including contemporary jazz selections, original compositions and new arrangements of the great standards from Broodway, Hollywood and the Cotton Club period-oll performed with Moore By Four's unique style. SANFORD L. MOORE. FOUNDER

Sanford Moore (composer, pianist, arranger, producer) has traveled extensively with Moore By Four, the ensemble he founded, conducting workshops and concerts in the US, Europe and Japan. He has shared the stage with such notable jazz artists as Joe Williams, Bobby McFerrin, Harry Connick, Jr. and the late Sarah Vaughn, Dizzy Gillespie, and Carmen McRae.

In addition to his work with Moore By Four, he is sought after as a Musical Director and Arranger for theatrical and choral productions. He is currently Musical Director/Conductor for Hey City Theater's production of "Smokey Joe's Cafe." Other credits include "Fever" a tribute to Peggy Lee featuring Connie Evingson, "Dream on Monkey Mountain" (directed by Bill T. Jones), "Triumph of Love" and "As You Like It" at the Guthrie Theatre and "Black Belts" I, II and III, featuring Jevetta Steele at Mixed Blood Theater. He is also the creator (together with Director Richard T. Thompson and Choreographer Garry Q. Lewis) of an original musical review trilogy ("Always and Forever", "2-Gether" and "Living Beauty") for the Illusion Theater. Sanford's choral experience includes conducting the University of Minnesota Gaspel Choir and serving as the Minister of Music for Fellowship Missionary Baptist Church. Other choral experience includes collaborating with the Dale Warland Singers, the Plymouth Music Series Series, the Minnesota Chorale and the Bach Society.

Sanford has extensive experience arranging for industrial and business theater productions, as well as writing and producing jingles. He has served as producer, arranger and pianist on various recording projects, including his first upcoming solo recording entitled "My First Love", A Collection of Hymns, Gospels and Spirituals. Other recordings include Moore By Four's "Swing

Fever", tt Deck The Halls" and their upcoming recording "1 Let A Song Ga Out of My Heart": A Tribute to Duke Ellington. Additional recordings include "1 Have Dreamed", "Fever" and "Some Cats Know" for Connie Evingson.

MOORE BY FOUR SINGERS

Yolanda Bruce

Ginger Commodore

Connie Evingson

Dennis Spears

Sanford Moore, Director and Piano

Special thanks to Evan Maurer, the Minneapolis Institute of Art, and the Wallin Foundation. PROJECT ill E" SIXTH WORLD SYMPOSIUM I MAG I ON CHORAL MUSIC oTARGET i!!Sill~'!cDA

AMERICAN CHORAL DI RECTORS ASSOCIATION OF MINNESOTA