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The Dale Warland Singers, Minnesota Orchestra, Tenth Anniversary

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The Dale Warland Singers, Minnesota Orchestra, Tenth Anniversary Tenth Anniversary Celebration Concert the dale worland slnqers March 1982 Dear Friends: As I reflect on the ten years that The Dale Warland Singers have been in existence, one emotion overpowers all others: a simple but profound feeling of gratitude---for having the privilege of developing a professional choral ensemble in the Twin Cities and Minnesota, a community and state that provide such a positive and vital cultural atmosphere; for all the organiza- tions and individuals who have encouraged and supported us in countless ways; for the exciting variety of singing projects and collaborations (e.g., staged performances of Bach's St. Matthew Passion with Minnesota Opera; broadcasts and concerts with The Saint Paul Chamber Orchestra; recordings involving Minnesota performers and composers for Augsburg Publishing House; singing Handel's Messiah with Robert Shaw and the Minnesota Orchestra; concerts of new music at the Walker Art Center; and a variety of interesting collaborations with the Schubert Club, to name just a few). I am especially grateful for the immeasurable contributions of each singer who has sung in the choir during its history, and who have given their "all" in difficult times and in good times. Above all, I am grateful to my family and friends who have believed in The Dale War land Singers and have given so much in so many ways to help achieve its goals. However, mere words can in no way adequately express the depth of gratitude I feel at this time. To you, the audience, I want to express my deepest thanks for being here today to help us celebrate our Tenth Anniversary---and I hope you will continue to enjoy the music of the Singers for many years to come. Sincerely, - 1643 WELLESLEY AVENUE ST. PAUL, MINNESOTA 55105 Neville Marriner Music Director 1111 Nicollet Mall Minnesota Minneapolis, MN 55403 (612) 371-5600 Orchestra Cable: MINNORCH January 25, 1982 Dr. Dale Warland Conductor Dale War land Singers 1643 Wellesley Avenue St. Paul, MN 55105 Dear Dale: o ~ One of the pleasures of making music in Minnesota is being surrounded by distinguished and complementary musical organizations. Please accept my heartiest congratulations on the record of excellence achieved by the Dale Warland Singers in their ten years of professional life. It has always been a pleasure working with you in the past and we all look forward to many more cooperative ventures in the future. Sincerely, • Nev illE!"oMilft NM:lw Images. • • ..••November 1973 - a concert of American music at The Guthrie Theatre, Minneapolis February 1976 - ~ in recording session with Norman Luboff at Sound 80 Studios, Minneapolis ..••February 1977 - The Midwest premiere of J.S. Bach's Passion According to St. Matthew, in cooperation with Minnesota Opera, at O'Shaughnessy Auditorium, St. Paul June 1977 - ~ opening concert of Scandinavian tour in St. Jakob's Kyrka, Stockholm, Sweden Tenth Anniversary Celebration Concert Orchestra Hall Minneapolis, Minnesota Sunday, March 14, 1982 3:00 p.m. I Magnificat in D (BWV243) (1732) Johann Sebastian Bach (sung in Latin) (1685-1750) Linda Steen, soprano Rosemary L. Barenz, soprano Roxanne Bentley, alto David Schwandt, tenor Steve Burger, bass 1. Magnificat (Chorus) My soul doth magnify the Lord. 2. Et exsultavit spiritus me us (Soprano Solo) And my spirit hath rejoiced in God my savior. 3. Quia respexit humilitatem (Soprano Solo) For He hath regarded the lowliness of His handmaid: 4. Omnes generationes (Chorus) From henceforth all generations shall call me blessed. 5. Quia fecit mihi magna (Bass Solo) For He that is mighty hath done great things to me: and holy is His name. 6. Et misericordia (Alto and Tenor Duet) And His mercy is from generation unto generations, unto them that fear Him. 7. Fecit potentiam (Chorus) He hath showed strength with His arm: He hath scattered the proud in the imagination of their heart. 8. Deposuit potentes (Tenor Solo) He hath put down the mighty from their seat, and hath exalted the humble. 9. Esurientes implevit bonis (Alto Solo) He hath filled the hungry with good things: and the rich He hath sent empty away. 10. Suscepit Israel (Soprano I, II, Alto) He hath received Israel His servant, being mindful of His mercy. 11. Sicut locutus est (Chorus) As He spake to our forefathers, Abraham and to his seed for ever. 12. Gloria Patri (Chorus) Glory be to the Father ... - Luke 1:46-55 The Magnificat was presented on the great Feast days and high festivals at the evening service in Leipzig. Bach actually made two settings of this text. The first, written in 1723 (Bach's first year at Leipzig) for the Christmas evening service, was in the key of E-flat and included four Christmas hymns. In 1732 Bach thoroughly revised it, omitting the Christmas hymns and set- ting it in D major. The Magnificat as performed today is considered the definitive form of the work. It was Bach's first work on a grand scale, and the most important one he had produced up to this time. Much like his cantatas of this period, the Magnificat has six arias and the grand opening and closing choruses. It also contains dozens of brilliant examples of Bach's skill at word painting, which show his sensitivity to both the meaning of the text-as well as his setting of the language. II I Hate and I Love (Odi et amo) Dominick Argento (WORLD PREMIERE) (b. 1927) I I hate and I love. Perhaps you will ask how that can be possible. I do not know; but that is what I feel and it torments me. II Let us live, my Clodia, and let us love, And let the censorious whispers of the old Be to us as worthless as the gold of fools. Suns can set, then rise anew: But once our own brief light has dimmed We shall sleep an eternal night. III Greetings, miss, with nose not small, Foot not pretty, eyes not black, Fingers not slender, mouth never resting, Speech neither musical nor elegant - Best greetings to you, miss! And III Florence they call you a beauty? And compare you with my own Clodia? o what a gross and ignorant age! IV My wornan says she will be no one's but mine, Not even should Jupiter himself wish to seduce her. She says: but what woman says to lover - Write it on the wind or swift-running water. V Was it a lioness from the mountains of Libya Or was it Scylla who barks from the depths of her groin Who gave birth to you with a heart so cold, so black, A heart that feels only contempt for the voice of Him who pleads to you in vain? You: with a heart so fierce? VI You promise me, my dearest life, that this our love Will endure, will be joyous and never-ending. a great gods, make what she promises be true And make it come from the bottom of her heart, So that all our lives we will be able to keep This sacred vow of etemallove. VII Wretched CatuIlus, put an end to this madness! That which is over and lost, you must count lost forever: Those radiant days that once shone upon you When you hastened to follow the girl wherever she led you - That same girl whom you loved as no other woman will ever be loved - (Wretched Catullus, put an end to this madness!) The countless delights in the sports of love, When what you desired, she desired and desired just as much. (Wretched Catullus!) 0, radiant indeed were the days that once shone upon you! Now suddenly she no longer wants your love, and you, being helpless, must Give up this longing, cease to pursue her, Put an end to this torment and madness! (Wretched Catullus!) °immortal gods, if you truly have pity, Tear out from my heart this pestilence, this plague Whose insidious gnawing has driven all joy from my breast. I no longer ask that this woman should love me, Nor do I ask the impossible, that she be chaste. My only wish now is that I be healed, and this Terrible pain be assuaged. VIII Ihate and I love. Perhaps you will ask how that can be possible. I do not know; but that is what I feel and it torments me. Liber Catulli Veronensis (freely translated by the composer) Commissioned by and dedicated to The Dale Warland Singers on the occasion of their Tenth Anniversary, I Hate and I Love was funded by the Metropolitan Regional Arts Council. This work is based on the poems of Gaius Valerius Catullus, a Roman poet who was a contem- porary of Julius Caesar and lived ca. 84-54 B.C. "In selecting texts for musical settings I have been drawn more to prose than to poetry, especially biographical prose such as journals, diaries, and letters, because I find that private statements on the human condition and human passions in the straightforward, simpler language of personal documents are more amenable to musical treatment. The texts I have chosen from Catullus are, of course, poetic and public, but I was attracted to them precisely because they are so autobiographical and particular. "The love for Clodia - a married woman 10years his senior, beautiful, cultured, elegant, and incurably dissolute - is one of the central themes in the poetry of Catullus. Many of his poems record the tempestuous affair: from infatuation to jealously; blissful contentment to betrayal; reconciliation to resignation - and all of these experienced not just once, but repeatedly. The circular nature of this chain of emotions prompted me to cast the music as a cycle which stops (rather than concludes) at the point where it started and might very well begin all over again.
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