Octavo, The Dale Warland Singers Program ... - UC DRC Home

OCfAVO
THE PROGRAM MAGAZINE OF
THE DALE WARLAND SINGERS
March 8,1987
May 17,1987
BOARD OF DIRECTORS
Margaret D. Ankeny
tDuane Bell
tDixon Bond
tArland D. Brusven
James L. Davis
H. David Francis
tCharles W. Gaillard
Thelma Hunter
Jon N. Kietzer
tTerry S. Knowles
t Michael W. McCarthy
Estelle Sell
Boake A. Sells
Mary K. Steinke
John R. Thomas
James R. Treanor
t Dale Warland
t Executive Committee
SOPRANO
Janet Johnson
-Sigrid Johnson
Deborah J. Loon
Barbara Nelson
Solvetg K. Nelson
Julie Ann Olson
Lea Anna Sams-
McGowan
Marie Spar
Ruth Spiegel
- Linda Steen
-Section Leader
ALTO
Roxanne L. Bentley
Linda Burk
-Joanne Halvorsen
Karen M. Johnson
Christine Ludwig
Joan Quam-
MacKenzie
Kay E. Sandeen
Carrie Stevens
Denise Wahlin
Donelle Zimdars
Claudia Zylstra
ARTISTIC STAFF
Dale Warland
Music Director
Sigrid Johnson
Assistant Conductor
Jerry Rubino
Pianist
ADMDOSTRATNESTAFF
Marie Sathrum
General Manager
Amy Thirsten
Associate Manager
Paul William Gerike
Librarian
Ann Broughton
Secretary
TENOR
Paul J. Anderson
Larry Bach
James Ftskum
Paul William Gerike
-John William
Henley
Tim Johnson
Gary A. Kortemeier
Steve Pearthree
David Reece
Timothy Sawyer
BASS
David Benson
Steve Burger
Michael Dailey
Wayne Dalton
WaynneB.
Homicke
Fredrick Lokken
-Jerry Rubino
Arthur Rudolph-
LaRue
Julian Sellers
Frank Steen
Paul A. Theisen
Today's performance is being recorded. No cameras or recording devices may be
used during performances. Please turn off any electronic beeping devices
(watches. pagers. etc.) or leave them with an usher prior to the performance.
Latecomers will be seated at the discretion of the house manager. As a courtesy
to other patrons. please be aware that the excellent acoustics of this hall
magnify sounds such as rustling programs. cellophane wrappers. and whispering.
Published 1987 by The Dale Warland Singers. Inc.. P.O. Box 162071Elway
Station. St. Paul, Minnesota 55116 612/292-9780
2

DALE WARLAND
Dale Warland occupies a preeminent
place in this nation's choral life. A
distinguished conductor. sought-after
clinician and lecturer. and frequentlyperformed
composer/arranger. Dale
Warland and his choirs have made a
significant contribution to choral music
both at home and abroad through
concerts. tours. broadcasts. recordings
and professional affiliations.
Dr. Warland is the founder and
director of The Dale Warland Singers.
an ensemble he has brought to national
and international acclaim. He has
toured abroad with the Singers in
Sweden. Norway. and Germany. In the
United States, he frequently appears
with his Singers on American and
National Public Radio. including the
"St. Paul Sunday Morning" program
and "A Prairie Home Companion
Show." Dr. Warland has produced
eleven recordings with The Dale
Warland Singers. including the first
digital recording of choral music in this
country.
Dr. Warland is also music director of
the Rapid City Festival Chamber
Singers, and is a leading force in college
choral music. havtng held the position
of professor of music at Macalester
College from 1967 to 1986. In addition,
he is in demand as a guest conductor.
clinician. and lecturer. Among his
many conducting honors are performances
with the Swedish Radio Choir
(Stockholm), the Danish Radio Choir
(Copenhagen). the Houston Concert
Chorale. and many All-State Choral
Festivals throughout the United States
and Canada.
A graduate of St. Olaf College. Dale
Warland holds a master's degree from
the University of Minnesota and a
doctor of musical arts degree from the
University of Southern California. Other
academic honors include a Tanglewood
scholarship. a Ford Foundation grant
which enabled him to study choral
music in England, Sweden, and
Norway. and a Bush Foundation grant
to research English choral literature. Dr.
Warland is a member of the American
Society of Composers. Authors. and
Publishers (ASCAP) and is former cochair
of the National Endowment for
the Arts Choral and Recording Panels.
He is currently a director of the Association
of Professional Vocal Ensembles
(APVE) and a life member of the American
Choral Directors Association
(ACDA).
3

THE DALE WARLAND SINGERS
Paul J. Anderson is a charter
member of the Singers. A graduate of
Mankato State University, he holds a
bachelor of science degree in music
education and history, and a master's
in guidance and counseling.
Larry Bach is an assistant professor of
music at North Central Bible College
where he serves as department
chairman. He conducts the college's
choral ensembles and his chorale has
toured in the United States and Europe.
He holds a vocal performance degree
from W. Virginia Wesleyan and a
master's degree in choral conducting
from the University of Minnesota. Larry
has also studied at the American Institute
for Musical Studies in Graz,
Austria.
David Benson is a graduate of Trinity
College in Deerfield, Illinois, where he
received a bachelor of arts degree in
music education. He is presently
pursuing a graduate degree in choral
conducting at the University of Minnesota.
He teaches vocal music at Watertown
High School, and conducts the
choir at Cross of Glory Baptist Church
in Hopkins.
Rozanne Bendey has been a member
of The Dale Warland Singers for seven
years. A graduate of Bemidji State
University, she has been an alto soloist
for several Twin Cities churches as well
as for the Macalester College Festival
Chorale, the Bemidji Oratorio Society,
the Saint Paul Chamber Orchestra, and
the Europa Cantat in Lucerne, Switzerland.
Steve Barger has been featured as a
soloist with the Singers as well as with
the Minnesota Chorale. A graduate of
Luther College, he continued his
studies with Donald Hoiness at St. Olaf
College. Steve traveled through Europe
as a member of the Seventh Army
Chorus while he was stationed in
Germany.
4
Linda Bark received a bachelor of
music degree from the Lawrence
University Conservatory of Music and a
master of music degree from the
University of Minnesota where she reestablished
and conducted the University
Women's Chorus. She also served
as assistant conductor of the University
Chamber Singers. Linda is a voice
instructor and a soloist with the House
of Hope Presbyterian Church choir and
is serving her second season as
assistant conductor with the Macalester
College Festival Chorale.
Michael Dailey received a bachelor of
music degree in music education from
Concordia College, Moorhead and
received his master of music degree in
applied voice from the University of
South Dakota, where he performed the
lead role in Dominick Argento's opera,
"The Boor." Michael has been a
regional finalist in the Metropolitan
Opera Auditions, a district winner in
the NATS Young Artist Competition,
and an apprentice artist with the Des
Moines Metro Opera.
Wayne Dalton teaches at several Twin
Cities colleges, and has performed in
recital and as a soloist with the Bach
Society of Minnesota, Plymouth Music
Series, and the choruses of Macalester
and Kalamazoo Colleges. He studied
Lieder performance in Los Angeles and
Vienna and was a finalist in the Metropolitan
Opera Western Regional Auditions.
After receiving his doctorate at
Claremont College, he taught at Middlebury
and Dartmouth Colleges and
performed throughout New England
and New York.
James Fiskam is the vocal music
director at Big Lake High School. He
holds a bachelor of science degree in
vocal music education from Bemidji
State University. Jim has sung with the
Bemidji Chorale and has served as
assistant conductor of the Bemidji State
University Choir. He has also attended
the Europa Cantat in Namur, Belgium.

WCALfm
For sample Listener's Guide,
call 1-800-222-9225
5

Paal WilHam Gerike works as a freelance
musician. performing. arranging.
and composing. He also is the director
of music at Lake Nokomis Lutheran
Church in Minneapolis and sings with
the Adelphoi ensemble. Paul received a
bachelor of music degree from Hartt
College of Music in Hartford. Connecticut.
and an associate of arts degree
from St. Paul's College in Concordia.
Missouri.
Alto section leader Joanne Halvorsen
holds a bachelor of arts degree in music
from Hamline University. She has been
a soloist at St. Paul's United Church of
Christ. the Oratorio Society of Hamline
University. and the Saint Paul Chamber
Orchestra. Joanne has also performed
with the Lakeshore Players. Patchwork
Theatre. Masquers Theatre. and is
currently singing with Paragon. a
variety dance band. and the quartet
Fourte,
John WilHam Henley, a music
educator and conductor. is the tenor
section leader and Italian coach for the
Singers. He has studied at St. Olaf
College. the University of California-Los
Angeles. the Aspen Choral Institute.
and the University of Minnesota. He has
served as a soloist with the Singers. and
is in his sixth season with the
ensemble.
Waynne B. Hornicke holds a bachelor
of arts degree in music education
from Augsburg College in Minneapolis.
and has furthered his vocal training at
the MacPhail Center for the Arts with
LeRoy Lehr. Waynne has sung with the
Bach Society and the Minnesota
Chorale and is frequently called upon
as a guest artist throughout the Twin
Cities. Presently with the Edina School
District. Waynne is a soloist at Grace-
Trinity Community Church in Minneapolis.
He has been a member of The Dale
Warland Singers since 1976.
Janet Johnson received a bachelor of
arts degree in English education from
Macalester College. where she was a
6
member of the Concert Choir under the
direction of Dale Warland. She studied
voice at the MacPhail Center for the
Arts and has been active as a church
soloist in the Twin Cities. This is her
seventh season with the Singers.
Karen M. Johnson is a charter
member of The Dale Warland Singers.
She has been featured as a soloist. and
has sung with The Dale Warland
Chamber Singers. Family Singers. and
Symphonic Chorus. Karen studied
voice with her father. Edwin G.
Amundson. and also Paul J. Christiansen
of Concordia College. Moorhead.
and at Bemidji State College. She has
been a soloist with church choirs. has
appeared in oratorio productions. and
has served as alto soloist with the Twin
Cities Catholic Chorale at The Church
of St. Agnes in St. Paul.
Sigrid Johnson is the assistant
conductor of The Dale Warland Singers
and also serves as a soprano section
leader. A resident of Northfield. Sigrid
teaches at St. Olaf College where she
conducts the Manitou Singers. A graduate
of St. Cloud State University where
she received a bachelor of music
degree. Sigrid completed her master of
music degree in the area of vocal performance
at the University of Michigan.
Tim Johnson is a graduate of
Macalester College and has sung in
various Warland ensembles for more
than fifteen years. An accomplished
woodworker. Tim is also an antique
dealer.
Gary A. Kortemeier received his
bachelor of music degree in vocal
performance from Illinois Wesleyan
University. and taught vocal music at
Highland Community College in Freeport.
Illinois. In the past six years he
has appeared with the Minnesota Opera
Company. Don Stolz Industrial Productions.
the Brandywine Singers. and as a
tenor soloist and section leader for
Westminster Presbyterian Church in
Minneapolis.

Fredrick Lokken holds a bachelor of
music degree in vocal performance
from the University of Wisconsin-
Madison, a master of arts degree in
theology from Fuller Theological Seminary,
and a master of divinity degree
from Luther Northwestern Theological
Seminary. Fred has directed choirs in
California and St. Paul, and has sung
with the Minnesota Chorale. He is
currently a soloist at Holy Trinity
Lutheran Church in Minneapolis.
Deborah J. Loon is a graduate of St.
Olaf College where she received a bachelor
of arts degree in political science.
As a member of the St. Olaf Choir, she
was a soloist and section leader, as well
as a soloist with the St. Olaf Orchestra.
In addition to her musical activities,
Deborah is active in the area of public
affairs.
Christine LUdwig teaches at Christ
the King School in Minneapolis. An
active member of the American Orff-
Schulwerk Association, she received
her bachelor of arts degree in elementary
education and music from the
College of St. Catherine. Chris also
sings in the music program at the
Church of the Annunciation in south
Minneapolis and plays recorder with
Cantante di Camera.
Barbara Nelson is a graduate of
Luther College and holds a bachelor of
arts degree in music education.
Formerly a professional singer with the
Minnesota Chorale, she has been a
guest soloist for many local organizations
and churches. She has also
appeared as a soloist with the Minnesota
Orchestra under the direction of
Leonard Slatkin. Barbara works as a
private piano and voice instructor.
Solveig K. Nelson attended St. Olaf
College and received a bachelor of
music degree in music education from
Yankton lege. She is a violinist and
has most recently been a soloist and
choir director in Lincoln, Nebraska. She
is active in community theatre and is
currently working and performing at
Gustino's in Minneapolis.
Julie Ann Olson is a recent graduate
of Concordia College in Moorhead
where she received a bachelor of music
degree in vocal performance and music
education. While at Concordia, she was
a member of the Concordia Choir, the
Concert Band, and the Orchestra, and
toured Europe with the Orchestra in
May 1986.
Steve Pearthree received a bachelor
of music degree after studying at the
University of Wisconsin-Superior and
the University of Minnesota. Following
his graduation he traveled to Norway as
a Fulbright Scholar. In addition to his
work with the Singers, Steve also sings
at the Church of St. Patrick in Edina.
Joan Quam-MacKenzie is completing
a degree in music at Macalester College
where she studies voice with Charlotte
Straka and piano with Celeste O'Brien.
She has been a member of the
Macalester Concert Choir and has
appeared as a soloist with that
ensemble. Joan also sings at Mount
Zion Temple in St. Paul. She has
worked as a rehearsal and performance
pianist for several musicals and is presently
employed as a liturgical pianist in
Waconia.
David Reece graduated from Il1inois
State University with a degree in vocal
performance. He was a soloist with the
Rockford Chorale, and has performed in
theatre and musical productions. He
currently works as a free-lance musician,
and has sung with the Paul Kaye
Singers and at St. Olaf Church in
Minneapolis. David has also appeared
as a soloist with the Minnesota
Orchestra under the direction of
Leonard Slatkin.
Bass section leader Jerry Rubino is a
graduate of the Curtis Institute of Music
and Temple University. He is the
accompanist for the Singers and also
serves as pianist and coordinator of
special musical events at the International
Market Square in Minneapolis.
Jerry maintains a private voice and
piano studio and has served as pianist
for the Hawaiians, a contemporary
7

gospel recording and performing group
that appears nationally and internationally.
An active free-lance musician.
Jerry often performs in solo and
chamber music recitals throughout the
Twin Cities and has performed with the
Minnesota Opera. Minnesota Composers
Forum. and the St. Paul Chamber
Orchestra.
Arthur Rudolph-LaRue recently
moved to the Twin Cities from Oregon
where he sang in the Portland Opera
Chorus. A member of Cantante di
Camera. he also sings at Unity Church
in St. Paul. Arthur studies voice at the
University of Minnesota.
Lea Anna Sams-McGowan is
working toward a degree in music
education and performance at
Macalester College. Lea Anna sings
with the Zion Lutheran Church choir in
Cottage Grove and has given private
vocal instruction to elementary school
students.
Kay E. Sandeen received a bachelor of
arts degree in music education from
Hamline University in St. Paul. She has
taught music for nine years. has sung
with the Hamline Oratorio Society. and
has worked extensively with Masquers
Theatre Company as a performer.
costumer. and instrumentalist. Kay is a
free-lance soloist and organist. and has
performed in many area churches.
8
Timothy Sawyer holds a bachelor of
arts degree in music education from
Bethel College. is completing a master's
degree in vocal performance at the
University of Minnesota. and has done
graduate work at Westminster Choir
College. He has appeared as soloist with
the Minnesota Opera. the University of
Minnesota Opera Theatre and
Symphonic Chorus. the Montana
Chorale. the Robert Berglund Chorale.
and has been an artist-fellow of the
Bach Aria Festival and Institute. Tim
was the first-place winner in the 1982
NATS auditions.
Julian SeDers holds a bachelor of arts
degree in German from Florida Presbyterian
College. An active soloist. Julian
has sung with the Munich Bach Choir.
Pro Musica of Salt Lake City. and other
choral groups in Florida and Minnesota.
Marie Spar holds a bachelor of arts
degree in vocal music education from
St. Olaf College where she was a soloist
with the St. Olaf Choir and Orchestra.
She has sung with the Minnesota
Chorale and traveled with that
ensemble to the Casals Festival in San
Juan. Puerto Rico in June 1985. Marie
currently teaches in White Bear Lake.
Ruth Spiegel received a bachelor of
arts degree in music education from
Eastern Michigan University and has
done graduate work at the University of
InFrrst:
First Banks
Members First Bank System
c1985 First Bank System

Iowa in vocal performance. She has a
background in opera and has recently
performed solo and choral works in the
St. Croix Valley area.
Frank Steen is a graduate of
Concordia College, Moorhead, and the
University of Minnesota. He has
appeared as a soloist with the Singers,
and has also been a soloist with church
choirs and in oratorio productions.
Soprano section leader Linda Steen is
also a member of the Hutchinson
Family Singers, a quintet which recreates
concerts of the 1850s and tours
nationwide. She is a soloist at the
Cathedral Church of St. Mark and
periodically performs in Minnesota
Composers Forum concerts. A graduate
of Concordia College in Moorhead,
Linda has also studied at Indiana
University and the Chautauqua Institute
in New York.
Carrie Stevens received her bachelor
of music degree from the University of
Wisconsin-Madison, her master of
music degree from Boston University,
and participated in the 1986 Minnesota
Opera Institute. Winner of the 1986
Twin Cities Schubert Club Competition,
she currently performs with the Minnesota
Opera. Cantante di Camera, and is
a performing artist with Thursday
Musical. Carrie is also serving as alto
soloist and section leader at St. Paul's
House of Hope Presbyterian Church.
Paul A. Theisen is the liturgical music
director at the Church of St. Therese
where he is also a cantor. He has
studied voice privately, and sang with
the Minnesota Chorale before joining
the Singers in 1982.
Denise Wahlin holds a bachelor of
arts degree in English and art from
Concordia College. Moorhead, where
she was a soloist with the Concordia
Choir. She currently teaches at the
secondary level in Buffalo, and is
working toward a master's degree in art
history at the University of Minnesota.
DoneUe Zimdars received her bachelor
of arts degree in vocal music from
Bemidji State University. She has sung
with the Minnetonka Choral Society
and portrayed Abby Hutchinson as a
member of the Hutchinson Family
Singers.
Claudia Zylstra is a graduate of
Calvin College in Grand Rapids, Michigan
where she studied vocal performance
and was active in the choral
program. She has participated in
community choral organizations in
Chicago and in Wisconsin. Prior to
joining the Singers, she was a soloist
and member of the Paul Kaye Singers.
AUDITIONS
for the 1987-88 Season
of
The Dale Warland Singers
will be held
May 19-22
For more information
call 612/292-9780
9

FOR POETS AND
LOVERS
Sunday, March 8, 1987
3p.rn.
Ordway Music Theatre
Our special guest for this afternoon's performance is
Michael Dennis Browne, Poet
Suite de Lorca, Op. 72 (1975) Einojuhani Rautavaara
(sung in Spanish) (b. 1928)
I. Cancion de jinete ("Song of the Horseman")
II. EI Grito ("The Scream")
III. La luna asoma ("The Moon Rises")
IV. Malaguena ("Song of Malaga")
Take Him, Earth, for Cherishing
Herbert Howells
(1892-1983)
I Hate and I Love (Odi et amo)
Dominick Argento
(b. 1927)
I. I hate and I love
II. Let us live, my Clodia, and let us love
III. Greetings, miss, with nose not small
IV.My woman says she will be no one's
V. Was it a lioness from the mountains of Libya
VI. You promise me, my dearest life
VII. Wretched Catullus, put an end to this madness
VIII. I hate and I love
Commissioned by and dedicated to The Dale Warland Singers on the
occasion of the ensemble's tenth aniversary, "I Hate and I Love" is
based on the poems of Gaius Valerius Catullus, a Roman poet who was
a contemporary of Julius Caesar and lived ca. 84-54 B.C. Today's
performance marks the beginning of a year-long celebration of
Dominick Argento's sixtieth birthday, which will be commemorated in
a special performance by the Singers October 18, 1987, entitled
"Accolades to Argento."
10
INTERMISSION

Liebeslieder Walzer, Op. 52
Johannes Brahms
(sung in German)
(1833-1897)
I. Rede, Madchen
("Answer, maiden")
II. Am Gesteine rauscht die Flut
("Deep in thunder roars the tide")
III. 0 die Frauen
("Oh, these women")
IV. Wie des Abends schone Rote
("Like the evening sunset's rapture")
V. Die grune Hopfenranke
("The tender hopvine wanders")
VI. Ein kleiner, hiibscher Vogel
("There was a tiny, pretty bird")
VII. Wohl schon bewandt war es
("How dear, alas, was life together")
VIII. Wenn so lind dein Auge mir
("When your eyes so fondly seek")
IX. Am Donaustrande
("On Danube's border")
X. 0 wie sanft die Quelle
("Oh, how calm the river flows")
XI. Nein, es ist nicht auszukommen
("No, I will not listen to them")
XII. Schlosser auf, und mache Schlosser
("Locksmith, go and bring me padlocks")
XIII. Vogelein durchrauscht die Luft
("Ev'ry bird that soars the sky")
XIV. Sieh, wie ist die Welle klar
("See how bright the fountain gleams")
XV. Nachtigall, sie singt so schon
("Nightingale, you sing so sweet")
XVI. Ein dunkeler Schacht ist Liebe
("My love is a well")
XVII. Nicht wandle, mein Licht
("Don't wander, my light")
XVIII. Es bebet das Gestrauche
("Each tender leaf is trembling")
Liebeslieder Polkas P.D.Q. Bach
(For Mixed Chorus, with Piano, Five Hands) (1807-1742)?
Lovingly edited by Professor Peter Schickele
I. To His Coy Mistress
II. The Passionate Shepherd To His Love
III. Song to Celia
Piano
Linda Berger
Jerry Rubino
Instrumentalists
Percussion
Joe Holmquist
Jay Johnson
11

MICHAEL DENNIS BROWNE
has published three collections of
poetry: The Wife of Winter, The
Sun Fetcher, and Smoke from the
Fires. His work has appeared in
many magazines and anthologies
and his awards include National
Endowment for the Arts fellowships
for poetry and libretto writing,
the Borestone Prize,
fellowships from the Bush
Foundation and the Minnesota
State Arts Board, and a Loft-
McKnight Writers' Award. He has
collaborated with composer
Stephen Paulus on numerous
works, including song cycles, choral
pieces, songs for children and
a one-act opera. He gives poetry
readings around the country. He
is professor of English at the University
of Minnesota and lives
with his wife Lisa and their children
Peter and Mary both in Minneapolis
and in a cabin they have
built in the north woods.
12
COMPLEMENTS
§2~
ANTIQUES - CUSTOM-MADE FURNITURE
FINALLY - FURNITURE TO SING ABOUT!
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MINNEAPOLIS MN 55410
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612 378 2605

PROGRAM TEXTS
Suite de Lorea
by Einojuhani Rautavaara
I. Canci6n de jinete
(Song of the Horseman)
Cordoba. Distant and alone.
Small black pony. large moon.
and olives in my saddlebag.
Although I know the roads.
I will never arrive in Cordoba.
Over the plain. through the wind.
small black horse. red moon.
Death is watching me
from the towers of Cordoba.
Oh, what a long road!
Ah, my valiant little horse!
Oh, how death awaits me
before arriving in Cordoba.
Cordoba.
Distant and alone.
II. El Grtto (The Scream)
The ellipse of a scream
goes from mountain
to mountain.
From the olive trees
it will be a black rainbow
over the blue night.
Ahh!
As the bow of a viola.
the scream has caused the
long cords of the wind to vibrate.
Ahh!
(The peoples of the caverns bring out
their oil lamps.)
III. La luna asoma (The Moon Rises)
When the moon comes out
the bells are lost
and impenetrable paths
appear.
When the moon comes out.
the sea covers the land
and the heart feels like an
island in infinity.
No one eats oranges
under the full moon.
One should eat fruit.
green and frozen.
When the moon of a
hundred equal faces comes out.
the silver coins
sob in the pocket.
IV. Malaguena (Song of Malaga)
Death
enters and leaves
the tavern.
Black horses
and sinister people pass
by the depths
of the guitar.
And there is a smell of salt
and of female blood
on the feverish plants
of the seashore.
Take Him, Earth, for
Cherishing
by Herbert Howells
-Federico Garcia Lorca
Take him. earth. for cherishing.
To thy tender breast receive him.
Body of a man I bring thee.
Noble even in its ruin.
Once was this a spirit's dwelling.
By the breath of God created.
High the heart that here was beating.
Christ the prince of all its living.
Guard him well. the dead I give thee.
Not unmindful of His creature
Shall He ask it: He who made it
Symbol of His mystery.
Comes the hour God hath appointed
To fulfill the hope of men.
Then must thou. in very fashion.
What I give. return again.
Body of a man I bring thee.
Take. 0 take him.
Not though ancient time decaying
Wear away these bones to sand.
Ashes that a man might measure
In the hollow of his hand:
Not though wandering winds.
Drifting through the empty sky.
Scatter dust was nerve and sinew.
Is it given to man to die.
Once again the shining road
13

Leads to ample Paradise;
Open are the woods again.
That the Serpent lost for men.
Take. 0 take him. mighty Leader.
Take again thy servant's soul.
Grave his name. and pour the fragrant
Balm upon the icy stone.
14
I Bate and I Love
by Dominick Argento
I.
Take him. earth for cherishing.
To thy tender breast receive him.
Body of a man I bring thee.
Noble in its ruin.
By the breath of God created.
Christ the prince of all its living.
Take. 0 take him.
Take him. earth. for cherishing.
-Prudentius (348-413)
from "Hymnus circa
Exsequias Defuncti"
(tr. Helen Waddell)
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 in Florence they call you a beauty?
And compare you with my own Clodia?
o what a gross and ignorant age!
IV.
My woman 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.
o 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 eternal love.
VII.
Wretched Catullus. 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!)
O. 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!)
o 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.
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.
-Liber Catulli Veronensis
(freely translated by the composer)
Liebeslieder Walzer, Op. 52
by Johannes Brahms
1.
Tell me. maiden dearest.
who in this cool breast of mine
have with your glances
roused these wild ardours,
will you not soften your heart?
Will you live. nun-like.
without the sweetness of love.
or may I come to you?
To live without the sweetness of love
is a bitter lot I would not bear.
Then come. my black-eyed one.
come when the stars give their
greeting.
2.
Against the rocks the torrent.
violently driven. dashes itself:
he who does not know how to sigh
like this
will learn through loving.
3.
o women. women.
what ecstasy they bring!
But for women I'd long ago
have become a monk!
15

4.
If only I, a humble maiden,
could glow with the beauty of an
evening sunset!
To please one, one alone,
would be a fount of endless bliss!
5.
The green tendrils of the vine
are drooping on the ground.
The fair young maiden,
how sadly she too droops!
Say, ye green tendrils,
why do you not stretch up to the sky?
Say, fair maiden,
why is your heart so heavy?
How can the vines grow upwards
without supports to lend them
strength?
How can the maid be joyful
when her beloved is far away?
6.
A pretty little bird took its flight
into a garden full of fruit.
Were I a pretty little bird
I wouldn't hesitate, I'd do the same.
Lime-twigs' treachery lay in wait for
him:
the poor bird could not flyaway.
Were I a pretty little bird.
I'd hesitate, I wouldn't do the same.
The bird came into a fair hand;
the lucky creature wanted nothing
better.
Were I a pretty little bird,
I'd not hesitate, I'd do just the same.
7.
How happy once
seemed to be
my life,
my love!
Through a wall -
yes, through ten walls -
my lover's gaze
would reach me.
But now, alas,
even if I stand
right in front
of his cold face,
his eyes and his heart
are closed to me.
16
8.
When your eyes rest on me
so kindly and lovingly.
every last trouble
that besets me flees.
a do not let the sweet glow
of that love die down!
No one will ever love you
so truly as 1.
9.
On the Danube's banks there stands a
house
from which a bonny maid looks out.
The maid is very well guarded;
ten bolts protect her door.
Ten iron bars - that's a joke!
I'll break them down as if they were
but glass.
10.
a how gently the stream
winds through the meadow!
a how sweet when love
finds an answering love!
11.
No, there is no bearing
with these people;
they twist everything
so spitefully.
If I'm merry, then I'm haunted
by loose thoughts;
if I'm quiet, they say
I'm crazed with love.
12.
Come, locksmith, and make me
padlocks,
padlocks without number!
I'll close their malicious mouths
once and for all!
13.
A little bird flies far and wide
in quest of a branch;
and a heart seeks another heart
where it can rest in peace.
14.
See how clear are the waves
when the moon shines down on them!
You who are my love,
return my love!

15.
The nightingale sings so sweetly
when the stars are shining.
Love me, beloved heart,
embrace me in the darkness!
16.
Love is a dark pit,
an all too dangerous well;
woe is me, I fell in, and now
can neither hear nor see;
I can but muse on my bliss,
only bemoan my sorrows.
LiebesHeder Polkas
by P.D.g. Bach
To His Coy Mistress
Had we but world enough, and time,
This coyness, lady, were no crime.
We would sit down and think which
way
To walk and pass our long love's day.
But at my back I always hear
Time's winged chariot hurrying near.
The grave's a fine and private place,
But none, I think do there embrace.
Let us roll all our strength and all
Our sweetness up into one ball.
Thus, though we cannot make our
sun
Stand still, yet we can make him run.
The Passionate Shepherd to His
Love
Come live with me and be my love,
And we will all the pleasures prove
That valleys, groves, hills, and fields,
Woods or steepy mountain yields.
And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers to whose falls
Melodious birds sing madrigals.
And I will make thee beds of roses
And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroidered all with leaves of myrtle
17.
Do not stray, dear love,
in yonder flowery meadow;
it is too wet, too yielding,
for your tender feet.
All flooded are the paths
and tracks there,
so profusely have my eyes
there shed tears.
18.
The branches tremble;
a little bird
has brushed them in his flight.
Disturbed in like fashion,
my soul trembles
with love, desire and grief
when it thinks of you.
A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold.
A belt of straw and ivy buds,
with coral clasps and amber studs,
And if these pleasures may thee
move,
Come live with me and be my love.
Song to Celia
Eye me only with thy drink,
And I will pledge with this;
Or leave some wine but in the cup,
And I'll not look to kiss.
The thirst that from the soul doth rise
Doth ask a drink divine;
But if Jove's nectar I can't sip,
Some ale will do just fine.
I sent thee late a rosy wreath,
Not so much honoring thee
As giving it a hope that there
It could not withered be.
But thou thereon didst only breathe,
And sen'st it back to me;
Since when it smells, I kid thee not,
Of pretzels and chablis.
17

PROGRAM NOTES
Suite de Lorea
by Einojuhani Rautavaara
Einojuhani Rautavaara is an
internationally-recognized Finnish
composer whose works have won
many awards, including first place in
no less than 15 contests. A graduate
of the University of Helsinki, he has
studied extensively in Europe and the
United States and is currently
Professor of Composition at the
Sibelius Academy. In the Lorca Suite,
he captures the melancholy of the four
Lorca poems in a setting that reflects
both the harsh sunlight and deep
shadows of Spain. All four songs are
centered around a common pitch. The
fast and excited Canci6n de jinete
tells of a lone rider in the night on his
way to C6rdoba, fearing that he will
never arrive. El Grito depicts a scream
breaking the silence of the night,
followed by the rising of the moon -
La luna asoma, a melancholy piece
that alludes to the shifting effects of
moonlight and gives a sense of young
death. Death also pervades the
Malaguefl.a, in which the bass chants
the presence of death in a tavern and
the text speaks ominously of black
horses, dangerous people, guitar
music, and the smell of salt and
women's blood.
Take Him. Earth. for
Cherishing
by Herbert Howells
Schooled (and later a teacher) at the
Royal School of Music, Herbert
Howells (1892-1983) learned well the
traditions and craft of English choral
music. Like his countrymen and
friends, Ralph Vaughan Williams and
Gustav Holst, he loved English
austere modal harmony, dissonant
contrapuntal lines, and wide, resonant
spacing of voices. Although most of
Howells' sacred music dates from the
1940-506, this motet was completed
In June 1964 - a year after the
assassination of John F. Kennedy, to
18
whose memory the piece is dedicated.
The text was taken from a funerary
poem by 4th century writer,
Prudentlus, and was translated by
Helen Waddell. Its universal
sentiments about death are set to
sensitive, complex music. The
chanted opening line acts as a
recurring refrain, thus framing each
contrasting section.
Quietly and somberly, the first two
parts reflect upon the departed's
former life and death's mystery. More
animated and decidedly more
dissonant, the third part expresses the
hope of resurrection. Returning briefly
to the simpler texture with thoughts
about the inevitable decay of mortal
flesh, the music soon veers Into bright
harmonies and soaring melodic lines
to declare the soul's ultimate victory
and the return of Eden. The final
statement of the refrain commends
the body to earth, but now In the
hopeful, major mode.
-Alice Hanson
I Bate and I Love
by Dominick Argento
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 10 years 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 jealousy; blissful
contentment to betrayal;

econciliation 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 allover again.
The decision to use only percussion
for the accompaniment was made
primarily to avoid any specific
historical connotations; like the
human voice, percussion instruments
can be both ancient and modern, a
quality of timelessness they share
with Catullus' poetry which, two
thousand years before Freud, was
examining the thin line that separates
love from hate and the perplexing
ambiguities of those passions.
- Dominick Argento
Liebeslieder Walzer, Op. 52
by Johannes Brahms
At thirty-six years of age Johannes
Brahms made the decision to call
Vienna his home, despite tempting
offers of secure music positions in
Germany. As if to affirm his spiritual
affinity to Austria's "City of Dreams,"
he composed eighteen stylized waltz
songs - Vienna's earmark! Composed
on texts of Friedrich Daumer, the
songs describe the ups and downs of
love in both folk-like convention and
nature imagery. But unlike a song
cycle, the pieces display no tight-knit
organization or progression. Instead,
they are short masterpieces of melodic
invention, chromatic harmony, and
rhythmic shifts all set to three-quarter
time.
Brahms provides contrast
throughout by varying the ensemble
with solos, songs for men and then
women only, and inventive piano
accompaniments. Worthy of any
Strauss waltz, Brahms' songs capture
the alluring, arched melodies and coy
harmony of Viennese popular music,
while exhibiting his own highly
developed penchant for rhythmic and
linear complexity. Uncharacteristically,
Brahms expressed real satisfaction with
these songs. They were so successful,
he composed another set (op. 65) in
1874.
- Alice Hanson
Liebeslieder Polkas
by P.D.g. Bach
The Liebeslieder Polkas is the first
opus of P.D.g. Bach's to be discovered
in which he inflicted his music on the
work of well-known poets, or even
known poets for that matter. The fact
that all the poets represented are
English leads one to surmise that
P.D.g.'s drinking companion
Jonathan"Boozey" Hawkes had
something to do with instigating the
piece; Hawkes eventually married
P.D.g. 's cousin Betty-Sue Bach and
returned to his native Liverpool,
where the two of them spent their
senility publishing most of the
unmourned composer's vocal music.
As far as observing the integrity of
these already-famous poems is
concerned, P.D.g.'s attitude ranges
from indifference to contempt. Some
of the poems are set complete, others
are rather haphazardly cut, some
contain completely spurious
interpolations, and in one case - Ben
Jonson's beloved "Song to Celia" -
the poem has been extensively
rewritten to reflect the composer's
besotted Weltanschauung.
A word about the fifth hand in the
piano part; when Brahms wrote his
Liebeslieder Waltzes (in obvious
imitation of P.D.g. Bach, but, as
usual, without giving the earlier
composer any credit) he scored the
accompaniment for piano four hands;
by adding a third person at the piano
P.D.g. not only expanded the range of
the accompaniment, but he also made
sure that there was always one hand
free for turning pages. Or, to look at it
another way, he made life much more
interesting for the page-turner.
- Professor Peter Schickele
19

AMERICANA AND THE
SCANDINAVIAN CONNECTION
Sunday, May 17, 1987
(Syttende Mal, Norwegian Independence Day)
7 p.m.
Orchestra Hall
Tonight's concert is being broadcast live throughout the region on the
network stations of Minnesota Public Radio, including KSJN, 91.1 FM,
in the Twin Cities.
The Man of Newington
Flowering Almond Tree
(from Nocturnes)
I.
Scandinavia
Ochjungfrun han gar i ringen
(A Maiden Is In a Ring)
(sung in Swedish)
Evening [Aftonen)
The Slow Spring
AgnusDei
Saul
20
II.
Nordic Sounds
Sverre Bergh (Norway)
(1915-1980)
Hildor Lundvik (Sweden)
(1885-1950)
Hugo Alfven (Sweden)
(1872-1960)
Hugo Alfven
John Hoybye (Denmark)
(b. 1939)
Sven-David Sandstrom (Sweden)
(sung in Latin) (b. 1942)
Egtl Hovland (Norway)
(b. 1924)

Psalm 90
III.
Music of Edvard Grieg
Children's Song, Op. 30, No.2
Hvad est du dog skj6n, Op. 74 (How Beautiful Thou art)
(sung in Norwegian)
When I Take a Stroll, Op. 30, No. 1
Spring (Varen), Op. 33, No.2
INTERMISSION
IV.
V.
Music of Stephen Foster
My Old Kentucky Home
Oh! Susanna
Open Thy Lattice, Love
Nelly Bly
VI.
Americana
Charles Ives
(1874-1954)
The Jolly Tar and the Milkmaid George Gershwin
(1898-1937)
Sing of Spring
God's Bottles (from Americana)
Circus Band
Percussion
Lisa Benz
Michael Roy
Instrumentalists
Organ
Dean Billmeyer
Piano
Jerry Rubino
George Gershwin
Randall Thompson
(1899-1984)
Charles Ives
(1874-1954)
Special thanks to the following individuals for their assistance with this
program:
Norman Luboff, Knut Nystedt, Leland Sateren
21

PROGRAM TEXTS
A Maiden Is In A Ring
by Hugo Alfven
A maiden is in a ring now with
ribbons of gold.
The anus of her lover she tied with a
bow.
But prithee. my little sweetheart. why
tighten the bow?
You know from thee I never would go.
So trusting. the maiden loosened the
bows gold and red.
The scoundrel then off to the woods
quickly fled.
Her brothers with clubs and rifles
then after him ran.
But he laughed and shouted "Catch
me if you can!"
The Slow Spring
by John Hoybye
How slowly the spring has been
coming this year.
How slowly the wounds of the ice
disappear.
How sparsely the green on the earth
comes forth.
It fears a sudden chill blast from the
north.
The branches that shine are quite
naked and lean.
The closed little buds can hardly be
seen.
There shimmers a hidden. invisible
sprout
But never a rift of the green flutters
out.
And how could the tiny anemones
dare to dance
To dance and to frolic on maiden feet
bare -
They stand there quite scared with
their heads bent down
As if they were still wearing winter's
white gown.
And yet it is them we would pick. so
neat.
So glittering light and so fluttering
sweet.
Forget that in April the snow was still
here.
22
For now it is May - let your smiles
appear.
- Tom Kristensen
(tr, Martin S. Allwood
and Knut K. Mogenson)
AgnusDei
by Sven-David Sandstrom
Agnus Dei. qui tollis
peccata mundt, miserere
nobis. Dona nobis pacem.
Lamb of God. who takest away
the sins of the world. have
mercy upon us. Grant us peace.
Saul
by Egll Hovland
And on that day a great persecution
arose against the church in
Jerusalem; and they were all scattered
throughout the region of Judea and
Samaria. except the apostles. Devout
men buried Stephen. and made great
lamentation over him. But Saul laid
waste the church. and entering house
after house. he dragged off men and
women and committed them to
prison. Now those who were scattered
went about preaching the word.
Unclean spirits came out of many who
were possessed. crying with a loud
voice; and many who were paralyzed
or lame were healed. Saul. breathing
threats and murder against the
disciples of the Lord. went to the high
priest and asked him for letters to the
synagogues at Damascus. So that if
any be found belonging to the Way.
men or women. he might bring them
bound in chains back to Jerusalem.
Now as he journeyed he approached
Damascus. and suddenly a light from
heaven flashed about him. And he fell
to the ground and heard a voice
saying to him: Saul. why do you
persecute me?
- Acts 8: 1-4. 7 and 9: 1-4
(Adapted by Frank Pooler)

Psalm 90
by Charles Ives
Bvad est do dog skj6n, Op. 74
by Edvard Grieg
How beautiful Thou art. Thou all-life
giving son of God! 0 Thou. My
Sulamit, all that I have is also Thine.
My Friend. thou art mine. then let me
always be Thine. Truly. Thou mine
shalt be now and ever. Just think: I
am here among so many threatening
swords Come. then. my dove: In the
cleft of the Rock there is peace and
room.
- H.A. Brorson, 1694-1765
1. Lord. thou hast been the dwelling place from one generation to another.
2. Before the mountains were brought forth. or ever thou hast formed the
earth and the world. even from everlasting to everlasting. thou art God.
3. Thou turnest man to destruction and sayest, "Return. ye children of men."
4. For a thousand years in thy sight are but as yesterday when it is past. and
as a watch in the night.
5. Thou carrtest them away as with a flood; they are as asleep; in the morning
they are like grass which groweth up.
6. In the morning it flourisheth and groweth up; in the evening it is cut down.
and withereth.
7. For we are consumed by thine anger. and by thy wrath we are troubled.
8. Thou has set our iniquities before thee. our secret sins in the light of thy
countenance.
9. For all our days are passed away in thy wrath; we spend our years as a tale
that is told.
10. The days of our years are threescore years and ten; and if by reason of
strength they be fourscore years. yet is their strength labour and sorrow;
for it is soon cut off. we flyaway.
11. Who knoweth the power of thine anger? Even according to thy fear. so is
thy wrath.
12. So teach us to number our days. that we may apply our hearts unto
wisdom.
13. Return. 0 Lord. how long? and let it repent thee concerning thy servants.
14. 0 satisfy us early with thy mercy; that we may rejoice and be glad all our
days.
15. Make us glad according to the days wherein thou has affiicted us. and the
years wherein we have seen evil.
16. Let thy work appear unto thy servants. and thy glory unto their children.
17. And let the beauty of the Lord our God be upon us; and establish thou the
work of our hands upon us; yea. the work of our hands establish thou it.
Amen.
23

God's Bottles
by Randall Thompson
APPLES ARE GOD'S BOTTLES: The
sweet juice of the apple God has
placed in His own bottle. What a
beautiful rosy-red bottle it is! These
red bottles hang on the limbs of a tree
until they are all ready for us to use,
Do you want to open God's bottle?
Bite the apple with your teeth and you
will taste the sweet juice God has put
in His bottle for you,
GRAPES ARE GOD'S BOTTLES:
These purple and green bottles you
will find hanging on a pretty vine. See!
So many little bottles are on a single
stem! Put a grape in your mouth and
open God's bottle. How nice the juice
tastes! Some men take the juice of
apples and grapes and make drinks
that will harm our bodies. They put
the drinks in glass bottles, but we will
not drink from such bottles. We will
DRINK FROM GOD'S BOTTLES.
- from a leaflet issued by the
Women's Christian Temperance Union
PROGRAM NOTES
The heritage of Scandinavian choral
music runs deep in Minnesota, as
immigrants organized choral groups
and sacred choirs much like the ones
they knew at home. Such traditions
are dear to the state's Lutheran colleges,
whose excellent choirs still sing
the old songs. More modern music,
however, is not as familiar to local
audiences. This program presents a
sampling of contemporary works in
many diverse styles by composers
from around Scandinavia.
Norwegian Sverre Bergh (1915-1980)
was a pianist and the able director of
the Bergen International Music Festival
for many years. His "Man of Newington"
(1980), dedicated to Leland
Sateren and the Augsburg Choir, presents
the humorous side of Scandinavian
nature. The nonsensical poetry is
set to clean, disjunct melodies with
plenty of witty patter between the parts.
The odd solution to the man's problem
24
innova recordings
the Minnesota Composers Forum
MarketHouse #206
289 E. 5th St.
St. Paul, MN 55101
(612) 228-1407
is celebrated in a mock-serious fugue
and pompous ending,
The songs by the Swedish and Danish
composers represent different
styles, but similar respect for folk
music, natural beauty, and a characteristic
Scandinavian love of atmospheric
vocal timbres. Hugo Alfven
(1872-1960) represents the old-garde,
post-Romantic style, His "Aftonen"
has achieved "warhorse" status both
in Sweden and abroad, The songs of
Hildor Lundvik (1885-1950) present
the adventuresome, impressionistic
writing developed simultaneously in
France and Scandinavia toward the
beginning of the century.
Since the 19505, Scandinavian
composers have absorbed and
excelled in all of the latest international
musical movements, while still
trying to maintain their distinctive
national identities. Swedish-born
Sven-David Sandstrom (b. 1942)

trained at the Royal College of Music
In Stockholm where he wrote In both
serial and aleatoric " musical styles.
However, his work with Gyorgy Ltgett
In the 19605 led him to compose with
textures and timbres. Sometimes controversial,
he often expresses his
social conscience In his music.
Egil Hovland (b. 1924) from Norway
writes in a more conservative
vein. Having studied with Copland
and Dallapiccola in the 19505, he
practiced first the neoclassical, then
the serial music idiom. Later, in his
many sacred works for choir and the
organ, he moved to a more Romantic
expression of feeling and tone quality.
- Alice Hanson
• Aleatory music is music in which
the composer introduces elements of
chance or unpredictability with
regard to either the composition or
its performance.
Edvard Grieg (1843-1907)
Throughout his career Edvard Grleg
wrote music that blended Norwegian
folk music idioms with colorful harmony
and disciplined part-writing. His
choral music clearly illustrates his
versatility and mastery of musical
detail.
Grleg completed his Album, Op.30
in 1878, having just resettled in Norway.
The two songs here, while different
in spirit, both share the folk traits
of a repeating accompaniment figure
over which a freer melody is sung,
and harmonies that mix the major
and minor modes. Especially striking
are the variety of textures, from solos,
two-part echoes, to climatic full choirs.
The Four Psalms, Op. 74, date from
the end of Grleg's life. Their dissonant
harmonies venture far beyond folk
colors. The first psalm, performed
here, is a song of unabashed adoration.
Like his earlier folk music, the
melody is introduced only after the
other voices provide a recurring chordal
background. Each verse is
repeated without much variation until
the end. With a real masterstroke,
Grleg switches the mode of the solo
and choir, thereby creating an exotic,
aural world worthy of his most avant
garde contemporaries.
Vlzren from 1880 is one of Grleg's
most beloved songs, uniting piquant
harmonies, unaffected simplicity, with
a heartfelt, timeless melody.
- Alice Hanson
Charleslves (1874-1954)
The music of Charles Ives, like America
itself, eclectically draws without
hesitation from sacred and secular traditions.
Both choral works performed
here tonight were conceived around
1894, early in the composer's career
while he was a student at Yale and an
organist for New Haven's Central Presbyterian
Church.
Psalm 90 represents Ives' deep,
philosophical bent. Probably first composed
for his church, the present setting
is a revision completed in 1924.
Like many other of his works, the
psalm bears personal, programmatic
annotations by the composer. For
example, the organ's opening chords
he associated with the "Eternities"
and the dissonant following chords as
"God's wrath against sin." Also typical
is the stratified scoring, each group
(chorus, organ, and bells) representing
a philosophical or human attribute.
Despite its difficult voice leading
and unexpected rhythms, the music
closely follows the sense of the text.
The first section, which describes an
ageless, all-powerful God, Is set to traditional,
choral psalm chanting. But
as the text turns to human fraility, so
too the music becomes more dissonant
and willful, piling into noisy chord
clusters. The second section teaches
us to "number our days." Here Ives
supplies cool chords and introduces
the sound of bells, perhaps intimating
our immortality. The piece ends with
an expected plagal "Amen" cadence
for the choir, but a seeming continuation
of the organ and bell patterns
suggests eternity.
The "Circus Band" (1894) borrows
from the brash, vigorous circus
25

parade songs. In Ives' own words, the
song is written from a boy's point of
view and in the vernacular of the day.
He bends the rhythms and harmonies
of the simple tunes, while exploding
all the cliches of the style. The sentiment
is simple, the music is not.
- Alice Hanson
Stephen Foster (1828-1884)
The tenth of eleven children, Stephen
Foster was the son of well-to-do, politically
active parents near Pittsburgh,
Pennsylvania. Among American composers,
he was the first to make a
ltvtng from composing songs. While
his formal musical education is
unknown, he did play the violin and
flute and probably absorbed current
musical vogues from experience. This
program presents a cross section of
his styles.
"Open thy lattice" (1844), his first
published song, is an example of the
genteel serenade. Its 6/8 meter, lack of
refrain chorus and parallel third
motion, not to mention the allusions
in the text to water, clearly bow to the
barcarolle style popular in Europe at
the same time. "Oh Susanna" (1848)
and "Nelly Bly" (1850) are walkarounds
from the minstrel show. Set
in Black dialect with pentatonic,
repeating melodies and snappy banjolike
accompaniments, both songs
were wildly popular across America
and eventually in Europe. Their lively
tempo and instrumental preludes and
postludes suggest that dancing was
tied into their performance.
Also from the minstrel, but in a
more sentimental vein, were the
plantation ballads, of which "My Old
Kentucky Home" (1853) is a primary
example. It first was intended as a
response song to Stowe's blockbuster
novel, "Uncle Tom's Cabin"
(1851). Accordingly, the text recalls
the idealized joys of plantation life
and the tribulations of the present.
The melody, however, borrows from
Anglo-Irish types. Also typical is the
choral refrain sung after each verse.
Today the piece is the state song of
Kentucky. - Alice Hanson
26
George Gershwin (1898-1937)
In 1936, George Gershwin went to
Hollywood to write a series of film
scores tnvolving Fred Astaire and Ginger
Rogers. Although he found the
Hollywood experience favorable in
many ways, he evidently was not too
happy with the procedure of cutting
musical material along with the final
film editing, especially when this
meant eliminating one or two of his
numbers without his approval. He
was also a little bored with the singing
duo of Rogers and Astaire as the only
voices available for the numbers, so
he decided to write a few choral pieces
for the musical "Damsels in Distress"
(which incidentally ended up with
Joan Fontaine in the lead and not
Ginger Rogers). He wrote a letter to a
friend which gives an interesting insight
to the entire matter. This letter which is
quoted from Edward Jarblonski's and
Lawrence D. Stewart's book "The
Gershwin Years" reads as follows:
"The picture does not take advantage
of the songs as well as it should.
They literally throw one or two songs
away without any kind of a plug. This
is mainly due to the structure of the
story which does not include any
other singers than Fred and Ginger
and the amount of singing one can
stand of these two is quite limited. In
our next picture, "Damsels in Distress,"
we have protected ourselves in
that we have a madrigal group of singers
and have written two English type
ballads for background music so the
audience will get a chance to hear
some singing besides the crooning of
the stars ... "
Because the film itself is set in England,
Gershwin obviously tried to create
an English flavor, lying
somewhere between the madrigal and
a Gilbert and Sullivan chorus, but of
course, with the inevitable Gershwin
touch, the result is both unique and
charming. These settings are not
arrangements, but Gershwin's own
settings for chorus and piano.

COME AND HEAR US!
1987-88 Performances of The Dale Warland Singers and The
Dale Warland Symphonic Chorus
July 17-25, 1987
August 8, 1987
October 18, 1987
November 25,27,28,
1987
December 6, 1987
December 13, 1987
February 28, 1988
April 3, 1988
May 13,1988
Colorado Music Festival
Boulder, Colorado
Minnesota Orchestra Sommerfest
,'Otello" by Giuseppe Verdi
,'Accolades for Argento"
St. Mary's Basilica, Minneapolis
Minnesota Orchestra
Requiem by Giuseppe Verdi
"A Choral Christmas Card"
Ordway Music Theatre
"Echoes of Christmas"
Orchestra Hall
"Continental Classics"
World Theatre
"Easter Brass" with the Eastman
Brass
Ordway Music Theatre
"Glorious Gershwin"
Orchestra Hall
For additional information, please call The Dale Warland
Singers at 612/292-9780.
27

WECAN'T
SING
WITHOUT
YOU
YOUR GIFTS ARE TAX DEDUCTffiLE
28

We Sing Your
Praises!
Funded in part by the following:
(January 1, 1986-December 31, 1986)
Guarantors
Pete and Margie Ankeny
Campbell-Mtthun, Inc.
Dayton Hudson
Foundation for B.
Dalton Bookseller,
Dayton's, and Target
Stores
General Mills Foundation
General Mills, Inc.
Honeywell Foundation
IDS Financial Services
Inc.
McKnight Foundation
Mervyn's
Minnesota State Arts
Board
National Endowment for
the Arts
Northern States Power
Target Stores
Benefactors
G. Duane and Constance
Bell
Deluxe Check Printers
Foundation
First Bank System
Foundation for First
Bank Salnt Paul, First
Trust Saint Paul, First
Bank Minneapolis, and
community First
Banks
Sandra and David Hunter
Charlotte W. Jones
Michael W. and Kay
McCarthy
Northwest Airlines
Boake and Marian Sells
John R. and Patricia B.
Thomas
Wenger Foundation
Williams Steel and
Hardware
Patrons
Susan M. Barnes
Bemis Company
Foundation
Dixon and Judy Bond
Arland D. and Sharon
Brusven
James L. and Sherry
Davis
The Board of Directors of The Dale
Warland Singers gratefully acknowledges
the support of the following corporations.
foundations. and individuals listed below.
William D. Dunlap
Gerald B. and Catherine
L. Fischer
Charles W. and Jane
Gaillard
John F. and Shirley Horn
Thelma E. Hunter
Investment Advisors
Juran and Moody
Jon N. Kietzer
Terry S. Knowles
Mrs. John M. Musser
Sally W. Pillsbury
Schmitt Foundation
Clinton and Marie
Sathrum
Mr. and Mrs. Donald Sell
Dr. Frank and Linda
Steen
Glenn H. and Mary K.
Steinke
Dale and Ruth Warland
Sponsora
Russel P. Allen
Marie H. Ankeny
Mr. and Mrs. Dominick
Argento
Jack L. Armstrong
Arthur and Frances Bell
Margaret Beltz
James N. Berdahl
Russ Bursch
George D. Dayton
H. David Francis
Charles and Delores Fritz
Alfred and Ingrid
Harrison
Mr. and Mrs. William F.
Hartfiel, Jr.
Anders and Julie
Himmelstrup
Mr. and Mrs. Richard
Holy
Beverly Chalfen Jackson
Roland L. Jensen
Mrs. Rene A. Kidder
Piper, Jaffray & Hopwood
Richard and Margaret
Lidstad
Robert and Diane Reid
Nancy and Everett
Rotenberry
David and Rachel
Schwandt
29

30
Nancy Slaughter
Robert Spong
Barbara A Spradley
Russell and Arlene
Stansfield
Arturo L. Steely
James R. Treanor
Mr. and Mrs. F.T.
Weyerhaeuser
Mike and Donna Wolsted
Contributors
Joyce L. Anderson
Douglas M. and Carole M.
Baker
Polly Barten
Mr. and Mrs. Judson
Bemis
Mrs. Berle Bowen
Ray and Juliann Brovald
Ronald and Harriet
Burley
Harriett McD. Dayton
Max and Marilyn DeLong
George H. and Peggy
Dixon
Mr. and Mrs. Leif
Erickson
Stephen J. Evans
John and Jean Folin
Sheila H. Herbert
Dr. and Mrs. Alec L.
Janes
Elizabeth Jensen
Iver and Marybelle
Johnson
George A. Mairs
Al and Ada Nuhn
Steve and Sally Olson
Stephen and Patty Paulus
Mr. and Mrs. William D.
Reber
Anthony Rockwell
Anthony H. and M.
Louise Rubino
West Campus Concert
Choir. Roseville H.S.
Mr. and Mrs. O.A.
Sandeen
Norm and Jackie Schmitz
Mr. and Mrs. George
Shearing
Mark and Mary Sigmond
Mr. and Mrs. G. Richard
Slade
John J. and Mary Taylor
Mr. and Mrs. AH.
Thirsten
Robert and Karen
Veninga
Karen Walhof
Diane and Evan Williams
Donors
Cratg and Alana
Alexander
Coralie J. Allen
Anonymous
Mr. and Mrs. Peter W.
Anson
Harold and Phyllis Ause
Dr. and Mrs. Louis W.
Banitt
Raymond and LaVerne
Btngea
Mrs. Berle Bowen
Charles and Joanne
DeVore
Katherine G. Doepke
Mrs. Dolly Fiterman
James and Gladys Gilbert
C. Arthur and Marge
Harvey
Ronald B. and Betty A
Hemstad
Larry Lee Hensel
Charles Hilstad
S.E. Hodulik
Marion and Warren
Hoffman
George and Georgine
Holmes
Alan and Martha
Hopeman
Dr. and Mrs. William R.
Jahnke
Elizabeth Jensen
Jerry R. and Lou Ann
Jesperson
Paul R. Johansen
Arthur and Doreen
Johnson
Joel and Karen Johnson
Don and Mary Koessel
Urban and Mary
Landreman
HelenE. Law
Gary and Mary Lynn Leff
Minnesota Center Chorale
Robert R. and Ethel
Mitchell
Jim Norris
David John Olson
William G. Olson
Alonzo R. and Joan A.
Parsons
Dr. and Mrs. Leland B.
Sateren
Agnes Seim
Edith S. Sheldon
Beverly J. Shupe
Leon Thurman
E.W. and Carolyn C.
White
George and Biloine Young
In-kind Contributors
Elsie Armstrong
Augsburg Publishing
House
Tom Berthiaume
Black Music Educators of
the Twin Cities
Ann Broughton

Bolger Publications
Crocus Hill Electric Co.
Dayton Hudson
Corporation
Susan Federbusch
Cathie Fischer
First Bank Grand
First Bank System
Debra Harrer
General Mills. Inc.
Paula Herring
Paul Higham. Target
Stores
Holiday Corporation
Jeanne Holmquist
Hotel Luxeford
IDS Financial Services
Inc.
Jahn & OIlier
Macalester College
Minnesota Composers
Forum
Frances Nelson
Loren Nelson
Doug Nodland
Northern States Power
Rob Reid
Chuck Risser
Kathy Romey
Sea Note Cruises
Susan Schoenecker
Nancy Slaughter
Diane Sorenson
Anne Thirsten
Lola May Thompson
Donor Categories
Guarantor: $5,000 or
more
Benefactor: $1,000-4.999
Patron: $250·999
Sponsor: $100-249
Contributor: $50-99
Donor: Under $50
We welcome gifts other
than cash.
This report of gifts made to The Dale Warland Singers has been carefully
checked for errors. However. if your name is misspelled or otherwise incorrectly
listed. please advise our office. P.O. Box 16207. Elway Station. St. Paul. MN
551I6.
The Dale Warland Singers is a member of the Association of Professional
Vocal Ensembles (APVE).
The Dale Warland Singers are the recipient of a McKJU,(htFoundation
Award administered by the Minnesota State Arts Board.
This activity is made possible in part by a grant provided by the Minnesota
State Arts Board. through an appropriation by the Minnesota State
Legislature. The Minnesota State Arts Board received additional funds to
support this activity from the National Endowment for the Arts.
This project is supported by a grant from the National Endowment for the
Arts.
The Singers' choral risers and acoustical shell are manufactured by Wenger
Corporation. Owatonna, Minnesota.
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