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INDIANA STATEUNIVERSITYCONTEMPORARY MUSIC FESTIVAL

1988

For the twenty-second year, Indiana State University,with the support of theIndiana Arts Commission, Arts Midwest, and the National Endowment for the Arts,brings composers, performers, critics, and other authorities on the contemporaryarts to Terre Haute for concerts, workshops, and seminars throughout the week ofthe festival. Featured guests:

Orchestra: The louisville OrchestraLawrence Leighton Smith, Music Director

Ensembles: The Dale Warland SingersDale Warland, ConductorMary Ellen Childs, Guest Composer

Equilibrium (Dance and Percussion Duo)Nancy and Michael Udow

Principal Guest Composer: Joan Tower

Composition Contest Winner: John Muehleisen

Guest Critic: Byron Belt

Special Guests: Wayne S. Brown, The louisville Orchestra

Glenn Cockerham, Arts IIliana

William E. Davis, Indiana State University

Edward R. Quick, Sheldon Swope ArtMuseum

Indiana State UniversityDepartment of MusicTerre Haute, IN 47809

812/237-2771

TUESDAY CONCERTOctober 11,1988 8:00 p.m. Tilson Music Hall

THE DALE WARLAND SINGERSI.

20th-CENTURY MADRIGALSStreet Cries, from Shoemaker's Holiday

Go, Lovely Rose

Kotek (The Little Cat)

See How the Earth, from Spherical Madrigals

It Is Good To Be Merry

II.Adagio assai ("Beauty"), from

Peter Quince at the ClavierJerry Rubino, piano

III. 20th-CENTURY ECLECTIC MASSKyrie, from A Thanksgiving Mass

Gloria, from Missa Misericordiae

Almighty Father, from Mass

Sanctus, from A Mass of Textures

Agnus Dei, from Mass in G Major

INTERMISSIONIV.

Suite de Lorca

(sung in Spanish)I. Cancion de jinete (Song of the horseman)II. EIgrito (The scream)III. La luna asoma (The moon rises)

IV. Malaguena (Song of Malaga)

V.In Time of Pestilence:

Six Short Madrigals on Verses of Thomas Nashe

VI. THE INFLUENCE OF JAZZFascinatin' Rhythm

Music to Hear: Songs from Shakespeare

1. Sigh No More Ladies, Sigh No More2. Is It For Fear To Wet a Widow's Eye3. Blow, Blow, Thou Winter Wind

Jerry Rubino, pianoJohn Chance, double bass

Texts and Program notes on page 14.

Dominick Argento(b. 1927, USA)

Halsey Stevens(b. 1908, USA)

Andrzej Koszewski(b. 1922, Poland)

RossLee Finney(b. 1906, USA)

Jean Berger(b. 1909, USA)

Dominick Argento

Knut Nystedt(b. 1915, Norway)

Egil Hovland(b. 1927, Norway)Leonard Bernstein

(b. 1918, USA)Joseph Ott

(b. 1929, USA)Francis Poulenc

(1899-1963, France)

Einojuhani Rautavaara(b. 1928, Finland)

Ned Rorem(b. 1923, USA)

George Gershwin(1898-1937, USA)

(Phil Mattson)George Shearing

(b. 1919, USA)

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THURSDAY CONCERTOctober 13, 1988 8:00 p.m. Tilson Music Hall

THE DALE WARLAND SINGERSI.

Suite de Lorea

(sung in Spanish)

Einojuhani Rautavaara(b. 1928, Finland)

I. Cancion de jinete (Song of the horseman)II. EI grito (The scream)III. La luna asoma (The moon rises)


II.20th-CENTURY MOTETS

The Rose John Paynter(b. 1931, England)

William Hawley(b. 1950, USA)

Two MotetsI. MosellaII. Te vigilans oculis

Jesu Parvule (Poor little Jesus) Andrzej Koszewski(b. 1922, Poland)

III.

Tom o'Bedlam

William Denton, oboeTim Peterman, percussion

Jacob Avshalomov(b. 1919, USA)

INTERMISSION

IV.

Le Cam pane di Leopardi (Leopardi's Bells) Vehuda Vannoy(b. 1937, USA)

V.Four Pastorales

1. No Mark2. Noon3. Basket4. Wood

Cecil Effinger(b. 1914, USA)

William Denton, oboe

VI.

Psalm 90

Jerry Rubino. organTim Peterman and Dave Snoddy, percussion

Charles Ives(1874-1954, USA)

Texts and program notes on page 21.

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THE DALE WARLAND SINGERSFounded in 1972,The Dale Warland Singers have become one of the nation's premier

professionalchoral ensembles. Based in the TwinCitiesof Minneapolis and St.FOul,the Singershave achieved an international reputation for excellence, earned through an extensiveschedule of concerts, tours, broadcasts and recordings. The accomplishments of the grouphave brought its members before audiences throughout the United States,Canada, andEurope.

Noted for their vast repertoire of a cappella music, the Singers inspire audiences withprograms ranging from the great choral classics to American folk songs and choral jazz.Inaddition, the ensemble iswell known and admired for itsspecial commitment to new music.They have many commissions and premieres to their credit, and have included over fourhundred twentieth-century works in their programs.

Known to many through frequent appearances on "A Prairie Home Companion" and"St. FOulSunday Morning," the Singers have collaborated with a veritable "Whds Whd' ofmusic, including Robert Shaw, Neville Marriner, Dave Brubeck, Leonard Slatkin, Eric Ericson,and Edo de Waart.

DALE WARLANDIn addition to his work as music director with

The Dale Warland Singers, Music Director DaleWarland is in demand as a guest conductor,lecturer, and composer/arranger. Regularappearances on American Public Radio,fourteenrecordings, and tours with the Singers havebrought Dr.Warland international acclaim.

Among his many conducting honors areperformances with the Swedish Radio Choir(Stockholm), the Danish Radio Choir(Copenhagen), and the Mormon TabernacleChoir. A member of the American Society ofComposers, Authors, and Publishers (ASCAP),Warland is a former co-chair of the choral andrecording panels of the National Endowment forthe Arts, In June 1988, he was named ChoralAdvisor to Oxford University Press,U.S.A.In thiscapacity, he will assistwith the expansion of theOxford American choral listand will create a DaleWarland Choral Series.

Warland was on the faculty at Macalester College in St. FOulfrom 1967 to 1986, andis also a "Distinguished Alumnus" of St.Olaf College. He holds a master's degree from theUniversityof Minnesota and a doctor of musical arts degree from the Universityof SouthernCalifornia.

MARY ELLENCHILDSMary Ellen Childs cites contemporary dance, theater and visual art as strong influences on her musical

compositions, She has composed works in collaboration with choreogrqphers and visual artists. Recentlyshe has begun using a theatrical approach in staging Fier musical work, as in "Places, Please!" and"Wall to WaiL" both concerts of her works which incorporate the visual elements of lighting, staging,movement or video to underscore the music.

In the past year, works by Childs have been premiered by the Kronos Quartet. The Saint FI::lulChamberOrchestra, and Relache, the Philadelphia-based ensemble for contemporary music. Her work in progressincludes music for The Dale Warland Singers,who will read from it at the 1988Contemporary Music Festival.

Childs has been the recipient of commissions from the American Dance Festival in Durham, NC, andthe Composers Commissioning Program of the Minnesota Composers Forum, and has received grantsthrough the InterArts program of the National Endowment for the Arts, the McKnight Feliowship program,and Meet the Composer,

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PROGRAM NOTES

Tuesday EveningStreet Cries (Argento). A Regents' Professorat the Universityof Minnesota, Dominick Argento

has won many awards and commissions for hiswork, including the PulitzerPrizein 1975.

Go, Lovely Rose (Stevens). A graduate of Syracuse University,Halsey Stevenswas a studentof William Berwald. Hetaught from 1948to 1976at the Universityof Southern California,where he is now a professor emeritus. Stevens isalso a renowned scholar of the musicand life of Bela Bartok.

text:Go, Lovely Rose,Tell her that wastes her time and me,That now, now she knows,When I resemble her to thee,How sweet and fair she seems to be.

Tell her that's young,And shuns to have her graces spied,That hadst thou sprungIn deserts where no men abide,Thou must have uncommended died.

Small is the worthOf beauty from the light retired:Bid her come forth,Suffer herself to be desired,And not blush so to be admired.

Then die that sheThe common fate of all things rareMay read in thee;How small a part of time they shareThat are so wondrous sweet and fair!

Kotek (Koszewski). Andrzej Koszewskireceived most of his musical training at the WarsawConservatory, but his greatest musical influence was the folk music of his native Poland.While he has written for many idioms, he is best known for his unpretentious, sonorouschoral compositions.

text:Pussycat along the road,Kitten paws keep following itCasting glances, purring softly,Stalking, stalking, purring,Purring until it stalks a sparrow.

See How the Earth (Finney). RossLeeFinneywas born in Wells,Minnesota, in 1906and receivedhis B.A.from Carleton College. He later studied composition with such luminaries asAlban Berg and Nadia Boulanger and taught from 1949 to 1973 at the University ofMichigan.

text (Andrew Marvell):See how the arched Earth does hereRise in perfect Hemisphere!The stiffest Compass could not strikeA Line more circular and like;Nor softest Pensel draw a BrowSo equal as this Hill does bow.It seems as for a Model laid,And that the World by it was made.

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PROGRAM NOTESIt Is Good To Be Merry (Berger). Jean Berger was born in Germany but has lived most of

his life in SouthAmerica and the United States. He has taught at several U.S.colleges,including Middlebury College and the Universityof Colorado.

text:It is good to be merry, 'tis good to be merry and wise.It is good to be merry at meat,It is merry when men meet.The more the merrier,The fewer the better fare.Isany merry?Let him sing psalms.The merry heart maketh a cheerful countenance.It is good to be merry, 'tis good to be merry and wise.

Beauty (Argento) is the fourth movement (Adagio assai) of Peter Quince at the Clavier,recently released on a recording by The Dale Warland Singers along with anotherArgento work, I Hate and I Love.

text:Beauty is momentary in the mind-The fitful tracing of a portal;But in the flesh it is immortal.

The body dies; the body's beauty lives.So evenings die, in their green going,A wave, interminably flowing.So gardens die, their meek breath scentingThe cowl of winter, done repenting.So maidens die, to the auroralCelebration of a maiden's choral.

Susanna's music touched the bawdy stringsOf those white elders; but, escaping,Left only Death's ironic scraping.Now, in its immortality, it playsOn the clear viol of her memory,And makes a constant sacrament of praise.

The 20th-Century Eclectic Mass has been compiled from works by five different anddistinguished composers.

KyrieLord have mercy on us. Christ have mercy on us.Lord have mercy on us.

GloriaGlory be to God on high. And on earth peace to men of goodwill. We praise thee, we blessthee, we worship th~e, we glorify thee. We give thanks to thee for thy great glory. 0 LordGod, heavenly King, God the Father Almighty. Lord, the only-begotten Son, Jesus Christ.

o Lord God, Lamb of God, Son of the Father.Thou that takest away the sinsof the world, have mercy on us. Thou that takest away thesinsof the world, receive our prayer. Thou that sittestat the right hand of the Father, havemercy on us.

Forthou only art holy. Thou only art the Lord. Thou only art most high, JesusChrist. With theHoly Spirit, in the glory of God the Father. Amen.

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PROGRAM NOTES

Almighty FatherAlmighty Father, inclineThine ear:Blessus and all those who have gathered here.

Thine angel send usWho shall defend us all.

And fill with graceAll who dwell in this place.Amen.

SanetusHoly, holy, holy, Lord God of Hosts.Heaven and earth are full of your glory. Hosanna in thehighest.

Agnus DeiLamb of God, who takes away the sinsof the world, have mercy upon us. Lamb of God,who takes away the sinsof the world, grant us peace.

Suite de Lorea (Rautavaara). Once a student of Copland and Persichetti, EinojuhaniRautavaara has taught at the Sibelius Academy in Helsinkisince 1966. (Fornotes onthe poet. see Muehleisen's Visions through the Prism, Friday concert.)

translations:I. Cancion 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 mefrom the towers of Cordoba.

Oh, what a long road!Ah. my valiant little horse!Oh. how death awaits mebefore arriving in Cordoba.

Cordoba.Distant and alone.

II. EIgrito (Thescream)

The ellipse of a screamgoes from mountainto mountain.From the olive treesit will be a black rainbowover the blue night.Ahh!

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PROGRAM NOTES

As the bow of a viola,the scream has caused thelong cords of the wind to vibrate.Ahh!

(The peoples of the cavernsbring out their oil lamps.)

III.La luna asoma (The moon rises)

When the moon comes outthe bells are lostand impenetrable pathsappear.

When the moon comes out,the sea covers the landand the heart feels like anisland in infinity.

No one eats orangesunder the full moon.One should eat fruit,green and frozen.

When the moon of ahundred equal faces comes out,the silver coinssob in the pocket.


Deathenters and leavesthe tavern.

Black horsesand sinister people passby the depthsof the guitar.

And there is a smell of saltand of female bloodon the feverish plantsof the seashore.

In Time of Pestilence (Rorem). One of the most brilliant composers of American song, NedRorem was a student of Aaron Copland.

Adieu, farewell earth's bliss!Thisworld uncertain is:Fond are life's lustful joys,Death proves them all but toys.None from his darts can fly;I am sick, I must die-

Lord, have mercy on us!

Rich men, trust not in wealth,Gold cannot buy you health;Physic himself must fade;All things to end are made;The plague full swift goes by;I am sick, I must die-


Beauty is but a flowerWhich wrinkles will devour;Brightness falls from the air;Queens have died young and fair;Dust hath closed Helen's eye;I am sick, I must dle-


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PROGRAM NOTES

Strength stoops unto the grave,Worms feed on Hector brave;Swords may not fight with fate;Earth still holds open her gate;Come, come! the bells do cry;I am sick, i must die-


Wit with his wantonnessTasteth death's bitterness;Hell's executionerHath no ears for to hearWhat vain art can reply;I am sick, I must die-


Haste therefore each degreeTo welcome destiny;Heaven is our heritage,Earth but a player's stage.Mount we unto the sky;I am sick, I must die-


-Thomas Nashe (1567-1601)

Fascinatin' Rhythm (Gershwin). Gershwin's fusion of classical music and jazz needs nointroduction to American audiences.

Music to Hear (Shearing). George Shearing isone of the great jazz pianists of our time, andisalso an active composer. The Dale Warland Singerscommissioned Shearing to writeMusic to Hear in 1985, and he performed the work with them in its world premiere.

texts (Shakespeare):

A Song from "Much Ado About Nothing"(Act II, Scene iii)

Sigh no more, ladies, sigh no more,Men were deceivers ever;

One foot in sea, and one on shore,To one thing constant never.

Then sigh not so,But let them go,

And be you blithe and bonny,Converting all your sounds of woeInto Hey nonnv. nonny.

Sing no more ditties, sing no moreOf dumps so dull and heavy;

The fraud of men was ever so,Since summer first was leavy.

Then sigh not so,But let them go,

And be you blithe and bonny,Converting all your sounds of woe

Into Hey nonnv. nonny.

Sonnet No. 9Is it for fear to wet a widow's eyeThat thou consum'st thyself in single life?Ah! if thou issuelessshalt hap to die,The world will wail thee, like a makeless wife;The world will be thy widow, and still weeQThat thou no form of thee hast left behind,When every private widow well may keepBy children's eyes her husband's shape in mind.Look, what an unthrift in the world doth spendShifts but his place, for still the world enjoys it;But beauty's waste hath in the world an end,And kept unus'd. the user so destroys it.

No love toward others in that bosom sitsThat on himself such murderous shame commits.

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PROGRAM NOTES

A Song from ''As You Like It"(Act II, Scene vii)

Blow, blow, thou winter windThou art not so unkind

As man's ingratitude.Thy tooth is not so keenBecause thou art not seen,

Although thy breath be rude.Heigh ho. sing heigh ho. unto the green holly!Most friendship is feigning, most loving mere folly:

Then heigh ho. the holly,This life is most jolly.

Freeze, freeze, thou bitter sky,That dost not bite so nigh

As benefits forgot.Though thou the waters warp,Thy sting is not so sharp

As friend rememb'red not.Heigh ho. sing heigh ho. unto the green holly!Most friendship is feigning, most loving mere folly:

Then heigh ho. the holly,This life is most jolly.

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PROGRAM NOTES

Thursday EveningSuite de Lorca (Rautavaara). See notes for Tuesday concert, page 16.

The Rose (Paynter). John Paynter was born in London and received his musical educationat TrinityCollege of Music, London. He has written works for orchestra, choir, and sym-phonic chorus, and currently teaches at the University of York.

text (traditional English):

Of a rose singe we,Misterium mirabile.

This rose is red of colour bright,Thro' whom our jove gan alightUpon this Christmasse night,Claro David germine.

Of this rose was Christ vbore.To save mankind that was forlore,And us aile from slnnes sore.

Prophetarum carmine.Mira plenitudine.Claro David germine.Misterium mirabile.

This rose of tloweres she is no flower;She ne will fade for no shower;To sinful men she sent succor.

This rose is so fair of hue;In maid Mary that is so trueYborne was Lord of virtue.Salvator sine crimine.

Two Motets (Hawley). William Hawley was born in Bronxville, New York, and educated atIthaca College and the California Institute of the Arts. His works have been heardthroughout the United States and in Poland: the Netherlands, France, and Japan. Helives in New York City.

texts and translations:Mosella (Ausonius. 310-395 A.D.)

Quis color ille vodls. seras cum propulit umbrasHesperus et viridi perfudit monte Mosellam!tota natant crispis iuga motibus et tremit absenspampinus et vitreis vindemia turget in undis.

What color that shoal, with the late shadow banished byHesperus, and verdure filling the hills of the Moselle!everything floats, rippling together in motion, the distantvine-leaf trembles, and the grape swells in the glittering water.

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PROGRAM NOTES

Te vigilans oculis (Petroni us Arbiter, 20?-66 A.D.)

Te vigilans oculis, animo te nocte requlro.victa iacent solo cum mea membra toro.vidi ego me tecum falsa sub imagine somni:somnia tu vlnces. si mihi vera vines.

My eyes watch for you, by night my soul desires you,alone and overcome, my limbs tossing in bed.I have seen myself with you, in the imagination of sleep:in dreams you appear-if only you would truly come to me.

Jesu Parvule (Koszewskl). Andrzej Koszewski received most of his musical training at theWarsaw Conservatory, but his greatest musical influence was the folk music of his nativePoland. While he has written for many idioms, he is best known for his unpretentious,sonorous choral compositions. Jesu parvule is a traditional Latin poem (no translationavailable).

Tom o'Bedlam (Avshalomovl. Jacob Avshalomov was educated in China and came to theUnited States in 1937. After studying and teaching music in the eastern states, he movedto Oregon, where he has been conductor of the Portland Youth Philharmonic since1954. Tom o'Bedlam was first performed by Robert Shaw's Collegiate Chorale in NewYork in 1953, and received the New York Critics' Circle Award the same year.

text (Anonymous, c. 1615):Thehospital of St.Mary of Bethlehem.or "Bedlam," as it came to be called. was converted intothe first asylum for the insane in England in 1547. by order of HenryVIII.Among those inmateswho were let out of the overcrowded asylumto roam the country as licensed beggars was MadTom-with feathers and ribbons in his hat. his hair long, his clothes rags. and the mark of theBedlamite branded upon him.

Fromthe hag and hungry goblinThat into rags would rend yeAnd from the spirit that stan' by the naked manIn the Bookof Moons, defend ye!That of your five sound sensesYou never be forsakenNor never travel from yourselveswith TomAbroad to beg your bacon,

Nor never sing: "Any food. any feeding.Money. drink, or clothing.Come dame or maid, be not afraid,PoorTom will injure nothing."

Of thirty bare years have ITwice twenty been enragedAnd of forty bin three times fifteenIn durance soundly cagedIn the lordly lofts of BedlamOn stubble soft and dainty,Brave bracelets strong, sweet whips ding dong.With wholesome hunger plenty.

And now I sing: (Refrain)

When I have shorn my sowce faceAnd swigged my horned barrelIn an oaken inn do I pawn my skinAs a suit of gilt apparel.The moon's my constant mistressAnd the lonely owl my marrowThe flaming drake and night-crow makeMe music to my sorrow.

And now I sing: (Refrain)

With an host of furious fanciesWhereof I am commanderWith a burning spear, and a horse of air,To the wilderness I wander.Bya knight of ghosts and shadowsI summoned am to tourneyTen leagues beyond the wide world's end.Methinks it is no journey.

All while I sing: "Any food, any feeding,Money. drink, or clothing.Come dame or maid. be not afraid.PoorTom will injure nothing."

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PROGRAM NOTES

Le Campane di Leopardi (Vannay). Although he was born in Romania, Vehuda Yannayhas spent mostof hisprofessional life in the United States.Heearned advanced degreesfrom Brandeis Universityand the Universityof Illinois,and now teaches at the Universityof Wisconsin,Milwaukee. LeCampane di Leopardi isbased on the text of a nineteenth-century poem by the Italian Giocomo Leopardi. Yannay is well known for his use ofnontraditional instruments,and for thiswork he utilizestuned wine glassesthat representthe emptiness of night.

translation:Thetolling of the hour iscarried by the wind from the town belfry. Itwas the sound thatcomforted me, as I remember, during those terrifying nights of boyhood, when I layawake in my dark room, filled with fright, longing for the dawn.

Four Pastorales (Effinger).Cecil Effingerwas born and raised in Colorado, and later studiedcomposition with Nadia Boulanger in Paris. In 1936 he became a faculty member atthe University of Colorado, where he remains a composer-in-residence.

texts (Thomas Hornsby Ferril):1. NO MARKCorn grew where the corn was spilledIn the wreck where Casey Jones was killed,Scrub-oak grows and sassafrasAround the shady stone you passTo show where Stonewall Jackson fellThat Saturday at Chancellorsville,And soapweed bayonets are steeledAcross the Custer battlefield;But where you die the sky is blackA little while with crackling flak,Then ocean closes very stillAbove your skull that held our will.Oh, swing away, white gull, white gull,Evening star, be beautiful.

2. NOONNoon is half the passion of light,Noon is the middle prairie and the slumber,Noon, the lull of resin weed, The yucca languor,The wilt of sage at noon is

the longest distance any nostril knows.How far have we come to feel the shade of this tree?

3. BASKETKnow me, know me then.The children of the shade have brought me a basketVery small and ·woven of dry grassSmelling as sweet in December as the day I smelled it first.Only one other ever was this to me,Sweet birch from a far river,

You would not know, you did not smell the birch,You would not know, you did not smell the grass,You, you did not know me then.

Know me, know me then.The children of the shade have brought me a basket,

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PROGRAM NOTES

4. WOOD

There was a dark and awful woodWhere increments of death accruedTo ev'ry leaf and antlered headUntil it withered and was dead,And lonely there I wandered and wandered and wandered.But once a myth white moon shone thereAnd you were kneeling by a flow'r.And it was practical and wiseFor me to kneel and you to rise,And me to rise and turn to go,And you to turn and whisper no.And seven wondrous stags that I could not believewalked slowly by.

Psalm 90 (lves). Charles Ives anticipated by some years many of the most strikingdevelopments in twentieth-century music, including polyrhythms, polytonality, and theuse of noise as a source of musical sound. Psalm90 was composed before 1893, butthe original score was lost. Ivesbegan a reconstruction and recomposition of the workin 1923, incorporating progressive compositional tools including tone clusters andclashing dissonance, all over a C pedal point that laststhe entire length of the piece.

text:1. Lord, thou hast been our dwelling place from one generation to another.2. Before the mountains were brought forth, or ever thou hadst formed the earth and

the world, even from everlasting to everlasting, thou art God.3. Thou turnest man to destruction and sovest. "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 carriest 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 are we troubled.8. Thouhassetour iniquitiesbefore thee, our secret sinsin the light of thy countenance.9. Forall 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 cutoff, and we flyaway.

11. Who knoweth the power of thine anger? Evenaccording to thy fear, so isthy 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 usglad according to the days wherein thou hast afflicted 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.

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THE DALE WARLAND SINGERSDale Warland, Music DirectorSigrid Johnson, Associate ConductorJerry Rubino, Pianist and Cabaret Singers Conductor

Soprano'Sigrid JohnsonDeborah LoonBarb NelsonSolveig NelsonMelissa O'NeillLea Anna Sams-McGowanLisa Sawatsky

AltoKaren Johnson

'Anna MooyJoan Quam-MacKenzieLisa StrandjordDonelle ZimdarsClaudia Zylstra

'section leader

TenorPaul Gerike

'John HenleyGary KortemeierTom LarsonDavid ReeceTimothy Sawyer

BassSteve BurgerWayne Dalton

'Jerry RubinoArthur RUdolph-LaRueJohn SchonebaumPaul Theisen

For information about The Dale Warland Singers, telephone Russ Bursch, General Manager, (612) 292-9780,

THE LOUISVILLE ORCHESTRALawrence Leighton Smith, Music Director

First ViolinMichael Davis, Concertmaster

Fanny and Charles HornerConcertmaster Chair

Zoran Stoyanovich,Acting Assistant Concertmaster

Katheryn StearnsSarah ReedCheri Lyon KelleyKeith CookStephen TaylorScott StaidleNancy HendersonKatherine LurtonClaudia Chudacoff

Second ViolinBarbara Meek Thompson, PrincipalClinton Grosz, Assistant PrincipalMary Catherine KlanDevonie FreemanElisa McMillanAnita TuckerCharles BrestelLawrence GileJudy PeaseBlaise JessopHeidi Poth

ViolaJack Griffin, PrincipalChristine Rutledge,

Assistant PrincipalDavid RayClara MarkhamMelinda OdieWilliam BauerVirginia Schneider

CelloSusannah Onwood, PrincipalJoseph Caruso, Assistant PrincipalMarilyn WilloughbyChristina HintonBrooke HicksLouise HarrisDeborah CarusoJulia Preston

BassDaniel Spurlock, PrincipalSidney King, Assistant PrincipaiPatricia DocsRobert DocsJarrett FankhauserMichael Chmilewski

FluteFrancis Fuge, PrincipaiSara BrinkDonald Gottiieb

PiccoloDonald Gottlieb

OboeMarion Gibson, PrincipalEdgar HinsonMarianne Petersen

English HornMarianne Petersen

ClarinetMichael Megahan, PrincipalDallas TidwellErnest Gross

Eb/Bass ClarinetErnest Gross

BassoonMatthew Karr, Principal,

Paul D. McDowell ChairDavid HornStephanie Middleton

ContrabassoonStephanie Middleton

HornKenneth Albrecht, PrincipalDennis HallmanBrian ThomasStephen CauseyStanley Matras

TrumpetJohn Rommel, PrincipaiJ, Jerome Amend

TrombonePatricia McHugh, PrincipalJoseph Parrish

Bass TromboneRaymond Horton

TubaArthur Hull Hicks, Principal

TimpaniJames Rago, Principal

PercussionJohn Pedroja, PrincipalMark TateChad Stoltenberg

LibrarianDavid Ray

Personnel ManagerKenneth Albrecht

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Documents

Indiana State University, 22nd Contemporary Music Festival