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INDIANA STATEUNIVERSITY
CONTEMPORARY MUSIC FESTIVAL
1988
For the twenty-second year, Indiana State University, with the support of the
Indiana Arts Commission, Arts Midwest, and the National Endowment for the Arts,
brings composers, performers, critics, and other authorities on the contemporary
arts to Terre Haute for concerts, workshops, and seminars throughout the week of
the festival. Featured guests:
Orchestra:
Ensembles:
The louisville Orchestra
Lawrence Leighton Smith, Music Director
The Dale Warland Singers
Dale Warland, Conductor
Mary Ellen Childs, Guest Composer
Equilibrium (Dance and Percussion Duo)
Nancy and Michael Udow
Principal Guest Composer:
Composition Contest Winner:
Guest Critic:
Special Guests:
Joan Tower
John Muehleisen
Byron Belt
Wayne S. Brown, The louisville Orchestra
Glenn Cockerham, Arts IIliana
William E. Davis, Indiana State University
Edward R. Quick, Sheldon Swope Art
Museum
Indiana State University
Department of Music
Terre Haute, IN 47809
812/237-2771
TUESDAY CONCERT
October
8:00 p.m.
11,1988
Tilson Music Hall
THE DALE WARLAND SINGERS
I.
20th-CENTURY MADRIGALS
Street 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
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)
II.
Adagio assai ("Beauty"), from
Peter Quince at the Clavier
Dominick Argento
Jerry Rubino, piano
III. 20th-CENTURY ECLECTIC MASS
Kyrie, from A Thanksgiving Mass
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)
Gloria, from Missa Misericordiae
Almighty Father, from Mass
Sanctus, from A Mass of Textures
Agnus Dei, from Mass in G Major
INTERMISSION
IV.
Suite de Lorca
I.
II.
III.
IV.
Einojuhani Rautavaara
(b. 1928, Finland)
(sung in Spanish)
Cancion de jinete (Song of the horseman)
EI grito (The scream)
La luna asoma (The moon rises)
Malaguena (Song of Malaga)
V.
In Time of Pestilence:
Six Short Madrigals on Verses of Thomas Nashe
Ned Rorem
(b. 1923, USA)
VI. THE INFLUENCE OF JAZZ
Fascinatin' Rhythm
George Gershwin
(1898-1937, USA)
(Phil Mattson)
George Shearing
(b. 1919, USA)
Music to Hear: Songs from Shakespeare
1. Sigh No More Ladies, Sigh No More
2. Is It For Fear To Wet a Widow's Eye
3. Blow, Blow, Thou Winter Wind
Jerry Rubino, piano
John Chance, double bass
Texts and Program notes on page 14.
2
THURSDAY CONCERT
October
13, 1988
8:00 p.m.
Tilson Music Hall
THE DALE WARLAND SINGERS
I.
Suite de Lorea
Einojuhani Rautavaara
(b. 1928, Finland)
(sung in Spanish)
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)
II.
20th-CENTURY MOTETS
The Rose
John Paynter
(b. 1931, England)
William Hawley
(b. 1950, USA)
Two Motets
I. Mosella
II. Te vigilans oculis
Jesu Parvule (Poor little Jesus)
Andrzej Koszewski
(b. 1922, Poland)
III.
Tom o'Bedlam
Jacob Avshalomov
(b. 1919, USA)
William Denton, oboe
Tim Peterman, percussion
INTERMISSION
IV.
Le Cam pane di Leopardi
(Leopardi's
Bells)
Vehuda Vannoy
(b. 1937, USA)
V.
Four Pastorales
1.
2.
3.
4.
Cecil Effinger
(b. 1914, USA)
No Mark
Noon
Basket
Wood
William Denton, oboe
VI.
Psalm 90
Jerry Rubino. organ
Tim Peterman and Dave Snoddy, percussion
Texts and program notes on page 21.
4
Charles Ives
(1874-1954, USA)
THE DALE WARLAND SINGERS
Founded in 1972,The Dale Warland Singers have become one of the nation's premier
professional choral ensembles. Based in the TwinCitiesof Minneapolis and St.FOul,the Singers
have achieved an international reputation for excellence, earned through an extensive
schedule of concerts, tours, broadcasts and recordings. The accomplishments of the group
have brought its members before audiences throughout the United States, Canada, and
Europe.
Noted for their vast repertoire of a cappella music, the Singers inspire audiences with
programs ranging from the great choral classics to American folk songs and choral jazz.
In addition, 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 four
hundred 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' of
music, including Robert Shaw, Neville Marriner, Dave Brubeck, Leonard Slatkin, Eric Ericson,
and Edo de Waart.
DALE WARLAND
In addition to his work as music director with
The Dale Warland Singers, Music Director Dale
Warland is in demand as a guest conductor,
lecturer, and composer/arranger.
Regular
appearances on American Public Radio,fourteen
recordings, and tours with the Singers have
brought Dr.Warland international acclaim.
Among his many conducting honors are
performances with the Swedish Radio Choir
(Stockholm),
the
Danish
Radio
Choir
(Copenhagen), and the Mormon Tabernacle
Choir. A member of the American Society of
Composers, Authors, and Publishers (ASCAP),
Warland is a former co-chair of the choral and
recording panels of the National Endowment for
the Arts, In June 1988, he was named Choral
Advisor to Oxford University Press,U.S.A.In this
capacity, he will assistwith the expansion of the
Oxford American choral listand will create a Dale
Warland Choral Series.
Warland was on the faculty at Macalester College in St. FOulfrom 1967 to 1986, and
is also a "Distinguished Alumnus" of St. Olaf College. He holds a master's degree from the
Universityof Minnesota and a doctor of musical arts degree from the Universityof Southern
California.
MARY ELLENCHILDS
Mary 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. Recently
she 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::lulChamber
Orchestra, and Relache, the Philadelphia-based ensemble for contemporary music. Her work in progress
includes music for The Dale Warland Singers,who will read from it at the 1988 Contemporary Music Festival.
Childs has been the recipient of commissions from the American Dance Festival in Durham, NC, and
the Composers Commissioning Program of the Minnesota Composers Forum, and has received grants
through the InterArts program of the National Endowment for the Arts, the McKnight Feliowship program,
and Meet the Composer,
10
PROGRAM NOTES
Tuesday Evening
Street 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 Stevens was a student
of William Berwald. He taught from 1948to 1976at the Universityof Southern California,
where he is now a professor emeritus. Stevens is also a renowned scholar of the music
and 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 sprung
In deserts where no men abide,
Thou must have uncommended died.
Small is the worth
Of beauty from the light retired:
Bid her come forth,
Suffer herself to be desired,
And not blush so to be admired.
Then die that she
The common fate of all things rare
May read in thee;
How small a part of time they share
That are so wondrous sweet and fair!
Kotek (Koszewski). Andrzej Koszewskireceived most of his musical training at the Warsaw
Conservatory, 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, sonorous
choral compositions.
text:
Pussycat along the road,
Kitten paws keep following it
Casting glances, purring softly,
Stalking, stalking, purring,
Purring until it stalks a sparrow.
See How the Earth (Finney). RossLee Finneywas born in Wells,Minnesota, in 1906and received
his B.A.from Carleton College. He later studied composition with such luminaries as
Alban Berg and Nadia Boulanger and taught from 1949 to 1973 at the University of
Michigan.
text (Andrew Marvell):
See how the arched Earth does here
Rise in perfect Hemisphere!
The stiffest Compass could not strike
A Line more circular and like;
Nor softest Pensel draw a Brow
So equal as this Hill does bow.
It seems as for a Model laid,
And that the World by it was made.
14
PROGRAM NOTES
It Is Good To Be Merry (Berger). Jean Berger was born in Germany but has lived most of
his life in South America and the United States. He has taught at several U.S.colleges,
including Middlebury College and the University of 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.
Is any 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 another
Argento work, I Hate and I Love.
text:
Beauty is momentary in the mindThe 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 scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden's choral.
Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On 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 and
distinguished composers.
Kyrie
Lord have mercy on us. Christ have mercy on us.
Lord have mercy on us.
Gloria
Glory be to God on high. And on earth peace to men of goodwill. We praise thee, we bless
thee, we worship th~e, we glorify thee. We give thanks to thee for thy great glory. 0 Lord
God, 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 sins of the world, have mercy on us. Thou that takest away the
sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have
mercy on us.
For thou only art holy. Thou only art the Lord. Thou only art most high, JesusChrist. With the
Holy Spirit, in the glory of God the Father. Amen.
15
PROGRAM NOTES
Almighty Father
Almighty Father, incline
Thine ear:
Blessus and all those who have gathered here.
Thine angel send us
Who shall defend us all.
And fill with grace
All who dwell in this place.
Amen.
Sanetus
Holy, holy, holy, Lord God of Hosts.Heaven and earth are full of your glory. Hosanna in the
highest.
Agnus Dei
Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God,
who takes away the sins of the world, grant us peace.
Suite de Lorea (Rautavaara). Once a student of Copland and Persichetti, Einojuhani
Rautavaara has taught at the Sibelius Academy in Helsinki since 1966. (For notes on
the 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 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. EIgrito (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!
16
PROGRAM NOTES
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.
In Time of Pestilence (Rorem). One of the most brilliant composers of American song, Ned
Rorem was a student of Aaron Copland.
Adieu, farewell earth's bliss!
This world 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 dieLord, 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 dieLord, have mercy on us!
17
Beauty is but a flower
Which 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 dleLord, have mercy on us!
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 dieLord, have mercy on us!
Wit with his wantonness
Tasteth death's bitterness;
Hell's executioner
Hath no ears for to hear
What vain art can reply;
I am sick, I must dieLord, have mercy on us!
Haste therefore each degree
To welcome destiny;
Heaven is our heritage,
Earth but a player's stage.
Mount we unto the sky;
I am sick, I must dieLord, have mercy on us!
-Thomas Nashe (1567-1601)
Fascinatin' Rhythm (Gershwin). Gershwin's fusion of classical music and jazz needs no
introduction to American audiences.
Music to Hear (Shearing). George Shearing is one of the great jazz pianists of our time, and
is also an active composer. The Dale Warland Singers commissioned Shearing to write
Music 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 woe
Into Hey non nv. nonny.
Sing no more ditties, sing no more
Of 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. 9
Is it for fear to wet a widow's eye
That 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 weeQ
That thou no form of thee hast left behind,
When every private widow well may keep
By children's eyes her husband's shape in mind.
Look, what an unthrift in the world doth spend
Shifts 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 sits
That on himself such murderous shame commits.
18
PROGRAM NOTES
A Song from ''As You Like It"
(Act II, Scene vii)
Blow, blow, thou winter wind
Thou art not so unkind
As man's ingratitude.
Thy tooth is not so keen
Because 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.
19
PROGRAM NOTES
Thursday Evening
Suite de Lorca (Rautavaara). See notes for Tuesday concert, page 16.
The Rose (Paynter). John Paynter was born in London and received his musical education
at Trinity College of Music, London. He has written works for orchestra, choir, and symphonic 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 alight
Upon 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 true
Yborne was Lord of virtue.
Salvator sine crimine.
Two Motets (Hawley). William Hawley was born in Bronxville, New York, and educated at
Ithaca College and the California Institute of the Arts. His works have been heard
throughout the United States and in Poland: the Netherlands, France, and Japan. He
lives in New York City.
texts and translations:
Mosella (Ausonius. 310-395 A.D.)
Quis color ille vodls. seras cum propulit umbras
Hesperus et viridi perfudit monte Mosellam!
tota natant crispis iuga motibus et tremit absens
pampinus et vitreis vindemia turget in undis.
What color that shoal, with the late shadow banished by
Hesperus, and verdure filling the hills of the Moselle!
everything floats, rippling together in motion, the distant
vine-leaf trembles, and the grape swells in the glittering water.
21
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.
(Koszewskl). Andrzej Koszewski received most of his musical training at the
Warsaw Conservatory, 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,
sonorous choral compositions. Jesu parvule is a traditional Latin poem (no translation
available).
Jesu Parvule
(Avshalomovl. Jacob Avshalomov was educated in China and came to the
United States in 1937. After studying and teaching music in the eastern states, he moved
to Oregon, where he has been conductor of the Portland Youth Philharmonic since
1954. Tom o'Bedlam was first performed by Robert Shaw's Collegiate Chorale in New
York in 1953, and received the New York Critics' Circle Award the same year.
Tom o'Bedlam
text (Anonymous, c. 1615):
The hospital of St.Mary of Bethlehem.or "Bedlam," as it came to be called. was converted into
the first asylum for the insane in England in 1547. by order of HenryVIII.Among those inmates
who were let out of the overcrowded asylumto roam the country as licensed beggars was Mad
Tom-with feathers and ribbons in his hat. his hair long, his clothes rags. and the mark of the
Bedlamite branded upon him.
Fromthe hag and hungry goblin
That into rags would rend ye
And from the spirit that stan' by the naked man
In the Book of Moons, defend ye!
That of your five sound senses
You never be forsaken
Nor never travel from yourselveswith Tom
Abroad to beg your bacon,
Nor never sing: "Any food. any feeding.
Money. drink, or clothing.
Come dame or maid, be not afraid,
Poor Tom will injure nothing."
Of thirty bare years have I
Twice twenty been enraged
And of forty bin three times fifteen
In durance soundly caged
In the lordly lofts of Bedlam
On 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 face
And swigged my horned barrel
In an oaken inn do I pawn my skin
As a suit of gilt apparel.
The moon's my constant mistress
And the lonely owl my marrow
The flaming drake and night-crow make
Me music to my sorrow.
And now I sing: (Refrain)
With an host of furious fancies
Whereof I am commander
With a burning spear, and a horse of air,
To the wilderness I wander.
By a knight of ghosts and shadows
I summoned am to tourney
Ten 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.
Poor Tom will injure nothing."
22
PROGRAM NOTES
Le Campane di Leopardi (Vannay). Although he was born in Romania, Vehuda Yannay
has spent most of hisprofessional life in the United States.He earned advanced degrees
from Brandeis Universityand the Universityof Illinois, and now teaches at the University
of Wisconsin, Milwaukee. Le Campane di Leopardi is based on the text of a nineteenthcentury poem by the Italian Giocomo Leopardi. Yannay is well known for his use of
nontraditional instruments,and for thiswork he utilizestuned wine glassesthat represent
the emptiness of night.
translation:
The tolling of the hour is carried by the wind from the town belfry. It was the sound that
comforted me, as I remember, during those terrifying nights of boyhood, when I lay
awake in my dark room, filled with fright, longing for the dawn.
Four Pastorales (Effinger). Cecil Effinger was born and raised in Colorado, and later studied
composition with Nadia Boulanger in Paris. In 1936 he became a faculty member at
the University of Colorado, where he remains a composer-in-residence.
texts (Thomas Hornsby Ferril):
1. NO MARK
Corn grew where the corn was spilled
In the wreck where Casey Jones was killed,
Scrub-oak grows and sassafras
Around the shady stone you pass
To show where Stonewall Jackson fell
That Saturday at Chancellorsville,
And soapweed bayonets are steeled
Across the Custer battlefield;
But where you die the sky is black
A little while with crackling flak,
Then ocean closes very still
Above your skull that held our will.
Oh, swing away, white gull, white gull,
Evening star, be beautiful.
2. NOON
Noon 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. BASKET
Know me, know me then.
The children of the shade have brought me a basket
Very small and ·woven of dry grass
Smelling 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,
23
PROGRAM NOTES
4. WOOD
There was a dark and awful wood
Where increments of death accrued
To ev'ry leaf and antlered head
Until it withered and was dead,
And lonely there I wandered and wandered and wandered.
But once a myth white moon shone there
And you were kneeling by a flow'r.
And it was practical and wise
For 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 believe
walked slowly by.
Psalm 90 (lves). Charles Ives anticipated by some years many of the most striking
developments in twentieth-century music, including polyrhythms, polytonality, and the
use of noise as a source of musical sound. Psalm 90 was composed before 1893, but
the original score was lost. Ivesbegan a reconstruction and recomposition of the work
in 1923, incorporating progressive compositional tools including tone clusters and
clashing 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. Thou has set our iniquities before thee, our secret sinsin 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, 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 us glad 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.
24
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THE DALE WARLAND SINGERS
Dale Warland, Music Director
Sigrid Johnson, Associate Conductor
Jerry Rubino, Pianist and Cabaret Singers Conductor
Tenor
Paul Gerike
'John Henley
Gary Kortemeier
Tom Larson
David Reece
Timothy Sawyer
Soprano
'Sigrid Johnson
Deborah Loon
Barb Nelson
Solveig Nelson
Melissa O'Neill
Lea Anna Sams-McGowan
Lisa Sawatsky
Bass
Steve Burger
Wayne Dalton
'Jerry Rubino
Arthur RUdolph-LaRue
John Schonebaum
Paul Theisen
Alto
Karen Johnson
'Anna Mooy
Joan Quam-MacKenzie
Lisa Strandjord
Donelle Zimdars
Claudia Zylstra
'section
leader
For information about The Dale Warland Singers, telephone
Russ Bursch, General Manager,
(612) 292-9780,
THE LOUISVILLE ORCHESTRA
Lawrence Leighton Smith, Music Director
First Violin
Michael Davis, Concertmaster
Fanny and Charles Horner
Concertmaster Chair
Zoran Stoyanovich,
Acting Assistant Concertmaster
Katheryn Stearns
Sarah Reed
Cheri Lyon Kelley
Keith Cook
Stephen Taylor
Scott Staidle
Nancy Henderson
Katherine Lurton
Claudia Chudacoff
Second Violin
Barbara Meek Thompson, Principal
Clinton Grosz, Assistant Principal
Mary Catherine Klan
Devonie Freeman
Elisa McMillan
Anita Tucker
Charles Brestel
Lawrence Gile
Judy Pease
Blaise Jessop
Heidi Poth
Viola
Jack Griffin, Principal
Christine Rutledge,
Assistant Principal
David Ray
Clara Markham
Melinda Odie
William Bauer
Virginia Schneider
Cello
Susannah Onwood, Principal
Joseph Caruso, Assistant Principal
Marilyn Willoughby
Christina Hinton
Brooke Hicks
Louise Harris
Deborah Caruso
Julia Preston
Bass
Daniel Spurlock, Principal
Sidney King, Assistant Principai
Patricia Docs
Robert Docs
Jarrett Fankhauser
Michael Chmilewski
Trumpet
John Rommel, Principai
J, Jerome Amend
Flute
Francis Fuge, Principai
Sara Brink
Donald Gottiieb
Bass Trombone
Raymond Horton
Piccolo
Donald Gottlieb
Trombone
Patricia McHugh, Principal
Joseph Parrish
Tuba
Arthur Hull Hicks, Principal
Timpani
James Rago, Principal
Oboe
Marion Gibson, Principal
Edgar Hinson
Marianne Petersen
English Horn
Marianne Petersen
Clarinet
Michael Megahan,
Dallas Tidwell
Ernest Gross
Percussion
John Pedroja, Principal
Mark Tate
Chad Stoltenberg
Librarian
David Ray
Principal
Eb/Bass Clarinet
Ernest Gross
Bassoon
Matthew Karr, Principal,
Paul D. McDowell Chair
David Horn
Stephanie Middleton
Contrabassoon
Stephanie Middleton
Horn
Kenneth Albrecht, Principal
Dennis Hallman
Brian Thomas
Stephen Causey
Stanley Matras
28
Personnel Manager
Kenneth Albrecht