College, the University of Minnesota, and the University of Southern California.

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2 1 MUSIC DIRECTOR AND CONDUCTOR The concert season 'marks founder Dale Warland's 26th season as Music Director of the Dale Warland Singers. Under Warland's leadership, the ensemble has thrilled choral music lovers throughout North America and Europe. Dale Warland's outstanding achievements in the field of choral music were recognized in 1995, when he received the Michael Korn Founder's Award. This award, which ranks as the "Gramrny" of choral music in the United States, has been given to luminaries such as Robert Shaw, Margaret Hillis and Roger Wagner. Beyond his active schedule as music director of The Dale Warland Singers, Warland is in demand as a guest conductor, lecturer and composer. He has conducted such prestigious choirs as the Swedish Radio Choir, the Danish Radio Choir, the Oregon Bach Festival Chorus, the Mormon Tabernacle Choir, Colorado Symphony Orchestra, Viginia Chorale, and Israel's Cameran Singers. He has prepared major choruses around the world for performances, including Penderecki's Polish Requiem in 1990-the culminating event of the Second World Symposium on Choral Music in Finland. Warland is an active composer and a member of the American Society of Composers, Authors and Publishers (ASCAP). He has served as co-chair of the choral and recording panels of the National Endowment for the Arts. Before devoting himself full time to the Singers, Dr. WaTland spent 19 years as Director of Choral Music at Macalester College. He holds degrees from St Olaf College, the University of Minnesota, and the University of Southern California. Now in its twenty-sixth season of subscription concerts, tour and festival appearances, radio broadcasts and critically acclaimed recordings the Dale Warland Singers are recognized as one of the world's foremost a cappella choral ensembles. Based in Minneapolis/St. Paul, The Dale Warland Singers have earned a reputation for their commitment to commissioning and performing 20th-century choral music. The Dale Warland Singers' New Choral Music Program commissions works from emerging composers, and through this program, commissions have been awarded to 10 talented musicians, with an 11th to be awarded in 1998.

3 In addition to performances in the Twin Cities, the Dale Warland Singers tour throughout the United States and have concertized abroad. In 1990, the ensemble traveled to Stockholm and Helsinki to represent North America at the Second World Symposium on Choral Music. The group has been heard on Garrison Keillor's original A Prairie Home Companion and has regularly been featured on Public Radio. Expanding their audience at home are performances of major choral symphonic works by the larger Warland Symphonic Chorus in collaboration with renowned orchestras and such artists as Edo de Waart, Robert Shaw, David Zinman and Roger Norrington. The Singers' most recent release, titled Blue Wheat, is a collection of American folk music. The Seattle Times calls it lithe lovliest choral disc to emerge in a long time...sung by what is probably America's best chorus." Also among the Singers' acclaimed recordings is December Stillness, which BBe Music Magazine gave its highest rating for performance and sound, and called it 1J splendid, melting stuff;' and which The Seattle Times placed at the top of its list of best holiday releases. Earlier recordings by the Singers include Fancie, A Rose in Winter which will be re-released in October, Christmas Echoes and Carols For Christmas as well as Americana: A Bit of Folk Choral Currmts, and 12 others. THE DALE WARLA D CHAMBER 51 GERS Soprano Alto Beth Althof Iuni Banerjee- Jane Andersen Stevens Marie Spar Dymit * Io Halvorsen" Julie Olson Lynette Johnson Monica Stratton Linda Ruth Thompson Kachelmeier Teresa Tierney Laura ichols Teresa Woollums Tenor Jeff Douma Jerry Elsbernd * Bryan Fisher David Meissner Steve Stamch Randall Speer * Section Leader Bass G1~iZ6tdww ASSOCIATE CONDUCTOR, DALE WARLAND SINGERS MUSIC DIRECTOR, Bruce Broquist David Jacobson, David Moberg Bob Peskin * Jim Ramlet Jerry Rubino Brian Steele THE WARLAND CABARET SINGERS..~ Jerry Rubino has contri&11 many of his talents to tn' Warland Singers during)hi year relationship wi~lt... ensemble. His past and R~~~ efforts include singer: pianisita, arranger for the Dale Warla~'; Singers, music director for the? (ii Warland Cabaret Singers, and music coordinator of the Singers' education programs. Recently, he was appointed associate conductor of the Singers.

4 Rubino is a versatile musician, giving solo and chamber performances; serving as organist and choir director of Spirit of Hope United Methodist Church; and appearing with the Twin Cities-based New Music Theater Ensemble and The Saint Paul Chamber Orchestra. He frequently serves as a choral clinician and adjudicator. Rubino began his professional studies as a cellist at the Curtis Institute of Music and went on to earn degrees in piano, music education, and conducting from Temple University and the University of Minnesota. A published arranger with Jenson, Word and Hinshaw, he was named in. International Who's Who in Founded in 1983, the Warland Cabaret Singers has gained a devoted following of vocal jazz enthusiasts for its sophisticated renditions of swing era ballads and jazz selections. Selected from among The Dale Warland Singers, the Cabaret Singers represents a broad musical spectrum, including voice teachers, big band soloists and free-lance musicians. Under the direction of pianist/ conductor Jerry Rubino, the Warland Cabaret Singers has developed a distinctive sound, rich in vocal integrity and virtuosic precision. Its repertoire is delivered with panache and style, whether in Broadway show tunes or jazz classics by George Gershwin and Cole Porter. THE WARLAND Jane Andersen Teresa Woollums Jo Halvorsen Iuni Banerjee-Stevens Jerry Elsbernd Bryan Fisher Bruce Broquist Brian Steele CABARET SINGERS,

5 I IV Modern Madrigals A Shakes eare Tribute Rotala (Round Dance) Water ight Kotek (The Kitten) Tears Of Crows and Clusters II From Canada and Estonia Epitaph for Moonlight Jaanilaul (St. John's Song) Alleluia Psalm 67 Ave Verum Corpus Salmo 150 III Choral Classics INTERMISSION Juris Karlsons Eric Whitacre Andrzej Koszewski ed Rorem orman DelIo Joio R. Murray Schafer Veljo Tormis Randall Thompson Charles Ives W A. Mozart Emani Aguiar Fancie The Cloud-Capp'd Tower Take, 0 Take Those Lips Away Blow, Blow Thou Winter Wind v Cabaret Sin ers Selections will be announced From VI from stage uebec and the States Oh. Shenandoah (Traditional) Cindy (American Folksong) Pretty Saro (Traditional) J'entends lc moulin (I Hear the Mill Wheel» x». (French Canadian) Donald Patriquirl;~" Instrumen talists Jerry Rubino, Piano Jeff Douma, Percussion

6 ~~c9'yo4i I. MODERN MADRIGALS Juris Karlsons (b. 1948): Rotala (Round Dance) from Nesdgtais Gredzens (The Unclosed Ring) (1982) Latvia was annexed by the former U.S.s.R. in 1940 and struggled to maintain a cultural identity during the next fifty years. Works like Juris Karlsons' 'Neselgtais Gredzens" show how lively such efforts were. Here is one setting of poems by the controversial Janis Rainis ( ), Latvia's most renowned poet and political exile. A tripp ling, rapid-fire children's dance, punctuated by tone cluster cries of "Vidu!" Eric Whitacre (b. 1970): Water Night (1996) Eric Whitacre is the winner of ~lte 1994 ACDA Composers of the... Future Competition and has had nu-..merous commissions for choral and instrumental groups. Andrzej Koszewski (b. 1968): Kotek (The Kitten) (1968) The DWS have championed Andrzej Koszewski's music for many years. The Polish composer has a striking knack for creating truly fresh choral sounds. In Kotek (The Kitten), he imaginatively turns the choir into a prowling, purring little feline. You can practically see it approach its prey, then hop playfully away. Ned Rorem (b. 1923): Tears (1951) Ned Rorem is the 20th century's Franz Schubert. Like the Austrian of 175 years past Rorem has staked his claim predominantly on one musical form, song-creating hundreds of lean, elegant works for the voice that overshadow his fine instrumental works. This touching poem dates from the early 17th century. Norman Dello Joio (b. 1913): Of Crows and Clusters (1972) This nonsensical text dates from the turn of the century, when poet Vachel Lindsay was enamored of fantasies like Alice in Wonderland. Here, we've two bumbling black birds sitting on a fence, "thinking of cause and effect...effect and cause, and of nature's laws" One of them stutters, the other mutters, a bee buzzes by and scares them both off, and that's that. Don't look for ultimate meaning here- just enjoy the wit and snap of a great composer sporting with a goofy poem. II. FROM CANADA AND ESTONIA R. Murray Schafer (b. 1933): Epitaph for Moonlight (1968) Schafer wrote this piece to depict moonlight and to commemorate the moon's pristine environment, which he realized would be forever altered with the first moon landing. Musically, Epitaph has no key signatures, bar lines, sharps or flats here- not a stave of conventionally notated music. The sopranos enter humming a "medium high note" and the choir, divided into 16 parts, slides in behind on descending half-steps; if all is lined up properly, this mash of sound evolves into a major triad.

7 Veljo Tormis (b. 1930): Jaanilaul (S1oJohn's Song) ( ) Veljo Tormis is regarded today as a cultural treasure in Estonia. He rescued Estonian native music from extinction by encouraging farmers, laborers and housewives to sing for him their grandparents' tunes. In St. John's Song, Tormis exploits the tune's harmonic potential by stacking on top of it another version of the tune. Music theorists call two separate but coexisting harmonies "bitonality" Tormis teases a third strand of harmony out of the bass line. Though the title refers to St. John of the Bible, this old Estonian text is semi-nonsensical. III. CHORAL CLASSICS Randall Thompson ( ): Alleluia (1940) Thompson was one of our country's great men of music. He taught for nearly 20 years at Harvard University and wrote scores that infused a uniquely American element into classical music. He was one of the first to incorporate jazz into orchestral works, and his 1932 Symphony No.2 gained hugh popularity because of it. The graceful Alleluia has been a perennial favorite with choirs of all sizes and ages. Charles Ives ( ): Sixty-Seventh Psalm A few years ago the New York Times asked several prominent musicians to name the most overrated and underrated composers. One man, Charles Ives, topped each list. Ives has spawned debate like this since his first works 100 years ago-and there's no sign of it letting up even four decades after his death. To his fans, he's an American original, a fiercely independent iconoclast who broke European musical convention at every opportunity. Sixty-Seventh Psalm is notable because it introduces "hi-tonality" decades before other composers tried their hands at it. W. A. Mozart ( ): Ave Verum Corpus, K. 618 Perfect things come. packages. Only 46 bars long posed in a single day (June 1 the Ave Verum Corpus is a rare even for Mozart. Its eloqu harmonic richness, and p spirituality make it his gious vocal work. Ernani Aguiar (b. 1949): Brazilian-born one of his country's b younger composers. Ps ebulliently rhythmic and example of Aguiar's Frequent passages of rapid tion punctuate the music and excitement level high all the the exultant, final 'Alleluia!" IV A SHAKESPEARE TRIB Benjamin Britten ( ): Fancie (1961) Text: Merchant of Ralph Vaughan Williams (1872- The Cloud-Capped To Three Shakespeare Songs (1951 Text: The Tempest

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