Elgar. Bruckner. Idaho Washington Concert Chorale

Transcription

1 20 Our Season Concert 1: the Br s concert December 14TH at 7:30PM December 16TH at 3:00PM St. Boniface Catholic Church Uniontown It s all about BRASS and SURROUND SOUND! 1 Johann Nepomuk Hummel s Te Deum is the centerpiece. Other works by Praetorius, Gabrieli, Palestrina, Hassler, and Di Lasso. Lots of double choir & brass, carol sing-a-long, and chamber choir, too. Concert 2: Ralph Vaughan Williams February 29TH at 7:30PM Lewiston First United Methodist Church March 1ST at 7:30PM Pullman Community Congregational United Church of Christ This program commemorates the 50th anniversary of RVW s death. Harmony A Chorus of Wine, Cheсe & Song March 30TH at 5:00PM St. JaMEs Episcopal Church Pullman The chorale s annual Wine & Cheese fundraiser hosted with the Palouse Enological Society. $25 with wine $15 food only Concert 3: The Merry Month of May April 25TH at 7:30PM April 27TH at 6:00PM St. Boniface Catholic Church Uniontown Music celebrating the month of may. works by Brahms, Janequin, Mendelssohn, and Weelkes. Buy Season Tickets now & SAVE! Purchase your Season Tickets before September 1, 2007 and save $18! Early Bird Season Tickets $27 (regularly $30, At the Door $45). New! buy your wine tickets with Season Tickets and get a wine ticket for $20! sumptuous soaps Now at the Dahmen Barn! Kathleen Tetzlaff Idaho Washington Concert Chorale &3 Concert & Elgar Bruckner Sponsored by Edmund O. & Beatriz Schweitzer Saturday, April 28, 2007 at 7:30 PM & Sunday, April 29, 2007 at 6:00 PM ST. BONIFACE CATHOLIC CHURCH, UNIONTOWN, WASHINGTON

2 2 19 Edward William Elgar, eminent English composer, was born on June 2, 1857, in a small cottage in the village of Lower Broadheath, near Worcester, England. Thus, 2007 marks the 150th anniversary of his birth. Elgar s style of composition may be described as functional Romanticism; his harmonic procedures remain firmly in the 19th-century tradition; the formal element is always strong, and the thematic development logical and precise. Edward Elgar was the fourth of seven children born to William Elgar, a piano tuner and music dealer, and his wife, Ann. From Broadheath the Elgars moved to live above their music shop High Street, Worcester, and the young Edward grew up surrounded by music. They were also just across the road from the cathedral where most of the important musical events took place. Surrounded by the sheet music and instruments in his father s shop, Elgar became self-taught in all aspects of music. Often, on a warm summer s day, he would take a manuscript out into the countryside to study it. In later life he observed, There is music in the air, music all around us, the world is full of it and you simply take as much as you require. During his boyhood Elgar also helped his father in the shop and accompanied him on his piano-tuning rounds to the large country houses among the nearby Malvern Hills. A Proud Supporter of Arts on the Palouse Program Notes Elgar attended a number of local schools but, musically, his education was no different from that of any other of his classmates. However he wrote, I saw and learnt a great deal about music from the stream of music that passed through my father s establishment. I read everything, played everything, and heard everything that I possibly could. At the age of fifteen Elgar left school and, as the family finances did not allow him further musical education, he was forced to work in the office of a local solicitor. This lasted only a year before Elgar gave up the post and decided on a musical career. At first this consisted mainly of giving piano and violin lessons at a number of nearby schools and to the daughters of the local gentry. He also attended as many concerts as he could and played violin with the Worcester Philharmonic Orchestra. Then, in 1879, Elgar took what must surely be one of the most bizarre appointments ever held by a musician. He was appointed bandmaster of the Attendants Orchestra at the Worcester and County Lunatic Asylum. As a child he had often walked past the forbidding walls of this establishment, but the enterprising board of the hospital had decided that music was therapeutic to the patients, and had agreed to the appointment of a bandmaster to rehearse the band and also to compose polkas and quadrilles for the patients dances. Family & Cosmetic Dentistry Children & New Patients Welcome Personalized & Comfortable Alfred M.Fairbanks,DDS Jonathan M.Fairbanks,DDS Practicing in Pullman over 30 years DAY (2329) 1410 SE Bishop Boulevard, Pullman, Washington RONALD B. WEBSTER Support our local & regional artists!

3 18 3 UP TOWN HAIR & NAIL SALON Suzanne A. Robinson L.M.P., R.N Licensed Massage Practitioner, R.N. Nationally Certified American Massage Therapy Association cell Thain Road,Suite A Lewiston, Idaho The Bank Left Gallery Fine Art, Design & Gifts 100 S Bridge Palouse, Washington Wednesday - Saturday 10-5 pm In 1886, Elgar advertised for pupils in the nearby town of Malvern and on October 6th of that year he was visited by Caroline Alice Roberts, daughter of the late Major-General Sir Henry Roberts of Hazeldine House, Redmarley, Gloucestershire. Although she was eight years his senior - and from a higher social strata than her music teacher - romance blossomed. As her coachman was later to observe, There s more to it than music! In due course they became engaged but the Victorian rules of social convention caused outcry from the Roberts family. She had money from a private income; he was a penniless composer. Her father was a Major General; his was a shopkeeper. Nevertheless, she stood her ground and they were married on 8 May For professional reasons, they moved to London where the opportunities for a budding composer seemed greater, but this did not work out and soon they returned to Worcestershire where they were happiest and where, among the rolling Malvern Hills or alongside the River Severn, Elgar composed some of his greatest works. Variations on an Original Theme (generally known as Enigma Variations); the oratorio, Th e Dream of Gerontius; and his Pomp and Circumstance marches (the first of which became his most famous piece and is traditionally played at school graduation ceremonies) were all written between 1899 and During this time, Elgar also composed many part-songs including O Happy Eyes, a love song using a text written by his wife. To supplement the income made from composing, Elgar was forced to again teach violin at a Malvern girls school. As one of the teachers observed: The violin lessons were unpopular and the girls who took them were a dreary little company who sawed away to the general discomfort in distant rooms. Elgar himself stated, Teaching was like turning a grindstone with a dislocated shoulder! Three Motets evolved over several years. Ave Verum Corpus began as a setting of the Pie Jesu composed by Elgar in He then re-wrote it as an Ave Verum Corpus in 1902 and added two additional motets, Ave Maria and Ave Maris Stella in 1906 to complete his Opus 2, which was published in Elgar also set Three Motets with substitute English texts so they could serve as anthems for the Church of England. In April 1920 after a short illness, Alice Elgar died. Although Edward lived another fourteen years, he never wrote another major work. After Alice s death Elgar returned to live in the county of his birth where he was a familiar figure not only at the Three Choirs Festival (an annual music festival held in turn in the cathedral cities of Worcester, Hereford and Gloucester) but also at the Worcester Races and at the County Cricket Ground. Program Notes As he became older, Elgar became more and more isolated from former friends and preferred the company of his two dogs, Marco a spaniel and Mina a cairn terrier. Some friends described him as a naturally moody man who could be, on occasions, gruff, crusty and sometimes downright rude. Yet others recall him as being a typical, hospitable old English gentleman with nothing of the remote genius about him. In October 1933 an operation revealed that Elgar was suffering from cancer. Although the tumor was removed, Elgar never fully recovered. He moved back to his Worcester home early in January He died there on February 23, 1934, and was buried beside Alice at Little Malvern. Source: with additional information by Broude Brothers Limited music publishers. Anton Bruckner was born on September 4, 1824, in Ansfelden, a little village in Upper Austria. He was the son of a village schoolmaster and organist. At first, he was trained to follow in his father s footsteps. After his father died in 1837, Bruckner was sent to St. Florian, the nearby Baroque monastery, to be a chorister and to continue his musical and other studies. At the age of twenty-one, having spent a year in Linz and four years teaching and playing the organ in provincial villages,

4 4 17 Program Notes Bruckner returned to his beloved St. Florian as a teacher. In the meantime, he became a master organist and turned his hand to composing. Bruckner had lessons in theory and composition and started composing fairly early in life, but he felt the need for more instruction in counterpoint and became a most diligent student of the famous Simon Sechter in Vienna. At the age of thirty-one, Bruckner became a full-time musician, when he accepted the post of cathedral organist in Linz. In this capacity, he taught piano, sang in a choir and spent seven hours a day writing harmony and counterpoint exercises, which he sent for comment to Simon Sechter. After mastering the rules of harmony, Bruckner became aware of the need to break them when he attended the Linz premiere of Tannhäuser early in Wagner s boldness opened new vistas to Bruckner, and he began to compose the remarkable series of symphonies that were to become his most enduring contribution to musical literature. Bruckner learned from Wagner - whom he met several times, and who admired his work - to paint vast musical canvases with great harmonic daring, and to employ increasingly large and powerful orchestral forces for his works. In 1867, acute self-doubt and overwork caused Bruckner to suffer a nervous breakdown, but the following year he was appointed professor of composition at the Vienna Conservatory and organist to the imperial chapel. There, his talents and efforts were recognized and he was able to live in one of the world s great musical capitals where he could hear the works of other contemporary composers. Bruckner eventually became a lecturer in harmony and counterpoint at the University of Vienna, where he lived for the rest of his life. Bruckner s fame gradually increased throughout the 1880s and into the 1890s. Although his works remained controversial, such celebrated conductors as Hans Richter, Hermann Levi, and Arthur Nikisch premiered them, and he received many awards and honors. Anton Bruckner died on October 11, 1896, at the age of 72. In accordance with his wishes his remains were taken to St. Florian where they lie buried under the organ that had been his best friend. Source: Alex Zhang ( Bruckner and Sacred Music Anton Bruckner is known as the master-builder of cathedrals in sound who was deeply influenced by Wagner s grand operas and who served in turn as an inspiration for Gustav Mahler. In addition to three Masses that continued the Viennese tradition of Haydn, Beethoven, and Schubert and provided the melodic core of the symphonies, Bruckner wrote a Requiem, a Te Deum, and a Magnificat. Although Bruckner s motets were long ignored, they are a crucial part of his compositional output. They express his devout Roman Catholic beliefs, using the modal chords and long, Gregorian chant-like lines of the Renaissance masters. However, the harmonic shifts and compositional techniques display a clearly Romantic sensibility, and the blocks of contrasting sound display Bruckner s roots as an organ improviser. Ave Maria The Ave Maria is a supplication to the Virgin Mary. Its text begins with two verses of Scripture (Luke 1:28, 42) and concludes with a petition added in the 15th century. Bruckner wrote this seven-part setting in 1861, making it the first major composition that he completed after five years study with Sechter. The first segment of Bruckner s setting contrasts the three-part women s choir and the four-part men s choir, which unite in the proclamation of the name of Jesus. The second segment is for all seven parts, with a particularly effective diminuendo as the choir asks for intervention for us sinners. Tupperwa perwa are Helen Lombard, Direc for Home, for Heal lth, for Lif fe custom kitchens bridal showers microwave classes fund raisers classic parties phone: cell: helenannel@aol.com Director Hodgins Drug & Hearing Something for everyone since South Main, Moscow, Idaho Open Monday - Friday 9-6, Saturday 9-5, Sunday 12-5

5 16 5 OPEN 24 HOURS Now featuring full US Postal Services! Lotto ATM Money Orders Photo Finishing Tradition since N Grand Avenue Pullman, Washington fax PRECISION ENGRAVING Gifts & Awards Brused Books Birthdays Anniversaries Weddings Graduations Sports Awards "We're More Than West 3rd St. Moscow, Idaho buy sell trade hardbacks - paperbacks science to science fiction literature to psychology 235 E Main Pullman, Washington Monday - Saturday 10-6 pm Closed Sunday a T r ophy Sh o p! " Pange lingua Bruckner composed his Phrygian strophic setting of the Corpus Christi Pange lingua in 1868, conforming at this time to some extent with the musical restrictions suggested by the Cecilian Movement: cultivation of Gregorian Chant, hymnody, and harmony in the style of Palestrina. The text is by Thomas Aquinas. Locus iste A typical Mass service draws its musical texts from two sources: a group of texts that are repeated at every service (the Ordinary ) and a group of texts whose meaning is specifically applicable to that week or that service (the Propers, which include graduals, antiphons, and responsories). The gradual Locus iste is used in Mass services for the dedication of a church; the sacrament is a visible manifestation of God s invisible grace. This setting in four parts was written in 1869, to celebrate the dedication of the votive chapel of the cathedral at Linz. It is in a simple but spare three-section setting, with exposition and similar recapitulation separated by an imitative three-part section on the text irreprehensibilis est. Os justi The text of Os justi comes from Psalm 37: This fourpart setting was completed in 1879 (the same year that he began work on the sixth symphony) and dedicated to Ignaz Traumihler, who was music director at St. Florian at the time. Traumihler subscribed to the Cecilian Movement, which sought to bring the spare, a cappella choral style of Palestrina back to 19th century Austria (see Pange lingua). For Traumihler, Bruckner created an extraordinary motet in the Lydian mode, which achieves striking harmonic effects without ever using a single sharp or flat note. The work is in an ABA structure, with similar music to set the Os justi and Lex Dei segments. It concludes with a plainchant Alleluja. Christus factus est This gradual is used as part of the Mass services during Holy Week, on Maundy Thursday, and its text comes from Philippians 2:8-9. This is Bruckner s third setting of this text, completed in 1884 (just after his seventh symphony and Te Deum). It was dedicated to Father Otto Loidol of the Benedictine Monastery of Kremsmünster. Marked Moderato misterioso, the four-part setting opens homophonically, but offers an immediate contrapuntal contrast. The music rises to a dramatic climax followed by an equally dramatic and chromatic whispered conclusion. Program Notes Virga jesse Virga Jesse, an Alleluia verse replacing the gradual in the season of Easter for Feasts of the Blessed Virgin, was composed in 1885 and is dedicated to Ignaz Traumihler. It is a powerful work, making much of the dramatic possibilities of sudden pauses and dynamic contrasts, and a bass pedal E underpins its gentle conclusion. Source: Keith Anderson John Weiss

6 6 Elgar & Bruckner 15 AVE MARIA 1861 Ave Maria, gratia plena, Dominus tecum; Benedicta tu in mulieribus, Et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, Ora pro nobis peccatoribus, Nunc et in hora mortis nostrae. Sancta Maria, ora pro nobis. Amen. ANTON BRUCKNER ( ) Idaho-Washington Concert Chorale John Weiss, conductor Hail Mary, full of grace, The Lord is with thee; Blessed art thou among women, And blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, Pray for us sinners, Now and at the hour of our death. Holy Mary, pray for us. Amen. PANGE LINGUA 1868 Pange lingua gloriosi Corporis mysterium Sanguinisque pretiosi Quem in mundi pretium Fructus ventris generosi Rex effudit gentium. Tantum ergo sacramentum Veneremur cernui Et antiquum documentum Novo cedat ritui; Praestet fides supplementum Sensuum defectui. Genitori Genitoque Laus et jubilatio, Salus, honor, virtus quoque Sit et benedictio; Procedenti ab utroque Comparsit laudatio. Amen. Sing, my tongue, the mystery Of the glorious body and The precious blood That was shed to redeem the world, By the fruit of a generous womb. The King of all the nations. Let us therefore revere This great sacrament, And let old forms of worship Give way to the new; Let our inadequate senses Find support in faith. To the Father and the Son, Praise and glory, Greeting, honor, power And blessing be given; And may the Spirit proceeding From both share in their praise. Amen. Creating memories our Specialty Thank you for joining us tonight! A reminder to please turn off all cell phones, pagers and recording devices and please refrain from using fl ash photography during the performance. Musical Alchemy, Inc. is recording our performance this evening. Saturday night patrons: Please help us reduce our printing costs by recycling your programs in the box provided as you leave this evening. 234 E Main Street, P.O. Box 218, Pullman, WA

7 14 7 LOCUS ISTE 1869 Locus iste a Deo factus est, Inaestimabile sacramentum, Irreprehensibilis est. Elgar & Bruckner This place was made by God, An inestimable holy place. It is without blame. A Brief Pause EDWARD ELGAR ( ) IWCC Chamber choir Elena Panchenko, organ Jill Price Freuden, soprano We are proud to support the arts in our communities. THREE MOTETS, OPUS I. Ave Verum Corpus Ave, verum corpus natum Ex Maria Virgine: Vere passum, immolatum In cruce pro homine: Cujus latus perforatum Vero fluxit sanguine: Esto nobis praegustatum, Mortis in examine. II. Ave Maria Ave Maria, gratia plena, Dominus tecum; Benedicta tu in mulieribus, Et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, Ora pro nobis peccatoribus, Nunc et in hora mortis nostrae. Amen. Hail the true body, born Of the Virgin Mary: You who truly suffered and were sacrificed On the cross for the sake of man. From whose pierced flank Flowed water and blood: Be a foretaste for us In the trial of death. Hail Mary, full of grace, The Lord is with thee; Blessed art thou among women, And blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, Pray for us sinners, Now and at the hour of our death. Amen.

8 8 13 Elgar & Bruckner III. Ave Maris Stella Ave, maris stella, Dei Mater alma, Atque semper Virgo, Felix coeli porta. Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Hevae nomen. Solve vincla reis, Profer lumen caecis, Mala nostra pelle, Bona cuncta posce Monstra te esse matrem, Sumat per te preces, Qui pro nobis natus Tolit esse tuus. Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos. Vitam praesta puram, Iter para tutum, Ut videntes Jesum, Semper collaetemur. Sit laus Deo Patri, Summo Christo decus Spiritui Sancto, Tribus honor unus. Amen. Hail, star of the sea, Loving Mother of God and also always a virgin, Happy gate of heaven. Receiving that Ave from Gabriel s mouth confirm us in peace, Reversing Eva s name. Break the chains of sinners, Bring light to the blind, Drive away our evils, Ask for all good. Show yourself to be a mother, May he accept prayers through you, he who, born for us, Chose to be yours. O unique virgin, Meek above all, Make us, absolved from sin, Gentle and chaste. Keep life pure, Make the journey safe, So that, seeing Jesus, We may always rejoice together. Let there be praise to God the Father, Glory to Christ in the highest, To the Holy Spirit, One honor to all three. Amen We would like to thank the following individuals and businesses for their support, contributions, and assistance. Shirley Engerbretson Debbie Horbuckle First Step Internet First United Methodist Church, Lewiston Patricia Jessup Jack Keller Jonathon Keller Kirstin Malm Maryann & Don Matteson Ted Nitz Northwest River Supplies The Owl Southway Pharmacy Our Families Our Season Ticket Holders American West Bank, Uniontown Eleanor Asbe Carol Dahl Athena Design Adam Benson Paul Brians Churchyard Inn Bed & Breakfast & Cheryl Waller City of Colton City of Uniontown Sharon & Eugene Dixon Paul Dorpat & Jean Sherrard Albert & Ellen Eng Aitken, Schauble, Patrick, Neill, Ruff & Shirley Archer Photography Artisans at the Dahmen Barn At Home Designs Auditorium Chamber Music Series The Bank Left Gallery Beasley Realty Bennett & Associates BookPeople of Moscow, Inc. Brused Books City northamerican Coleman Oil/Chevron DynaMarts Cowgirl Chocolates Creason, Moore & Dokken Dissmore s IGA Eastside Marketplace Eleanor s Corner Saloon Free & Clear Other Chorale Supporters Our Advertisers Gail Byers Real Estate Gritman Medical Center Helen Lombard, Tupperware Hill s Valley Floral Hodgin s Drug John H. Norton, Attorney at Law MarcoPolo Imports Marketime Drug Marsha Que Sera Productions McDonald s of Pullman, Stadium Way Moscow Vision Clinic Musical Alchemy, Inc. The Natural Abode Neill s Flowers & Gifts New Garden Restaurant One World Café Open Eye Consignment Shop Otto s Produce Market Palouse Industries, Inc./Early Learning Services/Young Children& Families of the Palouse James Payne Mimi Pengilly Julia Pomerenk Darla Port Malynda Ray Brandon Schell St. Boniface Church, Uniontown St. James Episcopal Church, Pullman Chris Thompson City of Uniontown & Police Dept. Ronald Webster Leonard West Pacific NW Kiwanis - Louise Regelin, District Governor Palouse Enological Society Palouse View Dental Center Pets Are People, Too Precision Engraving Gifts & Awards Premier Alpacas of the Palouse Pullman Civic Trust Rose Creek Graphics Sam Dial Jewelers Sumptuous Soaps Suzanne Robinson, Uptown Hair Salon S&S Custom Cabinets, Inc. Today s Dental Webster & Frey, P.L.L.C. Wine Company of Moscow Woodland Enterprises, Northwest Showcase 110 East Third Moscow, Idaho

9 12 9 Sponsors, $ Decagon Devices, Inc. Edmund O. & Beatriz Schweitzer David & Kathy Spencer Benefactors, $500 + Best Western University Inn Chamber Choir Caroling John Brewer Steve & Ann Swannack In Memory of Mark Swannack Gordon & Dene Thomas Patrons, $250 + Meredyth Goodwin Miho Nam Ellen Thiem Friends, $100 + Kathy Anderson Walt Asbe Judy Campbell Chorale Member Profile Clive Gay, tenor, is in his second season with the Chorale, but his vocal career goes back to his childhood. Born in New Zealand, Clive moved with his family to London when he was eight, and there he auditioned for and was accepted into the Westminster Abbey boy s choir as a boy soprano. He sang for three years in this choir under the direction of William McKie, an eminent British choirmaster who had studied under Ralph Vaughn Williams. Clive received his degree in Veterinary Medicine in Canada, and his specialty in large animal livestock diseases took Clive and his family to Scotland, Australia, and, since 1979, to Pullman, where Clive was on the WSU faculty. Clive retired from WSU two years ago, which has allowed him and Carol, his wife, to spend more time with their children a son in Australia, a daughter in Florida, and a son (also in veterinary medicine) in Deer Park, Washington. In addition to singing and animals, Clive s other passion is growing orchids, a hobby he acquired while on sabbatical in New Zealand in He reports that he was hooked from his first visit to an Orchid Society meeting, and at his peak he had 250 different species and hybrids at his home. Clive s favorite era of composition is medieval music, which, though often sorrowful, he finds beautiful. Clive is an exceptional tenor, and we are delighted to have him sing in the Chorale! Chorale Donors Richard Domey & Diane Gillespie Shaun & Jill Freuden Jennifer Hammond In Honor of Charlotte Parkhurst Howard & Barb Hayes Helen Lombard, Tupperware Kirk & Laura McMichael Maureen Miller Northwest River Supply Glenn & Carol Petersen Sandra Ristow William & Susan (Bohm) Schmick Esther & Roger Spencer Rosemary & Barney Waldrop Karen Weathermon John & Cheryl Weiss Ralph & Valerie Yount Associates, $25 + Robert & Carolyn Allan Erol & Alice Barbut Nancy Beebe Shari Carter Mary & Jack Carloye Ted & Marsha Creason Carol Dahl Mimi Dimitrovski Edwin P. Garretson, Jr. Clive Gay John Haugen Tressa Hochstetter Jack & Jan Keller Fred & Helen Koehler Mary Macey Sarah Marhevsky Holly McCollister Merton & Joan Pubols Jean Sawyer Theresa Schrempp & Richard Wonderly Jennifer Scovell Sylva & Bob Staab Bruce & Marilyn Sweeney Ruth & Dean Vanderwall Bill Voxman Charmaine Wellington O HAPPY EYES, OPUS 18 NO O happy eyes, for you will see My love, my lady pass today. What I may not, that you might say And ask for answer darlingly. O happy, happy, happy eyes. O happy flowers that touch her dress. That touch her dress and take her smile. O whisper to her all the while Some words of love in idleness. O happy, happy, happy flowers. O happy airs that touch her cheek, And lightly kiss and float away. So carelessly as if in play. Why take ye all, the joy I seek? O happy, happy eyes my love to see. Alas! I may not greeet With word or touch my lady sweet; More happy eyes say all for me. A Brief Pause OS JUSTI 1879 Os justi meditabitur sapientiam, Et lingua ejus loquetur judicium. Lex Dei ejus in corde ipsius: Et non supplantabuntur gressus ejus. Alleluja. CHRISTUS FACTUS EST 1884 Christus factus est pro nobis obediens Usque ad mortem, mortem autem crucis. Propter quod et Deus Exaltavit illum et dedit Illi nomen, quod est super omne nomen. VIRGA JESSE 1885 Virga Jesse floruit: Virgo Deum et hominem genuit: Pacem Deus redidit, In se reconcilians ima summis. Alleluja. Elgar & Bruckner ANTON BRUCKNER Idaho-Washington Concert Chorale John h. Norton Attorney at Law S Washington, Moscow, Idaho Licensed in Washington and Idaho The mouth of the righteous utters wisdom, And his tongue speaks what is just. The law of his God is in his heart; And his feet do not falter. Alleluia. Christ became obedient for us unto death, Even to the death of the cross Therefore God exalted Him And gave Him a name Which is above all names. The rod of Jesse hath blossomed: A Virgin hath brought forth God and man: God hath restored peace, reconciling in Himself the lowest with the highest.alleluja.

10 John Weiss, Conductor Currently assistant professor of music at Washington State University, John Weiss earned a Bachelor of Music degree in music education at Boston University s School for the Arts, a Master of Fine Arts degree in choral conducting at the University of California, Irvine, and a Doctor of Musical Arts degree in choral conducting from the University of Arizona. Past choral groups under his direction have won numerous first prizes at state, regional and national competitions. He has been a guest clinician and conductor at MENC regional and state conferences in Massachusetts, Vermont, and Oregon, and choral director for North American Music Ensembles 1991 European tour. As a bass, Dr. Weiss was a Metropolitan Opera Regional Finalist and won First Prize in the Associazione Lirica Italo-Americana Mario Del Monaco Voice Competition. He has performed leading and supporting roles with Boston Lyric Opera, Indianapolis Opera, Ash Lawn-Highland Summer Festival, Raylynmor Opera, Commonwealth Opera, Longwood Opera, Vermont Opera, Oakland Opera, and Sacramento Opera, and also soloed for such organizations as the Harvard-Radcliffe Chorus, College of the Holy Cross Choirs, and the Oakland Chamber Orchestra and Oratorio Society. Some of his favorite roles include Leporello in Don Giovanni, Tevye in Fiddler on the Roof, Mustafa in L italiana in Algeri, Alfie Doolittle in My Fair Lady, Sarastro in Die Zauberfl öte, Colline in La Bohéme, Bartolo in Il Barbiere di Siviglia and Sir Joseph Porter in H.M.S. Pinafore. In May 2005, he sang the role of Sparafucile in Rigoletto with Granite State Opera in New Hampshire. Dr. Weiss presented a recital at WSU on January 16, 2007, and performed the same program in Chattanooga, Tennessee and Mobile, Alabama. The University of Arizona nominated Dr. Weiss doctoral research, Operatically Trained Singers in the Collegiate Choral Rehearsal, for the Julius Herford Award sponsored by the American Choral Directors Association. An article based on this research appeared in Th e Choral Journal, August 2002 and he presented his findings at the Second International Physiology and Acoustics of Singing Conference in Denver in October Last spring he presented the same research at the Washington Music Educators Assoc. State Conference in Yakima, and at the American Choral Directors Association NW Division Convention in Portland. Elena Panchenko, Accompanist El a P ko, originally from Ukraine, studied at the Moscow Conservatory, where she earned her degree in piano performance, music history and music theory. She served as the Musical Director of the Penn State Opera for four years and performed the debut of two new operas, including Mrs. Satan, an opera about the life of the first woman presidential candidate, Victoria Woodhall. Working extensively as an accompanist and church musician, Elena has performed with groups as varied as a children s dance group to such well-know musicians as Francis Orval and David Shifrin, clarinetist and Music Director of Chamber Music at Lincoln Center. In addition to Elena s duties with the chorale, she is also the Music Director at St. James Episcopal Church in Pullman. Elena s family includes her husband, Alex, WSU Math Professor and former Ukrainian rock star (as is Elena); her son Ivan, a student at UW; and their dog, Tasha. Sopranos Kathy Anderson Nancy Beebe Laurie Caraher Shari Carter Jill Price Freuden Meredyth Goodwin Nancy Grunewald Shareena Jones Helen Lombard Mary Macey Maureen Miller Janet Mount Janice O Toole Jennifer Poole Kathy Spencer Altos Alice Barbut Cheryl Blackburn Janet Brandt Elinor Butcher Judy Campbell Jennifer Coleman Kami Cornwall Mimi Dimitrovska Sandy Field Judie Hanley Tressa Hochstatter Angie Jeffries Jan Keller Sarah Marhevsky Holly McCollister Laura McMichael The Idaho-Washington Concert Chorale Sarah Morrison Miho Nam Heather Nelson Jan Patrick Ruth Vanderwall Susan Vannoy Karen Weathermon Charmaine Wellington Tenors Erol Barbut Kevin Brackney Tom Brandt Bill Dugger Clive Gay John Haugen Glenn Petersen Don Willows Basses Allen Alstad Walt Asbe John Brewer Jack Keller Kirk McMichael Daniel Morrison Matthew Petersen Jim Reece David Spencer Steve Swannack Gordon Thomas Dean Vanderwall Chamber Choir Chorale Leadership Alice Barbut Marketing/Fundraising Cheryl Blackburn Advertising Manager Database Manager Tom Brandt Tenor Section Leader Judy Campbell Alto Section Leader Kami Cornwall Graphic Designer Heather Dixon Dress Coordinator Jill Price Freuden Marketing Director Soprano Section Leader Mary Macey Chorale Librarian Ann Norton Chorale Librarian Laura McMichael Front Door Manager David Spencer Wreath Artist & Designer Kathy Spencer Audition Committee Accompanist Gerd Steckel Receipts Treasurer Steve Swannack Bass Section Leader Riser Crew Coordinator Gordon Thomas Box Offi ce Manager Web Master Sing with Us! Singing with the Chorale is fun! Board of Directors Janet Brandt Chorale Member-at-Large Sheila Converse WSU Faculty, Pullman Richard Domey Patron of the Arts, Pullman Meredyth Goodwin Chorale President Barbara Hayes Costume Designer, Lewiston Jan Keller Chorale Treasurer Jim Murphy UI Faculty, Moscow Janice O Toole Chorale Vice-President Glenn Petersen Chorale Secretary Rosemary Waldrop Private Voice, Pullman Karen Weathermon Chorale Member-at-Large Press Releases & Notecards Music Director & Principal Conductor John Weiss Rehearsal Accompanist Elena Panchenko House Manager Sherry Caisley IWCC is an auditioned choir of community members from the Palouse and surrounding communities. We perform a three concert series each season and rehearse Monday nights at Gladish Community Center in Pullman from the end of August through the first week of May. Auditions for the season will be held in August, If you are interested in joining us, please contact: Janice O Toole , otoole3@inlandnet.com