Bel Canto Chorus Requiem - Gloria by Bel Canto Chorus

WELCOME FROM RICHARD HYNSON Dear Friends, Welcome to Bel Canto’s first concert of the 2013-14 season! With this concert, we launch a season-long exploration of collaborations that we have called “Works with Friends.” Our first musical partner, the inimitable Milwaukee Symphony Orchestra, will join us in performing two twentieth-century French masterpieces: Maurice Duruflé’s Requiem and Francis Poulenc’s Gloria. While both pieces feature sacred texts, they were written as concert pieces to reach a broader, ecumenical audience. Duruflé and Poulenc knew each other, and their music reflects the turbulent times of Europe during the Cold War era. If you enjoyed tonight’s performance, we hope that you will join us for upcoming concerts. On December 14/15, we will present our popular “Christmas at the Basilica” concerts. As always, we will be joined by the Bel Canto Boy Choirs and Stained Glass Brass to perform holiday music that you know and love, with some brand new surprises to keep things interesting. On March 9, the Milwaukee Chamber Orchestra will join us to present two compelling works: James MacMillan’s Seven Last Words from the Cross and Morten Lauridsen’s Lux Aeterna. This music is gripping, passionate, and sublime. On May 21, Bel Canto and the Boy Choirs will be joined by members of the Milwaukee Children’s Chorus to perform Carl Orff’s iconic Carmina Burana. Please mark your calendars and join us as we play “Works with Friends.” We hope to see you there.

Richard Hynson Music Director F R O M T H E B OA R D P R E S I D E N T As current Board President, I am honored to be part of the leadership of Milwaukee’s premier choral organization: Bel Canto Chorus. As part of its mission, Bel Canto is dedicated to music education, collaboration with other performing arts groups, and advocating for emerging artists. Now in its 83rd year, Bel Canto continues to be a commanding presence in the Milwaukee arts community, and I am proud of the direction in which we are heading. I am excited that this year we will be expanding our collaborative efforts in the community in a season we are calling “Works with Friends.” Bel Canto continues to build on the strong tradition of live choral music, and with new Executive Director Nina M. Jones, a dedicated staff, and over 100 passionate and committed singers, this promises to be one of our best seasons yet. Through the support of your attendance, your financial contributions, and your commitment to exceptional choral music, this organization will continue to grow and thrive. Thank you for joining me in supporting the magic that is Bel Canto Chorus.

Martin Tierney Board President www.BelCanto.org

A B O U T B E L C A N TO C H O R U S Founded in 1931, Bel Canto Chorus enriches the lives of its audiences and members through the presentation of fine choral music. The group has been led for more than 25 years by Richard Hynson, considered one of the nation’s finest choral and orchestral conductors. (American Prize Winner 2012) Bel Canto Chorus ranks in the top ten percent of choral organizations in the country in terms of budget, longevity, and repertoire. Educational outreach includes Bel Canto Senior Singers and Bel Canto Boy Choirs. Rehearsals are held at the Milwaukee Youth Arts Center. Characterized by a heartfelt belief in the value of Bel Canto Chorus; and supported by its devoted singers, audiences, talented artistic and administrative staff, and dedicated board members; the group’s passion for sharing the thrill of live, choral music has remained steadfast throughout its long, proud history. To learn more about singing with Bel Canto Chorus, go online at www.belcanto.org, call (414) 481-8801, or email info@belcanto.org.

M I S S I O N S TAT E M E N T The mission of Bel Canto Chorus is to enrich the lives of its audiences and its singing members through the outstanding live presentation of the finest choral music and to reach out to the community in order to share the benefits and joy of the singing arts.

B OA R D O F D I R E C TO R S President ........................................................................................................................................................Martin Tierney Treasurer ...............................................................................................................................................................Jim Hyland Secretary .............................................................................................................................................................Marc Cohen Chorus Representative ........................................................................................................................................... Jim Hill Joshua Blakely, Sequoya Borgman, Tyler Draheim, Raúl C. Galván, Todd Jones, Betty Reul, Tom Thiele

A R T I S T I C S TA F F Music Director/Conductor................................................................................................................... Richard Hynson Assistant Conductor/Accompanist...................................................................................................Michelle Hynson Boy Choirs Director................................................................................................................................... Ellen M. Shuler Senior Singers Director.............................................................................................................................James D. Stout Senior Singers Assistant...............................................................................................................Andrea S. Goetzinger Elna Hickson................................................................................................ Boy Choirs/Senior Singers Accompanist

A D M I N I S T R AT I V E S TA F F Executive Director........................................................................................................................................ Nina M. Jones Education and Outreach Manager...................................................................................................Rebecca Whitney Marketing and Patron Manager....................................................................................................................Jim LaBelle Equipment Manager..................................................................................................................................James D. Stout

CHORUS CABINET Jan Becker, CarolAnne Bozosi, Susan Brown, Elaine Ernst, Jim Hill, Susi Kiefer, Carol Lynne McKean, Marjorie P. Piechowski, Kerry Saver, Kristin Traut, Jennifer Watson 2

Bel Canto Chorus

RICHARD HYNSON RICHARD HYNSON, Music Director/Conductor This season marks Richard Hynson’s 26th year as Music Director of the Bel Canto Chorus and Orchestra. In addition, Hynson has served as Music Director of the Milwaukee Chamber Orchestra since 2006. In demand as a guest conductor, Hynson’s past engagements include performances with the Milwaukee Symphony, the Skylight Music Theatre, and the Racine, Sheboygan, and Waukesha Symphony Orchestras. Hynson has conducted at Carnegie Hall in New York City, where he led a large national festival chorus and orchestra in Ralph Vaughan Williams’s Dona Nobis Pacem. He has guest-conducted the Wisconsin Chamber Orchestra in one of the Concerts on the Square in Madison. He has also served as the Music Director for Gathering on the Green, the popular outdoor music festival in Mequon, WI. In 2012, Hynson was awarded the American Prize – community choral division. This national prize provides evaluation, recognition, and reward to America’s finest performing artists, ensembles, and composers. In making the award, the American Prize committee wrote: “During his 24 years as Music Director, Dr. Richard Hynson has transformed Bel Canto Chorus of Milwaukee from a venerable community chorus to a vibrant, successful arts organization respected for its artistic excellence, innovative programming, and impactful outreach…” Hynson and members of Bel Canto Chorus have performed internationally at the acclaimed Spoleto Music Festival in Italy, the Festivals of Troyes and Rheims in France, the Llangollen Festival in Wales, and the Elora and Huntsville Festivals in Canada. In addition to its annual concert season, the chorus is often called upon to participate in performances by national touring companies. In 2010, Bel Canto participated in Star Wars in Concert and in the Video Games Live national touring concert, and in February 2013, Bel Canto sang in the Distant Worlds touring concert. The chorus completed a successful international tour in July 2011, performing with several orchestras in Argentina and Uruguay, and in June 2013, Hynson conducted Bel Canto and two French choruses in three performances of Brahms’s Requiem with L’Ensemble Orchestral de Bordeaux in France. In addition to his work as a conductor and educator, Hynson is a composer. He has written a substantial body of published choral, vocal, and ensemble works, many of which he has recorded with Bel Canto Chorus singers. The U.S. Air Force Singing Sergeants have frequently performed Hynson’s In the Midst of Life, composed in response to the events of September 11. Most notably, they presented it in New York City’s Avery Fisher Hall for the national conference of the American Choral Directors Association. Under Hynson’s direction, Bel Canto opened its 81st season on Sunday, September 11, 2011, with United We Stand in Cathedral Square Park. This free concert marked the tenth anniversary of the 2001 terrorist attacks, and featured Mozart’s Requiem and Samuel Barber’s “Adagio for Strings” in collaboration with the Milwaukee Chamber Orchestra. “The chorus sang with force and assurance, easily separating the complex vocal lines... and following Hynson’s judicious phrasing in when to hold back and when to let go.” (David Lewellen, Milwaukee Journal Sentinel) This year marked the third annual commemorative concert celebration of Martin Luther King, Jr., presented by the Bel Canto Chorus and Milwaukee Chamber Orchestra. www.BelCanto.org

B E L C A N TO R O S T E R Lotta Alajoki Vaughn Ausman Kevin Bailey+ Jonathon Bartos Renee Bartos Kelly Bartyczak Carol Bayne Jan Becker Sara Louise Bitner CarolAnne Bozosi Susan Brown Marc Cohen Peter Craig Sue D’Alessio Rachel M. Dees Elaine Ernst Christine G. Fitch Chelsey Foscato Emily Fox Naomi Fritz Karri Fritz-Klaus Janet Gibeau Jim Gingery Andrea S. Goetzinger+ Eileen Griffiths Lynn Gutoski Brett Hanisko Keith Heidmann Joan Henkel James Hill Craig Hoffmann Glenna Kate Holstein Dan R. Holzmiller Jeanne Houle Ronald Houle Sally D. Hoyt Katherine Hughes Kathleen Hughes+ Michelle Hynson+ Dorothea Janisch+ 4

Bel Canto Chorus

M I LWAU K E E S Y M P H O N Y Susi Kiefer Kieth Klemp Jessi A. Kolberg Kyle Kolberg Russell Kopitzke Steven Kunda Erin Laabs Jonathan A. Laabs+ James LaBelle+ Penny Laferriere Lindsay Lamm Sandra Lash+ Angela Lee John W. Lettermann+ Loretta Jelinek Lieske K. David Lupardus Barbara L. Lyons Patrick C. Lyons Chris Martin+ Kristin McGowan Carol Lynne McKean David Meyers Theodore Perlick Molinari Jeff Nesta Sarah Pabbathi+ Marjorie P. Piechowski Alexandra Pieper Bryan Previte Nicholas Scott Pullen+ Debbie Rakestraw John Reinardy Betty Reul David Reul Kay Richardson Shira Richardson Kerry Saver Kathleen Schilz Kate Schmitt Allison Schnier Glenn R. Schumann

Sarah Schwab Marcia Schwager Brian J. Schwanz Susan Chamberlin Smith William R. Smith+ Binette Solomon Erin Stamm Philip Starr Eric Stein Joan Stevens James D. Stout Sheila Strock Amanda Sullivan Lora Sunder Jonathan Szczepaniak Ken Tazelaar Kim Terek Mary Thiele Tom Thiele Veronica Thomas Kristin Traut Thomas Treder Fausta Urboniene Bernadette Vitola Sarah Warran Jennifer W. Watson Nathan Wesselowski+ Hazel Wheaton Rebecca Whitney+ Alyssa Wilda Ben Wilda Jessica Wirth

+ Denotes Section Leader

The Milwaukee Symphony Orchestra, under the dynamic leadership of Music Director Edo de Waart, has embarked upon a new era of artistic excellence and critical acclaim. Now in his fifth year with the MSO, Maestro de Waart has led sold-out concerts, elicited rave reviews, and conducted an acclaimed performance at Carnegie Hall on May 11, 2012, in the Spring for Music festival. Since its inception in 1959, the MSO has become one of the finest orchestras in the nation. The MSO’s 83 full-time professional musicians perform over 130 classics, pops, family, and education concerts each season in venues throughout the state. A cornerstone of Milwaukee’s arts community, the MSO provides enrichment and education activities for audiences of every age, economic status, and background.

Shully’s cuisine & events

www.BelCanto.org

M I LWAU K E E S Y M P H O N Y R O S T E R

M I LWAU K E E S Y M P H O N Y R O S T E R EDO DE WAART Music Director Polly and Bill Van Dyke Music Director Chair FRANCESCO LECCE-CHONG Associate Conductor ANDREAS DELFS Conductor Laureate LEE ERICKSON Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Frank Almond, Concertmaster Charles and Marie Caestecker Concertmaster Chair Ilana Setapen, Associate Concertmaster Jeanyi Kim, Associate Concertmaster Third Chair Karen Smith Anne de Vroome Kamerling, Associate Concertmaster Emeritus Michael Giacobassi Peter Vickery Dylana Leung Yuka Kadota Lynn Horner Zhan Shu Andrea Wagoner Margot Schwartz David Anderson SECOND VIOLINS Jennifer Startt, Principal Woodrow and Andrea Leung Principal Second Violin Chair Timothy Klabunde, Assistant Principal Taik-ki Kim Lisa Johnson Fuller Shirley Rosin Alexander Ayers Paul Mehlenbeck Janice Hintz Les Kalkhof Glenn Asch Mary Terranova Laurie Shawger 6

Bel Canto Chorus

VIOLAS Robert Levine, Principal Richard O. and Judith A. Wagner Family Principal Viola Chair Wei-Ting Kuo, Assistant Principal Friends of Janet F. Ruggeri Viola Chair Nathan Hackett Sara Harmelink Larry Sorenson Erin H. Pipal Norma Zehner David Taggart Helen Reich CELLOS Susan Babini, Principal Dorothea C. Mayer Cello Chair Scott Tisdel, Associate Principal Peter Szczepanek Gregory Mathews Peter J. Thomas Elizabeth Tuma Laura Love Margaret Wunsch Adrien Zitoun Kathleen Collisson

OBOES Katherine Young Steele, Principal Milwaukee Symphony Orchestra League Oboe Chair Martin Woltman, Assistant Principal Emeritus Margaret Butler, Acting Assistant Principal ENGLISH HORN Margaret Butler, Acting Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal Franklyn Esenberg Clarinet Chair Kyle Knox, Assistant Principal Donald and Ruth P. Taylor Assistant Principal Clarinet Chair William Helmers E FLAT CLARINET Kyle Knox BASS CLARINET William Helmers

BASSES Zachary Cohen, Principal Donald B. Abert Bass Chair Andrew Raciti, Assistant Principal Rip Prétat Laura Snyder Catherine McGinn Scott Kreger Roger Ruggeri

BASSOONS Theodore Soluri, Principal Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

HARP Danis Kelly, Principal Walter Schroeder Harp Chair

HORNS Matthew Annin, Principal Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann Andy Nunemaker French Horn Chair Darcy Hamlin Joshua Phillips

FLUTES Sonora Slocum, Principal Margaret and Roy Butter Flute Chair Jeani Foster, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub

CONTRABASSOON Beth W. Giacobassi

c o n t.

TRUMPETS Principal Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal** Martin J. Krebs Associate Principal Trumpet Chair Alan Campbell Fred Fuller Trumpet Chair TROMBONES Megumi Kanda, Principal Marjorie Tiefenthaler Trombone Chair Kirk Ferguson BASS TROMBONE John Thevenet TUBA Randall Montgomery, Principal TIMPANI Dean Borghesani, Principal Thomas Wetzel, Associate Principal PERCUSSION Thomas Wetzel, Principal Robert Klieger, Assistant Principal PIANO Wilanna Kalkhof Melitta S. Pick Endowed Chair PERSONNEL MANAGERS Linda Unkefer Rip Prétat, Assistant LIBRARIAN Patrick McGinn, Principal Librarian Anonymous Donor, Principal Librarian Chair STAGE & TECHNICAL MANAGER Kyle Remington Norris ** Acting member of the Milwaukee Symphony Orchestra 2013.14 Season

www.BelCanto.org

KEVIN BAILEY Kevin Bailey is the Director of Worship and Music at Fox Point Lutheran Church, where he is organist and choir director. He is a graduate of Augustana College (IL) and Indiana University, and is an alumus of Westminster Choir College’s summer conducting institute. His principal teachers for organ have been Tom Robin Harris and Christopher Young, and he studied church music and improvisation with Marilyn Keiser. He has accompanied and conducted choirs at Anderson University (IN) and served as choir director and organist at several churches in Indiana before moving to Milwaukee in 2003. Bailey remains active outside the church as an accompanist and continuo performer throughout the Milwaukee area, performing with such groups as the Master Singers of Milwaukee, The Wisconsin Philharmonic Orchestra, the Bel Canto Chorus, and the Milwaukee Chamber Choir.

GER ARD SUNDBERG For nearly a decade, Gerard Sundberg has captivated audiences with his performances of Handel’s Messiah with the Atlanta Symphony Orchestra and Chorus. Recent performances include the St. John Passion conducted by John Nelson in Paris at the Notre Dame Cathedral. He has appeared as soloist with the Robert Shaw Festival Singers, and with the Atlanta Symphony Orchestra under the direction of Robert Shaw. Sundberg maintains an impressive presence in the Chicago area, frequently appearing as soloist with the West Suburban Choral Union. He also has sung extensively with the Oregon Bach Festival under the artistic leadership of Helmuth Rilling, who praises Sundberg for his “exceptionally stunning high range” and “perfect command of the German language and high musicality.” Previous performances with Bel Canto include Brahms’s Ein deutsches Requiem, Handel’s Messiah, Finzi’s Requiem da Camera, and Mozart’s Requiem. Sundberg is a graduate of Bethel College (St. Paul, MN), and holds both Master of Fine Arts and Doctor of Musical Arts degrees from the University of Minnesota where he studied voice with Clifton Ware and Roy Schuessler. He is presently Professor of Voice at Wheaton Conservatory of Music (Wheaton, IL).

N I C O L E WA R N E R Mezzo-soprano Nicole Warner is best known for the chocolate richness of her voice and the unforgettable emotional engagement she shares with the audience. Warner last sang with the Bel Canto Chorus for the 9.11.11 “United We Stand” concert in Cathedral Square Park. With skills spanning a wide variety of genres and languages, Warner was the first singer ever to present the entire Vietnamese language song-cycle Spring Reverberations by composer Tiến Cung. Her first commercial recordings, Fly With Me, Maybe So, and Siana were released on iTunes® and CDBaby® in 2010. Other performances include Pergolesi’s Stabat Mater with the Milwaukee Chamber Orchestra, the Fairy #2 solo in Mendelssohn’s Midsummer Night’s Dream with the St. Paul Chamber Orchestra, conducted by Hans Graf; Handel’s Messiah; Bach’s Christmas Oratorio, Mendelssohn’s Paulus, and Mozart’s Requiem. Visit www.nicolewarner.com for up-to-date concert listings and a free mp3 download.

REBECCA WHITNEY Rebecca Whitney received her Bachelor of Music Degree in Vocal Performance and Vocal Music Education from the University of Wisconsin-Whitewater. She has performed as a soloist with numerous groups in Southeastern Wisconsin, singing works such as Handel’s Messiah and Israel in Egypt, Haydn’s The Creation, Mozart’s Vesperae solennes de confessore and Coronation Mass, Fauré’s Requiem, Richard Hynson’s Evensong, and works by Bach, Vivaldi, Vaughan Williams, and John Rutter. Whitney joined Bel Canto Chorus as a soprano section leader in 2005, the same year she was named a finalist in the Bel Canto Regional Artists Competition. She also currently serves as Bel Canto’s Education and Outreach Manager. Whitney was honored to appear as the soprano soloist in Mozart’s Requiem for Bel Canto’s 9.11.11 “United We Stand” concert in Cathedral Square Park, which was viewed by tens of thousands via Wisconsin Public Television. In June of 2013, she traveled to France with Bel Canto Chorus International as the soprano soloist in Brahms’s Ein deutsches Requiem.

Does your family have tickets?

Christmas in the Basilica December 14, 7:30pm December 15, 3:00pm & 6:30pm 8

Bel Canto Chorus

www.BelCanto.org

Richard Hynson, Music Director/Conductor presents

Requiem – Maurice Duruflé Gloria – Francis Poulenc featuring

Milwaukee Symphony Orchestra, Edo de Waart, Music Director Saturday, October 26, 2013 at 7:30 PM Christ King Parish Requiem 1. Introit 2. Kyrie 3. Domine Jesu Christe 4. Sanctus 5. Pie Jesu 6. Agnus Dei 7. Lux aeterna 8. Libera me 9. In Paradisum

Maurice Duruflé (1902 – 1986)

Kevin Bailey, Organ Gerard Sundberg, Baritone Nicole Warner, Mezzo-soprano

Intermission Gloria 1. Gloria 2. Laudamus te 3. Domine Deus 4. Domine fili unigenite 5. Domine Deus, Agnus Dei 6. Qui sedes ad dexteram Patris Rebecca Whitney, Soprano

Francis Poulenc (1899 – 1963)

The Milwaukee Symphony Orchestra can be heard on Naxos, Telarc, Koss Classics, Pro Arte, AVIE, and Vox/ Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at www.mso.org. MSO Binaural recordings (digital only) available at www.mso.org. Steinway is the official piano of the MSO. Please note: there is no video recording or flash photography allowed during the concert.

Thank You to Our Concert Sponsors:

with funds from the State of Wisconsin and the National Endowment for the Arts 10

Bel Canto Chorus

www.BelCanto.org

D U R U F L É R E Q U I E M T E X T A N D T R A N S L AT I O N

c o n t.

1. Introit Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

1. Eternal rest give to them, O Lord, and let perpetual light shine upon them. A hymn, O God, becometh Thee in Zion, and a vow shall be paid to Thee in Jerusalem; O Lord, hear my prayer, all flesh shall come to Thee. Eternal rest give to them, O Lord, and let perpetual light shine upon them.

6. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

6. Lamb of God, Who takest away the sins of the world, grant them eternal rest.

7. Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

7. May light eternal shine upon them, O Lord, with Thy saints forever, for Thou art kind. Eternal rest give to them, O Lord, and let perpetual light shine upon them.

2. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.

2. Lord have mercy on us, Christ have mercy on us. Lord have mercy on us.

3. Domine Jesu Christe Domine Jesu Christe, rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum.

3. O Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit. Deliver them from the lion’s mouth, that hell engulf them not, nor they fall into darkness.

Sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus; fac eas, Domine, de morte transire ad vitam quam olim Abrahae promisisti et semini ejus.

But that Michael, the holy standardbearer, bring them into the holy light, which Thou once didst promise to Abraham and his seed. We offer Thee, O Lord, sacrifices and prayers of praise. Do Thou accept them for those souls whom we this day commemorate; grant them, O Lord, to pass from death to the life which Thou once didst promise to Abraham and his seed.

8. Libera me Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.

8. Deliver me, O Lord, from eternal death on that dreadful day when the heavens and the earth shall be moved, and Thou shalt come to judge the world by fire. I quake with fear and I tremble awaiting the day of account and the wrath to come, when the heavens and the earth shall be moved. Day of mourning, day of wrath, of calamity, of misery, the great day, and most bitter. Eternal rest give to them, O Lord, and let perpetual light shine upon them. Deliver me, O Lord, from eternal death on that dreadful day when the heavens and the earth shall be moved, and Thou shalt come to judge the world by fire.

4. Sanctus Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis! Benedictus, qui venit in nomine Domini. Hosanna in excelsis!

4. Holy, Lord God of hosts. The heavens and the earth are full of Thy glory. Hosanna in the highest! Blessed is He Who cometh in the name of the Lord. Hosanna in the highest!

9. In Paradisum In Paradisum deducant te Angeli in tuo, adventu suscipiant te martyrs et perducant te in civitatem sanctam Jerusalem.

9. May the angels receive them in Paradise, at thy coming may the martyrs receive thee and bring thee into the holy city Jerusalem.

Chorus Angelorum te suscipiat et cum Lazaro quondam paupere aeternam habeas requiem.

There may the chorus of angels receive thee, and with Lazarus, once a beggar, may thou have eternal rest.

5. Pie Jesu Pie Jesu Domine, dona eis requiem sempiternam.

5. Gentle Lord Jesus, grant them eternal rest.

Bel Canto Chorus

www.BelCanto.org

P O U L E N C G L O R I A T E X T A N D T R A N S L AT I O N 1. Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Glory be to God on high, and in earth peace, goodwill towards men.

2. Laudamus te Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi Propter magnam gloriam tuam.

We praise Thee. We bless Thee. We worship Thee. We glorify Thee. We give thanks to Thee for Thy great glory.

3. Domine Deus Domine Deus, Rex caelestis, Deus Pater omnipotens, Gloria.

O Lord God, heavenly King, God the Father almighty, Glory.

4. Domine fili unigenite Domine Fili unigenite Jesu Christe. Domine Deus unigenite Jesu Christe.

O Lord, the only begotten son, Jesus Christ. O Lord God, the only begotten son, Jesus Christ.

5. Domine Deus, Agnus Dei Domine Deus, Agnus Dei, Filius Patris, Qui tollis peccata mundi, miserere nobis. Domine Deus, Rex caelestis, Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, Suscipe deprecationem nostram.

O Lord God, Lamb of God, Son of the Father, Who takest away the sins of the world, have mercy upon us. O Lord God, heavenly King, Who takest away the sins of the world, receive our prayer.

6. Qui sedes ad dexteram Patris Qui sedes ad dexteram Patris, Miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris, Amen.

Thou that sittest at the right hand of the Father, have mercy upon us. For thou only art holy. Thou only art the Lord. Thou only, O Jesu Christ, art most high. With the Holy Spirit, in the glory of the Father, Amen.

PROGR A M NOTES He was not an innovator but a traditionalist. At a time when Alain and Messiaen broke all preconceived ideas, Duruflé evolved and amplified the old traditions, making them his own. -Marie-Claire Alain Maurice Duruflé (January 11, 1902 – June 16, 1986), who grew up in the small town of Louviers in northern France, became a chorister in the Rouen Cathedral Choir School at the age of ten, where he was introduced to liturgical music, including Gregorian chant. In 1919, he moved to Paris to study organ with Charles Tournemire in order to prepare for the entrance exams for the Conservatoire National de Musique de Paris, which required improvisation on Gregorian chant themes. Duruflé became Tournemire’s assistant at Basilique Ste-Clotilde and many years later recalled how that great organist instilled in him an appreciation for the use of chant: 14

Bel Canto Chorus

PROGR A M NOTES

c o n t.

Tournemire never played from a prepared score at Sunday Mass; the book of Gregorian chant was always on the music rack open at the liturgical office of the day. He improvised the entire Low Mass… That meant a full half-hour of music. I hasten to add that this half-hour of music was always inspired by the Gregorian themes appropriate to the day and reflected the successive portions of the service. It was not a concert, but a genuine musical commentary on the liturgy. A year later Duruflé entered the Conservatoire, winning first prizes in organ, harmony, piano accompaniment, and composition. In 1927, he became the assistant of Louis Vierne at Notre Dame, and was at the side of his mentor and friend when Vierne died at the console of the Notre-Dame organ on June 2, 1937. Duruflé served as organist of St-Étiennedu-Mont in Paris from 1929 until his death in 1986. However, after both his legs were broken in a 1975 car accident, he no longer performed, and it was his wife Marie-Madeleine who actually played the services in the later years. In 1939, Duruflé premiered Francis Poulenc’s organ concerto (the Concerto for Organ, Strings and Timpani in G minor), having previously advised Poulenc on the registrations of the organ part. Duruflé was highly critical of his own compositions, which may explain why there are only fourteen published opus numbers attributed to him. He once said in an interview, “I work slowly, and I throw a lot away.” In fact, the manuscript for his first opus, Triptych (1926) for piano, is marked in large red letters, “Not to be published.” On May 16, 1941, Duruflé was commissioned by the Vichy regime, established after Germany defeated France in 1940, to compose a symphonic poem, for which he would be paid 10,000 francs, an amount considered to be adequate to cover expenses for the period of six to twelve months necessary for such a composition. Duruflé took six years to complete his work, the Requiem, Op.9, which is considered to be his greatest composition. The nine-movement Requiem was finished in September of 1947, and the first performance was broadcast to a national audience over French radio on November 2, 1947, on All Souls Day, the day on which the Roman Catholic Church prays for the dead in purgatory. Because the Vichy regime had been replaced by a new French government at the end of WWII, on January 21, 1948, Duruflé submitted a certificate to the Administration des beaux-arts of the Fourth Republic, indicating that his Requiem fulfilled the commission granted to him in 1941. The government paid him 30,000 francs rather than the contracted 10,000 francs. These program notes, written by Duruflé for a 1980 performance of the Requiem under the direction of Elaine Chevalier, his wife’s sister, give us great insight into the composer’s intentions for the work. This Requiem is composed entirely on the Gregorian themes of the Mass for the Dead. Sometimes the musical text has been respected in full, the orchestra intervening only to sustain or to comment on it; sometimes I was simply inspired by it or sometimes removed myself from it altogether; for example, in certain developments suggested by the Latin text, namely in the Domine Jesu Christe, the Sanctus, and the Libera. Generally speaking, I tried to get the particular style of the Gregorian themes firmly set in my mind. I also endeavored to reconcile as much as possible the Gregorian rhythm, as has been established by the Benedictines of Solesmes, with the demands of modern metrical notation. The rigidness of the latter, with its strong beats and weak beats recurring at regular intervals, is hardly compatible with the variety and fluidity of the Gregorian line, which is only a succession of rises and falls. www.BelCanto.org

PROGR A M NOTES

c o n t.

The strong beats had to lose their dominant character in order to take on the same intensity as the weak beats in such a way that the rhythmic Gregorian accent or the tonic Latin accent could be placed freely on any beat of our modern tempo… This Requiem is not an ethereal work which sings of detachment from earthly worries. It reflects, in the immutable form of the Christian prayer, the agony of man faced with the mystery of his ultimate end. It is often dramatic, or filled with resignation, or hope or terror, just as the words of the Scripture themselves which are used in the liturgy. It tends to translate human feelings before their terrifying, unexplainable or consoling destiny. This mass includes the nine parts of the Mass of the Dead: the Introit, Kyrie, Domine Jesu Christe, Sanctus, Pie Jesu, Agnus Dei, Lux aeterna, Libera me, and finally In Paradisum, the ultimate answer of Faith to all the questions, by the flight of the soul to Paradise.

Take Chabrier’s dominant sevenths, Ravel’s major sevenths, Fauré’s straight triads, Debussy’s minor sixths, Mussorgsky’s augmented fourths. Filter them, as Satie did, through the added-sixth chords of vaudeville… blending a pint of Couperin with a quart of Stravinsky, and you get the harmony of Poulenc. -Ned Rorem, Opera News, 1977 Francis Poulenc (January 7, 1899 – January 30, 1963) was born into a wealthy Parisian family and grew up in the city center, near the Élysée palace. The huge pharmaceutical firm, Rhône-Poulenc, was founded by his grandfather and run by his father and uncle. His mother, a talented amateur pianist, began teaching him piano at age five. Poulenc later studied with César Franck’s niece and then with the Spanish virtuoso Ricardo Viñes, who was a friend of Debussy and Ravel. He soon began to meet the artistic celebrities of the day, including Satie, Cocteau, and Stravinsky. The young Poulenc was enchanted with the music of both Stravinsky and Satie, and at age 18, he dedicated his first work, Rapsodie nègre, for baritone and chamber ensemble, to Satie. In 1920, Poulenc and five of his composer friends, Georges Auric, Arthur Honegger, Darius Milhaud, Germaine Tailleferre, and Louis Durey, were dubbed Les Six. Les Six made an impression on the music world, but the designation may have unfairly branded all the members as frivolous, cheeky followers of Jean Cocteau. Despite Poulenc’s early enthusiasm for the radical, rebellious composers of Paris, he was essentially a traditionalist. “I am not the kind of musician who makes harmonic innovations, like Igor, Ravel, or Debussy,” he said. “There is a place for new music that is content with using other people’s chords.” When Poulenc began to study renaissance and early baroque counterpoint with Charles Koechlin in the 1920s, he became enchanted by the vertical structure of harmony. He later wrote: Having soon sensed that, like many Latins, I was more a harmonist than a contrapuntist, he had me harmonize Bach chorale themes in four parts while I continued working on my contrapuntal exercises. This work, which fascinated me, had a decisive influence on me. It is due to these chorales that I acquired a feeling for choral music. 16

Bel Canto Chorus

PROGR A M NOTES

c o n t.

Poulenc’s most celebrated choral work, Gloria, was commissioned in 1959 by the Koussevitsky Foundation in honor of Sergei Koussevitzky and his wife Natalia, the namesakes of the foundation. It was premiered on January 21, 1961, one of Boston’s snowiest days, by the Boston Symphony Orchestra and the Chorus Pro Musica under conductor Charles Münch with soprano soloist Adele Addison, best known today as the singing voice of Bess in the 1959 film Porgy and Bess. In the beginning, a sacred work for soprano solo, mixed chorus, and an orchestra consisting of two flutes and two piccolos, two oboes and english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, harp, and strings was not what the Foundation had envisioned as their commission.. Just a year before his death, Poulenc told his audience at the Club des Trois Centres in Paris, “First they asked me for a symphony. I told them I was not made for symphonies. Then they asked me for an organ concerto. I told them I had already written one and I didn’t want to write another. Finally they said: ‘All right, then do what you like!’” Poulenc’s letters to his friend Pierre Bernac, from Boston’s Sheraton Plaza Hotel in January 1961, indicate that the rehearsal process for the premiere was initially a shaky affair: ... as for the Gloria, if I had not come here, what peculiar music would have been heard! Dear, adorable, exquisite Charlie had understood precisely nothing ... Arriving late for the first rehearsal of the choir, I heard something so unlike me that my legs almost failed me on the staircase ... all those worthy Protestants were singing sharp and shrill (especially the women) as they do in London, with that “Oh! My good Lord” quality. All Münch’s tempi were wrong—all too fast naturally ... I tell you, I wanted to run a mile. Fortunately, things had changed by the final rehearsal two days later: The rehearsal yesterday was extraordinary. Münch suddenly inspired: as for [soprano soloist Adele] Addison, she drives you wild, she is sheer heaven, with that warm Negro purity... Everyone was full of enthusiasm ... The Gloria is without doubt the best thing I have done. The orchestration is marvelous (the ending, among other things, is astonishing) ... It has given me a confidence that I badly needed. After the successful premiere performance, Poulenc was showered with accolades, including a kiss from actress Marlene Dietrich. The next morning the critic for the Boston Globe called the Gloria “one of the French composer’s major scores and an exceedingly fine work.” Likewise, the reviewer for the Boston Herald called it a “major work, prominent in the career of a contemporary master and a significant addition to the repertory of twentiethcentury music.” Some critics received the Gloria badly, however, saying it bordered on sacrilege. Poulenc retorted: “While writing this composition I constantly had in mind those Gozzoli frescoes [in the Palazzo Medici Riccardi in Florence] with angels sticking out their tongues, and also some solemn-looking Benedictine monks I had once seen reveling in a game of football.” Poulenc’s friend Claude Rostand described Poulenc as “le moine et le voyou” (the monk and the hooligan), and American composer Ned Rorem called him “a whole man always interlocking soul and flesh, sacred and profane.” That duality is at the heart of the ebullient and moving Gloria, written in Poulenc’s unique musical language, a combination of cathedral and Parisian café, majesty and playfulness. After completing his final choral work, Sept répons des ténèbres, shortly before his death, Poulenc said, “With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days of purgatory, if I do narrowly avoid going to hell.” www.BelCanto.org

B E L C A N TO C H O R U S ’ E N D OWM E N T F U N D

AC K N OW L E D G E M E N T S

Consider donating to Bel Canto Chorus’ Endowment Fund, where your gift to choral music can be appreciated for years to come. Whether it is a gift of stock or a check, simply indicate that you would like your investment to go toward our Endowment Fund. For more information, contact the Bel Canto office at (414) 481-8801. B E L C A N TO L E G AC Y S O C I E T Y Members of the Bel Canto Legacy Society have agreed to include the Chorus as part of their estate planning arrangements. You may join them by contacting the Bel Canto office (414) 481-8801. Sally D. Hoyt & Vaughn Ausman Margaret E. Haggerty Kerry Saver Joanna & Chris Smocke AC K N OW L E D G E M E N T S ( l i s t e d

James Steinman Roseann & David Tolan Louis Winter

as of october

15 , 2 013 )

Bel Canto Chorus wishes to thank these friends for their generous support in the past year. Please consider adding your name to this list. Standing Ovation ($25,000+) United Performing Arts Fund Bravissimo ($5,000 -$24,999) Lynde & Harry Bradley Foundation Herzfeld Foundation Sally Hoyt & Vaughn Ausman Hydrite Chemical LoRayne Kostecke Milwaukee County CAMPAC Nicholas Family Foundation Oconomowoc Area Foundation Ireene Sullivan Bravo ($1,000 - $4,999) Charles Barnum Jan & Robert Becker * Janet Gibeau John Hayes Kathleen Hughes Michelle & Richard Hynson 18

Bel Canto Chorus

T. Rowe Price Program for Charitable Giving; Justus F. & Barbara J. Paul Fund San Camillo Katherine & Don Schwerin Susan Chamberlin Smith & William Smith Jean & Peter Storer Mary & Tom Thiele Helen Vettori Wisconsin Arts Board Uihlein Charitable Foundation Fortissimo ($500 - $999) Wendy & Marc Cohen Linda & Vincents Dindzans Mary Alice Tierney Dunn Christine & Jim Fitch Merilou Gonzales Herbert Kohl Charities, Inc. Christine & Jim Hill Sue & Gary Lesko Rudy Malz Keith Mardak Sue Martin-Steiner & Tony Steiner Jean & Hilton Neal

Northwestern Mutual Foundation Kerry Saver Marcia Schwager Katherine Schwerin Maria & Bruce Tammi Janet & Martin Tierney Glen Van Fossen Michael Walton Betsey & Earnest Williamson William Stark Jones Foundation c/o Lambert Law LLC Inge & Frank Wintersberger Forte ($250 - $499) Anonymous Tolly & Jim Arthur Carole & Thomas Barnum Lori Bauman Carol & Jay Bayne Deborah Betsworth James & Mary Kathryn Braza Randy Casey Center for Communication Hearing & Deafness, Inc. Sandra Christensen Jim & Carol Alexander Coutts

Kay& John Crichton Ann Fritsch Josefina Gardinier Eileen Griffiths Marla Hahn & David Poytinger Jim & Laura Hyland Todd Jones Bonnie & Kieth Klemp Mark Krueger Marjorie Piechowski Alexandra & Richard Pieper Gwen & James Plunkett Kathy & Mike Pratscher Connie Pukaite Margaret Robertson + Michael Ryan Kay & Joseph Tierney Roseann & David Tolan Kristin & Dave Traut Nicole Warner Jessica Wirth Marilyn & Doug Zwissler Mezzo-Forte ($100 - $249) Anonymous (2) Lynne Ausman & David Croll Blanche Banerian Joshua Blakely Evert Bos CarolAnne Bozosi James Brennan Dawn Brightsman Susan Brown Jillian Bruss Karen Bubenzer Annette Byrne Don Carlson Doris Chamberlin Sally & Michael Chier James Cieslak Nan Conser Jennifer Cooley Patricia & Philip Crump Dorothy & Larry Curran * Peggy Dean Paul & Helen Dexter Janice B. Dodson Patricia Donohoe Maureen Dowling John Dunn Elaine Ernst

c o n t.

Leona Fitzsimonds in memory of Robert Hedrick Patrick Foran Janice Ford Stanley Fox Nancy Friends Cindy Gallun Virginia Halaska Marilyn Hartmann Joan Henkel June Hoyt Susan Jasan Sally Kersten Nancy Kennedy’s Book Group Friends + Donald & Susan Kiefer Adeline & Harvey Kohn Michelle Kotnarowski Lynn Kozlowski Ray Krueger Charmaine & James LaBelle Penny & Bob Laferriere Diane Lane & Bob Pipes in honor of Jim & Carol Coutts Helga Larsen Thomas Lindemann Sandie Lofte Joseph Loukotka Sue Martin-Steiner & Tony Steiner in memory of Elizabeth Wege Meridee & John Maynard Patricia & Raymond Mehler Edith Moravcsik Katherine & Oliver Moss Mary Ann Mueller + Joanne Nevins Chet Nielsen Heather Parsons Deborah Patel Richard Pietsch Mark Poytinger Richard Protzmann Joseph Pukac Jane Quinn & Jeff McCarthy + Kay Richardson Mary K. & James Ries + Darin Riggleman Gail Schambow

E. Thomas Schilling Kathleen Schilz Sarah Schwab Isolde Schwegler in memory of Robert Hedrick Fred Sentman Arleen Sjoberg Mary Smiltneek Jack Spooner Jessica Stenz Joan Stevens Edwin Stieg Shiela Strock Ralph Szablewski Ken Tazelaar Ariana Voigt Judy & Richard Wagner Gail & John Ward + Adrienne & Robert Webb Tina & Scott Weiss Midge Wheeler Michelle & Brad Wilkins Virginia Wirth Gordon Zion Friend (to $99) Anonymous (2) Joan Ansink Kimberly Antonelli Ruth Armendainz Sue Armstrong Catherine Ballew Blanche Banerian John Bolger Barb & Chris Bondioli * Daniel Boote Sequoya Borgman Barbara & Neal Borkenhagen * James Brennan Dawn Brightsman Debra & Michael Brophy + Sandra Burg * Robert Christie Emily Crocker Joey Cross Ruth Danby Bernadine & Bernd Davidson * Janet Day * Julie & Vincent DeCarlo + Rosemarie Deisinger www.BelCanto.org

AC K N OW L E D G E M E N T S Tyler Draheim Marcella Egges + Anne Ellison Sharyn & William Evers * Dean Evert * Kathy & Roy Evert * Linda Evert & Wayne Komarek * Jean Fico Rosemary Fischer Marynell Foran Mark Friday Karri Fritz-Klaus Fr. David H. Gau, S.J. Steve Geiermann Sandy Grivett Halpin Hackett Virginia Halaska Robert Hallfeld Marilyn Hartmann Bernadette Hill Dan Holzmiller William Hoppenjan Mary Horne Barbara Isgren * Mary Jaeckle Carole Jezek Richard Johnson Marjorie Jothen Dolores Kallenberger Katie Kaminsky Emily & Kevin Kane John Karkheck Mary & Jerry Karthauser Elaine Kennedy Suzanne Kenyon Phyllis Kharbanda + Marianne King Elizabeth & Jed Kirchenwitz * Ronald Kovach Terri Kuhlmann Steve & Julie Kunda Timothy & Lindsay Lamm Angela Lee Ann & DeWayne Lemke Annette & Michael LeRoy + Debbie & Randy LeRoy John Lettermann Loretta Lieske Elizabeth Liu + Sarah Lundquist 20

Bel Canto Chorus

c o n t.

Barbara & Patrick Lyons Roy MacGregor Thelma Mahoney Carol McKean Grace Merten Ione Minster Pamela Moes-Nordquist & Jerry Moes + Linda Mordy Mary Moscisker in honor of Fr. Robert Betz Margaret Neis-Robertson Curt Nunn Linda Rehorst-Paea & Sioeli Paea Lori Ann Pannier Christine Papousek Jane Patterson Jayne Pelton Dennis Pelzek Carol Pitterle + Mary Pollock Joseph Pukac John Reinardy Donald Robertson Margaret Robertson Marian Roeglin Marie Romero Susan Rozema Rosa Ruehl + Aida Sabulyte-Gust Gail Schambow Kathleen Schilz Quenten Schumacher Linda Schumann-Suminski Mark Schwertfeger John Shier Ellen Shuler Anne Siebers & Randy Stanford + Arleen Sjoberg Carol Skornicka Mary Smiltneek + Barb Smith Mary Smith Julita Snell Binette Solomon Dena Squaires Margaret Ann Stack Glen Stavens Jessica Stenz Alice & Michael Stolaski *

Martha Stryker * Lora & Gregg Sunder * Ken Tazelaar Carolyn Tramel Christina Treiber Mary & Robert Treleven * Ruth Treul + Carol & Marv Utech * Patricia Vicenzi Pat Warchol We Energies Foundation Carl Wege Mary Beth Whalen Hazel Wheaton Wesley & Brenda Smith White Rebecca & Steven Whitney in memory of Elizabeth Wege Linda Wilson * Wines for Humanity Peggy Wipplinger Virginia Wirth Suzanne Zblewski * * Reese Griffiths Memorial (Donation in whole or part) + Elaine Kennedy Memorial (Donation in whole or part) Special Thank You To Christine Burgener Tim Charek Susan Chamberlin Smith Nicolas Sluss-Rodionov