F R O M T H E B OA R D P R E S I D E N T Dear Friends, Though the Milwaukee area is enduring what many have called the worst winter in two decades, we at Bel Canto Chorus are committed to warming your hearts with our live performances of great music. Our collaborative efforts have produced two outstanding concerts so far this season. This concert, produced jointly with the Milwaukee Chamber Orchestra (MCO), will continue to raise the bar for emotional impact in performance. This concert underscores our theme “Works with Friends,” and is what this season is all about. Additionally, Bel Canto Chorus is dedicated to presenting great choral music, to providing meaningful opportunities for life-long learning, to collaborating with other performing arts groups in the community, and to advocating for emerging artists. Bel Canto continues to be a commanding presence in the Milwaukee arts community, and I am proud of the direction that we are heading. As Board President, I am dedicated to the sustainability of this organization. However, I could not, nor could anyone at Bel Canto, be successful without your support. Through the support of your attendance, your financial contributions, and your commitment to sharing exceptional choral music with others, Bel Canto will continue to thrive and grow. Thank you for all you continue do to make Bel Canto a great performing arts organization.
Martin Tierney Board President
BE A VITAL PART OF THE PERFORMANCE. The United Performing Arts Fund (UPAF) is essential to the vitality of Southeastern Wisconsin. More than 35 local performing arts groups rely on UPAF funding to deliver their amazing performances and educational programs.
Learn more and donate at
www.UPAF.org. ©2013 United Performing Arts Fund, Milwaukee, WI. All rights reserved. Trumpet: Alan Campbell, Milwaukee Symphony Orchestra.
www.BelCanto.org
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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 the 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 Boy Choirs/Senior Singers Accompanist.................................................................................................Elna Hickson
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.............................................................................................................. James 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’ 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’ 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
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B E L C A N TO R O S T E R Lotta Alajoki Vaughn Ausman Kevin Bailey + Jonathon Bartos Kelly Bartyczak Carol Bayne Jan Becker Sara Louise Bitner CarolAnne Bozosi Susan Brown Jillian Hansen Bruss Nancy Butch Marc Cohen Kenzie Conner Peter Craig Sue D’Alessio Rachel M. Dees Linda Dindzans Elaine Ernst Christine G. Fitch Chelsey Foscato Dean Fowler Emily Fox Karri Fritz-Klaus Janet Gibeau Jim Gingery Andrea S. Goetzinger + Eileen Griffiths Lynn Gutoski
Brett Hanisko Keith Heidmann Joan Henkel James Hill Craig Hoffmann Dan Holzmiller Glenna Kate Holstein Ronald Houle Sally D. Hoyt Sam Huenink Katherine Hughes Kathleen Hughes + Michelle Hynson + Susi Kiefer Kieth Klemp Jessi A. Kolberg Kyle Kolberg Russell Kopitzke Steven Kunda 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 Jeff Nesta Sarah Pabbathi + Alexandra Pieper Elizabeth Pierson Bryan Previte Nicholas Scott Pullen+ Debbie Rakestraw John Reinardy Betty Reul David Reul Kay Richardson Shira Richardson Ofra Rybak Kerry Saver Kathleen Schilz Kate Schmitt Allison Schnier Glenn R. Schumann Sarah Schwab Marcia Schwager Brian J. Schwanz Gregory Smith Susan Chamberlin Smith
William R. Smith + Binette Solomon Erin Stamm Philip Starr Eric Stein James D. Stout Sheila Strock Amanda Sullivan Lora Sunder Jonathan Szczepaniak Kim Terek Mary Thiele Tom Thiele Veronica Thomas Kristin Traut Thomas Treder Fausta Urboniene Bernadette Vitola Sarah Warran Nathan Wesselowski + Hazel Wheaton Rebecca Whitney + Alyssa Wilda Ben Wilda Jessica Wirth + Denotes Section Leader
M I LWAU K E E C H A M B E R O R C H E S T R A Flute Janice Bjorkman Oboe Philip Koch Clarinet Christopher Zello Bassoon Beth Giacobassi Horn Krystof Pipal Richard Tremarello Trombone David Lussier 4
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Violin 1 Jeanyi Kim, Concertmaster Robin Petzold Margot Schwartz Peter Vickery Dylana Leung Laura Bach Joanna Grosshans Violin 2 Michael Giacobassi Pamela Simmons Catherine Bush Nina Saito Elizabeth Warne Alexander Ayers
Viola Nathan Hackett Jamie Hofman Amanda Koch Olga Tuzhilkov Jennifer Kozoroz Cello Scott Tisdel Gregory Mathews Kathleen Collisson Adrian Zitoun Bass Katherine McGinn Scott Kreger
R I C H A R D H Y N S O N ’ S A R T I S T I C S TAT E M E N T Written within three years of each other, MacMillan’s Seven Last Words from the Cross and Lauridsen’s Lux Aeterna stand as two of the twentieth century’s finest choral-orchestral works. In choosing texts and setting them with such profound emotional connection, each composer has grappled with death and the vision of life after death. Whatever their spiritual orientation, listeners can relate to the themes of sacrifice, loss, and imponderable sadness as heard in MacMillan’s work. Then, they can experience the ecstatic joy of Lauridsen’s meditations on different ways in which light has been used as a metaphor for God, for redemption, and for paradise. By combining these two powerful works, we have created a listening experience that covers the gamut of emotions from the most devastated sorrow to the well-being inspired by redemption and the ecstatic joy of paradise. Regarded by many as one of MacMillan’s masterpieces, Seven Last Words from the Cross draws on a compilation of texts from all four gospels to form a sequential presentation of the last seven sentences uttered by Christ. MacMillan’s work was commissioned by BBC Television and broadcast in seven nightly episodes during Holy Week of 1994. Both the vocal and instrumental parts draw on characteristic models: Lutheran baroque techniques for the chorus, and the sophisticated British and Polish twentieth-century traditions of writing for the string orchestra. There are so many extraordinary and powerful effects in this work that it is difficult to single any out, but the final sighs from the violins at the end of the orchestral postlude with which the work ends actually bring to life the last breaths of the dying Christ, depicted in the style of mourning cries, known in Scotland as “keening.” It is mesmerizing and deeply, deeply moving. The traditional chorale-like (but increasingly dissonant) chordal outbursts at the start of the second movement are juxtaposed with huge balancing passages of silence. The mantra-like utterances of the beautiful but pathetic cadential figure (taken from MacMillan’s Clarinet Quintet Tuireadh – Lament) threads its way through the whole of the first movement. Morten Lauridsen’s Lux Aeterna, written in 1997 for the Los Angeles Master Chorale, is a 25-minute work in five movements set to various Latin texts about light. It is a poignant, modern requiem rich in unashamed consonant harmonies and lush haunting melodies. Lauridsen writes, “I composed Lux Aeterna in response to my Mother’s final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels—spiritual, artistic, and intellectual.” The piece is often compared to Brahms’ Requiem, also written after the passing of the composer’s mother, but “without the nineteenth-century guilt”—no Day of Judgment or gloom here, just generosity and radiance throughout. Lauridsen uses the chant-like melodies and sophisticated counterpoint of the high Renaissance, especially the music of Josquin, for his inspiration in this composition. The work opens with the beginning of the Requiem Mass and introduces several themes that occur throughout the work. The second movement, In “Te Domine, Speravi,” speaks to the hope and trust the composer has for life eternal after death, and includes the most angular melodies of the entire work and an inverted canon between sopranos/altos and tenors/basses at its center. The central movement, “O Nata Lux,” is an a cappella motet that asks the “Light born of Light” to accept the poet’s praises and prayers. It is paired with the fourth movement, “Veni, Sancte Spiritus,” which begins with praise and moves into supplication (“grant us everlasting joy!”). The final movement is a quiet setting of “Agnus Dei,” followed by a reiteration of the opening statement of the first movement. The work closes with a glorious “Alleluia” in which the soul is joyfully called to heaven.
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PROGR A M NOTES BY SUSAN CHA MBERLIN SMITH James MacMillan, who was born on July 16, 1959, in Kilwinning in Ayrshire, Scotland, spent most of his childhood in Cumnock, Ayrshire, where he attended the local Roman Catholic school, took music lessons, and began composing at the age of ten. He studied music at Edinburgh University where Rita McAllister introduced him to Stravinsky, Webern, Messiaen, and twentieth-century Russian music. During his postgraduate studies at Durham University, MacMillan developed an interest in ethnomusicology, especially in the gamelan, the traditional percussion orchestra of Indonesia. In 1987, after earning his doctorate, the composer settled in Glasgow, where he began a collaboration with the Scottish Chamber Orchestra on educational projects. Between 1992 and 2002 he was Artistic Director of the Philharmonia Orchestra’s Music of Today series of contemporary music concerts. MacMillan served as Composer/Conductor with the BBC Philharmonic between 2000 and 2009, and was appointed Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic from 2010. MacMillan’s compositions are infused with the spiritual and the political, flooded with influences from Celtic folk music as well as Far Eastern, Scandinavian and Eastern European music. His use of familiar themes and his colorful orchestrations have made his music less academic and more accessible than other avant-garde composers. Music can transform our lives... But in order for music to do that, I think the human soul has to be ready to sacrifice something, sacrifice a certain amount of our time; something of our attention, something of our active listening. Music’s not something which can just wash over us. It needs us to sacrifice something of ourselves to meet it, and it’s very difficult sometimes to do that, especially the whole culture we’re in. Sacrifice and self-sacrifice – certainly sacrificing your time – is not valued anymore. - James MacMillan
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PROGR A M NOTES BY SUSAN CHA MBERLIN SMITH
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Morten Lauridsen was born on February 27, 1943, in Colfax, Washington, and was raised in Portland, Oregon, by Swedish immigrant parents. His father was with the United States Forest Service and his mother, who worked as a bookkeeper, was also a pianist who played in her high school dance band. Lauridsen developed a love for music at an early age by listening to his mother play swing jazz, and he learned to play trumpet and piano. He attended Whitman College and the University of Southern California, where he studied advanced composition. A long-time professor and Chair of the Department of Composition at USC, he has been composer in Residence of the Los Angeles Master Chorale since 1994. A recipient of numerous grants, prizes, and commissions, Lauridsen chaired the Composition department at the USC Thornton School of Music from 1990–2002 and founded the School’s Advanced Studies program in Film Scoring. He has held residencies as guest composer/ lecturer at over 70 universities and has received honorary doctorates from Whitman College, Oklahoma State University, Westminster Choir College and King’s College, University of Aberdeen, Scotland. Lauridsen now divides his time between Los Angeles and his summer residence on a remote island off the northern coast of Washington State. Referring to Lauridsen’s sacred music, the musicologist and conductor Nick Strimple said he was “the only American composer in history who can be called a mystic, (whose) probing, serene work contains an elusive and indefinable ingredient which leaves the impression that all the questions have been answered ...From 1993 Lauridsen’s music rapidly increased in international popularity, and by century’s end he had eclipsed Randall Thompson as the most frequently performed American choral composer.” “I think the purpose, at least for me, of any art is to leave us something elegant that enriches our spirit, touches our heart, probes our intellect, and improves the human condition - Morten Lauridsen
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Bel Canto Chorus
Richard Hynson, Music Director presents
The Passion of Faith Sunday, March 9, 3:00 p.m. The Basilica of St. Josaphat featuring The Milwaukee Chamber Orchestra Richard Hynson, Music Director
Seven Last Words from the Cross James MacMillan 1. Father, forgive them 2. Woman, behold thy Son!...Behold thy Mother! 3. Verily, I say unto you, today thou shalt be with me Jonathan Laabs, James LaBelle – bass duet Nicholas Scott Pullen, Christopher Martin – tenor duet Sandra Lash, Jillian Hansen Bruss – alto duet Rebecca Whitney, Sarah Pabbathi – soprano duet Jeanyi Kim, solo violin 4. Eli, Eli, lama sabachtani? 5. I thirst 6. It is finished 7. Father, into Thy hands I commend my Spirit Intermission Lux Aeterna 1. Introitus 2. In Te, Domine, Speravi 3. O Nata Lux 4. Veni, Sancte Spiritus 5. Agnus Dei – Lux Aeterna
Morten Lauridsen
Thank You to Our Concert Sponsors: In Loving Memory of Willis G. (Bill) Sullivan, The Passion of Faith is sponsored by his family
with funds from the State of Wisconsin and the National Endowment for the Arts
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S E V E N L A S T WO R D S T E X T, T R A N S L AT I O N & C O M M E N TA R Y With commentary by the composer, James MacMillan 1. Father, forgive them, for they know not what they do (Luke 23:34) Hosanna to the Son of David, Hosanna filio David, blessed is he who comes in the name of the Lord, benedictus qui venit in nomine Domini, The King of Israel, Hosanna in the Highest! Rex Israel, Hosanna in excelsis! From the Palm Sunday Exclamation The life that I held dear I delivered into the hands of the unrighteous and my inheritance has become for me like a lion in the forest. My enemy spoke out against me, “Come gather together and hasten to devour him.” They placed me in a wasteland of desolation, and all the earth mourned for me. For there was no one who would acknowledge me or give me help. Men rose up against me and spared not my life. From the Good Friday Responsories for Tenebrae The work begins with a cadential figure from the end of the clarinet quintet Tuireadh (lament), repeated over and over, upon which the rest of the music gradually builds. Violin “fanfares” emerge when the men start singing the Palm Sunday Exclamation Hosanna to the Son of David. Finally, another idea unfolds – a plainsong monotone with the words from one of the Good Friday Responsories for Tenebrae. 2. Woman, Behold Thy Son!…Behold, Thy Mother! (John 19:26-27) Again a repeated cadential figure forms the basis of this movement, this time evoking memories of Bach’s Passion chorales. The choir and ensemble operate according to different procedures – the choir repeating the words Woman, Behold Thy Son to a shifting three bar phrase, the strings becoming gradually more frantic as the music evolves. They both give way to an exhausted Behold, Thy Son. 3. Verily, I say unto you, today thou shalt be with me in Paradise (Luke 23:43) Ecce Lignum Crucis Behold the Wood of the Cross in quo salus mundi pependit: on which The Saviour of the world was hung Venite adoremus Come let us adore him From the Good Friday Versicle Christ’s words are kept until the very end of the movement when they are sung by two high sopranos, accompanied by high violins. The rest of the piece is a setting of the Good Friday Versicle Ecce Lignum Crucis. During the liturgy this is normally sung three times, each time at a higher pitch as the cross is slowly unveiled and revealed to the people. Here also the music begins with two basses, rises with the tenors and then again with two altos. A high violin solo features throughout.
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Bel Canto Chorus
S E V E N L A S T WO R D S T E X T, T R A N S L AT I O N & C O M M E N TA R Y
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4. Eli, Eli, lama sabachtani? (Matthew 27:46) My God, My God, why have you forsaken me? The music rises tortuously from low to high before the choir deliver an impassioned, full-throated lament above which the strings float and glide. The movement eventually subsides through a downward canonic motion to end as it began. 5. I thirst (John 19:28) Ego te potavi aqua salutis de petra: et tu me postasti felle et aceto. From the Good Friday Reproaches
I gave you to drink of life-giving water from the rock: and you gave me to drink of gall and vinegar.
The two words I thirst are set to a static and slow-moving harmonic procedure which is deliberately bare and desolate. The interpolated text from the Good Friday Reproaches is heard whispered and distantly chanted. 6. It is finished (John 19:30) My eyes were blind with weeping, For he that consoled me is far from me: Consider all you people, is there any sorrow like my sorrow? All you who pass along this way take heed and consider, if there is any sorrow like mine. From the Good Friday Responsories for Tenebrae The movement begins with hammer-blows which subside and out of which grows quiet choral material which is largely unaccompanied throughout. The three words act as a background for a more prominent text taken from the Good Friday Responsories. 7. Father, into Thy hands I commend my Spirit (Luke 23:46) The first word is exclaimed in anguish three times before the music descends in resignation. The choir has finished – the work is subsequently completed by strings alone. On setting such texts it is vital to maintain some emotional objectivity in order to control musical expression in the way that the Good Friday liturgy is a realistic containment of grief. Nevertheless it is inspiring when one witnesses people weep real tears on Good Friday as if the death of Christ was a personal tragedy. In this final movement, with its long instrumental postlude, the liturgical detachment breaks down and gives way to a more personal reflection: hence the resonance here of Scottish traditional lament music.
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L U X A E T E R N A T E X T & T R A N S L AT I O N by Morten Lauridsen 1. Introitus Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus Deus in Zion, et tibi redetur votum in Jerusalem: Exaudi orationem meam, ad te omnis caro veniet. 2. In Te, Domine, Speravi Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna coelorum. Exortum est in tenebris lumen rectis. Miserere nostri, Domine, miserere nostri. Fiat misericordia tua, Domine, super nos quemadmodum speravimus in te. In te Domine, speravi: non confundar in aeternum.
3. O Nata Lux O nata lux de lumine, Jesu redemptor saeculi, dignare clemens supplicum laudes preces que sumere. Qui carne quondam contegi dignatus es pro perditis. Nos membra confer effici, tui beati corporis.
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Rest eternal grant them, O Lord: and let perpetual light shine on them. A hymn befits thee, O God in Zion, and to thee a vow shall be fulfilled in Jerusalem: Hear my prayer, for unto thee all flesh shall come. To deliver us, you became human, and did not disdain the Virgin’s womb. Having blunted the sting of death, you opened the kingdom of heaven to all believers. A light in the darkness for the upright has risen. Have mercy upon us, O Lord, have mercy upon us. Let thy mercy be upon us, O Lord, as we have trusted in thee. In Thee, O Lord, I have trusted: let me never be confounded. O born light of light, Jesus, redeemer of the world, mercifully deem worthy and accept the praises and prayers of your supplicants. Thou who once deigned to be clothed in flesh for the sake of the lost ones, grant us to be made members of your holy body.
4. Veni, Sancte Spiritus Veni, Sancte Spiritus, et emitte coelitus lucis tuae radium. Veni, pater pauperum, veni, dator munerum, veni, lumen cordium.
Come, Holy Spirit, send forth from heaven the ray of thy light. Come, Father of the poor, come, giver of gifts, come, light of hearts.
Consolator optime, dulcis hospes animae, dulce refrigerium. In labore requies, in aestu temperies, in fletu solatium.
Thou best of Consolers, sweet guest of the soul, sweet refreshment. In labor, thou art rest, in heat, the tempering, in grief, the consolation.
Bel Canto Chorus
L U X A E T E R N A T E X T & T R A N S L AT I O N
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O lux beatissima, reple cordis intima tuorum fidelium. Sine tuo numine nihil est in homine, nihil est innoxium.
O light most blessed, fill the inmost heart of all thy faithful. Without your grace, there is nothing in us, nothing that is not harmful.
Lava quod est sordidum, riga quod est aridum, sana quod est saucium. Flecte quod est rigidum, fove quod est frigidum, rege quod est devium.
Cleanse what is sordid, moisten what is arid, heal what is hurt. Flex what is rigid, fire what is frigid, correct what goes astray.
Da tuis fidelibus, in te confidentibus, sacrum septenarium. Da virtutis meritum, da salutis exitum, da perenne gaudium.
Grant to thy faithful, those trusting in thee, thy sacred seven-fold gifts. Grant the reward of virtue, grant the deliverance of salvation, grant everlasting joy.
5. Agnus Dei - Lux Aeterna Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takest away the sins of the world, grant them rest.
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takest away the sins of the world, grant them rest.
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takest away the sins of the world, grant them rest everlasting.
Lux aeterna luceat eis, Domine: Cum sanctis tuis in aeternum: quia pius es.
May eternal light shine upon them, O Lord, in the company of thy Saints for ever and ever: for thou art merciful.
Requiem aeternum dona eis, Domine, et lux perpetua luceat eis.
Rest eternal grant to them, O Lord, and let perpetual light shine upon them.
Alleluia. Amen.
Alleluia. Amen.
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B E L C A N TO C H O R U S ’ E N D OW M E N T F U N D 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 James Steinman
Roseann & David Tolan Louis Winter
C O R P O R AT E A N D F O U N DAT I O N S U P P O R T (1 / 1 / 13 - 2 / 15 / 14 ) $100,000+ United Performing Arts Fund $20,000-$50,000 Lynde & Harry Bradley Foundation $5,000 - $10,000 CAMPAC Herzfeld Foundation Hydrite Chemical Nicholas Family Foundation Bert L. and Patricia S. Steigleder Charitable Trust
$1,000 - $4,999 San Camillo T. Rowe Price Program for Charitable Giving; Justus F. and Barbara J. Paul Fund Uihlein Charitable Foundation William Stark Jones Foundation c/o Lambert Law LLC
Matching Gift Companies GE Foundation Northwestern Mutual Foundation PNC Foundation Matching Gift Program Rockwell Automation We Energies Foundation
$500 - $999 Kasdorf Family Charitable Trust Herbert Kohl Charities, Inc.
AC K N OW L E D G E M E N T S (1 / 1 / 2 013 – 2 / 15 / 2 014 ) Bel Canto Chorus wishes to thank these friends for their generous support. Please consider adding your name to this list. Angel $25,000 + Ireene Sullivan Standing Ovation $10,000 - $19,999 LoRayne Kostecke Bravissimo $5,000 - $9,999 Sally Hoyt & Vaughn Ausman Bravo $1,000 - $4,999 Charles Barnum Sequoya Borgman Wendy & Marc Cohen Laura & Jim Hyland Michelle & Richard Hynson Linda & Ed Mordy Betty & David Reul 14
Bel Canto Chorus
Mary & Tom Thiele Janet Marie & Martin Tierney Helen & Robert Vettorie Fortissimo $500 - $999 Joshua Blakely Mary Kathryn & James Braza Carol Alexander & Jim Coutts Eileen Griffiths Elizabeth M. Halkerson John Hayes Paula Tuchscherer-Jones & Todd Jones Sue & Brian Lanser Rudy Malz Keith Mardak Grace Merten Jean & Hilton Neal
Marjorie Piechowski James Plunkett Mary & Michael Ryan Kerry Saver Katherine & Donald Schwerin Frank Wintersberger Marilyn & Doug Zwissler Forte $250 - $499 Carole & Thomas Barnum Paul Berlin Randy Casey Tyler Draheim Mary Alice Tierney Dunn Patrick Foran Christine & James Hill Louise Hedrick Kathleen & Tyrrell Hughes
AC K N OW L E D G E M E N T S (1 / 1 / 2 013 – 2 / 15 / 2 014 ) Kieth Klemp Helga Larsen Barbara & Patrick Lyons in memory of Tim Lyons Kathy & Mike Pratscher Sue Martin-Steiner & Tony Steiner Kay & Joseph Tierney III Roseann & David Tolan Michael Walton Betsey & Earnest Williamson Mezzo Forte $100 - $249 Lynne Ausman & David Croll Deborah Betsworth Evert Bos Susan Brown Jillian Bruss Karen Bubenzer Annette Byrne Don Carlson Sallyanne & Michael Chier Sandra Christensen Robert Christie James Cieslak Kay & John Crichton Patricia Crump Patricia & Phil Crump Brian Dearing Helen & Paul Dexter Linda & Vincents Dindzans Janice B. Dodson Patricia Donohoe John Dunn Elaine Ernst Leona Fitzsimonds Patricia Foley Janet & Stanley Fox Ann Fritsch William Hoppenjan Dolores Kallenberger Susan & Donald Kiefer Michael King Adeline & Harvey Kohn Kelly & Jeff Konkol Diane Lane & Bob Pipes Ann & DeWayne Lemke Lynne & Thomas Lindemann Sandie Lofte Joseph Loukotka Mavis & Jeff Luther Erin Lyons Richard & Nell Mace Meridee & John Maynard Carol McKean David McKone Pat & Ray Mehler Mary Ann Mueller Edith Moravcsik
Katherine & Oliver Moss Joanne Nevins Chet Nielsen Mary Pollock Richard Protzmann Joseph Pukac Kay Richardson Darin Riggleman Gail Schambow Laura Schloesser Sarah & Joseph Schwab Isolde Schwegler * Arleen Sjoberg Mary Smiltneek Susan Chamberlin Smith & William Smith Jack Spooner Jessica Stenz Judy & James Stoddard Jean M & Peter Storer Shiela Strock Lora & Gregg Sunder Ralph Szablewski Ronald Tabbert Ken Tazelaar Holly Von Estorff James Ward * Adrienne Webb Carl Wege Rebecca & Steven Whitney Virginia Wirth Friend to $99 Anonymous Joan Ansink Ruth Armendainz Catherine Ballew Blanche Banerian Sandra & Michael Beil John Bolger James Brennan Mary Bykowski Ruth Danby Marcella Egges Rosemary Fischer Christine & Jim Fitch Joanne Foran Robert Frisch Karri Fritz-Klaus Fr. David H. Gau, S.J. Michael Gay Janet Gibeau Merilou Gonzales Sandy Grivett Virginia Halaska Robert Hallfeld Marilyn Hartmann Bernadette Hill Connie & Dan Holzmiller
c o n t.
Mary Horne Joanne Ihling Mary Jaeckle Carole Jezek Richard Johnson Marjorie Jothen Katie Kaminsky Emily Kane Mary & Jerry Karthauser Suzanne Kenyon Terri Kuhlmann Julie & Steve Kunda Lindsay & Timothy Lamm Tiffany Lange Angela Lee Debbie & Randy LeRoy John Lettermann Anne Lewandowski Loretta & John Lieske Sarah & Todd Lundquist Gail Meilinger Ione Minster Mary Moscisker Linda Rehorst-Paea & Sioeli Paea Kimberly Palus Christine Papousek Dennis Pelzek John Reinardy Marian Roeglin Lois Romagna Susan Rozema Margaret Schumann Linda Schumann-Suminski John Shier Mary Smith Julita Snell Binette Solomon Glen Stavens Jean & Stuart Stein Barbara H. Sullivan in memory of Richard A. Wythes Jr. Sonja Sullivan Patricia Vicenzi Ariana Voigt Judy & Richard Wagner Beth Ann Waite Robert Wessel Elizabeth Wessel Mary Beth Whalen Brenda Smith White & Wesley White Colleen Wilson Peggy Wipplinger * Donation in full or part in memory of Robert Hedrick www.BelCanto.org
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MIDNIGHT IN PARIS - BEL CANTO CHORUS ANNUAL GALA - MARCH 16, 2013 Underwriters Becker, Hickey & Poster Law Offices Wendy & Marc Cohen Emily & Dean Crocker Laura & Jim Hyland Rudy Malz Betty & David Reul Kerry Saver Susan Chamberlin & William Smith Ireene Sullivan Roseann & David Tolan Ariana & Peter Voigt Betsey & Earnest Williamson Patron Table Sponsors Robert W. Baird & Co. Sally Hoyt & Vaughn Ausman Penny & Bob Laferriere Marcus Hotels & Resorts MillerCoors
Susan Chamberlin Smith & William Smith Janet & Martin Tierney Open Appeal Donors Carole & Tom Barnum Jan & Robert Becker Mary & Daniel Boote Dawn & David Brightsman Don Carlson Nan & Richard Conser Kay & John Crichton Linda & Vincents Dindzans Mary Alice Tierney Dunn Janice Dodson Rick Gattoni Janet Gibeau Merilou Gonzales Glenna Holstein Sally Hoyt & Vaughn Ausman Peter Larson Barbara & Patrick Lyons Louis Menchaca
Kelsey & TJ Molinari Alexandra & Richard Pieper Debbie Rakestraw Betty & Dave Reul Kerry Saver Kathleen & Timothy Schilz Sarah & Joseph Schwab Katherine & Don Schwerin Greg Smith Susan Chamberlin Smith & William Smith Joan & Bill Stevens Janet & Martin Tierney Kristin & Dave Traut Gino Villani Nicole Warner Tina & Scott Weiss Rebecca & Steve Whitney Michelle LaBella Wilkins & Brad Wilkins Jessica Wirth Karyn & Bernard Youso Marilyn & Doug Zwissler
Shully’s cuisine & events
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Bel Canto Chorus