Bel Canto-RememberanceFINALrev2

Celebrating Our 80th Anniversary Season

Richard Hynson, Music Director presents

Remembrance: Legacy of the Civil War Sunday, March 13, 2011 at 3:00 pm Christ King Parish

featuring Milwaukee Chamber Orchestra Richard Hynson, Conductor Baptist College of Ministry Concert Chorale Daniel Van Gelderen, Director

IN LOVING MEMORY OF WILLIS G. (BILL) SULLIVAN, REMEMBRANCE IS SPONSORED BY HIS FAMILY Bel Canto Chorus 1

PROGR A M Festival Overture on the National Air.......................................................... Dudley Buck (1839-1909) A Remembrance: A Musical Legacy of the American Civil War.............................Daniel J. Van Gelderen (b. 1987) Mary Faith Williams, Soprano Sarah Krawiec, Alto Micah Kagin, Tenor Christopher Knobil, Bass Intermission An American Requiem....................................................................................... Joseph Baber (b. 1937) Prologue: Requiem Portents I. John Brown II. Sumter Conflict of Convictions: Battle Lines Aftermath I. Voices II. Raven Days III. No More Epilogue: Great Fields; New Soil Soloists, in order of appearance: Michelle Hynson, Soprano Andrea Goetzinger, Mezzo-soprano Rebecca Whitney, Soprano Kathleen Hughes, Mezzo-soprano Kerry Saver, Mezzo-soprano Erin Laabs, Soprano Jonathan A. Laabs, Baritone Jonathon Bartos, Baritone Marc Cohen, Baritone Timothy W. Schmidt, Bass This concert was sponsored in part by the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

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PROFILES RICHARD HYNSON, Music Director/ Conductor This season marks Richard Hynson’s 23rd season 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 Opera 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.

In the summer of 2008, Hynson conducted the string orchestra and chorus for the Prelude Music Academy summer camp in Madison. In 2009, he guest-conducted the Wisconsin Chamber Orchestra in one of their Concerts on the Square in Madison. He also has been the Music Director for Gathering on the Green, the popular outdoor music festival in Mequon, WI, for the past two summers.

Hynson and members of Bel Canto Chorus have performed internationally at the acclaimed Spoleto Music Festival in Italy, at the Festivals of Troyes and Rheims in France, at the Llangollen Festival in Wales, and at the Elora and Huntsville Festivals in Canada.

During Bel Canto’s most recent tour, Hynson and members of Bel Canto International, including singers from six states, performed to critical acclaim in Ireland. In addition to its annual concert season, the chorus is often called upon to participate in national touring performances. In July 2010, Bel Canto participated in Star Wars in Concert; and in November 2010, Bel Canto sang in the Video Games Live national touring concert. Bel Canto will perform with several orchestras in Argentina and Uruguay in the summer of 2011.

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.

Music critic Elaine Schmidt (Milwaukee Journal Sentinel, October 11, 2010) wrote, “The Bel Canto Chorus and music director Richard Hynson…gave a dynamic, polished performance [and] thoughtful, credible performances of the selections.”

DANIEL J. VAN GELDEREN, Baptist College of Ministry Concert Chorale Conductor Daniel J. Van Gelderen is an accomplished cellist, conductor, and composer. In 2010, he graduated from Baptist College of Ministry with a double major in Bible and music, with an emphasis in conducting and composing. Only 23 years old, Van Gelderen has already composed and arranged more than 70 works for full orchestra, chamber orchestra, concert band, choir, men’s ensemble, string quartet, and brass ensemble.

He regularly composes classical and sacred works for Falls Baptist Church, Baptist College of Ministry, and other organizations.

In addition to conducting vocal groups, he directs the Falls Baptist Church Orchestra and serves as the Director of Bands and Orchestras for Falls Baptist Academy, a private school that utilizes music instruction as a core element in the development of students.

As an instructor of music at his alma mater, Van Gelderen teaches classes in composing

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P R O F I L E S ( c o n t .) and conducting. He also maintains a cello studio offering private lessons. His work as an educator at the elementary, secondary, and collegiate levels flows from his passion to use music as a tool to develop personal character and leadership skills in the lives of students. His ultimate goal in training musicians is to see them achieve excellence while learning how to use their skills to transform the lives of others.

BAPTIST COLLEGE OF MINISTRY CONCERT CHORALE Conducted by Daniel J. Van Gelderen, the 35-voice concert chorale first assembled for the recording of a sacred music album in 2008. Comprised of students from ten states and one foreign country, the group regularly

performs for special events and recently recorded a Christmas album that was released last year. They have been invited by Manhattan Concert Productions to perform at Carnegie Hall, and this spring they will tour several major cities on the east coast of the United States in addition to performing with the Bel Canto Chorus and the Milwaukee Chamber Orchestra. A men’s group comprised of members of the chorale has also performed for Wisconsin’s Governor Scott Walker’s inauguration. In recent years, the group has performed such pieces as Mendelssohn’s Elijah and Handel’s Messiah as part of the Baptist College of Ministry Choir.

MILWAUKEE CHAMBER ORCHESTRA The Milwaukee Chamber Orchestra is Milwaukee’s only professional chamber orchestra and one of only 65 in the nation. Since its founding in 1973, the MCO has earned a reputation as one of southeastern Wisconsin’s finest professional performing arts groups.

CAN BE MURDER

Photo by Mark Frohna

RELATIONSHIPS

Experience the chilling true story, set to music, of the legendary duo who committed one of the most infamous crimes of the 20th century in this tale of obsession and insanity.

April 29 - May 15, 2011 Tenth Street Theatre / 628 N. 10th Street / Milwaukee 414-271-1371 / www.intandemtheatre.org Supported in part by the Milwaukee Arts Board, WI Arts Board, UPAF and CAMPAC 4 Bel Canto Chorus

PROGR A M NOTES

by

Susan Chamberlin Smith Born in Hartford, Connecticut, DUDLEY BUCK (March 19, 1839 - October 6, 1909) was encouraged by his father to enter the family’s shipping business rather than follow his interest in music. However, when Buck took his first piano lessons at age sixteen, his rapid progress convinced his father to allow the boy to pursue a musical career. In 1858, Buck began his travels abroad to complete his formal education, choosing to study in Leipzig, Dresden and Paris. Buck returned to his native Hartford to become organist at the North Congregational Church and to begin touring as a concert organist, playing transcriptions of symphonic works, giving the first American performances of pieces by Bach and Mendelssohn, and introducing his own music.

Looking for a larger venue for his talents, Buck spent three years in Chicago as organist at St. James’s Episcopal Church. After the Great Fire of 1871 in which many of his manuscripts were lost, Buck returned to Boston, joining the faculty of the New England Conservatory of Music. In 1875, he moved to New York to serve as assistant conductor of the Theodore Thomas Orchestra. Two years later, Buck assumed the position of organist/choirmaster at Brooklyn’s Church of the Holy Trinity. In the same year, he began his tenure as founding director of the Brooklyn Apollo Club’s male chorus.

Buck’s sacred compositions include 4 cantatas, 55 anthems, and 20 sacred songs. He played a central role in the development of organ and choral music in the United States, writing the first American organ sonata and educational texts such as Illustrations in Choir Accompaniment with Hints on Registration (1877) and The Influence of the Organ in History (1882). Reportedly, his choral works, including his dozen secular cantatas, received more performances in America in the 1880s than any other composer’s music. In 1898, Buck was honored by election to the National Institute of Arts and Letters.

Buck’s Festival Overture on the American National Air, The Star-Spangled Banner, began as a set of variations for organ in 1868 that was masterfully adapted for orchestra a decade later, in 1879. Although The Star-Spangled Banner was not officially established as the national anthem until 1931, Francis Scott Key’s patriotic words, sung to the popular 18th-century British melody, “Anacreon in Heaven,” were first performed on October 19, 1814, only a month after they were written. Buck’s overture, composed for Independence Day festivities, opens with an exuberant and stirring theme, followed by the national air as the second theme. Showing Buck’s confidence in orchestral scoring, the work is propelled toward its rousing climax by a compelling rhythmic drive. Adept at programming, Buck provided for an optional chorus at the conclusion.

In a letter to his son dated July 7, 1891, he writes of a performance:“They also played my ‘Star Spangled Banner Overture.’ According to the wish of Vander Stucken [conductor Frank Vander Stucken] I have added a coda after the fermata in the orch. So that the song was sung 3 times – 1st verse 100 voices, 2nd verse 500 voices, 3rd verse like in the original score by 3000 and the public.”

JOSEPH BABER, born in 1937 in Richmond, Virginia, began composing at an early age. A graduate of Michigan State University and the Eastman School of Music, Baber spent a number of years in Japan as principal violist with the Tokyo Philharmonic. After returning to this country, he took a position at Southern Illinois University, followed by a year as composer-in-residence for a Ford Foundation College co-operative venture in Kansas. He assumed his present position as composer-in-residence at the University of Kentucky in Lexington in 1972.

Although he has written in all the major genres, Baber is perhaps best known for his collaborations with the novelist John Gardner on three operas, Frankenstein, Rumpelstiltskin, and Samson and the Witch.

In addition to operas, Baber has composed almost 200 songs and a sizable body of orchestral music, including overtures, suites, symphonies, marches and tone poems. He has also written works for solo instruments with orchestra, as well as keyboard, chamber and choral music.

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P R O G R A M N O T E S ( c o n t .)

Joseph Baber has been an award-winning member of ASCAP since 1971, and has received a number of national prizes and commissions. Baber, who is principal viola of the Lexington Philharmonic, has received several commissions from that orchestra.

Baber’s song cycle for tenor, horn and piano, Shiloh, Op. 60, based on the Civil War poems of Melville, led to the large work for chorus and orchestra entitled An American Requiem, Op. 80.

This work, based on Civil War diaries and poems, was commissioned by The Lexington Singers, who sang the premiere performance in November 1999. A second performance with the Lexington Philharmonic followed in 2003. After the premiere, Lexington Herald-Leader critic, Carmen Geraci, noted that the work “surely brought forth spirits of the past. The intertwining texts from Civil War documents created a kaleidoscope of triumph and anguish.”

In his notes for the first performance, Baber described his process of working with words from diaries, letters, poems, and orations of the Civil War:“I have freely changed the order of phrases, dropped or repeated words, and made the tenses uniform within sections. Thus the beginning of a sentence, taken from a soldier’s account of a battle at Plymouth, N.C., is continued by another from Gettysburg and ended by yet another from Second Manassas. And without certain parts of speech, the phrases become indefinite, thereby more suitable to music’s necessary abstraction.”

Far from abstract, however, An American Requiem recalls that painful time when this country went to war with itself, and speaks of continued need for healing and the yearning for peace.

Baber, a native of Richmond, the Confederate capital, notes,“Henry Timrod of Charleston opens and closes the Requiem, a courteous leaning toward the South in me from my Virginia heritage, growing out of a nostalgia shared by many on both sides in the days of the War. While shifting Timrod’s ‘Christmas’ lines around at the end of the Requiem, I stumbled on that inadvertent theme of the piece, present all along, of course. By placing ‘in a thousand fields’ out of order as the last line, the Epilogue, which had already begun with some of the words used at the dedication of the Gettysburg field as a National Cemetery, becomes a kind of hymn to the land, and echoes the lines of Whitman in the Prologue. I have let the poetry do the work of crossing boundaries, the southern ode speaking the requiem for both sides.”

WHAD 90.7-HD2 Your classical music radio station WPR CLASSICAL wpr.org/whad 414.227.2047

BROADCASTING THE MET OPERA THROUGH MAY 2011 6 Bel Canto Chorus

PROGR A M TEXT A Remembrance: A Musical Legacy of the American Civil War

by Daniel J. Van Gelderen Lyrics taken from “The Blue and the Gray” by Francis Miles Finch; “Gettysburg” by Herman Melville and “The High Tide at Gettysburg” by Will Henry Thompson By the flow of the inland river, Whence the fleets of iron have fled, Where the blades of the grave-grass quiver, Asleep are the ranks of the dead: Under the sod and the dew, Waiting the Judgment Day; Under the one, the Blue, Under the other, the Gray.

These in the robings of glory, Those in the gloom of defeat, All with the battle-blood gory, In the dusk of eternity meet: Sadly, but not with upbraiding, The generous deed was done, In the storm of the years that are fading No braver battle was won.

He charged, and in that charge condensed His all of hate and all of fire; He sought to blast us in his scorn, And wither us in his ire.

Love rules. Her gentler purpose runs.

A mighty mother turns in tears The pages of her battle years, Lamenting all her fallen sons!

No more shall the war cry sever, Or the winding rivers be red; They banish our anger forever When they laurel the graves of our dead!

Under the sod and the dew, Waiting the judgment day, Love and tears for the Blue, Tears and love for the Gray.

An American Requiem

by Joseph Baber, Op. 80 Prologue: Requiem 1867 Sleep sweetly in your humble graves, Sleep martyrs of a fallen cause; Though yet no marble column craves The pilgrim here to pause. 1a Line after line in stark conformity – The gravestones lend their names to the firmament, The wind stirs, the dead leaves fly, To the annual finality of death.

Meanwhile, behalf the tardy years Which keep in trust your storied tombs, Behold! Your sisters bring their tears, And these memorial blooms. 1a

And what shall the pictures be that adorn the burial house?

Before him went the shriek of shells, The varied and ample land, the South Aerial screamings, taunts and yells; and the North in the light, Then the three waves in flashed advance Manhattan’s spires, Ohio’s shores and the Surged, but were met, and back they set: flashing Missouri, Pride was repelled by sterner pride, And ever the prairies, the prairies with And Right is a strong-hold yet. grass and corn. 3a They fell, who lifted up a hand And bade the sun in heaven to stand!

They smote and fell, who set the bars Against the progress of the stars, And stayed the march of Motherland!

They stood, who saw the future come On through the fight’s delirium; They smote and stood, who held the hope Of nations on that slippery slope.

Fold up the banners! Smelt the guns!

Stoop, angels hither from the skies!

There is no holier spot of ground Than where defeated valor lies, By mourning beauty crowned! 1a Portents I. John Brown Hanging from the beam, Slowly swaying (such the law), Gaunt the shadow on your green, Shenandoah! 4a It is a comfort to feel permitted to die for a cause.

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P R O G R A M T E X T ( c o n t .)

My whole life before had not afforded one half the opportunity To plead for the right. 5 The cut is on the crown (Lo, John Brown), And the stabs shall heal no more.

Hidden in the cap Is the anguish none can draw; So your future veils its face, Shenandoah! 4a I may be very insane, if insane at all.

Insanity is like a pleasant dream to me.

I am not conscious of my ravings, Of my fears. 5 But the streaming beard is shown (Weird John Brown), The meteor of the war. 4a II. Sumter Calm as that second summer which precedes The first fall of the snow, 1b The town in great excitement.

Secession flags flying, Secession drums beating, Secession men hurrahing. 7a In the broad sunlight of heroic deeds, The city bides the foe. 1b Our beloved Kentucky is about to be engulfed In the fearful strife. 7a As yet, behind their ramparts stern and proud, Her bolted thunders sleep. 1b We could hear the rumbling sound of heavy guns, And the distant tread of a marching army, The coming storm soon to break With the sound scarcely before heard on this earth.

The archangel of Death looked on with outstretched wings. 8 Dark Sumter like a battlemented cloud, Looms o’er the solemn deep. 1b Sarah, something whispers to me that I shall return.

If I do not, my last breath shall whisper your name.

If the dead come back to this earth unseen Around those they loved, I shall always be near you.

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Sarah, do not mourn me dead; think I am gone and wait for thee. 6 The thunder cloud lifts up its awful voice in terrible majesty. 7b Stars waning over head, far off the heavens red.

Signal rockets pierce the night.

Gunners hold their breath. Artillery massing on the right, Black squadrons wheeling down to death.

Conflict of Convictions: Battle Lines Drawn up in line,10 large brigades in front, advancing, Arms glittering in the sun,11 awaiting the enemy.10 Blinding, the sun beats down,12 choking, the clouds of dust.

A hundred guns open upon us.

They come, ten thousand strong and lithe.

They fall like wheat before the scythe.

Smoke fills our eyes. Bursting shells crash through the trees. 21 All day bombardment. 19 A solid line of blazing fire,12 sharp rattle of musketry. 19 Here a man suddenly lying still, There, another, all bloody, cursing and rising and starting for the surgeon. 22 “There’s the devil’s own fun, boys along the whole line.” 13a In that confusion I knew not where I was. 17 My first thought was to run but run back I would not do, So there was nothing to do but stand and take what come. 21 Before us full of smoke and fire, swarming with horses, Riderless horses and fighting, fleeing, pursuing men. 15 I have read a fiery gospel writ in burnished rows of steel. 23 Fire pours into our very faces, singeing hair and clothes, The hot blood of our dead and wounded, Above all the battle roar. 12 He has sounded forth the trumpet that shall never call retreat. 23 I threw myself down amidst the high grass.

I could not see the balls that whistled

P R O G R A M T E X T ( c o n t .) close over me.

I could see the timothy heads around me falling from their stem as if by magic, Falling apparently of themselves. 20 Morning comes after a night of terror. 19 “I am the rider of the wind. 17 The stone wall bristling with muskets, 22 The stirrer of the storm, 17 Stars and stripes fluttering, advancing with cheers, 11 The hurricane I left behind to be with lightning warmed.”17 The line of men, sweating, grimy, firing and loading and firing again. 22 Tho enemies, we cannot resist admiration. 11 Yea and nay, Each has his say; But God he keeps the middle way. 4b By the light of powder flashes, during awful moments, We see the whole of both lines. 16 Bright lives going out like tapers in the wind. 18

and natural prayer. 4c There were the groaning and crying, the struggling and dying.

Before night the barn was filled with shattered and dying men crowded side by side. 26 Or dying foe –men mingled there. Foemen at morn but friends at eve. 12 We found the union soldiers side by side with the rebels.

I found Maine boys, many from Wisconsin and Minnesota, But the first was a young Mississippian.30 Fame or country least their care: 4c Three desperately wounded men begged for ice.

Death is very busy on both sides. 30 (What like a bullet can undeceive!) 4c There is no hope. Since Atlanta I have felt as if all were dead within me, forever.

That agony is over. Atlanta is gone.

Atlanta is gone. 38 No more, no more. 35

Upon the open fields like sheaves bound by the reaper, In crevices, behind fences, trees, None was by when he spread the sky; buildings, in thickets, where they had Wisdom is vain, and prophesy. 4b crept for safety, By stream or wall or hedge, wherever Fighting on our right. 10 The woods their weakening steps could carry them, between us. 18 lay the dead. 33 The still trees in the heat, and the bullets Many thousands gone. 35 whistling over. 22 Oh, to God it would stop. 10 I am at a loss to know how any of us are left.

Aftermath The best blood of old Carolina has been I. Voices shed and that freely. 34 Close the eyes on sights of horror. Shut Many thousands gone. 35 the ears against sounds of anguish.

But who shall describe the horrible I think there never was such slaughter atmosphere? as we made.

The rifle pits, the dead horses, shattered I could have walked a half mile on windows, and stone walls all scattered. the dead and not put my feet on the And many soldiers’ graves. 20 ground. 27 When darkness was over us, the The church so lone, the log-built one. 4c surgeons’ knives, busy by the flickering Wounded men were stretched on light of candles in the orchard in our boards across the high-backed pews. front: Sorrow to hundreds of northern These poor sufferers’ faces, white and and southern homes. 18 drawn with pain, Many thousands gone. 35 Were on a level with my own.

I seemed to stand breast-high in a sea II. Raven Days of anguish. 31 Our hearths have gone out, and our That echoed to many a parting groan hearts are broken, Bel Canto Chorus 9

P R O G R A M T E X T ( c o n t .)

And but the ghosts of homes to us remain, And ghostly eyes and hollow sighs give token From friend to friend of an unspoken pain.

O Raven Days, dark Raven Days of sorrow, Bring to us some sign out of the far land of Tomorrow. 39 Disaster and gloom bourne upon every breeze, Suffering no tongue can describe.

The history of this will not bear reflection.

Ye float in dusky files, with your dreary shade.

Pale, in the dark, we lie in chains, too weak to be afraid.

O Raven Days, dark Raven Days of sorrow. 39 Of many a face of the dead, Of many a face of anguish, Of the dead on their backs with arms extended wide, I dream.

Where we dig the trenches and gather the heaps, I dream.

Long have they passed, faces and trenches and fields, But now of their forms at night, I dream. 30 O Raven Days, dark Raven Days of sorrow.

Can anybody want the answer? 36 There’ll be no more. Oh, no more.

No more slavery chains for me, Many thousands gone. 35 Epilogue: Great Fields; New Soil In great deeds something abides.

On great fields something stays.

Men and women from afar shall come To this deathless field, and lo!

The shadow of a mighty presence shall wrap them in its bosom, And the power of the vision pass into their souls. 44 Peace in the crowded town.

Peace on the windswept down!

Where the scholar thinks, the hunter roams. 1c Sorrow treads on the footsteps of the nation’s joy. 42 This was the hand that knew to swing the axe.

Thus would freedom train her son. 13b God has seen fit to summon another.

It is ours then to bow and let our chieftain go. 42 He knew to bide his time and can his fame abide.

Our children shall behold the kindly foreseeing man, New birth of our new soil.

Peace in the quiet dales.

Peace in the peopled vales!

In our sheltered bays and ample streams, In the woodland, the lonely glen made fertile by the blood of men. 1c III. No more Boom, cannon, boom to all the winds Destruction has rivaled the earthquake, and waves! the whirlwind, Clash out, glad bells, from every rocking The pestilence that walketh in darkness, steeple! and wasteth at noonday, 36 My country! Ours once more!

No more.

What were our lives without thee? What Many thousands gone. 35 all the lives to save thee?

What words can tell our love and make Planted agony at a million hearthstones, thee know? thronged our streets with the weeds of Ask whatever else and we will dare. 41 mourning, Filled our land with stumps of men, Peace, God of Peace! ridged our soil with rudely formed Peace in our hearts, in our homes, graves, In the highway, in a thousand fields. 1c Mantled it all over with the shadow of death.

No more.

For what is all this? 36 No more. 35 Will ever any warm light come again?

Will ever the lit mountains of Tomorrow Begin to gleam across the mournful plain? 39

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FOOTNOTES 1a Henry Timrod (1828-1867) from poem “Ode sung on the occasion of decorating the graves of

the Confederate dead, at Magnolia Cemetery Charleston, S.C. 1867” 1b Henry Timrod (1828-1867) from poem “Charleston” 1c Henry Timrod (1828-1867) from poem “Christmas” 2 Baber, J. (1937-) from poem “In the Graveyard of the Late Dr. Tate” 3a Walt Whitman (1819-1892) from poem “When Lilacs Last in the Dooryard Bloom’d” 3b Walt Whitman (1819-1892) from poem “Old War-Dreams” 4a Herman Melville (1819-1891) from poem “The Portent” 1859 4b Herman Melville (1819-1891) from poem “The Conflict of Convictions” 4c Herman Melville (1819-1891) from poem “Shiloh” 1862 4d Herman Melville (1819-1891) from poem “Misgivings” (1860) (last three lines) 5 John Brown: letter to his pastor, Dr. R. Tilden, Charles Town, Virginia, November 28, 1859 6 Major Sullivan Ballou, 2nd Rhode Island Volunteers, Bull Run, July 14, 1861 (killed in battle) 7 Ellen Kenton McGaughey Wallace, diarist and plantation owner, Hopkinsville, Kentucky, August

18, 1861 8 Private Sam R. Watkins, 1st Tennessee Infantry, Maney’s Brigade, Atlanta, June 27, 1864 9 Thomas Bailey Aldrich (1836-1907) abridged from poem “Fredericksburg” 10 Pvt. Joseph F. Kauffman, 10th Virginia Infantry, Taliaferro’s Brigade, Second Manassas, August 28, 1863 11 Pvt. Alexander Hunter, 17th Virginia Infantry, Corse’s Brigade, Second Manassas, August 30, 1863 12 Pvt. Sam R. Watkins, 1st Tennessee Infantry, Maney’s Brigade, Atlanta, June 27, 1864 13a Edmund Clarence Stedman (1833-1908) from poem “Kearny at Seven Pines” quoting Gen.

Philip Kearny, Seven Pines, May 31, 1862 13b Edmund Clarence Stedman (1833-1908) from poem “The Hand of Lincoln” 14 Last lines of anonymous poem describing the Battle of Kennesaw Mountain, Atlanta, June 27, 1864 15 Lieutenant Porter Farley, 140th New York Infantry, Weed’s Brigade, Gettysburg, July 2, 1863 16 Major Rufus R. Dawes, 6th Wisconsin Infantry, Gibbon’s Brigade, Second Manassas August 28, 1862 17 Sgt. John V. Hadley, 7th Indiana Infantry, Thoburn’s Brigade, Second Manassas, August 30, 1862 18 Corporal Theron W. Haight, 24th New York Infantry, Hatch’s Brigade, Second Manassas, August

38, 1862 19 S. J. Gibson, 103rd Pennsylvania Volunteers, Plymouth N. C. April 19, 1864 20 Sgt. Edwin A Gearhart, 142nd Pennsylvania Infantry, Biddle’s Brigade, Gettysburg, July 1, 1863 21 Sgt. William H. Andrews, 1st Georgia Infantry, Anderson’s Brigade, Second Manassas, August 30, 1862 22 Captain Abner Small, 16th Maine Infantry, Paul’s Brigade, Gettysburg, July 1, 1863 23 Julia Ward Howe (1819-1910) from poem, “The Battle Hymn of the Republic” 24 Captain John E. Dooley, 1st Virginia Cavalry, Kemper’s Brigade, Northern Virginia, June 1863 25 Pvt. David J. Hill, 2nd Mississippi Infantry, Davis’ Brigade, Gettysburg, July 1, 1863 26 Adjutant Franklin A. Haskell, General John Gibbon’s staff, Second Manassas, August 30, 1862 27 Pvt. Andrew Park, 42nd Mississippi Infantry, Davis’ Brigade, Gettysburg, July 1, 1863 28 Tillie Pierce, resident of Gettysburg, Pennsylvania, July 1, 1863 29 Bushrod W. James, Volunteer Doctor, U.S. Christian Commission, Gettysburg, July, 1863 30 Emily Bliss Souder, Volunteer Nurse, U.S. Christian Commission, Gettysburg, July 15, 1863 31 Cornelia Hancock, Volunteer Nurse, Gettysburg, July 1863 32 Pvt. Day, Co. B. 25th Massachusetts Volunteer Infantry, Roanoke Island, N.C. February 9, 1862 33 Corporal Thomas D. Marbaker, 11th New Jersey Infantry, Gettysburg, July 4, 1863 34 Pvt. Alexander McNeill, 2nd South Carolina Infantry, Kershaw’s Brigade, retreating from

Gettysburg, July 7, 1863 35 American Spiritual 36 Frederick Douglass, New York, N.Y. January 13, 1864 (New York Cooper Union address) 37 Chaplain George W. Pepper, 80th Ohio Infantry, Raum’s Brigade, Atlanta, August 28, 1864 38 Mary Chestnut, diarist and plantation owner, Charleston, S.C. 39 Sidney Lanier (1842-1902) poem “The Raven Days” 40 Bret Harte (1839-1902) from poem “John Burns of Gettysburg” 41 James Russell Lowell (1819-1891) from “Ode Recited at the Harvard Commemoration” 42 Frances Watkins Harper (to William Still) Boston, April 15, 1865 43 Stonewall Jackson, dying, Guinea Station near Chancellorsville, Virginia, May 10, 1863 44 General Joshua Lawrence Chamberlain (Colonel of the 20th Maine Infantry at Gettysburg),

October 3, 1889 Bel Canto Chorus 11

B E L C A N TO C H O R U S Leigh Akin Jill Andersen Vaughn Ausman Tom Barnum Jon Bartos Kelly Bartyczak Jan Becker Eloise Black CarolAnne Bozosi Susan Brown Marc Cohen Michael J. Comiskey Peter Craig Elizabeth Everson Christine G. Fitch Amanda Fiorelli Emily Fox Naomi Fritz Josefina Z. S. Gardinier Janet Gibeau Andrea S. Goetzinger+ Sarah Grams Eileen Griffiths Lynn Gutoski Brett Hanisko Carrie F. Hardel Joshua Hart Keith Heidmann Joan Henkel Craig Hoffmann Dan Holzmiller Jeanne Houle Ronald Houle Sally D. Hoyt

Katherine Hughes Kathleen Hughes+ Michelle Hynson+ Elizabeth Janicek Katie Kaminsky Susi Kiefer Kieth Klemp Jessi A. Kolberg Kyle Kolberg Russell Kopitzke+ Erin Laabs+ Jonathan A. Laabs+ Penny Laferriere Lindsay Lamm Brian J. Larsen Helga Larsen Angela Lee Gary Lesko Loretta Jelinek Lieske K. David Lupardus Barbara L. Lyons Patrick C. Lyons Amanda Mather Jessica Morrison Erik Olson Carol Osburn-McKean Sarah Pabbathi Lori Ann Pannier+ Andrea Pelloquin TJ Perlick-Molinari Marjorie Piechowski Alexandra Pieper John Reinardy Betty Reul

David Reul Susan Rugg Kerry Saver Kathleen Schilz Timothy W. Schmidt+ Kate Schmitt Glenn Schumann Trinny Schumann Fred Sentman Cameron Smith Susan Chamberlin Smith William R. Smith+ Binette Solomon Philip Starr Joan Stevens James D. Stout Lora Sunder Ken Tazelaar Kim Terek Mary Thiele Tom Thiele Carolyn Tramel Kristin Traut Tom Treder Fausta Urboniene Nathan Wesselowski+ Hazel Wheaton Rebecca Whitney+ JoDee Wick Jennifer W. Williamson Jessica Wirth Karyn Gimbel Youso +Denotes Section Leader

BAPTIST COLLEGE OF MINISTRY CONCERT CHOR ALE Jacob Allen Abi Bosler Josh Buda Katie Chaney Sarah Condon Abigail Dedic Micah Kagin Christopher Knobil Amber Knueppel Michelle Knueppel Bethany Krawiec

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Sarah Krawiec Michael Laredo Miriam Meyer Ariel Mills Anna Grace Overmiller Rick Pardee Lisa Parker Rachel Patterson David Rains Paul Rains Philip Rains

Emily Roberts Tim Roberts Andrew Sikma Carly Smith Summer Smith Allyssa Swanson Josh Swanson Nathan Swanson Jesse Williams Mary Faith Williams D.J. Willis

Florentine opera Company William Florescu, General Director

by Gioacchino Rossini

A Delicious Comic Romp!

MARCH 18-20, 2011 MARCUS

CENTER FOR THE PERFORMING DirecteD by William theisen

ARTS

UNDERSTAND EVERY WORD: SUNG IN ITALIAN WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE

TICKETS START AT $30!

For tickets: 414-291-5700 ext. 224

www.Florentine O pera .org Production Sponsors: Mary Ann & Charles LaBahn Bel Canto Chorus 13

M I LWAU K E E C H A M B E R O R C H E S T R A FLUTE Judith Ormond Janice Bjorkman PICCOLO Scott Metlicka OBOE Martin Woltman Philip Koch ENGLISH HORN Philip Koch CLARINET William Helmers Anna Najoom BASSOON Beth Giacobassi Lori Babinec HORN Krystof Pipal Richard Tremarello Kristina Crago Kathryn Krubsack

TRUMPET Donald Sipe Thomas Schlueter Jennifer Atwater TROMBONE David Lussier Jonathan Winkle Mark Hoelscher TUBA Daniel Neesley TIMPANI Thomas Wetzel PERCUSSION Patrick McGinn Terry Smirl Carl Storniolo VIOLIN 1 Jeanyi Kim, Concertmaster Alexander Mandl Eric Segnitz Margot Schwartz Peter Vickery Dylana Leung

VIOLIN 2 Michael Giacobassi Gerald Loughney Pamela Simmons Catherine Bush Nina Saito Elizabeth Warne VIOLA Nathan Hackett Jamie Hofman Amanda Koch Olga Tuzhilkov CELLO Scott Tisdel Gregory Mathews Kathleen Collisson Peter Szczepanek BASS Catherine McGinn Andrew Raciti

B E L C A N TO C H O R U S O R G A N I Z AT I O N Board of Directors President............................................................................................................................................. Sally D. Hoyt Past President...........................................................................................................................Thomas Barnum Secretary................................................................................................................................................Tom Thiele Treasurer............................................................................................................................................... Jim Hyland Patrick Foran, Tom Gagliano, Merilou Gonzales, Betty Reul, Kerry Saver, Peter Storer, Martin Tierney, Ariana G. Voigt Artistic Staff Music Director/Conductor.................................................................................................... Richard Hynson Assistant Conductor/Accompanist.................................................................................. Michelle Hynson Boy Choir Director............................................................................................................................ Ellen Shuler Administrative Staff Managing Director............................................................................................................................Marla Hahn Development Director......................................................................................................... Rebecca Whitney Patron Services Manager................................................................................................................. Bryce Lord Chorus Cabinet Kelly Bartyczak, Jan Becker, CarolAnne Bozosi, Susi Kiefer, Dave Lupardus, Carol McKean, Marge Piechowski, Kerry Saver, Kathleen Schilz, Kate Schmitt, Jim Stout, Hazel Wheaton

B E L C A N TO C H O R U S 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 presentation of the finest choral music, and to reach out to the community in order to share the benefits and the joy of the singing arts.

14 Bel Canto Chorus

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 the 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 at (414) 481-8801.

Vaughn Ausman and Sally D. Hoyt James Steinman Margaret E. Haggerty David and Roseann Tolan Kerry Saver Louis Winter Chris and Joanna Smocke

AC K N OW L E D G E M E N T S Bel Canto Chorus wishes to thank these friends for their generous support of our 2009-2010 and 2010-2011 seasons. Please consider adding your name to this list.

Bravissimo ($5,000+) Vaughn Ausman and Sally D. Hoyt Lynde and Harry Bradley Foundation Hydrite Chemical Richard and Michelle Hynson Patricia and Ray Mehler+ Milwaukee County - CAMPAC Nicholas Family Foundation* Oconomowoc Area Foundation’s Scherfiuss Fund Riverbend Fund Bert L. & Patricia S. Steigleder Charitable Trust George B. Storer Foundation Ireene Sullivan United Performing Arts Fund Mrs. Harriette Vick Wisconsin Arts Board Bernard and Karyn Youso Bravo ($1,000 - $4,999) Charles Barnum Thomas & Carole Barnum Jan and Robert Becker John and Kay Crichton Brian and Cindy Dearing Gardner Foundation Janet Gibeau Greater Milwaukee Foundation Dave and Roseann Tolan Fund Robert and Penny Laferriere Sue and Gary Lesko Jean and Hilton Neal Joe and Katie Pickart Betty and Dave Reul* San Camillo Senior Center* William Smith and Susan Chamberlin Smith

Peter and Jean Storer Thomas and Mary Thiele David and Julia Uihlein Charitable Foundation Oconomowoc Area Foundation’s Richard R. and Karen Bertrand Charitable Fund Fortissimo ($500 - $999) Linda and Vincents Dindzans Susan and Ralph Harkins John W. Hayes, Sr.* Michael Hayes and Patricia Teets Rudy Malz Northwestern Mutual Foundation Suzanne and Richard Pieper Connie Pukaite Kerry Saver* Katherine and Don Schwerin Kay and Joseph Tierney III Martin and Janet Tierney Whyte Hirschboeck Dudek S.C. Forte ($250 - $499) Julie Allenstein Blanche Banerian* Shari Benson Randy Casey Susan and Thomas Connor Dennis Daye Mary Alice Tierney Dunn Tom and Dawn Gagliano Josefina Gardinier Eileen and Reese Griffiths* Bill and Libby Hansen Louise and Robert Hedrick Katherine Hughes Kathleen and Tyrrell Hughes Jim Hyland Bonnie and Kieth Klemp*

Herbert Kohl Charities, Inc. Helga and Gerald Larsen Barbara and Patrick Lyons+ Mequon United Methodist Outreach Team* Marjorie Piechowski Kathleen and Timothy Schilz Marcia and Jeff Schwager Fred Sentman Brenda Skelton* Judy and James Stoddard Ken Tazelaar Earnest and Betsey Williamson Bob Winter Jessica Wirth+ Mezzo Forte ($100 - $249) Anonymous* Lynne Ausman and David Croll Rev. Joseph Biscoffi* Eloise Black Evert Bos CarolAnne Bozosi David and Dawn Brightsman Susan Brown Annette Byrne* Sally and Mike Chier* Sandra Christensen* Michael and Ellen Comiskey Nan and Richard Conser Emily and Dean Crocker John Cullen Mary and Rich Davenport Peggy Dean* Rosemarie Deisinger* Patricia Donohoe* Kelsey Erdahl Deborah Feingold Rosemary Fischer* June Fisher* Joanne Foran Ann Fritsch* Bel Canto Chorus 15

AC K N OW L E D G E M E N T S ( c o n t .)

David Globig Thomas Goris, Northwestern Mutual In Honor of Dave Tolan Sandy Grivett and John Schwartz Elna Hickson* William Hoppenjan* June Hoyt In honor of Sally Dean Hoyt Eileen Kehoe* Tom Kibbe Susan and Don Kiefer Adeline and Harvey Kohn Lindsay and Tim Lamm Jeff and Mavis Luther* Dorothy Jane Martin* Sue Martin-Steiner and Tony Steiner*+ In Memory of Jeannette Steiner Barbara McCallum Megan McGovern+ Mary Ann Mueller* Margaret Neis-Robertson* Betty Nordahl Deborah and Jamshed Patel Jayne Pelton Richard Pietsch* Jim and Gwen Plunkett Mary Pollock* Marian Roeglin* Kathleen Rossie+ Michael and Mary Ryan Timothy Schmidt Kate and Steve Schmitt Ellen and Dain Shuler Binette Solomon* David and Lydia Sovine Patty and Brad Spaits* Ed and Elisabeth Stieg* Sheila Strock+ Connie Sylvester* Richard Terlau Tim and Nancy Thiele Roseann and David Tolan Glen Van Fossen* Judy and Dick Vogel Ariana and Peter Voigt* Michael Walton and Mary Schueller+ Carl and Elizabeth Wege Scott and Tina Weiss WE Energies Foundation Gail Zander+ Friend (to $99) Judith Anderson Jean Angermeier Tolly Arthur and Jim Rutz Devin Artley Audrey Baird Ann Barnish Betsy Benes Deborah Betsworth Paul Bonauito Lois and Bob Brazner Peter and Margaret Browne Carl Chelius Robert Christie 16 Bel Canto Chorus

Marc Cohen Blanche and Eugene Comiskey James Coutts Patricia and Phil Crump Ruth Danby* Christine Del Re Steve Duback Douglas and Geralyn Dunning* Regina Dunst Marcella Egges* Lori Eshleman Christine and Jim Fitch+ Patrick Foran Edward Ford Constance Forrest Stanley and Janet Fox* In Honor of Emily Fox Mark Friday Stanley Gabik and Family+ Wayne and Caryl Galler+ Cindy Gallun* In honor of Jack Hayes’s birthday Gary and Laura Gardetto Louis Germanotta* John Gerzel Madeleine and Kenneth Gimbel Andrea Goetzinger Ervin and Linda Golembiewski Henry Gozdowiak* Joe Hagan Marilyn Hartmann* Keith Heidmann+ Joan Henkel Rev. John Hentzer* Glenna Holstein Mary Horne* Barbara Hunt* Mary Jaeckle* Beth Janicek Marjorie Jothen Oscar Joyner* Katie Kaminsky Emily and Kevin Kane Martha Kehoe Jim and Elizabeth Kelly Elaine Kennedy* Kind Inc. DBA Culvers+ Ed and Michelle Kotnarowski Johanna Kubicek Deborah Larkey and Jack Harris Angela Lee Marcelena Lemanski* Debbie and Randy LeRoy* Lorette and John Lieske Tom Lindemann* Thelma Mahoney* Joe Maller Gloria Mandella* Richard Masters David and Laurie Mather+ Raquel Maxwell* Hugh and Katie McManus* Sally Mills+ Ione Minster+

Randall Moles Linda and Edward Mordy Mary Moscisker+ Susan and Frank Mrnik+ Margaret Mary Newell* Erik Olson June Peterson* Marjorie Piechowski Roberta Piper Marilyn and Henry Powers+ Irene Quast* Debbie Rakestraw John Reinardy Lee Renner* Ginny Tierney Rogers* Katharina Ruckstadter* Megan Sarver Joanne Schatzlein, OSF Carol Schmitt James Scholler Janet Schroeder Trinny and Glenn Schumann Nancy Shirley Nancy V. Sipperly* Mary Smith* Julita Snell* Philip Starr Daniel Stefanich Jessica and Andy Stenz Joan and Bill Stevens+ Lora and Gregg Sunder Esther Tito+ Carol Totsch Tom and Martha Treder Ruth Treisman David Unruh Richard and Judith Wagner Genevieve Warhanek* Carrie Weddle Sarah Weitzer Midge Wheeler and Peter Foris Rebecca Whitney Virginia Wirth* Bonnie and Daryl Wunrow Mary Wyant Tom and Betty Zamzow+ Gordon Zion Marilyn and Doug Zwissler *Donation in whole or part to George B. Storer Foundation Grant Match + Donation in whole or part in memory of Nate Moscisker