'16 Tour Program DRAFT_SF

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Illinois Wesleyan University

2016 Collegiate Choir Tour Itinerary

Saturday, March 5 7:30 p.m.

First Federated Church3601 N. Sheridan Rd.Peoria, IL

Friday, March 11 7:30 p.m.First Presbyterian Church120 N. 6th St.Hannibal, MO


Good Shepherd Catholic Church12800 W. 75th St.Shawnee, KS

Sunday, March 13 7:30 p.m.

First Presbyterian Church2900 Hall St.Hays, KS

Monday, March 14 7:30 p.m.

Augustana Lutheran Church5000 E. Alameda Ave.Denver, CO

Wednesday, March 16 7:30 p.m.

Trinity United Methodist Church511 N. Elm St.Grand Island, NE

Thursday, March 17 7:30 p.m.First United Methodist Church7020 Cass St.Omaha, NE

Friday, March 18 7:30 p.m.

First Congregational Church2201 7th Ave.Moline, IL


Grace Episcopal Church924 Lake St.Oak Park, IL

Tuesday, March 22 8:00 p.m.

Home ConcertWesley United Methodist Church502 E. Front St.Bloomington, IL



Program

IGaude et laetare Jan Pieterszoon Sweelinck(sung in Latin) (1562-1621)

Rejoice and be glad, O Jerusalem; behold, thy King cometh:

whom the Prophets foretold,whom Angels worship,whom Cherubim and Seraphim proclaim,Holy, Holy, Holy.

Vulgate and the liturgy of the Roman Catholic Church

Ave Maria Jean Mouton(sung in Latin) (1459-1522)

Hail Mary, full of grace, the Lord is with thee;Blessed art thou among women.

Holy Mary, Mother of God:Pray for us.

From the Gospel of Luke

Ascendente Jesu in naviculam Melchior Vulpius(sung in Latin) (1570-1615)

And when Jesus got into the boat, his disciples followed him; and behold, there arose a great storm on the sea, so that the boat was being swamped by the waves. But he wasasleep. And they went to him and awoke him, saying: “Save us, Lord, we are perishing.”And he said to them, “Why are you afraid, O men of little faith?” Then he rose and

rebuked the winds and the sea, and there was a great calm.Matthew 8:23-26



II Petite Nymfe folâtre François Regnard(sung in French) (fl. 1570s)

Little playful nymph, O little nymph, how I worship you. My delicate one, in your eyes Ifind my sadness and my happiness. My gentle one, my sweet one, my graceful one, myAphrodite. You could not appease me even with a thousand kisses a day.

Pierre Ronsard

(1524-1585)

Since First I Saw Your Face Thomas Ford(1580-1648)

Since first I saw your face I resolv’dto honour and renown ye;If now I be disdainedI wish my heart had never known ye.What, I that lov’d and you that lik’d,shall we begin to wrangle?

No, no, no my heart is fast,and cannot disentangle.

The sun, whose beams most glorious are,rejecteth no beholder,And your sweet beauty past comparemade my poor eyes the bolder,Where beauty moves and wit delights,and signs of kindness bind me,There, O there, where e’er I go,I leave my heart behind me.

Wohlauf, ihr Gäste Erasmus Widmann(sung in German) (1572-1634)

Well then, you good guests, be merrily, sanguine and in good spirits,the grumbler we will overcome.Fa la lalala.



Let's get started, pour, my companion,the good, fresh, cool wine.Fa la lalala.

Let's get started, we want to be cheerful,let me know, my companion,and drink the good, cool wine.Fa la lalala.

III Nunc dimittis Gustav Holst(sung in Latin) (1874-1934)

Kate Masson, soprano, Thomas Bravos, tenor

Lord, now lettest thou thy servant depart in peace,According to thy word.For mine eyes have seen thy salvation,Which thou hast prepared before the face of all people;To be a light to lighten the Gentiles and to be the glory of thy people Israel.

Glory be to the Father and to the Son and to the Holy Ghost; as it was in the beginning, isnow, and ever shall be, world without end. Amen.

Luke 2:21-22Gloria Patri

Evermore Philip Lawson(b. 1957)

Of the Father's love begotten,Ere the worlds began to be,

He is Alpha and Omega,He the Source, the Ending He.Of the things that are, that have been,And that future years shall see.

Evermore and evermore.



Oh, that birth forever blessed,When the Virgin, full of grace,By the Holy Ghost conceiving,Bare the Savior of our race;And the Babe, the world's Redeemer,First revealed His sacred face,

Evermore and evermore!

This is He whom Heav’n-taught singersSang of old with one accord;Whom the Scriptures of the prophetsPromised in their faithful word; Now He shines, the long expected,Let creation praise its Lord,


Christ, to Thee with God the Father,And, O Holy Ghost, to Thee,Hymn and chant and high thanksgiving,

And unending praises be:Honor, glory, and dominion,And eternal victory


O ye heights of heaven, adore Him;Angel hosts, His praises sing;Powers, dominions, bow before Him,And extol our God and King!Let no tongue on earth be silent,Every voice in concert sing,

Evermore and evermore!Prudentius

(348-413 A.D.)trans. J. M. Neale, H. W. Baker

(adapted by Philip Lawson)



Cantate Domino Józef ! wider(sung in Latin) (1930-2014)

Sing to the Lord a new song, Alleluia.Lamb of God, who takes away the sins of the world,Have mercy upon us.

Lamb of God, who takes away the sins of the world,

Grant us peace.We Praise you, O God. From the book of Psalms

Agnus Dei, Te Deum

Intermission

IVSelections from Gloria Patri Urmas Sisask(sung in Latin) (b. 1960)

Omnis una

Let us rejoice.To Christ let us bring praiseWho was born of the virginAnd brings us light today.

Stabat Mater dolorosaAt the Cross her station keeping,stood the mournful Mother weeping,close to Jesus to the last.Through her heart, His sorrow sharing,all His bitter anguish bearing,

nowat length the sword has passed.

Surrexit DominusThe Lord is risen from the grave. Alleluia.For our sake he hung on the cross. Alleluia.

Miranda Mhoon, Celia Williams, soprano, Grace Sheley, Megan Win, alto

Chamber Singers



V Exultate Deo Françis Poulenc(sung in Latin) (1899-1963)

Rejoice in God our helper:sing aloud to the God of Jacob.

Take the psalm and bring hither the timbrel:

the merry harp with the lute.

Blow the trumpet in the new moon,even on our solemn feast day.

Psalm 81:1-3

Two A Cappella Choruses György Ligeti(sung in Hungarian) (1923-2006)

Éjszaka (Night)Vast, enormous thorns…

QuietVast silenceMy peace beats in my heart. Night

Reggel (Morning)Again, it strikes, again! In the bell tower a dawn, it strikes again!The time is whitewashed by an early cock’s cry. It is morning!Beautiful morning.

After a poem by Sándor Weöres

Shall I Compare Thee To A Summer’s Day Nils Lindberg(b. 1933)

Shall I compare thee to a summer’s day?Thou art more lovely and more temperate:Rough winds do shake the darling buds of May,And summer’s lease hath all too short a date:Sometimes too hot the eye of heaven shines,And often is his gold complexion dimm’d;And every fair from fair sometime declines,



By chance or nature’s changing course untrimm’d;But thy eternal summer shall not fade, Nor lose possession of that fair thou owe’st; Nor shall Death brag thou wander’st in his shade,When in eternal lines to time thou grow’st;

So long as men can breathe or eyes can see,So long lives this, and this gives life to thee.

Sonnet 18

William Shakespeare

Prima serie dei cori di Michelangelo Luigi Dallapiccola Buonarroti il Giovane (1933-36) (1904-1975) (sung in Italian)

Il coro delle MalmaritateIl coro dei Malammogliati

Chorus of Unhappily Married Women

Learn young ladies, from the experience of others,Learn from the experience of others, maidens all,So that one day you will not weepingly lament:“Oh, woe are we! So unhappily wed!How better it would have been for us to be locked up in cells,our tresses clipped, our name and vestments changed,dressed in black, grey, or white,flagellating ourselves with whips and cords.How better it would have been for us!How better it would have been for usTo arise each morn,

Lamps in hand,Before the cock’s crow,Or to throw ourselves into a cloister,Enter an order of nuns (Rosano, Majano, etc.)Or to wear a habit!How better it would have been!”So, learn this lesson well and think,



Very, very, very long before,So then you won’t have to lamentYour marriage later.

Chorus of Unhappily Married Men

Whoever wants to learn the art of taking a wife – here we are, experts!

And we say to whoever wishes to wedThat within two days he’ll see a hellish devilAnd a complete scatter brain.I followed someone else’s advice:A good man once said to me: “Go ahead” (Get married).O, fool, fool that I was! I ended up (And I had it coming to me!) With a hellish devil anda scatter brain.Oh woe! Just for beauty –She was all frills and flowers –I reaped a harvest of bitter fruit.I met, drunk with love,

A hellish devil and a scatter brain.Aunts, sisters, mothers, and grandmothersWill all try to drive him madAnd so ten other mistresses will drown himIn a hellish devil and a scatter brain.

Michelangelo Buonarroti il Giovane



Notes

Jan Pieterszoon Sweelinck was the last and one of the most important of the NetherlandsSchool of composers, which had flourished throughout the Renaissance. In Gaude etlaetare, from Cantiones sacrae (1619), the influence of newer compositional techniquesof the early 17th century is evident in the inclusion of a basso continuo part, a greateremphasis on compactness and expression of text (including a dance-like motive in ahomophonic texture), and the appearance of the Romanesca bass (in this case, F#-C#, D-

A, B-F#).

The serene, flowing Ave Maria by the French composer Jean Mouton is characteristic ofthe style of composition which earned Mouton a place in history as one of the mostimportant writers of motets in the 16th century. Ave Maria is based on a paraphrase of its plainchant that appears in canon in contrary motion between the bass and alto voices.Around this slow-moving musical artifice, Mouton spins a seamless, transparent web ofeven contours and fluid motion.

Another German composer, Melchior Vulpius, was a prominent composer of Protestanthymn tunes and was one of the most prolific and well-respected composers of the

Renaissance period. The large two-part motet for six voices Ascendente Jesu innaviculam was composed during the era in which the Latin motet still played an integral part in Lutheran worship. The text, from Matthew’s gospel narrative (8:23-26) of Jesuscalming the storm, is set in a number of short sections with a great deal of word painting.A storm at sea, with its winds and undulating waves, is represented by passages ofelaborate polyphony, while the voices of Christ and the disciples are set in clearhomophonic phrases. The piece ends peacefully as Jesus calms the sea (“tranquilitasmagna”).

The second group on the program features French, English and German Renaissancesecular compositions. The French Renaissance composer François Regnard is well

known for his settings of Pierre de Ronsard texts. The fanciful and brief Petite Nymfe folâtre is taken from a collection of French chansons published in 1575.

In 1607, the English lutenist and viol player, Thomas Ford, published a collection ofvocal and instrumental music entitled Musicke of Sundrie Kindes. Since First I Saw Your Face is one of a number of famous pieces from the first part of the publication thatcontained “Aires for four voices.” The term “air” was applied by Thomas Morley to all ofthe secular forms of vocal music popular at the end of the 16th century, except for themadrigal, which was considered to be more serious. The English airs of Thomas Ford are



characterized by straightforward melodies and homophonic textures within a strophicform.

Like the first two pieces of this set, Erasmus Widmann’s Wohlauf, ihr Gäste is primarilyhomophonic with the exception of the initial section, which is imitative. While theRegnard and Ford texts are about love, in the Widmann we are urged to join friends anddrink “the fresh, cool wine.”

Gustav Holst’s Nunc dimittis was composed at the request of the Director of Music atWestminster Cathedral. It was first performed on Easter Sunday in 1915 and thenforgotten until its first modern performance in 1974. Following an opening section in astyle typical of Holst, the composition then looks back to the Renaissance withhomophonic interchanges between female and male voices, a unison passage, and aclosing imitative section.

Philip Lawson is an English composer and arranger, who was for 18 years a baritone withthe famed King’s Singers. Evermore is an original setting of a familiar text by Prudentius(348-413 A.D.). Lawson created a chant-like melody that floats effortlessly, and his deftuse of textural contrasts and colorful harmonic palette lend a sense of mysticism and

serenity to the composition.

Józef !wider was an award-winning composer and professor of theory and compositionat the Academy of Music in Katowice, Poland. Among his compositions are three operas,six oratorios, five masses, and over 200 choral compositions. Cantate Domino featurescontrasts between fast imitative and slow homophonic passages and a brief aleatoricmiddle section. !wider combines sacred texts from the book of Psalms in the Bible(“Sing to the Lord a new song”), the Roman Rite (Agnus Dei) and a hymn of praise (TeDeum).

Urmas Sisask possesses a vision unique among Estonian composers; his music contains

magical primeval power rather than polished mannerisms, a sincere sense of beautyrather than distanced aestheticism. Sisask went through an “enrichment” period in1987-88. He participated in courses on early music and familiarized himself withGregorian Chant and early Baroque music. At the same time, he studied the solar systemand worked out theoretical sound values for the rotations of Mercury, Venus, Earth,Mars, Jupiter, Saturn, Uranus, Neptune, and Pluto, obtaining what he calls the “planetalscale.” This reduces to a row of five tones: C#, D, F#, G# and A. To his surprise, Sisaskdiscovered that this scale matched that of a basic mode of Japanese music called



kumayoshi. Sisask considers it symbolic that around the same time he was given aCatholic prayer book with Latin texts.

In 1988, Sisask completed a work consisting of 24 religious songs for mixed choir,collectively entitled Gloria Patri… All these songs are based on the kumayoshi mode.

Note by Kristel Pappel

Chamber Singers, a subset of Collegiate Choir, will perform Omnis una, Stabat Materdolorosa, and Surrexit Dominus from Gloria Patri… . For this program, I have chosentexts that pertain to the life of Christ: birth, death, and resurrection.

Exultate Deo by Françis Poulenc opens in an imitative style reminiscent of Renaissance polyphony, but soon turns to brief homophonic utterances in changing meters. The workis tonal, but chromaticism and dissonance are present, especially in the setting of the phrase “blow the trumpet in the new moon.” Poulenc captures the grandeur of the final phrase “even on our solemn feast day” through expansive gestures that culminate in afinal chord that, by virtue of its harmonic instability, seems to continue ad infinitum.

György Ligeti wrote the two a cappella choruses Éjszaka and Reggel in 1955, one year before he made his escape from the Hungarian Revolution. The tone cluster technique,characteristic of many of his works of the sixties, is already foreshadowed in these choralcompositions, particularly in the thick, grey masses of sounds found in Éjszaka. Reggel contains tone-painting effects suggesting the cock-crow and church bells.

The Swedish composer, pianist, arranger, and conductor, Nils Lindberg, is equally athome composing for choir, jazz band or symphony orchestra. Shall I compare thee istaken from the suite O Mistress Mine for solo voice (1990), which includes settings of poems by Shakespeare, Marlowe, and other poets from the reign of Queen Elizabeth I ofEngland. Lindberg later arranged the suite for mixed choir, and in 1998, Shall I compare

thee was the best-selling choral composition in Sweden.

The noted composer, pianist and writer, Luigi Dallapiccola, was born in 1904 in northernItaly. He frequently traveled throughout Western Europe and the United States as alecturer and instructor in composition. This international exposure undoubtedly helpedhis music become known in the western world.

Dallapiccola was the principal pioneer of twelve-tone music in Italy. It was not until after1935, however, that he absorbed dodecaphony into his style. The first pair of Cori di



Michelangelo Buonarroti il Giovane (1932-33) were composed at a time when thecomposer was influenced by the neo-madrigalian tradition established before World WarI in the choral music of Ildebrando Pizzetti. The influence of the early mastersMonteverdi and Gesualdo is also evident. Both movements of this work are tonal muchof the time, utilizing a harmonic language that includes triads, quartal chords, and seventhchords. Dallapiccola chose the poetry of Michelangelo Buonarroti il Giovane (nephew ofthe great Michelangelo) because he considered the vocabulary to be rich, refined, anduncommon.

Notes compiled or written by J. Scott Ferguson



ILLINOIS WESLEYAN UNIVERSITY COLLEGIATE CHOIR

The Illinois Wesleyan University Collegiate Choir has established a long history ofexcellence through its on-campus performances, annual tours, and recordings. TheCollegiate Choir is composed of student musicians representing the School of Music andother areas of the University, and is dedicated to the performance of the finest sacred andsecular choral music spanning six centuries and a variety of languages. Students in thechoir are selected by audition and maintain a rigorous rehearsal schedule in preparation

for their annual spring concert tour and other engagements throughout the year. TheChoir took its first international tour in 2000 to Italy, and has since presented concerts inRussia, Lithuania, Latvia, Estonia (2004), Spain (2008) and Germany (2012). The Choirwill tour France in May 2016. The Choir has performed at the 2000, 2005, 2012 and 2015Illinois Music Education Conferences, and at the 2008 and 2012 ACDA Central DivisionConferences.

After an appearance with the King’s Singers in 2011, countertenor David Hurley calledthe Collegiate Choir “one of the finest university choirs I have heard in my travels withthe King’s Singers.” On Thursday, February 19, 2015, the Choir presented the world premiere of Arise, My Dove, a three-movement work composed by Philip Lawson for the

King’s Singers and the Collegiate Choir, the most recent contribution to the IWU ChoralCommission Series (see below). The Choir has received acclaim for the “breath-taking beauty and skill of the voices, the superb repertoire, and the awesome musicality.”Estonian conductor Heli Jürgenson praised the Choir’s “clear intonation, beautiful andsound harmony, multifarious strokes, and broad dynamic scale.” Renowned Czechconductor Ji" í Kolá" noted, “I was overwhelmed by the great intonation, precise rhythm, beautiful work with dynamics, and incredible stylistic interpretation of compositionsfrom all style periods and genres.”

The Choir maintains the IWU Choral Commission Series, the oldest collegiatecommission series in the United States, which in its 65-year history has added many

significant works to the choral repertoire and resulted in a number of important world premieres at Illinois Wesleyan University. Since the first commission, Songs of Innocence, by Earl George, in 1951, the series has featured works by composers such asPauline Oliveros, Louise Talma, Ulysses Kay, Leo Sowerby, Jean Berger, KennethGaburo, Relly Raffman, John Joubert, Geoffery Bush, Edmund Najera, Kirke Mechem,John Chorbajian, Barney Childs, William Mathias, Anthony Iannaccone, Ivan Hru#ovsk $,Stephen Paulus, Libby Larsen, György Orbán, John Sharpley, Sydney Guillaume, StevenSametz, Andrew Rindfleisch, John Orfe, and Philip Lawson. This year’s composer isKenneth Lampl.



COLLEGIATE CHOIR

SOPRANOMartha Aguirre, Chicago, IL B. A. Spanish/ Secondary EducationEmily Brink, Aurora, IL B.M. Vocal PerformanceSara Caligiuri, Wheaton, IL B.M. Vocal PerformanceMegan Callison, Aurora, IL B.M. Vocal PerformanceAnna Karnick, Palatine, IL B.M.E. Music EducationMegan Koch, Dunlap, IL B.M.E. Music Education**Kate Masson, New Glarus, WI B. M. Vocal Performance/B.A. German**Miranda Mhoon, Granbury, TX B.M. Vocal Performance**Crystal Muro, Itasca, IL B.M. Vocal PerformanceAnne Marie Pasternock, Elmhurst, IL B.M. Vocal Performance

Liz Turner, Lindenhurst, IL B.M. Vocal PerformanceMinji Will, Glenview, IL B.M.E. Music Education** *Celia Williams, Homer, IL B.M. Vocal PerformanceGrace Wolf, Braidwood, IL B.M.E. Music EducationCherry Zhang, Shenzhen, China B.M. Music Composition

ALTOKrystyna Lopez, Palatine, IL B.A. Physics/MusicEllen Losey, Hudson, IL B.M. Vocal PerformanceKelsey Maka, Mokena, IL B.M. Vocal Performance/B.A. Int’l Studies - Asia*Samantha Noga, Hoffman Estates, IL B.M. Vocal PerformanceHeather Prasse, Freeport, IL B.A. Psychology**Kelly Riordan, La Grange, IL B.M. Vocal Performance** *Austin Rupert, Naperville, IL B.M.E. Music EducationHannah Scatterday, Aurora, IL (on leave) B.M. Vocal Performance/B.A. Int’l Studies**Grace Sheley, Lincoln, IL B.M. Vocal PerformanceKatelyn Van Petten, St. Charles, IL B.A. Theatre Arts/Business**Anne Warnke, Minneapolis, MN B.A. Theatre Arts

Chelci Wilson, Jerseyville, IL B.M.E. Music Education**Megan Win, Frankfort, IL B.A. Music/Psychology

TENORRyan Andersen, Racine, WI B.M.E. Music Education** *Thomas Bravos, St. Charles, IL B.M. Contemporary MusicianshipDonald Brown, South Holland, IL B.A. PsychologyFilip Duda, Barrington, IL B.M. Vocal PerformanceAaron Kahn, Glenview, IL B.M.E. Music EducationTim McDunn, Elmhurst, IL B.M. Music Composition/B.A. Greek & Roman Studies**Joseph Petrando, Wheaton, IL B.M.E. Music Education**Alexander Riak, Woodstock, IL B.M. CompositionDavid Shacklette, Des Plaines, IL B.M. Vocal Performance/B.A. Philosophy

BASSLoreto Delgado III, Chicago, IL B.M. Vocal Performance** *John Fegan, Chicago, IL B.M.E. Music EducationChristopher Hokanson, Lisle, IL B.A. ChemistryCody House, Alvin, TX B.M. Vocal Performance**Jonathan Lange, Fairbanks, AK B.M. Vocal Performance*John McHugh, Palatine, IL B.M. Vocal PerformanceBlake Miller, Arthur, IL B.M.E. Music Education**Samuel Mullooly, Milwaukee, WI B.M. CompositionJohn Narcissi, Mokena, IL B.M. Contemporary Musicianship

Nathan Osborn, Morrison, IL B.M.E Music EducationBraden Poole, Normal, IL B.A. Music**Drake Sorensen, Roanoke, IL B.S. Business Administration

Megan Win, President, Megan Callison, Vice President,Megan Koch, Secretary, John McHugh, Treasurer

*Section leader** Chamber Singers



J. SCOTT FERGUSON

J. Scott Ferguson is Professor of Music and Director of Choral Activities at IllinoisWesleyan University, where he conducts the Collegiate Choir, Chamber Singers, andUniversity Choir and teaches studio voice, choral conducting, and choral literature. Dr.Ferguson received his undergraduate training at Oberlin Conservatory in organ performance, studying with Haskell Thomson. He completed graduate studies in choralconducting at the University of California, Irvine, earning the Master of Fine Arts, and

the University of Wisconsin, Madison, where he earned the Doctor of Musical Arts. Hehas studied choral conducting with Robert Fountain, Joseph Huszti, Daniel Moe, andHoward Swan, orchestral conducting with David Becker and James Smith, and voicewith Robert Fountain, Joseph Huszti, and Beverly Rinaldi. Before his appointment atIllinois Wesleyan University in 1996, he served on the faculty at the State Conservatoryof Music in Bratislava, Slovak Republic, Hope College, Plymouth State University, theCollege of Wooster, and the University of California, Irvine. His choirs have appeared ontour throughout the United States and Europe, and have performed at state and regionalACDA and NAfME conferences. Dr. Ferguson is in demand as a choral clinician, festivalconductor,and adjudicator, and has presented choral workshops and lectures in the U. S.,Europe, and South America. He has published articles on Slovak choral music in the

ACDA Choral Journal and is the compiler and editor of the Slovak Choral Series, published by Alliance Publications. He is a frequent member of juries at internationalchoral competitions in Europe. Dr. Ferguson directs the Chapel Choir at SecondPresbyterian Church in Bloomington and is organist and cantor at St. Joseph’s CatholicChurch in Chenoa, IL.



Mario Pelusi, Ph.D.Director of the School of Music

Professor of Composition and Theory

Choral FacultyJ. Scott Ferguson, D.M.A.Professor of MusicDirector of Choral Activities

Andrew Dahan, M.M. (ABD)Visiting Assistant Professor of Music Education

Voice FacultyJ. Scott Ferguson, D.M.A.Professor of Music

Linda J. Farquharson, D.M.A.Professor of Music

William Hudson, D.M.A.Assistant Professor of MusicHead, Voice and Choral Department

Robert Mangialardi, M.M.Assistant Professor of Music

Jennifer Hilbish Schuetz, D.M.A.Adjunct Instructor of Music

Ingrid Kammin, D.M.A.

Adjunct Instructor of Music



ILLINOIS WESLEYAN UNIVERSITY

Illinois Wesleyan University, founded in 1850, enrolls approximately 1,900 students in aCollege of Liberal Arts, and its Schools of Music, Theatre Arts, Art, and Nursing.Students represent many of the 50 states and a number of different countries. TheCarnegie Commission for the Advancement of Teaching ranks Illinois Wesleyan a"Baccalaureate I" institution, a classification that places it among the 251 highly selective National Liberal Arts Colleges.

The campus of Illinois Wesleyan University occupies85 acres in the heart ofBloomington’s north-side residential district.

Among its 54 buildings, the following facilities have been added to the Illinois Wesleyancampus since 1994: a $15-million athletic center, a $25-million science building, a $6.8-million residence hall, a $5.1-million liberal arts center, the $23-million Ames Library, a$6.5-million renovation of the Hansen Student Center, the Minor Myers, jr. WelcomeCenter, and the newly-completed $16-million State Farm Hall, which provides studentsand faculty members with instructional spaces that take advantage of the latest inclassroom design.

MUSIC AT ILLINOIS WESLEYAN UNIVERSITY

The School of Music at Illinois Wesleyan University offers an intensive program of study based on a tradition of excellence and, at the same time, forward-looking and flexiblecurricula geared to the needs of the individual.

All students at Illinois Wesleyan have opportunities to perform in the Collegiate Choir,University Choir, Chamber Singers, Unlicensed Syncopation, Wesleyan Consort, WindEnsemble, Symphonic Winds, IWU Civic Orchestra, Jazz Ensemble and brass,woodwind, string and percussion chamber ensembles. Student-directed offerings include

a madrigal ensemble and male, female, and mixed a cappella ensembles.

The School of Music has been fully accredited by the National Association of Schools ofMusic since 1930. The School is housed in Presser Hall, constructed in 1929, and theadjoining Alice Millar Center for the Fine Arts, completed in 1973. A full-time faculty ofnineteen and part-time faculty of twenty-two serve approximately 120 music majors andthe several hundred IWU students who participate in music activities during their collegecareers.



School of Music ensembles perform on annual tours, both nationally and internationally.The Jazz Ensemble has toured Italy, Japan, England, and Scotland, and the CollegiateChoir has toured Italy, Russia, Lithuania, Latvia, Estonia, Spain, and Germany. TheSchool of Music will sponsor more than 70 programs during the 2015-2016 academicyear, including the annual Symposium of Contemporary Music. Guests have includedArvo Pärt, John Corigliano, Libby Larsen, Mario Lavista, Louis Andriessen, StephenPaulus, and John Sharpley.

School of Music alumni have pursued advanced degrees at institutions such as theUniversity of Cincinnati, Manhattan School of Music, Juilliard, University of SouthernCalifornia, University of Michigan, University of California-Irvine, University ofColorado, Arizona State University, and the University of Texas at Austin. Alumni aremembers of professional orchestras and theatre/opera companies around the world.Among Illinois Wesleyan School of Music alumni are Dawn Upshaw, a five-timeGrammy Award-winning soprano and a member of New York’s Metropolitan Operacompany, bass-baritone William Powers, who also has sung at the Metropolitan Operaand has maintained an international career for over 40 years, mezzo-soprano SusanQuittmeyer-Morris, also on the MET staff, baritone Roger Roloff, who has performed

Wagnerian roles in Europe, and younger singers, including Jamie-Rose Guarrine andKate Tombaugh, who are singing with opera companies throughout the United States,and Ariana Strahl, who is with an opera company in Berlin, Germany.

Those wishing to support the activities of the Collegiate Choir may do so by contributingto two endowment funds at Illinois Wesleyan University:

Matthew M. LoPresti, ’07 and Friends of Music Endowment

Sylvia Monti Anderson Commissioned Choral Work Fund honoring Delta Omicron atIllinois Wesleyan University

To make a contribution, please contact Martin W. Smith (309-556-3248;[email protected]), Vice President for Advancement, for additional information.

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