20 Idaho Washington Concert Chorale B dem alten Drachen, Trotz des Todes Rachen, Trotz der Furcht...

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September 21Music from the Palouse

October 19Onyx Brass

November 30American Chamber Players

January 25Pacifica Quartet

March 20eighth blackbird

Announcing the 2006-2007 Season:

Poster Art Series Notecards $5 for 5Our new Poster Art Series Notecards are a delightful way to support the chorale and share in the beautiful art that we showcase every season in our season poster. Th e brain-child of chorale alto, Karen Weathermon, these notecards are printed in vibrant color on high quality 80 pound smooth cover paper and bundled with an envelope and an attractive raffi a binding. Our Poster Art Series Notecards can be purchased individually for $1.25 or packs of fi ve for $5.00. Mix and match or purchase a set of each design. Th e note cards are blank inside and feature information about the year featured, the artist and the art on the back.

2005-2006: An original watercolor by former chorale alto, Jean DeLong

2004-2005: “Wheatfi eld on the Palouse”, a photograph by chorale bass, Gordon Thomas

2003-2004: “Glory”, a stained glass mosaic created by Whitworth student, Courtney Powell

2002-2003: “Exultate Jubilate”, a mixed media artwork created by Kirsti Ottem Langeland

Th e Poster Art Series Notecards will be available year-round and we will add new works each season. Notecards are available for purchase at each of our concerts. If you have questions about the notecards, or would like to order additional notecards, please contact Karen Weathermon, [email protected] or Jill Price Freuden, [email protected], 509.710.7492.

Poster Art Series Notecards

4Concert 2005-20064Concert 2005-20064

Friday, MAY 5 at 7:30at 7:30at PM, ST. BONIFACE CATHOLIC CHURCH, UNIONTOWN

SundaySunday,Sunday MAY 7 at 6:00at 6:00at PM, ST. BONIFACE CATHOLIC CHURCH, UNIONTOWN

Idaho Washington Concert ChoraleIdaho Washington Concert Chorale

BachSponsored by Edward O. SchweitzerSponsored by Edward O. SchweitzerSponsored by

All About

2 19

LOBET DEN HERRN, ALLE HEIDEN (BWV 230)PRAISE THE LORD, ALL NATIONS

All About Bach

Th ank you for joining us tonight! A reminder to please turn off all cell phones, pagers and recording devices and refrain from using fl ash photography during the performance. Please hold applause between movements.

Musical Alchemy, Inc. is recording our performance this evening. Season Ticket Holders, Donors & Advertisers: Don’t forget that our Th ank You Reception will be held Sunday after the

concert at the Uniontown Community Center. We hope to see you there!

Praise the Lord, all nations;Praise Him, all people;For His grace and mercy watch over us for ever.Alleluia.

Psalm 117: 1-2

Lobet den Herrn, alle Heiden; Preiset ihn, alle Völker; Denn Seine Gnade und Wahrheit waltet über uns in Ewigkeit. Alleluia

JESU MEINE FREUDE (BWV 227)JESUS, MY JOY

I. JESU MEINE FREUDEJesu, meine Freude,meines Herzens Weide,Jesu, meine Zier,ach wie lang, ach langeist dem Herzen bange,und verlangt nach dir!Gottes Lamm, mein Bräutigam,außer dir soll mir auf Erdennichts sonst Liebers werden.

II. ES IST NUN NICHTSEs ist nun nichtsVerdammliches an denen,die in Christo Jesu sind,die nicht nach dem Fleische wandeln,sondern nach dem Geist.

Jesus, my joy,my heart’s pasture,Jesus, my jewel.Oh, for how longhas this anxious heartlonged for You!Lamb of God, my bridegroom,apart from You, no one on arthwill be my lover.

Th ere is therefore now nocondemnation to themwho are in Christ Jesus,who wander not after the fl esh,but after the Spirit.

Romans 8:1

Johann Sebastian Bach(1685–1750)

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All About Bach III. UNTER DEINEM SCHIRMEN

Unter deinem Schirmen bin ich vor den Stürmen aller Feinde frei. Laß den Satan wittern, laß den Feind erbittern, mir steht Jesus bei. Ob es itzt gleich kracht und blitzt, ob gleich Sünd und Hölle schrecken: Jesus will mich decken.

Under your shelter, I am free from the storms of all the devils. Let Satan threaten, let the fi end rage, Jesus stays by me. Even though lightning cracks and fl ashes, even though sin and hell scream, Jesus will protect me.

IV. DENN DAS GESETZ DES GEISTESJill Price Freuden, sopranoLaurie Caraher, soprano

Cheryl Blackburn, mez zo-sopranoDenn das Gesetz des Geistes,der da lebendig machet in Christo Jesu,hat mich frei gemacht von dem Gesetzder Sünde und des Todes.

V. TROTZ, DEM ALTEN DRACHENTrotz dem alten Drachen,Trotz des Todes Rachen,Trotz der Furcht dazu!Tobe, Welt, und springeich steh hier und singein gar sichrer Ruh.Gottes Macht hält mich in acht;Erd und Abgrund muß verstummen,ob sie noch so brummen.

VI. IHR ABER SEID NICHT FLEISCHLICH lhr aber seid nicht fl eischlich, sondern geistlich, so anders Gottes Geist in euch wohnet. Wer aber Christi Geist nicht hat, der ist nicht sein.

For the law of the Spiritwhich gives life in Christ Jesushas set me free from the lawof sin and death.

Romans 8:2

Defy the old dragon,defy the jaws of death,defy fear as well!Rage, oh world, and quake,here I stay,singing in perfect peace!Th e might of God holds me;earth and abyss shall be silent,however much they growl.

You, however, live not by the fl esh, but by the Spirit, since the law of God has made a home in you. Anyone who does not have the Spirit of Christ does not belong to Him.

Romans 8:9

4 17All About Bach VII. WEG MIT ALLEN SCHÄTZEN

Weg mit allen Schätzen! Du bist mein Ergötzen, Jesu, meine Lust! Weg, ihr eitlen Ehren, ich mag euch nicht hören, bleibt mir unbewußt! Elend, Not, Kreuz, Schmach und Tod soll mich, ob ich viel muß leiden, nicht von Jesu scheiden.

Away with all wealth! You are my delight, Jesus, my pleasure! Away, you vain glories, I don’t want to hear you, I remain unaware of you! Distress, misery, the cross, disgrace and death: however much I suff er, they must not part me from Jesus.

VIII. SO ABER CHRISTUS IN EUCH ISTCheryl Blackburn, mez zo-soprano

Bill Dugger, mez zo-soprano

Bill Dugger, mez zo-soprano tenor

mez zo-soprano tenor

mez zo-soprano

Dave Spencer, baritoneSo aber Christus in euch ist,so ist der Leib zwar tot um der Sünde willen; der Geist aber ist das Lebenum der Gerechtigkeit willen.

IX. GUTE NACHT, O WESENGute Nacht, o Wesen,das die Welt erlesen,mir gefällst du nicht!Gute Nacht, ihr Sünden,bleibet weit dahinten,kommt nicht mehr ans Licht!Gute Nacht, du Stolz und Pracht!Dir sei ganz, du Lasterleben,gute Nacht gegeben.

X. SO NUN DER GEIST So nun der Geist des, der Jesum von den Toten auferwecket hat, in euch wohnet, so wird auch derselbige, der Christum von den Toten auferwecket hat, eure sterbliche Leiber lebendig machen, um des willen, daß sein Geist in euch wohnet.

But when Christ is in you,the body is dead because of the will of sin;but the Spirit is alivebecause of the will of righteousness.

Romans 8:10

Good night, oh reality,which has chosen the world,you do not please me!Good night, you sins,stay far behind me,do not come into the light!Good night, haughtiness and splendor!And to you, life of iniquity,a special good night!

And if the Spirit of Himwho raised Jesus from the deadhas made His home in you,then He who raised Christ Jesus from the deadwill give life to your own mortal bodiesthrough His Spirit living in you.

Romans 8:11



HAYDEN

NAMPA

LEWISTON ORCHARDS

All About Bach

Give way, you spirits of sadness,for Jesus, my master of joyis entering in.Th ose who love Godmust accept their sadnessas pure sugar.Th ough I suff ermockery and derision here,yet even in my sorrow shallYou, Jesus, remain my joy.

XI. WEICHT, IHR TRAUERGEISTERWeicht, ihr Trauergeister,denn mein Freudenmeister,Jesus, tritt herein.Denen, die Gott lieben,muß auch ihr Betrübenlauter Zucker sein.Duld ich schonhier Spott und Hohn,dennoch bleibst du auch im Leide,Jesu, meine Freude.

DER GEIST HILFT UNSRER SCHWACHHEIT AUF (BWV 226)THE SPIRIT HELPS US IN OUR WEAKNESS

Der Geist hilft unrser Schwachheit auf,denn wir wissen nicht,was wir beten sollen, wie sichs gebühret;sondern der Geist selbst vertritt uns aufsbeste mit unaussprechlichem Seufzen.

Der aber die Herzen forschet,der weiß, was des Geistes Sinn sei;denn er vertritt die Heiligen,nach dem das Gott gefället

Du heilige Brunst, sußer Trost,nun hilf uns, fröhlich und getrostin deinem Dienst beständig bleiben,die Trübsal uns nicht abtreiben.O Herr, durch dein Kraft uns bereitund stärk des Fleisches Blödigkeit,daß wir hie ritterlich ringen,durch Tod und Leben zu dir dringen. Hallelujah!

Th e Spirit helps us in our weakness,since, when we do not knowwhat we should pray for, then the Spirit personally makes our petition for usin sighs that cannot be put into words

Romans 8:26

But He who can see into all heartsknows what the Spirit means,because the prayers the Spirit makes for God’s holy peopleare in accordance with the mind of God

Romans 8:27

Holy fi re, sweet trust,now help us, so that joyously and confi dentlywe can remain in your serviceand not be driven away by misery.Lord, through your power prepare us,and strengthen our stupid human natureso that we can valiantly battleand force our way through death and life to You. Hallelujah!

Martin LutherHallelujah!

Martin LutherHallelujah!

, 1524

Intermission

6 15All About Bach

SWINGLE SINGERS TUNES J.S. Bach, arr. Ward Swingle(B. 1927)

Shelly Renzelman, contrabass

1. ARIA from 1. ARIA from 1. ARIA SUITE IN D MAJOR (1989)

2. BOURREE (1985)

Festival Baroque Chamber Orchestra o f the PalouseVIOLIN IVIOLIN IDiane Worthey, concert masterVIOLIN IIJennifer HammondVIOLIN IIIGladys PattenVIOLA

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Program NotesTHE BACH MOTETS

(Compiled from research by Natalie Beck, Karl Geiringer, Bernard S. Greenberg, and Manuela Schwartz)

During the 13th-15th centuries, the term motet, from the French “mot” (word), described a sacred vocal

composition that was contrapuntal, unaccompanied, usually on a single text and in a single texture, rarely in sections, and usually no more than a few minutes long. By the 16th century, the term applied to almost any sacred chorus that was not a hymn, Mass movement, or responsorial. In the Baroque, motet generally meant any sacred composition for voices from either the Bible or religious poetry that did not include solo passages, recitative, or independent instrumental parts. (In contrast to the motet, a cantata does contain solo passages, recitatives, or independent instrumental parts.)

Natalie Beck says that the Lutheran chorale motets had become compound musical structures by the late 17thcentury, and that “…the term ‘motet’ is best applied to a style of composition rather than to a specific form…. Other developments in the late 17th century included the shifting of the melody line from the tenor or bass to the soprano voice. The melody then provided material which was imitative in the accompanying voices.” Beck states further, “By 1700, motets had been replaced by cantatas in the Lutheran service. Motets formerly were the main music of the service and had been sung after the offertory. By Bach’s time, however, they had become either music for special occasions or an introduction to the service following the prelude.” Only six motets that Bach wrote for special occasions are still extant (BWV 225-230) and they form one of the peaks of Bach’ art as a composer of choral music. Three of them will be performed this evening: Lobet den Herrn, alle Heiden (BWV 230); Jesu, meine Freude (BWV 227); and Der Geist hilf unsrer Schwachheit auf (BWV 226).

The shortest of these, Lobet den Herrn, alle Heiden, is an exuberant one-movement setting of Psalm 117 that concludes with a dance-like “Allelujah.” The impetus for its composition is unknown but most scholars think that is was not written for liturgical use. It is scored for four-part chorus and continuo.

Jesu, meine Freude is Bach’s longest motet and it contains eleven movements that form a symmetrical arch – the first and last movements are musically identical. It is scored for five-part choir though some sections are for three and four voices. Through the eleven movements, Bach alternates stanzas of a popular 1653 hymn by Johann Franck, “Jesu, meine Freude,” with passages from the eighth chapter of Romans. The hymn melody is by Johann Crüger and Bach

uses it in five of the eleven movements. Although there is some doubt, Bach apparently composed Jesu, meine Freudein 1723 for a memorial service honoring Johanna Maria Kase, the wife of Leipzig’s Postmaster.

As the music director of the Thomasschule in Leipzig, Bach worked under the headmaster, Johann Heinrich Ernesti. When Ernesti died in October 1729, Bach was commissioned to compose a motet for the funeral service. The result, Der Geist hilf unsrer Schwachheit auf, is a Der Geist hilf unsrer Schwachheit auf, is a Der Geist hilf unsrer Schwachheit aufdouble-choir motet with text taken from St. Paul’s Epistle to the Romans. The motet is in four sections and the concluding chorale is the third verse of Martin Luther’s “Komm heiliger Geist, Herre Gott.”

A WORD ABOUT PERFORMANCE PRACTICE

The general consensus among contemporary scholars is The general consensus among contemporary scholars is Tthat during Bach’s time, his “Tthat during Bach’s time, his “T a cappella” sacred choral music was accompanied by a continuo complement if at all possible. Furthermore, if instruments were available, Bach had them play colla parte (doubling the voice parts). With specific regard to the three motets performed this evening, an independent continuo part by Bach exists for Lobet den Herrn, and authentic colla parte string and wind parts survive for Der geist hilf. Tonight, strings and winds will Der geist hilf. Tonight, strings and winds will Der geist hilfalso double the voice parts in Lobet den Herrn and Jesu, meine Freude in keeping with Bach’s practice.

THE SWINGLE SINGERS

The concert concludes with two of the Swingle The concert concludes with two of the Swingle TSingers more popular choral arrangements of Bach TSingers more popular choral arrangements of Bach Tinstrumental pieces. Ward Swingle, founder of the Swingle Singers, describes Swingle-singing as “the use of the voice as an instrument in a fusion of jazz and classical styles.” The Swingle Singers originated as background vocals to Charles Aznavour and Edith Piaf in Paris in the 1960s. After experiencing numerous personnel changes, they are still popular today and maintain a strenuous performing and recording schedule. Bouree, originally for harpsichord, is from English Suite No. 2 in A Minor(BWV 807). Aria is the famous “Air on a G String,” from Orchestral Suite No. 3 in D (BWV 1068).

John Wei ss John Wei ss

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8 13

Currently assistant professor of music at Washington State University, John Currently assistant professor of music at Washington State University, John Currently Weiss earned a Bachelor of Music degree in music education Currently Weiss earned a Bachelor of Music degree in music education Currentlyat Boston University’s School for the Arts, a Master of Fine Arts degree in choral Currentlyat Boston University’s School for the Arts, a Master of Fine Arts degree in choral Currentlyconducting at the University of California, Irvine, and a Doctor of Musical Arts degree in choral conducting from the University of Arizona. Past choral groups under his direction have won numerous fi rst prizes at state, regional and national competitions. He has been a guest clinician and conductor at MENC regional and state Conferences in Massachusetts, Vermont, and Oregon, and choral director for North American Music Ensembles’ 1991 European tour.

As a bass, Dr. Weiss was a Metropolitan Opera Regional Finalist and won First Prize in the Associazione Lirica Italo-Americana Mario Del Monaco Voice Competition. He has performed leading and supporting roles with Boston Lyric Opera, Indianapolis Opera, Ash Lawn-Highland Summer Festival, Raylynmor Opera, Commonwealth Opera, Longwood Opera, Vermont Opera, Oakland Opera, and Sacramento Opera, and also soloed for such organizations as the Harvard-Radcliff e Chorus, College of the Holy Cross Choirs, and the Oakland Chamber Orchestra and Oratorio Society. Some of his favorite roles include Leporello in Don Giovanni, Tevye in Fiddler on the Roof, Mustafa in Roof, Mustafa in Roof L’italiana in Algeri, Alfi e Doolittle in My Fair Lady, Sarastro in Die Zauberfl öte, Colline in La Bohéme, Bartolo in Il Barbiere di Siviglia and Sir Joseph Porter in H.M.S. Pinafore. In May 2005, he sang the role of Sparafucile in Rigoletto with Granite State Opera in New Hampshire.

Th e University of Arizona nominated Dr. Weiss’ doctoral research, Operatically Trained Singers in the Collegiate Choral Rehearsal, for the Julius Herford Award sponsored by the American Choral Directors Association. An article based on this research appeared in Th e Choral Journal, August 2002 and he presented his fi ndings at the Second International Physiology and Acoustics of Singing Conference in Denver in October 2004. Th is spring, he will again present the same research at the Washington Music Educators Assoc. State Conference in Yakima, and at the American Choral Directors Association NW Division Convention in Portland.

John Weiss, Conductor

Elena Panchenko, Accompanist

Elena Panchenko,originally Elena Panchenko originally Elena Panchenko from Elena Panchenko from Elena PanchenkoUkraine, studied at the Moscow Conservatory, where she earned her degree in piano performance, music history and music theory. She served as the Musical Director of the Penn State Opera for four years and performed the debut of two new operas, including Mrs. Satan, an opera about the life of the fi rst woman presidential candidate, Victoria Woodhall. Working extensively as an accompanist and church musician, Elena has worked with groups as varied as a children’s dance group to such well-know performers as Francis Orval and David Shifrin, Clarinetist and Music Director of Chamber Music at Lincoln Center. In addition

to Elena’s duties with the chorale, she and is also the Music Director at St. James Episcopal Church in Pullman. Elena lives with her husband, Alex, WSU Math Professor and former Ukrainian Rock Star (as is Elena), her son Ivan, and their dog, Tasha.


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Mimi Dimitrovska, Alto, is proof of one of the benefits of living on the Palouse: that the universities attract people with extraordinary experiences. Mimi and her family moved to Pullman in 2001 from Skopje, Macedonia, when her husband, Alex, accepted a position with WSU’s Department of Electrical Engineering and Computer Science. When Mimi found the Chorale and began singing with us in 2002, she brought a wealth of singing experience from her life in Macedonia. Mimi began her formal training at age 8 when she was enrolled in a music school, where she sang with school choirs as well as with Skopje’s large municipal children’s choir. By the age of 20 she was invited to sing with the Macedonian National Radio choir, and at 22 she began singing in the opera choir with the National Theatre. At one point she was singing in four different choirs, and with these groups she toured across the former country of Yugoslavia and as well as throughout Europe, singing concerts in England, France, Italy, Spain, Germany, Belgium, and Poland. In addition to her musical activity, Mimi also taught high school comparative literature, the field in which she holds her degree. Mimi loves the process of preparing music and of experiencing and sharing music with others. Preparing this concert has been especially enjoyable for her because Bach is one of her favorite composers--along with Rachmaninoff, Verdi, and Puccini. Mimi says, “This Chorale means very much to me. I feel so enriched with the new musical experiences, especially American music, and I’ve made so many new friends. It’s always easier to make friends through the music.”

Chorale Member Profi le

Sponsors, $1500 +Decagon Devices, Inc.Edmund O. SchweitzerJohn Brewer, Sharon & Ted

Nitz, and David Seamans

Benefactors, $500 +Best Western University Inn

Chamber Choir CarolingLaura McMichaelDavid & Kathy SpencerGordon & Dene Th omasRosemary & Barney Waldrop

Supporters, $250 +Meredyth GoodwinPaul Phelps & Paul Th omassonSteve & Anne SwannackEllen Th iem

Chorale Donors

Patrons, $100 +Kathy AndersonWalt AsbeNance CeccarelliPatrick & Diane DaleyDiane Gillespie & Dick DomeyShaun & Jill FreudenClive GayBarb & Howard HayesPeter MikaSandra RistowEsther Anderson-Spencer & G.

Roger SpencerBill VoxmanJohn & Cheryl WeissBill Wykoff

Friends, $25 +Kurtzi AndersonMelinda Beasley

Donald BlakeSusan BohmTom & Liz BrandtLynn BrinckmeyerLaurie CaraherKelsey FreiNancy GrunewaldSandra HaarsagerJohn HaugenJohn JordanBarbara J. KirschnerHolly McCollisterRobert & Janice MillerAnn & John NortonMimi PengillyJoan & Merton PubolsLouise ReglinPaul Spencer & Susan DanielsJean Sawyer Sylva & Robert StaabJanice Willard

10 11

SopranosKathy AndersonHeather BensonLaurie CaraherShari CarterHeather DixonKelsey FreiJill Price Freuden Meredyth Goodwin Nancy GrunewaldSandra HaarsagerHelen LombardMary MaceyJanet MountSharon NitzAnn NortonKathy SpencerMegan WildesJanice Willard

AltosTheresa AllenAlice BarbutCheryl Blackburn Susan BohmJanet BrandtJudy CampbellJennifer ColemanMimi DimitrovskaJudie HanleyTressa HochstatterJan Keller Laura McMichaelHolly McCollisterMaureen Miller Miho NamHeather NelsonJan PatrickMimi PengillyRuth VanderwallKaren Weathermon

The Idaho-Washington Concert ChoraleBoard of DirectorsRichard DomeyReal Estate Agent, Pullman

Meredyth GoodwinChorale President

Janice O’TooleChorale Vice-President

Jan KellerChorale Treasurer

Glenn PetersenChorale Secretary

Janet BrandtChorale Member-at-Large

Sheila ConverseWSU Faculty

Barbara HayesCostume Designer, Lewiston

Gary PetersonChorale Member-at-Large

Rosemary Waldrop, Private Voice, Pullman

Lori WiestWSU Faculty, Pullman

Music Director &Principal ConductorJohn Weiss

AccompanistElena Panchenko

House ManagerSherry Caisley

Chorale LeadershipHeather BensonGraphic Designer

Cheryl BlackburnAdvertising Manager

Tom BrandtTenor Section Leader

Judy CampbellAlto Section Leader

Jill Price FreudenMarketing DirectorSoprano Section Leader

Jana JoyceDatabase Manager

Mary MaceyChorale Librarian

Ann NortonChorale Librarian

Laura McMichaelFront Door Manager

Kathy SpencerAudition Committee Accompanist

Gerd SteckelReceipts Treasurer

Steve SwannackBass Section LeaderRiser Crew Coordinator

Gordon ThomasWeb Master

Karen WeathermonPress Releases & Notecards

TenorsErol BarbutKevin BrackneyTom BrandtBill Dugger Rick GrunewaldJohn HaugenIan HustGlenn Petersen Don Willows

BassesAllen Alstad Walt AsbeArt DeLongJack KellerPetr Kuzmic John JordanKirk McMichaelMatthew PetersenGary PetersonJim ReeceDavid Spencer Gerd SteckelSteve Swannack Gordon ThomasDean VanderwallLeonard West

Singing with the Chorale is fun!IWCC is an auditioned choir of community members from around the Palouse.

Auditions for the 2006-2007 Season will be held in August, 2006. If you are interested in joining us, please contact: Janice O’Toole 509.229.3654, [email protected]

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20 Idaho Washington Concert Chorale B dem alten Drachen, Trotz des Todes Rachen, Trotz der Furcht...

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