THE DALE WARLAND SINGERSThe Dale Warland Singers, widely recognized as one

of the nation's foremost professional choral ensembles,have become especially well known for superb a cappellaperformances of choral masterworks and for expand-ing the choral repertoire through commissions ofexciting new works.

The 36-voice group was founded in 1972 in theTwin Cities of Minneapolis and St. Paul, and since hasdeveloped a loyal following of millions through domes-tic and international tours, subscription concerts,recordings and appearances on A Prairie Home Com-panion and 51. Paul Sunday Morning. An annual holidayprogram, Echoes oj Christmas, is heard by an estimated7 million American Public Radio listeners each year.

Also contributing to The Singers' popularity are na-tional tour performances by the Dale War-land ChamberEnsemble and the Warland Cabaret Singers, a 12-mem-ber ensemble that presents jazz and show tunes. Thelarger Warland Symphonic Chorus reaches thousandsmore in performances of major choral-symphonicworks, in collaborations with renowned orchestras andartists including Edo de Waart, David Zinman, RobertShaw, Roger Norrington, Leonard Slatkin and NevilleMarriner.

With contemporary music at the core of their mis-sion, The Singers have commissioned works byDominick Argento, Stephen Paulus, George Shearing,Libby Larsen, William Schuman,jalalu Kalvert-Nelson,Edwin London, and many others. This commitmentbrought The Singers the first annual Margaret HillisAchievement Award for Choral Excellence in 1992 andback-to-back ASCAP Awards for Adventuresome Pro-gramming in 1992 and 1993.

Annual tours throughout North America, with per-formances in communities of all sizes, have also earnedThe Singers a national reputation as Minnesota's pre-mier choral ensemble. The group has served asambassadors for the state on three European toursand performances on German, Swedish and FinnishState Radio and Television, as well as at internationalchoral festivals.

Among The Singers' acclaimed recordings are theholiday albums A Rose in Winter, Christmas Echoes,Volumes I and II, and Carols For Christmas, as well asChoral Currents, produced in collaboration with theMinnesota Composers Forum; Americana: A Bit oj Folk;and an all-Argento album In mid-January 1994 theyreleased their latest recording, Fancie, featuring folksongs and choral gems by composers as varied as Rossini,Brahms, Rorem and Britten, as well as jazz selections bythe Warland Cabaret Singers.

MARIA GUINANDGuest Conductor

Maria Guinand, anative and currentresident of Venezuela,maintains a demandingschedule as a choralmusic conductor andeducator. Among thefour choirs she cur-rently leads is theCantoria Alberto Grau,which she founded, andwith which she won sixinternational prizes in1989 alone, four ofwhich were at theNeuchatel InternationalFestival in Switzerland. She also founded both theCanto ria and the Orfeon of the Universidad SimonBolivar. Guinand, an avid proponent of music educa-tion, earned degrees at the University of Bristol inEngland and has studied further with Luigi Agustoniand the eminent Helmuth Rilling. She holds professor-ships at the Universidad Simon Bolivar and theConservatorio de la Orquesta Nacional Juvenil, is aca-demic dean for the Youth Orchestral movement at theConservatorio Nacional Simon Bolivar, and organizesthe activities of several choral organizations.

SOPRANOJane E. AndersenMarie Spar Dymit 0Wendi GerthDina M. HumbleJanice A. HuntonAngela MalekAnna MooyJulie Ann OlsonElizabeth Pauly

ALTOCarrie L. BensonCyndee ChaffeeJoanne Halvorsen 0Shelley KlinePatricia ThompsonMitzi WestraTeresa K. WhaleyKaren Wilkerson

o Section Leader

TENORDavid FischerPhilip FryerThomas LarsonDean PalermoRobert W. PontiousSteve J. Sandberg 0Randall C. SpeerSteven StaruchFrancis John Vogt

BASSThomas JamesJerry JohnsonPaul A. JohnsonJinKimDavid Ryan Moberg 0James RamletBrad RunyanKevin M. ShannonMark Sotebeer

T) CELEBRATE SOUTH AMERICA!THE DALE WARLAND SINGERS, MARIA GUINAND, GUEST CONDUCTOR

Friday, April 29, 1994,8 p.m. Sunday, May 1,1994,4 p.m.Our lady of Guadalupe Church, St. Paul Ted Mann Concert Hall, Minneapolis

PART I

Hanacpachap ]uan Perez Bocanegra (Peru, 16th century)

Magnificat#l Francisco L6pez y Capilla (Mexico, 17th century)

Salmo 150 Emani Aguiar (Brazil, 20th century)

Mata del Anima Sola Alberto Arvelo Torrealba (Venezuela, 20th century)

Salseo Oscar Gahan (Venezuela, 20th century)

Duerme Negrito arr. Emilio Sole (Argentina, 20th century)

Rumbamban Rafael Inciarte, arr. Miguel Garcia (Cuba, 19th century)

El Gavilan Folk song, arr. Alberto Grau (Venezuela, 20th century)

) Arestinga Folk song, arr. Alberto Grau (Venezuela, 20th century)

-- INTERMISSION --

PART II

El IurututU Miguel Angel Calcano (Venezuela, 20th century)

Canaan de la Molinera Antonio Estevez (Venezuela, 20th century)

Se Equivoco la Paloma Carlos Guastavino (Venezuela, 20th century)

Al Mar Anocheado Gonzalo Castellanos (Venezuela, 20th century)

Ie Quiero Alberto Favero, arr. Liliana Cangiano (Argentina, 20th century)

I.1Js Mareados ]uan Carlos Cabian, arr. Liliana Cangiano (Argentina, 20th century)

EI Santiguao Federico Ruiz (Venezuela, 20th century)

Requiebros Modesta Bor (Venezuela, 20th century)

El Guayaboso Guido Lopez Gavilan (Cuba, 20th century)

Kasar Mie la Gaji.. Alberto Grau (Venezue)a, 20th century)

PROGRAM NOTESBY MARIA GUINAND

HANACPACHAPJuan Perez Bocanegra

This processional hymn belongs to the treasures ofmusic composed during the colonial days in Peru. Thecombination of words in Quechua, the language of theIncas, together with the western choral style, reflectsthe mixture of cultures taking place at that time. Thetext is a song of praise to the Lord, our God.

MAGNIFICAT # 1Francisco Lopez y Capilla

My soul magnifies the Lord.And my spirit has rejoiced in God my savior.For he has regarded the low estate of his handmaiden:for behold, henceforth all generations shall call me blessed.For he who is mighty has done great things to me;and holy is his name.And his mercy is on them who fear him from generation togeneration.He has shown strength with his arm;he has scattered the proud, even the arrogant heart.He has deposed the mighty from their seats,and exalted the humble.The hungry he hasfilled with good things,and the rich he has sent empty away.He has helped his servant Israel,in remembrance of his mercy.As it was spoken to our fathers,to Abraham and his seed forever.Glory be to the Father, and to the Son,and to the Holy Spirit.As it was in the beginning, is now,and ever shall be, world without end, Amen.

This work shows the development of choral musicin the Mexico Cathedral tradition during the 17th cen-tury. The well-known text of the Magnificat is set in acontrapuntal style, whose influence is found in theItalian composers of the 16th to 17th centuries. Fran-cisco Lopez y Capilla was capellmeister of the MexicoCathedral from 1654 to 1674. Many works are ascribedto him in the choirbooks of polyphonic music found inthe cathedral archives.

SALMO 150Ernani Aguiar

Praise the Lord in his sacred places,praise him in the firmament of his power.Praise him for his mighty acts,praise him according to his excellent greatness.Praise him with the sound of the trumpet,praise him with the psaltery and the harp.Praise him with the timbrel and the dance,praise him with strings and pipes.Praise him with high-sounding cymbals,Praise him with cymbals of joy.Let everything that has breath praise the Lord.

Salmo 150 is an original composition by ErnaniAguiar, one of the most well-known Brazilian compos-ers of the 20th century. This psalm, whose text is apaean of praise to the Lord, is an effective and brilliantpiece of music incorporating repetitive rhythmic pat-terns and rapid articulations.

I

MATA DEL ANIMA SOLA(TREE OF THE LONELY SOUL)Antonio Estevez

Tree of the lonely soul,dark riverside, you both witnessedCantaclaro's song.The night came with the whistling wind to the plains.The night like a mare trembles by the riverside.In the silence of the night your soul suddenly appears.

Venezuelan composer Antonio Estevez is one of themost important nationalistic composers of choral mu-sic in Venezuela. He is particularly known for his CantataCriolla for mixed chorus, soloists and orchestra. Matadel Anima Sola is based on the text of the popular poetAlberto Arvelo Torrealba and depicts the landscape ofthe Venezuelan plains, called llanos. The work has twodistinct sections, one slow and meditative and the othervery rhythmic. The 6/8 meter is characteristic of adance called JOropo. The soloist represents the llanero, aman of the plains.

SALSEOOscar Galian ,/

This work, an original composition by the contem-porary Venezuelan composer Oscar Galian, is inspiredby the Caribbean rhythm of the salsa. The composeruses onomatopoeic sounds to combine different rhyth-mic cells, which imitate the playing of the percussioninstruments, such as the bongos, congas, toe-toe andcencerro (bell)

DUERME NEGRITO(SLEEP, LITTLE NEGRO)arr. Emilio Sole

Go to sleep, little Negro,because your mother is in the fields.She will bring you quails, fresh fruits, and many things.But if the little Negro does not go to sleep,the little white devil will come and zas!he will eat your toes.Go to sleep, little Negro,Because mother is in the fields working hard.She is not paid and she is ill, but she works for you.

Composed by Atahualpa Yupanqui, one of the mostpopular Latin American composers of the 1960s andearly 1970s, this cradle song reflects both in text andmusic the sadness of life of a little newborn Negrowhose mother is very poor.

RUMBAMBANRafael Inciarte, arr. Miguel Garcia

The Rumba is a dance that everybody likes.There are no women who will hide awaywhen they hear this rhythm.The mature women are sometimes too shy,but the young ones will move and dance.The young girls will dance from head to toes,in the same way as I myself dance.How good this Rumba is,Iwould like to be with my women.The women dance Rumba and criticize the Can Can.because with the rhythm of the Rumba everybody dances.

This song depicts the danzon, the typical rhythm ofCuban music, in which syncopations are one of themost important features. The song was originally com-posed by Rafael Inciarte, one of the most popular Cubancomposers at the beginning of this century.

EL GAVILAN (THE SPARROW-HAWK)arr. Alberto Grau

If the sparrow-hawk eats my cattleIwill eat the red sparrow-hawk.The eagle is in the mountains and in the desert,but in the path of the plains is the sparrow-hawk.

This is a typical Venezuelan dance called the joropo,which is a combination of two different meters, 3/4 and6/8. The vivid and rapid articulations are characteristicof this music, which is usually accompanied by a stringedinstrument called the cuatro, meaning "four strings."This song was originally composed for a soloist accom-panied by a cuatro, a diatonic harp and maracas. Thetext refers to the sparrow hawk, the worst enemy of theyoung cattle in the Venezuelan plains.

ARESTINGAarr. Alberto Grau

My friend, please forgive me because Ihave not fishedanything today. The sea is very rough.Do not come to me with this story,fisherman! I will notbelieve you, because Iknow you were singing with a mermaidin Arestinga. Fisherman, you always lie, because even atChristmas you go out and drink rum together with a beautifulmermaid.

Another typical rhythm of the Venezuelan folklore isthe gaita, which is formed by patterns of triplets. Thischoral arrangement is a tour de force for chorus andshows the vivacity of the music. Arestinga is a region ofthe Margarita Island in Venezuela, and the text refers toa fisherman who instead of fishing always goes insearch of mermaids.

EL TURUTUTUMiguel Angel Calcaiio

There comes Luis Jesus dancing the dance of the turututu.

Composed in the I930s, this song is a humorouspiece depicting the character of the city of Caracas inthose days.

5~

CANCION DE LA MOLINERAAntonio Estevez

We had a blue wind millIwas the miller, you were the miller's maid.Oh! youthfulness.Instead of grinding wheatwe ground poppy seeds and we filled the mill hopperwith songs and kisses.My miller! Our blue wind mill.

This madrigal represents the choral style of com-position of Venezuelan composers in the early part ofthe 20th century. This type of work combines LatinAmerican poetry, here by Alejandro Cosona, with thecontrapuntal techniques of the madrigal composersof the 16th and 17th centuries.

SE EQUIVOCO LA PALOMACarlos Guastavino

The dove is lost, she was always wrong.She wanted to go north and went south,she thought that the wheat fields were watershe thought the sea to be the sky,that night was morning, that stars were morning dew,that heat was cold, that your skirt was your blouseand that your heart was her home.Sitting on a branch, she fell asleep by the river.

The well-known Argentinian composer CarlosGuastavino wrote a large collection of choral songs andmadrigals, all based on poetry of Latin American poets(here, Rafael Alberti) combined with a nationalisticmusical style.

AL MAR ANOCHECIDO(TO THE SEA AT NIGHT)Gonzalo Castellanos

Ifher beauty could die in myself,as the colors of the days and the flowers of lightdie in you, sea!But, people are only passengers in this surge of pains,the light is lonely.Sea, Igive you my heart in this long and lonely sunsetand add to its suffering your calm and serenity.It must also feel the bitter infinity of its beatingfull of blood and the colors of forgetfulness.

Modeled musically on impressionistic harmonies andcolors, the poetry of Al Mar Anochecido, by Juan RamonJimenez, compares the flow of life with the movementof the sea.

TE QUIERO (I LOVE YOU)Alberto Favero, arr. Liliana Cangiano

If I love you it is because you are my love,my intimate friend, my everything.When we walk together through the roads, elbow by elbow,we are always more than two!Your eyes are the best exorcism against a bad day.I love you because your sight gives me hope in the future.Your hands are my caress, my daily chords.I love you because your hands work for justice.

Your mouth is yours and mineyour mouth is never wrongI love you because your mouth knows howto cry out for rebellion.I love you because of your sincere face and your lost walk,and because of your tears for the world, because you arethe people, I love you.I love you because love is not a naive story,because it is the sharing of life, because we are a couplewho are not alone.I want you to be in my paradise,that is to say in my country,where I want people to be free,even if they are not allowed to!

Te Quiero was originally composed by the popularArgentinian musician Alberto Favero. Based on a mov-ing love poem by the well-known Uruguayan poetMario Benedetti, the choral arrangement adds colorfulharmonies to this profound text.

Los MAREADOS (THE DRUNKS)Juan Carlos Cobian

Strange, almost like a fire, I found you drinking,beautiful and fatal woman.You were drinking and with the fragrance of the champagne,you were laughing because you did not want to cry.I felt pity for you because when I saw your eyesthey were shining with electrical colors,these eyes that I adored so much.Tonight, my friend, the alcohol has inebriated us!I do not care if people laugh and say that we are drunk.Everybody has their own pains and we have many becausewe will say farewell forever.Today, you are entering into my past,in my past life, three things I have in my blessed soul,love, pain and suffering.Today we shall take new roads.Our love was marvelous, but this is all that is left.

This is one of the most popular Argentinian tangosand is a dramatic song of farewell between two lovers.The poet is Enrique Cadicamo.

EL SANTIGUAO (THE EXORCISED)Federico Ruiz

With this branch I will exorcise the black demon.

This work is a prelude and fugue based on a Negroidmelody. The fugue, in 5/8 meter, is shaped after adance called merengue. The text, also of popular andNegroid origin, talks about the ceremony of exorcism.In Spanish, the word "santiguarse" means to make thesign of the cross and bless somebody.

REQUIEBROSModesta Bor

Requiebros belongs to a three-part composition byVenezuelan composer Modesta Bor. The musical styleis based on syncopated rhythms and musical formulasderived from folk music, all integrated within acontemporary harmonic language accompanied by ono-matopoeic sounds.

6~

EL GUAYABOSO (THE LIAR)Guido LOpez Gavilan

I saw how a danz6n is danced! I have seen it.I saw it danced on the cutting edge of a knife by a mosquitowho was wearing underwear and a fly wearing a nightshirt.I saw a crab plowing afield, and a pig blowing a whistle; andan old woman grumbling to a slim calf, because it waslaughing to death when she saw a one-eyed goat trying to sewa sandal.

This is an original guaguanco by the Cuban com-poser Guido Lopez Gavilan. The choir sings differentrhythmic formulas resembling percussion instruments,creating a very rich polyrhythmic texture. The text is anonsense story being told by a liar.

KASAR MIE LA GAJIAlberto Grau

The earth is tired.

This original work by Venezuelan composer andchoral conductor Alberto Grau is based on a saying ofAfrican tribes who live in the Sahara: "Kasar mie lagaji," or "the earth is tired." The musical style, basedprimarily on minimalist ideas, also employs many con-temporary compositional techniques.

OUR SEASON CONTINUES

Big Band, Broadway and Blues / June 24 and 25Tickets: (612) 339,-9707

BOARD OF DIRECTORSMary Beth Koehler, President; Gerald B. Fischer, Vice President;Donald Davies, Treasurer; Margie Ankeny; Dixon Bond; ArlandD. Brusven; James L. Davis; Thelma Hunter; William L. Jones;Tom Larson; John B. Lundquist; Michael W. McCarthy; CarolLynn Pine; Estelle Sell; Nancy Slaughter; Robert S. Spong; MaryK. Steinke; John]. Taylor; Dale Warland; Teresa Whaley; ArleneWilliams; Billie Young.

ARTISTIC STAFFDale Warland, Founder and Music Director; Jerry Rubino, Assis-tant Conductor, Pianist, Music Director of the Warland CabaretSingers; Peter Hendrickson, Assistant Conductor, Music Directorof the Warland Symphonic Chorus; Carol Barnett, Composer inResidence.

ADMINISTRATIVE STAFFGary Stem, Interim Manager; Karen Koepp, Director of Develop-ment and Communications; Rosalie Miller, Production Manager;Betsy Peregoy, Marketing Associate; Marlene Bartlett, Secretary/Receptionist; Dean Palermo, Librarian; Robert W. Pontious, Op-erations Assistant; Ruth Anderson, Office Volunteer.

This concert is made possible in part with funds receivedfrom the Music Program of the National Endowment for thearts, a federal agency.

in part by a grant protIidui by tht

MinntJlJla Slott ArT! Board, -------through an appropriation by tht w· I w • I w • I w w ••

Mi""tJfJI4 Statt ugiJ/alll"'. _

MINNESOTASTATE ARTS BOARD