24 1Our 2006-2007 Season

Billboard HitsMarch 2ND at 7:30PM Pullman

Community Congregational United Church of ChristMarch 3RD at 7:30PM LewistonFirst United Methodist Church

Celebrating the 50TH Anniversary of when BYE, BYE LOVE, WAKE UP LITTLE SUSIE, JAILHOUSE ROCK and SILHOUETTES were Billboard Magazine’s number one hits.

Harmony A Chorus of Wine, Cheese & SongMarch 25TH at 5:00PM St. JaMEs’ Episcopal Church Pullman

The chorale’s annual Wine & Cheese fundraiser hosted with the Palouse Enological Society. $25 with wine $15 food only. Featuring entertainment by chorale members and friends.

Elgar & BrucknerApril 28TH at 7:30PM April 29TH at 6:00PM

St. Boniface Catholic Church UniontownEdward Elgar AVE VERUM CORPUS, AVE MARIA GRATIA PLENA, AVE MARIS STELLA

Anton Bruckner LOCUS ISTE, AVE MARIA, VIRGA JESSE, PANGE LINGUA, CHRISTUS FACTUS, OS JUSTICelebrating the 150TH anniversary of Elgar’s birth.

1Concert 2006-2007

Friday, December 15, 2006 at 7:30 PM, ST. BONIFACE CATHOLIC CHURCH, UNIONTOWNSunday, December 17, 2006 at 3:00 PM, ST. BONIFACE CATHOLIC CHURCH, UNIONTOWN

Idaho Washington Concert Chorale

NativitySponsored by Decagon Devices, Inc.

Laud to the

2 23

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Arts on the Palouse

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Hear Us Sing 2006-2007

Perhaps there is no better time of year to consider how the past can infl uence the present. Nostalgia for the traditions and familiar customs determines our most cherished

celebrations, and the human desire for safety, plenty, reassurance, and wonder is strong when the days are darkest. Particularly in the music of this season, we experience a reassuring

connection to the long ago and far away. Paradoxically, the music of this concert draws us into the past while allowing us to be present in the here and now. An intriguing theme pervades the Chorale’s current program of Christmas music, as each piece gives us remarkable insight

into the creative inspiration derived from earlier musical and poetic sources. Paula Ellio t, Soprano and WSU Librarian

Decagon Devices was initially founded, as a family business in 1983 in Pullman, Washington, and has now grown into a prosperous small business with over 40 employees. Decagon’s instruments have applications in foods, pharmaceuticals, cosmetics, biology, forestry, agronomy, and soil sciences and are used throughout the world in organizations of all sizes, including universities, research and testing laboratories, state and

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Program NotesBUXTEHUDE: Das Neugeborne Kindelein

The celebrated organist Dietrich Buxtehude was born and educated in Denmark, but became a citizen of Lübeck at the age of 30, when he assumed his lifelong post at the Marienkirche. His position did not require him to write vocal music, but he was clearly attracted to it, and his surviving choral works illustrate a moment of musical transition in the mid-17th century. Sometimes drawing on the Venetian polychoral style of the renaissance, which had made its way to Germany in the preceding generation, Buxtehude was nevertheless a composer of his own northern culture and his own time, utilizing the strophic structure of Lutheran hymns, and making strong, consistent use of the basso continuo (played here with an informed bow by cellist Ruth Boden).

Composed for New Year’s in the latter decades of the 1600s, Das Neugeborne Kindelein is a stylistically ambiguous work, called “cantata” by some, “motet,” by others, and recently, “vocal concerto.” Th e Lutheran verses were in common use for about a century prior to the appearance of Buxtehude’s setting. In renaissance motet style, the text is divided into short phrases, and its words are often enhanced by musical illustration, as in the fl orid passages for singen (to sing), and the resolute articulation of the word trotz (despite). Baroque techniques—contrasting sections, dynamic shifts, and instrumental interludes—allow each element of text to be thoroughly refl ected in the music. As John Weiss has observed, the chorale-like center of the work gives dramatic expression to devout reconciliation, the uppermost theme in New Year’s observances of the pious. Surrounding this key sentiment are sprightly passages of happy anticipation and confi dence in God’s compact with the faithful.

Th e new year of 2007 brings with it the 300th anniversary of Buxtehude’s death. In this performance of Das Neugeborne Kindelein, the Chorale celebrates his life and legacy.

RESPIGHI: Laud to the Nativity

The centerpiece of this concert is a dramatic retelling of the shepherds’ encounter with the angel and their visit to the manger. In Respighi’s Rome, shepherds were part of a centuries-old Christmas ritual, as they came into the city from their mountains to play their pipes before images of the Virgin in the streets. Th e pastoral music of these piff erari inspired many composers, from Corelli to Berlioz. It is not surprising that the Roman Respighi incorporated the living musical tradition of the piff erari into this composition. In the opening of the Laud, we hear the orchestral descendants of the shepherd’s pipes, setting the stage for the drama to unfold.

Th e piece was composed between 1928 and 1930, and given its fi rst performance in a private setting.

Th e text of the Laud is by the 13th-century Franciscan monk, Jacopone da Todi. Like St. Francis himself, Jacopo was born into a prosperous Umbrian family, but following devastating personal experiences, he chose a simple and penitential life of writing and contemplation. Th e often-set Good Friday poem, Stabat Mater Dolorosa, is also thought to be of his authorship. His copious devotional verses, though never unknown, were popularized in French in the mid-19th century, at the height of the European Romantic Movement. Th e English translation sung here attempts to imitate the complicated rhyme scheme of the medieval Italian.

Although trained in the conventions of 19th-century German romantic music, and at times a student of both Max Bruch and Rimsky-Korsakov, Respighi’s great love of earlier Italian music colored his distinctive style. Medieval songs, Renaissance lute music, Gregorian chant and obscure 17th-century Italian operas captured his imagination and found their way into lush, richly-textured early-20th-century compositions best described today as “neo-baroque.” Both the shepherd’s and Mary’s monologues are supported by sometimes surprising modal harmonies in a manner similar to the monodies of Monteverdi, while the Angel’s coloratura passages resemble the ornamented vocal style cultivated by artful singers in the Baroque. Certain passages evoke medieval chant, and others fi nd their roots in madrigals and renaissance dances. But all are bound together by a masterful early 20th-century use of theatrical color, harmony and instrumentation.

Th e characters of the timid, awestruck shepherds are featured in the scene at the manger, where they witness the child that the angel announced. Th eir tentative interaction with a serene and welcoming Mary, whose refl ections alter the mood to one of contemplation, give way to a great contrapuntal rejoicing by the choir, which dramatically calms to join with a fi nal meditation of the Virgin, a parting appearance of the angel, and a grateful “Amen.”

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4 21Program NotesPOULENC: THREE SELECTIONS FROM Quatre Motets Pour le Temps de Noel

In the 1920s, Francis Poulenc was the youngest of the notorious group Les Six, whose mission was to divert contemporary composition from the influence of German Romanticism and French Impressionism. After early avant-garde output, he studied composition with Charles Koechlin, who was known for his modernist music, but who assigned his pupil Bach chorales to harmonize. Called “part rascal and part monk,” Poulenc became a prolific composer of both secular and sacred music. It is the sacred to which we turn, a succession of mystical compositions, fueled by a return to his boyhood Catholicism, begun in 1936 in response to profound personal experiences.

One writer has said that, “At first listen . . . Poulenc would seem to have written his ethereal, polyphonic a cappella sacred music during the 15th century instead of the 20th. Polyphony came naturally to him.” But like Respighi, Poulenc possessed a musical vocabulary of his time, and his use of pure 20th-century harmonies further dramatizes the message of the verses in his contemporary motets. These small, intimate pieces set well-known medieval Latin Christmas poems in a style reminiscent of earlier sacred choral music. But unlike renaissance composers, Poulenc deliberately ignores the rhythmic stress of the language, setting it against the rhythm of the music, challenging singers to bring a new, conscious awareness to the meaning of the words.

The Quatre Motets were first performed as a group in 1952. The three heard here form a sequence of meditations, from awe at the manger in O Magnum Mysterium, to the shepherds’ lyrical narrative in Quem Vidistis Pastores, and ultimate rejoicing in the birth of Christ, Hodie Christus Natus Est.

RALPH VAUGHAN WILLIAMS: Fantasia on Christmas Carols

Early texts and melodies also inspired the program’s final offering. The three English carols that make up the Fantasia are not found among the well-worn tunes that pervade our atmosphere between October and December. Yet they were familiar to the English country people of the early-20th century, at a time when urbanization and industrialization threatened the rich folk cultures of all Europe. The collecting of folk songs in this period by dedicated scholars and composers was a function both of romantic nostalgia for earlier times and modern nationalistic sentiments that were alternately literary and political.

A contemporary of Respighi, but outliving him by 20 years, Vaughan Williams studied with Max Bruch and Maurice

Ravel, whose influence can be heard in the rich colorations and exquisite lines of the waning 19th century. Yet Vaughan Williams believed that the authentic resource for a new English music lay very close to home. He was drawn not only to his native folk song, but also to Elizabethan and Jacobean music, puritan hymns, and themes of the sea and adventure. Profoundly humane, he believed that music was always for ordinary people, and was devoted to giving English music back to the English. Yet the music he returned to the world was of a genre all its own, immediately recognizable by its evocative, often ancient-sounding harmonies, energetic dance-like passages, and lambent atmospheric qualities.

In 1906, Ralph Vaughan Williams himself became a collector of the old songs of the Sussex and Herefordshire countryside, and for this reason among many, he is a monumental figure in the revival of British music. His Fantasia on Christmas Carols was first performed in 1912. The stark evangelical quality of “This is the Truth Sent from Above” is characteristic of many religious folk songs that narrate the Old Testament circumstances for the coming of Christ. In contrast, “On Christmas Night” is a happy celebration of the promise made good. “Come All You Worthy Gentlemen” is comparable to our more familiar, “God Rest Ye.” The baritone solo that introduces all three songs has the character of a wandering storyteller, with the power to both frighten listeners and to mollify their fears. The chorus provides both a harmonic accompaniment to the soloist and a joyous noise of celebration and good will to all. Woven through the vocal and instrumental lines are melodic fragments of The First Nowell, and the less familiar English carols, The Wassail Bough, A Virgin Unspotted, and There is a Fountain.In the final wassailing verses of the Fantasia, we extend our holiday greetings to you, our audience, in a wish for good health, prosperity and happiness this holiday season and, as the poem says, “forevermore, amen.”

Paula Ellio t

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DAS NEUGEBORNE KINDELEIN Dietrich Buxtehude (1637–1707)

Ferenc Cseszko, violin 1, ConcertmasterGladys Patten, violin 2 Diane Worthey, violin 3Ruth Boden, violoncello Elena Panchenko, harpsichord

Laud to the Nativity

A newborn ChildDear little Jesus,Brings a new year once againTo the chosen fl ock of Christians.Th e angels rejoice,Who love to be around usAnd sing out freely in the air,Th at God is reconciled.If God is appeased and is our friend –What can the evil enemy do to us? Despite the Devil, despite the world and the Gates of HellTh e little Jesus is our refuge.It brings the true year of jubilee.Why should we grieve anymore?Up now, it is the time to sing;Th e little Jesus Child takes sorrow away.

Das neugeborne Kindelein,das herzeliebe Jesuleinbringt abermal ein neues Jahrder auserwählten Christen Schar.Des freuen sich die Engelein,die gerne um und bei uns seinund singen in den Lüften frei,daß Gott mit uns versöhnet sei.Ist Gott versöhnt und unser Freund,was kann uns tun der arge Feind?Trotz Teufel, Welt und Höllenpfort,Das Jesulein ist unser Hort!Es bringt das rechte Jubeljahr.Was trauern wir dann immerdar?Frisch auf, es ist jetzt Singens Zeit:Das Jesulein wendt alles Leid!

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. Friday night patrons: Please help us reduce our printing costs

by recycling your programs in the box provided as you leave this evening.

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6 19Laud to the Nativity

MARY: My Child, sweet be thy slumber; though Thou must lie poor here in a manger, bright angels without number hover around Thee, guarding Thee from danger. My Son, with what affection I gaze upon Thee! Filled with awe on Thy birth I ponder! Beholding Thy perfection, I am removed far from poverty and sadness. My heart is filled with gladness, for joy far greater than my joy maternal comes from Thee, Child of wonder!

SHEPHERDS: O Fountain of joy eternal, lying upon the hay here we behold Thee.

MARY: How blest am I who bore Thee! Alas, how poor the arms which now enfold thee!

SHEPHERDS: Take our cloaks for the Baby, O blessed Mary, if they do not offend thee, that sheltered thus He may be.

MARY: As Lord we worship and adore Thee; Thou art descended from on high to save us. Though poorly we now receive Him, though naked He lies in the hay it will not grieve Him, if we only will believe on Him, this heavenly Infant whom the Father gave us.

SHEPHERDS: Our flocks unguarded stand, we cannot tarry. Now no longer care we for the cold: we have beheld Him, the Infant Jesus! Praise to Thee! Honor! Thine be glory! Father in heaven. God Almighty. O Savior, of God begotten and born of a virgin in humiliation, give light to ev’ry nation, that by Man Thy birth here may never be forgotten.Happy would we hasten back to our hillsides and our flocks, could we but touch Him; yet we

THE ANGEL TO THE SHEPHERDS: Fear not, ye shepherds abiding yonder upon the hills, ye shepherds of Judea. Raise your voice and behold Him. I am the Angel of eternal dawning. I am the messenger holy and I bring to you good tidings of great joy. This day is born the little Jesus, the Son of God, that all may rejoice in salvation.

ANGEL CHORUS: And this child pure and holy, sent by the Lord against evil to battle, lies in a stable lowly, within a manger among the sheep and the cattle. To shield the Child from the breezes, Mary, gently in bands of linen has bound Him. His blanket is the hay around Him. Thus art Thou come down to earth, blessed Jesus. And this Child, pure and holy, sent by the Father, lies in a stable with a manger bed lowly.

THE ANGEL: Fear not, ye shepherds abiding yonder upon the hills, ye shepherds of Judea. Raise your voice and behold him. I am the Angel of God.

THE SHEPHERD: O Lord, Thou hast descended to earth from heaven. Angels sang in chorus, “Thou must be sore offended to lie there in a stable rude before us. Poor is the preparation, which we have made to welcome Thine incarnation.”

THE SHEPHERDS AT THE MANGER: Ah, how rude is the stable where fast asleep the infant Lord we discover. His mother was not able to find a bed nor a blanket Him to cover. Here Joseph also lies a-sleeping – too old and weary for to aid the mother. Thus, she alone is keeping watch o’er the Child, fairer than any other.

THE SHEPHERD: O Lord, Thou hast descended...

LAUD TO THE NATIVITY Ottorino RespighiLAUDA PER LA NATIVITÀ DEL SIGNORE (1930) (1879-1936)

The Angel Julie Anne Wieck, soprano Mary Nancy Grunewald, mez zo-sopranoThe Shepherd Matthew Holter, tenor

Leonard Garrison, f lute 1 Alheli Pimienti, flute 2Keri McCarthy, english horn Lisa Pratt, oboe Becky Wernham, bassoon 1 Kelsey Hoskins, bassoon 2Elena Panchenko, piano 1 Nola Swanson, piano 2

Jeremy Krug, triangle

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Laud to the Nativitydare not ask this favor. Unclean shepherds, we are fearful that we might smutch Him. Contented would we hasten back to our hills and fl ocks, could we but touch Him.

MARY: Th at ye may go rejoicing, men of the fi elds, draw nearer and kneel before Him, touch Him and adore Him.Th us blest by Him, go forth, your praises voicing.

SHEPHERDS: Glory! Praise, and honor and glory to Th ee. Glory to Th ee, O Father on high, Th ou God Almighty. Glory, praises, honor...Glory to God in the highest, and on earth peace among all men of good will!To save the world from evil Th ou cam’st in pity, for it was not Th y duty, O Child of heavenly

beauty. Laud we Th y Name, extol Th ee, Lord of all majesty, Father everlasting. Peace on earth, good will to all men of good will.

ANGEL: Glory be unto God in heaven...MARY: Upon me God bestowed His favor, and I shall

cease to laud and praise Him never. I bore to Man a Savior who shall be king of earth and heav’n forever. I bow in humble devotion o’er the Child who has come to save us from error. No rose was ever fairer. His beauty fi lls my soul with pure emotion. My thoughts I cannot capture. My spirit lifts in rapture; it soars ever higher!

ANGEL: ...for born is the promised Messiah!SHEPHERDS: Amen, Amen, Amen . . .

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8 17Laud to the Nativityfrom QUATRE POUR LE TEMP DE NOEL Francis Poulenc

(1952) (1899-1963)performed by The Chamber Choir

I. O MAGNUM MYSTERIUMO magnum mysterium,et admirabile sacramentum,ut animalia viderent Dominum natum, jacentem in præsepio.Beata Virgo cujus viscera meruerunt portare Dominum Christum.

II. QUEM VIDISTIS PASTORES DICITEQuem vidistis, pastores dicite?Annuntiate nobis, in terris quis apparuit.Natum vidimus, et choros Angelorum collaudantes Dominum.Dicite quidnam vidistiset annuntiate Christi Nativitatem.

IV. HODIE CHRISTUS NATUS ESTHodie Christus natus est.Hodie Salvator apparuit.Hodie in terra canunt Angeli, lætantur Archangelihodie exsultant justi, dicentes:Gloria in excelsis Deo.Alleluia.

O great mystery, and wondrous sacrament,that the animals might see the Lordborn in the manger.Blessed be the virgin whose womb was worthyto bear our Lord Christ.

Tell us, shepherds, whom have you seen? Make known who has appeared on earth.We have seen a newborn babe and the chorus of angels praising the Lord.Tell us all you have seenand proclaim the birth of Christ.

Th is day, Christ is born.Th is day the Saviour appears.Th is day on earth the angels sing,the archangels rejoice,and the just exult saying:Glory to God in the highest. Alleluia.

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16 9Wreath Art Notecards $5 for 5

Chorale Board Member & alto Karen Weathermon so enjoyed our season poster artwork that she envisioned high quality notecards in their image as a fundraiser for the chorale. Teaming up with Marketing Director & soprano, Jill Price Freuden, Karen’s idea has been wildly successful and each year a new Poster Art Notecard has been added to the collection.

Th is season Karen & Jill joined with Acting Bass Section Leader David Spencer to create a set of holiday notecards featuring David’s stunning handmade Holiday Wreaths as photographed by Jill in his studio/workshop this December. David has created intricate and lush wreaths from greenery, fl owers and berries he grows in his own garden as gifts family and friends for quite some time. In recent

years he has donated wreaths for the chorale to sell as a fundraiser and this season his wreaths raised more than $1500 for the choir.

Th ese notecards may be purchased in sets of fi ve cards for $5 or individually for $1.25. Th ere are 6 cards in the series, four featuring the wreaths that are especially nice for the holidays. Th e two other cards show bunches of hanging dried fl owers that David harvested this summer and would be appropriate any time of the year. Notecards are printed in vibrant color on 80 pound smooth cover stock and are bundled with an envelope and an attractive raffi a binding. Our Poster Art Series Notecards are still available, adding this season’s Singing At Silverthorne photograph taken in 2003 at Silverthorne Th eatre in Lewiston by Lawrence Norris.

FANTASIA ON CHRISTMAS CAROLS Ralph Vaughan Williams(1912) (1872-1958)

Chris Thompson, baritone Ruth Boden, violoncel lo Elena Panchenko, piano

Jeremy Krug, chimesSOLO: Th is is the truth sent from above,

Th e truth of God, the God of love:Th erefore don’t turn me from your door,But hearken all, both rich and poor.Th e fi rst thing which I will relateIs that God did man create,Th e next thing which to you I’ll tell,Woman was made with man to dwell.Th en, after this, ‘twas God’s own choiceTo place them both in Paradise,Th ere to remain, from evil free,Except they ate of such a tree.And they did eat, which was a sin,And thus their ruin did begin.Ruined themselves, both you and me,And all of their posterity.

CHORUS: Th us we were heirs to endless woes,Till God, the Lord, did interpose,And so a promise soon did run,Th at He would redeem us by His Son.

SOLO: Th at He would redeem us by His Son.CHORUS: Come all you worthy gentlemen,

that may be standing by.Christ, our blessed Saviour, was born on Christmas day.Th e blessed Virgin Mary unto the Lord did pray.O we wish you the comfort and tidings of joy!

SOLO: On Christmas night all Christians singTo hear the news the angels bring.

CHORUS: On Christmas night all Christians singTo hear the news the angels bring.

SOLO: News of great joy, news of great mirth,News of our merciful King’s birth.

CHORUS: News of great joy...

SOLO: When sin departs before Th y grace,Th en life and health come in its place.

CHORUS: When sin departs...SOLO: Angels and men with joy may sing,

All for to see the newborn King.CHORUS: All for to see... Angels and men... All for to see...SOLO: God bless the ruler of this house

and long on may he reign.CHORUS: From out of darkness we have light

Which makes the angels sing this night.SOLO: Many happy Christmases he live to see again.

God bless our generation, who live both far and near,

CHORUS: Glory to God and peace to menBoth now and evermore, Amen

SOLO: And we wish them a happy, a happy New Year.CHORUS: God bless the ruler of this house

and long on may he reign.Many happy Christmases he live to see again.God bless our generation, who live both far and near,And we wish them a happy, a happy New Year.

SOLO: O we wish you a happy, a happy New Year.CHORUS: Both now and evermore, Amen.

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Laud to the Nativity

10 15

Currently assistant professor of music at Washington State University, John Weiss earned a Bachelor of Music degree in music education at Boston University’s School for the Arts, a Master of Fine Arts degree in choral conducting 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 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. Dr. Weiss will present a recital at WSU on January 16, 2007, before he travels to perform the same program in Chattanooga, Tennessee and Mobile, Alabama.

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. Last spring he presented 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 from Ukraine, 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 performed with groups as varied as a children’s dance group to such well-know musicians 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 is also the Music Director at St. James’ Episcopal Church in Pullman. Elena’s family includes her husband, Alex, WSU Math Professor and former Ukrainian rock star (as is Elena); her son Ivan, a student at UW; and their dog, Tasha.

St. Boniface Piano Update

Check out the New Piano!St. Boniface Catholic Church is proud to announce the purchase of the Yamaha G-2

Art Deco Grand piano the chorale is using tonight. Many talented musicians donated their art to several Piano Benefi t performances over the last three years realizing a dream of the chorale and Piano Benefi t Organizer Janice O’Toole to see a quality

piano fi nd its home in this beautiful venue. Many thanks to all those who performed, the many who helped behind the scenes, and all of you who supported this cause by

attending these wonderful concerts.

Once a majority of the funds were raised, the arduous task of evaluating pianos began, and Jay & Sandra Mauchley are to be especially recognized for their considerable

eff orts on locating this fi ne instrument.

Th e chorale is thrilled to be the fi rst performing group to take advantage of the new piano. We want to thank Washington State University’s Music and Th eatre Arts

Department for loaning pianos for so many previous concerts and City northAmerican for donating half of the moving costs over the years.

St. Boniface’s piano still needs your fi nancial support. A piano cover and spider dolly are needed and a maintenance fund needs to be established, as any piano requires tuning & regular care. You can still purchase raffl e tickets for the beautiful Sharon

Dixon Quilt. Th e winner will be announced in April, 2007.

Check out the New Piano!St. Boniface Catholic Church is proud to announce the purchase of the Yamaha G-2

Art Deco Grand piano the chorale is using tonight. Many talented musicians donated their art to several Piano Benefi t performances over the last three years realizing a dream of the chorale and Piano Benefi t Organizer Janice O’Toole to see a quality

piano fi nd its home in this beautiful venue. Many thanks to all those who performed, the many who helped behind the scenes, and all of you who supported this cause by

Once a majority of the funds were raised, the arduous task of evaluating pianos began, and Jay & Sandra Mauchley are to be especially recognized for their considerable

Th e chorale is thrilled to be the fi rst performing group to take advantage of the new piano. We want to thank Washington State University’s Music and Th eatre Arts

Department for loaning pianos for so many previous concerts and City northAmerican

St. Boniface’s piano still needs your fi nancial support. A piano cover and spider dolly are needed and a maintenance fund needs to be established, as any piano requires tuning & regular care. You can still purchase raffl e tickets for the beautiful Sharon

Updating our Giving LevelsWe hope that you enjoy our concert this evening. We love planning, preparing and presenting classical choral works to you and have been blessed by such appreciative audiences and supporters. Your attendance, donations, season ticket purchases, and fundraiser purchases make a difference. We want to thank you for your previous support and ask you to continue, or possibly increase, your giving level in 2006-2007.

As our support grows, we grow, and your contributions not only help us to purchase music, pay for venue & rehearsal space, and financially compensate our very talented Musical Director and Rehearsal Accompanist, but allow us to hire chamber musicians and guest soloists to enhance our performances. Our Executive Committee & Board of Directors are volunteers and all chorale members pay dues of $60 a season and have voted to continue this level of giving for the future. Your financial support keeps us strong and 100% of your donation goes directly to creating concerts. Thank you for thinking of us!

We N eed You!SPECIAL GIVING OPPORTUNITIES & BENEFITS

New for2006-2007Chamber Orchestra Sponsorship $2500 Sponsors benefits,

plus the opportunity to be hosted by a Chorale member as our guest at one Dress or regular Rehearsal and to receive a free chorale member only CD from any concert. This level supports a Chamber Orchestra for one concert series.

Conductor Sponsorship $1000 Benefactors benefits, plus the opportunity to be hosted by a chorale member as our guest at one Dress or regular Rehearsal. This level supports our conductor for 1/5 of the season.

Accompanist Sponsorship $500 Benefactors benefits, plus the opportunity to be hosted by a chorale member as a guest at one regular rehearsal. this level supports our Accompanist for 1/4 of the season.

Musical Guests Sponsorships $250 Patron benefits, plus an IWCC polo shirt. This level supports Musical guests or invited soloists, for one concert series.

Chorale Member Sponsorship $60 Associates benefits. This level supports one chorale member’s annual dues.

GENERAL FUND DONATION LEVELS & BENEFITS

Associates $25+ Listing in the program, on our website, and an invitation to the Chorale Friends Reception in May.

Friends $100+ Associates benefits, plus the ability to purchase Chorale Friends $10 tickets anytime through the Box Office

Patrons $250+ Friends benefits, plus a Brahms’ “Requiem” or Argersinger “Mass”/Duruflé “Requiem” CD.

Benefactors $500+ Patrons benefits, plus 3 free tickets for use at any regular season concert.

Sponsors $1500+ Benefactors benefits, plus 6 free tickets and mention on the cover of one concert series program.

Angels $3000+ Sponsors benefits, plus 2 free tickets to Harmony: A Chorus of Wine, Cheese and Song

14 11

Michael Bezruchka, bass I, is new this season both to the Chorale and to the Chamber Choir. Michael’s goal of being a landscape architect has brought him to the Palouse from the Seattle area. He began his study at Washington State University and is now continuing at the University of Idaho, where he is junior. While at WSU, Michael sang in the University Singers and studied voice under John Weiss, which is what brought him to the Chorale.

At age twelve Michael began singing with the Columbia Boys Choir, and with them he toured England and Wales. After several years of piano study, he returned to singing (albeit with a very diff erent voice!) when he attended Shoreline Community College. Singing brings him much joy, Michael reports, and he fi nds that singing communicates stories and texts much more fully than can be done in speech.

Aside from singing, Michael is an avid hiker, having scaled both Mount Baker and Mt Adams. Alpine lake hikes are his favorite destinations, along with locales like eastern Montana that provide stunning starscapes. While Michael intends eventually to return to western Washington when his degree is complete, he notes eastern Washington and Idaho are fast claiming a hold on him as well. We hope that means that he will be with us for some time to come!

Chorale Member Profi le

Sponsors, $1500 +Decagon Devices, Inc.Edmund O. SchweitzerDavid & Kathy Spencer

Benefactors, $500 +Best Western University Inn

Chamber Choir CarolingJohn BrewerSteve & Ann Swannack

In Memory of Mark SwannackGordon & Dene Th omasPatrons, $250 +Meredyth Goodwin

Chorale DonorsFriends, $100 +Kathy AndersonJudy CampbellRichard Domey & Diane GillespieShaun & Jill FreudenHoward & Barb HayesJennifer Hammond

In Honor of Charlotte ParkhurstKirk & Laura McMichalMaureen MillerGlenn & Carol PetersenSandra RistowWilliam & Susan (Bohm)

SchmickEsther & Roger Spencer

Karen WeathermonJohn & Cheryl WeissRalph & Valerie Yount

Associates, $25 +Robert & Carolyn AllanErol & Alice BarbutKeith & Betty BrandonLaurie CaraherMary & Jack CarloyeTed & Marsha CreasonCarol DahlEdwin P. Garretson, Jr.Clive GayJack & Jan KellerFred & Helen KoehlerSarah MarhevskyMiho NamMerton & Joan PubolsTh eresa Schrempp & Richard

WonderlySylva & Bob StaabBruce & Marilyn SweeneyRuth & Dean VanderwallRosemary & Barney Waldrop

Gifts & Awards

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409 West 3rd St.Moscow, Idaho

208-882-4384

www.pega.ws

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WeddingsGraduations

Sports Awards

W" e're More Than "a !T pr oophy Sh

Julie Anne Wieck, soprano

Nancy Grunewald, mezzo soprano, is a native of New York State who possessed a musical interest from an early age. She sang in church and school choirs in her youth, and began voice lessons in high school after moving to Pullman, Washington. She earned a degree in vocal performance from Washington State University. Studying with Margaret West Davis, Nancy was awarded several music scholarships, and sang as alto soloist in Bruckner’s Te Deum and Handel’s Messiah. She also appeared with the WSU chamber orchestra in a selection from Gluck’s Orfée, and with the WSU Symphony Orchestra as featured soloist in Mahler’s “Lieder eines fahrenden Gesellen” (“Songs of a Wayfarer”). She performed mezzo soprano roles with WSU’s Opera Theater, including the title role in Menotti’s The Old Maid and the Thief and Augusta Tabor in WSU’s American bicentennial opera production, The Ballad of Baby Doe.

Reentering the performance sphere in the past few years, Nancy has held full recitals in Pullman, Seattle, and Port Townsend, Washington, and in Moscow, Idaho. She has also performed in a number of solo venues in eastern Washington and western Idaho, including solos in conjunction with the Idaho-Washington Concert Chorale. In January 2006 she was featured mezzo soprano soloist in Durufl é’s Requiem, performed with the Washington-Idaho Concert Chorale’s Chamber Choir.

Julie Anne Wieck is an Associate Professor of Music at Washington State University and a native of Aberdeen, South Dakota. She teaches studio voice, diction, opera workshop and vocal literature. Before coming to WSU in the fall of 1996, she taught at the University of Evansville in Evansville, Indiana. Dr. Wieck received her Bachelors in Music Education at University of South Dakota-Vermillion. After teaching public school for two years, she attended University of Nebraska-Lincoln, where she received a Master of Music degree and a Doctor of Musical Arts degree in Vocal Performance. She has studied voice with Sylvia Plyler at University of Cincinnati Conservatory of Music, Donna Harler-Smith at University of Nebraska-Lincoln, and Sharon Papian at University of South Dakota-Vermillion.

On the stage, Ms. Wieck has performed leading roles in Purcell’s Dido and Aeneas, Verdi’s Falstaff , Menotti’s Th e Telephone and Amahl and the Night Visitors, Weill’s Street Scene, Herbert’s Naughty Marietta, Floyd’s Susannah, Strauss’s Die Fledermaus and Rodgers and Hammerstein’s Carousel. She has also appeared as a soloist with several orchestras, in Bach’s B Minor Mass, Mendelssohn’s Midsummer Night’s Dream, Gershwin’s Porgy and Bess, and various operatic arias. Since coming to WSU, she has performed with the Washington Idaho Symphony and Chorale as the soprano soloist in Poulenc’s Gloria, Verdi’s Requiem, Bizet’s Carmen, and Tchaikovsky’s “Letter Scene” from Eugene Onegin.

As director of the WSU Opera Workshop program, Dr. Wieck has presented full productions of Carlisle Floyd’s Susannah, Mozart’s Th e Marriage of Figaro, Strauss’s Die Fledermaus, Bizet’s Carmen and Donizetti’s L’Elisir d’Amore. Dr. Wieck has also directed many WSU musical theatre productions including Th e Secret Garden, Company, She Loves Me, Into the Woods, Sweet Charity, and Little Shop of Horrors. Th is spring she will direct a production of Godspell for Mom’s Weekend at WSU.

Ms. Wieck is an active recitalist and adjudicator throughout the region and a member of the National Association of Teachers of Singing and Music Educators National Conference.

Nancy Grunewald, mezzo-soprano

12 13Matthew Holter, tenor

Chris Thompson, a native of Kansas, received degrees from Kansas State University, Loyola University (New Orleans), the Guildhall School of Music and Drama (London), and the University of Kansas. Presently, he is Assistant Professor of Voice and Opera at the University of Idaho where he teaches studio voice, directs the Opera/Musical Theatre Studio, and has conducted The Pirates of Penzance, My Way, A Musical Tribute to Frank Sinatra, A Chorus Line, the northwest premiere of Corps of Discovery (based on the journals of Lewis and Clark), Schoolhouse Rock Live, Jr., All I Really Need to Know I Learned in Kindergarten, and I Love You, You’re Perfect, Now Change. In the spring of 2007, Chris will conduct Oklahoma!

In concert, Chris has been a soloist in works such as: B minor Mass (Bach), Magnificat (Bach), St. John Passion (Bach), St. Matthew Passion (Bach), Requiem (Brahms, Faure, Willan), Messiah and Judas Maccabeus (Handel), Te Deum (Dvorak), Vespers (Monteverdi), Christmas Oratorio (Saint-Saens), Hodie (Vaughan Williams), African Portraits (Peterson), and Five Mystical Songs (Vaughan Williams).

Chris made his Off -Broadway debut as Daniel Keane in Fermat’s Last Tango (Original Cast Recordings) and is a featured soloist on Impetuosities (Albany Records), a CD of music by Joshua Rosenblum.

Chris returned to Lyric Opera San Diego in the fall of 2006 to sing Danilo in Lehar’s Th e Merry Widow after opening their 2005-2006 season in the new North Park Mary Birch Th eatre as Dandini in Rossini’s La Cenerentola. Chris has sung with regional opera companies throughout the United States and England in roles ranging from Pooh Bah in Th e Mikado to the Count in Le Nozze di Figaro.

Matthew Holter, an accomplished lyric tenor and choral director, has been actively performing for audiences for over twenty years and is pleased to return to the performance stage with the Idaho-Washington Concert Chorale this season. Matt sang the tenor solo in the Messiah last December. Originally from Minnesota, Matthew earned his Bachelors of Music Education from the University of Arizona in Tucson where he was a member of the Arizona Chamber Choir under the direction of Maurice Skones. During that time, he performed as a clinician and ambassador for the University in tours throughout Arizona, California, and Oregon, and was a featured artist with numerous ensembles statewide. Upon returning to Minnesota, Matthew continued performing public concerts with additional success in directing high school choral ensembles. Mr. Holter’s choirs have received numerous awards and performed many tours throughout the Midwest and northeastern United States. His interest in stage performance has culminated in dozens of productions from works by Handel to Little Shop of Horrors and original collaborations. Matthew is currently the Graduate Teaching Assistant in the Voice Area at Washington State University. He lives in Pullman with his beautiful wife, Victoria, and two rowdy sons, Robin and Kellen.

Chris Thompson, baritone

SopranosKathy AndersonNancy BeebeLaurie CaraherPaula Elliot Jill Price Freuden Meredyth Goodwin Nancy GrunewaldSandra HaarsagerCynthia Langford Helen LombardMary MaceyMaureen Miller Janet MountAnn NortonKathy Spencer

AltosAlice BarbutCheryl Blackburn Susan BohmJanet BrandtElinor ButcherJudy CampbellJennifer ColemanMarcia CookeKami Cornwall Mimi Dimitrovska Sandy FieldDawn FindleyJudie Hanley Tressa HochstatterJan Keller Sarah MarhevskyLaura McMichaelHolly McCollisterSarah MorrisonMiho NamHeather Nelson

The Idaho-Washington Concert ChoraleJan PatrickRuth VanderwallSusan VannoyKaren Weathermon

TenorsErol Barbut Kevin BrackneyTom Brandt Bill Dugger Clive Gay John HaugenGlenn Petersen Don Willows

BassesAllen Alstad Michael Bezruchka Craig HeiderKirk McMichaelDaniel Morrison Matthew PetersenJim Reece David Spencer Gordon Thomas Dean Vanderwall

Members who helped with Caroling but couldn’t join us in this concertJohn Brewer, tenor Jack Keller, bass Steve Swannack, bass

Chamber Choir Caroling Best Western

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

communities. We perform a 3-4 concert series each season and rehearse Monday nights at Gladish Community Center in Pullman from the end of August through the fi rst week of May.

Auditions for 2007 will be held on January 8, 2007. If you are interested in joining us, please contact: Janice O’Toole 509.229.3654, otoole3@inlandnet.com

Sing with Us!

Chorale LeadershipCheryl BlackburnAdvertising ManagerDatabase Manager

Tom BrandtTenor Section Leader

Judy CampbellAlto Section Leader

Kami CornwallGraphic Designer

Heather DixonDress Coordinator

Jill Price FreudenMarketing DirectorSoprano Section Leader

Mary MaceyChorale Librarian

Ann NortonChorale Librarian

Laura McMichaelFront Door Manager

David SpencerActing Bass Section LeaderWreath Artist & Designer

Kathy SpencerAudition Committee Accompanist

Gerd SteckelReceipts Treasurer

Steve SwannackBass Section LeaderRiser Crew Coordinator

Gordon ThomasBox Offi ce ManagerWeb Master

Board of DirectorsJanet BrandtChorale Member-at-Large

Sheila ConverseWSU Faculty, Pullman

Richard DomeyPatron of the Arts, Pullman

Meredyth GoodwinChorale President

Barbara HayesCostume Designer, Lewiston

Jan KellerChorale Treasurer

Jim MurphyUI Faculty, Moscow

Janice O’TooleChorale Vice-President

Glenn PetersenChorale Secretary

Rosemary Waldrop, Private Voice, Pullman

Karen WeathermonChorale Member-at-LargePress Releases & Notecards

Music Director &Principal ConductorJohn Weiss

Rehearsal AccompanistElena Panchenko

House ManagerSherry Caisley