B C C

Calm was the Air .................................................................... Richard Carlton (c.1558‐1638)

The Coolin (from Reincarnations) .............................................. Samuel Barber (1910‐1981)

Blazheni, yazhe izbral ........................................................... Peter Tchaikovsky (1840‐1893)

To the Mothers in Brazil: Salve Regina ........................ Lars Jansson, arr. Gunnar Erickson

I’ve Been in the Storm So Long ............................. traditional spiritual, arr. Jeffrey L. Ames

soloist: Lorilee Brasseur

N C C

Totus Tuus…………….………………………………………………..Henryk Mikolaj Górecki (b. 1933)

Soon Ah Will Be Done Wi’ De Troubles of Dis Worl’..........arr. Diane Loomer (b. 1940)

soloist: Lori Hardow

semi‐chorus: Miriam Espeseth, Kathy Sankey, Dalia Taylor, Amy Wimmer

O Heiland, reiss die Himmel auf, Op. 74 No. 2……………...Johannes Brahms (1833‐1897)

BBBELLEVUEELLEVUEELLEVUE CCCHAMBERHAMBERHAMBER CCCHORUSHORUSHORUS Fredrick Lokken, music director      Fredrick Lokken, music director      Fredrick Lokken, music director         

PresentsPresentsPresents   

INTERMISSION

C C

From Vier doppelchörige Gesänge (op. 141)…………….……..Robert Schumann (1810‐1856)

1. An die Sterne  

semi‐chorus: Miriam Espeseth, Kathy Sankey, Carol Berndt,

Lori Hardow, Hal Bennett, Gabe Cronin, Kit Adams, Fred Hoffer 

4. Talismane 

Hymn to the Creator of Light..………………………………….………..…..…...John Rutter (b.1945)

Requiem…………………………………………………………………………. Herbert Howells (1892‐1983)

I. Salvator mundi

II. Psalm 23

soloists: Maria Bayer, Kristine Bryan, Jeff Pierce

III. Requiem aeternam

IV. Psalm 121

soloist: Larry Richardson

V. Requiem aeternam

VI. I heard a voice from heaven

Program Notes

Welcome to the final program of Bellevue Chamber Chorus’ 2009‐2010 season. We are pleased to combine forces with the excellent Northwest Chamber Chorus, directed by Mark Kloepper, to present a diverse and stunning a cappella program of musical tribute and re‐membrance: pieces written originally in honor, tribute or memory of some person or event, as well as works that we perform to commemorate special occasions.

In 1601, English composer Thomas Morley compiled and published a collection of twenty‐five madrigals by himself and twenty‐two of his countrymen entitled The Triumphs of Oriana, as a tribute to Queen Elizabeth I. Each of the pieces is a paean of lavish praise full of mytholog‐ical references, ending with the phrase, “Thus sang the shepherds and nymphs of Diana: Long live fair Oriana”, a code name apparently used to refer to the queen. Richard Carlton, one of the lesser‐known English composers of the period, contributed the delightful Calm was the Air. Carlton’s musical output outside of this piece consists of a single volume of twenty‐one madrigals also published by Morley. As can be heard at times in Calm was the Air, Carlton often experimented with the simultaneous juxtaposition of major and minor tri‐ads in ways that Morley himself referred to as “jarrs and dissonances”.

Young American composer Samuel Barber was invited in 1938 by his colleague Randall

Thompson, then director of the Curtis Institute in Philadelphia, to form and direct a Madri‐gal Chorus at Curtis, Barber’s alma mater. Over the next several years, Barber composed a number of new works for the group, including a set of three madrigals in 1940 entitled Rein‐carnations. All three pieces are settings of Irish poet James Stephens’ adaptations, or “reincarnations”, of old Gaelic songs. The title of the last piece of the set, the tender and lyri‐cal The Coolin, refers to a Gaelic term for a fair‐haired young maiden, or simply one’s sweet‐heart. Long regarded as an enduring staple of the American choral repertoire, Reincarna‐tions was recently named one of the Masterpieces of 20th Century American Music by the National Endowment for the Arts. Having performed one or more of the set on

numerous occasions in the past, Bellevue Chamber Chorus is pleased to perform The Coolin again in honor of Barber’s centennial anniversary year.

Calm was the air, and clear the sky, Fair Oriana passing by, Over the downs to Ida plains, Where heaven‐born sisters with their trains Did all attend her sacred beauty, Striving to excel in duty. Satyrs and nymphs dancing together,

Shepherds triumphing, flocking thither, Seeing their sovereign mistress there, That kept their flocks and them from fear, With high strained voice and hearts rejoice. Thus sang the shepherds and nymphs of Di‐ana: “Long live fair Oriana!”

 

Blessed are they whom Thou has chosen and taken, O Lord. Their remembrance is from generation to generation.

    Salve, Regina, mater misericordiae.     Ad te clamamus exules filii Hevae.     Regina coeli laetare, alleluia.     O Clemens, O pia, O dulcis virgo Maria,     Et Jesum, benedictum fructum ventris tui. 

Hail holy Queen, Mother of mercy. To you we cry, poor banished children of Eve. Queen of Heaven, rejoice, alleluia. O merciful, O loving, O sweet Virgin Mary, and Jesus, the blessed fruit of your womb.

Come with me, under my coat, And we will drink our fill Of the milk of the white goat, Or wine if it be thy will. And we will talk, until Talk is a trouble, too, Out on the side of the hill; And nothing is left to do, But an eye to look into an eye; And a hand in a hand to slip;

And a sigh to answer a sigh; And a lip to find out a lip! What if the night be black! Or the air on the mountain chill! Where the goat lies down in her track, And all but the fern is still! Stay with me, under my coat! And we will drink our fill Of the milk of the white goat, Out on the side of the hill!

In addition to his more well‐known symphonic and ballet music, Tchaikovsky wrote com‐plete settings of the two major Russian Orthodox liturgical services (the Divine Liturgy of St. John Chrysostom, and the All‐Night Vigil), and several miscellaneous sacred pieces. From a group of these smaller works published in 1885, Blazheni, yazhe izbral is a powerful setting of the communion hymn in the Liturgy for the Departed. Bellevue Chamber Chorus dedi‐cated its first performance of this piece in the fall of 2001 to the victims and families of the September 11th tragedies.

To the Mothers in Brazil: Salve Regina originated in 1991 as an instrumental jazz piece by Swedish pianist Lars Jansson (b.1951). Swedish choral conductor Gunnar Erickson (b.1936) later adapted the music for chorus and incorporated the ancient Latin text “Salve Regina”, a prayer to the Virgin Mary. This haunting choral version had its premiere in Rio de Janeiro, Brazil, in 1995, from which occasion it gets its present title. The piece is intended as a trib‐ute to the love, mercy, and suffering of mothers around the world, as exemplified by the mother of Christ.

Jeffrey Ames’ stirring arrangement of the African‐American spiritual I’ve Been in the Storm So Long was written in 2006 in response to the devastation of Hurricane Katrina. Ames, on the faculty of Baylor University, states that “the text of this traditional spiritual is timeless…(and) continues to speak to…the unwavering courage and strength we all need to triumph over life’s (various) ‘storms’”. Bellevue Chamber Chorus would like to further dedicate its performance of the piece to the victims of the recent earthquakes in Haiti, Chile, and China.

Subtle simplicity, serene and introspective observation, found through use of slowly unfolding textures and inward motion – these are some of the elements of Henryk Górecki’s composi‐tional style as it has now evolved from the avant‐garde of the ‘60s and ‘70s. Totus Tuus is based on the motto of Pope John Paul II with text adapted by contemporary Polish writer Ma‐ria Boguslawska, and was composed in 1987 for performance at an open air mass in Warsaw during the Pope’s third pilgrimage to Poland.

In this striking piece, Górecki intentionally eliminates time as a feature by slowing the tempo to the point where time loses its significance. The listener can now focus on the text, the har‐monies, the textures and the soul of the music. Using accessible, straightforward homophony, Górecki achieves an expansive gentleness that complements the poetry perfectly, creating a timeless flow of eternal truth.

Evoking the sorrow, pain, faith and hope borne of the slaves’ experience in this country, Afri‐can American Spirituals connect strongly with contemporary listeners. Vancouver, BC com‐poser and choir director Diane Loomer leans into the emotion of the song in her arrangement of Soon Ah Will Be Done Wi’ De Troubles of Dis Worl’. We hear and feel the unendurable sorrow, then a leap of faith propels us into the hope for better things, and finally we rest in peaceful introspection. The composer’s father was near death as she wrote this arrangement. Near the end of the piece, in tribute to her dad, Diane quotes a fragment from his favorite piece of music, Dvorak’s New World Symphony. Like Brahms, Rutter or Howells, she manages this so seamlessly, it’s as if the quote has always been a part of the spiritual.

Totus Tuus sum, Maria,  Mater nostri Redemptoris, Virgo Dei, Virgo pia,     Mater mundi Salvatoris.  Totus Tuus sum, Maria!    

Entirely thine am I, Mary, Mother of our Redeemer, Virgin of God, holy Virgin, Mother of the Savior of the world, Entirely thine am I, Mary.

Brahms’ motets include some of his most personal and technically challenging choral music. Many of the motets were written as a direct result of his reverence and study of older German musical forms. A favorite piece of choirs, O Heiland, reiss die Himmel auf is clearly an hom‐age to Johann Sebastian Bach. Using styles borrowed from the Baroque period, which had ended over a hundred years earlier, the young Brahms wrote this great piece around 1850 while he was immersed in the study of Baroque style and counterpoint. Beginning in the style of a 16th century chorale motet, except for some obvious Romantic harmonies, it remains es‐sentially Baroque. Each successive verse contains increasingly newer and more complex stylis‐tic elements, ending in a glorious “Amen,” which could have been written by J. S. Bach him‐self.

  O Heiland, reiß die Himmel auf,   Herab, herauf vom Himmel lauf,   Reiß ab vom Himmel Tor und Tür,   Reiß ab, was Schloss und Riegel für.   O Gott, ein’ Tau vom Himmel gieß,    Im Tau herab o Heiland fließ,   Ihr Wolken, brecht und regnet aus,   Den König über Jakobs Haus.   O Erd, schlag aus, schlag aus o Erd.   Daß Berg und Tal grün alles werd,   O Erd, herfür dies Blümlein bring,   O Heiland, aus der Erden spring.   Hie leiden wir die größte Not,   Vor Augen steht der bittre Tod,   Ach komm, führ uns mit starker Hand   Von Elend zu dem Vaterland.   Da wollen wir all danken dir,   Unserm Erlöser für und für,   Da wollen wir all loben dich,   Je allzeit immer und ewiglich.  Amen.

O Savior, tear open the heavens, flow down to us from heaven above; tear off heaven’s gate and door, tear off every lock and bar. O God, a dew from heaven pour; in the dew, O Savior, downward flow. Break, you clouds, and rain down The king of Jacob’s house. O earth, burst forth; burst forth, O earth, so that mountain and valley all become green; O earth, bring forth this little flower; O Savior, spring forth out of the earth. Here we suffer the greatest distress; before our eyes stands bitter death. Ah, come lead us with your powerful hand from this misery to our Father’s land. Therefore we all want to thank you, our redeemer, forever and ever. Therefore we also want to praise you at all times, always, and forever. Amen.

The musical world pays tribute this year to German Romantic composer Robert Schumann during his 200th anniversary year. Hailed for his incomparable piano and solo vocal music, Schumann also composed a number of lesser known choral works. Among these are a group of four songs for double chorus (Vier doppelchörige Gesänge) written in October, 1849. Though secular, the texts are full of religious imagery, which Schumann reinforces by using the polychoral techniques of earlier church music.

An die Sterne (poem by Friedrich Rückert [1788‐1866]) paints an ethereal and tranquil picture of the text’s poignant expression of spiritual longing and transcendent hope. The last piece in the group, Talismane, is a joyous celebration of divine power and grace, full of distinctly Islam‐ic textual images from the poetry of Johann Wolfgang von Goethe (1749‐1832). Goethe was in‐spired by the pithy, proverb‐like poems of middle‐eastern culture, and wrote an entire collec‐tion of poems in that style, some of which he subtitled Talismane (talismans, or good luck charms); Schumann further condensed those poems into the single text used in his piece. Of particular musical interest is the wandering, chromatic passage with which the composer sets the phrase, “error tries to confuse me”.

Talismane Gottes ist der Orient! Gottes ist der Okzident! Nord und südliches Gelände Ruht im Frieden seiner Hände. Er, der einzige Gerechte, Will für jedermann das Rechte. Sei von seinen hundert Namen Dieser hochgelobet! Amen. Mich verwirren will das Irren; Doch du weißt mich zu entwirren, Wenn ich handle, wenn ich dichte, Gib du meinem Weg die Richte!   

Talismans The East is God’s! The West is God’s! Northern and southern lands rest in the peace of his hands. He, who alone is just, desires for everyone what is right. Of each of his hundred names, let this one be highly praised! Amen. Error tries to confuse me, but you know how to disentangle me. When I act, when I write, give my path direction!

An die Sterne Sterne, in des Himmels Ferne! Die mit Strahlen bessrer Welt Ihr die Erdendämmrung hellt; Schau'n nicht Geisteraugen Von euch erdenwärts, Daß sie Frieden hauchen Ins umwölkte Herz?  Sterne, in des Himmels Ferne! Träumt sich auch in jenem Raum Eines Lebens flücht'ger Traum? Hebt Entzücken, Wonne, Trauer, Wehmut, Schmerz, Jenseit unsrer Sonne Auch ein fühlend Herz?  Sterne, in des Himmels Ferne! Winkt ihr nicht schon Himmelsruh' Mir aus euren Fernen zu? Wird nicht einst dem Müden Auf den goldnen Au'n Ungetrübter Frieden In die Seele tau'n?  Sterne, in des Himmels Ferne, Bis mein Geist den Fittich hebt Und zu eurem Frieden schwebt, Hang' an euch mein Sehnen Hoffend, glaubevoll! O, ihr holden, schönen, Könnt ihr täuschen wohl?   

To the Stars Stars in the distant heavens! You who with rays from a better world Brighten the earthly twilight; Are not spiritual eyes looking down From you upon the earth, In order to instill peace In the clouded heart? Stars in the distant heavens! Does one also dream in your realm Life’s fleeting dream? Do delight, joy, Sadness, melancholy, pain, Beyond our sun Also elevate a feeling heart? Stars in the distant heavens! Are you not already sending me signs of Heav‐enly peace from your distant places? Will not one day on the weary one In the golden meadows, Untroubled peace fall like dew into the soul? Stars in the distant heavens! Until my spirit lifts its wings And ascends to your peace, My yearning clings to you Hopefully, trustingly! Oh, you lovely, beautiful ones, Could you ever deceive me?

BCC and NWCC are pleased to perform these rarely heard 19th‐century masterpieces to com‐memorate the anniversary, nearly to the day (June 8), of their composer’s birth.

John Rutter dedicated the beautiful double‐choir motet, Hymn to the Creator of Light, to the memory of Herbert Howells. It was written in 1992 for the dedication of the Herbert Howells memorial stained‐glass window in Gloucester Cathedral, using texts by Lancelot Andrewes and J. Franck of the 16th and 17th centuries. This wonderful composition is a distinct depar‐ture from the popular romantic style of much of Rutter’s sacred output, here using chromatic melodies, dissonance and tonal clusters to great expressive effect. As always, he is sensitive to

Glory be to thee, O Lord, glory be to thee, Creator of the visible light, the sun's ray, the flame of fire. Creator also of the light invisible and intellectual, That which is known of God. Glory be to thee, O Lord, glory be to thee, Creator of the light, for writings of the law, glory be to thee; for oracles of prophets, glory be to thee; for melody of psalms, glory be to thee; for wisdom of proverbs, glory be to thee; experience of histories, glory be to thee; a light which never sets.

God is the Lord, who hath shewed us light. Light, who dost my soul enlighten; Sun, who all my life dost brighten; Joy, the sweetest man e'er knoweth; Fount, whence all my being floweth. From thy banquet let me measure, Lord, how vast and deep its treasure; Through the gifts thou here dost give us, As thy guest in heaven receive us. Creator of the visible light.

the text, with especially evocative treatment of the word "light." There are moments when you almost see the light streaming through the stained‐glass, filling the cathedral with color.

With this masterpiece, Herbert Howells created one of the most deeply personal of all the Requiem masses. Composed in 1936, this score remained hidden in Howells’ desk until he re‐leased it in 1980. For over four decades, he kept the work as a private conversation between himself and God, because the composition had grown out of Howells’ grief over the death of his nine‐year‐old son in 1935. True to its tragic and unique origin, the score is not entirely li‐turgical. There are large omissions of text that usually comprise a Requiem, or Mass for the Dead. Although key sections of the mass text are preserved, this work is more of a collection of motets: four in English, two in Latin. The music moves slowly, heavily, with dissonance blurring the texture, sometimes clarifying and sometimes obscuring the emotional landscape. We sit with Howells as he works through his grief, and we emerge with him as his Requiem reaches a mood of hoped‐for serenity, acceptance and affirmation.

I. Salvator mundi O Savior of the world, O Savior, Who by thy Cross and thy precious Blood hast redeemed us, help us, Save us and help us, we humbly beseech thee O Lord. II. Psalm 23 The Lord is my shepherd: Therefore can I lack nothing. He shall feed me in a green pasture: and lead me forth beside the waters of comfort. He shall convert my soul: and bring me forth in the paths of righteousness, for his namesake. Yea, though I walk in the valley of the shadow of death, I will fear no evil: thy rod and thy staff comfort me. Thou shalt prepare a table before me against them that trouble me: thou hast anointed my head with oil, and my cup shall be full. But thy loving kindness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord forever.

III. Requiem aeternam (1) Requiem aeternam dona eis, Domine Eternal rest grant unto them, O Lord, Et lux perpetua luceat eis. and let eternal light shine upon them.

IV. Psalm 121 I will lift up mine eyes unto the hills: from whence cometh my help. My help cometh from the Lord: who hath made heaven and earth. He will not suffer thy foot to be moved: and he that keepeth thee will not sleep. Behold, he that keepeth Israel: shall neither slumber nor sleep. The Lord himself is thy keeper: he is thy defence upon thy right hand; So that the sun shall not burn thee by day: neither the moon by night. The Lord shall preserve thee from all evil: yea, it is even he that shall keep thy soul. The Lord shall preserve thy going out, and thy coming in: from this time forth and for‐evermore. I will lift up mine eyes unto the hills: from whence cometh my help. V. Requiem aeternam (2) Requiem aeternam dona eis, Domine Eternal rest grant unto them, O Lord, Et lux perpetua luceat eis. and let eternal light shine upon them. VI. I heard a voice from heaven I heard a voice from heaven, saying unto me, Write, From henceforth blessed are the dead which die in the Lord: For they rest from their labors. Even so saith the Spirit; they rest from their labors.

Bellevue Chamber Chorus consists of professional and avocational musicians of diverse back‐grounds, performing choral literature with varied accompaniment from all musical periods. Through‐out its 26‐year history, the Chorus has collaborated with other vocal and instrumental musicians of all ages, as well as dance troupes and visual artists, to present major works or unusual repertoire, includ‐ing specially commissioned pieces by local composers such as Alan Hovhaness and John Muehleisen. For the past ten years, Bellevue Chamber Chorus has joined with the Bellevue Philharmonic Orchestra for a Baroque chamber‐style performance of Handel’s complete Messiah during the holiday season. The Chorus also performs for events such as the Argosy Christmas Ship, galas and other community activities, has performed twice at the Leavenworth Choral Festival, and was selected as one of the re‐gional participants in the American Masterpieces Choral Festival in Seattle in 2007. In July 2008, the Chorus was awarded first prize in the Adult Mixed Choir division at the prestigious Kathaumixw In‐ternational Choral Festival in Powell River, B.C. Other performances include New York’s Carnegie Hall, the Salzburg, Austria Church Music Festival, the International Choral Festival in Sydney, Aus‐tralia, and festival concerts in spectacular venues in Switzerland, Italy, Germany and the Czech Re‐public. The Chorus has released two CDs: "Timeframes” and “Retrospective.”

The Bellevue Chamber Chorus is a non‐profit organization, which receives its support from the generous donations of people interested in fine musical experiences on the Eastside.

Conductor of collegiate, community, and church choirs in Minnesota, California, and the Seattle area for over twenty years, Dr. Fredrick Lokken is in his tenth season as music director and conduc‐tor of the Bellevue Chamber Chorus. Under his direction the Chorus has gained a growing reputation for exciting performances of diverse and innovative programs from the traditional classics to contem‐porary music from around the world. He received his doctoral degree in choral conducting from the University of Washington, where he studied under Abraham Kaplan and Joan Conlon. He has done further study with renowned choral conductors Joseph Flummerfelt, Helmuth Rilling, and Jon Wash‐burn, and spent several years in The Netherlands doing choral research and writing. Dr. Lokken also holds a degree in vocal performance from the University of Wisconsin and sang with the professional Dale Warland Singers. In addition to his work with the Bellevue Chamber Chorus, Dr. Lokken serves as Director of Choral Music and Instructor of Voice at Shoreline Community College.

Bellevue Chamber Chorus

Tenor Erik Eliason 

Mike Grube 

Kim Hofer 

Lee Huffman 

George Moua 

Jeff Pierce 

Larry Richardson 

David Williams 

 

Soprano * Maria Bayer 

Lorilee Brasseur 

** Debra Defotis  

Laurie Dietz 

Laura Donnelly  

Kara Huntley 

Jeni Merilatt 

Debra Nielsen 

* Shannon Walch 

Alto * Louise Baldwin 

* Kristine Bryan 

Marta Chaloupka 

Melanie Grube 

* Susan Liechty 

Kathie Patten 

Pam Younghans  

 

Bass Gordon Buck 

* Allan Chartrand 

Dennis Defotis 

Gabriel Dumitrescu 

* Jerome Lyons 

James McTernan 

Pat Rice 

* Frank Trujillo  

** Denotes Executive Director.       * Denotes Board Member.   

Performing its 42nd Season, the Northwest Chamber Chorus has long been recognized as one of the finest choruses in the Pacific Northwest. The 40‐voice ensemble under the direction of Mark Kloepper is critically acclaimed for its compelling performances of the best classical choral music. The NWCC attracts large audiences and wins extensive praise and support from the Seattle arts communi‐ty including the Mayor’s Office of Arts & Cultural Affairs. During an annual season of seven main‐stage performances and numerous community outreach appearances, the chorus attracts a loyal audi‐ence of music patrons, characterized by a keen interest in cultural activities and classical choral mu‐sic. The group is featured regularly on KING FM’s Northwest Focus and KUOW's The Beat. The group offers four CDs including the 40th Anniversary Live!, Songs of the Americas, Handel Coronation Anthems, and Wassail! CDs, and released its new A Ceremony of Carols CD in the spring of 2010. The Northwest Chamber Chorus has performed with the Seattle Symphony, the Northwest Chamber Or‐chestra, the Seattle Youth Symphony, Cascadia Brass, the Spectrum Dance Company, ACT Theatre, Philharmonia Northwest, Baroque Northwest, and the renowned Seattle Repertory Jazz Orchestra as

Tenor Gabe Cronin 

Hal Bennett 

Tim Gallagher 

Bobby Lindsey 

Dan Sorenson 

Nelson Wong 

Soprano Betsy Brockman 

Auralee MacColl Carter 

Miriam Espeseth 

Margaret Fairfield 

Joni Hafner 

Alison J. Newland 

Catharine Reid 

Kathy Sankey 

Dalia Taylor 

Molly West 

Amy Wimmer 

Alto Carol Berndt 

Rachel Flamm 

Lori Hardow 

Susan Jenkins 

Halie Looper 

Kristina Madayag 

Deon Miyoi 

Dina Myers 

Wendy Roedell 

Lauren Sandven 

Alison Walker 

Bass Kit Adams 

Steve Allen 

Jim Gordon 

Fred Hoffer 

Michael Huber 

Mark Hudson 

John Hushagen 

Dave Plude 

Jim Roe 

Christopher Wood 

Northwest Chamber Chorus

Mark Kloepper, Music Director of the Northwest Chamber Chorus since 2006, earned a Master of Music degree in Choral Conducting from the University of Washington, where he studied under Joan Conlon, Geoffrey Boers, and Peter Eros. He has also received training from Rod Eichenberger, Helmut Rilling, Alice Parker, Robert Shaw, Paul Hillier, Moses Hogan, Anton Armstrong and Peter Philips and has conducted at international festivals in Cuba, Canada, and the USA. Mark directs the vocal music program at the prestigious Tacoma School of the Arts. Locally, he has conducted the Seattle Peace Chorus, the Polyphonic Singers, and the Seattle Labor Chorus. He directed the choral program at Sumner High School, the choir at Magnolia United Church of Christ, and was chorus master for the UW Opera. Under his leadership, the NWCC participated in the American Masterpieces Choral Festi‐val with Dale Warland and Morten Lauridsen in 2007, appeared in the St. John Concert series in Olympia and Seattle Presents series at Seattle City Hall in 2008, as guest artists at the Northwest Gold Choir Festival in 2009, and onstage at the ACT Theatre as part of their Sister’s Catechism Christmas production. In addition, he directed the Northwest Chamber Chorus’s 40th Anniversary Celebration in June 2008 with the premiere of a new work by Northwest composer Joan Szymko commissioned in honor of the occasion. He has directed the NW Chamber Chorus for four years in the annual Duke Ellington Sacred Concert presented by Earshot Jazz.

 

Volunteer  Opportunities:  

 The Bellevue

Chamber Chorus is currently looking for

volunteers to fill a variety of positions.

For more

information, call

(425) 881‐0445. 

The perfect way to indulge your taste buds…

BOEHM’S CANDIES

Gourmet chocolate confections locally

since 1942

We are  excited to introduce our  own 

Chocolate Making  Classes! 

www.BoehmsCandies.com 255 NE Gilman Blvd • Issaquah, WA 98027  (425) 392‐6652   

Bring in this ad for

$10 off your purchase of $50.00 or more

Offer valid through 8/31/10 

Valid at Issaquah location only. Excludes gift certificates, tours,

chocolate class and custom orders

 TO PLACE YOUR AD in the Bellevue Chamber Chorus’ next concert program,

please call (425) 881‐0445 for information and rates.

The Bellevue Chamber Chorus greatly appreciates the support of our vendors. Please mention where you saw their ad when you patronize their businesses! 

Thank you to our Generous Donors

 

Maestro ‐ $5000 + Doug and Maria Bayer 

Debra and Dennis Defotis 

TriCity Computer Services**  

Crescendo ‐ $2500‐4999 Bellevue Arts Commission 

 

Virtuoso ‐ $1000‐2499 Louise Baldwin 

Kristine Bryan 

Francois and Sonja Delafosse 

Microsoft Corporation* 

Judy Jesiolowski and Dave Thompson 

Fred Lokken and Marsha Thomas 

James and Vicki Walch 

Time/Warner*  

Diva ‐ $500‐999 Boeing Co.* 

Marta Chaloupka 

Eastside Summer Sings 

Doris Lokken 

Jerome Lyons 

Frank and Cora Trujillo  

Aria ‐ $250‐499 Jennifer and Patrick Carter 

Consolidated Restaurants—Pam Casey  

Bravo ‐ $100‐249 Vanessa Bradford 

Melissa and Douglas Byrkit 

Allan Chartrand 

Laurie Dietz 

James and Krista Ferguson 

Mike and Melanie Grube 

Marilyn Handeland 

George and Patsy Holzapfel 

Science Kilner 

Diane and DJ Kovarik 

Dawnell Lamb 

Susan Liechty 

Mary Martin 

Jeff Pierce 

Pat Rice 

Brion Richardson 

Shannon Walch 

 

 

Tutti ‐ Up to $99 Sue Ann Allen 

Anonymous 

Bruce and Carol Becker 

Michael Bezruchka 

Lorilee Brasseur 

Michael Bishop 

Gordon Buck 

Mat Caugh 

Megan Collier 

James and Judy Davenport 

Erik Eliason 

Miriam Espeseth 

John and Joan Gorrow 

Pattie Grohl 

Carl and Leslie Handeland 

Richard Huffman 

Heidi Kim 

Barbara Livdahl 

David Lyon 

Eva Mader 

Barbara Martin 

Scott McComb 

Jenifer Merilatt 

Mary Osborn 

Marcus and Patricia Osterhout 

Ken Sabalza 

Liz Shimamura 

Janet Strutz 

Barbara and Delmer Taylor 

Michelle Touton 

Mike and Cherie Warren  

 

 

* indicates corporate matching grants 

** indicates in‐kind donations 

The Bellevue Chamber Chorus is a 501(c)3 non‐profit organization, which means that all  

donations to the chorus are tax‐deductible.   

Donations are accepted at performances, online via PayPal, or via mail at:  

Bellevue Chamber Chorus  P.O.  Box 1714 

Bellevue, WA 98009‐1714 

(425) 881‐0445 

www.bellevuechamberchorus.net 

Assistant Director .............................................................................................................. Frank Trujillo 

Lighting Design/Operations .................................................................................... Mark Buettemeier 

Rehearsal Accompanist ........................................................................................... Kristine Anderson  

Rehearsal Midi File generation ..................................................................................  David Williams 

Score Management/Music Librarian ......................................................... Maria Bayer, Jeni Merilatt 

Sound Engineer & Recording ............................................................................................... Kim Hofer  

Video Recording ..............................................................................................................  Jennifer Hofer 

Volunteer Coordination  ..................................................................................................  Lee Huffman 

Printed Materials .................. Kristine Bryan, Pam Younghans, Dennis Defotis, Sonja Handeland 

Website Management .................................................................................................... Sonja Delafosse 

Additional Credits

Tenaya Bien, Evana Block, Lady Cathryn Buchanan, Alyce Caldwell, Mark and Kelly Cheever, Sue Crain, Made‐

line Dietz, Katie Ginn, Mike & Melanie Grube, Paul Heneghan, Dawnell Lamb, Amy Richardson, Hollis Ryan,

Carrel & Garrett Sheldon, Hal Smith, John and Phyllis Sproul, Melanie West

Thank you to our Volunteers!

KEEP IN TOUCH!!! Join our email list and receive notifications of 

upcoming concerts and events!  Just visit 

www.bellevuechamberchorus.net and click on ʺJoin 

Email Listʺ on the left‐hand side.   

You can also add the Bellevue Chamber Chorus  

as a friend on  

Come Sing With Us!  

Are you interested in making  

great music with the Bellevue  

Chamber Chorus?   

Call  (425) 881‐0445 or email us at  

bellevuechamberchorus@yahoo.com  

to let us know of your interest. 

Save the Date!

Eastside Sings! Singers of all abilities are invited to join with four established

Eastside choirs in the thrill of singing great choral music every Tuesday night in July, 2010.

The schedule includes: July 6 ‐ Mozart Requiem July 13 ‐ Howells Requiem July 20 ‐ Bach Magnificat

July 27 ‐ Beethoven Missa Solemnis

For more information call 425‐881‐0445.  

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 

Bellevue Arts & Crafts Fair “Choral Kaleidoscope” 

Bellevue Chamber Chorus performs at

the Bellevue Arts & Crafts Fair!

Saturday, July 24th, 2010 

5:00 PM  

Bellevue Square Main Stage