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(with Kristine Anderson, piano, and Colleen McElroy, flute)

Consecrate the Place and Day …………………..………………...…...Lloyd Pfautsch (1921-2003)

Musica Dei donum optimi ……………………….…………………….Roland de Lassus (1532-1594)

Napadly písně…………………………………………………..……………...Antonín Dvořák (1841-1904) An die Musik ………………………………………………………………….…Franz Schubert (1797-1828)

Always Singing ………………………………………………………………………. Dale Warland (b. 1932)

To Music ………………………………………………………………………….……….. David Conte (b. 1955)

That Music Always ‘Round Me ……………………………….………………………. John Muehleisen

INTERMISSION

Your Voices Tune ……………………………………………….. George Frideric Handel (1685-1759)

Musica Dei donum ………...……………………….………………………………… John Rutter (b. 1945) Colleen McElroy, flute

Gitanjali Chants …………………………………………………………... Craig Hella Johnson (b. 1962)

I Am In Need of Music …………………………………………………………. David Brunner (b. 1953)

Blackbird ……………………………….………………..…. Lennon/McCartney arr. Daryl Runswick Lorilee Brasseur, Maria Burnham, Debra Defotis, Kris Bryan, Melanie Grube, Susan Liechty,

Mike Grube, Lee Huffman, Jeff Pierce, Dennis Defotis, Chris Meierding, Frank Trujillo

I’m Gonna Sing ’Til The Spirit Moves In My Heart .……….…. Moses Hogan (1957-2003)

Trio: Mike Grube, Lee Huffman, Jeff Pierce

How can I keep from singing? .……………… American folk hymn, arr. Karen P. Thomas

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

presentspresentspresents

In Praise of Music

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Program Notes

I n Praise of Music, the final concert of Bellevue Chamber Chorus’ 30th Anni-

versary Season, celebrates the glories of music and singing, and the many ways com-posers and singers have expressed their love of music in the choral tradition. Each

song in the concert brings its own unique challenges to singers, and reminds us in different ways how much we each rely on music and singing to uplift our spirits, calm us from the stresses of the day, and connect with each other in a way that can’t be replicated in any other form.

Consecrate the Place and Day is the final movement of Lloyd Pfautsch’s Triptych, com-missioned by the State College of Arkansas for the dedication of its new Fine Arts Center in February 1968. The text praises music and Saint Cecilia, patron saint of music, and asks for calm weather so as not to disrupt the fine music being created inside! With its dramatic opening chords and vigorous melodic echoes between women’s and men’s voices, the piece serves as a kind of opening choral fanfare to our program.

Consecrate the place and day To music and Cecilia. Let no rough winds approach, nor dare invade the hallow’d bounds, Nor rudely shake the tuneful air, nor spoil the fleeting sounds. Nor mournful sigh, nor groan be heard, But gladness dwell on ev’ry tongue; Whilst all, with voice and strings prepared, Keep up the loud harmonious song. And imitate the blest above, In joy, and harmony.

—Joseph Addison (1672-1719)

Roland de Lassus, better known by his Italianized name Orlando di Lasso, was one of the giants of the late Renaissance. Musica Dei donum optimi comes from his Cantiones sacrae, a collection of motets for six voices published in 1593. The fascinating anonymous text celebrating the power of music is known only because of this setting.

Music, gift of the supreme God, entices humans and gods. Music calms angry spirits and uplifts sad minds. Music even moves the very trees and wild beasts.

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The next two pieces come from two of the master composers of the 19th century, one known mostly for his dramatic orchestral works, the other as the towering figure of Romantic vocal music. Napadly písně (Songs descended on my soul) is the first of 5 songs from the set V Prĭóde (In Nature), op.63, written in 1882 by Czech composer Antonín Dvořák. The relation-ship between nature and music is central in this simple little gem, a characteristic of many late 19th-century pieces. This was a fertile period for Czech nationalistic and idealistic poet-ry and music, and Hálek’s poetry seems to have had some appeal for composers, as both Dvořák and Smetana used his texts in other song cycles as well.

Songs descended on my soul suddenly and unbidden, like dew in the early morn falls on the green, grassy hills. Nature is sparkling, and I feel young and happy; but how can I know if these are songs of joy or the deep crying of my soul? The moon gives birth to the dew, and songs must flow from us in happiness or tears, as the day is preparing for dawn. —Vítězslav Hálek (1835-1874)

An die Musik (To Music) is one of the best-known and most often performed of Franz Schubert’s more than 600 songs for solo voice and piano. Composed in March, 1817, to a text from a poem by his friend Franz von Schober, it was first published in 1827, when Schu-bert dedicated the piece to the Viennese piano virtuoso Albert Sowinsky. Among its count-less memorable performances over the years, the song is sung in unison by all of the mem-bers of the American National Association of Teachers of Singing who are present at the end of each of its national conventions. This choral arrangement by Paul Stetsenko is very faith-ful to Schubert’s original.

Always Singing is a simple yet powerful reminiscence about the power of singing, taken from the words of a retired farm worker as recorded by English writer Ronald Blythe. Com-poser Dale Warland set this piece for the Unity Singers of Unity Church Unitarian, St. Paul, Minnesota, in 2009.

There was such a lot of singing and this was my pleasure, too. The boys all sang in the fields, and at night we all sang.

The chapels were full of singing. It was singing, singing all the time.

I have had pleasure. I have had singing.

—Fred Mitchell, from “Akenfield: Portrait of an English Village” by Ronald Blythe (b. 1922)

Oh lovely Art, in how many grey hours, When life's fierce orbit ensnared me,

Have you kindled my heart to warm love, And carried me away into a better world!

How often has a sigh escaping from your harp, A sweet, sacred chord of yours, Opened up for me the heaven of better times, Oh lovely Art, for that I thank you!

—Fronz von Schober (1796-1882)

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To Music, by San Francisco-based composer David Conte, was commissioned by the San Diego Master Chorale for their 50th anniversary last year. It is an elegiac setting of a beauti-ful text by American poet Henry Van Dyke about the power of music to transport us like the sea through the changing currents of life. Given the similarity of their texts, treatment of the piano accompaniment, and the same choice of key, one has to wonder if Conte may have been inspired by Schubert’s beloved masterpiece.

Music, in thee we float, And lose the lonely note

Of self in thy celestial ordered strain, Until at last we find

The life to love resigned In harmony of joy, restored again;

And songs that cheered our mortal days Break on the coast of light in endless hymns of praise.

—Henry Van Dyke (1852-1933)

Commissioned from local composer John Muehleisen and performed for the finale of our 20th anniversary season in 2004, That Music Always Round Me is a dramatic setting of an evocative text by Walt Whitman. In describing the piece, John commented: “Rather than interpreting the text and its musical images literally, I thought of the poem in the context of two Whitmanesque themes: a kind of cosmic mysticism and the holistic, spiritual connec-tion of the individual to all of humanity and indeed to the whole of the cosmos.” We are delighted to perform the piece again ten years later on this anniversary finale!

That Music Always Round Me That music always round me, unceasing, unbeginning,

yet long untaught I did not hear. But now the chorus I hear and am elated.

A tenor, strong, ascending with power and health, with glad notes of daybreak I hear; A soprano at intervals sailing buoyantly over the tops of immense waves;

A transparent base shuddering lusciously under and through the universe; The triumphant tutti, the funeral wailings with sweet flutes and violins, all these I fill myself with.

Music, I yield to thee As swimmer to the sea,

I give my spirit to the flood of song! Bear me upon thy breast

In rapture and at rest, Bathe me in pure delight and make me strong;

From strife and struggle bring release, And draw the waves of passion into tides of

peace.

Remember’d songs most dear In living songs I hear, While blending voices gently swing and sway, In melodies of love, Whose mighty currents move With singing near and singing far away; Sweet in the glow of morning light, And sweeter still across the starlit gulf of night.

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I hear not the volumes of sound merely; I am moved by the exquisite meanings. I listen to the different voices winding in and out, striving, contending with fiery vehemence

to excel each other in emotion. I do not think the performers know themselves—but now I think I begin to know them.

— Walt Whitman (1819-1892) (from Whispers of Heavenly Death – Book XXX of Leaves of Grass)

INTERMISSION

Your Voices Tune is an appendix and concluding section to Handel’s early oratorio Alexan-der’s Feast, written in 1736. Handel considered the complete work an Ode to Saint Cecilia since it was a setting of John Dryden’s text “The Power of Music”. This finale does not in-clude any of Dryden’s text, but it does bear the distinctive hallmarks of Handel’s later, more well-known choral works.

Inspired by the Lassus work performed earlier in our program, and setting the same anony-mous text, John Rutter’s version of Musica Dei donum was composed for the choir of Clare College, Cambridge, in 1998 (where Rutter had earlier been a student himself, and then served as Director of Music from 1975 to 1979). The flute accompaniment adds an animated element to Rutter’s modern chord progressions, perhaps symbolic of a cosmic sort of “Pied Piper”, or alternatively, as though a sparrow were flitting through the rafters during Mass in a cathedral. This piece was later included in A Garland for Linda, a cycle of nine choral piec-es by different composers in memory of Linda McCartney.

Gitanjali Chants is a setting of poetry by the Bengali poet, musician, painter and play-wright Rabindranath Tagore. Tagore was the first non-European to win the Nobel Prize for Literature in 1913, and his profoundly beautiful collection entitled “Gitanjali (“Song Offer-ings”) offers the reader endless riches. Composer Craig Hella Johnson, artistic director of the professional chorus Conspirare, says of this work: “I chose to set these texts as a chant, which serves as an invitation for singers and listeners alike to listen closely and acknowledge the gift of a deep inner calling that may be heard both in our silence and our singing.”

Ever in my life have I sought thee with my songs. It was they who led me from door to door, and with them have I felt about me, searching and touching my world. It was my songs that taught me all the lessons I ever learnt; they showed me secret paths, they brought before my sight many a star on the horizon of my heart.

Your voices tune and raise them high, Till they echo from the vaulted sky,

The blest Cecilia’s name;

Music to heav’n and her we owe, The greatest blessing that’s below;

Sound loudly now her fame!

Let’s imitate her notes above! And may this evening ever prove

Sacred to Harmony and Love, Sacred to Harmony, Sacred to Love.

—Newburgh Hamilton (1691-1761)

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They guided me all the day long to the mysteries of the country of pleasure and pain, and at last to what palace gate have they brought me at the end of my journey? You came down from your throne and stood at my cottage door. I was singing all alone in a corner, and the melody caught your ear. You came down and stood at my cottage door. Masters are many in our hall, and songs are sung there at all hours. But the simple carol of this novice struck at your love. One plaintive little strain, mingled with the great music of the world, and with a flow’r for a prize, you came down and stopped at my cottage door.

—Rabindranath Tagore (1861-1941)

American composer David Brunner wrote this moving piece, I Am In Need Of Music, in 2006 in memory of a former choral teacher at Illinois Wesleyan University. Its dreamlike text and musical imagery convey a serene confidence in the power of music to comfort and heal the soul.

This choral version of the famous Lennon-McCartney song Blackbird, from the Beatles’ so-called “White Album”, was arranged for the also famous British men’s vocal ensemble The King’s Singers in 1986. The soprano line carries the melody, while the three lower parts cre-ate the instrumental background, which the Beatles explain was inspired by J.S. Bach’s Bouree in E minor, a well-known lute piece often played on classical guitar. McCartney later described the lyrics as being inspired by the civil rights movement of the ‘60’s; we include it on our program as a metaphor for singing as an expression of hope, faith, and courage.

Blackbird singing in the dead of night Take these broken wings and learn to fly;

All your life, you were only waiting for this moment to arise.

Blackbird singing in the dead of night Take these sunken eyes and learn to see;

All your life, you were only waiting for this moment to be free.

Blackbird, fly, into the light of a dark, black night.

I am in need of music that would flow Over my fretful, feeling finger-tips,

Over my bitter-tainted, trembling lips, With melody, deep, clear, and liquid-slow. Oh, for the healing swaying, old and low,

Of some song, sung to rest the tired dead, A song to fall like water on my head,

And over quivering limbs, dream flushed to glow!

There is a magic made by melody: A spell of rest, and quiet breath, and cool Heart, that sinks through fading colors deep To the subaqueous stillness of the sea, And floats forever in a moon-green pool, Held in the arms of rhythm and of sleep.

—Elizabeth Bishop (1911-1979)

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We conclude our program with two songs from American sacred traditions that express the power of singing as a spiritual experience, in the broadest sense of that term.

Moses Hogan almost single-handedly rejuvenated the genre of African-American spirituals for a new generation with his many creative arrangements of those traditional songs, often written for his internationally renowned Moses Hogan Chorale. The jubilant I’m Gonna Sing ‘Til The Spirit Moves In My Heart is actually one of his original compositions, and clearly draws from the same well of inspiration.

I’m gonna sing ‘til the spirit moves in my heart, I’m gonna sing ‘til Jesus comes. It was grace that brought me, grace that taught me, grace that kept me,

And it’s grace that will lead me home. I’m gonna pray ‘til the spirit moves in my heart, I’m gonna pray ‘til Jesus comes.

Can’t you feel the spirit movin’? I’m gonna shout ‘til the spirit moves in my heart, I’m gonna shout ‘til Jesus comes.

I’m gonna sing ‘til my Jesus comes.

How can I keep from singing is an uplifting arrangement by Karen P. Thomas (local com-poser and director of Seattle Pro Musica) of the American folk hymn, also known by its incipit "My Life Flows On in Endless Song". The lyric, titled "Always Rejoicing", and at-tributed to "Pauline T.", seems to have been first published on August 7, 1868, in The New York Observer. The original music was written by American Baptist minister Robert Wadsworth Lowry, who was also the composer and lyricist of the hymn “Shall We Gather at the River?” Thank you for joining us today, and we hope you continue to experience the joy of singing long after our concert ends!

My life flows on in endless song above Earth’s lamentation, I hear the real, though far-off hymn that hails a new creation. Through all the tumult and the strife I hear the music ringing,

It sounds an echo in my soul. How can I keep from singing?

What though the tempest loudly roars, I hear the truth, it liveth. What though the darkness round me close, Songs in the night it giveth.

No storm can shake my inmost calm, while to that rock I’m clinging. Since love is lord of heav’n and earth, How can I keep from singing?

When tyrants tremble as they hear the bells of freedom ringing, When friends rejoice both far and near, how can I keep from singing!

To prison cell and dungeon vile our thoughts to them are winging, When friends by shame are undefiled, how can I keep from singing?

My life flows on in endless song above Earth’s lamentation, I hear the real, though far-off hymn that hails a new creation. Through all the tumult and the strife I hear the music ringing,

It sounds an echo in my soul. How can I keep from singing?

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Plan to join us for our next exciting concert season!

Join our email list and be informed the moment we have updates to our season information. You can join from our website, Facebook page, or sign up at our concert

information table!

European Holiday - December 2014

Take a holiday vacation across the Atlantic in December with this diverse sampler of music for Christmas and the New Year! Featuring the gorgeous Laud to the Nativity by

Italian composer Ottorino Respighi.

Spirit Rising - Spring 2015

Music of hope, inspiration, and courage from both sacred and secular traditions, including the moving Dark Night of the Soul for chorus, piano, and string quartet by contemporary

Norwegian/American composer Ola Gjeilo.

Standards Vol. II! - Spring 2015

Enjoy the return of our vocal jazz program with a choice selection of great standards by the giants of jazz and pop song-writing, arranging, and singing, accompanied by talented

local jazz musicians!

RAFFLE! Support Bellevue Chamber Chorus’ upcoming programs by

purchasing raffle tickets TODAY!

1st prize: $1000! Drawing will take place on June 3rd, 2014

Winners will be notified by phone or email.

www.bellevuechamberchorus.org

30th Anniversary Season

2014-2015 Season Preview

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The Director

Conductor of collegiate, community, and church choirs in Minnesota, Califor-

nia, and the Seattle area for over twenty-five years, Dr. Fredrick Lokken is in his thirteenth season as music director and conductor of the Bellevue Chamber Chorus. Under his direction the Chorus has gained a growing repu-tation for exciting performances of diverse and innovative programs from the traditional classics to contemporary music from around the world. He re-ceived his doctoral degree in choral conducting from the University of Wash-ington, where he studied under Abraham Kaplan and Joan Catoni Conlon. He has done further study with renowned choral conductors Joseph Flummerfelt, Helmuth Rilling, and Jon Washburn, and spent several years in the Nether-lands doing choral research and writing. Dr. Lokken also holds a degree in vocal performance from the University of Wisconsin and sang with the pro-fessional Dale Warland Singers. In addition to his work with the Bellevue

Chamber Chorus, Dr. Lokken is head of the Choral and Vocal Music program at Shoreline Communi-ty College, and is in frequent demand as a choral/vocal adjudicator in the Puget Sound region.

Colleen McElroy, flute: A native of Darrington, Washington, Colleen McElroy has performed as principal flutist of the University of Washington Wind Ensemble, the University Symphony, Seattle Collaborative Orchestra, and also performs with the Inverted Space Modern Music Ensemble. In 2013, Colleen won the UW Wind Ensemble Concerto Competition which resulted in a performance of Mike Mower's Flute Concerto (2005). Recently, Colleen performed as the UW Symphony principal flute of Ravel’s Daphnis et Chloe under the direction of Seattle Symphony Maestro Ludovic Mor-lot. She is a two time winner of the Snohomish County Music Teachers Association Concerto Com-petition, which resulted in performances with the Port Gardener Bay Chamber Orchestra and the Bayshore Symphony. Ms. McElroy is a founding member of the Rainier Winds, a Seattle-based wood-wind quintet. She currently serves on the board of directors for the Seattle Flute Society and is the founder and artistic director of the Salon Solstice Chamber Music concert series.

The Instrumentalists

Kristine Anderson, piano: Kristine Anderson graduated with a music degree from the Universi-ty of Montana at Missoula. She is well-known in the Puget Sound region for her artistic and sensitive work with singers as well as instrumentalists ranging from tuba to piccolo. Equally at home with jazz, pop, and classical, she can adjust her style from Sondheim to Gershwin to Strauss. Her clients include winners in local and national competitions, including the Seattle Young Artist Music Festival, Metropolitan Opera semifinals, and concerto contests. Kristine also serves as accompanist for the Flute and Piccolo Forum, hosted by Seattle Symphony flutist Zart Dombourian Eby. In the fall of 2010, Kristine accompanied a former Flute Forum attendee Justin Lee on his Western Washington tour, after he won the Ladies Musical Club contest. In addition to holding two church-pianist posi-tions in Seattle, she was music director for the Seattle Musical Theater, formerly known as Civic Light Opera, during their production of High Society, and the pianist for the Seattle Opera Guild’s Preview shows, currently rehearsing for presentations of the upcoming production of Rossini's La Cenerentola. She has been the accompanist for Bellevue Chamber Chorus for the past six seasons.

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Bellevue Chamber Chorus, founded in 1984, performs three major concerts each season, encompassing a variety of choral literature from the classical standards and contemporary works to “world music”, Broadway hits, and vocal jazz. The Chorus often joins other ensembles in perfor-mances of major choral/orchestral works, such as Mozart’s Vespers, Faure’s Requi-em, Verdi’s Requiem, Handel’s Messiah, and, most recently, Orff’s Carmina Bura-na. The ensemble has premiered works by regional composers, including commis-sioned works for the Washington State

Centennial Celebration, the grand opening of the Theatre at Meydenbauer Center, and a special 20th anniversary season commissioned piece, That Music Always Round Me, by Seattle composer, John Muehleisen. The Chorus has released three CDs, “Timeframes” and “Retrospective”, and most recent-ly a holiday CD, “Christmas Visions, Winter Dreams”, released in 2013.

Bellevue Chamber Chorus tours often and has performed in Carnegie Hall, various locations in Europe, the International Music Festival (2000) in Sydney, Australia, and in the 2008 Kathaumixw International Choral Festival in Powell River, British Columbia, where they won first place in the adult mixed chorus category. Other performances include the Leavenworth International Choral Fes-tival, the international “Rolling Requiem” in memory of September 11th, as one of the regional chorus-es in the NEA sponsored American Masterpieces Choral Festival in Seattle, and in Kelowna, B.C. as part of the Okanogan Choral Society Series. The Chorus will be returning to Kathaumixw in Powell River, B.C. to compete in July of 2014.

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

Bellevue Chamber Chorus

Tenor Frederic DeWulf

Mike Grube Kim Hofer

* Lee Huffman Mark Liebendorfer

Jeff Pierce Larry Richardson David Williams

Soprano * Maria Bayer

Lorilee Brasseur Maria Burnham ** Debra Defotis

Jenn Evora ** Shannon Fix Kathie Patten

Alto Louise Baldwin

** Kristine Bryan Mindy Freeland * Melanie Grube ** Susan Liechty Karen Swanson Pam Younghans

* Denotes Section Leaders ** Denotes Board Member

Bass ** Allan Chartrand

Dave Cook Dennis Defotis

Jan DeWulf ** Bill Freeland

Don Jones James McTernan Chris Meierding * Frank Trujillo

Personnel

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

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

Score Management/Music Librarian ....................................................................... Kathie Patten

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

Stage Manager and Volunteer Coordination ....................................................... Lee Huffman

Printed Materials ....................................................................... Kristine Bryan, Pam Younghans

Program Notes ............................. K. Bryan, Vladimir Chaloupka, Lee Huffman, Fred Lokken

Social Media and E-marketing ...................... Susan Liechty, Pam Younghans, Kristine Bryan

Website Management ............................................................. Sonja Delafosse, Chris Meierding

Community Board Member .......................................................................................... Ellen Soter

Additional Credits

Ushers and House Attendants: Fe Balaoing, Alyce Caldwell, Mark & Kellie Cheever, Eva Chun, Harry & Anna Culbreth, Emily DeWulf, Jake DeWulf, Jemmie Godwyn-Smith, Paul Heneghan, Daisy Hipolito,

Drew & Kathy Nitchoff, Hollis Ryan, Hal Smith, Ellen Soter, Phyllis Sproul, Imelda St. Jacques. Bob Swanson, RJ Swanson, Melanie West

Thank you to our Volunteers!

Come Sing With Us!

Are you interested in making

GREAT MUSIC with Bellevue Chamber Chorus?

Call (425) 881-0445 or email us at

info@bellevuechamberchorus.org

to let us know of your interest!

Volunteer Opportunities: Bellevue Chamber Chorus

is always looking for volunteers to fill a variety of positions!

For more information, call (425) 881-0445 or email us at info@bellevuechamberchorus.org!

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Thank you to our Generous Donors

Crescendo -

$2500 to 5000

Bellevue Arts Commission

Louise Baldwin

Virtuoso - $1000 to 2499

Anonymous

4Culture

Rick Bulpin

** Debra/Dennis Defotis

Fred Lokken/Marsha Thomas

* Microsoft Corporation

Jim and Vicki Walch

Diva - $500 to 999

Anonymous

** Kris Bryan

Aria - $250 to 499

Dave Cook

The Seattle Foundation

William Thomas

Jessica Watts

Bravo - $100 to $249

Anonymous

Maria Bayer

Carol Berndt

Lorilee Brasseur

Barbara Bulpin

Allan Chartrand

William Freeland

Mike and Melanie Grube

Lee Huffman

Lori Hardow

Mindy Larrison

Susan Liechty

James McTernan

Wendy Moy

Sean/Kathie Patten

Ellen Soter

Pam Younghans

* indicates corporate matching grants

** indicates in-kind donations

Tutti - Up to $99

Anonymous

Anonymous

Anonymous

Maria Burnham

James and Amelia Bryan

Dana Cardon

Sheri Feldman

Jack Force

Shaindell Goldhaber

Caroline Harlow

John Hushagen

Kirkland Spine and Posture

Center

Chris Meierding

J. Elaine Morgan

Jeff Pierce

Crystal Roberts

Scott/Meredith Selfon

Karen Swanson

George and Linda Tady

Jim/Elizabeth Wagner

David Williams

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, or via mail at:

Bellevue Chamber Chorus P.O. Box 1714

Bellevue, WA 98009-1714

(425) 881-0445

www.bellevuechamberchorus.org

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CHORAL KATHAUMIXW 2014

INTERNATIONAL FESTIVAL IN POWELL RIVER, BC

Bellevue Chamber Chorus is excited to announce our participation once again in

the 2014 Choral Kathaumixw international choral festival, with Artistic Director Patrick Cummings, to be held July 1-5 in Powell River, B.C., on the beautiful Canadian “Sunshine Coast”. This festival features participation by both adult and children's choruses from many countries around the world, and includes both mass choir performances and adjudicated choral and solo vocal competitions in a number of categories. The Chorus will be entering both the Adult Mixed and Chamber Choir categories, the former for which we were awarded First Prize in 2008. Watch our Facebook page for updates in July!

More information on this international festival is available at

www.kathaumixw.org.

Fred Lokken with the first place award from Kathaumixw 2008

CHORUS NEWS

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