Chancellor: Richard Telfer Provost: Beverly Kopper College of Arts & Communication Dean: Mark McPhail Associate Dean: Robert Mertens
Director: Ken Kohberger Development Director/Assistant Director: Ben Strand Technical Director: David Nees Audience Services Manager: Michael Morrissey Marketing Director: Leslie LaMuro Coordinator of Education & Outreach: Shannon Dozoryst Office Manager: Malinda Hunter Mission Statement Young Auditorium serves as a presenting organization for the performing arts and as an educational and cultural center enriching the lives of the campus and regional communities. Vision Statement Young Auditorium: Artstanding in Creativity, Artstanding in Collaboration, Artstanding in Education, Artstanding in its Field. Non-Profit Status Young Auditorium is a non-profit organization under Section 115 of the Internal Revenue Code. A Note To Our Patrons: • Latecomers will be seated at the first convenient interval at the discretion of the audience services staff. • Patrons are requested to turn off pagers, cellular telephones, and hourly signaling watches during the performances. • Photography or video/audio recording of the performance is strictly prohibited. • No smoking, food, or beverages are allowed in the theater. • Personal hearing enhancement devices are available at the gift shop. • No state tax revenue supported the printing of this program.
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THE BR A MBLETT MEMORIAL CHA MBER SERIES The Bramblett Memorial Chamber Series was created in 1998 to honor the memory of our dear friend and colleague Jerry Earl Bramblett who served on the music department faculty from 1973-1994, the year he passed away. He was a vital force in the Music Department, not only throughout his many performances, but also in the musical excellence he expected from this students and from the department in general. As a solo pianist and chamber music collaborator, he presented over 300 recitals on campus, as well as throughout Wisconsin and elsewhere in the U.S. A dedicated teacher, he was greatly respected by his students. To those of us who knew and heard Jerry perform, it was when he was performing in the chamber music setting that his true genius as an artist was realized. With Jerry’s dedication and artistry as our inspiration, the series seeks to actively promote and bring high-level chamber music to the campus to enrich the cultural environment of the University and the community. Former chancellor Greenhill wrote: “He was a vigorous performer, teacher and scholar whose energies and musicianship provided a model of professionalism for his students.” Bramblett 2011-12 Samaritan John & Sandra Heyer Advocate Robert & Marion Burrows Ed & Kay Drexler Ann Bramblett Fowler David & Kathy Granum H. Gaylon & Hannah Greenhill Richard & Kathy Haven Frank Hanson & Linda Kimball Geraldine & Robert Jennings
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Milo & Joan Jones Carole Scharinger Richard & Ruth Schauer Betty Schoonover Chuck & Barb Taylor Dean & Shirley Taylor Richard & Veronica Telfer Karen Wilberg Donor Dennis & Margaret Rohrs Friend Lynn & Cheryl Binnie Rollin & Nancy Cooper M. Virginia Epps Rick & Jeanine Fassl
Frank & Carolyn Ferriano Glenn & Christine Hayes Ken Kohberger Richard & Judy Owens Gordon & Helen Parks Susan & Thomas Stanley Miles A. & Nancy Stejskal Carleen & Arthur VanderKoy Robert Wright & Elizabeth Asher Lowell & Maureen Youngs Other Mary Godfrey
TUESDAY, APRIL 10, 2012 • 7: 30 PM
Sponsored by
And Glory Shone Around
A Tapestry of Early American Spiritual Songs, Ballads and Dances Improvisation Bozrah
Mark Dietrich (b. 1967) Anonymous, The Southern Harmony (1854)
Harps of Welcome Give Good Gifts Pretty Home
Anonymous, Shaker Music (1875) Anonymous, Original Shaker Music (1893) Sister Patsy Williamson (1849)
Still Water La Bastringue/A San Malo a Bord de Mer Peace and Joy
Hastings, A Selection of Spiritual Songs (1878) traditional Acadian dances Anonymous, Original Shaker Music (1893)
He is My Guide (1907)
Charles Gabriel (1856-1932)
Niel Gow’s Lament on the Death of his 2nd Wife Niel Gow (1727-1807) Seinn O-Oran Luaidh Trad. Scottish Gaelic Milling Song (Cape Breton) King Alcohol (tune: King Andrew, 1834) Hutchinson Fam. Singers, Temperance Glee, 1843 Scotch Cap John Playford (1623-1686) Juice of Barley (tune: Stingo or Oyle of Barly) The Sweet By and By (1868)
Joseph P. Webster (1819-1875) Intermission
The Great Day
John P. Rees , The Southern Harmony (1854)
Wayfaring Stranger Cold Frosty Morning Jordan’s Shore
Anonymous, The Original Sacred Harp (1936) traditional American White, The Southern Harmony (1854)
He Mo Leannan Ho Mo Leannan
Trad. Scottish Gaelic Milling Song (Cape Breton)
Cape Breton medley (March/Strathspey/Reels) Traditional Puirt-a-beul (March/Strathspey/Reel) Trad. Scottish Gaelic Mouth Music (Cape Breton) Drive the Cold Winter Away
John Playford
There is a Balm in Gilead Jesus the Light of the World
American spiritual (descant arr. M. Mason, b. 1952) American melody ca. 1890,, arr. Geo. D. Elderkin
This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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ROSE ENSEMBLE Jordan Sramek, Founder/Artistic Director
Soprano...........................................................................................Kathy Lee, Kimberly Sueoka Alto................................................................................................ Lisa Drew, Linda Kachelmeier, Kris Kautzman (early flute) Tenor................................................................................... Nicholas Chalmers, Jordan Sramek Bass..............................................Mark Dietrich (Native American flute), Daniel Mahraun, David Burk (guitar, gourd banjo, mandolin) / Ginna Watson (harp, fiddle) / Greg Hippen (bass) ABOUT THE ROSE ENSEMBLE Founded in 1996 and based in Saint Paul, The Rose Ensemble reawakens the ancient with vocal music that stirs the emotions, challenges the mind and lifts the spirit. Each season, the group illuminates several centuries of rarely heard repertoire, bringing to modern audiences research from the world’s manuscript libraries and fresh perspectives on history, languages, politics, religion, and world cultures and traditions. With nine critically acclaimed recordings and a diverse selection of concert programs, The Rose Ensemble has thrilled audiences across the United States and Europe with repertoire spanning 1,000 years and over 25 languages, including new research in European, Middle Eastern and American vocal traditions. The musicians of The Rose Ensemble have received acclaim for their ability to sing both as an ensemble and as individual soloists, while director Jordan Sramek has been lauded for diverse programming and ground-breaking research. The Rose Ensemble is the recipient of the 2005 Margaret Hillis Award for Choral Excellence 4 Young Auditorium
A B O U T T H E R O S E E N S E M B L E ( c o n t .) and Jordan Sramek is the 2010 recipient of the Chorus America Louis Botto Award for Innovative Action and Entrepreneurial Zeal. Currently presenting over 75 performances each year, The Rose Ensemble is recognized as a leader and innovator in the North American choral/vocal music scene. Recent prestigious U. S. appearances include Trinity Wall Street Series (NYC), the Musical Instrument Museum (Phoenix), Cornell University, Luther College and the National Gallery in Washington, D.C. The Rose Ensemble can be heard regularly on American Public Media and the European Broadcasting Union and was recently featured in special live broadcasts on Radio France, Chicago Public Radio, Vermont Public Radio and NPR’s Performance Today. The group’s latest recording, Il Poverello, is a diverse collection of medieval and Renaissance vocal and instrumental music honoring the life and legacy of Saint Francis of Assisi. www.RoseEnsemble.org PROGR A M NOTES Program Notes, Texts and Translations All program notes by Jordan Sramek (unless otherwise noted) Improvisation............................................................................................. Mark Dietrich (b. 1967) SOLO: Mark Dietrich, Native American flute As a special way of honoring the Native Peoples that came before the British colonists, Mark begins our program in a way that recognizes the original early music played on American soil. May we always remember who came before us, and always consider who will follow us. Bozrah.....................................................................Anonymous, The Southern Harmony (1854) Source: William Walker, The Southern Harmony, and Musical Companion (Philadelphia, 1854) TRIO: Nicholas Chalmers, Mark Dietrich, Lisa Drew In order to fully appreciate how the religious seasons would have been celebrated in early American times, it is important to separate ourselves somewhat from our contemporary traditions. Advent, for example, is now celebrated as the time leading up to Christ’s birth, but from a liturgical perspective it is actually the season appropriated by the Church to remind the faithful of Christ’s second coming. In this spirit, Bozrah’s haunting melody and prophetic text speak of Christ’s death and his role as redeemer of his people. Who is this that comes from far, With his garments dipp’d in blood, Strong, triumphant traveler Is he man, or is he God? I that reign in righteousness, Son of God and man I am; Mighty to redeem your race, Jesus is your Saviour’s name. “Wide, ye heavenly gates unfold, Closed no more by death and sin; Lo! the conquering Lord behold; Let the King of glory in.”
Hark! th’ angelic host inquire, “Who is he, th’ almighty King?” Hark again! the answering choir Thus in strains of triumph sing: “He whose pow’rful arm alone On his foes destruction hurled; He who hath the victory won; He who saved a ruined world; He who God’s pure law fulfilled; Jesus the incarnate Word, He whose truth with blood was sealed; He is heaven’s all-glorious Lord. Young Auditorium 5
P R O G R A M N O T E S ( c o n t .) Harps of Welcome................................................................. Anonymous, Shaker Music (1875) Source: Frederick William Evans, Shaker Music (Albany, 1875) DUET: Kathy Lee, soprano; Ginna Watson, harp Frederick William Evans (1808-93), reformer, editor, and Shaker elder, was born in Leominster, England. Having been influenced by the Owenites and a group of freethinkers and reformers in England, he sailed to the USA in 1820 with family members, and (with his brother) edited several publications devoted to radical reform. After visiting a Shaker community in Lebanon, NY, he became a member and spent 57 of his last 63 years with the community as an elder. A born leader and natural orator, he became one of the nation’s most influential Shaker leaders and published much on this topic, including the collection hymns in which this Shaker hymn is found: Shaker Music: Inspirational Hymns and Melodies Illustrative of the Resurrection Life and Testimony of the Shakers. We would greet our kindred true, and your life with strength renew; Break ye waves of joy in music, let the harps of welcome ring! Love, rejoicing and thanksgiving, we with happy spirits bring;
Many blessings we’re possessing, these we freely would impart. May the wealth of deep affection bind more closely heart to heart. Oh receive the love we bring, while the harps of welcome ring.
Give Good Gifts......................................................Anonymous, Original Shaker Music (1893) Source: The North Family of Mt. Lebanon Col. Co., N.Y., Original Shaker Music (1893) QUARTET: Mark Dietrich, Linda Kachelmeier, Kathy Lee, Jordan Sramek Give good gifts one to another, Peace, joy and comfort gladly bestow; Harbor no ill ‘gainst sister or brother, Smooth life’s journey, as you onward go. Broad as the sunshine, free as the flowers, So shed an influence, blessing to prove; Give for the noblest of efforts your powers; Blest and be blest, is the law of love. Pretty Home.................................... Sister Patsy Williamson (Pleasant Hill, Kentucky, 1849) Source: Donald W. Patterson, The Shaker Spiritual (Princeton, 1976), arr. based on a performance by the Boston Camerata; additional verses by the Boston Camerata. SOLO: Lisa Drew Sister Patsy Williamson was an African-American Shaker from Pleasant Hill Kentucky about whom little is known. This striking melody clearly defines Williamson as a composer steeped in the American spiritual tradition, while the text’s earthy longing exemplifies humanity’s hunger for God. Oh, my pretty Mother’s home, sweeter than the honey in the comb. Come love, pretty love, come, come, come. Come love, pretty love, I want some. Oh, my pretty Father’s home, sweeter than the honey in the comb... Oh, my pretty Saviour’s home, sweeter than the honey in the comb...
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P R O G R A M N O T E S ( c o n t .) Still Water......................................................................................................................Thos. Hastings Source: A Selection of Spiritual Songs (NewYork, 1878) QUARTET: Mark Dietrich, Linda Kachelmeier, Kristine Kautzman, Jordan Sramek Still Water represents a musical and spiritual movement to bring the city-dwelling faithful back in touch with the folk roots of Anglo-American Christianity. Our interpretation of this lovely little ditty holds fast to the rhythmic strength of the poetry, but our addition of guitar and fiddle perhaps gives a glimpse of what would become “Old Time Music.” Oh, tell me, thou life and delight of my soul, Where the flock of thy pasture are feeding; I seek thy protection, I need thy control, I would go where my Shepherd is leading.
Ah, when shall my woes and my wanderings cease, And the follies that fill me with weeping? Thou Shepherd of Israel, restore me that peace, Thou dost give to the flock thou art keeping.
Oh, tell me the place where thy flock are at rest, Where the noontide will find them reposing; The tempest now rages, my soul is distressed, And the pathway of peace I am losing.
A voice from the shepherd now bids me return By the way where the footprints are lying; No longer to wander, no longer to mourn: And homeward my spirit is flying.
La Bastringue / A San Malo a Bord de Mer..............................traditional Acadian dances TRIO: Ginna Watson, fiddle / David Burk, guitar, Greg Hippen, bass Peace and Joy....................................................... -Anonymous, Original Shaker Music (1893) Source: The North Family of Mt. Lebanon Col. Co., N.Y., Original Shaker Music (1893) SOLO: Kim Sueoka Awake for the angels are gath’ring near, Whispering peace and joy, Gathering near Christ’s blessing to bring; Let nothing that boon destroy. Refrain 1: Happy are they who gather these gifts, Fresh from the heav’ns the soul to uplift. Oh, then let us gain ev’ry Christian grace, Whate’er the toil and strife, Thus forming here a household of faith The fruit of the virgin life. Refrain 2: Let us sing with the angels in glad accord, Peace and joy are the gifts of the Lord.
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P R O G R A M N O T E S ( c o n t .) He is My Guide (1907)................................................................... Charles Gabriel (1856-1932) Source: The Finest of the Wheat: Hymns New and Old for Missionary and Revival Meetings (Chicago, 1890) TRIO: Nicholas Chalmers, Kristine Kautzman, Greg Hippen I know not what before my lies; God kindly veils the distant skies. I trust His love, he knoweth best; His way will lead me into rest
Refrain 1: He is my guide, He knows the way; He safely keepeth me from day to day. Just as my Savior wills, my path shall ever be; For oh, I know he leadeth me!
Niel Gow’s Lament on the Death of his 2nd Wife........................... Niel Gow (1727-1807) DUET: Ginna Watson, fiddle / David Burk, guitar “They lived together thirty years. She died two years before him and left no issue” (GowColl). Seinn O-Oran Luaidh..............................Trad. Scottish Gaelic Milling Song (Cape Breton) SOLO: Kristine Kautzman Notes from Cape Breton song scholar Mary Jane Lamond: This milling song, or waulking song (as they are known in English in Scotland), is very typical in its poetic themes and styles for this kind of work song. Gaelic songs tend not to narrative by nature, rather using a series of images to paint a picture. The woman in the song begins by using the common motif of describing herself alone and depressed and goes on to describe how happy she was with her darling at the summer pasture. Like many of songs of the Gaelic folksong tradition this song is anonymous and could have been composed anywhere between the 17th century to the early 19th century when it was brought over to Nova Scotia. It was collected in the Christmas Island area of Cape Breton which was settled almost exclusively by people from the Outer Hebridean Islands of Barra and South Uist. Sèist: Chorus: Seinn o ho rò seinn Sing o ho rò sing SEINN O HO RÒ LEANNAIN SING O HO RÒ DARLING Seinn o ho rò seinn Sing o ho rò sing Gura muladach sgìth mi I AM SAD AND WEARY ‘S mi leam fhìn an tìr m’aineoil Alone in an unknown land Cha b’ionnann mar bha mi MY CIRCUMSTANCES ARE UNLIKE Man do dh’fhàg mi ‘m Bràigh Raineach They were before leaving Rannoch Moor Le m’phiuthar ‘s le mo bhràthair WITH MY BROTHER AND SISTER Cead bhith mànran ri m’leannan And had permission to dally with my sweetheart Ann am bothag an t-sùgraidh IN THE LITTLE HUT OF LOVEMAKING ‘S e ba dùnadh dhi barrach Its entrance was closed with brush tops Ann an Eilean nan Leòdach Far am pòs gach caileag ‘Se bu leaba dhuinn luachair ‘S e bu chluasag dhuinn canach
IN THE ISLE OF LEWIS Where every girl will wed OUR BED WAS RUSHES Our pillow was bog cotton
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P R O G R A M N O T E S ( c o n t .) Seinn, o ho rò, Ruairidh Bidh daoin-uasal’ air do bhanais
SING, O HO RÒ, RORY Noblemen will attend your wedding feast
Seinn, o ho rò, Thormaid Fhir nan gorm-shùilean meallach ‘S ged nach bi mi ‘ga innse ‘S ann an Ile tha mo leannan ‘S ged nach bi mi ‘ga ràidhtinn Thug mi gràdh dhut ‘s mi ‘m leanabh
SING, O HO RÒ, NORMAN Of the blue beguiling eyes ALTHOUGH I WON’T REVEAL IT My sweetheart dwells in Islay ALTHOUGH I WON’T SAY IT I have loved you since I was a child
King Alcohol (tune: King Andrew, 1834)......................................Hutchinson Fam. Singers, Temperance Glee, 1843 Text source: The Granite Songster; Boston: A.B. Hutchinson; New York: Charles Holt, Jr., Publisher TRIO: Nicholas Chalmers, Daniel Mahraun, Jordan Sramek King Alcohol has many forms by which he catches men, He is a beast of many horns and ever thus has been. For there’s rum, and gin, and beer, and wine, And brandy of logwood hue. And hock, and port, and flip combine To make a man look blue. He says be merry, for here’s good sherry, And Tom and Jerry, Champagne and Perry And spirits of every hue, Oh are not these a fiendish crew As ever a mortal knew? King Alcohol is very sly, a liar from the first, He’ll make you drink until you’re dry, then drink because you thirst, For there’s rum, and gin, and beer, and wine.... King Alcohol has had his day, his kingdom’s crumbling fast, His votaries are heard to say, “Our tumbling days are past.” For there’s no rum, nor gin, nor beer, nor wine, Nor brandy of any hue, Nor hock, nor port, nor flip combined To make a man get blue. And now they’re merry without their sherry, Or Tom and Jerry, Champagne and Perry, Or spirits of any hue. And now they are a temperate crew As every a mortal knew; And now they are a temperate crew And have given the devil his due! Scotch Cap (instrumental)..............................................................John Playford (1623-1686) Juice of Barley (tune: Stingo or Oyle of Barly) Source: The English Dancing Master (1651) SOLOS: Nicholas Chalmers, Kathy Lee, Kimberly Sueoka Come, and doe not musing stand, if thou the truth discerne, But take a full cup in thy hand, and thus begin to learne – Not of the earth, nor of the ayre, at evening or at morne – But joviall boyes your Christmas keep, with the little Barly-Corne. ‘Twill make a weeping widow laugh, and soon incline to pleasure; ‘Twill make an old man leave his staffe, and dance a youthfull measure: And though your clothes be ne’er so bad, all ragged, rent and torne, Against the cold you may be clad with the little BarlyYoung Auditorium 9
P R O G R A M N O T E S ( c o n t .) Corne. ‘Twill make a miser prodigall, and shew himself kind hearted; ‘Twill make him never grieve at all, that from his coyne hath parted; ‘Twill make a shepheard to mistake his sheepe before a storme; ‘Twill make the poet to excel; this little BarlyCorne. It is the neatest serving man to entertaine a friend; It will doe more than money can all jarring suits to end: There’s life in it, and it is here, ‘tis here within this cup, Then take your liquor, doe not spare, but cleare carouse it up. The Sweet By and By (1868)................................................... Joseph P. Webster (1819-1875) SOLO: Jordan Sramek There’s a land that is fairer than day, And by faith we can see it afar. For the Father waits over the way, To prepare us a dwelling place there.
We shall sing on that beautiful shore, The melodies songs of the blest. And our spirits shall sorrow no more, Not a sigh for the blessing of rest.
Refrain: In the sweet by and by, We shall meet on that beautiful shore. The Great Day...................................................................................................................John P. Rees Source: The Southern Harmony, and Musical Companion (Philadelphia, 1854) SOLO: Linda Kachelmeier I’ve a long time heard that there will be a judgment, that there will be a judgment in that day. O, there will be a judgment in that day, Oh! sinner, where will you stand in that day? I’ve a long time heard that the sun will be darkened, that the sun will be darkened in that day. O, the sun will be darkened in that day, Oh! sinner, where will you stand in that day? I’ve a long time heard that the moon will be bleeding, that the moon will be bleeding in that day.
O, the moon will be bleeding in that day, Oh! sinner, where will you stand in that day? I’ve a long time heard that the stars will be falling, that the stars will be falling in that day. O, the stars will be falling in that day, Oh! sinner, where will you stand in that day? I’ve a long time heard that the earth will be burning, that the earth will be burning in that day. O, the earth will be burning in that day, Oh! sinner, where will you stand in that day?
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P R O G R A M N O T E S ( c o n t .) Wayfaring Stranger........................................Anonymous, The Original Sacred Harp (1936) SOLO: Mark Dietrich This famous American “folk-song” is perhaps best known in the form made popular by John Jacob Niles (1892-1980). Niles very likely found the tune in B.F. White’s The Sacred Harp (1909), but he altered the melody and rhythm considerably. Versions of the text appear as early as J. Bever’s The Christian Songster (1858), but the text as it is traditionally sung was first published in 1891 by Charlie D. Tillman. Tillman reportedly transcribed the song from his own father’s singing. The melody exists in a number of conflicting versions (many, curiously for the modern ear, employing major tonality!). Here, we present the text in the form that has been traditionally sung since Niles’s publication and the melody in Dye’s modal harmonization, which shows the influence of Walker and the Southern shape-note tradition. I am a poor, wayfaring stranger, While journ’ying thru this world of woe, Yet, there’s no sickness, toil nor danger, In that bright land to which I go. I’m going there to see my Father, I’m going there no more to roam;
I know dark clouds will gather o’er me, I know my way is rough and steep; Yet beaut’ous fields lie just before me, Where God’s redeemed their vigils keep. I’m going there to see my Mother, She said she’d meet me when I come;
Refrain: I’m only going over Jordan, I’m only going over home.
I want to wear a crown of glory, When I get home to that good land; I want to shout salvation’s story, In concert with the bloodwashed band. I’m going there to meet my Savior, To sing His praise forevermore;
Cold Frosty Morning.................................................................................... traditional American TRIO: Ginna Watson, fiddle; David Burk, gourd banjo; Greg Hippen, bass Jordan’s Shore................................................................. White, The Southern Harmony (1854) SOLO: Jordan Sramek The Southern Harmony, and Musical Companion is a hymn book compiled by William “Singin’ Billy” Walker, first printed in Philadelphia in 1835, and is part of the larger tradition of shape note singing. It contained 335 songs, went through several editions (with songs being added and removed periodically), and became possibly the most popular southern tunebook in the 19th century. Walker claimed his 1867 edition sold over 600,000 copies. The roots of Southern Harmony singing (like the Sacred Harp), are found in the American colonial era. The traditional practice of shape note singing calls for the hymns to be sung without instruments, allowing the voice alone to carry the melody. Indeed, even the word “harp” in the title of the famous shape note collection The Sacred Harp refers to the voice, not the actual instrument. However, it is important to consider that many melodies in these collections were originally folk tunes, which were then harmonized and given new religious texts. Similarly, the tunes and texts in such collections surely were not “protected” from then being utilized by other singing traditions. Our performance of Jordan’s Shore reflects this idea, with the notes and words being used from the shape note source, but featuring an array of instruments and a decidedly “Kentucky” flair. On Jordan’s stormy banks I stand, and cast a wishful eye To Canaan’s fair and happy land, where my possessions lie. Refrain: On the other side of Jordan, hallelujah! Young Auditorium 11
P R O G R A M N O T E S ( c o n t .) Oh, the transporting rapt’rous scene that rises to my sight! Sweet fields array’d in living green, and rivers of delight. O’er all those wide extended plains shines one eternal day; There God the Son forever reigns and scatters night away. When shall I reach that happy place, and be forever blest? When shall I see my Father’s face, and in his bosom rest? Fill’d with delight, my raptured soul would here no longer stay; Though Jordan’s waves should round me roll, I’d fearless launch away. He Mo Leannan Ho Mo Leannan.................................... Trad. Scottish Gaelic Milling Song (Cape Breton) SOLO: Linda Kachelmeier Notes from Cape Breton song scholar Mary Jane Lamond: This song is a fine example of the slightly risqué nature of this genre of song. As women were doing this work amongst other women, they obviously felt quite free to express themselves. This genre often talks of lovers and love-making and its survival and continued popularity clearly demonstrate how Victorian morals and prudishness did not greatly affect the Gaelic song tradition. He mo leannan, hó mo leannan ‘S E MO LEANNAN A’ FEAR ÙR He mo leannan, hó mo leannan ‘S e mo leannan a’ fear bàn A dheidh’adh an àird a bhàrr an t-siùil ‘S e mo leannan a’ fear laghach ‘S tu mo roghainn, thaghainn thu ‘S galair na’s miosa na’n déideadh Air an tè thug bhuam mo rùn Nar meal i ‘n gùn ùr ‘s a’chiste Na na shuidheas air a glùin Nar meal i ‘n curraic na’n cleòca Nar meal i ‘n t-oigear na ‘s mù ‘S tric a chaidh mi leat dha ‘n tobar Cha tugadh sinn dhachaidh drùdh ‘S tric a chaidh mi leat dha ‘n bhàthaich Sneachda na b’ àirde na glùin ‘S tric a chaidh mi leat dha ‘n t-sabhal Fodar fodhainn ‘s bhos ar cinn
He my love, ho my love MY LOVE IS THE NEW FELLOW He my love, ho my love MY LOVE IS THE FAIR-HAIRED LAD Who’d go right to the top of the ship’s mast MY LOVE IS THE PLEASANT LAD You’re my choice, I would select you A PLAGUE WORSE THAN THE TOOTHACHE On the girl sho took my love from me LET HER BE WITHOUT A NEW GOWN IN HER CLOTHES CHEST And without what would sit on her knee LET HER BE WITHOUT CAP AND CLOAK And especially let the young man be denied to her OFTEN I WENT WITH YOU TO THE WELL We wouldn’t bring home a drop of water OFTEN I WENT WITH YOU TO THE COW-BYRE With snow up higher than the knee OFTEN I WENT WITH YOU TO THE HAY-BARN Ther would be hay above and below us
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P R O G R A M N O T E S ( c o n t .) ‘S leabaidh bheag an cùl a’ chidsin Far ‘m bu tric bha mise ‘s tu
AND THE LITTLE BED AT THE BACK OF THE KITCHEN You and I would often be there together
‘S nuair a bhiodh càch na laighe Dh’fhosg’linn dhut an uinneag chùil
WHEN THE OTHERS HAD GONE TO SLEEP I would open the back window for you
Cape Breton medley (March/Strathspey/Reels) ..................................................Traditional DUET: Ginna Watson, fiddle / David Burk, guitar MacKinnon’s Marching Tune (March) Devil in the Kitchen (Strathspey) Hamish the Carpenter (Reel) Cape Breton Wedding Reel (aka John of Badenyon) Puirt-a-beul (March/Strathspey/Reel)........................ Trad. Scottish Gaelic Mouth Music (Cape Breton) DUET: Kim Sueoka and Kathy Lee, soprano Notes from Cape Breton song scholar Mary Jane Lamond: The rather silly words of this genre of songs are chosen for their percussive value and their ability to imitate the bowing of the fiddle or the fingering of the bagpipes. No one really knows where they came from or when this style came into being. Some people theorize that they came into popularity after the Reformation when the playing of traditional music was frowned upon. Others believe they may have come into style due to laws imposed by the English on the Scottish Highlanders, which proscribed some Gaelic traditions, after some Jacobean uprisings, between the mid-1600’s and mid 1700’s. Neither theory is likely to be proven or disproven entirely and, in any case, they were traditionally used to teach children tunes and are sung for step-dancers to dance to when no piper or fiddler is available. A sheana-bhean bhochd CHA’N FHALBH THU AN NOCHD A sheana-bhean bhochd CHA’N FHALBH THU AN NOCHD A sheana-bhean bhochd CHA’N FHALBH THU AN NOCHD Neo idir moch a maireach Thig am fidhleir an nochd ‘S bheir i sgrìob air a’ phort THIG AM FIDHLEIR AN NOCHD ‘S bheir i sgrìob air a’ phort THIG AM FIDHLEIR AN NOCHD ‘S bheir i sgrìob air a’ phort ‘S GED A DH’FHALBHADH E AN DIUGH THIG E MAIREACH
Poor old woman YOU WON’T GET ANY TONIGHT Poor old woman YOU WON’T GET ANY TONIGHT Poor old woman YOU WON’T GET ANY TONIGHT Or even early tomorrow THE FIDDLER WILL COME TONIGHT And she’ll try out the tune THE FIDDLER WILL COME TONIGHT And she’ll try out the tune THE FIDDLER WILL COME TONIGHT And she’ll try out the tune AND THOUGH HE’LL GO TODAY, HE’LL RETURN TOMORROW
Calum Crùbach as a’ ghleann Lame Malcolm from the glen CUM THALL NA CAORAICH UILE KEEP ALL THE SHEEP OVER THERE Calum Crùbach as a’ ghleann Lame Malcolm from the glen CUM THALL NA CAORAICH KEEP THE SHEEP OVER THERE Cum thall, na toir a nall Keep over there, don’t take over here CUM THALL NA CAORAICH UILE KEEP ALL THE SHEEP OVER THERE Cum thall, na toir a nall Keep over there, don’t take over here CUM THALL NA CAORAICH KEEP THE SHEEP OVER THERE Young Auditorium 13
P R O G R A M N O T E S ( c o n t .) ‘S iomadh rud nach saoil sibh There are many things you wouldn’t expect ‘S A’ MHUILINN DUBH, ‘S IN THE BLACK MILL, IN THE BLACK MILL A’ MHUILINN DUBH ‘S iomadh rud nach saoil sibh There are many things you wouldn’t expect ‘S A’ MHUILINN DUBH O SHAMHRAIDH IS IN THE BLACK MILL SINCE THE SUMMER TIME Tha ‘m muilinn dubh air thuraman The black mill is moving around THA ‘M MUILINN DUBH AIR THURAMAN THE BLACK MILL IS MOVING AROUND Tha ‘m muilinn dubh air thuraman The black mill is moving around ‘S E TOGAIRT DOL A DHANNSA AND WE EXPECT TO GO DANCING Tha nid na circe-fraoiche The nest of the grouse ‘S A’ MHUILINN DUBH, ‘S IN THE BLACK MILL, IN THE BLACK MILL A’ MHUILINN DUBH Tha nid na circe-fraoiche The nest of the grouse ‘S A’ MHUILINN DUBH O SHAMHRAIDH IS IN THE BLACK MILL SINCE THE SUMMER TIME Tha ‘m muilinn dubh air thuraman THA ‘M MUILINN DUBH AIR THURAMAN Tha ‘m muilinn dubh air thuraman ‘S E TOGAIRT DOL A DHANNSA
The black mill is moving around THE BLACK MILL IS MOVING AROUND The black mill is moving around AND WE EXPECT TO GO DANCING
Drive the Cold Winter Away ................................................................................... John Playford Source: The English Dancing Master (1651) SOLO: Jordan Sramek All hayle to the dayes, That merite more praise, then all the rest of the years: And welcome the nights, That double delights, as well the poore as the peere: Good fortune attend, Each merry man’s friend, that doth but the best that he may: Forgetting old wrongs, With Carrols and Songs, to drive the cold winter away. ‘Tis ill for a mind, To anger inclind, to ruminate injuries now: If wrath be to seeke, Do not let her they cheeke, nor yet inhabite thy brow. Crosse out of those books, Malevolent looks, both beauty and youthes Decay: And spend the long night, In honest delight, to drive the cold winter away. This time of the yeare, Is spent in good Cheare, kind neighbours together meet: To sit by the fire, With friendly desire, each other in love to greet:: Old grudges forgot, Are put in the Pot, all sorrowes aside they lay: The old and the yong, Doth Caroll his Song, to drive the cold winter away. There is a Balm in Gilead.................................................................................American spiritual (descant arr. M. Mason, b. 1952) SOLOS: Nick Chalmers, Daniel Mahraun Chorus: There is a balm in Gilead to make the wounded whole There is a balm in Gilead to heal the sin-sick soul. Sometimes I feel discouraged and think my work’s in vain, but then the Holy Spirit revives my soul again. If you cannot preach like Peter, if you cannot pray like Paul You can tell the love of Jesus and say He died for all. Don’t ever be discouraged for Jesus is your friend, And if you lack of knowledge He’ll ne’er refuse to lend.
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P R O G R A M N O T E S ( c o n t .) Jesus the Light of the World...............traditional American melody, arr. Geo. D. Elderkin Music source: The Finest of the Wheat: Hymns New and Old for Missionary and Revival Meetings (Chicago, 1890) QUARTET: Mark Dietrich, Linda Kachelmeier, Kathy Lee, Jordan Sramek Near the end of the 19th century, the simple but infectious music of the revival tents and missionary halls began to overshadow the traditional folksongs that had once dominated the sacred and secular worlds. They feature characteristically simple melodies, catchy rhythms and the refrains are easy to remember. Just one time through a verse/refrain would enable huge masses to begin singing along. Perhaps you yourself might care to join in right now‌ For the beauty of the earth, (Jesus the Light of the World) For the love which from our birth, (Jesus the Light of the World) Refrain: We’ll walk in the Light, beautiful light. Come where the dewdrops of mercy are bright. Shine all around us by day and by night, Jesus the Light of the World. For the glory of the skies, (Jesus the Light of the World) Over and around us lies. (Jesus the Light of the World) For the beauty of each hour, (Jesus the Light of the World) Hill and vale, and tree and flower. (Jesus the Light of the World) Of the day and of the night, (Jesus the Light of the World) Sun and moon, and stars of light. (Jesus the Light of the World)
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T H A N K YO U
Thank you to all of our sponsors and supporters for the 2011-12 Season! SEASON SPONSORS
CORPORATE SPONSORS
MEDIA SPONSORS
GRANTS UW System Institute on Race & Ethnicity
PREFERRED CATERING
SPECIAL RECOGNITION The Richard H. Driehaus Charitable Lead Trust 16 Young Auditorium
PREFERRED LODGING
ADDITIONAL SUPPORT
SATURDAY, APRIL 21, 2012 • 7: 30 PM Sponsored by:
HAL HOLBROOK in “Mark Twain Tonight!”
The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest. Local sponsorship supported is provided by Fort HealthCare, American Family Insurance, The Janesville Gazette and the Jefferson County Daily Union.
Acknowledgements: Eydie Strand, Strand’s on the Floor, Whitewater/Terry Williamson, Goodrich Hall Antiques/Milton Barry Luce, Fargo Mansion Inn, Lake Mills/Randy Otto This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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PROGR A M NOTE: While Mr. Twain’s selections will come from the complete list below, we have been unable to pin him down as to which of them he will do. He claims it would cripple his inspiration. However, he has generously conceded to a printed program for the benefit of those who are in distress and wish to fan themselves. SELECTION SOURCE Compliments Collection...................................................................................... Miscellaneous Chaucer, Sailor, Tennessee Girl........................................................................... Miscellaneous Slow Train, Long Dog............................................................................. Following the Equator Charity, Reform, Cats.............................................................................................. Miscellaneous My Cigar Habit......................................................................................................... Miscellaneous The Marienbad Cure.............................................................................................................. Essays A Cyclopedia of Sin................................................................................................ Miscellaneous Smoke Rings............................................................................................................. Miscellaneous A Moral Pauper........................................................................................ Following the Equator Hunting the Water Closet.................................................................. Mark Twain’s Notebook Virginia City................................................................................................................... Roughing It Shoveling Sand............................................................................................................ Roughing It The Ant................................................................................................................... A Tramp Abroad The Great Landslide Case......................................................................................... Roughing It The Lord Will Provide.......................................................................................... Autobiography The German Opera............................................................................................ A Tramp Abroad A Genuine Mexican Plug.......................................................................................... Roughing It San Francisco........................................................................................................... Miscellaneous Crippling the Accordion.................................................................................................Sketches The Anarchist Story.........................................................................................................Speeches Baker’s Bluejay..................................................................................................... A Tramp Abroad The Sweet Bye and Bye..................................................................... Essays: The Invalid Story His Grandfather’s Old Ram................................................................ Mark Twain’s Notebook Congress: The Grand Old Asylum.................................................................... Miscellaneous The Press..............................................................................................................................Speeches Down There in Washington................................................................................ Miscellaneous Running For President.......................................................................................... Miscellaneous The Sandwich Islands................................................................................................ Roughing It The Italian Guide.............................................................................................Innocents Abroad My Encounter With an Interviewer.............................................................................Sketches Accident Insurance..........................................................................................................Speeches The Supreme Art......................................................................................Letters from the Earth White Suit............................................................................................................................Speeches Requesting a Hymn Book...................................................................Mark Twain in Eruption Money is God..................................................................................................................Notebooks Decay in the Art of Lying....................................................................Essays & Miscellaneous Advice to Youth.................................................................................................................Speeches Taming the Bicycle................................................................................................................. Essays The Evolution of Man.................................................................................................... Biography Insanity: Elections, War and Petrified Opinions.......................................... Miscellaneous Huck and Jim...................................................................................................... Huckleberry Finn Shooting of Boggs........................................................................................... Huckleberry Finn Huck, Jim and ‘Lizbeth.................................................................................... Huckleberry Finn Huck’s Conscience............................................................................................ Huckleberry Finn Lost in the Fog................................................................................................... Huckleberry Finn Lynching and China............................................................................................................... Essays A Helluva Heaven....................................................................................Letters from the Earth Slavery: A Holy Thing.......................................................................................... Autobiography Man, That Poor Thing.................................................................................................... Biography 18 Young Auditorium
P R O G R A M ( c o n t .) Noah’s Ark..................................................................................................Letters from the Earth Chief Love.................................................................................................Mark Twain in Eruption The Creator’s Pet......................................................................................Letters from the Earth The War Prayer......................................................................................... Europe and Elsewhere The Christian Bible................................................................................................. Miscellaneous Circumstances........................................................................................Mark Twain In Eruption Our Civilization...................................................................................................... Autobiography A Ghost Story.............................................................................................................. Short Stories Sunrise on the River............................................................................... Life On the Mississippi The Get Rich Quick Disease................................................................................ Miscellaneous The Thin Skin.......................................................................................... Mark Twain’s Notebook The Virgin Mary..........................................................................................Ladies Home Journal Praying for Gingerbread.................................................................................... Autobiography Boyhood on the Farm......................................................................................... Autobiography Taking Along the Window Sash.................................................................Innocents Abroad My Trained Presbyterian Conscience............................................................ Autobiography How I Stole My Name.............................................................................Life on the Mississippi Livy............................................................................................................................ Autobiography How to Be Seventy...........................................................................................................Speeches My Ancestor Satan.................................................................................................... Short Stories The Hartford Home...............................................................................................................Letters Susy’s Prayer........................................................................................................... Autobiography Halley’s Comet................................................................................................................. Biography Mary Ann.............................................................................................................................Speeches INTERMISSION: Two? Or One MUSIC: A trombone player was engaged, but is unreliable and should not be expected. NO DOGS ALLOWED IN THE DRESS CIRCLE ***** Production Supervisor................................................................................... Richard Costabile Assistant to Mr. Holbrook........................................................................................ Joyce Cohen Exclusive Tour Direction....................................Klaus W. Kolmar, The Booking Group, Inc. The Television Special of HAL HOLBROOK in MARK TWAIN TONIGHT! is now available on video by calling 1-800-458-5887. No audio or video transmitting or recording device of any kind shall be used in any manner to reproduce artist’s performance. Violators will be prosecuted to the full extent of the law. Due to financial cutbacks in funding for the arts, the Mark Twain Project at Berkeley, which houses Mark Twain’s papers, may have to curtail its activities. This is perhaps the most ambitious publishing enterprise in the annals of American literature, issuing scholarly editions of Mark Twain’s work which include a wealth of newly discovered material. If you would like to help the Mark Twain Project continue its exciting research and publication, please send a tax-deductible contribution to: The Mark Twain Project, 480 Library, University of California, Berkeley, California 94720. Make checks payable to “The Friends of the Bancroft Library.” Thank you. --Hal Holbrook
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HAL HOLBROOK Hal Holbrook was born in Cleveland in 1925, but raised mostly in South Weymouth, Massachusetts. His people had settled there in 1635 and were, according to his grandfather, “some kind of criminals from England.” His mother disappeared when he was two, his father followed suit, so young Holbrook and his two sisters were raised by their grandfather. It was only later he found out that his mother had gone into show business. Holbrook, being the only boy, was sent away at the age of 7 to one of the finer New England schools to make a man of him. He was beaten regularly by a Dickensian headmaster who, when forced to retire, committed suicide saying “he could no longer live without boys.” When he was 12 he was sent to Culver Military Academy, where he discovered acting as an escape from his disenchantment with authority. He was not the model cadet, but he believes the discipline he learned at Culver saved his life. In the summer of 1942 he got his first paid professional engagement playing the son in The Man Who Came To Dinner at the Cain Park Theatre in Cleveland at $15.00 per week. That fall, he entered Denison University in Ohio, majoring in Theatre under the tutelage of his lifelong mentor, Edward A. Wright. World War II pulled him out of there and put him into the Army Engineers for three years. The Mark Twain characterization grew out of an honors project at Denison University after the War. Holbrook and his first wife, Ruby, had constructed a two-person show, playing characters from Shakespeare to Twain. After graduation they toured the school assembly circuit in the Southwest doing 307 shows in thirty weeks and traveling 30,000 miles by station wagon. On winter mornings in the Texas panhandle they opened their trunks to find frost on the costumes. Their audiences ranged widely in age, were often unruly, and they learned to survive on stage or perish. Holbrook’s first solo performance as Mark Twain was at the Lock Haven State Teachers College in Pennsylvania in 1954. While hunting for a job in New York, the show was his desperate alternative to selling hats or running elevators to keep his family alive. By then he had a daughter, Victoria.
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That same year, fortune struck by way of a steady engagement on a daytime television soap opera, The Brighter Day, but the following year Holbrook pursued the Twain character at night in a Greenwich Village night club while doing the soap daytimes. In seven months at the club he developed his original two hours of material and learned timing. He memorized lines for the soap opera on the rear platform of the 7th Avenue subway train between 104th Street and Sheridan Square. Finally, Ed Sullivan saw him and gave his Twain national television exposure. In 1959, after five years of researching Mark Twain and honing his material in front of countless audiences in small towns all over America, he opened at a tiny theatre off-Broadway in New York. His overnight success was as stunning to Holbrook as everyone else. “The critics went wild.” (Associated Press). “Mr. Holbrook’s material is uproarious, his ability to hold an audience by acting is brilliant.” (New York Times). “Uncanny. A dazzling display of virtuosity.” (The New Yorker). “One of the treasures of the American Theatre.” (Life Magazine). The white hope of the family had finally arrived. Holbrook quit the soap opera. After a twenty-two week run in New York he toured the country again, performed for President Eisenhower and at the Edinburgh Festival. The State Department sent him on a tour of Europe, during which he became the first American dramatic attraction to go behind the Iron Curtain following World War II. He was a star who had never appeared in a Broadway play, a nighttime television show or a movie. He was 35 years old and had to jump start a new career. When David Merrick offered him co-star billing with Robert Preston playing an 80-year old Mexican bandit in a new Broadway musical, Holbrook turned it down in favor of younger roles, concerned that he would be typecast as an old man. He played Hotspur in Henry IV, Pt. I at the Shakespeare Festival Theatre in Stratford, Connecticut; then Lincoln in Abe Lincoln In Illinois off-Broadway. In 1963 he joined the original Lincoln Center Repertory Company in New York appearing in Marco Millions, After the Fall, Incident at Vichy and Tartuffe. Word got around that he could act his own age. Starring roles on Broadway came along:
H A L H O L B R O O K ( c o n t .) The Glass Menagerie, The Apple Tree, I Never Sang For My Father, Man of La Mancha, Does A Tiger Wear A Necktie? with the young Al Pacino. Meanwhile, he continued to do Mark Twain every year and in 1966, on Broadway, his second New York engagement won him a Tony Award and a Drama Critics’ Circle Award followed in 1967 by a ninety-minute CBS television special of Mark Twain Tonight! which was nominated for an Emmy Award and seen by an audience of 30 million. In 1970, after a dozen plays in New York, he was brought to Hollywood to star in a controversial television series, The Senator, which won 8 Emmy Awards and was cancelled in one year. But his new career had taken off. In the 42 years since then Mr. Holbrook has done some 50 television movies and mini-series, been nominated for 12 Emmys and won 5 for The Senator (1971), Pueblo (1974), Best Actor Of The Year (1974), Sandburg’s Lincoln (1976), and as host and narrator of Portrait Of America (1989). He has appeared in two sitcoms: Designing Women and Evening Shade, and has made guest appearances on West Wing, the sitcoms Becker and Hope & Faith, The Sopranos, NCIS, ER, Sons of Anarchy and The Event. Holbrook’s movie career began with The Group in 1966 when he was 41 years old. Since then, moviegoers have seen him in more than 40 films including Magnum Force, Midway, All The President’s Men, Capricorn One, The Fog, Creepshow, Wall Street, The Firm, Men of Honor, The Majestic, Into the Wild for which he received an Academy Award nomination, That Evening Sun, Flying Lessons (premiered at the 2010 Santa Barbara Film Festival), Good Day For It (premiered at the 2011 Sonoma International Film Festival), Water for Elephants and in December 2011 he completed filming on Steven Spielberg’s latest project on Abraham Lincoln. Throughout his long career, Holbrook has continued to perform Mark Twain every year, including his third and fourth New York engagements in 1977 and 2005; and a world tour in 1985, the 150th anniversary of Mark Twain’s birth, beginning in London and ending in New Delhi. And he has constantly returned to the stage: in New York (Buried Inside Extra, 1983; The Country
Girl, 1984; King Lear 1990; An American Daughter, (1997); at regional theatres (Our Town, Uncle Vanya, Merchant Of Venice, King Lear, A Life In The Theatre, Be My Baby and Southern Comforts, the last two with his wife Dixie Carter); and a National Tour of Death Of A Salesman. But Holbrook has never been able to quit Mark Twain and probably never will. He has toured the show in some part of every year since 1954 – giving his 2234th performance in November 2011 – making 2012 the 58th consecutive year for this remarkable one man show. Mark Twain Tonight! has become perhaps the longest running show in theatre history. Holbrook adds to his Twain material every year, editing and changing it to fit the times and has mined over sixteen hours of Twain with more coming all the time. He has no set program – he chooses material as he goes along. Holbrook is a sailor. In June 1980, he competed in the Single-handed Transpac Race from San Francisco to Hawaii in his 40foot sailboat, Yankee Tar, sailing 2400 miles alone. With one or two friends or his wife, Dixie, he has sailed through the South Pacific to Tahiti, Samoa, the Tongas, New Zealand and the Fiji Islands. Holbrook has received Honorary Doctor of Humanities Degrees from Ohio State and the University of Hartford, an Honorary Doctor of Humane Letters from Ursinus College, an Honorary Doctor of Letters from Elmira College and Honorary Doctor of Fine Arts Degrees from Kenyon and his alma mater, Denison University. In 1996 he received the Edwin Booth Award; in 1998 the William Shakespeare Award from The Shakespeare Theatre, Washington, DC; in 2000 he was inducted into the New York Theatre Hall of Fame; in 2003 received the Nat’l Humanities Medal from the president; and in 2010 a medal from the American Academy of Arts and Letters. In September 2011, Harold, the first of two volumes of Holbrook’s memoirs was published. He continues to work on the second volume, covering the years since Harold ended. He lives in Los Angeles and Tennessee, and with his late wife, actress/ singer Dixie Carter, has five children.
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The Madison Area Coalition of Reason presents
FREETHOUGHT FESTIVAL 2012
April 27-29 University of Wisconsin, Madison
P. Z. MYERS
ANNIE LAURIE GAYLOR
SEAN FAIRCLOTH
KEVIN PADIAN
and numerous others
Admission is Free! Register online today at:
FreethoughtFestival.Org
M E M B E R S 2 011- 2 012 Director’s Council James R. Connor Lolita Kachel Francine L. Pease Director’s Circle Ron & Ann Abele James & Julie Caldwell Robert & Yvonne Fiskum David & Kathy Granum H. Gaylon & Hannah Greenhill John & Sandra Heyer Mark McPhail Kenneth & Dorothy Otting Julian & Anne Stinson Chuck & Barb Taylor Richard & Veronica Telfer Ambassador Craig & Bonnie Anderson Richard & Kathy Haven Dawn & Lyle Hunter Mitzi Joseph Ken & Susie Kidd Ken Kohberger Dr. Beverly Kopper Everett & Ellen Long Craig Matzinger Earl & Susan Paddock Dennis & Margaret Rohrs Carole Scharinger William & Marlyne Seymour Richard & Judy Triebold Elmer Werhane Patron Forrest Bright Robert & Marion Burrows Winona Campbell James Carlson Rollin & Nancy Cooper Jo Coulthart Donna G. Fox Jack & Betty Frawley Thomas Grotelueschen Ginny Hall Glenn & Christine Hayes Jean J. Hermsen John & Nancy Hoffmann Geraldine & Robert Jennings Doris Jones Mary Kenne Arthur Kolb & Dorothy Kopp Orville & Carol Larson Nels & Gloria Madsen Rowland & Audrey McClellan Michael & Jean Morrissey Margaret Mueller John & Arlene Newhouse Mark & Germaine Olm Terry & Arlene Ostermeier Jerry & Jan Palzkill Gordon & Helen Parks Anthony & Lenore Pavlick Lyn & Mary Kay Piatt
Mary Hill-Roth & Ted Roth Jim & Sue Schlough Jerry & Bunny Schoen Betty Schoonover Lewis & Kathleen Scott Cynthia Smith Ben Strand & Kari Borne Dean & Shirley Taylor Donald & Marjorie Triebold Pamela & David Van Doren David Veith Vivian & Fred Welch Robert Wright & Elizabeth Asher Karl & Doris Zahn Supporter Curtis & Diane Abendroth Helmut & Martha Ajango Stanley & Ann Alger Rod Anderson Julia Armstrong Michael & Karen Atwood Steve & Pam Barnes Bob & Cindy Barry Patricia & Thomas Bauhs Thomas & Christine E. Beckman Dale Benson Frank & Steph Beran Bruce Bertelsen James & Ginger Best Lynn & Cheryl Binnie Ron & Marilyn Binning Bryan Bishop Elizabeth Blumberg Bill & Karen Bohn Jean Bourenske Paul & Nancy Breitsprecher Myra Brien Merrilyn Britzke James Bronson & Peggy Kuchen Kevin Brunner & Nancy Blake Brunner Susan Burkhardt Mary Beth Byrne Patricia Caldwell Gerald & Lois Caslavka Ann Chester Steve Cline Mr. & Mrs. Cohen Marilyn & Richard Coogan Lou Ann Covi Antionette Czebotar Dean & Bonnie Dahnert Jacqueline Dailey Corey Davis Joan Dedolph Audrey & Christian Gatz Nancy & Leo Geidel Mary Godfrey Norm & Polly Godfrey Barry & Margo Goldberg Karla Goodman
Kathy & Jim Gross Skip & Carna Grover Robert Gruber Carol Guequierre Mark Gustafson & Su Ash Gustafson Elizabeth Haenisch Hans & Carla Hahn Margaret Hancock Diane Hanson Marian A. Hanson John & Jean Henderson Mark Hildebrand Susan Hiscox Lloyd & Daphne Holterman Gene & Charlotte Huntley Helene Hurdis Martha Johnson Richard & Susan Kaja Debra & Ken Kirkeby Sybil Klug Sharon & Jeff Knight Bob & Gloria Knipschild Paul & Sue Kremer Irene Labonne Leota & Steve Larson Laura Lester Luann Livingston Dr. Steven & Larissa Lyon Connie & Alan Marshall Tom & Donna Marshall Edwin Mathews Sandra Matson Jeffrey McKinney Rosemary Metzdorff Jim & Carol Miller Bob Mischka Charles & Carolyn Mowbray Barry Mullen Marie Northey Lois O’Brien Tom & Mary Oehler Kim & Denise O’Keefe Michael & Marie Olson Richard & Judy Owens Larry & Mary Peiffer Astrid Peterson Kirke & Elaine Plank Donna Rice Dale & Colleen Riggs John & Julie Ripley James Rogers Dick & Julie Ruhe Daniel Sable Dennis & Mary Salverson Kathleen Salzwedel Doug & Karen Saubert Alice Scherer Ervin Schlepp Jean Schollmeier Dennis & Evelyn Schulz Robert & Sharon Schweitzer Roger & Helen Shimon Tom & Sue Short Larry & Edie Simons Young Auditorium 23
M E M B E R S 2 011- 2 012 ( c o n t .) Patrick & Luly Snyder Thomas Spiegelhof Barbara Stallman Dave & Bonnie Stanley Dennis & Eva Stanton David & Cheryl Stedman Ann & Howie Stiff Lee Stoneking David & Merri Stoneman Charles Taggart Patricia Townsend Russell Treiterer Yvonne Treiterer Richard & Arlene Trewyn Angel & Chris Tullar Marc & Nancy Turner Ron & Sandra Van Able Carleen & Arthur VanderKoy John & Darlene Varnes Mary Lynn & Dennis Vogel John & Lila Waldman Donald Werdin & Carol Christ Oneida L. Wheeler Eda Wilson Rod & LaVonne Wittwer Jack & Ella Woodbury Mark & Peggy Wuenstel
June Yantis Charles & Barbara Zidek Contributor Jackie Amundson & Dean Zweifel Susan & George Bauer Carl W. & Melba Bradberry Donald & Constance Brick Wendy Brown Carol Christ George & Harriet Christopherson John Finney Margaret & Dale Fose Edward Groshan Richard Haney Donna J. Heid Eleonora Jedrysek Henry Kenyon Kristin Koeffler Dr. & Mrs. Robert Koenitzer Steven Landfried Nancy Leinius Marie Martin Barbara McGlynn Susan Mealy
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A N N UA L A P P E A L D O N O R S 2 011-12 William & Joyce Albright Jackie Amundson & Dean Zweifel Kathleen & John Anzivino Bryan Bishop Bill & Karen Bohn Helen Brady Kevin Brunner & Nancy Blake Brunner Jerome Bump Dale Carson Ceranske Property Management, LLC Ann Chester Tom & Karen Christofferson Peter & Katherine Conover Rollin & Nancy Cooper Tom & Colletta Cornelius John & Margo Crummey Maureen & Rodger Darling Violet De Wind Cindy Dean Karen Ehnert Daniel Fettig First Citizens State Bank Audrey & Christian Gatz Mary Anne & Jacob Gerlach Norm & Polly Godfrey Walter & Donna Golbuff Margo & Barry Goldberg Timothy Green H. Gaylon & Hannah Greenhill 24 Young Auditorium
Blanche Grum Diane Hanson Margaret Janovetz-Casey Eleonora Jedrysek Geraldine & Robert Jennings Kurt Kadow Kristin Koeffler Mitchell & Lisa Kopnick William Kutz Beverly Lackey Laura Larrabee Will & Jeannine Larson James Leaver Doris McGraw Diane & William McKoy James McLeer Mary Kaye Merwin George & Barbara Mischio R.K. & Cheryl Mitby Henry Mol Gerald Murray Jeanette Nelson-Milleson John & Arlene Newhouse James & Elizabeth Oertel Kenneth & Dorothy Otting Jerry & Jan Palzkill Robert Reilly & Ann Pedder Reilly Dale & Colleen Riggs James and Marie Rubietta Daniel Sable
James & Cheral Sadler Cathryn Samson Kathleen Schmidt Betty Schoonover Dennis & Evelyn Schulz Robert & Diane Schwab Elver & LaVay Scott Tom & Sue Short Jean Sickels Donald Skalla Dave & Bonnie Stanley Susan & Thomas Stanley Jeanine Stauffacher David & Merri Stoneman John & Donna Surinak Julie & Atlee Svanoe Chuck & Barb Taylor Patricia Townsend Donald & Marjorie Triebold Turners Art & Frame Gallerie Randall & Julie Upton Pamela & David Van Doren Victoria-On-Main Bed & Breakfast Richard & Kathryn West Les & Charlotte West Ruth Whitmore Donald & Shirley Wickersheimer Donald & Gail Wolf David & Marcia Yochum