T H E S T.

O L A F C H O I R
A N T O N A R M S T R O N G C O N D U C T O R

2015 Winter Tour

 The St. Olaf Choir 20141 5
ANTON ARMSTRONG, CONDUCTOR B.J JOHNSON, MANAGER
SOPRANO I
Elysa Bond, Reading, Mass.
music
Amy Erlandson, Maplewood, Minn.
music
Katherine Knutson, Lakeville, Minn.
music/mathematics/statistics/
Nordic studies
Myrtle Lemon, Grand Haven, Mich.
music
Samantha Noonan, Lincoln, Neb.
music performance
Emma Ostby, Spicer, Minn.
mathematics
Samantha Rude, Kaukauna, Wis.
biology
Sophie Sparrow, Winchester, Mass.
biology
Sarah Stevens, Rochester, Minn.
economics/statistics/management
studies
Kate Wellenstein, Madison, Wis.
history
SOPRANO II
Meredith Arevalo, Brookfield, Wis.
nursing
Laina Bennett, Palm Harbor, Fla.
music/management studies
Chloe Elzey, Menasha, Wis.
music performance
Charlotte Elwell, Jupiter, Fla.
physics
Lauren Hahn, Pittsford, N.Y.
music education
Sarah Hammel, Decorah, Iowa
music performance
Hannah Herndon, Peachtree City, Ga.
music/English/womens and
gender studies
Siri Keller, Minneapolis, Minn.
music education
Danielle Long, OFallon, Ill.
music performance
Natalia Romero, Katy, Texas
music education
ALTO I
Maria Coyne, Atlanta, Ga.
music performance
Ingrid Elzey, Menasha, Wis.
Norwegian
Emma Haupt, Davidson, N.C.
church music/music
performance/Spanish
Katherine Jardon, Red Oak, Iowa
music education
Sophia Magro, Champaign, Ill.
music education/psychology
Mary Kate Maney, Western Springs, Ill.
music
Alexandra Mauney, Greenville, S.C.
church music
Kat Middeldorp, Northfield, Minn.
music performance
Emily Nyberg, Shoreview, Minn.
music performance
Kirsten Overdahl, Fort Wayne, Ind.
music performance/chemistry
winter tour 2015 1
ALTO II
Natalie Aloi, Rocky River, Ohio
biology
Kjerstin Anderson, Oak Park, Ill.
English/visual arts
Alyssa Boehnlein, Atlanta, Ga.
music/mathematics
Wenie Lado, Milwaukee, Wis.
music performance
Jessica Lawdan, Mundelein, Ill.
music education
Vanessa Lpez, Moorpark, Calif.
music education
Eleanor Mears, Wellesley, Mass.
music/management/media studies
Emily Nelson, Portland, Ore.
biology/nursing
Leah Suffern, New Haven, Conn.
economics/environmental studies
Amy Turner, Plymouth, Minn.
physics
TENOR I
Matthew Bock, Bemidji, Minn.
music performance
William Holt, Tyler, Texas
music
JW Keckley, Carl Junction, Mo.
music performance
Greg Martin, Winter Park, Fla.
music performance
Kaya Petersen, Lakeville, Minn.
chemistry/Asian studies
Gabe Smith, Decorah, Iowa
music
Jacob Sorrells, Weaverville, N.C.
music
Zach Westermeyer, Falcon Heights, Minn.
music/mathematics
TENOR II
David H. Anderson, Littleton, Mass.
church music/music performance
Charlie Baird, New Canaan, Conn.
music
Webster Crist, Billings, Mont.
biology/Nordic studies
John Holmstrom, Savage, Minn.
music
Aaron Kohrs, Northbrook, Ill.
music education
Colin Krueger, Oak Park, Ill.
music/history/management studies
Tucker Moore, Minneapolis, Minn.
music
Abraham Rusch, Davisburg, Mich.
church music
Jocque Warner, New Richmond, Wis.
music education
BASS I
Brandon Berger, Worthington, Minn.
music education
Erik Berthelsen, Northfield, Minn.
economics
Phil Biedenbender, New Ulm, Minn.
music theory/composition
Alex Gerleman, Marion, Iowa
music education
Nathaniel Hendrix, Edmonds, Wash.
music education
Harrison Hintzsche, DeKalb, Ill.
music performance
David Koser, Austin, Minn.
biology
Andrew Parr, Metuchen, N.J.
music education
Duncan Tuomi, Portland, Ore.
music education
BASS II
Jason Curtis, Cape May, N.J.
music performance
David DeLuca, Burlington, Mass.
philosophy/psychology
Jacob Fossing, Excelsior, Minn.
music education
Andrew Horton, Lake Forest Park, Wash.
music
Erik Jones, Andover, Minn.
mathematics
Michael Pearce, Wayzata, Minn.
mathematics
Adrian Rossing, Menasha, Wis.
computer science/statistics
Sebastian Surom, Iowa City, Iowa
music/philosophy
Charlie Tapio, Falcon Heights, Minn.
chemistry
PIANO
Phil Biedenbender, New Ulm, Minn.
music theory/composition
Aaron Kohrs, Northbrook Ill.
music education
PERCUSSION
Alex Gerleman, Marion, Iowa
music education
Tucker Moore, Minneapolis, Minn.
music
Adrian Rossing, Menasha, Wis.
computer science/statistics
ST. OLAF DEPARTMENT OF MUSIC
Alison Feldt, chair
Kent McWilliams, vice-chair
MUSIC ADMISSIONS
Mary Hakes, coordinator
OFFICE OF MUSIC ORGANIZATIONS
B.J. Johnson, manager
Terra Widdifield 95, assistant manager
Kevin Stocks 02, assistant director for
marketing and promotion
Mary Davis, performance librarian/
mechanical rights administrator
Christine Hanson 06, assistant to music
organizations
Tim Wells, administrative assistant
Ramsey Walker 14, marketing assistant
Denotes section leader
Officers and management
A Finely Tuned Instrument
For more than a century, the St. Olaf Choir has brought its
message of hope and faith to audiences around the world.
More than 25 years after taking the reins of the St. Olaf
Choir, Anton Armstrong 78 jokes that hes still the
new conductor.
Never mind that he has now exceeded the length of time
his predecessor, Kenneth Jennings 50, led the renowned
ensemble. Or that, like Jennings, he has guided an
organization steeped in tradition into a new era.
In its 103-year history, the St. Olaf Choir has had just four
conductors. Each has built upon the foundational ideals of
sharing choral music that stirs the souls of listeners. Each
has worked tirelessly to expand the choirs outreach and
sound, globally and culturally. And all have been deeply
beloved, legendary figures on campus.
So Armstrong can understand if some people, especially
those who can recall the magic of singing under one of
his predecessors, still think of him as new. He wrote his
doctoral monograph on the history of the St. Olaf Choir,
studying closely the first three conductors repertoire and
pedagogy and the ensembles impact on the world of choral
singing. Doing that research meant that when Armstrong
was invited to lead the choir, he knew he was inheriting a
finely tuned instrument with a firmly rooted legacy.
Yet its an instrument that is constantly changing,
Armstrong says. One of the things I gathered from my
own research and study of the choir is that each conductor
has built on the traditions of those who preceded him, and
then worked to open new doors.
ST. OLAF CHOIR CONDUCTORS: 19122015
Each conductor has built on the traditions of those who preceded him, and then worked to open new doors. Anton Armstrong
F. Melius Christiansen Olaf Christiansen 25
191243 194168
2 st. olaf choir
In recent years, the St. Olaf Choir, which celebrated its
centennial in 2012, has flung those doors wide open.
The ensemble is a leader in the international music
community, performing at the White House in 2005,
touring extensively abroad, and regularly collaborating
with ensembles such as the Minnesota Orchestra, Saint
Paul Chamber Orchestra, VocalEssence, Cantus, the
American Boychoir, and Magnum Chorum. Some of the
finest choral ensembles in the country, Armstrong notes,
look to the St. Olaf Choir as a pacemaker in repertoire and
vocal pedagogy.
While F. Melius Christiansen established the ensembles
standard of excellence when he founded the St. Olaf Choir
and his son, Olaf Christiansen, cemented its legacy, its
the work of Jennings and Armstrong that has taken the
St. Olaf Choir into a modern age.
IN THE BEGINNING
When F. Melius Christiansen came to St. Olaf in 1903 he
was tasked with leading a group of instrumentalists, not
vocalists. He quickly shaped those musicians into the
remarkable performing ensemble that is today the St. Olaf
Band. At the same time, Christiansen who had extensive
musical training and had led several choral ensembles
in Minneapolis was asked to lead a choir at St. Johns
Lutheran Church in Northfield. As that choir prepared to
take its first tour throughout the Midwest in the spring
of 1912, it officially changed its name to the St. Olaf
Choir. The following year, the choir toured Norway and
Kenneth Jennings 50 Anton Armstrong 78
196890 1990present
Members of the 1930 choir on board a ship to Norway,
where 40,000 people gathered to welcome them.
established a tradition of bringing its music
around the world. Few schools at the time
toured nationally or internationally, and
doing so helped the choir build its
reputation as a stellar choral ensemble.
Christiansen chose spiritually profound
music, aiming to reacquaint listeners with
the churchs heritage of chorales and
a cappella music. His high performance
standards pushed his musicians to perfect a tone that was
disciplined, controlled, and free of vibrato. That sound in 1953 just three years after he graduated to join
perfectly in tune, controlled in pitch, smooth in delivery the music faculty. Jennings returned to St. Olaf with the
became the hallmark of the St. Olaf Choir. The ensembles understanding that Olaf Christiansen planned to have
rich sound did not disappoint the sophisticated listeners him serve as the choirs assistant conductor during its
who gathered to hear the choir as it continued to tour upcoming 1955 tour of Norway.
across the country and in Norway, impressing audiences
THE CHOIR EVOLVES
and critics alike.
After graduating from St. Olaf, Jennings earned a master
A LASTING LEGACY of music degree from the Oberlin Conservatory of Music
Olaf Christiansen, a 1925 graduate of St. Olaf, succeeded and a doctor of musical arts degree from the University
his father as conductor of the St. Olaf Choir in 1943, and of Illinois. He conducted both the Manitou Singers and
while its tempting to say that he simply continued what Chapel Choir during his early years on campus. When it
his father had begun, thats not entirely true. came time to choose a successor to Olaf Christiansen in
1968, the process was simple, Jennings says.
Olaf Christiansen was an accomplished musician in his own
right, having studied sacred music at Union Theological Olaf called me into the office and said, Wed like you to
Seminary and founding the Oberlin Conservatorys become the new conductor of the St. Olaf Choir, Jennings
a cappella choir before taking the helm of the St. Olaf Choir. recalls, noting that the offer was a bit of a shock. He told
Christiansen hed need time to think it over and was given
Olaf Christiansen remained deeply committed to ensuring
a day. Jennings accepted, of course, ending the 65-year-long
the St. Olaf Choir retained its purity of tone while exploring
era of the Christiansens leading the choir.
new genres and interpretations of music. He added
contemporary songs, more Renaissance music, and Until Jenningss appointment, the St. Olaf Choir had largely
American folk hymns to the repertoire of traditional performed a smaller, art songlike repertoire, with shorter
church chorales. pieces such as motets and anthems. Jennings had his own
ideas of how to shape the choirs sound. I thought that the
The late Ronald Nelson '49, who sang in the choir
repertoire had been a little bit narrow, and there was a lot
for three-and-a-half years, recalled, "we had some
more music interesting music around, and I looked
spellbinding moments under his direction. Olaf could
communicate, in very inconspicuous ways, every bit of
for it, he says.
emotion and tempo and
any other dynamic that
he was wanting. It was a
fantastic experience to
sing under him.
Nelson shared that
experience with Kenneth
Jennings, a second tenor
who would return to St. Olaf
Olaf Christiansen with the choir in
New Yorks Philharmonic Hall during
his final tour in 1968.
winter tour 2015 3

The choirs 75th anniversary tour of Asia in 1986 helped expand its global reach.
The choir began performing larger choral works, including
oratorios, masses, and passions, under Jenningss
leadership. He also included more 20th-century works,
with a focus on historically informed renditions. Jennings
retained much of the a cappella repertoire the Christiansens
had established, but also introduced a handful of musical
instruments as accompaniment, opening the door for full
orchestral collaborations in the future.
Jennings also favored a freer vocal tone for the choir.
Under Olaf Christiansen, choir members stood in a
U-shape and sang toward other members of the ensemble.
Jennings used wider and deeper risers that enabled singers
to hear themselves better, sing more freely, and direct their
energy toward the audience. I opened it up because I
thought we needed to sing to the people, not to ourselves,
he says.
Under Jennings, the choir developed what one reviewer
described as a more vibrant, warm tone a resonant,
lively, brilliant sound that rings with vitality and conviction.
Jennings coaxed his students to reach their highest
musical potential with a quiet leadership style and a
graceful form of conducting that appeared as though he
was sculpting the sound with his hands.
He was soft-spoken. You had to be almost silent to hear
what it was he wanted from you, says former choir
member Martha Kunau 90. He was able to bring very
young voices together, knowing what it was we could do
and then inspiring us to a higher level, producing a sound
as a choir that perhaps none of us thought was possible.
Jennings also expanded the choirs global reach. The
St. Olaf Choir celebrated its 75th anniversary with a tour
of Asia in 1986, and in 1988 it was one of only five choirs
in the world invited to participate in the Olympic Arts
Festival in Seoul, South Korea.
Throughout his tenure, Jennings affirmed his belief that
art does not stand still. He exposed the choir to Asias
oral-based musical traditions and the cultures of Eastern
Europe at a time when the Berlin Wall was coming down.
4 st. olaf choir
A NEW CENTURY
Jennings also paved the way for Armstrong, who began his
tenure in 1990, and who has further expanded the choirs
repertoire and added more flavor to its signature sound.
Armstrongs vast knowledge of the music he works with
and his ability to articulate his vision to singers and
audiences alike has enabled him to take the St. Olaf Choir
to the next level. He gets beyond whats on the page, what
the texts are, and elevates it so that youve made art, says
Karin Laine McMillen 94, who sang in the choir for three
years under Armstrong.
As a student at St. Olaf, Armstrong sang in the choir for
two years under Jennings before attending graduate school
at the University of Illinois and Michigan State University.
He returned to St. Olaf after a decade at Calvin College in
Grand Rapids, Michigan.
The choirs repertoire under Armstrong has become
increasingly multicultural, including music of the Pacific
Rim, Africa, and Latin America. He has added Australia,
New Zealand, the United Kingdom, and Ireland to its
tour annals, while also emphasizing a more historically
informed interpretation of musical origins. At the same
time, he cultivates the choirs rich traditions, most notably
with 2005 and 2013 tours to Norway, during which two
PBS Christmas specials were filmed.
The palate is more colorful and broader now, Armstrong
says. It retains the characteristic sound it had under the
Christiansens, but now its not just salt and pepper. There
are a lot of spices in it.
Under Armstrong, the St. Olaf Choir has also begun to
move. Members of the ensemble sway back and forth
with the music during certain pieces. Sometimes its
choreographed, and other times its simply an expression
of what theyre feeling. If Kenneth freed up the voice,
maybe Anton freed up the body, wrote Joseph Shaw 49,
professor emeritus of religion at St. Olaf and the author of
The St. Olaf Choir: A Narrative.
The ensemble continues to receive acclaim under
Armstrongs direction as well. In 2013 the St. Olaf Choir
was named one of four finalists in the prestigious European
Broadcasting Unions Choral Competition. American Public
Media, a member of the European Broadcasting Union,
chose St. Olaf to be its sole American representative to the
competition.
With an annual national tour and trips abroad every four
years, the St. Olaf Choir continues to bring its message
of hope and faith to listeners around the world. While
Armstrong is the current link in a chain of strong leaders
who have shaped the choir, its really the students who
THE GREAT BREAKOUT TOUR OF 1920
The St. Olaf Choirs first east coast tour established Another critic for the Herald Examiner wrote: It is a group
its reputation on the national music scene. of young people, all of them letter-perfect, pitch-perfect,
tone-perfect, text-perfect in the most difficult classical
When St. Olaf Choir manager P.G. Schmidt began planning
choral music Their concert was one of the rarest
the ensembles first tour to the east coast, he took on a
expositions of the superlative in choral singing.
monumental task: bringing to the leading cities east of
the Mississippi an unknown group of singers from the Copies of the favorable Chicago reviews were sent ahead to
Minnesota prairies. the other cities on the itinerary, which resulted in surprisingly
well-attended concerts as the choir made their way to the
Schmidt later wrote of the trip: I believe this was one of the
east coast through cities including Pittsburgh, Washington,
most difficult assignments I have ever had. The men I talked
D.C., Baltimore, and Philadelphia. Excitement mounted with
with were very considerate and kind, but I felt they were also
each performance, until the group finally reached New Yorks
more or less skeptical.
Carnegie Hall. Choir member Leola Bergmann later recalled
Nevertheless, an ensemble of 32 women and 20 men left the historic concert:
Northfield, Minnesota, with Schmidt and their conductor,
Martin Hanson saw the lights lower over three
F. Melius Christiansen, on April 5, 1920. The groups first
thousand listeners, heard the comments of the critics
stop was Orchestra Hall in Chicago, where the choir sang to
during the intermission, and then rushed backstage
a full and enthusiastic house, according to The St. Olaf Choir:
with a beaming face. The critics are wild, the critics
A Narrative, by St. Olaf Professor Emeritus of Religion Joseph
are wild! Christiansen and the choir had made it.
Shaw 49.
New York had listened and liked it, liked it very much.
After the concert, an Evening Post critic wrote: In my recol-
On its way home, the choir, preceded by its newly earned
lection there has been no a cappella choir in America which
reputation, performed in Rochester and Buffalo, N.Y., and
would compare with these young singers from Minnesota.
Cleveland, Akron, and Toledo, Ohio. According to Shaw, the
crowds grew to the point where many had to be turned away.
have carried the ensembles legacy from one generation to
the next.
The conductor gives inspiration, but also receives it from
the choir. You hear no sound from my hands, Armstrong
says. It comes from all those wonderful souls who have been
part of the choir and who have contributed in some way.
For many of those students, singing in the St. Olaf Choir
serves as a transformative experience that will remain with
them for a lifetime.
Singing at such a high level allowed us to transcend the
music on the page, to reach out to audiences, to convey a
message of faith, and to use our gifts in a joyful, incredibly
moving manner, Kunau says. When you sing with a
community like that, you understand the power music has The 2005 St. Olaf Choir performs at the White House for President
to convey things that the spoken word doesnt. Geoge W. Bush and guests to commemorate the National Day of Prayer.
winter tour 2015 5
BEYOND MUSIC
For 25 years, Anton Armstrong 78
has led a generation of Oles in
passionate singing, extraordinary
music, and much more.
6 st. olaf choir
Body, mind, spirit, voice it takes the whole person to sing and
rejoice. Now in his 25th year of conducting the St. Olaf Choir,
Armstrong offers his singers this mantra that he learned from his
mentor Helen Kemp, professor emerita of voice and church music
at Westminster Choir College.
Armstrong, who was just 22 when he met Kemp, credits her as
one of the most influential people in his life, shaping the way he
sees his calling as a vocal music educator and conductor. She
was instrumental in helping me form my understanding of being a
servant-artist-teacher, says Armstrong.
Kemp isnt the only person who has influenced Armstrong over
the years. He remembers a day when he was a teenager, living in
New York, and not being particularly excited about the prospect
of seeing the St. Olaf Choir in concert. I had friends going to a
Moody Blues concert at Madison Square Garden, Armstrong
recalls. I was dragged to a St. Olaf Choir concert at Lincoln Center
by my assistant pastor, who said, Youll love this choir. Boychoir School, St. Olaf College, the University of Illinois, and
That concert had a profound effect on Armstrong. A later visit to
campus convinced him that the warmth of the St. Olaf community
outweighed his distaste for Minnesota winters, and he enrolled at
the college. A member of the St. Olaf Choir as a student, Armstrong
knows both the commitment it takes to sing in the choir and the
investment it takes to lead those singers as a conductor.
TEACHING AND LEARNING
Armstrong's teaching style has changed since
he started his work as a conductor 37 years
ago. When I first began conducting and
teaching, I had a take-charge attitude, the
notion that the young people in front
of me were there to do my bidding,
he says. I see myself as a catalyst
now, someone who helps bring out
the best in them, as musicians and
as individuals. Keeping Kemps
mantra in mind, Armstrong strives
to create whole musicians, not
just musical moments.
Over the past quarter-century,
Armstrong has influenced
thousands of singers through
his work as a teacher, a teacher
of teachers, a conductor, and
a music editor. His gifts have
been recognized by Baylor University, which awarded him the
2006 Robert Frost Cherry Award for Great Teaching the single
largest monetary award given in the United States to an individual
for teaching. In 2007 Armstrong was the first recipient of the
Distinguished Alumni Award from the American Boychoir School,
and in 2009 he received the Distinguished Alumni Award from
Michigan State University. The St. Olaf Choir gained international
recognition in 2013, when it was named one of four finalists in the
European Broadcasting Unions Choral Competition.
In addition to his leadership of the St. Olaf Choir, Armstrong is the
artistic director of the St. Olaf Christmas Festival, an event that
requires year-round planning. He teaches vocal pedagogy for the
young singer, conducting classes, performance studies in voice,
and conducts the Collegiate Chorale (a non-auditioned womens
ensemble comprised of St. Olaf students, faculty, and staff). He is in
his 24th year as conductor of the Troubadours, the boys ensemble
of the Northfield Youth Choirs.
Armstrong also mentored students in Luther Seminarys Master of
Sacred Music conducting program (from 19902014) and serves
each summer as the music director of the Stangeland Family Youth
Choral Academy of the Oregon Bach Festival, a high school choral
program he founded in 1998. He is a graduate of the American
worthwhile here, and something that influences and benefits the
Michigan State University. He previously taught at Calvin College
in Grand Rapids, Michigan.
CHORAL CONNECTIONS
Armstrong is committed to sharing the experience that comes
from making truly beautiful choral art. He has traversed the globe
with engagements in locations ranging from New Zealand to Israel
and South America to Scandinavia. Along with St. Olaf Artist in
Residence Sigrid Johnson, Armstrong lectured at the 2008 and 2011
World Symposium on Choral Music and served as co-chair of the
artisitic committee for the 2014 World Symposium on Choral Music
held in Seoul, South Korea.
Armstrongs experience with international music has greatly
influenced the St. Olaf Choir. We are constantly examining
repertoire from a global perspective, but the core of our being is still
a proclamation of the Christian Gospel a message of faith, love,
and truth, says Armstrong. He says the choirs repertoire has grown
significantly during his 25 years as conductor, which has, in turn,
opened a world of music for our students, says Armstrong. It has
also helped influence the repertoire of other choirs, including the
popularity of South African freedom hymns and American gospel
music. You can now see it permeating throughout the fabric of the
greater choral community, he says.
Ongoing collaborations with other ensembles are a priority for
the choir, which has repeatedly partnered with ensembles such as
VocalEssence, the Minnesota Orchestra, the Saint Paul Chamber
Orchestra, and the American Boychoir.
winter tour 2015 7
Additionally, Armstrong provides choirs with new music through
his work as editor of the Anton Armstrong Multicultural Series of
Earthsong Publications and co-editor (with retired faculty colleague
John Ferguson) of the St. Olaf Choral Series, published by Augsburg
Fortress Publishers.
These collaborations and connections are a way to ensure that the
music Armstrong helps create with its powerful message of faith
and hope has ripple effects that reach beyond the boundaries of
St. Olaf College and its choir.
"I want the power of music that
Spirit to transform those who perform
and those who will hear the message."
Anton Armstrong
CONSISTENCY AND CHANGE
Armstrongs conducting philosophy has evolved over his 25-year
tenure, and the St. Olaf choral program has changed and grown,
too. Our entire choral program continues to be recognized with
greater acclaim at a national and international level, he says. That
pleases me because it means were still doing something thats
lives of others.
Armstrong credits the "incredible team of choral and vocal
colleagues" for the growth and quality of the St. Olaf choral program
as a whole. Weve moved away from the idea of a pecking order
in our choral program, he says. Instead, we focus more on the
function each choir serves. Im proud that we have over 600 young
people singing on this campus.
The college has changed during his tenure, too. Over the past 25
years, Armstrong has seen St. Olaf's academic reputation grow,
the faculty, staff, and student body become more diverse, and the
colleges orientation become more student-focused: "We really are
here to serve the best needs of the students. Their needs guide our
decisions in terms of hiring and the programming that takes place,"
he says.
And yet, for Armstrong, some things havent changed. I chose this
school 40 years ago because of the basic values of this community
a place that values hard work, a life of faith, and the content of
your mind and heart. I still believe those are essential aspects of
St. Olaf community, he says.
Armstrongs mission, and that of his predecessors, hasnt changed
either: "I want to get beyond entertainment; I want to make a
powerful difference, he says. I want the power of music that
Spirit to transform those who perform and those who will hear
the message. For me, that has been a very powerful reason for why
we do what we do."

Threes Company
Singing in the St. Olaf Choir is an accomplish-
ment for any singer. But being a member of the
choir with two of your siblings is remarkable.
Such is the case for Adrian Rossing 15, and his
sisters Chloe Elzey 15 and Ingrid Elzey 17 of
Menasha, Wis.
Adrian currently serves as the choirs student
manager and will graduate this spring with
a computer science major and a statistics
concentration. After graduation, he plans to
work as a software developer at C.H. Robinson
in Eden Prairie, Minn.
Chloe, the choirs soprano section leader, will
graduate with a major in vocal performance.
She plans to continue graduate studies in vocal
performance and pedagogy next year.
Ingrid plans to major in Norwegian with an
environmental studies concentration. She may
miss her older siblings after they graduate, but
she will still have the companionship of her
younger sister, Monika Elzey 18, a first-year
student at St. Olaf this year.
8 st. olaf choir
CHARLES GRAY As professor of music at St. Olaf
College, Charles Gray teaches violin,
viola, and chamber music, and serves as director of the annual St. Olaf Summer
Music Camp. He is also employed on the music staff at St. Andrews Lutheran
Church in Mahtomedi, Minn., as conductor of its 45-piece orchestra.
Gray attended Wheaton College, the University of Michigan, and the Eastman School
of Music, where his major teachers included Paul Makanowitzky, Sylvia Rosenberg,
Atar Arad, and members of the Cleveland Quartet. Previously a member of the
Rochester Philharmonic (New York) and the Grand Rapids Symphony (Michigan),
Gray was a frequent performer with the Minnesota Orchestra from 1991 to 2010.
He was violist of the Casella String Quartet, winner of the Cleveland Quartet
Competition and the grand prize at the Fischoff Chamber Music Competition. He
has performed as a solo recitalist at the Ravinia Festival in Chicago and as a chamber
musician at the Aspen, Steamboat Springs, and Breckenridge Music Festivals in
Colorado. A featured violin soloist on NPRs Performance Today, Gray has also given
solo performances at the American Choral Directors Association and American
Guild of Organists national conventions. He has assisted composers John Ferguson,
Charles Forsberg, Ralph Johnson 78, and Kenneth Jennings 50 in editing numerous
solo violin and viola parts for their use in combination with choir.
In 2008 the American String Teachers Association named Gray the Minnesota
Master String Teacher of the Year. That same year, Gray arranged and recorded the
string parts to the song I Apologize, sung by Atlanta vocalist Ann Nesbit, which was
nominated for a Grammy in the Rhythm and Blues category.
This is Gray's 12th tour with the St. Olaf Choir, and he has performed more than 330
concerts as soloist with the ensemble.
Flight Song (Premiere performance) Kim Andr Arnesen (b. 1980)
Siblings and St. Olaf Choir members (from left): Chloe Elzey, Ingrid Elzey, and Adrian Rossing
winter tour 2015 9
The St. Olaf Choir 2015 Tour Program
$I$
The Lords Prayer Robert Stone (15161613)
(without pause)
I Will Not Leave You Comfortless William Byrd (15391623)
Frchte dich nicht (BWV 228) Johann Sebastian Bach (16851750)
$ II $
Ehre sei Gott in der Hhe Felix Mendelssohn-Bartholdy (180947)
In Winters Night Waldemar hln (18941982)
setting by Charles Forsberg (b. 1942)
Sanctus (Mass) Leonard Bernstein (191890)
Evening Meal (The Lords Supper) Ralph M. Johnson (b. 1955)
The Lord Is the Everlasting God Kenneth Jennings (b. 1925)
Wake, Awake, for Night Is Flying Philipp Nicolai (15561608)
setting by F. Melius Christiansen (18711955)
Intermission
$ III $
Veni Creator Spiritus Anthony Bernarducci (b. 1983)
With What Shall I Come (Premiere performance) Rosephanye Powell (b. 1962)
Kal, Kall (Five Hebrew Love Songs) Eric Whitacre (b. 1970)
Lullaby (Three Nocturnes) Daniel Elder (b. 1986)
Past Life Melodies Sarah Hopkins (b. 1958)
$ IV $
Pilgrims Hymn (The Three Hermits) Stephen Paulus (19492014)
This Little Light of Mine arr. Anthony Leach
Give Me Jesus arr. L. L. Fleming
The Battle of Jericho arr. Moses G. Hogan Jr.
$ OPTIONAL SELECTIONS $
Danny Boy arr. Joseph Flummerfelt
Beautiful Savior arr. F. Melius Christiansen
 rand
AG inale
F
It was choral music that brought
Bob and Sigrid Johnson together.
They met as students in the Concordia College Choir in
Moorhead, Minnesota, and for nearly four decades, choral
music has defined and enriched their careers. Bob has served
as manager of Music Organizations for the college and Sigrid
as vocal artist in residence and conductor of the Manitou
Singers. Both will retire in May after more than three decades
filled with impressive contributions and warm collegiality.
16 st. olaf choir
MANAGER OF MUSIC ORGANIZATIONS
BOB JOHNSON AND MANITOU SINGERS
CONDUCTOR SIGRID JOHNSON WILL
RETIRE THIS SPRING AFTER A COMBINED
69 YEARS OF SERVICE TO ST. OLAF COLLEGE.
For 37 years, Bob B.J. Johnson has heeded the call as the
full-time manager of St. Olafs Office of Music Organizations.
He has taken care of myriad details, from figuring out how
to pay for tours to booking flights, hotels, and concert
venues. He often plans two or three years in advance while
simultaneously putting the finishing touches on performances
taking place in a week or two.
His work has enabled St. Olaf Choir conductors Kenneth
Jennings 50 and Anton Armstrong 78 to focus their energy
Sigrid Johnson conducts her final St. Olaf Christmas Festival in 2014.
on making great choral art. With Bobs leadership, Im able to
achieve something bigger, something much more significant
than I could otherwise, says St. Olaf Choir Conductor Anton
Armstrong 78.
In 1978, at the suggestion of Jennings, the Music Department
appointed Johnson, who had been on the staff of the University
of Michigans music society. Once described as a cross between
the great New York impresario Sol Hurok and the great circus
master P.T. Barnum, Johnson says he has enjoyed his dual
roles as concert producer and event promoter over the
years. Throughout his time at St. Olaf, he has encouraged
the conductors of the St. Olaf Choir to think big, and his
entrepreneurial sense has brought about many innovations.
He got St. Olaf in the recording business by reestablishing the
St. Olaf Records label, and has led the choir on tours world-
wide. His knack for building relationships has ensured that the
St. Olaf Christmas Festival was filmed every four years to air
on public television, for a total of 11 productions, including two
PBS holiday specials filmed on location in Norway's historic
Nidaros Cathedral.
It seems that each time we had a collaboration with public
television, things just got better. They had our trust and we
had their trust. It was just a wonderful collaboration, says
Johnson. In 2007 and 2011, Johnson also led the charge in
simulcasting the St. Olaf Christmas Festival in several
hundred theaters around the nation.
A leader in forging alliances with other colleagues and
supporters of choral music, Johnson served on the steering
committee that brought the 2002 World Symposium on
Choral Music to Minneapolis. In 1990 he was instrumental
in founding the College Music Tour Managers Association.
Johnson has led the St. Olaf music organizations on tours
annually throughout the United States, and on 15 international
tours, from Seoul, Korea, to Snsa, Norway. In fact, the St. Olaf
winter tour 2015 17
Bob Johnson provides direction backstage during the choir's 1989 tour.
Choir visited Norway four times under Johnsons manage-
ment, including the 2005 tour that included three of the col-
leges touring ensembles. That was a fabulous tour, when we
brought the St. Olaf Band, St. Olaf Choir, and St. Olaf
Orchestra to Norway all at the same time, he recalls. That
was another exciting adventure.
While Bob was managing the business side of St. Olafs music
organizations, Sigrid, his spouse of 44 years, has trained a
generation of singers at the college. As the conductor of
Manitou Singers, a select 100-voice choir for first-year
women, Sigrid creates the female vocal foundation of the
St. Olaf choral program, says Armstrong. "Every year she
starts from the ground up with a new group of singers, the
majority of whom are not music majors," he says.
Along with her work at St. Olaf, she has served as associate
conductor to two of the finest choral organizations in the
country: the Dale Warland Singers and Phillip Brunelle's
VocalEssence. Sigrid has the ability to help both of those
wonderful conductors develop a core sense of what their
ensembles could sound like, says Armstrong. Throughout
her career, she has also maintained an active schedule as a
guest conductor and clinician at choral conferences and
music festivals across the country and throughout the world.
The Johnsons know that retirement will bring a new lifestyle,
and there will be trade-offs. They look forward to what the
next chapter of their lives will bring, but they both anticipate
missing their daily contact with students, faculty, and staff
within the St. Olaf community.
The students are beyond belief, says Sigrid. They have
enriched me.
It has been a real family, says Bob. On the other hand,
I understand from my retired colleagues that retirement is
a great next chapter. And Im looking forward to traveling
without 75 people behind me.

EMMY EXCELLENCE
The one-hour PBS holiday program Christmas in Norway
with the St. Olaf Choir has been recognized for excellence
by the Upper Midwest Chapter of the National Academy of
Television Arts & Sciences. The St. Olaf College production,
produced by PBS affiliate Twin Cities Public Television (tpt),
received two Upper Midwest Regional Emmy statuettes
one for Special Event Coverage, and one for the programs
director Phillip Byrd. In the Special Event category, Anton
Armstrong 78, Jeffrey ODonnell 02, and Bob BJ Johnson
were presented with Emmy Awards, along with tpt creative
staff who worked on the production.
When you have peers outside the field of music recognize
the stature of the choir and the very nature of that type of
program, it affirms the work that we do and the level of
excellence we strive for, Armstrong said in a recent interview.
The St. Olaf Choirs centennial tour of Norway in 2013 culmi-
nated in the filming of this very special Christmas program,
which was filmed in Trondheims historic Nidaros Cathedral.
Joining the St. Olaf Choir and conductor Anton Armstrong
was Nidarosdomens Jentekor, the cathedrals resident girls
choir. In addition to conducting the St. Olaf Choir, Armstrong
served as artistic director of the program; Johnson, long-time
manager of St. Olaf Music Organizations, served as production
and concert manager; and ODonnell, executive producer
of the weekly radio program Sing For Joy and
director of broadcast and media services at
St. Olaf, was the programs audio producer.
18 st. olaf choir
Oberlin Conservatory; M.M., D.M.A., Peabody Institute
Francesca Anderegg, assistant professor, violin, viola,
Scott Anderson, assistant professor, clarinet, chamber
Northwestern University
University of Illinois; D.M.A., Michigan State University
James Bobb, assistant professor, church music, organ,
CD, DVD, and Blu-ray recordings of
Timothy Bradley, instructor,* French horn; B.A.,
Christmas in Norway with the St. Olaf
Choir are available at stolafrecords.com
or by calling 888-232-6523.
University of Arizona; Ph.D., University of Oregon
Music Department Faculty
Daria Adams, instructor,* violin; B.M., New England
Conservatory of Music; M.M., State University of
New York Stonybrook
Steven Amundson, professor, orchestra, conducting,
theory; B.A., Luther College; M.M., Northwestern University
Kathryn Ananda-Owens, associate professor, piano,
piano literature, chamber music; B.A., Oberlin College; B.M.,
D.M.A., University of Alberta
chamber music; B.A., Harvard University; M.M., D.M.A.,
The Juilliard School
David Hagedorn, artist-in-residence, jazz ensemble,
music; B.M., Eastman School of Music; M.M.,
Anton Armstrong, Harry R. and Thora H. Tosdal
Professor of Music, choir, conducting, voice, pedagogy
for young voices; B.M., St. Olaf College; M.M.,
Christopher Aspaas, Robert Scholz Endowed Chair
Associate Professor of Music, choir, choral literature,
conducting, voice; B.M., St. Olaf College; M.M.,
Michigan State University; Ph.D., Florida State University
Christopher Atzinger, associate professor, piano,
piano literature; B.M., University of TexasAustin; M.M.,
University of Michigan; D.M.A., Peabody Institute
Linda Berger, professor, music education; B.A.,
St. Olaf College; M.A., Ph.D., University of Minnesota
choir, chapel cantor; B.M., Capital University; M.M.,
Eastman School of Music
Sigrid Johnson, artist-in-residence,* choir; B.M.,
St. Olaf College; M.A., Southern Methodist University
Sarah Burk, instructor,* jazz piano; B.M., University of
Minnesota; M.M., University of Minnesota
David Carter, professor, cello, string techniques, string
literature and pedagogy, music appreciation, chamber
music; B.F.A., University of Minnesota; M.M., Indiana
University; D.M.A., University of Illinois
David Castro, assistant professor, theory, counterpoint,
advanced analysis; B.M.E., Pacific Union College; M.M.,
Beth Christensen, professor, music librarian; B.M., M.S.,
University of Illinois; M.A., University of Minnesota
Kurt Claussen, instructor,* saxophone, chamber music;
B.A., St. Olaf College; M.M., University of Minnesota
Anna Clift, instructor,* cello; B.M., Indiana University;
M.M., SUNYStony Brook
Dan Dressen, associate provost, professor, voice;
B.S., Bemidji State University; M.F.A., D.M.A.,
University of Minnesota
Margaret Eaves-Smith, associate professor emerita,*
voice; B.M., M.M., Cleveland Institute of Music
Julie Elhard, instructor,* collegium musicum; B.A.,
Concordia College
Tracey Engleman, assistant professor, voice, vocal
pedagogy, vocal literature; B.M., St. Olaf College; M.M.,
D.M.A., University of Minnesota
Louis Epstein, assistant professor, musicology; B.A.,
Princeton University; Ph.D., Harvard University
PRINCIPAL INSTRUMENTAL ENSEMBLES
AND CONDUCTORS
St. Olaf Band, Timothy Mahr 78
St. Olaf Orchestra, Steven Amundson
Norseman Band, Paul Niemisto
St. Olaf Philharmonia, Martin Hodel
Collegium Musicum, Dana Maeda
Jazz Ensembles, David Hagedorn
winter tour 2015 19
ST. OLAF COLLEGE
Alison Feldt, department chair, associate professor,
voice; B.A., Luther College; M.A., University of Iowa;
D.M.A., University of Minnesota
Lori Folland, staff pianist;* B.M., Oberlin Conservatory;
M.M., University of Michigan
Sandra Joy Friesen, visiting assistant professor,* class
piano, piano; B.M., M.M., University of British Columbia;
Charles Gray, professor, violin, viola, string literature
and pedagogy, chamber music; B.M., Wheaton College;
M.M., University of Michigan
percussion, percussion techniques, world music, jazz
improvisation; B.S., University of Minnesota; M.M.,
New England Conservatory; D.M.A., Eastman School
of Music
Robin Helgen, instructor,* voice class, voice; B.A.,
Bethel University; M.M., New England Conservatory
Philip Hey, instructor,* drum set, jazz ensemble;
B.A., University of Minnesota
Paul Hill, instructor,* percussion; B.M., University of
WisconsinSuperior; M.M., University of Minnesota
Martin Hodel, associate professor, orchestra, trumpet,
chamber music; B.A., Goshen College; M.M., University
of North CarolinaChapel Hill; D.M.A., Eastman School
of Music
John Jensen, staff pianist,* B.A., Occidental College;
M.M., University of Southern California
Dennis Johnson, piano technician; B.A., Luther College
St. Cloud State University; M.M., University of Michigan
Mark Kelley, instructor,* bassoon; B.M.E.,
University of NebraskaLincoln
Paul Klitzke, assistant piano technician;* North Bennet
Street School
Dale Kruse, instructor,* voice; B.A., Luther College;
M.M., Drake University
John Lace, (sem II) visiting instructor,* band,
conducting; B.A., St. Olaf College; M.Ed., University of
Minnesota
Nancy Lee, instructor,* music education;
B.A., Luther College
Dana Maeda, instructor,* oboe, woodwind techniques,
chamber music; B.M., St. Olaf College; M.A.,
St. Marys University
Jill Mahr, instructor,* handbell ensembles, flute;
B.M.E., B.M., University of MinnesotaDuluth; M.M.,
Northwestern University
Timothy Mahr, (sem I) professor, band, conducting,
composition, music education; B.M., B.A.,
St. Olaf College; M.A., D.M.A., University of Iowa
Connie Martin, instructor,* string bass; B.A.,
Whitworth College; M.M., University of Illinois
Harriet McCleary, assistant professor,* voice; B.M.,
B.M.E., Texas Christian University; M.M., Westminster
Choir College; D.M.A., University of Minnesota
James McKeel, professor, voice, lyric theater; B.M.E.,
Westminster College; M.M., University of Minnesota
PRINCIPAL CHORAL ENSEMBLES
AND CONDUCTORS
St. Olaf Choir, Anton Armstrong 78
St. Olaf Chapel Choir, Christopher Aspaas 95
St. Olaf Cantorei, James Bobb
Manitou Singers, Sigrid Johnson
Viking Chorus, Christopher Aspaas 95
Early Music Singers, Robert C. Smith 78
Collegiate Chorale, Anton Armstrong 78
Kent McWilliams, (sem II) vice chair, professor, piano,
chamber music; B.M., M.M., University of Toronto;
Artist Diploma, Stuttgart Musikhochschule; D.M.A.,
University of Montreal
Justin Merritt, associate professor, composition, theory,
instrumentation; B.M., Trinity University; M.M., D.M.A.,
Indiana University
Anna Mooy, instructor, voice, lyric diction; B.M., M.M.,
Bringham Young University
Reinaldo Moya, visiting assistant professor,* theory;
B.M., West Virginia University; M.M., D.M.A.,
The Juilliard School
Tiffany Ng, visiting instructor, musicology; B.A., Yale
University; M.M., Eastman School of Music; M.A.,
University of California Berkeley
Elinor Niemisto, instructor,* harp; B.M., M.M.,
University of Michigan
Paul Niemisto, associate professor, band, low brass,
brass techniques, chamber music; B.M., M.M.,
University of Michigan; Ph.D., University of Minnesota
Doug Nimmo, (sem II) visiting conductor*, St. Olaf
Band; B.S., University of Minnesota, Duluth; M.M.Ed.,
Vandercook College of Music; D.M.A., Arizona State
University
Jayce Ogren, (sem II) visiting conductor*, St. Olaf Band;
B.M., St. Olaf College; M.M., New England Conservatory
Paul Ousley, instructor,* string bass; B.M., University of
WisconsinEau Claire; M.M., Eastman School of Music
Nancy Paddleford, professor, piano; B.M., M.M., Indiana
University; D.M.A., University of Minnesota
Catherine Ramirez, assistant professor, flute and
theory; B.A., Occidental College; M.A., Queens College;
D.M.A., Rice University
Catherine Rodland, (sem I) artist-in-residence, organ,
theory; B.M., St. Olaf College; M.M., D.M.A., Eastman
School of Music
Joanne Rodland, (sem II) instructor*, organ; B.S.
Bucknell University;S.M.M., Union Theological Seminary
Miriam Scholz-Carlson, instructor,* string techniques,
Alexander technique; B.M., St. Olaf College
Ray Shows, instructor,* violin, viola, chamber music;
B.M., Florida State University; M.M., Boston University
Robert C. Smith, associate professor, voice, vocal
literature, early music singers; B.M., St. Olaf College; M.M.,
Yale University; D.M.A., University of TexasAustin
Lynn Trapp, (sem II) visiting assistant professor*, organ;
B.M., Southern Illinois University; M.M., University of
Notre Dame; D.M.A., University of Kansas
Becky Weis, instructor,* hardanger fiddle; B.A.,
Macalester College; M.A. University of Minnesota
Karen Wilkerson, instructor, voice; B.A., California
State UniversityNorthridge; M.M., Westminster
Choir College
Herbert Winslow, instructor,* French horn; B.M.,
Curtis Institute of Music
Larry Zimmerman, instructor,* low brass; B.A.,
St. Olaf College; M.M., Boston University
* part-time
OTHER MUSIC ENSEMBLES
AND CONDUCTORS
Handbell Ensembles, Jill Mahr
Pep Band, student-directed
Percussion Ensembles, David Hagedorn
Trombone Choir, Larry Zimmerman 86
Tuba-Euphonium Ensemble, Larry Zimmerman 86
 about st. olaf college
Summer Music Camp Opportunities at St. Olaf
June 2127, 2015
Music Camp for Band, Choir, and Orchestra
Piano and Organ/Church Music Academies
Make music and have fun with others who love music as
much as you do! The St. Olaf summer music camp and
academies offer students an exhilarating experience
designed to enrich, inspire, and motivate high school
students for continued musical growth throughout the
school year. Guided by the St. Olaf music faculty, the
programs are open to students who have completed at
least grade 9, and may include large ensembles, chamber
music, private lessons, master classes, enrichment classes,
and recital performances.
20 st. olaf choir
One of the nations leading liberal arts colleges, St. Olaf
College offers a distinctive education grounded in
academic rigor, residential learning, global engagement,
and a vibrant Lutheran faith tradition.
Many excellent colleges provide one, two, or even three
elements of the St. Olaf experience. What makes St. Olaf
unique is the combination of so many distinguishing
features working together at the highest level: an intense
academic program that sharpens minds and an emphasis
on a global perspective that broadens them; the vitality of
a residential community that engages thoughtful people
across the full range of human experiences; and a faith
tradition that encourages reflection and honors different
perspectives.
By cultivating the habits of mind and heart that enable
graduates to lead lives of financial independence,
professional accomplishment, personal fulfillment,
and community engagement, St. Olaf College provides
an uncommon educational experience that fully
prepares students to make a meaningful difference
in a changing world.
College Scholarship Competition
St. Olaf summer music programs will award five outstanding
camp participants $1,000 scholarships. Eligible students
are rising seniors who then enroll as a first-year student
at St. Olaf for the fall 2016 term. Recipients will be cho-
sen by the camp faculty, with one musician chosen from
each of the large ensembles: band, choir, orchestra, piano
academy, and organ academy. Each award is a renewable
scholarship for up to four years, for a total of $4,000 each.
For more information, visit
stolaf.edu/conferences/summer-camps.
SIX RELEASES FROM ST. OLAF RECORDS
NEW
CHRISTMAS FESTIVAL 2014:
THE WORLD RENEWED WITH LOVE DIVINE
Recorded on the campus of St. Olaf College
during the first weekend of Advent,
this two-CD set features nearly 600
participating student musicians. Ensembles
include the St. Olaf Choir, St. Olaf Orchestra,
St. Olaf Chapel Choir, St. Olaf Cantorei,
Viking Chorus, and Manitou Singers.
NORGE MITT NORGE
The concert program CD from the 2013 Norway
Centennial Tour. Includes selections from the 2014
domestic tour program: Bogorditse Dvo (All-Night
Vigil, Op. 37), Rachmaninoff, The Word Was God,
Powell, O Day Full of Grace, Christiansen, Even When
He is Silent, Arnesen, and Prelude, Gjeilo.
GREAT HYMNS OF FAITH: VOLUMES I, II, AND III
The repertoire for which the St. Olaf Choir is best known.
Volume I includes:
Great Is Thy Faithfulness, Praise To The Lord, Rise Up,O Men Of God,
A Mighty Fortress Is Our God, O DayFull Of Grace, Beautiful Savior,
Blessed Assurance, What A Friend We Have In Jesus and Here I Am Lord.
Volume II includes:
All Hail the Power of Jesus Name, How Can I Keep from Singing,
My Faith Looks Up to Thee, The Churchs One Foundation,
Amazing Grace and This Little Light of Mine.
Volume III includes:
All Hail the Power of Jesus Name, How Can I Keep from Singing,
My Faith Looks Up to Thee, The Churchs One Foundation,
Amazing Grace and This Little Light of Mine.
In Carnegie Hall, CDs are available in the gift shop on the first tier level.
Shop online at stolafrecords.com
Visa, MasterCard, and Discover accepted To order these recordings, contact:
St. Olaf Records St. Olaf College Bookstore 1520 St. Olaf Avenue Northfield, MN 55057
phone: 507-786-3048 toll-free: 888-232-6523 fax: 507-786-3779 e-mail: stocks@stolaf.edu
DVD
&
Blu-Ray
100 YEARS: THE ST. OLAF CHOIR IN NORWAY
This documentary features many of the pieces performed
on the St. Olaf Choir's 2013 Centennial Tour to Norway and
includes interviews with conductor Anton Armstrong and
students, spectacular views of Norway, and a few surprises.
HOLY OLES: HIGHLIGHTS FROM
A PRAIRIE HOME COMPANION
This two-CD compilation set features performances
by the St. Olaf Choir and the St. Olaf Orchestra
during two live radio broadcasts of Garrison Keillors
A Prairie Home Companion, recorded in 2001 and
2011 on the campus of St. Olaf College.
REPERTOIRE FOR MIXED VOICES
VOLUMES I AND II
A series of recordings from live concerts
of St. Olafs distinct repertory is now available.
Volume I includes:
Missa Brevis in B-flat Major, Mozart; Schaffe in mir, Gott,
Brahms; Mass for Double Choir, Martin; A Boy and a Girl,
Whitacre; O My Luves Like a Red, Red Rose, Clausen
Volume II includes:
O Praise Ye the Lord, Gather Us In, Oh, Sing to the Lord,
Guide Me Ever, Great Redeemer, Built on the Rock,
Thee We Adore, The Lords My Shepherd, Ill Not Want,
Come, Ye Disconsolate, Jesus Christ is Risen Today
and Joyful, Joyful We Adore Thee.
HEAR THE MUSIC
OF ST. OLAF
ONLINE
Visit stolaf.edu/multimedia to access
live and archived audio and video of
events from the campus of St. Olaf
College, including concerts and
recitals, daily chapel services, athletic
events, academic presentations, and
Sing For Joy, a weekly radio program
of sacred music.
Many events are streamed live as
they occur. Check the website for a
list of dates and times, or subscribe
to its RSS feed to be notified when
new streaming archives are available.
Viewers can connect to live streams
including the annual home concerts
that conclude the national tours of
the St. Olaf Choir, the St. Olaf Band,
and the St. Olaf Orchestra 10
minutes before the event begins.
Each event is archived at its conclusion
and can be accessed indefinitely for
on-demand viewing.
For even more access to the music of
St. Olaf, visit the colleges YouTube
channel at youtube.com/stolaf, or like
the St. Olaf music ensembles on
Facebook, and follow them on Twitter.
 T h e S t. Ol a f C hoi r
2015 winter tour Itiner ary
Saturday, January 24, 7:30 p.m.
First Presbyterian Church
Greenville, South Carolina
Sunday, January 25, 3 p.m.
Schwartz Center for Performing Arts
Emory University
Atlanta, Georgia
Friday, January 30, 8 p.m.
Luther Memorial Church
Madison, Wisconsin
Saturday, January 31, 7:30 p.m.
Fourth Presbyterian Church
Chicago, Illinois
Sunday, February 1, 4 p.m.
Chenery Auditorium
Kalamazoo, Michigan
Monday, February 2, 7:30 p.m.
Severance Hall
Cleveland, Ohio
Tuesday, February 3, 7:30 p.m.
Andrews B. Hale Auditorium
Roberts Wesleyan College
Rochester, New York
St. Olaf College
1520 St. Olaf Avenue
Northfield, MN 55057
stolaf.edu
Wednesday, February 4, 7:30 p.m.
Mechanics Hall
Worcester, Massachusetts
Thursday, February 5, 7:30 p.m.
Battell Chapel
Yale University
New Haven, Connecticut
Friday, February 6, 8 p.m.
Stern Auditorium/Perelman Stage
Carnegie Hall
New York, New York
Sunday, February 8, 4 p.m.
Trinity Lutheran Church
Lansdale, Pennsylvania
Monday, February 9, 7:30 p.m.
Princeton University Chapel
Princeton, New Jersey
Tuesday, February 10, 7:30 p.m.
Heinz Hall
Pittsburgh, Pennsylvania
For ticket information, visit stolaftickets.com
Wednesday, February 11, 7:30 p.m.
St. Peter in Chains Cathedral
Cincinnati, Ohio
Thursday, February 12, 7:30 p.m.
First Presbyterian Church
Fort Wayne, Indiana
Friday, February 13, 8 p.m.
Covenant Fine Arts Center Auditorium
Calvin College
Grand Rapids, Michigan
Saturday, February 14, 7:30 p.m.
Pick-Staiger Concert Hall
Northwestern University
Evanston, Illinois
Sunday, February 15, 3 p.m.
Orchestra Hall
Minneapolis, Minnesota
Monday, February 16, 7:30 p.m.
Boe Memorial Chapel
St. Olaf College
Northfield, Minnesota