Debut Concert Program
Order of Songs | Text & Translations | Program Notes
Ave Generosa
Music by Ola Gjeilo, Text by Hildegard von Bingen
With text by the 11th century Benedictine Saint, this piece captures all the mystery and beauty of sacred chant works, but layered in modern and innovative ways.
Ave, generosa,
gloriosa et intacta puella,
tu pupilla castitatis,
tu materia sanctitatis,
que Deo placuit.
Hail, girl of a nobel house,
shimmering and unpolluted,
you pupil in the eye of chastity,
you essence of sanctity,
which was pleasing to God.
Lift Thine Eyes
(from Elijah)
From the Oratorio, Elijah, this piece is beautifully arranged in 3-parts. A favorite amongst classical performances, festivals, and completions, this piece is a favorite of both audiences and performers a like.
Felix Mendelssohn-Bartholdy
As The Rain Hides
The Stars
Elaine Hagenberg
Desolate and uncertain, the dissonant opening piano motifs of "As the rain hides the stars" evoke an image of dismal rain on stark hills. As the text portrays one who is lost and searching for clarity, voices weave and wander, yearning for direction. Then with the transitions to C minor, the piano creates churning triplets of longing and unrest; but at last, measure 53 resolves in hope. As the clouds finally part, the sun shines clearly for the first time. The voices enter softly, but with assurance, eventually proclaiming together in confident unison, "Though I may stumble in my going, You do not fall." - Elaine Hagenberg
American Folk Rhapsody
A mix of three American folk songs - "Cindy", "Simple Gifts", and "Pick A Barrel of Cotton" - this lively arrangement highlights the joy and evervessnce of the American spirit.
Trad. American, arr. Linda Spevacek
To Sit And Dream
Music by Rosephanye Powell, Words from "To You" by Langston Hughes
In To Sit and Dream, I sought to musically paint Hughes's poignant poetry with jazz In 70 Sit colors, rhythmic syncopation, and improvised speech The song begins with a piano introduction comprised of a simple "quiet" motive which depicts Hughes's placidity as he sits alone disheartened while reading the newspaper headlines. This motive continues as the voices enter in unison, representing Hughes's inner voice, as he lays the paper in his lap, deep in thought. At measure 16, Hughes drifts into a dream-like trance "outside our world" as the "dream" motive appears in the piano. At measure 18, text painting is employed as the first sopranos (representing "outside our world") and the second altos, (representing "our world") singing an octave apart, provide an ethereal effect above the piano's dream motive. More text painting is utilized in measure 27 where all the voices sing higher in their ranges to depict "vast horizons." I chose to set "unfettered, free. Help me, help me" in an improvisatory sung-speech style to imitate the free-style speech heard in jazz poetry. In the last section which begins at measure 33, Hughes, still in a dream-like trance, finds himself on the streets of Harlem reaching out his hand to any who will join him in making "our world anew." As each person joins Hughes, reaching out their hands to others, a growing crowd of people come together to create a new world characterized by love, peace, equality, and justice for all. This idea is depicted as parts enter successively singing. "I reach out my hand to you." At measure 48, Hughes awakens, the newspaper headlines still before him, and resolves that he may never see such a day-except as he sits and dreams. - Rosephanye Powell
La Paloma (the Dove)
Trad. Venezuelan, arr. Cristian Grasas
La Paloma (The Dove) is an example of the "drum gaita" (gaita de tambora), a type of folk the western part of Venezuela which combines elements of Iberian musia frand indigenous music. Typically they include a fixed refrain which gives the name of music from Zulia state in the song, and are usually sung in a with a soloist. They are also and cuatro (a four-stringed guitar, call and response style, with a chorus alternating verses usually accompanied by two drums, large and small, maracas, Venezuela's national instrument) and become more popular during the Christmas celebrations.
While the origins of the many gaita forms have not been precisely established, they are thought to have derived from chants introduced by Catholic missionaries. Initially of primarily religious character, and used in particular to celebrate the cult of Santa Lucia and later, Easter, more recently the gaita has become a means of social protest and criticism. To this day, the gaita remains a vibrant, unique musical form much esteemed in Venezuela.
This arrangement was originally written for the Cantoria Juvenil de la Schola Cantorum de Caracas, a youth chorus in Venezuela.
¿Donde estaba la paloma que el gavilán la cogió? ¿Que se hizo la paloma que el gavilán la cogió? En la puerta de Ramona Ay! mira y fue que la desplumó.
Todo en la vida es mentira solo la muerte es verdá. Porque ahí es donde se acaba la pompa y la vanídá.
¿Como no voy a liorar a mi mamá cuando se muera? Ojalá que yo pudiera volverla a resucitá.
Ya me voy, María, ahí te dejo la paloma, Abrile el pico y que coma, ahí te dejo la comía.
Ya me voy, ya me despido aunque la gaita está muy buena. Dale duro a esa tambora på que se anime mi pena.
Where did the dove that the sparrow hawk caught go? Where is the dove that the sparrow hawk caught? At Ramona's gate, Oh! look, I found it plucked.
All in life is false, death is the only truth. For there is where pomp and vanity run out.
Why wouldn't I cry when my mother dies? I wish I could bring her back to life.
I'm leaving, Maria, I leave the dove there for you, Open its beak and make it eat, I'm leaving the food there.
I'm leaving, I say goodbye even though the gaita is very good. Beat this drum hard so my sorrow cheers up.
Chante Waste Hoksila
(My Kind-Hearted Boy)
Trad. Lakota, arr. Linthicum-Blackhorse
This Lakota lullaby was traditionally sung by mothers towards their young boys, though the song was, and still is, sung to all children regardless of gender. Old songs are often mistaken for having “no words” because many of the ancient vocabulary were single syllables and, to the non-native speakers/singers they sound like assorted, meaningless vowels. Reviewing the meanings behind many of these songs has proven a rewarding and frustrating challenge since most of our living songs were persecuted for using the language or singing the songs. Now there are abundant variations on any traditional song.
The story behind this piece is one of coincidence. I was considering writing a new work using a lullaby, then there was a mass shooting on nineteen younglings while they were in school. Therefore, I envisioned how I could compose something beautiful, staying true to the emotions that I am experiencing, while also preserving the innocence of the traditional melody.
The song takes the listener on a tragic journey. Beginning with a foreshadowing piano line, the audience is given a taste of the traditional melody, followed shortly thereafter with more musical complexity. The music then engages innocence and serenity (m.37), rapidly taking a dramatic turn (m.59). Soon, however, an ominous mood sets in (m.67) giving a sense of unease designed to demonstrate the anxiety and fear of that day. The ending (m.90) represents the lost voices that will never be heard again. Each singer will choose when to decrescendo from singing, to whispers, and finally to silence. It would be appropriate, if desired, to kneel or sit after your voice goes silent.
Ahí yé, hé yo iyé.
We hé yo iyé.
Ahí yé, hé yo iyéya.
We yeló iyé.
Čhanté wašté hokšíla
lá khé ištíņma.
Haŋhépi kiŋ wašté.
We yeló iyé.
I have brought you here, so that I can speak to you in your language.
I am speaking to you in your language.
I have brought you here, so that you will recognize me.
I am speaking your language.
My kind-hearted boy
I beg you to fall asleep.
The Night is good.
I am speaking your language.
Amazing Grace
Trad. American, arr. Stephen Hatfield
This arrangement of "Amazing Grace" is adapted from the coda of "Ower The Hills," a Scottish Suite for treble voices and bagpipes commissioned by the Amabile Youth Singers. Although "Amazing Grace" is closely associated with the pipes, it has been arranged so many times that I thought it best to avoid it, until it came to me that the choir should never sing the melody. Instead the voices have a counter-melody that is both serene and triumphant. - Stephen Hatfield
Warrior
Kim Baryluk
This piece was composed and made popular by the Wyrd Sisters, a Canadian folk music group who's distinctive sound is both raw and refined all at once. This particular song speaks to the journey through womanhood, and the ongoing fight required in each of it's stages - a message just as revelant now as its ever been.
Vichten
Music by Angele arsenault, Words by Arthur Arsenault, arr. Hart Rouge
The Acadians are a vibrant and distinct French culture in the Canadian mosaic, descended from settlers mainly from Northern France who first arrived in 1604 to the area known today as southwest Nova Scotia. After building communities throughout Canada's east coast provinces, the Acadians were expulsed from their lands by the British colonial authorities from 1755 to 1763, and their homes and crops burned. Over 10,000 Acadians were deported to various parts of the world, some of whom settled in Louisiana where, over time, the word Acadian - as spoken in the Acadian patois - was understood by English-language speakers as "Cajun'. Today, Acadian culture is thriving, and music is a huge part of everyday life. It is not uncommon for everyone in a traditional Acadian family to play an instrument and sing!
Many people in Canada mistake "Vichten" as a traditional Acadian folk song. It is not. It is a newly composed folk song that was written by Arthur Arsenault for his children and made popular by his daughter Angèle Arsenault. Angèle was the eighth of fourteen children, born on Prince Edward Island in 1943, and she recorded and performed "Vichten" throughout her long career as an Acadian folk singer and TV host. - Hart Rouge
Somewhere Over
The Rainbow
Music by Harold Arlen, Lyrics by E. Y. Harburg, arr. Russ Robinson
This timeless song is arranged in traditional four-part Acapella harmonies, highlighting the yearning for a better tomorrow that so many of us still relate to today, despite being written almost 80 years ago.
A Dream Is A Wish
arr. Rodger Emerson
This medley brings together two of Disney's most iconic songs: A Dream Is A Wish (Your Heart Makes) from Cinderella, and I Know You from Sleeping Beauty. With its simple accompaniment, the message of believing in one's heartfelt wishes and the power of love comes through to inspire the next generation of dreamers.