Fall Choral Concert - 10/8/24

UCO Choirs in Concert featuring University Choir, Cantilena, Cantare and Concert Chorale Keegan Rose, director Karl Nelson, director Hwaju Lee, piano 7:30 PM, October 8, 2024 Mitchell Hall Theatre Dreams of Thee / Eric William Barnum Hailey Medoff, soprano “Dreams of Thee” is a choral piece composed by Eric Barnum, an American composer known for his evocative and expressive choral works. Composed in 2005, the piece is set to a text inspired by Romantic poetry, which explores themes of longing, beauty, and the ethereal nature of dreams. Barnum’s work often blends lyrical melody with lush harmonies, creating a deeply emotional and reflective atmosphere that draws listeners into an intimate, contemplative space. “Dreams of Thee” features rich, flowing vocal lines marked by gentle dissonances and a sense of harmonic movement. The piece’s texture is primarily homophonic, with moments of counterpoint that add depth and interest. The piece includes a beautiful accompaniment for piano and C instrument through which Barnum uses suspensions and resolutions to create moments of tension and release. “Dreams of Thee” has become a popular choice in choral concerts and festivals, appreciated for its emotional depth and beauty. It exemplifies Barnum’s ability to craft music that is both accessible and profoundly moving, inviting performers and audiences alike to engage with its poetic and meditative qualities. The piece highlights the power of choral music to create a shared, reflective experience, resonating with listeners through its exploration of universal themes of love and longing. Dies Irae / Ryan Main Dies irae, dies illa Day of wrath, that day Solvet saeclum in favilla Will dissolve the world in ashes Teste David cum Sibylla As foretold by David and the Sibyl Quantus tremor est futurus How great will be the quaking Quando judex est venturus When the judge is to come Cuncta stricte discussurus To strictly examine all things Ryan Main’s setting of “Dies Irae” is a contemporary interpretation of the traditional Latin text, which dates back to the 13th century and is commonly associated with the Catholic Requiem Mass. The title, meaning “Day of Wrath,” reflects the theme of judgment and the end of times. Main, known for his dramatic and evocative choral compositions, combines modern harmonies and rhythms to give new life to this ancient text, creating an atmosphere that is both intense and reflective. Main’s “Dies Irae” is characterized by its powerful and rhythmic drive, employing dramatic dynamic contrasts and dissonant harmonies to evoke the fear and urgency associated with the day of judgment. The piece moves between moments of intense, percussive energy and softer, haunting passages, reflecting the text’s shifting moods. The choral writing is both forceful and expressive, designed to engage the choir in conveying the text’s weight and meaning. Nothing Without You / Neil Bartram “Nothing Without You” is a song from the musical The Theory of Relativity. Premiering in 2015, the show explores the interconnected lives and experiences of a diverse group of characters, emphasizing themes of love, identity, and human connection. Bartram, known for his work in contemporary musical theatre, often infuses his compositions with emotionally resonant lyrics and memorable melodies. The song serves as a reflective and poignant moment within the musical, highlighting the importance of relationships and the ways in which individuals find meaning through others. This song is characterized by its lyrical and expressive melody, supported by a gentle piano accompaniment. The harmonies are lush, and the song builds dynamically, reflecting the emotional arc of the lyrics. Bartram’s composition uses modulation and rhythmic variation to create a sense of growth and resolution, mirroring the character’s journey of realizing the importance of human connection. The music is both tender and uplifting. “Nothing Without You” comes at an important moment in The Theory of Relativity, as it encapsulates the central message of the show: the impact of relationships on our sense of identity and belonging. The song resonates with audiences for its simplicity and heartfelt delivery, making it a favorite for both performers and listeners. It has been performed in numerous productions and showcases, demonstrating its wide appeal and emotional impact in contemporary musical theatre. Muié Rendêra / arr. C. A. Pinto Fonseca “Muié Rendêra,” arranged by C.A. Pinto Fonseca, is based on a traditional Brazilian folk song that celebrates the culture of the northeastern region of Brazil, specifically the state of Pernambuco. Fonseca, known for his work as a conductor and composer, was influential in Brazilian choral music, often incorporating native elements into his compositions. The piece reflects the practice of lace-making (“renda” means lace in Portuguese), an important aspect of the region’s cultural heritage. This arrangement of “Muié Rendêra” blends Brazilian folk rhythms with classical choral techniques, showcasing vibrant, rhythmic vocal lines and dynamic contrast. The piece’s lively tempo and syncopated rhythms are reminiscent of the traditional music styles found in northeastern Brazil, such as frevo and maracatu. “Muié Rendêra” is a staple in Brazilian choral repertoire and serves as an example of how folk music can be adapted for a classical choral setting. The piece not only highlights the beauty of Brazilian culture but also demonstrates Fonseca’s ability to blend traditional and classical elements. Its performance often leaves a lively, joyful impression on audiences. Bogoróditse Devo, op. 37 no. 6 / Sergei Rachmaninoff from All-Night Vigil “Bogoróditse Devo” is the sixth movement of Sergei Rachmaninoff’s All-Night Vigil, Op. 37, composed in 1915. The All-Night Vigil, often referred to as the “Vespers,” is one of Rachmaninoff’s most revered sacred works, composed during a period of great turmoil leading up to the Russian Revolution. Deeply rooted in the Russian Orthodox tradition, the piece is a setting of the Ave Maria, honoring the Virgin Mary. Rachmaninoff, inspired by ancient chants and liturgical texts, aimed to capture the spiritual essence and solemn beauty of Orthodox worship. “Bogoróditse Devo” is known for its simplicity and serene beauty. Written for a four-part mixed choir, the piece employs lush harmonies and flowing melodic lines to create a sense of reverence and peace. The chant-like quality and smooth voice leading reflect the Orthodox choral tradition, with a focus on purity of sound and clarity. The dynamic range is carefully crafted, with a gentle rise and fall that mirrors the spiritual devotion expressed in the text. “Bogoróditse Devo” remains a cornerstone of choral repertoire and is celebrated for its spiritual depth and emotional resonance. It has been performed by choirs worldwide, touching audiences with its serene beauty and sacred atmosphere, and continues to be a powerful example of Russian Orthodox choral music. Chariots/ Péter Louis van Dijk Composed in 1998, “Chariots” by South African composer Péter Louis van Dijk reflects the composer’s interest in the interaction between African musical traditions and Western choral music. Van Dijk is known for his innovative compositions that often address social, historical, and cultural themes. “Chariots” was inspired by the imagery of ancient chariots and the universal human struggle for freedom and triumph. The piece highlights van Dijk’s commitment to combining elements of African rhythmic energy with the harmonic complexity of classical choral writing. “Chariots” is characterized by its driving rhythms, layered vocal textures, and dynamic contrasts. The piece blends traditional African call-and-response techniques with Western harmonic structures, creating a vibrant and powerful choral experience. It uses syncopation and polyrhythms to convey a sense of movement and urgency, and the text emphasizes themes of perseverance and unity. “Chariots” has gained international recognition for its ability to connect diverse audiences through its universal themes and powerful musical expression. The piece is frequently performed in festivals and concerts, and is celebrated for its ability to evoke a sense of communal spirit and resilience. For You I Will Be An Island / Jennifer Lucy Cook Written during quarantine, the piece “For You I Will Be an Island” by Jennifer Lucy Cook acts as a poignant reflection on the emotions of the time. With the pandemic shutting the entire world inside, the most caring thing one could do for a stranger or even a loved one was to keep a distance. This isolation is reflected in both the words and motifs of the piece, with distinctly separated phrases and language like “a solo shelter” emphasizing the separated feeling. The work does not only reflect on love during lockdown, however. The piece aims to reflect on all times where distance is the most true way of showing love, such as distancing yourself from a relationship that has run its course. In the line “Find me where love collides with letting go” we are treated to a heartbreaking reflection on the dissonance of such a sentiment. There are few things so difficult as letting go of something you truly love, and few acts of love so true as letting go. The composition also reflects on the hope of peace. With voices often separated across wide gaps and joining closely together again, as well as phrases such as “And when the coast is clear come let me know,” we are reminded of the hope that, even when distant, we can always come together in some way. “For You I Will Be an Island” was premiered in Spring of 2021 by the Cantorum Chamber Choir and continues to be a poignant piece of choice for choirs. – Nicky Hennigh Ubi Caritas / Maurice Duruflé from Quatre motets sur des themes Grégoriens Maurice Duruflé (1902-1986) was a 20th century French composer who made quite a significant name for himself despite having only put out 14 public works. Duruflé was a perfectionist, putting extreme care and thought into everything he created. His music is contemplative in nature, and, at first glance, seemingly conservative. His music does not match the modernist developments of that era, but it is certainly complex and reflective of a deep knowledge and understanding of his craft. His motet, “Ubi Caritas,” is based on an ancient plainchant melody. In listening to this piece, you can hear Duruflé’s respect for the artform. It originates from an old Maundy Thursday hymn, saying “Where charity and love are, God is there.” The soft subtlety of this piece is what makes it so impressive. The free flowing structure allows for it to truly swell and communicate that feeling of pure, spiritual love. – Zach Studdard In Which Being Here Together is Enough / Samuel Magrill This evocative piece written by UCO’s own Dr. Samuel Magrill, premiered today October 8th, 2024, is a contrapuntal setting of Andrea Hollander Budy’s poem: “In Which Being Here is Enough” from her 2001 poetry collection titled “The Other Life”. The poem reads: Candlelight flickered All night While a ceaseless moth Outside the cabin Pressed against the cold Window, its wings Outstretched, Beating. Only after we finished And drifted On our rumpled bed And the waxy heat Of the candle sank Into itself, Nearly quenched, No longer a flame But a waning filament, Did the moth, Exhausted but persistent, find its way in And with its wings Extinguish The diminished light And become itself Extinguished. Our separate Breaths grew even, Singular, The night air thinned, And later Daylight entered Lightly as a moth And at a cost To no one. Dr. Magrill met Andrea Hollander at Quartz Mountain in 2003 and was drawn to this poem “like a moth to a flame”. Taking inspiration from Stravinsky’s Symphony of Psalms, he begins writing polymetric rhythms between the cello and voice and then within the voice he uses two separate modes, each thirds away from each other. Dr. Magrill also orchestrates this piece in a unique way: flute, clarinet, and cello under a chorus of voices. When I interviewed him about his choice of instrumentation he pointed out that the flute and clarinet were meant to evoke the voices of the two lovers in the poem and the cello was representative of the moth fluttering about and chasing after a flame. – Tae Bradshaw Love Song Ending with a Line by Horace / Samuel Magrill Melody Soto, flute, Roseanna Medina, clarinet, and Emma Douglas, cello “Love Song Ending with a Line by Horace” is another of Dr. Samuel Magrill’s works, also based on a poem from Andrea Hollander Budy’s poetry collection “The Other Life”. This choral concert will be the premier performance of this particular piece as well. This text is the very next poem in the book and it begins with three of the senses: sight, sound, touch. I really love how Ms. Hollander utilizes language and how thoughtfully she chooses her words. Every two verses there is a line, “What the mouth knows, but cannot speak” which is such a striking difference from the sensual, almost mystical text surrounding it. Then there is the transitional phrase at the end of the piece, “What the mouth knows, but will not speak.” There is a difference here, a defiance, that sets the reader up perfectly for the final line: “What the heart has had no fingers of any hand will hold.” This is a paraphrasing of a line from Horace’s “Diffugere Nives” Ode iv, 7. Dr. Magrill’s use of unison in the piece for this final line creates a stillness that allows for reflection from his audience. – Tae Bradshaw When We Love / Elaine Hagenberg Text by Charles Anthony Silvestri Elaine Hagenberg was born in 1979 and raised in Vancouver, Washington. She showed an interest and aptitude for music at a young age. Her mother, a piano teacher, encouraged and taught her. Hagenberg entered Drake University as a Piano Major but changed her major to Choral Music Education, a degree she earned in 2002. Following her graduation, she taught for nine years. It wasn’t until she took a break from teaching to care for her child at home that her composition prowess emerged. The first choral piece she wrote, “It Is Not Always May,” was named the winner of the 2008-2009 Longfellow Chorus Award of Distinction in Choral Composition. According to the ACDA Choral Journal, the music Hagenberg produces “soars with eloquence and ingenuity.” “When We Love” originates from poet Charles Anthony Silvestri. This text weaves a picture of how profound results can come from simple actions. The line that most spoke to Hagenberg, “Our weary world can be transformed,” inspired a striking chordal change. Though written in A Major, the piece shifts to a G Major chord on the word “transformed” only to shift once again to a more familiar E Major. Hagenberg’s composition is rich with emotion, drawing listeners into an intimate sound world. The opening melodies feel tender and inviting, capturing the quiet beauty of love in its simplest forms. As the piece progresses, the music grows more expansive, reflecting the way love strengthens and multiplies through connection. The harmonies swell and intertwine, evoking the warmth and security that come from sharing love with others. “When We Love” reminds us that love has the power to create a ripple effect, spreading kindness and light wherever it is found. Through its powerful and uplifting message, the piece leaves us with a sense of hope, reminding us that love is what truly connects us all. – Katelynn Fair A Red, Red, Rose James Mulholland from Four Robert Burns Ballads Text by Robert Burns James Mulholland is currently a professor at Butler University. He studied composition, voice, piano, and various musical instruments since the age of twelve. His bachelor’s and master’s degrees come from Louisiana State University in voice and composition. “A Red, Red Rose” is the first of the four songs that are on the set of his collection Four Robert Burns Ballads. This piece shows themes of youth and beauty, and love and time. “A Red, Red Rose” is a poem written by Robert Burns, which notes the narrator’s deep and endless love that is described to be beautiful, vivid, and fresh as a flower that has bloomed. He compares his love to a rose and insists that his love is everlasting. – Jake Eads The Lighthearted Lovers, op. 47, a / Kirke Mechem Text by John Dryden “The Lighthearted Lovers” tells the story of a playful back-and-forth between two quarreling lovers. It was composed by Kirke Mechem, a world-renowned artist with works that span nearly every musical genre. This work was composed as a choral rendition of “Fair Robin I Love” from Mechem’s own opera, Tartuffe. The three-act opera has been performed over 450 times in many countries around the globe. In the original piece, it is sung by the maid character, Dorine, to a young girl named Mariane to instruct her “how to deal with men.” In the choral arrangement, the story unfolds as a squabble between two lovers, each claiming the other to be fickle and false. As the song is performed, the emotions of the bickering couple are heard clearly through not only the lyrics, but also Mechem’s dynamic choices. In moments of suspense, the music is quieter and slower, while the aggressive lines are performed louder and with a sharper inflection. This dynamic contrast truly showcases Mechem’s compositional expertise. UCO’s Concert Chorale is excited to perform “The Lighthearted Lovers” and aims to bring the music and its emotion to life. – Payton Stephens University Choir Keegan Rose, director Bella Brown, Choctaw, Musical Theatre Sydney Berens, Shoreview, MN, Forensic Science-Molecular Biology Grace Blocker, Harrah, Theatre Performance Marco Garcia, Tahlequah, Interpersonal Communications Michael Gonzales, Corpus Christi, TX, Forensic Science-Forensic Investigations Kaleia James, Edmond, Vocal Performance Raven Jowers, Wagoner, Funeral Services Hailey Medoff, Edmond, Sociology Paige Pierce, Choctaw, Forensic Science-Molecular Biology Jaelynn Ray, Woodward, Undecided Olivia Walker, Yukon, Art Education Peyton Ward, Chickasha, Musical Theatre Alexis Wartchaw, Del City, Music Education Deija Williams, Del City, Fashion Marketing Cantare Keegan Rose and Karl Nelson, directors Hwaju Lee, piano Skylar Butler, Lawton, Computer Science Zach Combs, Tyler, TX, Musical Theatre Jacob Ebersole, Stillwater, Marketing Jhairo Erives, Plano, TX, Musical Theatre Bobby Factor, Edmond, Engineering Manny Gallegos, Ada, Musical Theatre Parker Haller, Oklahoma City, Elementary Education Zikhun Han, Changsha City, China, Vocal Performance Caden Hankinson, Oklahoma City, Marketing Lincoln Kimball, Jenks, Musical Theatre Saxon Neal, Oklahoma City, Musical Theatre Noah Newton, Little Rock, AR, Audio Production Marcus Norwood, Moore, Musical Theatre Lute Sawyer, Buckeye, AZ, Musical Theatre Grayson Schreiber, League City, TX, Musical Theatre Samuel Skinner-Noble, Oklahoma City, Music Education Cantilena Keegan Rose, director Hwaju Lee, piano Berlin Butzer, Oklahoma City, Vocal Music Education Olivia Clark, Grapevine, TX, Musical Theatre Raechel Evans, Kingfisher, Vocal Performance Promise Fried, Noble, Instrumental Music Education Brynn Fuqua, Norman, Vocal Music Education Jacelyn Gay, Ardmore, Vocal Music Education Calyn Harris, Tecumseh, Graphic Design Ember Hawkins, Oklahoma City, Vocal Performance-Musical Theatre Natalie Ingram, Collinsville, Vocal Performance Ange Dercie Kaz, Bujumbura, Burundi, Studio Art Abigail Kennedy, Waxahachie, TX, Musical Theatre Olivia Knight, Mansfield, TX, Musical Theatre Ella Kuykendall, Oklahoma City, Vocal Music Education Cindy Lieu, Oklahoma City, Vocal Performance Sara Lopez, Oklahoma City, Vocal Performance Corrina Majors, North Richland Hills, TX, Vocal Music Education Madisyn McAdoo, Oklahoma City, Vocal Music Education/Biomedical Science Serenity McCracken, Lawton, Vocal Performance Ryleigh McNabb, Norman, Music Isabel Montgomery, Edmond, Vocal Performance Imani Morrison, Moore, Musical Theatre Victoria Mosburg, Oklahoma City, Vocal Music Education Avery O’Leary, Edmond, Vocal Performance Marium Riaz, Ada, Vocal Music Education Max Robertson, Oklahoma City, Vocal Performance Leah Rule, Collinsville, Vocal Performance Maggie Sherman, Shawnee, Musical Theatre Kyoka Shibayama, Tokyo, Japan, Music April Shoun, Yukon, Vocal Performance Indecca Simms, South Haven, Psychology Rose Sprinkle, Thomas, Music Elaine Starkey, Oklahoma City, Vocal Music Education Tong Sun, Hangzhou, China, Vocal Performance Madeline Tremble, Woodward, Vocal Music Education Brighton Varner, Binger, Vocal Performance-Musical Theatre Alyssa Walker, Ponca City, Vocal Music Education Aubree Walker, Saginaw, Vocal Performance-Musical Theatre Olivia Walker, Yukon, Art Education Abbie Wigley, Stratford, Vocal Music Education Madison Wilcox, Choctaw, Vocal Music Education Jolee Williams, Warner, Vocal Music Education Avery Wooden, Guthrie, Vocal Performance-Musical Theatre Concert Chorale Dr. Karl Nelson, director Luis Vasquez, assistant director Hwaju Lee, piano Tae Bradshaw, Inola, Vocal Performance Noah Collins, Walters, Vocal Music Education Katy Croft, Stillwater, Accounting Demarcus Dawson, Moore, Vocal Performance-Musical Theatre Lexi DeHart, Midwest City, Vocal Music Education Jake Eads, Ada, Vocal Performance Katelynn Fair, Moore, Vocal Music Education Erinn Giraudo, Choctaw, Vocal Performance—MM Lliam Guill, Frederick, Instrumental Performance Nickolas Hennigh, Yukon, Software Engineering Greg Henson, Edmond, Vocal Music Education Joseph Hoehner, Edmond, General Studies Taylor Jones, Pittsburgh, PA, Vocal Music Education Kiana Love, Lubbock, TX, Vocal Performance—MM Lauren McKenna, Edmond, Music Faith Morrissey, Claremore, Vocal Music Education Sofie Moxley, Edmond, Vocal Music Education Grace Myers, Chandler, Vocal Music Education Sebastiao Ribeiro, Harare, Zimbabwe, Vocal Performance Emerson Royse, Edmond, Kinesiology Trever Spruill, Chandler, Vocal Music Education Payton Stephens, Broken Arrow, Vocal Music Education Marli Stodden, Bremerton, WA, Vocal Performance/Music Education Zach Studdard, Choctaw, Vocal Music Education Luis Vasquez, Cabimas, Venezuela, Choral Conducting/Vocal Performance—MM Kylie Weldon, Moore, Vocal Music Education Qing Yang, Guangzhou, China, Vocal Performance (Featured compositions by Samuel Magrill, D.M.A.) “In Which Being Here Together is Enough” (2003) (Premiere) “Love Song Ending with a Line by Horace” (2003) (Premiere)