Winter Choral Concert - 12/2/23

UCO Winter Choral Concert Featuring University Choir Cantilena, Cantare Concert Chorale 7:30 PM December 2, 2023 Mitchell Hall Theatre - Program - Cantilena and Cantare - The Great Clear Twilight Austin Schend - What Sweeter Music John Rutter - Cantare - Blow, blow, thou winter wind John Rutter - Text by William Shakespeare - Christmas Time Is Here Vince Guaraldi - Text by Lee Mendelson - Arr. by Robert Sterling - Cantilena - The Canticle of Mary Jeffery Ames and S. Scott Leaman - Brooklynn Snyder, soloist - William Guill, clarinet - Cantilena and Cantare - Ding Dong! Merrily on High - 16th c. French carol - Arr. by John Leavitt - Luanda deHilster, descant - Khalil Cabrera-Tosado, percussion - Nickolas Henneigh, glockenspiel - University Choir - Sing My Child - Sarah Quartel - Gabriella Beck & Ian Nance, soloists - Khalil Cabrera-Tosado, percussion - Alleluia - Wolfgang Amadeus Mozart - Arr. by Russell Robinson - Betelehemu - Nigerian Carol - Via Olatunji and Wendell Whalum - Arr. by Barrington Brooks - Khalil Cabrera-Tosado, percussion - Dashing Through the Snow - James Pierpont - Arr. by John Leavitt - Concert Chorale - Wachet auf, ruft uns die Stimme, BWV 140 - Johann Sebastian Bach - Chorus - Scott Erickson, oboe - Hwaju Lee, piano - Quatre motets pour le temps de Noël - Francis Poulenc - Quem vidistis pastores dicite - Hodie Christus natus est - What Child Is This? - Traditional - Arr. by Tripp Carter - Jingle, bells - James Pierpont - Arr. by David Willcocks - Nickolas Hennigh, glockenspiel - Translations Wachet auf, ruft uns die Stimme, BWV 140 “Wachet auf,” ruft uns die Stimme “Awake,”call the voices of the watchmen Der Wächter sehr hoch auf dear Zinne, from the high battle tower. “Wach auf, du Stadt Jerusalem! “Awake, you city of Jerusalem! Mitternacht heißt diese Stunde”; This is the midnight hour!” Sie rufen un smit hellem Munde: They call to us, with ringing voices: “Wo seid ihr klugen Jungfrauen? “Where are you, wise virgins? Wohl auf, der Bräutgam kömmt; Cheer up; the bridegroom is coming. Steht auf, die Lampen nehmt! Rise up; take your lamps! Allelujah! Hallelujah! Macht euch bereit Prepare yourself Zu der Hochzeit, for the wedding; Ihr müsset ihm entgegen gehn!” you must go to meet him!” Quatre motets pour le temps de Noël Quem vidistis, pastores, dicite, Whom did you see? Shepherds, tell us! Annunciate nobis, in terries quis apparuit? Proclaim to us: who has appeared on the earth? Natum vidimus et choros angelorum We saw the new-born child Collaudantes Dominum. And choirs of angels praising the Lord. Dicite quidnam vidistis? Tell us, what have you seen? Et annunciate Christi Nativitatem. Announce the Birth of Christ! Hodie Christus natus est: Today Christ is born; hodie Salvator apparuit: today the Savior has appeared; hodie in terra canunt Angeli, today the Angels sing, laetantur Archangeli: the Archangels rejoice; hodie exsultant justi, dicentes: today the righteous rejoice, saying: Gloria in excelsis Deo, alleluia. Glory to God in the highest. Alleluia! Translations by Ron Jeffers Personnel University Choir Stephanie Keegan-Moring, director Hwaju Lee, piano Cantare Jan Hulsey and Karl Nelson, directors Hwaju Lee, piano Cantilena Jan Hulsey, director Hwaju Lee, piano Concert Chorale Personnel Karl Nelson, director Luis Vasquez, assistant director Hwaju Lee, piano Program Notes Austin Schend, one of Walton Music’s best-selling composers, is also the founding member of the progressive rock band Artificial Silence that includes a choir and orchestra that he conducts. He graduated from Pacific Lutheran University with a bachelor’s degree in music composition. His acclaimed pieces have been performed around the globe, including for the international ensembles Junges Consortium Berlin and the Choir of the West. He began teaching piano out of his home in Tacoma, Washington in 2014 and showcases his students twice a year in recitals. He continues to teach today. Schend composed “The Great Clear Twilight” for the Choral Union, under the direction of Richard Nance, at Pacific Lutheran University. Nance was Schend’s professor and mentor when he attended PLU. The piano accompaniment Schend wrote paints a musical picture of the icy, crystalline scene. The piano accompaniment is unique because it is featured in a solo section, as well as being the predominant voice near the end as the choir becomes the vocal accompaniment to the piano. The song’s text is from a poem by Sara Teasdale (1884-1933) that appeared in her 1920 collection entitled Flame and Shadow. Teasdale was born in Missouri and throughout her lifetime wrote several poetry books on themes of love, death, and beauty. Many of her works were derived from her personal life, including the poem “Winter Dusk” which is the basis for this song. In “Winter Dusk” Teasdale observes and comments on the beautiful features of the winter landscape and how it causes her to forget for a moment unpleasant issues like “war and all who mourn.” Then she thinks of her mother and thanks her for giving her birth. – Luanda deHilster According to Michael White of The New York Times, John Rutter, the composer of “What Sweeter Music,” is “the composer who owns Christmas.” While Christmas may be impossible to own, it is certainly agreed that Rutter has mastered the art of a well-crafted holiday arrangement. Rutter was born in England on September 24,1945. He studied music at Clare College and went on to become the Director of Music there from 1975 to 1979. In 2007 he was awarded the Commander of the Order of the British Empire for services to music. Last September he was awarded a Fellowship of the Ivors Academy, the highest honor of the Academy, which places Rutter in the company of other fellows, such as Sir Andrew Lloyd Webber and Sir Paul McCartney. “What Sweeter Music” was written in 1988 for the Choir of King’s College to present at their annual Christmas celebration, A Festival of Nine Lessons and Carols. The text was taken from a poem written by the priest and poet Robert Herrick who lived from1591-1674. The text celebrates the birth of Jesus, using many descriptive phrases to describe him and the joy of Christmas. Rutter uses soft and very specific dynamic markings to convey the sweet and tender nature of the Christmas story. The separation between the treble and tenor/bass voices allows the piece to create a sense of sweetness when the treble voices sing alone and then a victorious entrance with the return of the lower voices. This piece is a wonderful carol with a text that has stood the test of time and beautiful musicality designed to captivate and move the audience. – Grace Myers “Blow, blow, thou winter wind” is a choral piece composed by John Rutter. Born on September 24, 1945, in London, England, Rutter is a renowned composer and conductor known for his contemporary choral compositions. The song was composed in 1963 when Rutter was just 18 year old. The composition was inspired by William Shakespeare’s play “As You Like It” and serves as a musical setting of the famous song from Act II, Scene VII. The purpose of this composition was to capture the whimsical and melancholic nature of the winter wind as described by Shakespeare. The piece was premiered in 1963 at Highgate School in London, where Rutter was a student at the time. The composition showcases Rutter’s skill in choral writing, with beautiful harmonies and a delicate balance between voices. The use of dissonance and resolution in the piece creates a sense of tension and release, reflecting the changing moods of the winter wind. “Blow, blow, thou winter wind” is an important piece in John Rutter’s repertoire, showcasing his talent for choral composition. With its connection to Shakespeare’s play and its evocative nature, it offers a unique and captivating experience. – Jhobert Cooper Christmas Time”—by Vince Guaraldi Trio— is one of the most iconic and memorable tunes played every year around the holidays. This song is iconic because of its use in the hit 1965 TV special “A Charlie Brown Christmas” where the Peanuts characters sing the song. Before the special aired, composer Vince Guaraldi wrote it entirely as an instrumental before the show’s producer, Lee Mendelson, stepped in by writing lyrics in about ten minutes at his kitchen table. Most of the kids featured in Charlie Brown’s Christmas were groups pulled from Mendelson’s neighborhood. The tune itself features the raw voices of ordinary children, suggesting an “innocent holiday caroling” feel. The appeal was so geared towards children and by children that Guaraldi’s soundtrack for the film was nominated for a Grammy for “Best Recording for Children”. Vince Guaraldi was born on July 17, 1928, and died from a heart attack on February 6, 1976. His piece, “Christmas Time is Here”, will go down as a great and nostalgic piece of Christmas art. – Chandler Moncrieff The work “Canticle of Mary” was written by Jeffery L. Ames and S. Scott Leaman. Ames currently serves as the Director of Choral Activities and is a full-time professor with the Belmont University School of Music. He has established himself as an accomplished and well-respected composer. Leaman is the music director at Centenary and the choral director at Lincoln High School. In 2008, he received his National Board Certification. “Canticle of Mary,” one of their more well-known compositions, was written in 2002 for the West Orange High School 2002 Southern Division American Choral Directors Association. The piece is historically based on the Canticle of Mary prayer, also known as the Magnificat. When looking at the similarity between the song and the prayer itself, one can identify great significance in the purpose of rejoicing in the magnitude of God’s mercy and strength. The song has many interesting qualities, including beautiful dissonance and an improvised round towards the end of the piece. The composition is accompanied by an clarinet, whose sound emulates the deep beauty behind the meaning of the prayer. – Ava Van Bevern John Leavitt, a composer from Leavenworth, Kansas, is a highly respected musician. He began his higher education journey with an undergraduate degree in Music Education from Emporia State University and later earned a master’s degree in piano and composition from Wichita State University. He furthered his education by completing a doctorate in Choral Conducting at the University of Missouri-Kansas City Conservatory of Music. Leavitt is an active member of the American Choral Directors Association and the American Society of Composers, Authors, and Publishers, by whom he is consistently recognized for his contributions. Leavitt takes a classic piece and brings it to life in his arrangement of “Ding Dong! Merrily on High.” We are taken on a journey of joy and cheer as well as remembrance. “Ding Dong! Merrily on High” is a classic Christmas carol that commemorates the birth of Jesus. Originating in 16th century France as a dance tune, this arrangement features a lively melody and lyrics that invoke the joyful sounds of bells and angels singing. The refrain “Gloria, Hosanna in excelsis!” expresses the proclamation of Christ’s birth. Beyond its religious significance, the song embodies the festive and enchanting ambiance of the holiday season, serving as a reminder of the warmth experienced when gathering with loved ones to celebrate the Savior’s birth. – Jasmine Waititu Johann Sebastian Bach’s Cantata No. 140, Wachet auf, ruft uns die Stimme is one of the most recognized and celebrated works in Bach’s extensive catalog of sacred music. Completed in 1731, the cantata is based on the text of Philipp Nicolai’s hymn “Wachet auf, ruft uns die Stimme.” This cantata is known for its profound theological depth, exquisite compositional content, and the simplistic beauty of its chorales. The cantata is structured in seven movements, blending arias, recitatives, and chorales with masterful instrumental accompaniment. For this concert we are only performing the first choral movement. The cantata opens with a grand chorus, featuring a climbing, fanfare-like motif that captures the urgency and anticipation of the text. The choir and orchestra, or piano, engage in a unique conversation. “Wachet auf, ruft uns die Stimme” explores rapturous themes of spiritual awakening, with the anticipation of Christ’s return and the union of the soul with the divine. The libretti draws inspiration from biblical references, particularly the Parable of the Ten Virgins (Matthew 25:1-13). This choral movement is an emotional meditation on the themes of vigilance, eagerness, and ultimately the radiant joy of union with the Savior Jesus Christ. – Hayden Turner Francis Poulenc was a member of the renowned group of prominent French composers known as “Les Six.” Poulenc exhibited a witty unique blend of lyricism and spirituality in his compositions. Quatre motets pour le temps de Noël stands as a testament of Poulenc’s upbringing in the Catholic faith and his devotion to the church. This set of motets showcases Poulenc’s ability to combine religious themes with a rich palette of harmonic colors and expressive nuances. Composed in 1952, Quatre motets pour le temps de Noël is a set of four motets for unaccompanied mixed choir. Each motet is based on a Latin text reflecting various aspects of the Christmas story. Poulenc’s compositional style in these motets is characterized by a meticulous balance of traditional choral techniques, such as polyphony and modal harmonies, with a modern sensibility that includes unexpected harmonic twists and colorful dissonances. “Quem Vidistis, Pastores?” (Whom Did You See, Shepherds?) explores a shepherd’s experience of witnessing the birth of Jesus Christ. Poulenc’s use of dissonant harmonies and shifting textures portray the shepherd’s initial confusion and successive understanding of the angelic revelation. “Hodie Christus Natus Est” (Today Christ is Born) is the final movement of the four motets. This piece exclaims the celebratory proclamation of Jesus’ birth. Poulenc’s joyous setting, with its whimsical rhythms and triumphant harmonies, captures the festive spirit of Christmas and the celebration of the Incarnation. – Hayden Turner In 1865, British composer William Chatterton Dix (1837-1898) wrote a poem titled “The Manger Throne” during a personal spiritual revival following a long period of illness and depression. Three stanzas of his poem were then accompanied by the melody to “Greensleeves,” a traditional folk song, and published in Christmas Carols Old and New in 1871. This traditional carol was adapted into a new version in 2022, arranged by Tripp Carter, an undergraduate student at Rollins College who is younger than some members of the choir performing his piece today. He arranged this version for his college choir’s Vespers ceremony. While “What Child Is This” is known to have the same melody as “Greensleeves,” the two melodies can be easily distinguished when played back to back. “Greensleeves” is modal and Dix adapted it into melodic minor in order to modernize the tune. – Katy Croft The classic Christmas carol, “Jingle Bells”, originally had no connection to Christmas. American songwriter J. Pierpont (1822-93) composed the song in the Simpson Tavern in Medford, Massachusetts. Researchers argue that Pierpont, desperate for money, cobbled together lyrics from popular “sleighing songs” in hopes to generate income from his “new” song. He copyrighted the piece under the title “The One Horse Open Sleigh” in 1857, and it was first performed in the same year at Ordway Hall in Boston. Pierpont was later awarded a spot in the Songwriters Hall of Fame due to the song’s worldwide success. Over a decade after the piece’s original publication, a new version arranged by Sire David Willcocks (1919-2015) was published in 100 Carols for Choirs in 1987. Willcocks was Director of Music at King’s College from 1957 – 1974, Director of Music at the Royal College of Music from 1974-1984, and conducted the Bach Choir until his retirement in 1998. The chorus of “Jingle Bells” uses a half-cadence and a full cadence to complete the musical thought. This continuing sound mirrors the sleigh’s paths down Salem Street to the finish line (the scene described in the lyrics). – Katy Croft