Winter Choral Concert - 12/3/24

UCO Winter Choral Concert featuring University Choir, Cantilena, Cantare & Concert Chorale Keegan Rose and Karl Nelson, directors Hwaju Lee, piano 7:30 PM, December 3, 2024 Mitchell Hall Theatre Concert Program University Choir: White Winter Hymnal / arr. Roger Emerson Season of Light / Jacob Narverud Stand Together / Jim Papoulis Cantare: Blow, blow, thou winter wind / John Rutter Cantilena: Measure Me, Sky! / Elaine Hagenberg Cantilena and Cantare: The Boy Who Laughed At Santa Claus / Eric Whitacre/ Poetry by Ogden Nash 1. The Boy Who Laughed At Santa Claus 2. The Children Wept all Christmas Eve Concert Chorale: Mid-Winter Songs / Morten Lauridsen / Poetry by Robert Graves I. Lament for Pasiphaë II. Like Snow III. She Tells Her Love While Half Asleep IV. Mid-Winter Waking V. Intercession in Late October Candlelight Carol / John Rutter What Cheer? / William Walton Program Notes “White Winter Hymnal,” written by Robin Pecknold of Fleet Foxes, is a contemporary piece that evokes the feeling of wintertime. Composed in 2008 when Pecknold was 20 years old, the song was written in just 20 minutes while he sat on his family’s couch. Though it gained widespread recognition through Pentatonix’s “That’s Christmas to Me” album, the song was not originally intended as a holiday piece. Accompanied by body percussion, the work reflects themes of winter and the changing seasons in life. Pecknold wrote the lyrics as a personal reflection on his 8th-grade friends who distanced themselves from him, which is evident in lines such as “I was following the pack” and “I turned round and there you go.” The song’s simplicity in both melody and lyrics allows it to resonate deeply with audiences, regardless of how they interpret its meaning. “White Winter Hymnal” is a soft, introspective piece that captures the season of change and serves as a poignant reminder of the journeys we all experience. – Grace Blocker “Season of Light,” composed by Jacob Narverud, is a choral piece that captures the essence of the holiday season. Narverud, an internationally recognized American composer, arranger, and conductor, is known for his diverse choral catalog spanning original compositions, Broadway arrangements, and editions of works from historical musical eras. This piece was written for Narverud’s friend and mentor, Judith Clurman, who made it the title track of the “Season of Light: Songs of Thanksgiving, Christmas, Chanukah, New Year” album, released by Sono Luminous. The composition evokes the feeling of a simple, old-fashioned carol. Its brief, two-verse structure invites listeners to reflect on the season’s significance and meditate on the holidays. Narverud’s approach creates a universal piece that transcends religious boundaries, allowing everyone to share in the joy and calm of the holiday season. “Season of Light” is a timeless and inclusive work that brings the spirit of the holidays to life. – Paige Pierce “Stand Together,” composed by Jim Papoulis in 2005, is a choral piece inspired by the transformative power of unity. Papoulis, a distinguished conductor and composer for symphonies, bands, and choirs, wrote the piece after attending the Choral Music Experience at Ithaca College, led by Dr. Janet Galvan. This experience emphasized the strength of individuals coming together to create a vibrant and cohesive group. The piece features Irish syllables, learned from a Celtic singer Papoulis met during the experience, symbolizing inner strength and seamlessly woven into the composition. Written in C major, the song’s uplifting tone is accentuated by significant dynamic contrasts, emphasizing the importance of the text. Performers are encouraged to pay close attention to these dynamics to effectively convey the song’s powerful message. “Stand Together” leaves a lasting impression on audiences, promoting the beauty of unity and shared purpose. It embodies the composer’s goal of sharing the inspiring experience he had with the world. – Bella Brown “Blow, Blow, Thou Winter Wind” is a beautifully expressive choral setting of a text by William Shakespeare. Composed by John Rutter in 1972, the song forms part of his collection of works that combine accessible choral writing with deep emotional resonance. The text, from Shakespeare’s As You Like It, uses the imagery of winter wind to explore themes of human suffering and endurance, as the character Amiens reflects on the harshness of life. Rutter, one of the most prominent contemporary choral composers, is celebrated for his sacred and secular works. Born in England in 1945, he has become a leading figure in choral music, particularly in the United Kingdom. “Blow, Blow, Thou Winter Wind” exemplifies Rutter’s ability to combine simple yet profound choral writing with an expressive understanding of the text. The piece’s reflective mood, interwoven with moments of lightness and hope, evokes a range of emotions—from the chill of winter to the warmth of shared human experience. Its accessibility and emotional depth have made it a favorite in choral repertoires, particularly during the winter months. This work remains one of Rutter’s most beloved secular compositions, resonating with audiences and performers alike through its exploration of resilience and the enduring human spirit. – Grayson Schreiber “Measure Me, Sky!” by Elaine Hagenberg is a hauntingly beautiful choral work set to the poetry of Sara Teasdale, whose words evoke themes of longing, spiritual reflection, and the vastness of the natural world. Hagenberg’s setting perfectly complements the expansive quality of the poem, with soaring melodic lines and shifting harmonies that build emotional depth and spiritual reverence. The composition is characterized by sweeping, legato vocal lines and rich harmonies, creating an expansive and reflective atmosphere. The piece builds gradually in intensity, allowing performers to explore the emotional contrasts between quiet introspection and powerful yearning. Hagenberg’s sensitive use of dynamics and pacing reflects the text’s themes of personal reflection and spiritual longing, crafting a meditative space for both performers and listeners. Singers are encouraged to focus on smooth, sustained phrases and dynamic expression to fully capture the music’s ethereal beauty. This poignant and emotionally resonant work highlights Hagenberg’s ability to blend lyrical beauty with spiritual depth, offering an intimate and reflective experience for all who perform or listen to it. – Brighton Varner “The Boy Who Laughed at Santa Claus,” composed by Eric Whitacre, is a vivid and dramatic choral setting of Ogden Nash’s whimsical poem. This tale recounts the antics of Jabez Dawes, a mischief-making boy whose hubris leads to a fateful encounter with Santa Claus. The first movement introduces Jabez as a terror in his community. Whitacre uses chromatic melodies, staggered entrances, and staccato lines to create tension and intrigue. The treble choir contributes playful, illustrative sounds—chewing, crying, and melodic wailing—that bring Jabez’s interactions to life, while the rest of the choir narrates the story. Subtle references to popular Christmas tunes weave familiarity into the complex and evolving musical landscape. The second movement, “The children wept all Christmas Eve,” shifts to a somber and ominous tone. It depicts the aftermath of Jabez’s tricks, culminating in his eerie encounter with Santa Claus. Whitacre’s use of ghostly wails, unnerving dissonance, and growing intensity foreshadows a dark and uncertain resolution for Jabez. The movement’s chilling atmosphere leaves listeners contemplating the consequences of Jabez’s misdeeds. This imaginative work demonstrates Whitacre’s unique ability to transform a humorous narrative into a richly textured and engaging choral experience. – Rose Sprinkle and Victoria Mosburg Morten Lauridsen (b. February 27, 1943) is a highly regarded American composer known for his deeply expressive choral works. A longtime professor of composition at the University of Southern California Thornton School of Music, Lauridsen has had a profound influence on contemporary choral music. His compositions, often inspired by poetry, spirituality, and timeless themes, include celebrated sorks such as “O Magnum Mysterium,” Mid-Winter Songs, “Lux Aeterna,” and “Sure on this Shining Night.” Lauridsen’s lush harmonies and melodies have earned him numerous accolades, including the National Medal of Arts in 2007. His music is widely performed worldwide, cherished for its ability to connect emotionally with audiences. Morten Lauridsen’s Mid-Winter Songs is celebrated for its fusion of Robert Graves’ poetry with Lauridsen’s distinct musical language. Composed in 1980, the choral cycle comprises five movements that form a symphonic structure. Lauridsen’s ability to combine text and music allows the poetry to guide the emotional arc for the piece, while his innovative use of harmony and rhythm enhances the depth of the work. The cycle explores themes of love, nature, loss, and renewal, combining to make a perfect exploration of the human condition. Each movement offers a unique relationship between music and text, showing Lauridsen’s sensitivity to Graves’ imagery provided through his text. The opening movement, “Lament for Pasiphaë,” establishes a somber tone, capturing the anguish of the mythological queen through rich harmonic language and melodies. “Like Snow,” the second movement, moves to a lighter, almost ethereal soundscape, using a mixture of unique rhythmic and dynamic contrasts to text paint the beauty of snowfall. Lauridsen’s attention to detail in these movements highlights his ability to use musical elements to mirror Graves’ poetic themes. In the third movement “She Tells Her Love While Half Asleep,” Lauridsen creates an intimate setting that echoes the poem’s quiet story of love. Gentle harmonies and lyrical melodic lines create a sense of warmth and vulnerability, drawing listeners into the emotional depth of the text. In contrast, “Mid- Winter Waking,” the fourth movement, brings more energy, using rhythmic complexity to depict awakening and renewal, literally and metaphorically. The final movement, “Intercession in Late October,” brings the cycle to a contemplative close. With the piano Lauridsen integrates musical ideas from earlier movements. The lush harmonies and melodies evoke a sense of resolution, reflecting themes of remembrance, and the passage of time. Lauridsen’s skillful use of text painting throughout the cycle allows Graves’ poetic imagery to shine, making each movement a vivid and distinct musical narrative. – Trever Spruill “Candlelight Carol” is a Christmas carol composed in 1984 by English choral composer and conductor John Rutter. The piece was commissioned by John Romeri, then Director of Music at the Church of the Assumption in Bellevue, Pennsylvania. He requested a carol celebrating the Virgin Mary. Rutter drew inspiration from Geertgen’s painting “Nativity at Night.” Themes of the piece focuses on describing the nativity of Jesus, particularly emphasizing the love of Mary for her son. It was first recorded by Rutter’s group, the Cambridge Singers, and then included on their 1987 album “Christmas Night.” The carol has since been recorded by many other artists, including Neil Diamond, Joseph McManners, and Aled Jones. It was also performed by several important choirs, including the Mormon Tabernacle Choir. Rutter’s carol has become a popular carol from choirs at Christmas concerts being widely performed in the United Kingdom, the United States, and other countries. “Candlelight Carol” has established itself as a beloved addition to the modern Christmas carol repertoire, known for its touching portrayal of Mary’s love for the infant Jesus and its evocative musical setting. – Taylor Jones William Walton’s “What Cheer?” was commissioned for the initial volume of Oxford University Press’ choral series, Carols for Choirs. This hugely popular series, Carols for Choirs 1-5, plus 100 Carols for Choirs, contains mainly English language Christmas carols, hymns, and anthems, and is used all over the world by church choirs, choruses, schools, and singers who want to go Christmas caroling. The initial editors were Reginald Jacques, conductor of The Bach Choir, and David Willcocks, Organist at King’s College, Cambridge. Later editors include composers John Rutter and Bob Chilcott. Jacques and Willcocks asked William Walton to compose a carol for that 1961 first volume (known to singers as The Green Book). Walton used text from Richard Hill’s early 16th century commonplace book, a text with all sorts of notations, including transcripts of late medieval poems, songs, and carols. Walton’s setting of this anonymous text follows the joyous spirit of the words—happiness for the wonder and joy of Christmas, love and prosperity in family and friends, and best wishes given to all for the New Year. – Joe Hoehner