Fecit Potentiam | Nicola Porpora/ed. MacMullen | SSAA accompanied
Veni Sancte Spiritus | Zanaida Robles | SATB accompanied
Common Threads | Andrea Ramsey | SATB accompanied
The Steady Light | Reginald Unterseher | 2-part accompanied Come, My Little Children | Christina Whitten Thomas | Unison or 2-part
In My Craft or Sullen Art | Sarah Rikki's | SATB a cappella Khumbaya | Soweto Gospel Choir | SATB accompanied Yih'yu l'ratson | Emma K Daniels | SATB accompanied 1941 | Andrea Ramsey | SSA accompanied
Don't Be Afraid | Jennifer McMillan | SSAA accompanied
O Sister | Kathleen Allan | SA accompanied
Tau Ya Thaba | Sabelo Mthembu | SAB a cappella * If ordering printed scores, shipping will be added to the invoice
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Connecticut ACDA
2024 Fall Conference
Reading Session
5 Fecit Potentiam | Nicola Porpora/ed. MacMullen | SSAA accompanied
17 Veni Sancte Spiritus | Zanaida Robles | SATB accompanied
31 Common Threads | Andrea Ramsey | SATB accompanied
43 The Steady Light | Reginald Unterseher | 2-part accompanied
49 Come, My Little Children | Christina Whitten Thomas | Unison or 2-part
57 In My Craft or Sullen Art | Sarah Rikki’s | SATB a cappella
79 Yih’yu l’ratson | Emma K Daniels | SATB accompanied
86 1941 | Andrea Ramsey | SSA accompanied
97 Don’t Be Afraid | Jennifer McMillan | SSAA accompanied
106 O Sister | Kathleen Allan | SA accompanied
114 Tau Ya Thaba | Sabelo Mthembu | SAB a capella
2024 CT-ACDA
2024 CT-ACDA
2024 CT-ACDA
About the Pi e c e :
Veni Sancte Spiritus was com posed by Zanaida Robles in spring 2012 under the guidance of her com position teacher Dr. M orten Lauridsen at the University of Southern California. The work is based on an original love song called " End of Tim e" written by Robles in 2001. The harm onic treatm ent and syncopation are derived from popular m usic styles (rock, pop, etc ) The com pound m eter, intricate piano lines, and choral voicings are elem ents that anchor the piece firm ly in the classical choral tradition.
About the Compos e r :
Dr. Zanaida Stewart Robles is a fierce advocate for diversity and inclusion in m usic education and perform ance. Authentic interpersonal connection and relationshipbuilding are core principals of her teaching and perform ance m ethods. Born, raised, and educated in Southern California, she is in dem and as a vocalist, conductor, clinician and adjudicator for com petitions, festivals, and conferences related to choral and solo vocal m usic. She serves on the national board of the National Association of Negro M usicians and is chair of the board of directors of Tonality, a non-profit organization that prom otes peace, unity, and social justice through choral m usic perform ance in Los Angeles. She holds a Doctor of M usical Arts degree from the USC Thornton School of M usic, a M aster of M usic degree from CSU Northridge, a Bachelor of M usic degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts. Her m usic com positions are published by E. B. M arks Publishers.
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ú ú ú ú Ï Ï Ïj Ï Ïj Ï Ï Ïj ä
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D u l ce re f ri
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C o n so la tu r o p ti me, Ï J Ï Ï J Ï Ï Ï Ï
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# # #
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. Ï Ï Ï Ï C o me, Ho ly î . Ï Ï Ï Ï
& V ? & ?
h eav en th y Ï ú Ï Ï Ï Ï
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. . úú ú ú Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ú F F F F
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ä J Ï Ï Ï Ï Ï Ï Ï
O lu x b e a tis si ma,
ä Ïj Ï Ï Ï Ï Ï Ï Ï
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Tu o ru m f i d e li
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Tu o ru m f i d e li ä J Ï Ï Ï Ï Ï Ï Ï Ï
o ru m f i d e li
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& & V ? & ?
ä Ïj
Ï Ï Ï Ï Ï Ï Ï
Si n e tu o n u mi n e,
ä Ïj Ï Ï Ï Ï Ï Ï Ï
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ä J Ï Ï Ï Ï Ï Ï Ï Ï
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ä J Ï Ï Ï Ï Ï Ï Ï Ï
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Sancte Spiritus - 7
ä Ïj Ï Ï Ï Ï Ï Ï Ï
Ni h il est in n o mi n e.
ä Ïj Ï Ï Ï Ï Ï Ï Ï
Ni h il est in n o mi n e.
ä J Ï Ï Ï Ï Ï Ï Ï Ï
Ni h il est in n o mi n e
ä J Ï Ï Ï Ï Ï Ï Ï Ï
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Ï Ï J Ï Ï J Ï Ï Ï Ï Ï Ï Ï Ï ú P P P P P Ï j Ï Ï j Ï Ï Ï Ï
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ä Ïj Ï Ï Ï Ï Ï Ï Ï
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ä Ïj Ï Ï Ï Ï Ï Ï Ï
Ni h il est in n o xi
ä J Ï Ï Ï Ï Ï Ï Ï Ï
Ni h il est in n o xi ä J Ï Ï Ï Ï Ï Ï Ï
Ï Ïj Ï Ïj Ï Ï Ï
C o n so la tu r o p ti me,
Ï Ïj Ï Ïj Ï Ï Ï
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C o n so la tu r o p ti me,
D u l cis h o s p es a n i mae, Ï j Ï Ï j Ï Ï Ï Ï
D u l cis h o s p es a n i mae, Ï Ïj Ï Ïj Ï Ï Ï
D u l cis h o s p es a n i mae, Ï J Ï Ï J Ï Ï Ï Ï
D u l ce re f ri ge ri u m
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Ve n i, San c te Sp i ri tu s Ï j Ï Ï j Ï Ï Ï Ï Ï
Ve n i, San c te Sp i ri tu s
Ï Ïj Ï Ïj Ï Ï Ï Ï
Ve n i, San c te Sp i ri tu s
Ï J Ï Ï J Ï Ï Ï Ï
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I n ae stu tem p e ri es, Ï Ï Ï Ï Ï Ï Ï Ï
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tu s C o me, Ho ly Ï w tu s Ï w
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ä J Ï Ï Ï Ï Ï Ï Ï Ï
I n f le tu so la ti u m
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Ve n i, San c te Sp i ri Ï Ïj Ï Ïj Ï Ï Ï Ï
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Sen d f ro m
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Tu o ru m f i d e li Ï Ï w w Sp i rit ä J Ï Ï Ï Ï Ï Ï Ï Ï Ï
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C o me, Ho ly Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . ú ú î ä Ïj Ï Ï Ï Ï
Commissioned by the Allegro Choirs of Kansas City for their performance at the 2019 National Conference of the American Choral Directors Association, Kansas City, MO
Conductors: Kellyn Button, Christy Elsner, Gretchen Harrison, Sarah Houston, Jamea Sale, and Christopher Smith
Common Threads
SSAATB Chorus, Solo, Descant with Piano and optional String Quartet*
* Full score and string quartet parts are available separately
Two-part choir and piano (optional unison and piano)
by Robert Louis Stevenson
poem
Come, my little children, here are songs for you; Some are short and some are long, and all, al l are new. You must learn to sing them very small and clear, Very true to time and tune and pleasing to the ear.
Mark the note that rises, mark the notes that fall, Mark the time when broken, and the swing of it all. So when night is come, and you h ave gone to bed, All the songs you love to sing shall echo in your head.
~Robert Louis Stevenson (1850
- 1894)
Robert Louis Stevenson
Moderato q = 92
Come, My Little Children
Christina Whitten Thomas
Moderato q = 92
you; some are short and some are long, and all, and all are
new. mf You must learn to sing them ve ry - small and ve ry - clear, & bb mf ? bb n & bb
ve ry - true to time and tune and pleas ing - to the ear.
Mark
the note that ri ses,
mark mf the time when bro ken, f - and the swing of it & bb II
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bed, I mf
all mp the songs you love to sing shall ec ho - in your & bb
bed, II mf all mp the songs you love to sing shall ec ho - in your & bb mf ? bb
Come,
f my lit tle - child ren, - here are songs for you;
Come,
f my lit tle - child ren, - here are songs for you;
some
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some
are short . and some are long, and all, and all are
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new. II Come, ff my lit tle - child ren, - here are & bb f ? bb & bb
songs I for you
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So
when night is come, and you have gone to bed,
all the songs you love to sing shall ec ho - in your
Sarah Rimkus
In my craft or sullen art
Text by Dylan Thomas
2024 CT-ACDA
for SATB quartet
c. 4’30”
In my craft or sullen art
Exercised in the still night
When only the moon rages And the lovers lie abed
With all their griefs in their arms, I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages Of their most secret heart.
Not for the proud man apart From the raging moon I write On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages, Who pay no praise or wages
Every effort has been made to trace the copyright holder of this poem. If she should come forward the composer will be pleased to make the necessary arrangement at the first opportunity.
Andrea Ramsey
You will be here. You'll
You will be here. You'll be
You will be here. You'll be
With warmth q = 92
when you take my
when you take my
hand, oh,
when you take my
With warmth q = 92
hand
Pno.
& & & & ?
bled, years have
crum bled in
You will have
cay, you have
bled in de
cay,
you have
commissioned
Don't Be Afraid
Allyson Reigh
arr. Jennifer McMillan
R.H.
R.H.
Two-part women’s choir with piano, 4 minutes
O Sister
(Keep Me Steady Through the Storm)
2024 CT-ACDA
Kathleen Allan 2016
Commissioned by Voices of Hope, Shakopee, MN and the University of Minnesota Women's Chorus, Minneapolis, MN
Amanda Weber, Conductor
About the Voices of Hope
The Voices of Hope is a women’s prison choir at the Minnesota Correctional Facility in Shakopee, MN. Founded in October 2015 by Dr. Amanda Weber, the choir has grown from 15 to nearly 50 singers. They rehearse every Sunday afternoon and perform several times a year at the prison for other incarcerated women. Additionally, whenever possible, the Voices of Hope collaborate with musicians from outside of the prison as a way to bridge communities and educate the public about the U.S. criminal justice system. In the last three years, Voices of Hope has served approximately 200 singers inside of the prison and has collaborated with approximately 200 musicians from the surrounding community.
Voices of Hope Mission
The Voices of Hope is a women’s prison choir at the Minnesota Correctional Facility in Shakopee, MN. The choir was founded in October 2015 by Amanda Weber and rehearses weekly at the prison.
MISSION: The Voices of Hope is a women’s prison choir that fosters individual growth and bridges unlikely communities through song.
HOPES: We recognize that the Voices of Hope has a dual calling to serve communities both inside and outside of the prison:
1. BRINGING HOPE TO MCF-SHAKOPEE
The Voices of Hope provides a safe and sober activity which empowers women to find their voice, build connections in a diverse setting, and bring a positive message of hope and healing to the MCFShakopee community.
2. BRINGING HOPE OUTSIDE PRISON WALLS
The Voices of Hope views singing as a powerful tool of restorative justice, seeking to transform perspectives of incarceration and build bridges of healing within the wider community through collaboration and reflection.
About O Sister
During the 2016-2017 academic year, the Voices of Hope partnered with the University of Minnesota Women’s Chorus on a project entitled “Phenomenal Woman.” Inspired by a set of poems written by Maya Angelou, the two choirs prepared music written for women, by women. Each choir worked separately, with occasional opportunities for small groups from UMN to come to the prison for a shared rehearsal. In February of 2017, the two choirs performed together at the prison, each choir singing a few pieces separately and then several together.
Words/Phrases from VOH strength listen just the beginning pride peace freedom we ARE voices of hope unconditional love healing eternal desire faith help one another sky’s the limit beauty time timeless where we’ve been creative sisterhood eyes wide open never looking back the ocean song in our soul/heart beautifully broken trials & tribulation courage journey perfectly imperfect flaws steadfast believe hope for the hopeless change sight for the blind the power of a woman forgiveness future for our children I won’t back down family united celebrate break every chain anything’s possible inspire galactic
2024 CT-ACDA
For this project, we commissioned University of Minnesota poet D Allen to write a text and Canadian composer Kathleen Allan to set it, as a sign of unity and partnership between the t wo choirs. The Voices of Hope helped brainstorm words or phrases they felt should be represented in the text (see column above), and from this, D created the poem, “O Sister.” I asked Kathleen to compose a piece that the Voices of Hope could perform again the future, without a partnering choir. Her composition fit our needs perfectly, and has continued to be a favorite for the Voices of Hope. When other choirs sing this piece, it is as if the voices of incarcerated women are finally able to be heard beyond the fence.
Websites:
Sign up for occasional updates from the Voices of Hope at www.amandakateweber.com
Consider supporting the Voices of Hope with a financial gift at www.givemn.org/story/VoicesofHope
Watch Amanda’s TEDx talk about music and restorative justice at https://www.youtube.com/watch?v=2H4qyOG13fc&t=7s
Watch the UMN Women’s Chorus perform “O Sister” without Voices of Hope on February 24, 2017 – just twelve days after their performance at the prison: https://www.youtube.com/watch?v=jUOTQS8_b2s
About composer Kathleen Allan
Canadian conductor, composer and soprano Kathleen Allan is rapidly becoming internationally respected for her performances and compositions. Her work has been commissioned and performed by ensembles throughout the Americas and Europe. She is the 2016 recipient of the Ernest MacMillan Prize in Choral Conducting and in 2015, she made her Asian debut conducting Handel’s Messiah and Bach’s Christmas Oratorio in Japan. She is the Director of Choral Studies at the Vancouver Academy of Music and is the Artistic Director of Canzona, Winnipeg’s professional Baroque choir. She is the founding co-artistic director of Arkora, a chamber music collective dedicated to interdisciplinary performance. As a soprano, she h as premiered over two dozen solo vocal works and has sung with leading professional choirs including the Vancouver Chamber Choir, Skylark (Atlanta), and the Arnold Shoenberg Chor (Vienna). She holds a composition degree from the University of British Colum bia and a master’s degree in conducting from Yale University.
About Voices of Hope conductor Amanda Weber
Amanda Weber is a conductor, teacher, performer, artist, and activist who is passionate about uniting music, art, and community through her work. Weber’s interest in using music as a tool for social justice grew through her work at Luther Place Memorial Church in Washington, D.C., where she founded Bethany’s Women of Praise, a choir for homeless women. Her recent work with the Voices of Hope has been featured by the StarTribune and as a TEDx talk; additionally, she has presented at numerous conferences, often collaborating with other leaders in the field of choral music and incarceration.
2024 CT-ACDA
Weber holds a DMA in Conducting from the University of Minnesota, an MM in Choral Conducting from the Yale School of Music and Institute of Sacred Music, and a BA in Music and Art from Luther College.
O Sister (Keep Me Steady Through the Storm)
& ? &
&
O sis ter, - as the light ning - breaks, as the thun der - shakes our shoul der s, -
O sis ter - let it be our voice to kee p us stead y - through the stor m
O sis ter - Let it be our song to kee p us stead y - through the stor m
sis ter, - when your bones are sore, and your legs can go no fur ther, -
sis ter, - when your bones are sore, and your legs can go no fur ther, -
O sis ter, - my bo dy, - it aches, my work's been long, I'm wear y, -
O sis ter, - my bo dy, - it aches, my work's been long, I'm wear y,
O sis ter, - please sit with me, kee p us stead y - through the stor m.
Repeat
O sis ter, - please hear my hurts, kee p us stead y - through the stor m
Tau Ya T haba T raditional S eS otho Folk S ong (SA B)
Ar ranged by: Sabelo Mthembu
CT-ACDA
tla? di na ke pa la ng we
tla? di na ke pa la ng we ha Oo weh
CT-ACDA
ma jwang pa la
ma jwang pa la jwang? la ma pa ba? tha ya tau
ma jwang pa la jwang? la ma pa ba? tha ya tau
ba? tha ya tau
jwang? la ma pa
ma jwang? pa la
jwang? la ma pa le le He
2024 CT-ACDA
Tau Ya T haba means “Lion of a mountain” in the Sotho language Sotho is the native language of L esotho L esotho, a countr y nestled in the souther n par t of South Afr ica, is also af fectionately k nown as the Mountain K ingdom, ow ing to its beautif ul, majestic mountains Mov ing between towns involves crossing valleys and ascending many mountains, whether by car, foot or horse. T his song speaks of the Mountain K ingdom as a place for the mighty; a place for the tr uly courageous
T he text translates to “only the courageous climb the lion of a mountain”, a metaphor for life in which only the strong can climb some of the toughest hills It is a song that celebrates t he beauty of L esotho and a song of encouragement
