A Little Song of Life | SATB | Reginald Unterseher
Calling Us Home | SATB | Jane Kozhevnikova
What Whales and Infants Know | SSA | Jackson Thomas
Stabat Mater | SATB | arr. Meredith Bowen
The Accompanist | SATB | Kurt Knecht
Be Still | SATB | Timothy Tharaldson
Umoja | SATB | Zanaida Robles
O Virtus Sapientie | SATB | Katerina Gimon
Tau Ya Thaba | SATB | Sabelo Mthembu
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Glad that I live am I; That the sky is blue; Glad for the country lanes, And the fall of dew. After the sun the rain, After the rain the sun; This is the way of life, Till the work be done. All that we need to do, Be we low or high, Is to see that we grow Nearer the sky.
ABOUT THE PIECE
The energy, hope and positive energy in the poem is reinforced by the layered rhythms and syncopations in both the piano and voice parts. The poem is divided into three parts. The first part is an expression of the feeling of the joy of the natural world. The middle section explores in simple terms the cyclical nature of natural systems. When the musical material returns, it is both recognizable and developed a little more each time. The third section introduces the last lines of the poems as a mantra, repeated back and forth between two parts while a descant group soars above them.
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for the Spokane AreaYouth Choirs, Marc A. Hafso and Judy Pearson Hafso, Artistic Directors
Written by Jane Kozhevnikova in 2022, “Calling Us Home” is a setting of Germaine Shames’ lyrics for voice and piano/SATB and piano. The choral version was premiered on November 19, 2023, by the UNCG Chorale directed by Dr. Carole Ott Coelho. It is a poignant piece that evokes a sense of longing for home and connecting with the universe.
Duration: ca. 3’40’’
For inquiries or performance reports, please email homoinsomnis@yahoo.com.
Calling Us Home by
Germaine Shames
There’s a voice in the sweet beyond A road spun of golden light
There’s a spark in the deep of night
And a breeze stirring the tree of life
The moon has got his full face on He’s beaming from his throne
While stardust bursts upon our dreams
Calling us home
See those stars with their tap shoes laced
They’re dancing to the glow
When gladness brims within our souls
Calling us home
Home is where redemption waits, where darkness cannot go Oh, home is where the broken are made whole, are made whole
The moon has got his trumpet out
He’s jamming sweet and low
And lightning breaks upon our sleep
Calling us home
Calling us home
Calling us home…
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S o p r a n o 1
S o p r a n o 2
a t e m po
f ro m p t he o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s1 3
a t e m po
a t e m po
f ro m p t he o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s - m u d d y -
f ro m p t he o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s - m u d d y - d e p t hs f ro m mp t he
B o x e d n o t e s f ro m m 1 4- 2 3 s ho u l d be r a n d o m l y p l a ye d ( i n c l
a t e m po mp p mp °
8
m u d d y - d e p t hs f ro m mp t he o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s - m u d d y - d e p t hs
d e p t hs f ro m mp t he o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s - m u d d y - d e p t hs
o c e a n ’ s - m u d d y - d e p t hs f ro m t he o c e a n ’ s - m u d d y - d e p t hs
s
s
s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a f s o n g
s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g
s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g s e n d a s o n g
A f t e r t he f e r m a t a i s re a c he d i n m 5 5 , e a c h s i n g e r g r a d u a l l y be g i n s t o s i n g “ s e n d a s o n g , ” u s i n g a l l o f t he n o t e s i n t he bo x o n t he i r re s p e c t i v e s t a ff i n m 5 6 S i n g e r s a re e n c o u r a g e d t o c ha n g e t he c o n t o u r / o rd e r o f n o t e s / rhyt hm w i t h e v e r y i t e r a t i o n T hi s s e c t i o n s ho u l d c re s c e n d o c o n s i s t e n t l y ( a p p ro x 3 0 s e c o n d s ) u n t i l t he c o n d u c t o r g i v e s a c u e f o r s u d d e n s i l e n c e be f o re m o v i n g o n - a l l s i n g e r s s ho u ld i m m e d i a t e l y s t o p w i t ho u t re g a rd o f t he i r p o s i t i o n w i t h t he i r c u r re n t re p e t i t i o n
mp f t o p bre a c h t he s u r mf f a c e - t o p bre a c h t he s u r f a c e5 2 mp f
t o p bre a c h t he s u r mf f a c e - t o p bre a c h t he s u r f a c emp f t o p bre a c h t he s u r mf f a c e - t o p bre a c h t he s u r f a c e -
t o bre a c h t he s u r mp f a c e - w he re w ha t w e m o s t n e e d l i v e s .
t o bre a c h t he s u r mp f a c e - w he re w ha t w e m o s t n e e d l i v e s
t o bre a c h t he s u r mp f a c e - w he re w ha t w e m o s t n e e d l i v e s
l i g ht , a i r y
s l o w l y ro l l e d
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W h a t W h a l e s a n d I n f a n t s K n o w
A be l u g a r i s i n g
f ro m t he o c e a n ’ s m u d d y d e p t hs re s ha p e s i t ’ s he a d t o m a k e a s o u n d
o r t a k e a bre a t h.
I w a n t t o c o m e
a t a i r a n d l i g ht l i k e t hi s
t o m a k e m y he a r t
a w hi t e a rc a bo v e t he m u c k o f c e r t a i n d a y s ,
a n d f ro m s i l e n c e a n d s t r a n g e a i r
s e n d a s o n g
t o bre a c h t he s u r f a c e w he re w ha t w e m o s t n e e d l i v e s
S t a b a t M a t e r
for SATB choir, keyboard, and cello Sulpitia Cesis (1577 - after 1609)
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edited by Meredith Bowen
Notes
Sulpitia Lodovica Cesis (1577 – after 1619) was a nun at the Augustinian convent of San Geminiano in Modena, Italy. Like many young women from wealthy families in the 17th century, she professed her vows of poverty, chastity, and obedience at age 16 then lived her entire life behind the walls and iron grates of her convent. Cesis was mentioned in a traveler’s account from 1596: “The nuns there are versed in all sorts of musical instruments...[including] Sister Sulpitia, daughter of the most illustrious Signor Count Cesis, who played the lute excellently... they performed a motet of hers which was highly praised.” She published one volume of music in 1619 entitled Motteti spirituali. This volume contains twenty-three motets for 2-12 voices including parts for tenors and/or basses.
The “Stabat Mater” is a 13th-century Latin hymn about Mary’s pain at the foot of her Son’s cross, sung during the fifth week of Lent. The performance would have taken place in a divided chapel with the nuns singing and playing behind a wall or iron grate to obscure their faces from the public.
Originally scored for soprano, alto, tenor, and bass voices in part books, this edition provides all four parts combined in modernized notation. All tempos, dynamics, and breath marks are editorial. The organ and cello parts are optional, but can be played colla parte, per early-modern performance practice.
Text and Translation
Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius.
Cuius animam gementem constriantem, et dolentem pertransivit gladius.
O quam tristis et afflicta fuit illa benedicta Mater unigeniti.
Quis est homo qui non fleret Christi Matrem si videret in tanto supplicio?
Sancta Mater istus agas Crucifixi fige plagas cordi meo valide.
Tui nati vulnerati iam dignato pro me pati paenas mecum divide. Fac me plagis vulnerati cruce hac inebriari ob amorem filii.
Quando corpus morietur fac ut anime donetur Paradisi gloria.
The sorrowful mother stood weeping beside the cross while her son was hanging there. Her grieving soul sad and dolorous was pierced through as by a sword. O how sad and afflicted was that blessed mother of an only son. Who is the man who would not weep if he saw the mother of Christ in such distress?
Holy Mother, hear me, and inflict the wounds of the cross deeply in my heart. Your son, covered with wounds, desired to suffer for me; may I share his pains. May his wounds hurt me, may I become intoxicated from the cross, for the love of your son. When my body dies may my soul be granted heavenly glory.
An SSA performance of this piece was recorded by mirabai and can be heard here: https://youtu.be/6dH079UXABQ
Mater
Edited by Meredith Bowen
Mozartian = 112
The Accompanist
kurt knecht
all the cues and
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* The accompanist slams an indeterminate cluster and says something like, "Nope! Try again." Then the accompanist re-pitches the choir for the next attempt.
** The accompanist again slams an indefinte cluster and says something like, "Not quite." Then the accompanist re-pitches for the third attempt.
* The choir looks over at the accompanist for approval, and the accompanist gives a thumbs up.
** The accompanist does a face palm.
The basses land on D flat, and the accompanist bangs a D natural until they all come up to pitch.
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* The conductor makes a large cutoff gesture. The accompanist ignores and continues playing.
** The conductor makes increasingly furious attempts to cut the accompanist off.
(play if necessary)
(play
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raise. She's
* The choir glances over nervously. The accompanist can do a fingers crossed gesture.
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** Accompanist makes continued gestures of despair between attempts. e.g. hand to the forehead while shaking head, hands folded in prayer, the third can be the most dramatic like a feigned stab to the heart.
*** After the third attempt fails, some one in the choir gets an idea and quickly whispers it to the rest of the group.
N ew R evised S tandard Version B ible, copyright 1989, D ivision of C hristian E ducation of the N ational C ouncil of the C hurches of C hrist in the U nited S tates of A merica U sed by permission A ll rights reserved T I M O T H Y J O N T H A R A L D S O N
B e Sti ll
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S AT B
1 S amuel 12:16, I saiah 40:31-32, P salm 46:10
Be Still
com ing, - H e is com ing, - H e is com ing, -
F or mf H e is com ing,mf H e is com ing, - com ing,mp H e is com ing, -
H e is com ing, -mp for H e is com ing, -
H e
H e
is com ing -
H e is com ing -
H e is
stand and see this great
T here fore - take your mf stand and see this great
T here fore - take your mf stand and see this great
T here fore - take your mf stand and see this great
thing
the L ord will do be fore
your eyes, be fore - your eyes, your
thing
the L ord will do be fore - your eyes, your
thing
the L ord will do be fore - your eyes, be fore - your eyes
thing
the L ord will do be fore - your eyes.
L
mp they shall walk and not
mp walk and not run and and not be wea ry,run and and not be wea ry,faint mp those who wait for the L ord, be rit.
faint mp for the L ord be mp those who wait be those mp who wait for the L ord be
still,
wait for the L ord, be be still, be still,
still, f those who wait for the L ord, those who still, f those who wait for the L ord, be still, those who still, f be still, those who wait for the L ord, be
those who wait for the L ord, be mp still, rit. q=66
wait for the L ord, be
still, be wait for the L ord, still, for the L ord,
be still, mp be still and
still, be still, mp be still, be still, mp be still, be still, still, be still, mp be still,
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KWANZAA SONGS
By Zanaida Stewart Robles
“Umoja” is the first principle of Kwanzaa meaning unity. This setting is designed to incorporate improvisation and can be performed in any combination of voices and/or instruments. Percussion instruments such as the kalimba, atoke bells, or djembe drum can be added in a rhythmic yet improvisatory manner to create a richer texture. The rhythm should dissipate as the aleatoric section begins.
Kwanzaa principles are valuable to remember year-round, which makes Kwanzaa music viable for performances at concerts, festivals, sacred services, conferences, casual gatherings and special occasions throughout the year.
Dr. Zanaida Stewart Robles is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her teaching and performance methods. Born, raised, and educated in Southern California, she is in demand as a vocalist, conductor, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music. She serves on the national board of the National Association of Negro Musicians and is chair of the board of directors of Tonality, a non-profit organization that promotes peace, unity, and social justice through choral music performance in Los Angeles. She holds a Doctor of Musical Arts degree from the USC Thornton School of Music, a Master of Music degree from CSU Northridge, a Bachelor of Music degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts.
www.ZanaidaRobles.com
solo or group
Umoja
Zanaida Robles
*Aleatoric section; tempo ad lib
*Each individual singer starts and ends on their own, singing the whole melody in parenthesis at their own slow pace.
in time, solo or group
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SATB a cappella, with SA soloists
Duration ca. 3’30”
Hildegard von Bingen
(1098 – 1179)
ARRANGED BY Katerina Gimon
soprano(s)
alto(s)
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O virtus Sapientiae, quae circuiens circuisti comprehendendo omnia in una via, quae habet vitam, tres alas h-bens, quarum una in altum volat, et altera de terra sudat, et tertia undique volat. Laus tibi sit, sicut te decet, O Sapientia.
O strength of Wisdom who, circling, circled, enclosing all in one lifegiving path, three wings you have: one soars to the heights, one distils its essence upon the earth, and the third is everywhere. Praise to you, as is fitting, O Wisdom.
Hildegard von Bingen (1098 - 1179) arr. Katerina Gimon
* Optional improvised harmonic overtone singing throughout on any of the D # drones. However, for S/A, begin overtones on repeat of the opening only.
** Gradually morph/change from one vowel/sound to the next.
Ar ranged by: Sabelo Mthembu
tlae o
tla?
S al Coda
le le He ba tha ya tau jwang ma la pa
ba? tha ya tau jwang ma la pa
le le He
ba? tha ya tau jwang ma la pa
le le He
jwang? ma la pa ba? tha ya tau jwang ma pa la tlae o le le he
jwang? ma la pa ba? tha ya tau jwang ma pa la tlae o le le he
jwang? ma la pa le le He jwang? ma pa la tlae o thi b'a tha ya tau ke'eo le le he le le He jwang? ma la pa ma pa jwang? la ya ba? tha ma pa o tau jwang la tlae le le he
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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 tran slates 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 the beauty of L esotho and a song of encouragement.
