Bel Canto and Chorale 4.1.23

S C H O O L O F M U S I C

p r e s e n t s

B E L C A N T O

A N D

C H O R A L E

A p r i l 1 , 2 0 2 3

M c A f e e C o n c e r t H a l l

KALEIDOSCOPE

P

R O G R A M

I k a n K e k e k , a r r . Y u H a n g T a n

E l l i e B u e t t n e r , A l e a h C r o s s , S a v a n n a h

B e n s i n g , S o l o i s t s

S o r i d a , R o s e p h a n y e a n d W i l l i a m P o w e l l

R e a g a n T i p t o n , B r a y S t r a t t o n , P e r c u s s i o n

K u k a n u k k u u t u u t u s s a s i , A n n a - M a r i K a h a r a

O l i v i a B a s t i n , M e l a n i e M a u l d i n , N i c o l e

M c C o l l e y , L a u r e n P o w e l l , R e g a n S c h o l e s , M i a

S h e r e r , K e n d a l l Y a k s h e , D e s c a n t

R e f l e c t i o n s f r o m Y a d V a s h e m , D a n i e l J . H a l l

S a r a h C o t e , v i o l a ; M a t t h e w P h e l p s , p i a n o ,

E l V i t o , J o n i J e n s e n

N i c o l e M c C o l l e y , s o p r a n o

T r u e C o l o r s , a r r . K e r r y

J a m e s B a n d i n i , B a s s

M a r s h

C O L O R

n o u n s : h u e , p i g m e n t

c o l o r i n g , f l a g ,

b l u s h , m i l i t a r y ,

p e r s o n a l i t y

v e r b s :

t o p a i n t , t o

e x a g g e r a t e , t o

d i s t o r t , t o b l u s h

P R O G R A M N O T E S

Our program this semester explores music from cultures around the world, featuring songs from Malaysia, Zimbabwe, Finland, Israel, Spain, and the United States. The title of the program, Kaleidoscope, presents color as a metaphor for the vast and varied iterations of humanity across the globe. Color plays an important role in how we see the world. Literally, color enables visual distinction. Figuratively, colored lenses filter perceptions. And since Perception is a form of Truth, True Colors became the connective tissue linking the pieces on our program. You'll hear this beloved melody in new and interesting ways, performed with musical characteristics representing these various cultures.

We can classify all art - books, movies, paintings, etc, as either windows or mirrors. Mirrors reflects one ' s lived experience, providing the opportunity to see oneself in the context of the art. Windows allow the opportunity to peek into another person ' s lived experience. Both windows and mirrors provide value, seeing ourselves in ways we may not have imagined to broaden our dreams while encouraging empathy and understanding. Bel Canto members have examined aspects of each of the cultures represented on our program through these lenses, and some of their thoughts are included below.

We thank you for coming today, and we hope you enjoy this kaleidoscopic tour around the world.

I K A N K E K E K

a r r . Y u H a n g T a n

E l l a B u e t t n e r : U s u a l l y A m e r i c a n s t e n d t o t h i n k o f o u r c o u n t r y a s u n i q u e b e c a u s e w e w e r e b o r n f r o m d i v e r s i t y - b u t t h e r e i s a s i m i l a r c a s e f o r M a l a y s i a a s w e l l . T h e r e a r e t h r e e d i s t i n c t c u l t u r e s w i t h i n t h e M a l a y s i a n c u l t u r e : M a l a y ' s , C h i n e s e M a l a y s i a n s , a n d I n d i a n M a l a y s i a n s . O n e p a r t i c u l a r e l e m e n t o f M a l a y s i a n c u l t u r e t h a t a p p l i e s t o a l l s u b c u l t u r e s i s t h e i m p o r t a n c e o f s i l e n c e i n c o m m u n i c a t i o n . T h i s i s e s p e c i a l l y a p p l i c a b l e t o u s t h i s s e m e s t e r a s w e ' v e t a l k e d a b o u t i n t e n t i o n a l s i l e n c e w i t h i n o u r p i e c e s . C o m p o s e r s a n d M a l a y s i a n s s e e s i l e n c e a s a t o o l r a t h e r t h a n a h i n d r a n c e . I n c o m m u n i c a t i o n , M a l a y s i a n s d o n ' t f e e l r u s h e d t o r e s p o n d t o q u e s t i o n s , i n s t e a d t h e y o p t t o p a u s e a n d r e f l e c t o n t h e q u e s t i o n s o t h e y c a n a n s w e r c a r e f u l l y . I n t h e s a m e w a y , m u s i c u s e s s i l e n c e t o n o t o n l y p r o v i d e t h e a u d i e n c e w i t h a m o m e n t o f t h o u g h t , b u t i t i s m u s i c i t s e l f i n t h e w a y i t b r e a t h e s e v e n w i t h o u t n o t e s b e i n g h e a r d . I n t h i s w a y I t h i n k t h a t t h e i m p o r t a n c e f o r t h e M a l a y s i a n c u l t u r e i s b o t h a w i n d o w a n d a m i r r o r - a w i n d o w b e c a u s e w e c a n l e a r n h o w t o l e t s i l e n c e b e c o m e m o r e c h e r i s h e d t o u s i n h u m a n r e l a t i o n s h i p s w h e n w e n e e d t o t h i n k b e f o r e w e s p e a k , a n d a m i r r o r b e c a u s e s i l e n c e i s a p o w e r f u l a n d i n t e n t i o n a l e l e m e n t o f m u s i c t h a t w e h o p e t o r e f l e c t t o t h e

a u d i e n c e i n o u r p i e c e s .

S O R I D A

b y R o s e p h a n y e a n d W i l l i a m P o w e l l

B r i e l l e C o t t e r : A l t h o u g h t h i s c u l t u r e i s v e r y d i f f e r e n t f r o m t h e o n e , I g r e w u p i n , t h i s i s a m i r r o r f o r m y o w n l i f e . O n e m a i n a s p e c t o f t h e c u l t u r e o f Z i m b a b w e i s m u s i c a n d d a n c e . T h i s i s t h e s a m e f o r m e a n d m y f a m i l y . W e w o u l d s i n g t o g e t h e r , d a n c e t o g e t h e r , a n d a l w a y s l i s t e n t o m u s i c . M u s i c i s a b i g p a r t o f o u r l i v e s j u s t a s i t i s i n Z i m b a b w e

M e l a n i e M a u l d i n : O n e a s p e c t o f Z i m b a b w e a n c u l t u r e t h a t i s a m i r r o r t o m y o w n i s t h e e m p h a s i s o n t h e i m p o r t a n c e o f m u s i c a n d d a n c e ! I l i v e i n a f a m i l y f u l l o f m u s i c i a n s a n d I c o n s i d e r m u s i c t o b e a b i g p a r t o f m y c u l t u r e . O n e a s p e c t t h a t i s a w i n d o w t o m e i s h o w p e o p l e o f Z i m b a b w e a r e a c o l l e c t i v i s t c u l t u r e , w h i c h m e a n s t h e y p u t t h e n e e d s o f t h e i r f r i e n d s , f a m i l y , a n d g r o u p s a b o v e t h e i r o w n . I n A m e r i c a , w e a r e v e r y i n d i v i d u a l i s t i c a n d m o s t o f t e n o n l y f o c u s o n o u r s e l v e s . A l i s a O s b o r n e : B e c a u s e S o r i d a i s o n t h e t o p i c o f g r e e t i n g s , I r e s e a r c h e d t h e w i n d o w o f g r e e t i n g s i n Z i m b a b w e a n c u l t u r e . T r a d i t i o n a l g r e e t i n g s i n v o l v e g r e e t i n g o n e ’ s e l d e r s b e f o r e y o u r s e l f a n d c l a p p i n g t w i c e b e f o r e a n d a f t e r a h a n d s h a k e . M e n a n d w o m e n k n e e l o r c u r t s y r e s p e c t i v e l y w h i l e s h a k i n g h a n d s . T h e f i r s t p e r s o n c l a p s t w i c e w h i l s t s a y i n g “ M a k a d i i ” ( ‘ H o w a r e y o u ? ’ i n S h o n a ) . T h e o t h e r p e r s o n r e s p o n d s w i t h t w o c l a p s i n r e t u r n . M e n c l a p w i t h t h e i r f i n g e r t i p s a n d p a l m s t o u c h i n g , w h i l s t w o m e n c l a p w i t h t h e i r h a n d s o n a n a n g l e . H o w e v e r , b o t h m e n a n d w o m e n k e e p t h e i r h a n d s c u p p e d s o w h e n t h e y c l a p i t m a k e s a n a i r - p o c k e t . T h e h a n d s h a k e i s s u p p o s e d l y f i r m a n d m a y g o o n f o r a f e w s e c o n d s . I t h i n k t h i s t y p e o f g r e e t i n g i s s o i n t e r e s t i n g .

t ’ s m u c h m o r e i n v o l v e d t h a n g r e e t i n g s w e h a v e i n t h e U . S .

K U K A N U K K U U

T U U T U S S A S I b y A n n a - M a r i K a h a r a

S a r a M u r p h y : I n t h e s u m m e r , t h e F i n n i s h e s c a p e u r b a n l i f e a n d g o t o t h e w o o d s ; t h e y d e e p l y v a l u e n a t u r e i n t h e i r l i v e s . I t h i n k o f n a t u r e a s G o d ’ s a r t . I s e e t h i s a s a m i r r o r b e c a u s e i n m y f a m i l y w e f e e l c l o s e s t t o G o d a n d t o o u r s e l v e s w h e n w e a r e i n n a t u r e a n d a w a y f r o m t h e d a i l y r u s h o f u r b a n l i f e . T h e y b r i n g i n b i r c h t r e e b r a n c h e s i n t h e w i n t e r t o r e m i n d t h e m t h a t t h e w i n t e r i s c o m i n g . T h i s i s s o e y e o p e n i n g . T o t h i n k , y e s i t i s d a r k a n d g l o o m y n o w , b u t t o s e e t h e b e a u t y a n d t h e c o l o r t h a t t h e s p r i n g i s c o m i n g . T h e y h a v e s o m u c h h o p e a n d p o s i t i v i t y - w e a l l c o u l d l e a r n a t h i n g o r t w o f r o m t h a t . L o n d o n I k e n : I n F i n n i s h c u l t u r e , M a y D a y i s a v e r y i m p o r t a n t h o l i d a y a n d m i r r o r s p a r t o f t h e c u l t u r e o f m y h i g h s c h o o l . I t c e l e b r a t e s t h e w e l c o m i n g o f s p r i n g a n d i s s i m i l a r t o M a r d i G r a s i n t h e w a y i t i s c e l e b r a t e d . B a c k i n S t . L o u i s , m y s c h o o l w o u l d c e l e b r a t e M a y D a y e v e r y y e a r . I t i s a d a y t h a t I g r e w u p l o o k i n g f o r w a r d t o a n d t h e r e w a s a l o t o f b u i l d u p i n m y f a m i l y r e g a r d i n g t h e d a y . I n F i n l a n d , M a y D a y i s j u s t a s i m p o r t a n t a s C h r i s t m a s E v e a n d N e w Y e a r s E m m a C l a i r e S t o n e : I n F i n l a n d , s o c i a l a n d e c o n o m i c e q u a l i t y i s h i g h l y v a l u e d . I n t h e i r e g a l i t a r i a n c u l t u r e , m e n a n d w o m e n s h a r e l e v e l e d r e s p o n s i b i l i t y f o r g o v e r n m e n t , w o r k , a n d f a m i l y . G r o w i n g u p i n a n a r e a w h e r e e q u a l i t y w a s n ’ t v a l u e d a s a c u l t u r a l n o r m , I l o o k a t t h i s t h r o u g h a w i n d o w . F i n l a n d i s r e c o g n i z e d a s t h e

“ h a p p i e s t c o u n t r y i n t h e w o r l d ” . T h i s c a u s e s m e t o t h i n k : “ D o e s 1 0 0 % e q u a l i t y = h a p p i n e s s ? A c c o r d i n g t o t h e p e o p l e o f F i n l a n d , i t c e r t a i n l y d o e s . A d d i t i o n a l l y , F i n n s b e l i e v e i n t h e l o s t a r t o f c o m f o r t a b l e s i l e n c e . T h e y ’ r e k n o w n n o t t o d r a w a t t e n t i o n t o t h e m s e l v e s , a n d t o b e e s p e c i a l l y i n t r o v e r t e d . E v e n t h o u g h t h i s m a y b e o p p o s i t e t o A m e r i c a n c u l t u r e , i t i s a d i r e c t m i r r o r t o m y o w n . K e e p i n g t o y o u r s e l f a n d b e i n g a n i n t r o v e r t i s n ’ t a f l a w a n d s h o u l d n e v e r b e s e e n a s a n i n f e r i o r p e r s o n a l i t y t r a i t . T h i s p r o v e s t o r i n g t r u e i n m u s i c , b e c a u s e s i l e n c e c a n b e f e l t j u s t a s p o w e r f u l l y a s a f u l l o r c h e s t r a .

R E F L E C T I O N S F R O M

Y A D V A S H E M

b y D a n i e l J H a l l

Program Notes from Composer Daniel J. Hall:

“In 1999, I had the opportunity to travel throughout the Middle East... Among the many sites we visited was Yad Vashem, Jerusalem. Established in 1953 as the world center for documentation, research, education, and commemoration of the Holocaust, Yad Vashem is today a dynamic and vital place of intergenerational and international encounter. Reflections from Yad Vashem is my musical and poetic response to the poignant and lingering impressions evoked by the Yad Vashem Children’s memorial - a gentle, ethereal, cosmic facet of an otherwise austere experience. The text is a combination of scripture from Genesis (set in English), selected Children’s names from the actual Yad Vashem database, my own original verses, the 23rd Psalm, or Adonai Roi (set in Hebrew), and a liberal treatment of the Hebrew lullaby, Numi, Numi, Yaldati, or Sleep, Sleep, My Little Girl. These elements were selected, written, and combined tomusically and linguistically depict the spiritual, philosophical, and emotional experience generated by visiting the Yad Vashem Children’s Memorial.”

R E F L E C T I O N S F R O M Y A D V A S H E M

b y D a n i e l J H a l l

Lucy Haman: Poland’s people are now predominantly Polish; however before WWII, Poland had the largest population of Ashkenazi Jews and the highest percentage of any European country. Devastatingly, around 3 million were murdered in WWII and now Catholicism is the most common religion. I was raised Catholic and so this is very interesting to me to see that an entire country’s main religion was literally erased and replaced with Catholicism, which I grew up practicing. It makes me deeply sad that the Jewish culture lost so many people and therefore wasn’t able to survive in the coming generations in many places.

Lucy Goldberg: Before my father passed away, he and his family were and are ethnically jewish and a lot of his family are also religiously jewish, practicing to this day. I love to talk to them about their culture since I have about half Ashkenazi Jew in my DNA, and I grew up non-religious.

A way this culture mirrors my own beliefs is that Jewish people are told not to ignore the dead. In their religion, there are a multitude of traditions for funerals and burial ceremonies because they are adamant about having respect and honor for the dead. Many traditions are put into place for the ceremonies to show respect for the person who passed and their family. There is even a tradition where after the casket is placed in the earth, mourners take turns filling the grave using the wrong side of the shovel to symbolize the disruption to the world of that person passing. The Jewish people honor and have immense respect for the dead, and require them and their family to be treated with care and concern not only immediately but long after someone has passed away. For my family and me especially, it’s really important to honor and care for the people that have passed away, and I like to use art forms like music to talk and communicate with them, especially my dad. Before he passed, he was a drummer and even when I was young we both shared such a big passion for music, so a lot of times when I sing I keep him in mind, and music is definitely something that keeps him alive. It’s really important to me that his spirit stays alive and I appreciate a lot of these Jewish traditions that respect those who have passed.

E L V I T O

a r r . J o n i J e n s e n

E m m a C l a i r e S t o n e : S p a n i s h c u l t u r e i s k n o w n f o r h a v i n g a s t r o n g s o c i a l d i m e n s i o n . S o c i a l l y , t h e y ’ r e k n o w n f o r b e i n g e x t r o v e r t e d a n d e x p r e s s i v e ; w a r m a n d w e l c o m i n g . T h e i r c e l e b r a t i o n s a r e b r i g h t a n d v i v i d . T h i s i s s o m e t h i n g I l o o k a t t h r o u g h a w i n d o w . E v e n t h o u g h I h a v e e x p e r i e n c e d a l l o f t h e s e t r a i t s i n o t h e r p e o p l e , I d o n ’ t c o n s i d e r i t p a r t o f m y p e r s o n a l i t y t r a i t s . A s f o r t h e i r g l i t t e r i n g c u l t u r a l e v e n t s , t h i s i s s o m e t h i n g I h a v e o n l y v i e w e d t h r o u g h m y w i n d o w ; I a m w i t h o u t a f i r s t h a n d e x p e r i e n c e . A n a s p e c t f r o m t h i s c u l t u r e t h a t I m i r r o r i s t h e i r s t r o n g s e n s e o f i n d i v i d u a l i s m a n d p e r s o n a l a c c o u n t a b i l i t y . I b e l i e v e t h a t i n o r d e r t o g r o w i n t o o u r f u l l p o t e n t i a l , w e m u s t f i r s t l e a r n f r o m p a s t m i s t a k e s a n d m o s t i m p o r t a n t l y , b e o u r s e l v e s .

A b b e y H o l d w a y : W h e n I l o o k i n t h e m i r r o r , I s e e a c o l l e c t i o n o f t r a i t s t h a t h a v e b e e n p a s s e d d o w n t o m e t h r o u g h g e n e r a t i o n s o f m y f a m i l y . M y s i s t e r a n d

I c a l l o u r g r a n d m o t h e r “ Y a y a ” . S h e i s f r o m

T a r r a g o n a , S p a i n . W h e n I t h i n k o f Y a y a , I t h i n k o f h e r f i e r y p a s s i o n a n d o f t h e v i b r a n t s t o r i e s s h e t e l l s u s o f h e r l i f e b e f o r e s h e m o v e d t o t h e U n i t e d S t a t e s . “ E l V i t o ” s o u n d s f i e r y t o t h e e a r a n d r e m i n d s m e o f m y g r a n d m o t h e r . W h e n I l o o k i n t h e m i r r o r , I r e a l i z e I h a v e t h e n a m e f i e r c e n e s s , f i e r y p a s s i o n , a n d d e t e r m i n a t i o n a s m y Y a y a d o e s , a n d I s e e s i m i l a r q u a l i t i e s i n m y l i t t l e s i s t e r .

B e l C a n t o r e m e m b e r s a n d h o n o r s T h e

C o v e n a n t S c h o o l , a n d w e l i f t u p o u r

N a s h v i l l e C o m m u n i t y .

W e r e c o m m i t o u r s e l v e s t o a d d i n g b e a u t y

t o t h e w o r l d , n o t o n l y a s a r e s p o n s e t o v i o l e n c e , b u t a s a p r e v e n t i o n , a n d a

v i t a l e l e m e n t o f t h e h u m a n e x p e r i e n c e .

T h e t h e m e o f t h i s p r o g r a m - d i s c o v e r i n g

o u r s h a r e d h u m a n i t y r e g a r d l e s s o f

l o c a t i o n , r a c e , o r c r e e d - i s o u r p a t h

f o r w a r d .

B E L C A N T O M

E M B E R S

A l e x i s A l v a r e z

E l l a A v e n

J u l i a B a d d o u r

G a b y B a r r i e n t o s

O l i v i a B a s t o n

A d d i s o n B e n d a l l

S a v a n n a h B e n s i n g

A l e n a B i d d l e

G e n e s i s B i o n d i

M a r s B i s h o p

M i a B o r d o n a r o

L y d i a B r i g g s

L a u r e n B r o w n

T e r e s e B r o w n

J e s s i c a B r u c k s

E l i z a b e t h B u e t t n e r

T a t t i a n a B u r n s

G r a c e C a m e r a

A n n a C a n n i t o

K a i t l y n C h u n g

B a i l e y C l a y w e l l

B r i e l l e C o t t e r

A l e a h C r o s s

R e g h a n C u t l e r

H a i l e y D a l l a s

M a c y D e M a r a

B e c c a D r a k e

A l y s s a E m e r i c k

L a u r e l F a l l i s

B l a i r F e r g u s o n

A b b y F e r r e l l

G a b r i e l l a F o n t a n a

C l a r e F o x

A n n e F r a n c e s F r a z i e r

K a t e G a l l a n d t

L u c y G o l d b e r g

K a t i e J o

G r a h a m

G r a c e G r e e n w o o d

K a i t l y n G r i e g

M a r i n a H a l l

L u c y H a m a n

A v a H a r p e r E n g l a n d

A b b e y H o l d w a y

G r a c e H o m e r

L o n d o n I k e n

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c , M u s i c a l T h e a t e r E m p h a s i s

C o m m e r c i a l M u s i c

C h u r c h M u s i c S o n g w r i t i n g

M u s i c E d u c a t i o n

U n d e c l a r e d

T h e a t r e P e r f o r m a n c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

B i o l o g y

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e U n d e c l a r e d

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l / M u s i c B u s i n e s s

C o m m e r c i a l M u s i c , V o i c e

M u s i c E d u c a t i o n

M u s i c T e c h n o l o g y

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e o r y

C o m m e r c i a l M u s i c , V o i c e

M u s i c B u s i n e s s

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c E d u c a t i o n

M u s i c B u s i n e s s

C o m m e r c i a l M u s i c , V o i c e

G l o b a l L e a d e r s h i p S t u d i e s

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C l a s s i c a l V o i c e P e r f o r m a n c e

S o n g w r i t i n g

B E L C A N T O M E M B E R S

N a t a l i a K a w a l e c

N a a r i K e n e b r e w

R o b i n K i n g

H a i l e y K i r k

A s h l y n K o l b e r t

M a d d i e L a m b

L i n d s a y L i e b r o

A u r o r a L u n d q u i s t

S a l l y L y n n

B e l l a M a r q u e z

M e l a n i e M a u l d i n

K e i r a M a u p i n

M e g a n M c C a l l

N i c o l e M c C o l l e y

C a t h e r i n e M o o r e

E m i l y J o y M o y e

S a r a M u r p h y

G r a c e O ' C o n n o r

K e e l y O g d e n

E s t e r O k a y - T e t t e h

A l i s a O s b o r n e

A u b r e y P a g e

K e n n e d y P a u s

R y l e i P o r t e r

L a u r e n P o w e l l

E L e n a P u r v i s

K a i t l i n R a n c o u r t

H a r t l e y R e y n o l d s

R e a g a n S c h o l e s

M o l l y S e g e r

P e r s i a S e i p e l

C o l e t t e S e m i n

M i a S h e r e r

A b b y S h i e l d s

E m m a C l a i r e S l o n e

G a b b y S p e n c e r

M a r y M a r g a r e t S t a n l e y

E m m a S t e i n b r u n e r

G e o r g i a n a S t e r n

J a c q u e l i n e T h e r r i e n

E l l i e T h o m p s o n

J a z m i n e V a l l i s

P h o e b e V a n d e m a n

C a r l y V i l l a

K a t e W a l l a c e

C a r l e i g h W e s t r b o o k s

K e n d a l l Y a k s h e

M e g h a n Z w i e r c a n

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c E d u c a t i o n

E x e r c i s e S c i e n c e

M u s i c T h e r a p y

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

S o n g w r i t i n g

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

T h e a t r e

M u s i c E d u c a t i o n

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

P u b l i c H e a l t h a n d M u s i c

M u s i c T h e r a p y

A u d i o E n g i n e e r i n g

M u s i c B u s i n e s s

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

C o m m e r c i a l M u s i c

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

L i t e r a t u r e

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

S o n g w r i t i n g

M u s i c , M u s i c a l T h e a t e r E m p h a s i s

C o m m e r c i a l M u s i c , V o i c e

M u s i c B u s i n e s s

M u s i c T h e r a p y

C o m m e r c i a l M u s i c , V o i c e

M u s i c C o m p o s i t i o n

C o m m e r c i a l M u s i c , V o i c e

C o m m e r c i a l M u s i c , V o i c e

S O N G S O F T H E S P I R I T

B E L M O N T C H O R A L E

J e f f e r y L . A m e s

Of Praise, Renewal, and Love

“Praise to the Lord, the Almighty” was written as a loose summary of Psalms 103 and 150 by Joachim Neander in 1680. Neander was raised in a secular family, but became a believer and a Calvinist schoolmaster in his early 20s. Neander wrote 60 hymns and became the first significant hymn-writer in the German Reformed Church. This was, perhaps, one of his final set of hymns; he died the same year (1860) from tuberculosis at the age of 30.

This hymn presents a beautiful setting of the attributes of God. It opens with the hymn writer praising the Almighty, who is the “King of creation,” the One who is our health and salvation At the end of the first stanza, Neander calls all who hear to draw near to His temple and join in the “glad adoration.”

Iverson was attending an evangelistic crusade in 1926 when the text of the sermon, from Acts 11:15 that reads, “The Holy Spirit fell on them just as on us at the beginning,” inspired him to seek out his own Holy Spirit renewal. While this Scripture and teaching were still afresh, he sat at the piano and prayed asking God to be melted, molded, filled, and used in ministry.

The lyrics to Iverson’s immortal hymn find a fresh voice in this stirring arrangement by Brandon Williams. Dr. Williams is an Associate Professor of Choral Music and Choral Music Education at Rutgers. Part divisi in the outer voices (soprano and bass) helps to create luscious harmonic moments during this reverent prayer.

Spirit of the living God fall afresh on me.

Break me, melt me, mold me, fill me.

The composer states, “I personally believe that it is a requirement for us as musicians to use our talents and our gifts to spread hope and love to those who need it most.” Heruth aptly chose poetry by Teasdale to express the sentiment that there can be no joy without pain.

The beginning of this work is warm and bouncy; characterizing someone that is young and full of hope. The middle section is hollow and ethereal, possessing a feeling of distress. The treble voices echo each other’s words in a haunting ostinato while the lower voices sing variations of the phrase, “I am loved, I will sing,” in such a way that it seems as if they are reassuring themselves. When the first choral melody returns, and reaches its climax, one hears dissonance representing a tinge of pain in their heart. Perhaps the love has departed? Yet, this entire experience allows one to sing, “I am loved, I will love.”

Joy!

I am wild, I will sing to the trees, I will sing to the stars in the sky, I love, I am loved, he is mine, Now at last I can die!

I am sandaled with wind and with flame, I have heart-fire and singing to give, I can tread on the grass or the stars, Now at last I can live!

Anna Vogler and Nic Olivo, soloists

Victoria Camp and Nicholas Benefield, piano

Of Honor, Reverence, and Remembrance

Jeremy Soule, an American composer of soundtracks for film, television, and video games, wrote this piece after previously working on earlier games in the Elder Scrolls: Skyrim series. Considered the “John Williams of video game music,” Soule composed and recorded over 50 tracks with full orchestra and choir for this single game.

“Song of the Dragonborn” is an iconic warrior, Nordic-sounding, barbaric, war-cry song used to evoke a combative emotion for the player right from the beginning of the game The lyrics are a combination of English and the draconic language, Dovahzul, which was created for the game

Our hero, our hero claims a warrior’s heart. I tell you, I tell you the Dragonborn comes With a voice wielding power of the ancient Nord art.

Believe, believe the Dragonborn comes

It’s an end to the evil of all Skyrim’s foes Beware, beware, the Dragonborn comes. For the darkness has passed and the legend yet grows

You’ll know, you’ll know the Dragonborn’s come.

Dovahkiin, Dovahkiin, naal ok zin los vahriin

Dragonborn, Dragonborn, by his honor is sworn

Wah dein vokul mahfaeraak ahst vaal!

To keep evil forever at bay

Ahrk fin norok paal graan fod nust hon zindro zaan,

And the fiercest foes rout when they hear triumph’s shout Dovahkiin, fah hin kogaan mu draal!

Dragonborn, for your blessing we pray!

Nuz aaan sul, fent alok, fod fin vul dovah nok, But a day, shall arise when the dark dragon’s lies,

Fen kos nahlot mahfaeraaak ahrk ruz!

Will be silenced forever and then!

Paaz Keizaal fen kos stin nol bein Alduin jot!

Fair Skyrim will be free from the foul Alduin’s maw!

Victoria

Ella Tramontina, soloist

Jase Cortez, guitar

Camp, piano

“Baba Yetu” became the first ever song for a video game to be nominated for and win a Grammy. This win was soon followed by the recording academy retitling their Visual Media categories to include video game music, a significant milestone for the acceptance of this music genre. “Baba Yetu” was featured on Tin’s 2010 album entitled “Calling All Dawns” and recorded by the Soweto Gospel Choir of South Africa.

“Baba Yetu” is a Swahili setting of The Lord’s Prayer This composition is a blend of the European Western tradition and traditional African call-and-response. “Baba Yetu” features a male vocalist, enhanced by references to ululations sung by a female vocalist.

Baba yetu, yetu uliye

Our Father, who art Mbinguni yetu, yetu amina! in Heaven. Amen!

Baba yetu, yetu ulive

Our Father, who art Lina lako liyukuzwe

Hallowed be Thy name.

Utupe leo chakula chetu

Give us this day our daily bread, Tunachohitaji utusamehe

Forgive us of Makosa yetu, hey!

Our trespasses

Kama nasi tunayyowasamehe

As we forgive others

Waliotukosea usitutie

Who trespass against us, Katika majaribu, lakini

Lead us not into temptation, but Utuokoe, na yule, muovu e milele!

Deliver us from the evil one, forever.

Forgive us of our trespasses

As we forgive others

Who trespass against us

Lead us not into temptation, But deliver us from the evil one forever

Ufalme wako utike utakalo

Thy kingdom come, Thy will be done

Lifanyike duniani kama mbinguni. On Earth as it is in Heaven (Amina) (Amen)

Amari Miller and Peyton Garrison, soloists

Reagan Tipton, djembe

Bray Stratton, shaker

Victoria Camp, piano

“In Remembrance” is in response to the tragic accident that took the lives of Dr. William (Bill) Potts, Becca his daughter, and Anna his youngest daughter on July 4, 2002. Bill was a choral parent and Becca was one of my students during my tenure as Director of Choral Activities at Lincoln High School in Tallahassee, Florida. Becca graduated from Lincoln a month earlier and was excited to begin her freshman year as a music major here, at Belmont. This piece is written in their memory and dedicated to the surviving members of the immediate family

The text is suitable for events that continue to plague our world, including the evil act which occurred this week at the Covenant School in Green Hills. Yet through it all, I believe this piece carries a message of healing, peace, and hope applicable to Nashville’s current situation.

Lux aeterna, luceat eis Domine. Light eternal, shine on them, O Lord.

Turn to me and be gracious, For my heart is in distress. O God, my God Why hast Thou forsaken me? My tears linger at night, But joy comes in the morning light Lord, in Your infinite mercy Grant them rest, rest forevermore.

Antonina Forzese, horn Victoria Camp, piano

Of the Heart

Negro spirituals are songs created by the enslaved Africans who were brought to the United States. This stolen race was deprived of its languages, families, cultures, but not their music. When the enslaved and their descendents adopted Christianity, they creatively shaped this newfound faith through music. These songs were often sung as a coping mechanism while experiencing oppression; and sometimes, these songs had coded meanings, or expressed a longing for an eternal home in Glory

Since the title’s first publication by Harry T. Burleigh in 1917, many solo artists and choristers have performed this spiritual with zeal, fervor, and conviction. Gibbs’ arrangement continues in this style, but incorporates colorful harmonies and dialect.

Oh, I am seekin’ fo’ a city, hallelujah. Fo’ a city into de Kingdom, hallelujah.

Oh, Lord, I don’ feel no ways tired, childun

Oh, glory hallelujah, Fo’ I hope to shout glory when dis worl’ is on fiyer, childun

Oh, glory hallelujah

Dere’s a bettuh day a comin’, hallelujah. When I leave dis worl’ of sorrow, hallelujah, Fo’ to jine dat holy numbuh, hallelujah.

The tragic news about the Covenant School shooting was announced twelve minutes before Chorale rehearsal on Monday, March 27 We gathered in silence, in prayer, in grief, and did our utmost to sing praises to God It was challenging, but we found solace in the music of Keith Getty and the following lyrics penned by Margaret Becker:

Jesus draw me ever nearer As I labour through the storm

You have called me to this passage, And I’ll follow, though I’m worn.

May this journey bring a blessing, May I rise on wings of faith; And at the end of my heart’s testing, With Your likeness let me wake.

Jesus guide me through the tempest; Keep my spirit staid and sure When the midnights meets the morning, Let me love You even more.

Let the treasures of the trial Form within me as I go–And at the end of this long passage, Let me leave them at Your throne.

Lily Shane and Sheldon Smith, soloists

“How Excellent is Thy Name” is a part of GIA Publications’ collection of anthems, spirituals, and gospel selections from the African American Church Music Series This entire collection incites joy, happiness, and encourages all to “sing praises unto the Father.” Dr. James Abbinton, the Executive Editor of the African American Church Music Series for over 20 years, and Associate Professor of Church Music and Worship at the Candler School of Theology, Emory University, shared the following about this work and its composer:

“John Higdon was a young Black musician of the Catholic faith in Washington DC who passed away very young, but had his song published in the first edition of the African American Catholic Hymnal, “Lead Me, Guide Me ” I liked it, and asked Joseph Joubert to add an accompaniment to enhance the four-part setting Susan LaBarr (Editor of Walton Music Corporation) liked it as well and asked if she could publish it under the Walton series. And…it took off like wildfire!!”

I will sing praises unto the Father, for He’s worthy to be praised.

Lord, how excellent is Thy name in all the earth.

Let everything that hath breath praise the Lord

Tucker Bruinsma, soloist

Emanuelle Brunson, piano

Kevin Bull, bass

Reagan Tipton, cajón

Benediction

His light still shines all around us

Yes, it’s true He walks beside us

His light still shines all around us

His love to guide us.

Amen.

Chorale Program notes compiled or written by Jeffery Ames and Kaitlin Crofford

Belmont Chorale

Amelia Bast Music with an Outside Minor Austin, TX

Mason Bates Music Business Dallas, TX

Olivia Begovich Music Business Jupiter, FL

Zachary Boyle Commercial Voice Louisville, KY

David Brackett Commercial Voice Gulf Shores, AL

Matty Bradham Church Music Lexington, SC

Tucker Bruinsma Commercial Voice Terre Haute, IN

Emanuelle Brunson Church Music (M.M.) Montgomery, AL

Victoria Camp Piano Performance Birmingham, AL

Eli Carnes Video Production Indianapolis, IN

Joseph Colaneri Music Composition Jackson, NJ

Elijah Coles Music Business & Chinese Crofton, MD

Sam Cooper Music Business Middleburg, VA

Jase Cortez Commercial Voice Austin, TX

Emma Freel Exercise Science Oxford, CT

Sarah Grapner Music Education Johns Creek, GA

Peyton Garrison Commercial Voice Mount Sterling, KY

Sarah Hale Commercial Voice Gallatin, TN

Georgia Hamby Media Production Waco, TX

Sarah Hepler** Music Therapy Oliver Springs, TN

Brendan Herr Music Education Crown Point, IN

Kendall Hoefler Music Education Allen, TX

Emily Ives Music Education Falls Church, VA

Sage McAndrew Music Business Manassas, VA

Kyle McCurley Classical Voice & German Toccoa, GA

Finn McGinnis Theater Performance Athens, GA

Amari Miller** Classical Voice Memphis, TN

Calista Morrison Commercial Voice Tiffin, OH

Andrew Obringer Architecture Chattanooga, TN

Nic Olivo Commercial Voice Katy, TX

Austin Pritchett History Bossier City, LA

Caden Romine Music Business Kearney, MO

Sav Saffold Commercial Voice Tampa, FL

Lily Shane Music Therapy Arlington Heights, IL

Kricket Sjodin Music Business Malibu, CA

Sheldon Smith Commercial Voice Nashville, TN

Bray Stratton International Business Austin, TX

Sarah Tassin Music Education Missouri City, TX

Emma Rae Thurow Public Advocacy Stillman Valley, IL

Reagan Tipton Commercial Voice Atlanta, GA

Ella Tramontina Commercial Voice Pittsburgh, PA

Marcus Ugolini Music Business/Finance Ankeny, IA

Anna Vogler Classical Voice Smyrna, TN

Nicole White Psychology/Pre-Med Louisville, KY

Nathan Wildes** Commercial Voice Baxley, GA

Matthew Wilson Music Business & Songwriting Omaha, NE