Belmont University School of Music
SUNDAY, OCTOBER 27, 2024 5:00 PM
MCAFEE CONCERT HALL
Belmont University School of Music presents
BelCanto&Chorale
Lesley Mann, conductor
Jeffery L. Ames, conductor
DemocracyforListeners
Bel Canto
Lesley Mann, conductor
Chris Smallwood, piano
Our concert today celebrates civic engagement. The vast majority of the singers in Bel Canto have the opportunity to vote in their very first presidential election this November, and our program probes a number of characteristics of democracy. We seek mercy, we celebrate the health of a democracy where two opposing voices strengthen each other through challenge and collaboration, we embrace the idea that our voices have the power to change the world, we celebrate the hope of anticipation, we nourish unity, and we laud our perfectly imperfect nation. In preparation for this performance, members of Bel Canto completed a variety of assignments to dig into the context, imagery, theming, and purpose of the pieces. One particular assignment asked the singers to examine their biases as we head into election season. In response, singer Jagger Kubin wrote,
“The pieces we perform are examples of artistic expressions that may carry cultural, religious, or historical connotations. When examining these pieces in the context of identifying bias and its relation to democracy, it's essential to consider how artistic representations can reflect or challenge societal biases. Art has the power to reinforce and question prevailing biases, and in a democratic society, it is essential to recognize and address any biases embedded in cultural expressions. Understanding the cultural and historical contexts from which these pieces emerge can provide insight into the complexities of bias and its impact on democratic values such as inclusivity, diversity, and freedom of expression.”
Program notes by Dr. Lesley Mann, School of Music Faculty
Frode Fjelheim (b. 1959)
Grace Shuley, soloist
Ella Heasley, soloist
Kylie Heltzel, soloist
Rebecca Dillon, percussion
Madison LaVigne, percussion
Henry Crane, percussion
Kyrie
We say this with a lilt of humor as we endure the onslaught of ads, texts, and Facebook echo chambers. And we pray with all sincerity that this election season grants us a healthy democracy and nation.
Program notes by Dr. Lesley Mann, School of Music Faculty
Text & Translation
Kyrie eleison, Christe eleison
Lord have mercy on us, Christ have mercy on us
The history between Palestine and Israel has been characterized by decades of refusal to make compromises. In the face of war, many nations have come forth to (attempt) to create peace, and find solutions to an ongoing problem that is only hurting both nations. However, with the arrival of a new solution, one side always finds a reason to refuse, leading to more and more conflict. Neither side is ever satisfied, leaving the problem unresolved. For example, in 1947 the United Nations voted to split Palestine into separate states between the Jews and Arabs inhabiting Palestine; however, the Arab side refused and the project didn’t go into action. Additionally, the first sign of potential peace came with the Oslo Peace process, in which both groups were able to recognize each other, but soon the leader of Israel, Benjamin Netanyahu, declared the Oslo accords to be a threat to Israel, which ended the process to create peace. Unfortunately, those are not the only examples of the two sides refusing to compromise. Abbie Betinis composed Jerusalem Luminosa to create an artistic expression of the ongoing conflict, through “an exploration of peace” in her words. By splitting the music into two very different sections, and making the two parts “play tag” with each other, she symbolizes the two groups: Israel and Palestine. She forces the two parts to compromise to find the melody, and be enjoyable to the listeners. As the two nations need to compromise, the two lines of music do as well. She also consistently pushes the rhythm and time signature in order to show the two groups playing catch up with each other to never let the other get ahead. She literally overlaps the text in the end as the phrase “Jerusalem Luminosa” becomes “Luminosalem.” which was originally written in the text that inspired the piece by Thomas a Kempis. Overall, there are numerous more musical techniques she uses to describe the conflict. She uses what she knows to articulate the way she feels.
Program notes by Daisy Pisapia, School of Music Student
Apple Tree
Alleluia. Jerusalem luminosa, Verae pacis visio. Alleluia.
Totum sanctum, totum mundum, In te quidquid cernitur.
Aurora Aksnes, Odd Martin Skålnes, Magnus Skylstad arr. Katerina Gimon
Rebecca Dillon, percussion
Madison LaVigne, percussion
Henry Crane, percussion
Text & Translation
Alleluia. Jerusalem, city of light, Vision of true peace. Alleluia.
All holy, all elegant, Is that which shows itself in thee.
Jerusalem Luminosa
Abbie Betinis (b. 1980)
In preparation for this concert, many singers read Sharon McMahon’s article, “Are Swing States inherently unfair?” Soprano Jamey Hedberg connected the article to Apple Tree: “Its easy to feel like a pawn in a game you cannot win, to view the map of the US as almost a chessboard where two people are trying to take as much ground as they can. However, this reminded me of Apple Tree, and that we each have the power to make a difference within ourselves. The song is an anthem for change and advocating for young people to rise up. “Let her save the world, she is just a girl. Let him save them all, he is just a boy.” This election is just as much ours as theirs, and our voice matters. The line, “digging my feet into the ground like an apple tree, wanting to live with a purpose,” resonates strongly with the idea that, regardless of where you live or what those around you or in power are doing, you can dig your heels in the ground and stand for what you believe in.
Program notes by Jamey Hedberg, School of Music Student
O Come, Emmanuel
Elaine Hagenberg (b. 1979)
Elaine Hagenberg's arrangement of O Come, Emmanuel is a modern interpretation of the wellknown Advent hymn that encourages contemplation on the themes of expectation and hope. Hagenberg is a well-known choral composer, and her arrangement is a moving choice for the concert since it is filled with emotional textures and beautiful harmonies. This composition resonates with our subject as it underlines the importance of unity and community throughout the holiday season, reminding us of the power of collective voices in times of yearning and expectation.
Program notes by Abriella Camp, School of Music Student
Walk Together, Children
Traditional Spiritual arr. Stacey V. Gibbs
Walk Together, Children is a vibrant and powerful spiritual arranged by Stacey Gibbs for treble voices. This arrangement combines rhythmic energy with rich harmonies to create an uplifting and dynamic choral experience. The song’s message, rooted in perseverance and unity, reflects the resilience and hope of African American spirituals, often sung during times of hardship. Gibbs’ arrangement emphasizes both the joy and strength of walking together, symbolizing collective journeys toward freedom, justice, and faith. This piece is a celebration of community and shared purpose, resonating across generations and cultures.
Program notes by Dr. Lesley Mann, School of Music Faculty
American Anthem
Gene
American Anthem, arranged by John Purifoy for treble voices, is a poignant and stirring tribute to the ideals of democracy, service, and sacrifice. Originally written by Gene Scheer, the song reflects the deep pride and responsibility inherent in being a part of a democratic society. In this arrangement, Purifoy’s sensitive treatment of the melody and harmonies underscores the heartfelt lyrics, reminding listeners that the freedoms we cherish are upheld by those who serve and participate in the civic process. In the context of a program centered on democracy and the importance of voting, American Anthem serves as a musical call to action, urging each of us to honor our country by actively engaging in the civic duties that sustain it. This piece embodies the spirit of unity, reflecting on what it means to contribute to the greater good in the pursuit of justice and equality.
Program notes by Dr. Lesley Mann, School of Music Faculty
Scheer arr. John Purifoy
As you leave today, we hope you feel encouraged, as a new generation of young people are engaging in the civic privilege of voting for the first time, and doing so with intentionality and hope for the future.
Program notes by Dr. Lesley Mann, School of Music Faculty
Life,Death,andtheAfterlife
Chorale Jeffery L. Ames, conductor
The cycle of birth, life, death, and afterlife reflects a profound journey that many spiritual and philosophical traditions explore. It begins with birth, marking the entry of a soul or being into the world, followed by life, where one navigates experiences, growth, and relationships. Death, though often seen as an end, is also a transition, leading to the afterlife a realm or state of existence beyond the physical. This cycle symbolizes continuity, where endings are not final but steps in a larger, eternal process of transformation and renewal.
Program notes by Dr. Jeffery L. Ames, School of Music Faculty
The Music of Living
Dan Forrest (b. 1978)
Sami Copeland, piano
Dan Forrest is an acclaimed pianist, educator, and composer of choral, orchestral, instrumental, and wind band works. The text throughout this piece is rather spiritual; we reference a “Giver of Life” and “Creator,” and ask for their teaching and guidance. We sing about wanting to feel life deeply, dancing to new songs, and persevering through failure. This piece is full of optimism, hope, and joy.
Program notes by Isabelle Ignatowski, School of Music Student
Der Erlkönig
Franz Schubert (1797-1828) arr. Jihoon Park
*United States Premiere*
Kara Schlenk, violin
Dani Alexander, violin
Bella Kinard, viola
Grant Brown, cello
Cameron Bertolet, bass
Sami Copeland, piano
Schubert was an Austrian composer in the nineteenth century who wrote music that bridged the classical and romantic periods. Erlkönig, composed in 1815, is based on a poem by the same name, written by Johann Wolfganag von Goethe. This piece tells a thrilling story of a child, warning his
father that the ghost of death, or the “Erl-King,” is coming to collect his soul. The father is speeding home on horseback as fast as he can, unable to see the Erl-King. When the father finally arrives home, the boy has passed away. You’ll hear the characters' voices cycle between voice parts, and the horse’s hoofs in the piano part. This piece is typically a classical voice solo, but in this arrangement, the child’s voice is featured in the treble voices, the father’s in the bass voices, and the Erl-King is in the tenor voices. Park’s arrangement includes strings, which contribute to the drama.
Program notes by Isabelle Ignatowski, School of Music Student
Bach (Again): Come Sweet Death
Johann Sebastian Bach (1685-1750)
arr. Rhonda Sandberg
J.S Bach, living from 1685 to 1750, was a German composer and is still known as one of the best composers of all time. He is most well-known for his piano and organ music, much of it originally written on harpsichord. Bach was just as prolific composing sacred and secular vocal music. Originally known as “Komm, süßer Tod, komm selge Ruh,” this piece was written for solo voice with lyrics from an unknown poet. “Come Sweet Death” portrays a longing for death in order to return to Heaven or to an afterlife. During the piece, one will get a sense of the hurt, struggle, and resolve all associated with the grieving process.
Program notes by Isabelle Ignatowski, School of Music Student
Text & Translation
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht?
Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron’ und Schweif?
Mein Sohn, es ist ein Nebelstreif.
Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand;
Meine Mutter hat manch gülden Gewand...
Mein Vater, mein Vater, und hörest du nicht
Was Erlenkönig mir leise verspricht?
Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind.
Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön.
Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.
Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?
Mein Sohn, mein Sohn, ich seh es genau, Es scheinen die alten Weiden so grau.
Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.
Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!
Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.
Who rides so late through the night and wind?
It is a father with his child;
He has the boy there in his arms,
He clasps him safely, and holds him warm.
My son, why do you hide your face so fearfully? Father, do you not see the Erl-King?
The Erl-King with his crown and train?
My son, it is a streak of mist.
Sweet child, come away with me!
Such lovely games I will play with you; There are many pretty flowers on the river bank;
My mother has many a golden robe...
My father, my father, do you not hear What the Erl-King is softly promising me?
Be calm, stay calm, my child; It is the wind rustling in the dry leaves.
My handsome boy, will you come with me?
My daughters will take good care of you.
My daughters, they lead the nightly dance
And will rock and dance and sing you to sleep.
My father, my father, do you not see
The Erl-King’s daughter in yonder dark?
My son, my son, I see it plainly, It is the old grey willow gleaming.
I love you, your beauteous form attracts me; And if you are unwilling, I will use force.
My father, my father, now he takes hold of me,
The Erl-King has done me harm!
The father shudders, he rides swiftly, Holding the moaning child in his arms; He reaches the homestead with desperate effort; In his arms the child was dead.
Ain’a That Good News!
Negro Spiritual arr. William L. Dawson
William L. Dawson was an American composer, choir director, professor, and musicologist who specialized in African American religious folk music. Born in 1899, we celebrate Dawson’s 125th Anniversary in 2024. The son of a former slave, Dawson had a passion for African American history and music. In 1912, Dawson enrolled at the Tuskegee Institute (University) to study music and upon graduation, he taught in Kansas as a band director and music director. Later, he earned a master’s degree in composition from the American Conservatory of Music in Chicago. With an advanced degree, Dawson was summoned back to his alma mater, Tuskegee Institute, as Director of the School of Music. Dawson quickly elevated the Tuskegee Choir to national and international acclaim, who performed his own works. According to a personal interview with Dr. Gwynne K. Brown in 2018, Dawson “really valued the religious folk song heritage of his enslaved ancestors, and he cared both that they be taken seriously by white audiences, and that they not be abandoned by African American musicians who felt the songs were too demeaned to be worth saving.” “Ain’a That Good News!” is a truly authentic glance into African American heritage.
Program notes by Isabelle Ignatowski, School of Music Student
Hope Zachary Moore (b. 1992)
Henry Crane, djembe Reagan Tipton, shaker
Zachary J. Moore is an American composer, conductor, and speaker who has received notable recognition through performing at Carnegie Hall, the Taipei National Concert Hall, and at the Franklin D. Roosevelt 75th Anniversary Concert. The inspiration for this particular composition came from listening to his son’s heartbeat for the first time during an ultrasound, after a silent miscarriage six months prior. This piece perfectly portrays the excitement he must have felt throughout such a redemptive story.
Program notes by Isabelle Ignatowski, School of Music Student
This evening’s words carry a beautiful message of resilience and hope. They remind us to hold on to the beauty of life, including music and the joy it brings, while also facing challenges with strength. Looking forward with hope, even when faced with setbacks, keeps us grounded in the belief that brighter days are ahead.
Program notes by Dr. Jeffery L. Ames, School of Music Faculty
Lillian Apostolou
Georgie Ascoli
Allyson Avayou
Isabella Babson
Molly Barbery
Katelyn Barnes
Katherine Biehl
Mckenna Blake
Lydia Briggs
Acknowledgements
Dr. Ryan Joseph, Coordinator/Professor of Strings
Dr. Christopher Norton & Mr. Todd London, Professors of Percussion
Bray Stratton and Clay Bradford, Student German Language Coaches
McAfee Concert Hall Crew
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*2024-2025 Choral Scholar
**Graduate Intern
Upcoming Concerts and Events
Jazz String Quartet & Small Jazz Groups I and II
Monday, October 28, 7:30 p.m.
Harton Recital Hall
Jazzmin
Friday, November 1, 6:00 p.m.
Massey Concert Hall
Company
Friday, November 1, 8:00 p.m.
Massey Concert Hall
Belmont Opera Scenes From Page to Stage: Literary Characters in Opera
Monday, November 4, 7:30 p.m.
Massey Concert Hall
Phoenix & Southbound
Tuesday, November 5, 7:30 p.m.
Fisher Center for the Performing Arts
This is a ticketed event. Tickets must be purchased at the Belmont Box Office.
Music and Discourse: Dr. Carmine Miranda
Resilience in Music; Navigating Rejection and Achieving Success
Wednesday, November 6, 10:00 a.m.
Harton Recital Hall
World Fiddle & Bluegrass Ensemble
Wednesday, November 6, 7:30 p.m.
Massey Concert Hall
For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.
