Presents
O lux beata Trinitas
A Program of Praise, Affirmation, Reassurance
Exsultate
arr. Brian Edward Galante (b. 1974) Walton Music WW1552
~ from the composer: Though the original text source of “Exsultate” is unknown, Mozart’s well-known setting (K. 165) dates this version to the mid-18th century. Somewhat of a pastiche of psalm fragments, the text is one of celebration and ecstatic praise. This setting employs only the first stanza of the text, and is written for eight-part chorus. The setting opens with a dramatic fanfare that serves as a ritornello-type pillar in the work. It twice returns—in the middle and at the end—but rhythmic expansion and contraction makes each return slightly different. Close vertical dissonances and sharp interjections serve as a musical representation of the euphoria of grand celebration. In the intermediate sections, fluid chant lines and the exchange of softer and slower statements between the women and men provide contrast to the highly rhythmic and driving festivity of the fanfares. Rejoice, sing joyfully to God! O you blessed souls sing sweet song; in response to your singing the heavens sing with me! You crown of virgins, grant us peace, console our afflictions, from which our hearts sigh. Alleluia!
Ko Matsushita (b. 1962) Carus-Verlag CV 7.367/30
Japanese composer and conductor, Ko Matsushita sets two of the three stanzas of the Vespers hymn text ascribed to St. Ambrose (340-397). Unlike any of the few settings of this text or the similar Iam sol recedit igneus, Matsushita uses his characteristic “choral etude” sound of mixed meter and driving rhythms in this popular six-part choral arrangement. In his article “Singing is praying” in the Carus Magazine, Stefan Schuck describes the piece as follows: “The three upper voices repeat the text in eighth notes, following the rhythm of the words, in constantly alternating duple and triple-time emphases, like a shimmering glittering of stars. Matsushita contracts this with solemn major chords in the male voices, like a warm glow of Orthodox icons. In almost hypnotic repetition, never dull thanks to the finest modification, the work achieves an overwhelming suggestive power.” From its onset, this evening prayer does not let up in energy and drive. O Trinity of blessed Light, O Unity of princely might, the fiery sun now goes His way; shed Thou within our heart Thy ray. To Thee our morning song of praise. to Thee our evening prayer we raise; O grant us with thy saints on high to praise thee through eternity.
Nada Te Turbe
Jake Runestad (b. 1986) JR Music (JakeRunestad.com)
Zachary Futch, freshman baritone from Southeast Bulloch High School David Hopkins, senior tenor from the Savannah Arts Academy
O magnum mysterium (1572)
Tomás Luis de Victoria (1548 – 1611) public domain
This motet is perhaps the single most famous work of the Renaissance period. It was composed for the Feast of the Lord’s Circumcision, though the text is taken from the Matins service on Christmas. Victoria’s sensitive treatment of the text, predominately imitative, makes moments of homophony beg for special attention. For example, after the active polyphony on “jacentem in praesepio” (laid in a manger), there is silence before all parts humbly address the blessed Virgin together. Finally, the shifts in meter on the final Alleluia from lilting to passionate culminate this grand affirmation. O great mystery, and wonderful sacrament, that animals should see the new-born Lord, lying in a manger! Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia!
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~ from the composer: Teresa de Ávila, a Carmelite nun and Christian mystic, lived in 16th century Spain and is well known for her writings on mental prayer. This contemplative, spiritual experience occurs in four stages and thus my musical setting holds four as an important and influential number. I wondered what Teresa’s beautiful words would have sounded like set to music during her lifetime and in turn, what that music would sound like expressed in a contemporary musical language such as my own. As a response, I have used canonic and imitative counterpoint to harken the style of 16th century composers such as Tómas Luis de Victoria and reverberant textures to mimic the environment of a large, stone cathedral. Let nothing disturb you; let nothing frighten you; everything passes; God never changes, patience obtains all things. Whoever has God, lacks nothing.
He’s Got the Whole World
arr. Ray Liebau Walton Music WOM103 This original folk tune is set with elements of jazz and gospel styles. 2
Southern Chorale Chelsea Green Rossville, GA Music Education, choral senior
Ryan “Tuesday� Lumpkin Augusta, GA Music Education, choral sophomore
Stephanie Reville Augusta, GA Special Ed, Communication Disorder, freshman
Shelby Walls Secton Leader Cordele, GA Music Education, choral junior
Sean Fletcher Duluth, GA Music Education, choral junior
Colin Harrison Savannah, GA Music Education, choral sophomore
Joshua Mock Springfield, GA MM Music Education, graduate student
Devin Ruiz Fayetteville, GA Music Education, choral junior
Nicholas Whitmire Jackson County, GA Vocal Performance, sophomore
Joshua Cook Secton Leader Bainbridge, GA Music Technology, senior
Nicholas Flott Choral Assistant Statesboro, GA Music Education, choral senior
Kee Hayes Lithonia, GA Vocal Performance, sophomore
Tessa Morris Savannah, GA Vocal Performance, freshman
Maria Smart Buford, GA Music Education, choral & Performance, junior
Kirstin Willard Secton Leader Woodstock, GA Music Education, choral senior
Wesley Cosnahan Macon, GA Nursing, sophomore
Jacob Furse Conyers, GA Music Education, choral senior
Devyn Crawley Snellville, GA Vocal Performance and BA Theatre, sophomore
Zachary Futch Pembroke, GA Vocal Performance, freshman
Rachael Hirneisen Davenport, GA Music Education, choral & Performance, senior
Michael Payen Secton Leader Derby, England U.K. MM in Music Technology, graduate student
Alexander Smith Brooklet, GA Music Education, choral sophomore
David Hopkins Savannah, GA Vocal Performance, senior
Will Peebles Wrens, GA Multimedia Journalism, senior
Mallory Tafoya Woodstock, GA Music Education, choral junior
Merritt Jones Macon, GA Music Education, choral junior
Grant Purvis Warner Robins, GA Writing & Linguistics junior
Alexandra Thompson Augusta, GA Vocal Performance, freshman
Emiry Blitch Brooklet, GA Music Education, choral sophomore Justin Boone Statesboro, GA Music Education, choral & Performance, freshman
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Evan Crowther Ft. Stewart, GA Welding Certification, junior
Sarah Fender Peachtree City, GA MM Music Education, graduate student
Cydney Gardner Kennesaw, GA Music Composition & Performance, junior
Joel Witherspoon Axson, GA Computer Science, sophomore
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Dr. Shannon Jeffreys Dr. Shannon Jeffrey’s is the Director of Choral Activities and Assistant Professor at Georgia Southern University where she conducts Southern Chorale, Women’s Chamber Choir, and Fermata the Blue while advising the Southern Gentlemen and teaching in undergraduate and graduate conducting and literature courses. She has led Southern Chorale in two international choral competitions where the choir won significant awards earning the highest overall score in Sing ‘N’ Joy, Louisville in 2013. Dr. Jeffreys’ choirs have also been invited to perform in State conferences of the American Choral Directors Association and National Association for Music Education. Last Spring, she was award the “CLASS Award of Distinction in Teaching” from the College of Liberal Arts and Social Sciences at Georgia Southern. Dr. Jeffreys holds degrees in music performance and conducting from Birmingham Southern College, the University of Mississippi, and the University of South Carolina. Dr. Jeffreys is an active adjudicator and clinician and a member of NATS, ACDA, and NaFME.
Southern Chorale Southern Chorale is the premiere choral ensemble of Georgia Southern University and is directed by Dr. Shannon Jeffreys, Assistant Professor of Music and Director of Choral Activities. Southern Chorale’s membership draws from the most talented vocal students to provide a professional foundation for performance and choral music education majors and a meaningful musical experience for those University students who wish to continue to sing in an elite ensemble. The ensemble performs literature from all styles and periods with an emphasis on a cappella repertoire and masterworks with orchestra. In addition to numerous campus and community performances, Southern Chorale has appeared at conferences of the American Choral Directors Association and the National Association for Music Education. Under Dr. Jeffreys’ direction, the chorale won significant prizes in the Anton Bruckner International Choral Competition in Linz, Austria in 2013 and months later earned the highest score given in Sing ‘N’ Joy International Competition and Festival, winning the Spiritual Category.
Dr. David W. Langley David W. Langley is the newly appointed Assistant Professor of Music at Georgia Southern University, and Assistant Director of Choral Activites. His duties include supervising student teachers,teaching courses in music education, as well as directing the University Singers. Prior to his appointment at Georgia Southern, Langley was the Director of Choral Activities at Collins Hill High School in Suwanee, Georgia. During his 11 years of teaching high school, Langley guided a choral program of over 300 students, with individual students consistently being selected for the Georgia All State Chorus and the Governors Honors Program in both voice and piano. Langley also previouslytaught at Georgia Perimeter College and Crabapple Crossing Elementary School in Milton, GA. A native of Smyrna, Georgia, Langley holds both a bachelors and masters degree from the University of Georgia. He recently completed the degree of Doctor of Philosophy in Teaching and Learning, Music Education from Georgia State University, studying under Dr. Patrick K. Freer. Langley has been published in such journals as American Music Teacher and was recently selected to serve on the Advisory Committee for the Music Educators Journal. His research interests include incorporating creativity within the choral classroom as well as the effectiveness of music teacher mentoring programs.
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The Vocal Arts The Vocal Arts area is one of the most visible and vibrant parts of the exceptional music program at Georgia Southern University. Students from all academic majors participate in choirs, opera, and private vocal study. Those wishing to major in music may pursue the Bachelor of Music degree in Music Education, Performance, or Composition. We offer music minor in technology, composition, performance , and music history. Graduate students may earn the Master of Music Degree in Music Education, Performance, Music Technology, Conducting or Composition.
Vocal Arts Faculty
Dr. Arikka Gregory Dr. Kyle Hancock
FOLLOW US ON
Mrs. Sarah Hancock Dr. Allen Henderson Dr. William Lavonis
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Sing at Southern or Georgia Southern Chorale
GSU Choirs
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