Songs of God,
Songs of Nations
A spring concert of sacred pieces and folksongs from around the world by the
Christian Academy in Japan
High School Choirs,
Handbell Ensemble and Flute Ensemble
Friday, May 19, 2017 • 7:00 P.M. •
CAJ
auditorium
Handbell Ensemble
Parade of the Shogun
Old Japanese song, arranged by Katsumi Kodama and K. Marayama
We begin our concert with an old Japanese song “Oedo
Nihonbashi” (お江戸日本橋). Originally this piece was a
song named “Hakonebushi” which was popular in the
middle of the 18th century. The melody was so wellloved that many different words were put to it. “Oedo
Nihonbashi” is the most popular text today. Both the
modality and this arrangement are interesting, and
excitement is built into it using various techniques
including malleting, plucking and thumb-damping.
1/25
Handbell Ensemble
Joshua Fit the Battle of Jericho
African-American spiritual, arranged by Hart Morris
The song is believed to have been composed by slaves in
America in the first half of the 19th century. Early published
versions include some parts in dialect, such as “fit” for
“fought.” The lyrics allude to the biblical story of the Battle of
Jericho, in which Joshua led the Israelites against Canaan
(Joshua 6:15 – 21). However, like those of many other spirituals,
the words may also be alluding to eventual escape from slavery.
The lively melody and rhythm provide energy and inspiration,
and Hart Morris’s arrangement takes full advantage of that.
Listen for the musical interpretation of the walls falling down.
3/25
Handbell Ensemble
Londonderry Air
Traditional Irish tune, arranged by Don Allured
This tune is an air, or ballad, that originated in
County Londonderry in Northern Ireland. It is
popular among the Irish and is well known
throughout the world. The song “Danny Boy” uses
the tune with a set of lyrics written in the early 20th
century.
2/25
Handbell Ensemble
Pizzicato Polka
by Johann and Joseph Strauss, arranged by Dick Averre
Played almost entirely with mallets, this lively piece,
originally for strings, by the Austrian brothers Johann
and Joseph Strauss sounds good on handbells.
Changing tempi (speeds) and complete stops in
unexpected places make playing it as much fun as
learning it was a challenge. The added percussion is
played by Rila Shishido and Josiah Balona.
4/25
The Christian Academy Japan
Flute Ensemble
Denise Owen, director
Song of the Bard
Variations on a Welsh folksong, by Ralph Guenther
5/25
Chamber Singers
O Sing Joyfully
by Adrian Batten
Adrian Batten (c. 1591 – 1637) was an English organist
and Anglican church composer. He was active during
an important period of English church music,
between the Reformation and the Civil War in the
1640s. “O Sing Joyfully” is his setting of Psalm 81:1 –
4. Each of the four verses is set in a different style.
6/25
Chamber Singers
Ask and It Shall Be Given
by Jonathan Adams
This setting of Matthew 7:7–8 is sensitive to the
text’s meaning, and its sonorities are rich. It is one
of the group’s favorite pieces. Jonathan Adams, the
composer, is a high school choir director in Arkansas
(USA).
7/25
Chamber Singers
I Will Praise Thee, O Lord
by Knut Nystedt
Another psalm setting, this is a rousing exaltation of
praise composed by Norwegian Knut Nystedt. He grew
up in a Christian home where hymns and classical
music were an important part of everyday life. This
piece is in three short parts. The first and last are
homophonic, in which everyone sings the same words
simultaneously. The middle section is polyphonic. Voices
sing the same text at different times, often overlapping.
8/25
Chamber Singers
Good Night, Dear Heart
by Dan Forrest
A beautiful story is told in the composer’s notes to this piece.
His brother and sister-in-law found out that the infant girl
they were soon to adopt from Ethiopia was hospitalized
there. Though they prayed and did all possible to speed up
the process of adoption, they received the sad news that she
had died. Forrest’s search for a text for his musical elegy led
him to this poem by Mark Twain, written upon the gravestone
of Twain’s own daughter who died unexpectedly. Deeply
touched, Forrest wrote this gorgeous setting in one day.
9/25
Chamber Singers
Rather Be
words and music by Grace Chatto, Jack Patterson, Nicole Marshall and James Napier; arranged by Mark Brymer
Adapted from the Pentatonix cover of this song by
Clean Bandit, this is an high-spirited a cappella vocal
piece. The soloists are Keziah Paul, Jiwon Huh, Rita
Watanabe and Sarah Kang. Taichi Ishikawa is the
beatboxer.
10/25
Senior Octet
Seal Lullaby
by Eric Whitacre
Eric Whitacre has often been compared to Morten
Lauridsen, composer of the next piece. The
tonalities they employ share similarities, but their
styles, their voices, are different. “Ah, weary wee
flipperling, curl at thy ease! The storm shall not wake thee,
nor shark overtake thee, asleep in the arms of the slowswinging seas….” This charming poem by Rudyard
Kipling is the inspiration for Whitacre’s song.
11/25
Honor Choir Members
Sure on this Shining Night
by Morten Lauridsen
“Sure on this shining night of star-made shadows round,
kindness must watch for me this side the ground.…” In this
third movement of his song cycle Nocturnes, Morten
Lauridsen’s flowing music captures all the beauty
and wonder of James Agee’s poem.
12/25
Honor Choir Members
Didn’ My Lord Deliver Daniel
African-American spiritual, arranged by Stacey Gibbs
The Honor Choir members’ first offering of folksong this evening is a song of slavery and freedom. It
appropriates an Old Testament seer and strong man
of God, Daniel, as a heroic exemplar. Like Jonah and
the “Hebrew Children”—also often heroes of
spirituals —Daniel was protected by the Lord and
delivered from confinement and danger. So, “why not
every man?”
14/25
Honor Choir Members
Sednalo e Djore dos
Bulgarian folksong, arranged by Sara Shakliyan
This is a lively setting from Bulgaria. It is
characterized by its short and repetitive melodic line
flavored with humorous energy. The song is about
George, a silly young man, who is sitting in front of
his house knitting a sock. A maiden walks by and
asks, “Who is that for?” George replies, “It’s for the
woman who will marry me.” “I will marry you, George.”
He responds, “Then I will give this to you!”
13/25
Chamber Singers
Túrót Eszik a Cigány
Hungarian folksongs, arranged by Zoltán Kodály
This piece combines two Hungarian folksongs in ABA order.
The gipsy is eating cottage cheese, duba.
He’s arguing with me.
He’s saying he’s going to smack me. “The day after tomorrow!” I said, leba.
The buds of the rosehip bush are hanging over the road. Johnny saw it and tore one off.
He is already running across with it.
The gipsy is eating….
15/25
Chamber Singers
Arirang
Korean folksong, arranged by Kenneth Jennings
“Arirang” is a Korean folksong, often considered as
the unofficial national anthem of Korea. Many
versions of the song start by describing the travails
encountered by the subject of the song while
crossing a mountain pass. “Arirang” is one name for
the pass. The soloists are Joshua May and Joshua
Mine.
16/25
Chamber Singers
Ride the Chariot
African-American spiritual, arranged by William H. Smith
Part of the history of Black culture in the USA is
embodied in the lyrics of African-American spirituals.
In the days of slavery, slaves had to hide conversations
from their owners and overseers, and songs became a
form of communication. “I’m gonna ride the chariot in
the morning, Lord” meant that an escape attempt is
tomorrow. Our soloists are Ai Ozaki, David Tsuneki,
Jonah Swenson, Emily Love and Yeji Jeong.
17/25
Concert Choir
And the Glory of the Lord
from Messiah, by George Frederik Handel
This is the first movement for the choir in Handel’s
Messiah. It announces the revelation of God’s glory.
The altos begin, the other voices answer, and
gradually the music grows to a denser texture. The
words “for the mouth of the Lord has spoken it”
are sung on repeated long notes, which appear first
in single voices, and then, after a long rest,
conclude the movement in great affirmation.
18/25
Concert Choir
Chua-ay
by Fidel Calalang, Jr.
From the composer’s notes: “‘Chua-ay’ is based on a
popular folksong in the Philippines that depicts the
Igorot tribes at work, pounding rice by means of a huge
mortar and heavily weighted posts…. The piece begins
with bird-calls serenely chanted by two sopranos and is
followed by a set of rhythmic variations on the repetitive
three-note theme of ‘Chua-ay.’ Foot stomps suggest the
mortar and pestle action that also enhance the earthy
character of this northern folksong.” The soloists are Yeji Jeong and Caroline McDonald.
19/25
Concert Choir
Teče Voda, Teče
Czecho-Slovak folksong, arranged by Deems Taylor
In English this song is “Waters Ripple and Flow.”
The melody of this Czecho-Slovak folksong is
beautifully joined with the words in a flowing
arrangement. The text is about a faithless lover who,
being forgiven and called back, finally returns.
Soloists are Ai Ozaki and Ryu Kurosawa.
25/25
Concert Choir
I Got a Home In-a Dat’ Rock
African-American spiritual, arranged by Stacey Gibbs
I got a home in that rock, yes, don’t you see?
Between the earth and sky
Thought I heard my Savior cry.
Rich man Divies lived so well, don’t you see?
When he died he had a home in Hell.
He had no home in that rock, don’t you see?
Poor man Lazarus, poor as I, don’t you see?
When he died he found a home on high.
He had a home in that rock, yes, don’t you see?
God showed Noah the rainbow sign, don’t you see?
No more water but fire next time.
He had a home in that rock, yes, don’t you see?
21/25
Concert Choir Women
Bandyrowe
Irish folksong, arranged by Susan Brumfield
“Way up yonder above the moon, a bluebird sits in a silver
spoon. Kitty alone and I.…” This Irish nonsense song is
a lovely, whirling, twirling kaleidoscope of sound and
an excellent showcase for the women of the choir. It
includes lines such as “To me tat, me tear, me ditt’n o-dill,
Kitty alone and I.” The piece is accompanied by piano
and bodhrán [bau-rahn], a traditional Irish drum.
22/25
Concert Choir Men
Johnny Schmoker
Pennsylvania Dutch folksong, arranged by James Rodde
Based on a German folksong, this rousing
Pennsylvania (USA) Dutch folksong asks a question:
“Johnny Schmoker, can you sing, can you play?” Johnny
answers with all the instruments he can play. This
cumulative piece is an opportunity for our guys to
have a bit of fun.
23/25
Concert Choir
O Whistle, and I’ll Come to Ye
Scottish folksong, arranged by Mack Wilberg
The title and refrain are from a 1793 poem and song by Scottish poet
Robert Burns. In it, two lovers are courting, but her family does not
approve. So, they don’t want anyone to know.
O whistle, an’ I’ll come to ye, my lad.
Tho’ father an’ mother an’ all should go mad,
O whistle, an’ I’ll come to ye, my lad.
At kirk [church], or at market, whene’er ye meet me,
Go by me as tho’ that ye cared not a flie;
But steal me a blink o’ your bonnie black eye,
Yet look as ye were na lookin’ at me.
Mack Wilberg’s lively arrangement supports the flirtatious character of the
poem and is scored for two pianists. Hitomi Langlais joins Denise Owen.
24/25
Concert Choir
No Time
Traditional camp meeting songs, arranged by Susan Brumfield
Sia Shin, accompanist
The camp meeting is a Christian religious service originating in
England and Scotland as an evangelical event. In the USA
meetings were held in frontier areas, where people without
regular preachers would travel from afar to a particular site to
camp and hear itinerant preachers. Camp meetings offered
community, prayer, singing, sometimes dancing, and diversion
from work. The practice was a major component of the Second
Great Awakening, an evangelical movement promoted by
Baptist, Methodist, Presbyterian and other preachers in the
early 19th century. This piece skillfully combines two songs,
“No Time” and “Rise, Oh Fathers, Rise.”
20/25
Thank you for coming and for your support of the arts at CAJ.
Songs of God, Songs of Nations
A spring concert of sacred pieces and folksongs from around the world by the
Christian Academy in Japan
High School Choirs, Handbell Ensemble and Flute Ensemble
Friday, May 19, 2017 • 7:00 P.M. • CAJ auditorium