We gratefully acknowledge the important role all of the
Lawrence faculty play in preparing our students academically
and musically, from our colleagues in music history and theory,
to our colleagues in sight-singing, aural skills and keyboard
skills, and to our colleagues in the liberal arts. We give special
thanks to the studio voice and piano artist faculty:
Voice Faculty
Kenneth Bozeman, chair
Joanne Bozeman, soprano
Dale Duesing, artist-in-residence
John T. Gates, bass
Bonnie Koestner, vocal coach
Karen Leigh-Post, mezzo-soprano
Bryan Post, lecturer in music and teacher of voice
Teresa Seidl, soprano
Steven Paul Spears, tenor
Copeland Woodruff, director of opera studies
Lawrence University
Choirs
Phillip A. Swan and Stephen M. Sieck,
conductors
Fall Preview Concert
Keyboard Faculty
Kathrine Handford, organ
Catherine Kautsky, piano
Michael Mizrahi, piano
Anthony Padilla, piano
Friday, October 10, 2014
8:00 p.m.
Lawrence Memorial Chapel
“This concert is supported, in part, by The Avenue 91.1.”
As a courtesy to the artists and to those in attendance, please be aware that sounds such
as whispering and the rustling of programs and cellophane wrappers are magnified in the
hall. Please turn off all watch alarms, pagers, and cellular telephones. And please no flash
photography.
Concert Choir
Viking Chorale
Phillip A. Swan and Stephen M. Sieck, conductors
Elizabeth Vaughan, accompanist
Soprano I
Tenor I
Katie Bultman
Graycen Gardner
Morgen Moraine
Katie Mueller
Stephanie Popik
Charlie Aldrich
Charlie Martin
David Pecsi
Jackson Rosenberry
Maximilian Simmons
Soprano II
Tenor II
Sarah Coffman
Samantha Feinberg
Margaret McNeal
Cayla Morton
Kelsey Wang
Andrew Green
Benjamin Hanson
Matt Kierzek
Pablo Morales
David Voss
Alto I
Baritone
Laura Briss
Elisabeth Foran
Deme Hellwig
Jenna Lindsey
Kirsten O’Donnell
Kayla Siembieda
Josh Eidem
Ian Grimshaw
Jon Hanrahan
Phillip Jindra
Mitchell Kasprzyk
Clee McCracken
Alto II
Bass
Elyse Brotzman
Carly Gaeth
Melina Jaharis
Keira Jett
Elizabeth Vaughan
Paul Gutmann
Kip Hathaway
John Taylor Hosmer-Quint
Jacob Meyer
P.J. Uhazie
Officers
President: Cayla Morton
Secretary: Laura Briss
Eliminator of Confusion: Carly Gaeth
Social Chair: Graycen Gardner
Publicity: PJ Uhazie and Morgen Moraine
Bright Shining as the Sun
arr. Keith McCutchen
Amazing Grace
arr. Joshua Shank
(b. 1980)
David’s Lamentation
Byron J. Smith
(b. 1960)
Shout Glory
Yonah Barany and Hannah Ganzel, soloists
Christian Rasmussen, bass
Kennison Ther and Irene Durbak, percussion
Cantala
Eatnemen Vuelie
Frode Fjellheim
(b. 1959)
Kennison Ther and Irene Durbak, percussion
A Round for Hildegard
Midwest Premiere​
Luke Mayernik
(b. 1981)
Matthew Michelic, viola
Janet Anthony, cello
Kennison Ther and Irene Durbak, percussion
The Lake Isle of Innisfree
Muié Rendêra
Eleanor Daley
(b. 1955)
C. A. Pinto Fonseca
(1933-2006)
Swing Low, Sweet Chariot
Stacey V. Gibbs
2013 Advanced Women’s Choirs Consortium Commission (b. 1962)
Cantala
Concert Choir and Cantala
Phillip A. Swan and Stephen M. Sieck, conductors
Gabi Makuc, accompanist
A Memorial Tribute to Professor Fred Sturm
Paul Simon
arr. Fred Sturm
(1951-2014)
Old Friends
Concert Choir
Expression
From Requiem
Requiem Aeternam (I) Cantate Domino Canticum Novum (1977/1996) Herbert Howells
(1892-1983)
Arvo Pärt
(b. 1935)
Samuel Buse, organ
She Walks in Beauty
Paul Mealor
(b. 1975)
al-Amira wa al-Gharaji
Suby Raman
(b. 1986)
Soprano 1
Alto 1
Kathleen Baudendistel
Clio Briggs
Elisabeth Burmeister
Abigail Cahill
Sabrina Craven
Emily Flack
Rebecca Hazel
Annie Mercado
Annie Penner
Katie Uram
Elizabeth Coffin
Gillian Etherington
Clara Imon-Pedtke
Thuy Le
Rosa Lemos
Gabi Makuc
Madeleine Moran
Charlotte Noble
Nicolette Puskar
Shaye Swanson
Lauren Vanderlinden
Soprano 2
Sally Alvarado
Alysa Bennett
Alexa Blumenstock
Mary Fried
Jenna Kuchar
Madalyn Luna
Froya Olson
Sophie Scholtz
Grace Vangel
Rachel Weiss
Alto 2
Casey Burgess
Anne Marie Carden
Jenny Hanrahan
Fiona Masterton
Madeline Scholl
Lorna Stephens
Kara Taft
Rachel Wilson
Officers
President: Lauren Vanderlinden
Secretary: Rachel Weiss
Eliminator of Confusion: Rachel Wilson
Social Chair: Gillian Etherington
Publicity Chairs: Mady Luna and Kara Taft
Freshman Representatives: Sally Alvarado and Anne Marie Carden
Viking Chorale
Notes and Translations
Stephen M. Sieck, conductor
Casey Kadlubowski, accompanist
Soprano 1
Alto 1 cont.
Baritone
Morgan Arshonsky
Kerstin Brolsma
Regina Cornish
Emma Jensen
Arielle Kaye
Morgan Krhin
Amalie Ludwig
Isabella Mirgaux
Cameron Murdock
Isabel Vazquez-Thorpe
Amanda Wahl
Emily Zawacki
Lauren Smrz
Emily Stanislawski
Tanner Stegink
Zishen Ye
Nick Ashley
Yonah Barany
Aafko Boonstra
Koby Brown
Kevin Buckhalton
Samuel Buse
Alex Foley
Jamil Fuller
Cameron Nasatir
Ian Purdy
Caleb Rosenthal
Jordan Ross
Michael Ruth
Gregory Schwalbach
Kennison Ther
Jack Walstrom
Soprano 2
Evelyn Barash
Milou de Meij
Augusta Finzel
HannahGanzel
Yumiko Koyabu
Claire LaLiberte
Shang Li
Sarah Olsen
Lucinda Pipkin
Lina Rosenberg
Kaira Rouer
Eva Shuman
Cathryn Wood
Alto 2
He Chang
Irene Durbak
Christina Hanson
Grace Johnson
Maria Konecke
Zoey XiLin
Sarah Ogden
Mauranda Owens
Yulia Pak
Jocelyn Scherbel
Kristina Verhasselt
Bethany Wolkoff
Tenor 1
Trent Guerrero
Nestor Dominguez
Christian Messier
Leif Olsen
Kyle Schleife
Alto 1
Tenor 2
Lauren Abdul
Alexandra Boettcher
Amanda Bourbonais
Natalie Cash
Megan Davidson
ArborisDe Jesus
Daisy Forrester
Xiaoya Gao
Rachelle Huffman
Mya Hunt
Mara Mindock
Teresa Park
Cassidy Salentine
Marcus Campbell
Anthony Cardella
Rory Coleman
Anmol Gupta
Nicholas Juris
Benjamin Klein
Adam Korber
Jack Plasterer
Bass
Nathan Brase
Sam Byrom
Sean Goldring
Mitchell Nelson
Christian Rasmussen
Viking Chorale
Our first two selections draw from the ‘Shape-Note’ tradition of early
American hymn singing. The arrangements are in a 21st century musical
language, but the sentiments expressed come from the founding of an
American identity in the late 1770s.
Amazing Grace text by John Newton (1779)
tune from Columbian Harmony (1829)
Amazing grace, how sweet the sound that saved a wretch like me!
I once was lost, but now I’m found; was blind, but now I see.
Through many dangers, toils and snares, I have already come;
‘twas grace that brought me safe thus far, and grace will lead me on.
When we’ve been there ten thousand years, bright shining as the sun,
we’ve no less days to sing God’s praise than when we first begun.
David’s Lamentation text based on 2 Samuel 18:33
tune by William Billings (1778)
Officers
When David heard that Absalom was slain,
He went to his chamber and wept;
And as he went, he wept and said,
“O my son! Would God I had died for thee, O Absalom, my son!”
President: Lina Rosenberg
Vice-President: Lauren Smrz
Eliminators of Confusion: Jack Plasterer and
Amalie Ludwig
Social Chair: Claire LaLiberté
Publicity Chair: Nick Juris
Viking Chorale’s set concludes musically the way it began – in America’s
Gospel music tradition. Here, Byron Smith has created a text that speaks
directly to 21st century listeners in language more focused on the contrast
between our disorientation/despair and a redemptive clarity he finds in his
faith tradition.
Shout Glory text and music written by Byron J. Smith
Where can I go? What can I do?
When my road gets rocky, don’t know what to do.
What can I say that will see me through?
I shout glory to the Lord, shout glory to You.
Walking through life, can’t find my way,
Just don’t know which way to go, don’t know what to say.
Who can I turn to, to show me the way?
I shout glory to the Lord, shout glory today.
He has changed my life, He has turned me around.
He’s my Father and my Savior.
He has turned my path into smoother ground.
I can call Him any day.
Glorify the Lord. Lift His holy name.
Cantala
Eatnemen Vuelie (Song of the Earth) text by 17th Century German
Jesuits, “Schönster Herr Jesu”
This piece is inspired by the traditional Sámi Yoik (sung in Norwegian).
Fairest Lord Jesus,
Ruler of all nature,
O thou of God and man the Son;
Thee will I cherish,
Thee will I honor,
Thou, my soul’s Glory, Joy and Crown.
A Round for Hildegard Latin (c. 1420)
Alleluia = Praise Yahweh
res miranda = marvelous thing
pares forma = of equal form
gaudeamus = let us rejoice
Transeamus = let us cross over (from worldly to heavenly things)
The Lake Isle of Innisfree text by W. B. Yeats (1865-1939)
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.
All the goddesses
All the women in the world
in the books of history
And in all of the paintings
All of the lovers of the poets
Madly, I was calling God.
My love is bigger than me
Bigger than this world
The poor lovers
Crowned me king of vision
and imam of banishment
and exile.
Madly, in your name,
I was calling God.
Mr. Raman notes:
The text of this piece is a section from the larger work al-Amira wa
al-Gharaji, an intense declaration of love filled with vivid imagery of pain
and joy. In setting the text to music I attempted to closely follow its distinct
emotional contour, with its exultant, feverish intensity. While some of the
music is composed with an Arabic aesthetic in mind, given al-Bayati’s own
cosmopolitan inspirations, I felt room to explore a harmonic language also
influenced by the Balkans and Spain.
Very special thanks to Suby Raman for his time and thoughts in coaching
the choir.
12 Let the fields be jubilant, and everything in them;
let all the trees of the forest sing for joy.
13 Let all creation rejoice before the Lord, for he comes,
he comes to judge the earth.
He will judge the world in righteousness
and the peoples in his faithfulness.
Special thanks to Kathrine Handford for her help in the organ
collaboration.
She walks in beauty
text by Lord Byron (1788-1824)
music by Paul Mealor (composed in 2012)
She walks in beauty, like the night
Of cloudless climes and starry skies,
And all that’s best of dark and bright
Meets in her aspect and her eyes;
Thus mellow’d to that tender light
Which Heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair’d the nameless grace
Which waves in every raven tress
Or softly lightens o’er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek and o’er that brow
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,—
A mind at peace with all below,
A heart whose love is innocent.
al-Amira wa al-Gharaji
The Princess and the Gypsy Madly, in your name I called
All the names
All the adored women,
All the flowers of the forests,
text by Abdul al-Bayati (1926-1999)
music by Suby Raman (composed 2009)
text translated by Bassam K. Frangieh
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.
Muié Rendêra Brazilian Folk Songs
Two of the most popular folk tunes from Northeast Brazil are combined in
this arrangement: Olê, Muié Rendêra and É Lampa, é Lampa, é Lampeão.
Hey, lacemaker woman,
Hey, lacemaker woman,
If you teach me how to weave,
I’ll teach you how to court.
Virgulino is Lampeão.
He is Lampa, Lampa, Lampa,
He is Lampeão.
His name is Virgulino,
His nickname is Lampeão.
Translation by Daniel Rufino Afonso, Jr.
Swing Low, Sweet Chariot I looked over Jordan and what did I see,
Comin’ for to carry me home.
A band of angels coming after me,
Coming for to carry me home.
Chorus:
Swing low, sweet chariot
Comin’ for to carry me home?
Swing low, sweet chariot
Comin’ for to carry me home.
If you get there befor’ I do,
Traditional Spiritual
Coming for to carry me home?
Tell all my friends I’m comin’ too,
Comin’ for to carry me home.
Concert Choir
Cantala and Concert Choir
Howells lost his nine-year-old son, Michael, on Sept. 7, 1935 after a threeday struggle with polio. Howells composed this extraordinary work and set
it aside as a personal, almost secret composition. He was convinced at the
end of his life to allow the work to be published.
Old Friends Old friends;
Old friends.
Sat on their park bench
Like bookends;
A newspaper blown through the grass.
Falls on the round toes
On the high shoes
Of the old friends.
Old friends.
Winter companions
The old men;
Lost in their overcoats,
Waiting for the sunset.
The sounds of the city,
Sifting through trees,
Settle like dust
On the shoulders
Of the old friends.
Can you imagine us
Years from today,
Sharing a park bench quietly?
How terribly strange
To be seventy.
Old friends;
Memory brushes the same years,
Silently sharing the same fear . . . *
(*The last stanza is not included in this arrangement.)
Requiem aeternam text by Paul Simon
text from Latin Rite for the Dead;
music by Herbert Howells, (ca. 1935)
Grant them eternal rest, O Lord, and let perpetual light shine on them.
Cantate Domino Canticum Novum Psalm 96
Arvo Pärt’s musical style suggests a deep listening that is less focused on
being transformed by the journey, and more focused on being fully present
in the moment. His almost-formulaic methods of setting words to music
remove some element of the subjective will of the composer, bringing the
words themselves to the fore.
Sing to the Lord a new song;
sing to the Lord, all the earth.
2 Sing to the Lord, praise his name;
proclaim his salvation day after day.
3 Declare his glory among the nations,
his marvelous deeds among all peoples.
4 For great is the Lord and most worthy of praise;
he is to be feared above all gods.
5 For all the gods of the nations are idols,
but the Lord made the heavens.
6 Splendor and majesty are before him;
strength and glory are in his sanctuary.
7 Ascribe to the Lord, all you families of nations,
ascribe to the Lord glory and strength.
8 Ascribe to the Lord the glory due his name;
bring an offering and come into his courts.
9 Worship the Lord in the splendor of his holiness;
tremble before him, all the earth.
10 Say among the nations, “The Lord reigns.”
The world is firmly established, it cannot be moved;
he will judge the peoples with equity.
11 Let the heavens rejoice, let the earth be glad;
let the sea resound, and all that is in it.
Coming for to carry me home?
Tell all my friends I’m comin’ too,
Comin’ for to carry me home.
Concert Choir
Cantala and Concert Choir
Howells lost his nine-year-old son, Michael, on Sept. 7, 1935 after a threeday struggle with polio. Howells composed this extraordinary work and set
it aside as a personal, almost secret composition. He was convinced at the
end of his life to allow the work to be published.
Old Friends Old friends;
Old friends.
Sat on their park bench
Like bookends;
A newspaper blown through the grass.
Falls on the round toes
On the high shoes
Of the old friends.
Old friends.
Winter companions
The old men;
Lost in their overcoats,
Waiting for the sunset.
The sounds of the city,
Sifting through trees,
Settle like dust
On the shoulders
Of the old friends.
Can you imagine us
Years from today,
Sharing a park bench quietly?
How terribly strange
To be seventy.
Old friends;
Memory brushes the same years,
Silently sharing the same fear . . . *
(*The last stanza is not included in this arrangement.)
Requiem aeternam text by Paul Simon
text from Latin Rite for the Dead;
music by Herbert Howells, (ca. 1935)
Grant them eternal rest, O Lord, and let perpetual light shine on them.
Cantate Domino Canticum Novum Psalm 96
Arvo Pärt’s musical style suggests a deep listening that is less focused on
being transformed by the journey, and more focused on being fully present
in the moment. His almost-formulaic methods of setting words to music
remove some element of the subjective will of the composer, bringing the
words themselves to the fore.
Sing to the Lord a new song;
sing to the Lord, all the earth.
2 Sing to the Lord, praise his name;
proclaim his salvation day after day.
3 Declare his glory among the nations,
his marvelous deeds among all peoples.
4 For great is the Lord and most worthy of praise;
he is to be feared above all gods.
5 For all the gods of the nations are idols,
but the Lord made the heavens.
6 Splendor and majesty are before him;
strength and glory are in his sanctuary.
7 Ascribe to the Lord, all you families of nations,
ascribe to the Lord glory and strength.
8 Ascribe to the Lord the glory due his name;
bring an offering and come into his courts.
9 Worship the Lord in the splendor of his holiness;
tremble before him, all the earth.
10 Say among the nations, “The Lord reigns.”
The world is firmly established, it cannot be moved;
he will judge the peoples with equity.
11 Let the heavens rejoice, let the earth be glad;
let the sea resound, and all that is in it.
12 Let the fields be jubilant, and everything in them;
let all the trees of the forest sing for joy.
13 Let all creation rejoice before the Lord, for he comes,
he comes to judge the earth.
He will judge the world in righteousness
and the peoples in his faithfulness.
Special thanks to Kathrine Handford for her help in the organ
collaboration.
She walks in beauty
text by Lord Byron (1788-1824)
music by Paul Mealor (composed in 2012)
She walks in beauty, like the night
Of cloudless climes and starry skies,
And all that’s best of dark and bright
Meets in her aspect and her eyes;
Thus mellow’d to that tender light
Which Heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair’d the nameless grace
Which waves in every raven tress
Or softly lightens o’er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek and o’er that brow
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,—
A mind at peace with all below,
A heart whose love is innocent.
al-Amira wa al-Gharaji
The Princess and the Gypsy Madly, in your name I called
All the names
All the adored women,
All the flowers of the forests,
text by Abdul al-Bayati (1926-1999)
music by Suby Raman (composed 2009)
text translated by Bassam K. Frangieh
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.
Muié Rendêra Brazilian Folk Songs
Two of the most popular folk tunes from Northeast Brazil are combined in
this arrangement: Olê, Muié Rendêra and É Lampa, é Lampa, é Lampeão.
Hey, lacemaker woman,
Hey, lacemaker woman,
If you teach me how to weave,
I’ll teach you how to court.
Virgulino is Lampeão.
He is Lampa, Lampa, Lampa,
He is Lampeão.
His name is Virgulino,
His nickname is Lampeão.
Translation by Daniel Rufino Afonso, Jr.
Swing Low, Sweet Chariot I looked over Jordan and what did I see,
Comin’ for to carry me home.
A band of angels coming after me,
Coming for to carry me home.
Chorus:
Swing low, sweet chariot
Comin’ for to carry me home?
Swing low, sweet chariot
Comin’ for to carry me home.
If you get there befor’ I do,
Traditional Spiritual
Walking through life, can’t find my way,
Just don’t know which way to go, don’t know what to say.
Who can I turn to, to show me the way?
I shout glory to the Lord, shout glory today.
He has changed my life, He has turned me around.
He’s my Father and my Savior.
He has turned my path into smoother ground.
I can call Him any day.
Glorify the Lord. Lift His holy name.
Cantala
Eatnemen Vuelie (Song of the Earth) text by 17th Century German
Jesuits, “Schönster Herr Jesu”
This piece is inspired by the traditional Sámi Yoik (sung in Norwegian).
Fairest Lord Jesus,
Ruler of all nature,
O thou of God and man the Son;
Thee will I cherish,
Thee will I honor,
Thou, my soul’s Glory, Joy and Crown.
A Round for Hildegard Latin (c. 1420)
Alleluia = Praise Yahweh
res miranda = marvelous thing
pares forma = of equal form
gaudeamus = let us rejoice
Transeamus = let us cross over (from worldly to heavenly things)
The Lake Isle of Innisfree text by W. B. Yeats (1865-1939)
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.
All the goddesses
All the women in the world
in the books of history
And in all of the paintings
All of the lovers of the poets
Madly, I was calling God.
My love is bigger than me
Bigger than this world
The poor lovers
Crowned me king of vision
and imam of banishment
and exile.
Madly, in your name,
I was calling God.
Mr. Raman notes:
The text of this piece is a section from the larger work al-Amira wa
al-Gharaji, an intense declaration of love filled with vivid imagery of pain
and joy. In setting the text to music I attempted to closely follow its distinct
emotional contour, with its exultant, feverish intensity. While some of the
music is composed with an Arabic aesthetic in mind, given al-Bayati’s own
cosmopolitan inspirations, I felt room to explore a harmonic language also
influenced by the Balkans and Spain.
Very special thanks to Suby Raman for his time and thoughts in coaching
the choir.
Viking Chorale
Notes and Translations
Stephen M. Sieck, conductor
Casey Kadlubowski, accompanist
Soprano 1
Alto 1 cont.
Baritone
Morgan Arshonsky
Kerstin Brolsma
Regina Cornish
Emma Jensen
Arielle Kaye
Morgan Krhin
Amalie Ludwig
Isabella Mirgaux
Cameron Murdock
Isabel Vazquez-Thorpe
Amanda Wahl
Emily Zawacki
Lauren Smrz
Emily Stanislawski
Tanner Stegink
Zishen Ye
Nick Ashley
Yonah Barany
Aafko Boonstra
Koby Brown
Kevin Buckhalton
Samuel Buse
Alex Foley
Jamil Fuller
Cameron Nasatir
Ian Purdy
Caleb Rosenthal
Jordan Ross
Michael Ruth
Gregory Schwalbach
Kennison Ther
Jack Walstrom
Soprano 2
Evelyn Barash
Milou de Meij
Augusta Finzel
HannahGanzel
Yumiko Koyabu
Claire LaLiberte
Shang Li
Sarah Olsen
Lucinda Pipkin
Lina Rosenberg
Kaira Rouer
Eva Shuman
Cathryn Wood
Alto 2
He Chang
Irene Durbak
Christina Hanson
Grace Johnson
Maria Konecke
Zoey XiLin
Sarah Ogden
Mauranda Owens
Yulia Pak
Jocelyn Scherbel
Kristina Verhasselt
Bethany Wolkoff
Tenor 1
Trent Guerrero
Nestor Dominguez
Christian Messier
Leif Olsen
Kyle Schleife
Alto 1
Tenor 2
Lauren Abdul
Alexandra Boettcher
Amanda Bourbonais
Natalie Cash
Megan Davidson
ArborisDe Jesus
Daisy Forrester
Xiaoya Gao
Rachelle Huffman
Mya Hunt
Mara Mindock
Teresa Park
Cassidy Salentine
Marcus Campbell
Anthony Cardella
Rory Coleman
Anmol Gupta
Nicholas Juris
Benjamin Klein
Adam Korber
Jack Plasterer
Bass
Nathan Brase
Sam Byrom
Sean Goldring
Mitchell Nelson
Christian Rasmussen
Viking Chorale
Our first two selections draw from the ‘Shape-Note’ tradition of early
American hymn singing. The arrangements are in a 21st century musical
language, but the sentiments expressed come from the founding of an
American identity in the late 1770s.
Amazing Grace text by John Newton (1779)
tune from Columbian Harmony (1829)
Amazing grace, how sweet the sound that saved a wretch like me!
I once was lost, but now I’m found; was blind, but now I see.
Through many dangers, toils and snares, I have already come;
‘twas grace that brought me safe thus far, and grace will lead me on.
When we’ve been there ten thousand years, bright shining as the sun,
we’ve no less days to sing God’s praise than when we first begun.
David’s Lamentation text based on 2 Samuel 18:33
tune by William Billings (1778)
Officers
When David heard that Absalom was slain,
He went to his chamber and wept;
And as he went, he wept and said,
“O my son! Would God I had died for thee, O Absalom, my son!”
President: Lina Rosenberg
Vice-President: Lauren Smrz
Eliminators of Confusion: Jack Plasterer and
Amalie Ludwig
Social Chair: Claire LaLiberté
Publicity Chair: Nick Juris
Viking Chorale’s set concludes musically the way it began – in America’s
Gospel music tradition. Here, Byron Smith has created a text that speaks
directly to 21st century listeners in language more focused on the contrast
between our disorientation/despair and a redemptive clarity he finds in his
faith tradition.
Shout Glory text and music written by Byron J. Smith
Where can I go? What can I do?
When my road gets rocky, don’t know what to do.
What can I say that will see me through?
I shout glory to the Lord, shout glory to You.
Cantala
Concert Choir and Cantala
Phillip A. Swan and Stephen M. Sieck, conductors
Gabi Makuc, accompanist
A Memorial Tribute to Professor Fred Sturm
Paul Simon
arr. Fred Sturm
(1951-2014)
Old Friends
Concert Choir
Expression
From Requiem
Requiem Aeternam (I) Cantate Domino Canticum Novum (1977/1996) Herbert Howells
(1892-1983)
Arvo Pärt
(b. 1935)
Samuel Buse, organ
She Walks in Beauty
Paul Mealor
(b. 1975)
al-Amira wa al-Gharaji
Suby Raman
(b. 1986)
Soprano 1
Alto 1
Kathleen Baudendistel
Clio Briggs
Elisabeth Burmeister
Abigail Cahill
Sabrina Craven
Emily Flack
Rebecca Hazel
Annie Mercado
Annie Penner
Katie Uram
Elizabeth Coffin
Gillian Etherington
Clara Imon-Pedtke
Thuy Le
Rosa Lemos
Gabi Makuc
Madeleine Moran
Charlotte Noble
Nicolette Puskar
Shaye Swanson
Lauren Vanderlinden
Soprano 2
Sally Alvarado
Alysa Bennett
Alexa Blumenstock
Mary Fried
Jenna Kuchar
Madalyn Luna
Froya Olson
Sophie Scholtz
Grace Vangel
Rachel Weiss
Alto 2
Casey Burgess
Anne Marie Carden
Jenny Hanrahan
Fiona Masterton
Madeline Scholl
Lorna Stephens
Kara Taft
Rachel Wilson
Officers
President: Lauren Vanderlinden
Secretary: Rachel Weiss
Eliminator of Confusion: Rachel Wilson
Social Chair: Gillian Etherington
Publicity Chairs: Mady Luna and Kara Taft
Freshman Representatives: Sally Alvarado and Anne Marie Carden
Concert Choir
Viking Chorale
Phillip A. Swan and Stephen M. Sieck, conductors
Elizabeth Vaughan, accompanist
Soprano I
Tenor I
Katie Bultman
Graycen Gardner
Morgen Moraine
Katie Mueller
Stephanie Popik
Charlie Aldrich
Charlie Martin
David Pecsi
Jackson Rosenberry
Maximilian Simmons
Soprano II
Tenor II
Sarah Coffman
Samantha Feinberg
Margaret McNeal
Cayla Morton
Kelsey Wang
Andrew Green
Benjamin Hanson
Matt Kierzek
Pablo Morales
David Voss
Alto I
Baritone
Laura Briss
Elisabeth Foran
Deme Hellwig
Jenna Lindsey
Kirsten O’Donnell
Kayla Siembieda
Josh Eidem
Ian Grimshaw
Jon Hanrahan
Phillip Jindra
Mitchell Kasprzyk
Clee McCracken
Alto II
Bass
Elyse Brotzman
Carly Gaeth
Melina Jaharis
Keira Jett
Elizabeth Vaughan
Paul Gutmann
Kip Hathaway
John Taylor Hosmer-Quint
Jacob Meyer
P.J. Uhazie
Officers
President: Cayla Morton
Secretary: Laura Briss
Eliminator of Confusion: Carly Gaeth
Social Chair: Graycen Gardner
Publicity: PJ Uhazie and Morgen Moraine
Bright Shining as the Sun
arr. Keith McCutchen
Amazing Grace
arr. Joshua Shank
(b. 1980)
David’s Lamentation
Byron J. Smith
(b. 1960)
Shout Glory
Yonah Barany and Hannah Ganzel, soloists
Christian Rasmussen, bass
Kennison Ther and Irene Durbak, percussion
Cantala
Eatnemen Vuelie
Frode Fjellheim
(b. 1959)
Kennison Ther and Irene Durbak, percussion
A Round for Hildegard
Midwest Premiere​
Luke Mayernik
(b. 1981)
Matthew Michelic, viola
Janet Anthony, cello
Kennison Ther and Irene Durbak, percussion
The Lake Isle of Innisfree
Muié Rendêra
Eleanor Daley
(b. 1955)
C. A. Pinto Fonseca
(1933-2006)
Swing Low, Sweet Chariot
Stacey V. Gibbs
2013 Advanced Women’s Choirs Consortium Commission (b. 1962)
Riser Set-Up Crew
Gillian Etherington
Clara Imon-Pedtke
Choral Librarian
Cayla Morton
Special Thanks
Diction Coaching assistance:
“Eatnemen Vuelie” - Alisa Jordheim
“Muié Rendêra” - Allyson Royster, Nicki Puskar,
Grace Vangel, and Josh Eidem
Arabic pronunciation - Tamara Nassar
We gratefully acknowledge the important role all of the
Lawrence faculty play in preparing our students academically
and musically, from our colleagues in music history and theory,
to our colleagues in sight-singing, aural skills and keyboard
skills, and to our colleagues in the liberal arts. We give special
thanks to the studio voice and piano artist faculty:
Voice Faculty
Kenneth Bozeman, chair
Joanne Bozeman, soprano
Dale Duesing, artist-in-residence
John T. Gates, bass
Bonnie Koestner, vocal coach
Karen Leigh-Post, mezzo-soprano
Bryan Post, lecturer in music and teacher of voice
Teresa Seidl, soprano
Steven Paul Spears, tenor
Copeland Woodruff, director of opera studies
Lawrence University
Choirs
Phillip A. Swan and Stephen M. Sieck,
conductors
Fall Preview Concert
Keyboard Faculty
Kathrine Handford, organ
Catherine Kautsky, piano
Michael Mizrahi, piano
Anthony Padilla, piano
Friday, October 10, 2014
8:00 p.m.
Lawrence Memorial Chapel
“This concert is supported, in part, by The Avenue 91.1.”
As a courtesy to the artists and to those in attendance, please be aware that sounds such
as whispering and the rustling of programs and cellophane wrappers are magnified in the
hall. Please turn off all watch alarms, pagers, and cellular telephones. And please no flash
photography.