“Sing Praises Old and New”:A Celebration of Hymns

Nisbet Honors Hymnody ClassSally Ann Morris, composer

Mary Louise Bringle, hymnwriter

with

First Presbyterian Madrigal SingersSt. John’s Brass

Miriam Davidson, piano, vocals, and percussionKiya Heartwood, guitar and vocals

Sarah Horback, clarinetAshleigh Sieradzki, fluteBrennan Szafron, organKathryn Tomlin, violin

PROGRAM

Prelude St. John’s Brass

Welcome Leon W. Couch III

Hymn: Magnificence* (Awesomeness) Meagan Kusek and Elizabeth Lickliter

Hark, I Hear the Harps Eternal (Invitation) Arr. Alice ParkerCome and Taste (Farabee) (b. 1925)

Madrigal Singers, First Presbyterian ChurchHolt Andrews, Director

Hymn: A Wedding Prayer* (Horback-Dudley) Katharine Dudley and Sarah Horback

“Holy Manna” from Southern Hymn Tune Triptych* Jacobus Kloppers Brennan Szafron, Organist (b. 1937)

Hymn: The Force that Raises up the Flower* (Wales) Kiya Heartwood

“Beach Spring” from Southern Hymn Tune Triptych* Jacobus KloppersBrennan Szafron, Organist

Hymn: An Angel of the Lord* (Pogo) Kiya Heartwood and Sydney Sigmon

“Foundation” from Southern Hymn Tune Triptych* Jacobus KloppersBrennan Szafron, Organist

Selected Hymns by our Guest Hymn Writer Sally Ann MorrisDraw Us Together and Make Us One (Glenn Hewitt) (b. 1952)Have You Not Known? (Lucy) God Weeps With us Who Weep and Mourn (Moshier) Earth, Earth Awake, Your Praises Sing (Stuempfle) The People Who Walked in Darkness (Isaiah)An Echo of the Voice of God (Wada Tune)It Started With an Idle Tale (Kairos)Sing Praises Old and New (Murphy)

Postlude St. John’s Brass

* = World Premiere

PROGRAM NOTES & HYMNS

Conducted by Holt Andrews, the First Presbyterian Madrigal Singers will sing “Hark, IHear the Harps Eternal” and “Come and Taste,” both arranged by Alice Parker in 1967. Theseso-called “mountain hymns” are typical of much of Parker’s output: She has championedindigenous American music and music from our folk traditions. Her work became nationallyrecognized when these and several other arrangements were recorded by the Robert ShawChorale.

Holt Andrews

Born in South Africa, Jacobus Kloppers (b. 1937) lives in Edmonton, Alberta (Canada),and has taught at King’s University College since 1979. Recently retired as Chair of the musicdepartment, Kloppers now enjoys more time to compose. Known as “Kobie” to his students,Kloppers was heavily influenced by his former organ teacher Helmut Walcha (Frankfurt,Germany); therefore, Kloppers’s music embodies clean, classical lines. Commissioned in 2008by Brennan Szafron, Kloppers’s “Southern Hymn Tune Triptych” is one of several triptychs anduses the stereotypical fast-slow-fast form. Based on the tune “Holy Manna” (Brethren, We havemet to Worship), the first movement begins pensively like a sunrise and climaxes with a grandending. The second movement, “Beach Spring” (Come, ye Sinners, poor and needy), conveys aquiet and introspective mood. The last movement, based on the hymn tune “Foundation” (HowFirm a Foundation), presents a rousing toccata with a playful middle section.

Brennan Szafron

“The Force That Raises Up the Flower” paraphrases the poem, “The Force That Throughthe Green Fuse Drives the Flower,” by the poet, Dylan Thomas. In 1934, Thomas published thispoem when he was twenty in his first collection, 18 Poems. This paraphrase is an Appalachiantranslation of Thomas’s Welsh-tinged English. This funeral song seeks to honor the mysteries ofcreation and the sacred cycles of the Earth using the musical style of William Billings and otherAmerican shape-note writers. Kiya Heartwood is a music-composition major and member of theFolk and Roll duo, “Wishing Chair.”

Kiya Heartwood

As English students, we are just as surprised as you are to see our hymn completed and performed

today. (As such, we are far more confident about the message our hymn proclaims than the music that

accompanies it.) Despite coming from different religious traditions (Elizabeth is Southern Baptist and

Meagan is Roman Catholic), we found that we could easily write a hymn about one of the most important

parts of our faith: praising God.

We believe that some parts of society today are trying too hard to play the role of God. In

response to this error, we wrote this hymn to highlight all of the wonderful things our Lord created,

spanning from the universe, down to the Earth, to its animals and us humans, even to the point of creating

a way of salvation to redeem humankind from its fallen state. Just contrasting these highly complex and

astounding creations to the mere tinkering of humans is humbling. To drive this idea home, in the very

first line, we reference how God’s “fingers” created all of these things. We needed only use a part of God

to signify the whole (metonymy) in order to hint at just how omnipotent He really is, or, in laymen’s

terms, to show off God’s “awesomeness.”

Meagan Kusek and Elizabeth Lickliter

We chose to write a hymn in the form of a wedding prayer in order to convey the beauty of the

sacrament of marriage as it is intended by God. We used scripture from Genesis, Ruth, 1 Corinthians, and

Ephesians to illustrate the commitment and sacrificial nature of a marriage. To give greater emphasis to

the hope for a selfless and unfailing love, our hymn uses tautology (repetition of the same thought in

different words) and anaphora (the repetition of the same word at the beginning of two successive lines).

In this hymn, we sought to unify the congregation and the couple in prayer for God’s strength and

blessing on the marriage. Both Sarah and Katharine are education majors, the former in music and the

latter in elementary. Both writers were raised in the Christian tradition.

Sarah Horback and Katharine Dudley

Treble

Tenor

Bass

Treble

Tenor

Bass

10

The Force That Raises Up the Flower Funeral Paraphrase of a Poem by Dylan Thomas' WALES

Irregular

1. The 2.That 3.The 4.Who

1. The 2. That 3.The 4.Who

1. The 2.That 3.The 4.Who

force that rai - ses blasts the_ wa - tel' hand that whirls the ticks the_ heav-ens

force that rai - ses

up the flower drives through the rocks drives

cur - rents round stirs the round the stars? Who

up the--..flower drives blasts the wa ter through the _ rocks drives hand that whirls the cur rents round stirs the ticks the heav-ens round the_stars? Who _

my green age. The my red_ blood. The dark quick - sand. The draws the_ time? This

my green age. The my red blood. The dark quick - sand. The draws the time? This

force that rai - s~ up the flower drives my green blasts the_ wa - tel' through the rocks drives my red hand that whirls the cur - rents round stirs the dark quick ticks the _ hea vens round the stars? Who _ draws the time? This

force that blasts force that dries force that ropes foun tain head

'--

the the the of

roots of trees will soon de_ ri - ver's mouth will tum mine

blow-ing wind hauls in my clay and lime shall_ calm

Kiya Heartwood

stroy me. And to_ wax. shroud. sail. a11 _ sores.

force that blasts the roots of --.trees will soon de - stroy me. And I amdumbto force that dries the riv - ers mouth will tum mine to __ force that ropes the blow-ing wind hauls in my shroud foun tain head

force that blasts force that dries force that ropes foun - tain head

of clay and lime shall _ calm a11 _

the_roots of trees will soon de - stroy the _ riv - ers mouth will tum mine to the _ blow-ing wind hauls in my shroud of _ clay and lime shall _ calm all

wax. sail. sores.

-----me. ______ _ wax. ______ _ sail. ______ _ sores. _____ _

I am dumb to tell, and _ I am dumb to tell, and _ I am dumb to tell the crook - ed rose. the moun-tain stream. the hang-ing man. the lov - er's tomb.

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tell, and _ I am dumb to tell, and _ I am dumb to tell the crook - ed rose. tell the moun-tain stream. tell the hang - ing man. tell the lov - er's tomb.

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---.-" ---.-" "----"" And I am dumb to tell, and _ I am dumb to tell the crook -ed _ rose.

the moun- tain _ stream. the hang - ing_ man.

2009 Outlaw Hill Publishing the lov - er's _ tomb.

"The Force That Through the Green Fuse Drives the F1ower" by Dylan Thomas 1934

“An Angel of the Lord” is a children's folk gospel song meant to be used in a Sunday School or Vacation

Bible School setting in order to interest children in reading the Bible themselves. A teaching device, the use of

repetition from the stanza to the chorus encourages children to recall what they have just sung. Sydney Sigmon, a

Christian from her early childhood, is learning to play a few tunes on the piano for when she has children of her

own. Sydney is majoring in English, and this is her first song. Kiya Heartwood is a music-composition major and

Assistant Music Director for the Unitarian Universalist Church of Spartanburg. For her, this collaborative project

demonstrates the UU emphasis on tolerance and support for beliefs other than one's own.

Kiya Heartwood and Sydney Sigmon

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Mary Louise Bringle, b.1953GLENN HEWITT, 9 9 9 9 with Refrain

Sally Ann Morris, 2003

Text Copyright © 2006, GIA Publications, Inc. All Rights Reserved.Tune Copyright © 2003, GIA Publications, Inc. All Rights Reserved.

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Text: Thomas H. Troeger, b.1945, © 1996, Oxford University PressTune: MOSHIER, CMD; Sally Ann Morris, b.1952, © 1998, GIA Publications, Inc.

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Text: Herman G. Stuempfle, Jr., b.1923Tune: STUEMPFLE, LM with alleluias; Sally Ann Morris, b.1952© 1996, GIA Publications, Inc.

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ISAIAH 9, 8 8 12 7 with RefrainSally Ann Morris

Text and Music Copyright © 2008, GIA Publications, Inc.

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Text: Adam M. L. Tice, 2007; © 2008, GIA Publications, Inc.Tune: WADA TUNE; Sally Ann Morris, b. 1952; © 2008, GIA Publications, Inc.

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Sally Ann Morris, 2000

It Started with an “Idle Tale”

Text Copyright © 2000, The Hymn Society, admin. by Hope Publishing Company, Carol Stream, IL 60188. All rights reserved. Used by permission.Tune Copyright © 2008, GIA Publications, Inc. All Rights Reserved.

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Brian Wren, b.1936MURPHY, 13 13 666 7Sally Ann Morris, 1999

Sing Praises Old and New

Text Copyright © 1993, Hope Publishing Company, Carol Stream, IL 60188. All rights reserved. Used by permission.Tune Copyright © 2001, GIA Publications, Inc. All Rights Reserved.

Personnel

Madrigal SingersHolt Andrews, director

Marcia Andrews, associate director and accompanist

Soprano Alto Tenor BassMartha Bean Janet Cann Justin Lovelace Lu DiehlDebra Brock Lisa Cunningham Reel Robertson Lee HagglundPatricia Hevener Mary Dixon Terry Smith Craig KociskoDebbie Keiser LeAnne Holcombe Brennan Szafron Kevin MarshDebbie Kocisko Carol March Bill RobertsAnne Lipe Nancy Scott Wayne SeaseJayne McQueen Ginger ShulerElena Roberts Jody Scott

St. John’s BrassDon Scott, director

Arnie Diaz, trumpets Dan Steadman, Fr. Horn Mark Simpson, TubaDon Scott, trumpet Doug Scarborough, Trombone

Individual Musicians

Miriam Davidson, piano, vocals, and accordion Ashleigh Sieradzki, fluteKiya Heartwood, guitar, vocals, and percussion Brennan Szafron, organSarah Horback, clarinet Kathryn Tomlin, violinSally Ann Morris, piano and vocals

Evaluation Form: Thursday Concert Audience This is the first time that Converse has held a symposium of this sort. We would appreciate your honest feedback on the Thursday concert. Please rank the effectiveness of the concert in helping you understand and enjoy hymns and Walker’s legacy.

1 is highly ineffective, and 5 is highly effective: _______ What worked best in the concert and discussion? How did the introductory comments help you learn more about hymns? What would you suggest we change in a future concert? Other comments or suggestions:

The following items are optional: Name: Contact information: Would you like to be placed on Converse’s mailing list to receive information about similar events?