Winter Choral Concert 2019Ithaca College ChorusSean Linfors, conductor

Ithaca College Madrigal SingersSean Linfors, conductor

Ithaca College Treble ChoraleJanet Galván, conductor

Ithaca College ChoirJanet Galván, conductor Ford HallSunday, December 8th, 20193:00 pm

Ithaca College ChorusSean Linfors, conductor

Ryan Fellman, graduate assistant conductorSungmin Kim, collaborative pianist

Sonidos de Sueños

Alma Llanera Pedro Gutiérrez arr. Angel Sauce

Te Quiero Alberto Favero arr. Liliana Cangiano

Canciones de Cuna Alberto Grau

Cloudburst Eric Whitacre

Ithaca College Madrigal SingersSean Linfors, conductor

Lynda Chryst, collaborative pianist

Se per havervi Claudio Monteverdi1567-1643

Se per havervi Morten Lauridsenb. 1943

Cantata 102 J.S. Bach1685-1750Melanie Lota, mezzo-soprano

Maddison Hoerbelt, mezzo-sopranoAlec Dorris, baritoneLouis Bavaro, bass

Ithaca College Treble ChoraleJanet Galván, conductor

Pablo Cohen, faculty guest artistMelodia Mae Rinaldi, graduate

Celebration, Aspiration, Love, and Peace

Dizdizka Zeruan Eva Ugalde

Two Part Songs, Opus 26 Edward ElgarThe Snow- No. 1Fly, Singing Bird- No. 2

Cassie Harrison and Caroline Ryan, violinists

I Will Be A Child Of Peace Elaine Hagenberg

Abreme La Puerta Traditional Song from Puerto Rico arr. Christian Grases

Pablo Cohen, GuitarAlex Hoerig, percussionWill Hope, percussion

Ithaca College ChoirJanet Galván, conductor

Ryan Fellman and Melodia Rinaldi, graduate assistant conductors

Humility, Miracles, and Joy

Magnificat Arvo PärtJamila Drecker-Waxman, soprano soloist

O Magnum Mysterium Morten Lauridsen

Ai Nama Mamina 

Andrejs Jansonsfrom Three Latvian Carols

Pal-So-Seong (8 Laughing Voices) Hyo-Won Woo

Biographies

Sean Linfors is the Associate Director of Choral Activities andAssistant Professor of Choral Music Education at the IthacaCollege School of Music. He is the proud director of the IthacaCollege Chorus and Madrigal Singers. Dr. Linfors teachesconducting and rehearsal methods courses, and is a frequentguest clinician for honor choirs and choral events. He wasrecently named the Artistic Director of the Syracuse Chorale.His expanding family now includes Nathaniel and Henry, whoare the best of friends. 

Janet Galván, Director of Choral Activities at Ithaca College,conducts the Ithaca College Choir and Treble Chorale. Her NewYork colleagues recognized Dr. Galván's contribution to choralmusic when she received the American Choral DirectorsAssociation (ACDA) New York Outstanding Choral DirectorAward. 

She has conducted professional and university orchestrasincluding Virtuosi Pragenses, the Madrid Chamber Orchestra,and the Cayuga Chamber Orchestra in choral/orchestralperformances. She has conducted national, divisional, andstate choruses throughout the United States for the AmericanChoral Directors Association (ACDA), National Association forMusic Educators (NAfME), and the Organization of AmericanKodàly Educators (OAKE). She has conducted choruses andorchestras in venues such as Carnegie Hall, Lincoln Center'sAlice Tully Hall and David Geffen Hall as well as in concert hallsthroughout Europe and Ireland. Galván was the sixth nationalhonor choir conductor for ACDA, and was the conductor of theNorth American Children's Choir which performed annually inCarnegie Hall. She was also guest conductor for the MormonTabernacle Choir.

Galván has been a guest conductor and clinician in the UnitedKingdom, Ireland, throughout Europe, Canada and in Brazil aswell as at national music conferences and the WorldSymposium on Choral Music. She was on the faculty for theCarnegie Hall Choral Instititute, the Transient Glory Symposiumand the Oberlin Conducting Institute. 

She was also a member of the Grammy Award-winning RobertShaw Festival Singers during Mr. Shaw's later years (TelarcRecordings).

Galván has been recognized as one of the country's leadingconducting teachers, and her students have received first placeawards and have been finalists in both the graduate andundergraduate divisions of the American Choral Directorsbiennial National Choral Conducting Competition. Many of herformer students are now conducting university and professionalchoirs. In addition, she has been an artist in residence at manyuniversities, leading masterclasses, working with the universitychoirs, and presenting sessions.  

Pablo Cohen graduated from Temple University with a Doctorin Musical Arts degree.  He has received numerous prizes andawards for his performances in national and internationalcompetitions. More recently he received the Music TeachersNational Association Award for his outstanding teaching. DrCohen is the head of the classical guitar program at IthacaCollege and an affiliated artist at Cornell University.

“Grand class and enlightened emotion...”

These are the words that Les Cahiers de la Guitare used todescribe the playing of Pablo Cohen upon his debut recital atthe Salle Cortot in Paris. “Fluid and delicate shape” wrote thePhiladelphia Inquirer in reviewing his rendering of Giuliani’sConcerto for guitar and strings with Concerto Soloists ChamberOrchestra of Philadelphia. At his debut at the Ho-Am Hall forPerforming Arts in Seoul in 1990, the Korea Times praised himas "One of the foremost South-American guitarists."

More recently, he had the distinction of recording the premierof Carlos Guastavino’s Jeromita Linares with CamerataBariloche Chamber Orchestra of Argentina for Dorian Records. Gramophone gave it "a cordial recommendation: outstandinglyfine playing of a repertoire few of us know." His transcriptionsof Chick Corea’s Children Songs along with his unveiling of soloand ensemble music by Latin American masters such asRadamés Gnattali, Horacio Salgán, and Carlos Guastavinorepresent an exciting new direction for classical guitar today.

An endearing performer, Pablo Cohen has participated in solo,ensemble, and orchestral concerts in the United States, Europe,Asia, Latin America, and the Caribbean.  As a featured artist, heperformed at the Salle Cortot in Paris, at the Ho-Am Hall forPerforming Arts in Seoul, at Carnegie Hall in New York, TeatroNacional in Panama, Teatro San Martin in Buenos Aires, at thePerforming Arts Hall of Berkley College of Music in Boston andat many venues throughout the US.  Festival appearances haveincluded The New York City International Guitar Festival(Mannes), Guitar Foundation of America InternationalConvention, Philadelphia’s Mozart on the Square, FestivalCasals in Puerto Rico, Carrefour Mondial de la Guitare inMartinique, The City of Geneva International Festival, Tel-AvivGuitar Festival, Calcaño Festival in Caracas, “Festival deGuitarra Clásica” in Buenos Aires and Musickfest in Bethlehem,PA. “In short, Pablo Cohen is an outstanding classicalplayer...the kind of artist the festival would do well to find moreoften.” (The Morning Call - Allentown, PA)

Pablo Cohen is an active chamber musician as well. In additionto the more traditional ensembles, he has participated ingroups including duets with bandoneonist Daniel Binelli,marimba player Gordon Stout, soprano saxophonist SteveMauk, and jazz guitarist Steve Brown.

Recent engagements have included performances as featuredsoloist with the Concerto Soloists Chamber Orchestra ofPhiladelphia, Ithaca College Chamber Orchestra, MansfieldUniversity Chamber Orchestra, a guest appearance at the 92ndstreet Y with the Young People’s Choir of NYC, performances forchamber music series with Ensemble X, the Cayuga ChamberOrchestra and with the Pro Musica Ensemble. He was alsofeatured in two Latin American concerti with the Orchestra ofthe Finger Lakes at the Clemmens Center, NY.  Mr. Cohenrecorded “Concierto Barroco” by Roberto Sierra with theSinfonieta de Puerto Rico, and recorded the CD “Cantan” withthe Ithaca College Women Chorale, featuring the music ofDominican composer Francisco Nunez.  In 2010 he is releasingthe solo album “La Casa” with his transcriptions for guitar ofmusic by Carlos Guastavino and Horacio Salgán, and in January2011 is planning a recording with the Cayuga ChamberOrchestra of guitar concerti with premieres from Brazil andArgentina. Just recently, Mr. Cohen was featured on NationalPublic Radio and on television for the Public BroadcastingSystem.

Sonidos de SueñosAs I chose music for this concert, I looked at pieces from LatinAmerica and pieces with Latin American poetry.  I wasoverwhelmed with the rich culture that is represented in folksong and texts.  I ended up with a selection that gives just ataste of the incredible variety of styles, subjects, and sourcesover hundreds of years.  From the earthy Alma Llanera to thetranscendent poetry of Octavio Paz set in Cloudburst we seepeople connecting with each other and with the land aroundthem.  For me personally, this concert was a joy to prepare - Ilived for seven formative years in Spanish-speaking countries,and these pieces bring a little bit of that back. 

I was born on the bank of the rippling Arauca River, I am sisterof the foam, of the herons, of the roses, I am sister of thefoam, of the herons, of the roses and of the sun, and of thesun. 

I was lulled by the vivid music of the breeze in the palmgrove, and that's why I have the soul like the exquisite soul, and that's why I have the soul like theexquisite soul of crystal, of crystal.  

I love, I weep, I sing, I dream of carnations of passion, ofcarnations of passion. I love, I weep, I sing, I dream of adorningthe blonde mane of my lover's colt. 

I was born on the bank of the rippling Arauca River, I am sisterof the foam, of the herons, of the roses and of the sun. 

The passion that fills the love song Te Quiero is for the poet’spartner, but is also directed toward the country in which theylive.  Social justice is an omnipresent theme in Latin Americantexts, and the spirit of insurrection flavors this song. Theduality of the love is present in verses that begin “Your mouthwhich is yours and mine,” and end “I love you because yourmouth understands how to shout rebellion.” 

The arrangement gives the more tender lines to the soloistsand the politically tinged passages to the full-voiced choir,giving embodiment to the massed forces uprising.  The editor,Maria Guinand, writes: “The choral arrangement of LilianaCangiano, one of the most talented choral arrangers of popularsongs in Argentina, gives a new dimension to this work, which

is included in many choral programs today.” 

If I adore you it is because you are my love, my intimatefriend, my all; and in the street, arm in arm, we are so muchmore than two. 

Your hands are my caress, my daily affirmations. I love youbecause your hands work for justice. 

Your eyes are my lucky charm against misfortune. I adore youfor your gaze that looks to and creates the future. 

Your mouth is yours and mine, your mouth is never mistaken: Ilove you because your mouth knows how to cry out forrebellion. 

And for your sincere face and wandering spirit and yourweeping for the world— because you are the people, I loveyou. 

And because our love is neither famous nor naive, andbecause we are a couple that knows we are not alone. 

I want you in my paradise, which is to say, in my country; Iwant the people to live happily even though they aren’t allowedto!  

Venezuelan Alberto Grau is one of the leading composers,conductors, and teachers in Latin America. These twoCanciones de Cuna (“Cradle Songs”) were inspired by poems ofGabriela Mistral, the most important female Latin Americanpoet of the 20th century. Her real name was Lucila Godoy, butshe took her pseudonym from the French writer FredericMistral. In 1945, she was awarded the Nobel prize; her themeswere always motherhood, love, nature, and death. Becausethese two pieces are lullabies, Grau uses mainly ternaryrhythms, which suggest the rocking of a cradle. Canción deCuna is dedicated to Beatriz, his first daughter. Duérmeteapegado a mí uses some typical Spanish harmonies and waswritten for the first member of his choir (Schola Cantorum deCaracas) to have a child. -(notes by María Guinand for earthsongs) 

Go to sleep, my child, go to sleep smiling, for it is the watch ofthe stars who keeps on rocking you. 

Go to sleep, my child, go to sleep smiling, for it is the lovingearth who keeps on rocking you. Go to sleep, my child, go to sleep smiling, for it is God in theshadow who keeps on rocking you. You enjoyed the light and you were happy; everything goodyou had by having me. You looked at the burning crimson rose. You embraced theworld: you embraced me.

Little tuft of my flesh whom I knitted in my womb, little tuft,sensitive to the cold, go to sleep next to me! The partridge sleeps in the clover, listening to it beat: don't letmy breathing disturb you, go to sleep next to me! Little homeless child, trembling, amazed by life, don't let looseof my breast: go to sleep next to me! I, with all I have lost, now I'm afraid to sleep. Don't slip frommy arm: go to sleep next to me! 

Cloudburst, written when composer Eric Whitacre was 21years old, catapulted him into the choral canon as it wasperformed again and again by high-school, college, andprofessional choirs world-wide.  Its display of lush choralharmonies alongside aleatoric effects heralded a diverse careerthat has always returned to the voice and choral music. Whitacre is known for his compositions themselves, but also forhis assemblage of Virtual Choirs, presentations that are worksof art and technophilia in their own right. 

About Cloudburst, Whitacre writes: “I had recently been givenan exquisite book of poems by Octavio Paz, and around thesame time I witnessed an actual (breathtaking) desertcloudburst, and I guess it just all lined up. The finger snappingthing ... is an old campfire game that I modified for the work,and the thunder sheets were giant pieces of tin we took fromthe side of [a school building].” 

The revelatory poetry speaks in the language of magicalrealism about moments of catharsis and connection to thenatural world. 

Octavio Paz, 1914-1998 (adapted by Eric Whitacre, translationby Lysander Kemp) 

The broken water-jar The rain… 

Eyes of shadow-water, eyes of well-water, eyes of dream-water. Blue suns, green whirlwinds, birdbeaks of light pecking open pomegranate stars. But tell me, burnt earth, is there no water? Only blood, only dust, Only naked footsteps on the thorns? The rain awakens… We must sleep with open eyes, we must dream with our hands, we must dream the dreams of a river seeking its course, of the sun dreaming its worlds, we must dream aloud, we must sing till the song puts forth roots, trunk, branches, birds, stars, we must find the lost word, and remember what the blood, the tides, the earth, and the body say, and return to the point of departure…

Madrigal SingersMadrigal Singers were invited to perform at the NYSSMA WinterConference on December 6, and this concert is an excerpt oftheir performance at that event.  The presentation combinedperformances of Morten Lauridsen’s Madrigali: Six ‘Fire Songs’on Italian Renaissance Poems for a cappella chorus, written in1987, paired with similar Renaissance texts set by Monteverdi,Bennett, and Morley.  The Madrigal Singers also presented anabridged performance of J.S. Bach’s Cantata 102, whichfeatures a virtuosic first movement chorus and one of the mostexpressive oboe and alto duets in the repertory.

1. Chorus

Lord, Your eyes look for faith! You strike them, but they do notfeel it; you plague them, but they do not improve. Theircountenance is harder than a rock and they will not turnthemselves around.     

2. Recitative  

Where is the reflection that God polished for us, when theperverted will sets itself against Him?Where is the power of His word, when all improvement fleesout of the heart?The Highest, indeed, seeks to tame us with tenderness, if theerring spirit still wishes to obey;But if it persists in its stubborn will, then He abandons it to theheart's darkness.

3. Aria

Woe to the soul, which no longer recognizes guilt and, invitingpunishment on itself, runs obstinately, indeed, even from thegrace of God separating itself.        

4. Arioso

Do you scorn the riches of His mercy, patience, andforbearance? Do you not know, that God's goodness lures youto repentance? You, however, because of your stubborn andunpenitent hearts, store up wrath for yourself on the day ofwrath and the revelation of the righteous judgment of God.

6. Recitative

There is danger in waiting; do you want to squander your time?The God, who once was gracious, can easily lead you before Hisjudgment seat.Then where is your repentance? It is an instant, that separatestime and eternity, body and soul; o blinded mind, turn back, sothat this same hour might not find you unprepared!         

7. Chorale

Today you live, repent today, before tomorrow comeseverything can change; Who today is fresh, healthy and rosytomorrow is sick, even already dead.If you die now without remorse, your body and soul must burnhereafter.Help, o Lord Jesus, help me, so that I can come to You todayand make repentance this instant before swift death overtakesme, so that today and at all times I am ready for my journey toheaven.

Celebration, Aspiration, Love, and PeaceSpanish singer and composer Eva Ugalde studied MusicalComposition and Choir Direction with Gotzon Aulestia andMiguel Amantegi respectively. She teaches musical language inthe Professional Music Conservatory of San Sebastián FranciscoEscudero and Hearing Education at the Higher School of Musicof the Basque Country Musikene. Her work is principallycentered on choral music and she has written several pieces forfemale choirs. One of the most outstanding of which isTximeletak (Butterflies) written to the words of the Basqueauthor Bernardo Atxaga (National Prize for Literature 1988) andpremiered at the 60th San Sebastian Musical Fortnight inAugust 1999 as part of the season "Music of the 20th Century".She is a member of the female voice choir "Kanta CantemusCoroa" conducted by Javier Busto.Although her music is principally tonal, the influence of theharmonics of jazz and the rhythm of New Age are also notablypresent.

Sir Edward Elgar was of the generation of English composersknown as the neo-Romantics. His father was a piano tuner andchurch organist, and Elgar learned to play violin, piano, andorgan at a young age. At twenty-five he was appointedconductor of the Worcester Amateur Instrumental Society, andat twenty-eight he succeeded his father as organist at St.George’s. In 1890, he moved to London, where, except forteaching a few private students, he devoted his time tocomposition. He was knighted by King Edward VII in 1904 andin 1905 he accepted an endowed professorship in his name atBirmingham University. Elgar is best known for his EnigmaVariations (1899), and his Pomp and Circumstance marches.After his wife’s death in 1920, he lost the will to compose. Hedied in 1934 at the age of seventy-six due to cancer and wasunable to be buried at Westminster Abbey due to hisCatholicism. The Snow was composed by Elgar in 1894, withtext by his wife, C. Alice Elgar. Its companion piece, Fly,Singing Bird, were published as Elgar’s Opus 26. 

I Will Be A Child of Peace is an arrangement of the ShakerHymn tune, O Holy Father, which has been attributed to AlonzoGilman of the Shaker Community in Alfred, Maine in 1851.  Iwas originally drawn to this song by the beautiful simplicity ofthe Shaker melody, unique 5/4 meter and, most importantly,the uplifting text of a prayer for peace and purity. In a world of

war and hate, it is my hope that this music will unite peopleacross the globe as we pray to the instruments of peace! -Notes by Elaine Hagenberg 

Elaine Hagenberg’s music “soars with eloquence andingenuity” (ACDA Choral Journal). Her compositions have beenperformed by universities, community choirs, schools, andchurch choirs throughout the United States and abroad. Hermusic has been featured at All-State festivals, national andregional American Choral Directors Association Conferences,the National Youth Choir at Carnegie Hall, the MelbourneInternational Choral Festival in Australia, and the InternationalChildren’s Choir Festivals in Canterbury and London. With overforty commissioned works, she has composed new music forthe American Choral Directors Association Women's ChoirConsortium, colleges and universities, community choirs, andchurches.

In Puerto Rico, as in many other Latin American countries,there are numerous types of Christmas songs. The majority ofthem are called aguinaldos and tend to be very rhythmic andfestive. These are usually refrain songs with multiple versesand are performed accompanied with the Puerto Rican cuatroand percussion (bongo, maracas, panderos, and guiros).Traditionally the group of singers performs aguinaldos very lateat night throughout the month of December with the soleintention of waking up the owners of a house to receive foodand drinks from them. The owners are supposed to invite theminto her home; all this in the spirit of celebrating Christmas. Abreme la Puerta is one of the most traditional aguinaldos inPuerto Rico. Generally, all aguinaldos are performed at fullvoice. However, feel free to be artistically creative withdynamics and repetitions (i.e. you can start softer as if thesingers were far away, and gradually getting louder as if theywere walking towards you).

Open the door, I am on the street and people will say this is aslight (a snub), (dancing) to the rhythm (shaking), sweetie, ofmy heart. Inside I see a covered shape. I don’t know if it couldbe a roasted piglet.

Born in Venezuela, Cristian Grases earned degrees from theSimón Bolívar University (MM) in Caracas, Venezuela, and theUniversity of Miami (DMA). He has previously served as interimdirector of choral activities at Central Washington University;

assistant professor in choral music at California StateUniversity, Los Angeles; and national coordinator of choirs forEL SISTEMA under Maestro José Antonio Abreu. He also servedas conductor for the Women’s Chamber Ensemble of theUniversity of Miami, was the assistant conductor of the MiamiSymphony Orchestra under Maestro Eduardo Marturet, and theconductor of the Young Musician’s Orchestra. Additionally, he isan award-winning conductor and composer, and has beencommissioned to write for several prestigious organizationssuch as the Piedmont Children’s Chorus and the Santa FeDesert Chorale. Numerous ensembles including the Los AngelesMaster Chorale have performed his works.

Humility, Miracles, and JoyMagnificat (Canticle of Mary) was composed in Arvo Pärt’sTintinnabuli style.  The name of the style that the composerinvented in the 1970’s is named after a word describing thesound of a bell being struck.  The style combines voiceshomphonically in a manner that has one voice producingsimple, scaled melodies while the other voice moves aroundthe melodic line (above and below). The harmony remainsstable but also provides sparkling dissonance. Pärt expressedthe idea, that in this style, everything unimportant fellaway.  Magnificat was composed in 1989 and consists oftexture varying from two voices, three voices, and tutti. Thetwo-voice passages are composed with one voice producing amelody while the other voice produces a single-note line thathas been described as meditative. The piece includesreferences to medieval descant and drones.  His intent was tocreate music that seemed to be suspended in time.

Magnificat alternates having two voices sing a phrase followedby a 3-voiced response. The combination of voices is varied,and the full choir sings only three phrases in the piece.

My soul magnifies the Lord.And my spirit rejoices in God my Savior.For He has regarded the lowliness of His handmaiden. Behold, from henceforth, I will be called blessed by allgenerations.For the Mighty One has done great things for me, and holy is His name.His mercy is for those who fear Him from generation to generation.He has shown strength with His arm,He has scattered the proud in the thoughts of their hearts.He has brought down the powerful from their thrones and liftedup the lowly.He has filled the hungry with good things,and sent the rich away empty.He has helped His servant Israelin remembrance of His mercy.According to the promise He made to our ancestors,to Abraham and to His descendants forever.

The Estonian composer, Arvo Pärt was born in Paide, Estoniain 1935.  He studied music at the Tallinn Conservatory,

beginning in 1957. As a resident of the old Soviet Union, he hadlimited access to what was happening in contemporaryWestern music. but, despite the isolation, Estonian composersused many of the new techniques, and Pärt was a leader. Hewas the first Estonian composer to use serial technique, and hecontinued using serialism until the mid-60’s. Pärt chose toenter a period of silence from 1968 to 1976. He became heavilyinfluenced by his conversion to Russian Orthodoxy as well as adeep study of early music.  The statement of the text becamecentral to his choral works.  He re-emerged in 1976 after atransformation  so radical that his music could not berecognized. During this time of silence, he invented a techniquethat he calls "tintinnabuli" (from the Latin, little bells), which hedescribes thus: “I have discovered that it is enough when asingle note is beautifully played. This one note, or a silent beat,or a moment of silence, comforts me. I work with very fewelements —with one voice, two voices. I build with primitivematerials —with the triad, with one specific tonality. The threenotes of a triad are like bells and that is why I call ittintinnabulation." The basic guiding principle behindtintinnabulation of composing two simultaneous voices asone line - one voice moving stepwise from and to a centralpitch, first up then down, and the other sounding the notes ofthe triad. After his emergence from his silence, Arvo Pärt hasconcentrated on setting religious texts.  His choral worksbecame popular throughout the world.

The Los Angeles Master Chorale and Paul Salamunovichcommissioned Morten Lauridsen to write O MagnumMysterium.  Lauridsen said that he was inspired by a paintingby Zurbarán (1633).  It was a still life, but Lauridsen said hewas knocked out by it.  After researching the painting, hereaized that the objects on the table were all symbols of theVirgin Mary.  The water was a symbol of purity.  The VirginMary is the rose.  The lemon is an Easter fruit, and the theorange blossoms represent renewed life.  Lauridsen wanted todo with music what Zurbarán had done with the painting.  Healso wanted to tie the piece to history.  Composers throughouthistory have set this simple text. 

Oh great mystery and wondrous sacrament, That animals should see the new-born Lord, lying in a manger.Blessed is the Virgin whose womb was worthy to carry the LordJesus Christ.  Alleluia.

Lauridsen did not want to complicate the music because it is adirect message.  He wanted to do something musicallyprofound, and it took him 6 months to write this 5-minutepiece.  He also knew that Salomunovich was an expert in chant,and this influenced his writing.  He took the ideas from chantpractice and wanted the lines to flow.  The harmony is simple –first inversion parallel triads.  Lauridsen said that the mostchallenging part of the setting was expressing the sorrow thatMary felt at seeing the death of her Son.  One note expressesthis – the alto g sharp on the word “Virgo.”  An accentednonharmonic tone in the key of D – resolving to a minortriad.  The joyous descant on the “alleluia” isglorious. Lauridsen describes this setting as a quiet song ofprofound inner joy.   At the premiere in 1994, PaulSalamunovich spoke with the audience and said: “Until now,Vittoria’s O Magnum Mysterium has been the most beautifuland well recognized setting of this text composed to date. Ipredict that will change after tonight.” Lauridsen is aDistinguished Professor Emeritus of Composition at theUniversity of Southern California, recipient of the 2007 NationalMedal of Arts and the 2016 ASCAP Foundation Life in MusicAward.

Ai, nama māmina                                                     

Composer Andrejs Jansons was the conductor, artistic director,and composer for the New York Latvian Choir.  He was creditedwith bringing most of what we hear of choral music in Latvia tothe United States.  Singing is important in Latvia as evidencedthrough the song festivals which have had massparticipation.  For Latvians the song festivals are a symbol; ofnational unity and identity.  

Mother of the house, let me in;kaladu, kaladuThe costumed ones arrived with a wagonload.Hide your awls and hide your hairbrushes!The mummers often steal things.I will not steal your awl!I will not steal your needles!I will only steal your hairbrushesTo brush my children’s hair.

Pal-So-Seong (8 Laughing Voices)

Nonsense syllables and passages for various forms of laughterare included in this work by Korean 

Composer Hyo-won-Woo.  She is one of Korea’s most prominentcomposers, and her works blend traditional Korean musicalelements and Western technique.  Her arrangementssometimes examine wordless human encounters.  She hasbeen the composer-in-residence with both the Seoul Ladies’Singers and the Incheon City Chorale.  This composition waswritten for the Incheon City Chorale and the conductor,Hak-won Yoon.  The over twenty-year collaboration betweenWoo and Yoon has forged a new path for choral music inKorea.  Ms. Woo has also been a visiting fellow at the Universityof Michigan.

Ithaca College ChorusSoprano I Alto I Tenor II cont.Nora Bernaiche Kathryn Andersen Dwayne LewisKerrianne Blum Ashley Kam'ren SpenceKathryn Dauer Apanavicius Jacob SuttonVictoria Devine Anna Bornstein Matteo VelardoLily Kimball Caitlin DansereauWatras Alice DeRagon BaritoneEmily Martin Myah Frank Seth BarrettSofia Medaglia Zoe-Marie Logan ChaputNicole Millmann Fuentes Stephen CostanzaKathleen Jaqueline Byron De LeonMorrisroe LaFerriere Isaiah DelgadoSol Leah Missall Alex Dietz

Lily Moskwa Louis DisenMayavati Emily Ramonetti Aspen EarlsPrabhakar Hannah Weibley Jack Edwards

Anna Young David FlorentinSoprano II Keeghan FountainMolly Bello Alto II RatewenniioErin Bevan Jennie Davis GeorgeSara Cayem Raelene Ford Robert HirkoAlexa Chalnick Laurie Hall Colin KelleyMichelle Chaney Kristen Hamson Jaden LevineEmma Clinton Olivia Heath Jeremy LewinPaige Rosemary Hoitt Jeremy LovelettD'Encarnacao Baily Mack Owen LundeenAnchal Dhir Jennifer Peisner GeorgeAva Dunton Laura Sefcik MavrommatisCamille Ealey Deirdre Winston Peter McGarryMegan Eckerson Hannah Witmer WallaceEmily Haak PetruzielloMargaret Harper Tenor I Matt RizzoAllison Lewis Logan Barrett TrevorJacqui McCreedy Jack Hogan Satchell-SabaljaRachel Mitrani Jordan Juliano Nikita SchleyStephanie Ben Macarell Jeffrey TaylorMonteiro Andre Valverde Justin ZelamskySarah Pulver Massey Williams Elijah ZelayaMikaylaPurcell-Bolha Tenor II BassGillian Rossbach Ethan Barr Caleb BatesKaitlyn Schneider Quinlan Barrie Eddy CrowleyMegan Smythe Nick Briccetti Nick FagnilliBecky Turro Connor Curry Alexander Kelsey

Julian Gorring Frits MarohnAlex Gutierrez Zach NaughrightDominic Noah Stroka

Hirschkind Gavin TremblayPat King Michael WongBrandon KulzerKristian Labrie

Ithaca College Madrigal SingersSoprano TenorNatalie Elwood Nick BriccettiFelicity Davis Ryan MitchellMaia Finkel Koby SpringsteenZoe Gras Stone WashburnMelodia Mae Rinaldi

BassAlto Louis BavaroAlly Brown Logan ChaputDanielle Gurcan Alec DorrisMadison Hoerbelt Ryan FellmanRebecca Kantor Conor KellyMelanie LotaEmily Schulz

Ithaca College Treble ChoraleSoprano I / II Soprano II / Alto IMatisse Boor Danielle GurcanJulia Callaghan Kristen PetrucciFelicity Davis Isabella TriaVictoria GarrittCailtin Glastonbury Alto IZoe Gras Mikayla FuentesVictoria Heppard Rebecca KantorRachel Huff Gillian KrollHope Kovera Mae McDermottJulia Kucza Megan RowburreyRachel Magil Erin SmithGina O’SullivanMalaya Press Alto I / IIDanielle Roach Adrianna AnzaloneMelodia Mae Rinaldi Haley GonyeaCarleigh Strange Katelyn LevineMary Tehan Athena RajnaiCordelia Wilson Alyssa Salerno

Soprano II Alto IILydia Arnts Julianna CavalloZoe D’Arcangelis Sophie DentonHannah Doll Allison HillebrandtHeather Feignbaum Cassandra LaRoseMaia Finkel Julia NorelliJulia Jasnosz Emily SchulzAlexandra Lombardo Madeline SimoneSamar NasrallaAlex RennaIsabel Vigliotti

Ithaca College ChoirSoprano I Tenor ISyona Ayyankeril Francesco DiLello Jamila Drecker-Waxman Thomas Koo Naya Griles Simon LeePhoebe Holland Ben MonacelliOlivia Norton Brendan Smith Olivia Schechtman

Tenor IISoprano II Kevin DeLisa Sarah Aliperti Liam Fletcher Victoria Brooks Lucas Hickman Asila Folds Ryan Mitchell Jessica Laddin Koby Springsteen Melodia Mae Rinaldi Stone Washburn Leah Sperber

BaritoneAlto I Preston Atkins Ally Brown Alec Dorris Lindsay Cherin Maxwell Kuhnel Melanie Lota Anthony Pilcher Emily O’Connor Sam Sauer Olivia Rhein Andrew Sprague

Alto II BassJuliana Cavallo Louis Bavaro Emily Dimitriou Cameron Costello Rebecca Emery Ryan Fellman Leah Etheridge Jeremy Pletter Madison Hoerbelt Evan Sacco Lindsey Weissman Tommy Socolof