School of Music
U N C G
Womenʼs Choir
Robert Matthews, conductor
Womenʼs Glee Club
Pamela McDermott, conductor
Menʼs Glee Club
James A. Keith, conductor
Sunday, March 1, 2009
3:30 pm
Recital Hall, School of Music
Program
Womenʼs Choir
from Gloria, RV 589 Antonio Vivaldi
Gloria in excelsis Deo (1678-1741)
Et in terra pax arr. Doreen Rao
Quoniam tu solus sanctus
Cum Sancto Spiritu
Deborah Woodhams, violin
Megan Morris, violin
Kathryn Middel, viola
Lena Timmons, cello
Michael DiTrolio, bass
Michael Witsberger, oboe
Wayne Bennett, trumpet
Pamela McDermott, harpsichord
Robert Matthews, conductor
Five Hebrew Love Songs Eric Whitacre
Temuná (b. 1970)
Kalá kallá
Lárov
Éyze shéleg!
Kolby Garrison, speaker
Kate King, soprano
Rakút
Deborah Woodhams, violin
Megan Morris, violin
Kathryn Middel, viola
Lena Timmons, cello
Melissa Mitchell, tambourine
Matthew Webb and Logan Haggard, conductors
Womenʼs Glee
Sanctus-Benedictus from Mass No. 6 (2000) György Orbán
(b. 1947)
Alleluia (1989/2008) Gordon Ring
(b. 1953)
from Three Spanish Ballads (1967) Eugene Butler
I. Come at Dawn (b. 1935)
II. Moon Song
Karen Lecky-Springer, conductor
I Want to Be Ready (2006) Marques L. A. Garrett
(b. 1984)
Marques L. A. Garrett, conductor
Natalie Pugh, Natasha Todd, Hannah Lomas, Meredith Matchen,
Natalie Popovich, and Kirby Treadaway - soloists
Away from the Roll of the Sea (1986) Allister MacGillivray
(b. 1948)
arr. Stuart Calvert
Lily Garzon, Katarina Kohari, and Miho Yamaguchi - soloists
How Do I Love Thee? (2009) David Schwoebel
(b. 1957)
Menʼs Glee Club
The Battle of Little Musgrave and Lady Barnard (1943) Benjamin Britten
(1913-1976)
Garrett Saake, conductor
Thereʼs A Man Goinʼ Round (1998) Traditional Spiritual
arr. Dennis Coleman
(b. 1948)
Lambscapes (2002) Eric Lane Barnes
I. Gregorian Chant
II. Handel
III. Schubert
IV. Verdi
Marques Garrett is a student of Dr. Carole Ott
Logan Haggard is a student of Dr. Carole Ott
James A. Keith is a student of Dr. Welborn Young
Karen Lecky-Springer is a student of Dr. Welborn Young
Robert Matthews is a student of Dr. Carole Ott
Pamela McDermott is a student of Dr. Carole Ott
Garrett Saake is a student of Dr. Welborn Young
Matthew Webb is a student of Dr. Welborn Young
________
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts in Conducting
and
Master of Music in Conducting
Antonio Vivaldiʼs Gloria, RV 589 is scored for soloists, mixed choir, strings, oboe, trumpet, and
continuo. The edition for todayʼs performance for womenʼs choir was arranged by Doreen Rao.
Vivaldi was chorus master at the Ospedali dell Pietà, a girlsʼ orphanage, from 1713-1717.
Scholars have discovered lists of the girlsʼ names with range allocations of ʻtenoreʼ and ʻbassoʼ,
and it is postulated that the lower two parts may have been performed by women, possibly
transposed up an octave to accommodate the female range.
Gloria, RV 589
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus Altissimus, Jesu Christe.
Cum Sancto Spiritu
in Gloria Dei Patris. Amen.
Glory to God in the highest.
And on earth peace to those of good will.
For Thou alone art holy.
Thou alone art the Lord.
Thou alone art the most high, Jesus Christ.
With the Holy Spirit
in the glory of God the Father. Amen.
Eric Whitacreʼs Five Hebrew Love Songs were composed in 1996 on poems written by his wife,
Hila Plitmann, in her native language. The pieces were originally written for soprano, violin, and
piano and have since been arranged for mixed choir or womenʼs choir and string quartet. Each
poem is a ʻpostcardʼ that captures a moment the composer and his wife shared together.
Five Hebrew Love Songs
Hila Plitmann (b. 1973)
Temuná
Temuná belibí charutá;
Nodédet beyn ór uveyn ófel:
Min dmamá shekazó et guféch kach otá,
Usaréch al panáich kach nófel.
Kalá kallá
Kalá kallá Kulá sheli
Uʼvekalút Tishák hí lí
Lárov
“Lárov,” amár gag laʼshamaʼim,
“Hamerchák shebeynéynu hu ad;
Ach lifnéy zman alu lechán shnaʼim,
Uveynéynu nishár sentiméter echad.”
Éyze shéleg!
Éyze shéleg! Kmo chalomót ktaním
Noflím mehashamáʼim.
A picture
A picture is engraved in my heart;
Moving between light and darkness:
A sort of silence envelopes your body,
And your hair falls upon your face just so.
Light bride
Light bride she is all mine,
And lightly she will kiss me!
Mostly
“Mostly,” said the roof to the sky,
“the distance between you and I is
endlessness; But a while ago two came up
here, and only one centimeter was left
between us.”
What snow!
What snow! Like little dreams
Falling from the sky.
Rakút
Hu hayá male rakút; Hi haytá kasha.
Vechól káma shenistá lehishaér kach,
Pashút, uvlí sibá tová,
Lakách otá el toch atzmó,
Veheníach Bamakóm hachí, hachí, rach.
Tenderness
He was full of tenderness; She was very hard.
And as much as she tried to stay thus,
Simply, and with no good reason,
He took her into himself,
And set her down in the softest, softest place.
György Orbán is a Romanian-born composer currently serving as a professor of composition at
the Ferenc Liszt Academy of Music in Budapest, Hungary. In addition to his nine masses, Orbán
has written other works for chorus, solo voice, orchestra, piano, and several chamber pieces.
Sanctus-Benedictus is formed around the Baroque idea of sequence; in this case, a series of
sequences immediately echoed in each voice. The sequences move quickly, so that only the first
few notes are heard as a motive in each voice before the next iteration occurs. Above this
layered texture comes a beautiful melody, featuring long lines which contrast the perpetual motion
beneath.
Dr. Gordon Ring is currently a professor of music at Longwood University in Farmville, Virginia,
where he conducts the Wind Symphony and teaches composition, theory, and music technology.
His most recent works include a chamber opera, a sonata for alto saxophone and piano, and a
Magnificat for choir, organ, and nine-piece chamber ensemble. Alleluia features a fanfare
opening followed by a 3-part canon, which returns seamlessly to the fanfare for a triumphant
finish. The canon and the use of the mixolydian mode recall early music techniques. Originally
written in 1989 for SATB choir but as yet unpublished, this work was re-voiced in late 2008 for
this performance by the UNC-G Womenʼs Glee Club.
Dr. Eugene Butler served as a professor, church musician, and community choir director in
Overland Park, Kansas until 1998, when he resigned his positions in order to compose full-time.
He has composed over 750 works, predominantly for choirs of various ages and abilities, and has
received commissions from many school, college, and church choirs. The Spanish Ballads
capture Spanish rhythms and harmonies in the accompaniment, calling to mind a specific culture.
The vocal writing features parallel movement, often in triads, enabling the choir to speak as one.
Marques L. A. Garrett joined the UNCG Masters in Choral Conducting program in the Fall of
2008. A graduate of Hampton University in Virginia, Marques is also establishing a name for
himself as a composer, with several octavos in print. I Want to Be Ready is a work not yet
published, graciously offered to Womenʼs Glee for use in this concert. This work features a
strong solo part backed by solid four-part writing, the choir again speaking the message together.
Changes in mode and tempo provide contrast in the middle section. We have been honored to
have Marques prepare this piece with the choir.
Allister MacGillivray is a singer-songwriter from Cape Breton, Canada. MacGillivray began writing
songs in his teens, and has become known for his Celtic style and poetry about the sea. While
primarily a solo artist, MacGillivray has also arranged some of his songs for choir. Away from
the Roll of the Sea is one such work; MacGillivray arranged it for SATB choir, and then Stuart
Calvert crafted this SSA version. The poetry guides the music in this work; the music becomes
stage and scenery for the story as the narrative unfolds, creating strong imagery for the listener.
David Schwoebel is Minister of Music and Composer in Residence at Derbyshire Baptist Church
in Richmond, Virginia. Mr. Schwoebel holds a Masters degree in Church Music with an emphasis
in composition from Southwestern Baptist Theological Seminary, and has composed over 150
works for choir, handbells, piano, organ, and instruments. How Do I Love Thee? features long
melodic lines over a flowing accompaniment. Each phrase of the poem is treated expressively,
with tempo and dynamic flexibility creating a musical “reading” of the poetry. This piece was
written for the UNC-G Womenʼs Glee Club, with the following dedication: “For the members of the
2008-2009 Womenʼs Glee at the University of North Carolina at Greensboro. In honor of women
seeking musical growth and artistry: may your song resonate in ever-widening circles.”
Womenʼs Choir
Robert Matthews, conductor
assisted by Logan Haggard and Matthew Webb
Pamela McDermott, accompanist
Rebecca Billings North Wilkesboro, NC
Rebekah Bray Raleigh, NC
Sara Bogardus Holly Springs, NC
Dana Boyle Alexandria, VA
Valerie Davidson Chapel Hill, NC
Miranda Freeman Somersworth, NH
Kolby Garrison Greensboro, NC
Carolyn Golrick Quakertown, PA
Alice Henderson Raleigh, NC
Kiersten Holden Mooresville, NC
Xiaochu Hu Beijing, China
Meredith Jones Charlotte, NC
Sera Jung Seoul, Korea
Kate King Dublin, OH
Caitlin Lofton Indian Trail, NC
Melissa Mitchell Siler City, NC
Cho Seung Moon Seoul, Korea
Natalie Popovich Charlotte, NC
Donna Rendely Olney, MD
Mutsumi Sato Toyko, Japan
Katie Spaan Corona, CA
Sarah Strickland Cary, NC
Clare Toy Fuquay Varina, NC
Robin Tynes Black Mountain, NC
Womenʼs Glee Club
Pamela McDermott, conductor
assisted by Karen Lecky-Springer
Robert Matthews, accompanist
Gina Adams Garner, NC
Olivia Chilton Winston Salem, NC
Martika Clark Asheville, NC
Sarah Creech Graham, NC
Janelle Dawson Charlotte, NC
Amber Donley Hickory, NC
Katherine Fish Greensboro, NC
Lauren Foster Holly Springs, NC
Rachel Gains Greensboro, NC
Liliana Garzon Charlotte, NC
Lisa Heaton King, NC
Emilia Hernandez Chapel Hill, NC
Amy Kemp Raleigh, NC
Katarina Kohari Seagrove, NC
An Kung Taipei, Taiwan
Rachel Lambert-Scronce Greensboro, NC
Amy Larsen Winston Salem, NC
Amber Leeming Goldsboro, NC
Hannah Lomas Wilmington, NC
Bev Moore Lukasevics Greensboro, NC
Jessica Mariskanish Wilmington, NC
Meredith Matchen Gibsonville, NC
Lindsey Ogilvy Fairfield, CT
Carolina Perez Morrisville, NC
Natalie Popovich Charlotte, NC
Natalie Pugh Greensboro, NC
Rebecca Randolph Concord, NC
Jessica B. Reynolds Greensboro, NC
Molly Rigg Clayton, NC
Kelly Ann Rodgers Brevard, NC
Lydia Rusche Apex, NC
Mutsumi Sato Tokyo, Japan
Courtney Schwoebel Richmond, VA
Katie Sessoms Archdale, NC
Audrey Severson Asheboro, NC
Jessica Speake Raleigh, NC
Ashley Spell Raleigh, NC
Tiffany Street Valdese, NC
Natasha Todd Charlotte, NC
Kirby Treadaway Garner, NC
Tyson Upham Raleigh, NC
Kimberly Weinkle Asheville, NC
Mihoshoty Yamaguchi Miami, FL
Suzanna Ziko Raleigh, NC
Menʼs Glee Club
James Keith, conductor
assisted by Garrett Saake
Matthew Webb, accompanist
First Tenor
Nick Daniel
Logan Haggard*
Wayne Harris
Ryan Hendricks
Jay Peeler
Kyle Melton
Jacob Wright
Second Tenor
Logan Cox
David Crisp
Steven Hall
Justin Harvey
Greyson Leybourne
Rett Lucas
Patrick Parker
Nicholas Rich
Jamie Rowen
Raymond Wise
Marques Garrett*
*Denotes graduate assistant
Baritone
CJ Albee
Paul Chaisson
Patrick Collins
Jimmy Cornfoot*
Travis Evers
Dylan Fowler
James Lego
Greyson Leybourne
Matteo Maggi
EJ Mitchell
Patrick Parker
Mike Pendergrass
Josh Scott
Marcus Stern
Nick Stubblefield
James Williams
Cory Wright
Phillip Yates
Basse
Cameron Behringer
Jon Blank
Pete Borotto
Daniel Habib
Caleb Lackey
John Moore
John Pavik
John Peeler
Andrew Prins
Caleb Turmel
Dwayne Wakefield
