Out of this World
K-State Concert Choir
K-State Tenor/Bass Choir
Rock Creek High School Varsity Choir
Junction City High School Singers & Chamber Choir
2:30pm, Sunday, November 5, 2023
St. Isidore's Catholic Student Center
Tenor/Bass Choir
Dr. Joshua Oppenheim, conductor
El Hombre Armado
Joshua Oppenheim
The armed man comes on wings.
Be prepare for the attack that is coming.
Have fear for the man who comes with with war in his eyes.
This piece was written for the KSU Tenor Bass choir's invitation to perform at the 2014 National Collegiate Choral Organization conference in Charleston, South Carolina. The theme for that concert was based on the Picasso mural "Guernica" which was painted to depict Hitler’s "Blitzkrieg" (fire bombing) of the town in northern Spain. The 'cantus firmus' or main melody is based upon the medieval French tune L'homme armé (the armed man).
Translated into Spanish it is intended to encapsulate the moment the skies filled with bombers and destroyed the town of Gurenica. We hear the initial glimpses of the approaching bombers, to the frantic and chaotic movements of the people on the ground, and ultimately to the heart-wrenching moment of recognizing the impending catastrophe; all girded by the drumbeat of war.
Down in the Valley
George Meade
Aiden Levendofsky, piano
Down in the valley, the valley so low,
Hang your head over, hear the winds blow.
Hear the winds blow, dear, hear the winds blow.
Hang your head over, hear the winds blow.
Build me a castle forty feet high,
So I can see him as he rides by;
As he rides by, dear, as he rides by,
So I can see him as he rides by.
If you don't love me, love whom you please,
Throw your arms round me, give my heart ease.
Give my heart ease, dear, give my heart ease.
In this arrangement of the folk tune, set in a western style ballad; we imagine the lonesome cowboy singing to himself about a love lost as he rides softly into the sunset.
Got A Mind to Do Right
David Morrow
Got a mind to do right,
Got a mind to live right,
Got a mind to love right,
Jesus gave me this mind to
(do, live, love) right, everyday,
This rousing spiritual beings with the main theme of the tune set in a standard call-responsestyle often used in this genre. It unravels to an intense climax preceded by a round where each voice has sings the main theme.
Rock Creek HS Varsity Choir
Janie Brokenicky, conductor
Nelly Bly
Stephen Foster arr. Jack Halloran
Over the Rainbow
Jacob Narverud
Combined High School Treble Voices
I’ll Be On My Way
Shawn Kirchner
Junction City HS Singers
Michael Brown, conductor
If Ye Love Me
Thomas Tallis
Haec Dies
William Byrd
Junction City Chamber Choir
Michael Brown, conductor
Festival Gloria
Craig Courtney
Keramos
James Mullholand
Total Praise
Keith Hampton
Kansas State University Septet
Each singer in the Concert Choir is part of a small ensemble of 6-8 singers singing pieces that are one person per part. I selected the piece and chose the singers, but they have done everything on their own. We are all hearing the piece for the first time together.
When David Heard
Richard Burchard
Kansas State University Concert Choir
Dr. Joshua Oppenheim, conductor
'OUT OF THIS WORLD"
This concert presents a multifaceted tapestry of musical expressions, each bearing the resonance of otherworldly dimensions. The compositions within this program complement the text and the diverse realms of memory and boundless imagination that reside within the human psyche.
I Have Had Singing
Steven Sametz
The singing.
There was so much singing then
And this was my pleasure, too.
We all sang, the boys in the field,
The chapels were full of singing,
Always singing.
Here I lie:
I have had pleasure enough;
I have had singing.
For those who have experienced the profound joys of choral singing; this piece encapsulates the profound fulfillment and other-worldly joy that resonates within the hearts of all the singers today and kindred spirits across the globe.
Adiemus
Karl Jenkins
Adiemus stands as a captivating masterpiece crafted by the illustrious Welsh composer, Karl Jenkins. Jenkins has earned acclaim for his remarkable ability to seamlessly interweave diverse musical influences, and "Adiemus" serves as a quintessential testament to his distinctive
artistic signature. This composition, introduced to the world in 1995 as a part of Jenkins' visionary "Songs of Sanctuary" project, beckons listeners with ingenious amalgamation of world music elements. Notably, the text employed in "Adiemus" transcends any earthly language, consisting of phonetic syllables devoid of traditional meaning. In this performance, we embark on an auditory exploration by experimenting with an array of vocal colors, each invoking a distinct sonic texture — from 'breathy' and 'whispered' to 'bright' and 'declaratory.' We encourage you to close your eyes and embark on a journey of imagination, allowing the music to paint a world of your own creation, as this mesmerizing and evocative piece unfolds before you.
(two settings from “The Tempest.”)
The Cloud-Capp'd Towers
Ralph Vaughan Williams
The cloud-capp'd towers
the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve;
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.
The text, borrowed from William Shakespeare's "The Tempest," serves as a poignant reflection on the transient nature of human constructs, pondering the fleeting existence of grand edifices that will inevitably "dissolve and leave not a rack behind." Through its harmonious strains, the music presented in this composition offers a contemplation of the human condition, juxtaposing the inherent beauty of the natural world with the ephemeral essence of our grandiose, man-made achievements.
Ralph Vaughan Williams, one of the most influential British composers of the 20th century, has brilliantly matched both the awe-inspiring aspect of such grand designs through an intentional wide range in pitch for all voices parts. Employing ever-changing harmonies and tonal centers conveys the elusive and inevitable nature of their eventual dissolution.
The Isle is Full of Noises
Bob Chilcott
Be not afeard; the isle is full of noises,
Sounds, and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices
Inspired by the alluring text from Shakespeare, Chilcott extends a compelling invitation to embark upon a voyage of enchantment and ethereality, a realm where new and mysterious sounds come to life. In this musical realm, the instruments and voices weave a tapestry that
"will delight and hurt not.”
Within this composition, the basses serve as the steadfast foundation, offering resonant 'pedal tones,' while the altos contribute an unvarying ostinato, a repeated pattern that shapes the musical landscape. At the heart of the piece lies the main theme, a delicate motif that dances
in a harmonious echo, trading its enchanting phrases between the ethereal voices of the sopranos and the grounded resonance of the tenors.
(two Clausen settings)
"Quicksand Years"
René Clausen
(from Leaves of Grass)
Quicksand years that whirl me I know not whither,
Your schemes, politics, fail, lines give way, substances mock and elude me,
Only the theme I sing, the great and strong-possess'd soul, eludes not,
One's-self must never give way—that is the final substance— that out of all is sure,
Out of politics, triumphs, battles, life, what at last finally remains?
When shows break up what but One's-Self is sure?
René Clausen stands as one of America's most accomplished choral composers and conductors, having recently concluded his esteemed tenure at Concordia College in Moorhead, Minnesota. His setting of this text demonstrates a masterful ability to encapsulate the prevailing sentiment.
In a world dominated by distractions and ceaseless 'noise' – that the most vital 'signal' is the unwavering commitment to being true to oneself. Clausen commences with a spirited and brisk melody, which he ingeniously orchestrates to unfold as a round, a musical form that lends a sense of unity and collective purpose. The composition escalates to a climactic peak, embodying the frenetic nature of life's demands, before yielding to a tranquil and comforting reassurance conveyed through sustained extended chords.
A brief solo passage emerges as the voice of reason, guiding listeners through a moment of contemplation. As the composition nears its conclusion, it revisits the tumultuous scenario, subtly cautioning us of the potential affliction that may result from failing to heed the call of
authenticity and self-discovery.
Tonight, Eternity Alone ‘from Dusk at Sea’
René Clausen
Tonight eternity alone is near,
the sunset, and the darkening blue,
there is no space for fear,
only the wonder of its truth.
In "Tonight Eternity Alone," the composer skillfully crafts a modified verse inspired by Thomas S. Jones' poem 'Dusk at Sea,' presented in the distinctive neo-romantic language that characterizes the composer's oeuvre. The composition transports the listener to a realm of serene solitude within the expanse of an empty space, evoking a sense of contentment that transcends the bounds of time.
At its inception, the piece unfolds slowly, revealing a harmonic structure that serves as a metaphorical canvas, symbolizing the boundless expanse of both sky and sea. The fluid, melodic lines echo the undulating rhythms of the sea beneath, drawing the audience deeper into this immersive musical experience.
As the composition progresses, two soloists present a soaring melodic echo. These melodies gradually converge with a sustained pedal tone in the bass section and a series of steadfast, stacked chords, forming a zenith that encapsulates the "shelter" created by the union of sea and sky, a sanctuary that transcends the boundaries of earthly existence.
‘High Flight’
Joshua Oppenheim (b. 1975)
Oh, I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
Of sun-split clouds, and done a hundred things
You have not dreamed of—wheeled and soared and swung
High in the sunlit silence. (Hov’ring there)
I’ve chased the shouting wind along and flung
My eager craft through footless halls of air...
Up, up the long, delirious, burning blue
I’ve topped the wind-swept heights with easy grace
Where never lark, or even eagle flew—
And, while with silent lifting mind I've trod
The high untrespassed sanctity of space,
Put out my hand and touched the face of God.
Text by John Gillespie Magee Jr.,"Letter to Parents," September 3, 1941 American aviator who served in the Royal Canadian Air Force during World War II; wrote this letter to his parents received shortly before his death.
This composition originated as a task in my composition class, marking my first attempt at composing. My aim was to select a text that offered a canvas upon which to paint with music, while simultaneously crafting a composition with extended chord structures and melodic intricacies. Most choral music with extended chords and complexity comprised pieces with eight or more vocal parts. I wanted to create piece with depth and complexity while remaining entirely in a four-part structure.
As you listen to this composition, you may discern the narrative line by line, making specific compositional choices for each word and phrase. The intention was to convey the essence of flight, from the exhilarating take-off to the aerial acrobatics, culminating in the zenith high above the earth, within a world uniquely separated from the one we know. The composition, therefore, deliberately embraces a fragmented structure to mirror the myriad experiences and emotions that a novice pilot might encounter during their inaugural flight.
Oh, What a Beautiful City
Traditional, arr. Stacey V. Gibbs
Oh, what a beautiful city,
Oh, what a beautiful city,
Oh, what a beautiful city,
Twelve gates to the city, hallelu.
Three gates in the east,
Three gates in the west,
Three gates in the north,
Three gates in the south,
Hallelujah!
Stacey V. Gibbs; an internationally recognized composer/arranger and widely accepted as the preeminent arrangements concert spirituals was in residence at K-State this fall for the annual All-State Prep day. His arrangements are fresh, exciting, and often feature an underlying
rhythmic pulse, varied articulations, and nimble dynamic changes.
In our final piece of “Out of this World” we present the familiar notion of the world in the life after life. African-American spirituals have become a staple of the choral tradition in the U.S. Though present in various forms throughout recorded human history; the Atlantic slave trade and 400 years of the institution of slavery in the United States; has left an almost incalculable impact on our society. The African-American spiritual remains a treasure born of strife, and a testament to the human soul and the poignant legacy of a people's enduring faith.
