C O N D U C T O R ‘ S N O T E :

The Ancient and the Eternal: Invocations and Remembrance

The music ThaT we presenT Today explores The relaTionships beTween The ancienT and The eTernal. The joyous exchanges or connections that are forged between ancient texts, composers, conductors, choir members and the greater community are powerful and have informed our preparation of this program. These relationships last well beyond the final note that is sung and are equal parts spontaneity and preparation, inquiry and affirmation, mystery and clarity, spirituality and reality. The story can be told both through tried and true choral standards and emergent literature. Join us as we collectively express the mysteries of the eternal through offerings of devotion and remembrance.

To see a World in a grain of sand,

And a Heaven in a wild flower,

Hold Infinity in the palm of your hand

And Eternity in an hour.

Joy and Woe are Woven fine,

A clothing for the soul divine;

Under every grief and pine

Runs a joy with silken twine.

(William Blake, Auguries of Innocence)

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The Ancient and the Eternal: Invocations and RemembranceProgram to be selected from the following:

Cry Out and Shout Knut Nystedt (1915– )Canticle of Praise John Ness Beck (1930–1987)

Cry Out and Shout is an emphatic call to worship. This text is taken from Isaiah 12:2, 3, and 6. Nystedt is a Norwegian orchestral and choral composer who studied composition with Aaron Copland. He is an admirer of ancient music and always finds ways to incorporate early practices in his compositions.

Canticle of Praise is an excellent example of John Ness Beck’s attention to Biblical text (taken from Psalms 103 and 148) and word painting. His lifelong compositional and career goal was to encourage and promote the writing of traditional sacred music of excellent quality.

Jonathon Steinman, piano

Jesu Dulcis Memoria St. Bernard of Clairvaux (1090–1153, attrib.)Confessions Eric William Barnum (1979– )Jesu Dulcis Memoria Tomás Luis de Victoria (1548–1611, attrib.) The celebrated 12th century hymn, Jesu Dulcis Memoria, originally contained between 42–53 stanzas and was used for the Feast of the Holy Name. Only one stanza was used in the later setting that is sometimes attributed to Victoria.

Confessions was commissioned by the John M. Long School of Music and was premiered in the spring of 2011 by the Troy University Concert Chorale. The text is taken from St. Augustine’s Confessions, Book X, and has come to hold special sig-nificance for the Concert Chorale. Tyler Arcari (M.S. in Education, Instrumental Music; Troy University, 2014) wrote the cello accompaniment, with permission from the composer. The a cappella versions of Confessions and The True Knowledge can be found at ewbmusic.com.

Jesu, the very thought of Thee, with sweetness fills my breast,But sweeter far Thy face to see, and in Thy presence rest.

dYou. I must pass beyond memory to find You.I shall look for You so that my soul may live.

When my soul is bathed in light that is not bound by space,When it listens to the sound that never dies away.

When it breathes a fragrance that is not borne away.I will look for You.

But we, O Lord, are your little flock.But we, O Lord, keep us as Your own. Spread your wings.

And let us shelter beneath them. You. To rejoice in the truth is to rejoice in You.It is not as though I do not suffer wounds, but I feel rather that You heal them over and over.

You. You. You.

Katerina Juraskova, celloPhilip Michael Peters, tenor

Christmas Oratorio, Op. 12 Camille Saint-Saëns (1835–1921) 6. Quare? Elijah, Op. 70 Felix Mendelssohn (1809–1847) 9. Blessed Are the Men Who Fear Him

Saint-Saëns’s Oratorio de Noël (“Christmas Oratorio”) was written in 1858 when he was 23. Saint-Saëns begins the sixth movement with the chorus emphatically asking “why” (Psalm 2:1). The second section of the movement provides a dramatic response as the chorus sings a hymn of praise to the Trinity.

Why do the heathen rage and the people imagine a vain thing?Glory to the Father, glory to the Son, glory to the Holy Spirit.

As it was in the beginning, is now and ever shall be world without end.Amen

Although Elijah harkens back to the compositional styles of Bach and Handel, it retains Mendelssohn’s early romantic use of texture and lyricism as he sets text from Psalms 112 and 128.

Hui-Ting Yang, pianoJames Brown, Guest Conductor

Becky Bush, piano

Entreat Me Not to Leave You Dan Forrest (1978– ) The True Knowledge: Four Mystical Poems Eric William Barnum (1979– ) 4. The True Knowledge

The text of Entreat Me Not to Leave You is based on the Biblical story of Ruth and Naomi. After Naomi’s sons and husband died, she told Ruth to return to her native land as she journeyed back to her home in Judea. However, Ruth begged Naomi to remain with her. Dan Forrest takes the simple phrase “entreat me not to leave you” and transforms it into a musical statement of passion, devotion, and love.

Barnum’s choral set The True Knowledge: Four Mystical Poems, illustrates his use of medieval chant elements, dissonant harmonies, and evocative use of text. The fourth movement, The True Knowledge, is set to text by Oscar Wilde and provides a kind of benediction for the listener: “…Thou knowest all, I cannot see. I trust I shall not live in vain, I know we shall meet again in some divine eternity”. Tyler Arcari once again contributes accompaniment for this piece, written especially for this occasion with permission of the composer. We lovingly dedicate this piece to the memory of Sean Miller (Instrumental Music Education, Class of 2014).

Katerina Juraskova, cello

Megan Ford, oboeJonathon Steinman, piano

I Can Tell the World Moses Hogan (1957–2003)

I Can Tell the World is a lively spiritual that unapologetically transports the listener from the concert hall to the church pew. Hogan was a pianist, composer, and conductor best known for his arrangements of spirituals. He leaves behind a wealth of spiritual arrangements that are performed today all over the world. Troy University has a rich history of training future music educators, and the Undergraduate Choral Conductor year-long course sequence helps to train the next generation of young choral music educators. In the second term of this sequence, select undergraduate conductors choose a piece and take it from page to stage. We celebrate all future music educators as Carlton Copeland serves as Undergraduate Student Conductor for his selection, I Can Tell the World.

Carlton K. Copeland, Undergraduate Conductor

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Concert Chorale Personnel:

Michael Anderson Dothan AL Physical TherapySkyler Baxley Slocomb, AL Vocal/Choral Music EducationKayla Boston Panama City, FL Vocal/Choral Music EducationKevin Bozeman Huntsville, AL Information SystemsMary Kelly Cantrell Sylacauga, AL Vocal/Choral Music EducationCarlton Copeland Hartford, AL Vocal/Choral Music EducationNathan Evans Brewton, AL Instrumental Music EducationMegan Ford Bainbridge, GA Masters in Music EducationAndrea Gallman Gadsden, AL Elementary EducationAmy Griffin Dothan, AL Vocal/Choral Music EducationBrandon Hannon Dothan, AL Criminal JusticeQuentin Helms Slocomb, AL Criminal JusticeBaily Hope Dothan, AL Music IndustryCody Irwin Dothan, AL Vocal/Choral Music EducationDan Johnson Atmore, AL Graphic DesignMeagan King Johnson Ariton, AL Masters in Music EducationJoshua Johnston Huntsville, AL Criminal JusticeSusannah McQuitty Franklin, NC EnglishHannah Moore Niceville, FL Vocal/Choral Music EducationAnna Orlofsky Troy, AL Spanish and EnglishAlan Pennington Oxford, AL Instrumental Music EducationNaomi Perez Enterprise, AL EnglishPhilip Peters Dothan, AL Instrumental Music EducationSheldon Powe Prattville, AL Pre-VetJordan Ratliff Oneonta, AL Vocal/Choral Music EducationEmily Saab Birmingham, AL BusinessMadison Smith Montgomery, AL Vocal/Choral Music EducationJonathon Steinman New Hope, AL Instrumental Music EducationShelby Steverson Crestview, FL Theatre EducationAlyson Stroh Montgomery, AL Broadcast Journalism,Ben Strong Sylacauga, AL Vocal/Choral Music EducationHannah Jo Strowd Columbia, AL UndeclaredJacob Strowd Columbia, AL American Sign LanguageStephanie Washburn Alexander City, AL Vocal/Choral Music EducationAudra Weaver Greenville, AL English

Special thanks to the following students for their logistical and technical support:

Kenny Beck (Graduate Instrumental Music Education; Leesburg, GA)Katherine Dean (Music Industry; Andalusia, AL) Adam Diamond (Music Industry; Tallassee, AL)Thomas Gleaton (Music Industry; Foley, AL)Jarod Lewis (Music Industry Graduate Assistant, Carter, KY)Anna Beth Peavy (Music Industry; Montgomery, AL)Joshua C. Stark (Music Industry; Montgomery, AL)Isaiah Sheridan (Music Industry; Birmingham, AL)Benjamin Strong (Vocal/Choral Music Education; Sylacauga, AL)e Austin Thompson (Music Industry Graduate Assistant; Montgomery, AL)

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DR. DIANE ORLOFSKY is Professor of Music and has served as a faculty member at TROY University since 1986. In 2006-2007, Orlofsky became the interim Coordinator for the Choral Department and conducted both the Concert Chorale (then Chamber Choir) and the Collegiate Singers in the spring of 2007. She founded the vocal jazz group, frequency, in 2009 and currently serves as Director of University Choirs, conductor for the Concert Chorale and musical director for frequency.

Orlofsky was recently named the 2014 recipient of the Wallace D. Malone Distinguished Faculty award that recognizes noteworthy scholarship and outstanding teaching, leadership and service and is awarded to one faculty member yearly. She is also the recipient of the Ingalls Award for Excellence in Classroom Teaching, the Phi Kappa Phi Distinguished Scholar award, and the A.A.T.E. Outstanding Teacher Educator Award. Orlofsky is best known for her work with learning theorist Jerome S. Bruner and her book Redefining Teacher Education: The Theories of Jerome Bruner and the Practice of Train-ing Teachers (2002), in addition to her articles on teaching preparation, music education methods, learning theory, piano pedagogy, and cultivating student leadership. She is currently at work on her second book, editing selected letters and journals of Jerome S. Bruner.

Dr. Orlofsky’s latest multi-media project, The Joyous Exchange: Meditations on the Choral Arts, explores the mystery and power of the choral arts. Orlofsky is an active clinician, conductor and researcher and was named an American Fellow in 1997 by the American Association of University Women.

DR. JAMES E. BROWN, is Assistant Professor of Choral Music at Troy University’s John M. Long School of Music. He conducts the Troy University Collegiate Singers and Troy University Gospel Singers, serves on the voice faculty, and teaches courses in music education.

An active clinician, he has directed choral workshops and conducted festivals throughout Ohio, North Carolina, Florida, and Europe. Dr. Brown is active in state and national organizations, and has presented at state and international confer-ences. Dr. Brown has previously taught choral music in public schools in Ohio and North Carolina. He was ‘Moore Coun-ty’s Arts Teacher of the Year’ at Pinecrest High School (NC) in 2004. In 2009, he received the North Carolina Symphony Jackson Parkhurst Award for Special Achievement. In 2010, the Pinecrest Chamber Ensemble under Brown’s direction was one of the featured choral ensembles for the NCMEA Convention in Winston-Salem, NC.

Dr. Brown completed a Doctor of Philosophy in Music Education from The Florida State University. He is also a graduate of The University of Akron with a Master of Music in Choral Conducting and Bachelor of Music Education degree.

DR. KATERINA JURASKOVA, a native of the Czech Republic, graduated from the Prague Conservatory. She holds performance diplomas from the International Menuhin Music Academy, Conservatoire Européen de Musique de Paris, Conservatoire de Musique Québec à Montréal, and a doctorate from McGill University.

She served as the principal cellist and soloist for the Ensemble Contemporaine de Montréal, and for the McGill Chamber Orchestra for 9 years. She has performed solo recitals and chamber music in Europe, both Americas, and Japan, and is an international prize winner. She was an adjudicator for the 2010 national tour of the Canadian Music Competition.

Dr. Juraskova was the Montgomery Symphony Orchestra Cello Fellow from 2006 to 2008, has served on the faculty of the Montgomery Music Project, and maintains a private studio.

DR. HUI-TING YANG has performed throughout the Czech Republic, Korea, Taiwan, and the United States. Her extensive repertoire includes an increasing focus on American living composers, including Augusta Read Thomas, Laura Schwendinger, Matthew Burtner, Ladislav Kubík, Chen-Yi, and Clifton Callender. In September 2012 she recorded three chamber works by Ladislav Kubík with mezzo-soprano Phyllis Pancella and violinist Karen Bentley Pollick. In June 2010, she performed seven solo recitals throughout the Czech Republic, including performances at the highly acclaimed Cesky Krumlov International Music Festival and the Artist Concert Series in Děčín. Her concerts included music by Liszt, Ravel, Barber, Brahms, Dvorak, and the world premiere of Kubík’s Sonata-Portrait. Her upcoming performances will include a concert with Troy University Symphony Band performing Rhapsody in Blue by Gershwin in February, a solo recital tour in China in June, and a concert tour of newly commissioned works by American composers in the US, Korea, and Taiwan in 2015.

Her recordings are available through Kum Seoung Records, Parma, Arco Diva, and the online journal Musical Perspectives, and forthcoming recordings of music by Kubík will be released by Neos. Dr. Yang is currently an Assistant Professor of Piano at Troy University, where she serves as the Coordinator of Piano Studies and received the Faculty Senate Excellence Award in 2009.

THE JOHN M. LONG SCHOOL OF MUSIC is a vital part of a dynamic, global university. The School of Mu-sic has more than 240 undergraduate and graduate music majors and undergraduate music minors and more than 35 faculty members who are world-class teachers, scholars, conductors, composers, and performers.

The School of Music provides opportunities for all university students to develop the musical skills, knowl-edge and attitudes needed to become artistic performers and/or intelligent consumers of music. Music majors are provided with “real-world” educational experiences designed to prepare them for viable careers in music education and the music industry.

Troy University offers baccalaureate degrees in Music Education and Music Industry. Additionally, Troy offers masters level degrees in Music Education and Music Industry. Graduate Assistantships are available working with university bands, university choirs, music education, and music industry.

Troy University is a fully accredited institutional member of the National Association of Schools of Music (NASM) and will be officially designated as an All-Steinway School later this spring. For further information, visit http://music.troy.edu, call (334)-670-3322, or email music@troy.edu.

TROY UNIVERSITY | JOHN M. LONG SCHOOL OF MUSIC FACULTY

Dr. Catherine Allard, Professor of Voice, Diction Dr. Christina Amonson, Assistant Professor of Voice Dr. T. Adam Blackstock, Assistant Professor of Percussion, Assistant Director of Bands Dr. Larry Blocher, Dean, College of Communications and Fine Arts/Director, School of Music Dr. James Brown, Assistant Professor, Choral Robert Bullock, Lecturer of Music Industry Robert Burns, String Bass Rebecca Bush, Accompanist Dovie Cutchen, Piano Dr. William Denison, Piano, Organ Carol Franks, Associate Professor of Flute, Coordinator of Music Theory Sam Fredrick, Assistant Professor of Music, Music Appreciation Dr. Carla Gallahan, Asst. Director, School of Music, Associate Professor of Music Education, Horn Dr. Robert Gibson, Lecturer of Guitar Dale Heidebrecht, Voice Dr. Michael Huff, Assistant Professor of Trumpet Dr. John Jinright, Associate Professor of Double Reeds, Piano Michael Keeley, Trumpet Dr. Traci Mendel, Lecturer of Music Theory, Composition Dr. Brian Nozny, Lecturer, Music Appreciation, Percussion Rachel Nozny, Aural Skills, Saxophone Dr. Diane Orlofsky, Professor of Music Education, Director of University Choirs Dr. Timothy Phillips, Associate Professor of Clarinet James Smith, Associate Professor of Trombone Ray Smith, Associate Professor of Saxophone Robert W. Smith, Professor of Music, Coordinator of Music Industry Gwen Threadgill, Lecturer of Piano Jennifer Tinberg, Clarinet Dr. Carl Vollrath, Composition, Music Appreciation Daniel Walden, Low Brass Dr. Mark Walker, Associate Professor of Music, Director of Bands Eric Ward, Assistant Professor of Music Industry, Jazz Studies Andy Williamson, Guitar Dr. Bret Woods, Assistant Professor of Ethnomusicology/Music History Dr. Hui-Ting Yang, Lecturer of Piano, Coordinator of Piano Activities

This printed program was designed by Jerry R Johnson, Troy University Professor of Design, as part of an expanding, collaborative and “joyous” exchange between the choral and the visual arts.