Laurier Choirs: Program Notes

Nov. 3, 2025

Lumen (2012) by Abbie Betinis 

Sung in Latin. 

Lumen accipe et imperti. Do ut des. 

“Receive the light and pass it on. I give that you may give.” 

From the composer:

“This Latin text is a motto for many schools around the world, so I decided I wanted to make the music sound like one voice is “teaching” the next voice. I played with musical imitation in different ways (pitch, rhythm) because learning isn’t just about echoing, but about experimenting too. I also imagined the light (lumen) growing and growing each time it passes from singer to singer, so the music starts with small intervals and gradually expands into larger leaps and longer scales.” 

Vichten (2021) by Arthur & Angèle Arsenault, arr. Hart Rouge 

The words of “Vichten” are made up of nonsense syllables, similar to Scottish “mouth music” where the voices are intended to mimic instruments. Commonly mistaken by Canadians as a traditional Acadian folk song, it is a newly composed folk songs that was written by Arthur Arsenault for his children and made popular by his daughter Angèle Arsenault, who recorded and performed this song throughout her long career as an Acadian folk singer and TV host. (notes by Carrie Tennant and Dr. Jeanette Gallant)  

TaReKiTa (तारेिकट) (2021) by Reena Esmail 

From the composer:

“TaReKiTa is a vibrant joyful piece in a raga (an Indian classical melodic framework) called Jog, which incorporates both major and minor modalities into a single scale. The text syllables are onomatopoeic vocalizations of the sounds produced by Indian instruments, and are easy to master when learned by ear and repeated aloud.” 

Flying (2020) by Marie-Claire Saindon

From the composer:

“Flying is an invitation to take a leap of faith. From childhood to old age, there are countless ideas and challenges we refuse to take on because of fear: the feat of failure, of pain, of hitting our limit... However, what we tend to forget is that once we jump, we tend to survive quite well, and, dare we say, thrive: like fledgling eagles taking flight. “I will fly if you come too [...] and we’ll wonder why it took so long to let go of the next and fly.” May you find the strength to leap and to invite others to do so with you.” 

Tayo / Stand (2025) by Tracy Wong* 

From the composer:

Tayo / Stand is an uplifting piece for SAB choir, body percussion, and instrumental percussion. Inspired by conversations with members of the Boston Children’s Chorus (BCC) and their Music Director, Kenneth Griffith, the music nudges us to be proactive – if we see something, we do something – and if we get disheartened by the world, we turn to music to lift and re-energize our spirits. This choral work features text by Kitbielle Pasagui, a Filipino-Canadian conductor, vocal coach, vocalist, composer, and arranger. According to Kitbielle: 

“In Filipino, the word Tayo means us or we and it also means stand. Tayo tayo is an informal way of saying let’s stand!” 

We will discover tayo tayo peppered throughout the piece, reminding us to do just that. 

I Arise Today (2014) by Matthew Emery

From the composer:

“I Arise Today is a work inspired by geography. I wrote it while living in NYC [New York City], and life was pulling me in several directions. The long musical phrases are evoking the endlessly long streets of Manhattan (the stability of remaining where you are), the faster fleeting rhythmic gestures are musical questions, my inner conscious asking me: do I stay in NYC, do I move home to Canada? This work was a musical translation of a composer torn between two cities.”

Non nobis domine (2002) by Rosephanye Powell 

Sung in Latin. 

From the composer’s website:

“Non Nobis Domine is  full of energy and drive, with its repetitive Latin statement (”Non nobis, Domine,” meaning” Not to us, O Lord”), the piece combines new age minimalism with an African American beat... The driving energy, religious context, and ostinato rhythms in the piece are classic elements from Rosephanye’s pen.” 

In time of silver rain (2018) by Sarah Quartel

From the composer:

“Commissioned by the Treble Makers Women's Choir to celebrate both their 10th anniversary and the 150th anniversary of Canada, this secular work for upper voices sensitively sets Langston Hughes's poem of the same name. Featuring a lilting melodic line, eloquent part-writing, and an effective piano part.” 

Moon River (1961, 2025) by Johnny Mercer & Henry Mancini, arr. David Von Kampen 

From the publisher:

“Winning an Academy Award for Best Original Song as well as Grammys for Song of the Year and Record of the Year, this has become a timeless classic since its appearance in the 1962 film "Breakfast at Tiffany's." Crafted for the Oakwood Aeolians, this concert arrangement is a rich tapestry of lush jazz harmonies and emotional depth.” 

Come, Ye Makers of Song (1997) by Ruth Watson Henderson

From the publisher:

“Noted composer Ruth Watson Henderson brings us this joyful celebration of a new day and of music and its makers. This piece has become a staple for state contests and festivals, in addition to being a wonderful concert choice. The text is perfectly brought to exciting life through rhythmic, sparkling music.” 

Blue Sky 蓝天 (lán tiān) (2021) - Cui Wei 崔薇* 

Sung in Mandarin. 

Give me a blue sky. 
Here is our home. 

Give me a white cloud. 
Don’t hurt our home. 

Give me the sun. 
Here is our home.       

Give me the stars.     
Don’t hurt our home.       

Give me a blue sky. 

Chinese-Canadian Cui Wei’s stunning composition expresses a yearning for the preservation of one’s land by weaving homophony with contrasting sections that feature folkoric elements in singing styles (slides, ornaments, vocables). Her writing also encourages singers to explore varied timbres of the collective singing sound.

Over And Over (2022) by Jennifer Lucy Cook 

From the composer:

“Repetition can be such comforting melancholy. That strange limbo where going through the motions remains preferable to taking a leap is the space where “Over and Over” lives. It’s a canon in a major key because we often shield ourselves with positivity as we hide sorrow amid our routines, but the bass line in the piece betrays our discomfort. I’m enamoured with the way looping melodies become slightly askew when overlapping in a canon, and the melody becomes blurry, like blinking back tears. The simple text is written from the perspective of one individual to another, when sung en masse in a choir, it’s as though every person who’s ever experienced a relationship become rote joins together to commiserate. The bass, when played on a synth, adds high frequencies as the song progresses, emulating a spirit setting itself free. Like a cathartic power ballad that you’d belt along with form a rainy driveway, consider “Over and Over” a musical inoculation to future heartbreak.” 

Alice (2006) by Sarah Quartel 

From the composer:

“Alice is a quirky, light-hearted celebration of the Alice books by Lewis Carroll. The singers’ tale of an encounter with the White Rabbit, the Cheshire Cat, and the Hatter is underpinned by a lively and characterful piano part. It is spirited, fun, and has great potential for dramatic performance.” 

Elijah, Op. 70, MWV A 25, Part II – Felix Mendelssohn (1809-1847) 

A trio feature in Part II of Mendelssohn’s oratorio, Elijah, No. 28 Lift Thine Eyes is sung by a trio of angels that descend with a message of hope.

“I will lift mine eyes unto the hills, from whence cometh my help. My help cometh from the Lord, which made heaven and earth. Behold, he that keepeth Israel shall neither slumber nor sleep.” Psalm 121:1-4 

Szellö Zúg (1921) by Lajos Bárdos (1899-1986) 

Sung in Hungarian. 

Szellö Zúg is a Hungarian piece that describes a nostalgic scene around a campfire. The piece features a haunting melody, as well as vocables meant to replicate the sounds of bells. The translation is as follows:

A breeze is blustering afar, the camp is asleep. The camp is asleep, only the fire is burning. Keep that fire going, good friend God knows when we'll see another. The sound of the blustering breeze is getting lower. The bell of the small village is chiming softly the bell chimes "bim-bam bim-bam." The depth of our souls echoes "bim-bam bim-bam." 

I Thank You God (1999) by Gwyneth Walker 

From the composer:

“The text is adapted from the E. E. Cummings poem "i thank you God for most this amazing day." This is a song of praise. 

A piano introduction marked "slowly unfolding, with wonderment," spans the broad range of the keyboard, as if expressing the breadth of space and life. The chorus enters, offering thanks to God for "the leaping, greenly spirit of trees," "a blue true dream of sky" and "everything which is infinite." 

A central phrase of "I who have died an alive again today" returns frequently. This is an expression of the rebirth of the soul with each "amazing day." 

How can I keep from singing? (2004) Quaker Hymn, arr. Gwyneth Walker 

From the composer:

“How Can I Keep From Singing” is an old Quaker hymn, dating back to the early 1800s... this new arrangement emphasizes the celebratory and life-affirming aspects of the song. I have always liked this song, so I decided to make my own arrangement. In doing so, I changed the original, triple meter into a duple meter, for the extra strength and triumph that would come with the duple meter. I also added quite a few lyrics!” 

Elements (2018) by Katerina Gimon

From the composer's website:

“Elements is a set of choral works that abstractly depict the four classical elements and explores the wide range of capabilities of the human voice - from overtone singing, to vocal percussion, to colourful vocal timbres. Elements was premiered in March 2014 by Laurier Singers under Lee Willingham.” 

“Air traces the movement from calm breath to thick violent winds. Together singers gradually introduce new sounds and pitches, building an intricate texture with ever-shifting emphasis.” 

“Fire is a fun, lively, and energetic work incorporating vocal percussion, body percussion, nasal singing, calls, nonsense syllables, as well as optional percussion.”

A Vision Unfolding (2023) by Kyle Pederson

All of Me is the third movement of Pederson’s five-movement work, A Vision Unfolding, for SATB chorus, piano, and spoken word – with optional violin, trumpet, and snare drum. The work is centred broadly around the themes of social justice, inviting the listener on an exploration of community, inclusivity, freedom, and justice.

From the composer:

“I think we all sense our communities becoming more fractured; we witness individual relationships fraying in our neighbourhoods, schools, churches, places of work, and even our families. One of the root causes of this is, I believe, how quick we are to judge others – and hold others in contempt – for their politics, their religion, gender or sexual expression, skin colour, class, education level, and a host of other characteristics. This piece is an invitation to lay down our judgements. It’s also an invitation to see those aspects of identity that are important to people... but to see people around us as more than just a collection of isolated characteristics... to see all of them.”