Laurier Music 50th Anniversary Gala: Program Notes

March 13, 2026

Fanfare for the Common Man

First Suite in E Flat

Gustav Holst was an English composer, arranger, and educator that is best known for being the composer of his orchestral suite, The Planets. Holst’s First Suite in E-flat is regarded as one of his masterpieces and cornerstone of wind band literature. He composed the piece in 1909 to be performed by military bands, but it didn’t premiere until 11 years later by the Royal Military School of Music on June 23, 1920. Military bands had very little concert-style music written for them as they were considered more of a functional ensemble, and when required for ceremonial performances would tend to play orchestral arrangements. Holst’s Suites mark some of the first artistic literature written specifically for the ensemble.

British historical traditions influence the motive-driven work. Opening the Chaconne is a repeated bass line, similar to those found in the early music of Henry Purcell or William Byrd, which forms the basis for the entire musical structure. With each repetition of the chaconne melody, other instruments are paired or contrasted with it, displaying the range of timbral variety in the wind band.

Fnugg Blue

Øysten Baadsvik started playing the tuba at the age of fifteen. He soon decided to explore the tuba’s possibilities as a solo instrument, and at the age of eighteen won 1st prize in a Norwegian national competition for soloists. Within the space of two years, he had made his own programs for Norwegian Radio and had been a soloist with most of Norway’s professional symphony orchestras. Baadsvik studied under Michael Lind, John Fletcher, Arnold Jacobs and Harvey Phillips. He is in great demand as a soloist and lecturer all over the world and works constantly to expand the musical aspects of the tuba and, as well as performing solo repertoire for tuba and orchestra.

Fnugg Blue started as an improvisation with elements from the Australian Aboriginal instrument didgeridoo and Norwegian folk music. The techniques in use are multiphonics (to sing and play simultaneously) and Baadsvik’s own invention “Lip Beat” (percussive tuba). Fnugg is a Norwegian word describing something very small and weightless - like a snowflake.

Un Cafecito

Dennis Llinás is a Cuban-Colombian conductor and composer, and currently is the Director of Bands at The University of Oregon where he conducts the wind ensemble, teaches graduate & undergraduate conducting, and oversees the band area. A native of Hialeah, FL, Dennis studied at Florida International University & The University of Texas.

About this work, the composer writes:

“The phrase un cafecito means "a little coffee". Growing up in Miami in our Cuban culture, it was customary for co-workers to bring to work an eight-ounce cup filled with Cuban coffee (basically really strong and sweet espresso) with many tiny shot cups. At certain points in the day, they would approach colleagues and pour a quick shot for them accompanied with the phrase,“¿Quieres un cafecito?” translating to “Do you want a little coffee?” Needless to say after that shot, you were ready for another few hours of daily activity.

This piece is meant to be just that—a little bit of pick-me-up with the sounds of my childhood.”

Nothing Gold Can Stay

Deborah Finlayson and Dan Leader, two creative people with life-long engagement with singing, commissioned Frost Sequence in 2020 to honour their love of nature, music, and singing with people they love. Nothing Gold Can Stay features Roboert Frost’s poem that reflect on the ephemeral nature of existence, the consequences of decision-making, and the tug of our dream world against the real world of responsibilities. An over-arching theme is time: time that decays all that is precious, time that we cannot recover or re-live, and time that passes too quickly, even as we recognize the fleeting beauty surrounding us. Stephanie Martin, 2021.

(From the composer’s website)

Light Thine Eyes

A trio feature in Part II of Mendelssohn’s oratorio, Elijah, this piece 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

In the Merry Month of May

In the Merry Month of May by Henry Youll is a cheerful Elizabethan-era madrigal, often featured in collections exploring springtime themes, Maypole dancing, and traditional May festivities.
It Is typically arranged for 2-part or 4-part choir (soprano, alto, and sometimes bass/pianoforte)
characterized by its light, pastoral, and festive style.

Stand in That River

Composed in 2003, Stand in That River is a modern folk-hymn that draws deeply from the well of Appalachian and shape-note traditions. American composer Moira Smiley uses the metaphor of a river to explore themes of displacement and communal healing, moving from a sense of being lost to finding strength in a shared current. With its gritty, soul-stirring harmonies and steady rhythmic pulse, the piece serves as a secular liturgy, inviting both singer and listener to find resilience and renewal through the power of community.

Norwegian Trilogy

From the composer:

“Norway is a country rich in folk tradition. In addition to beautiful melodies, elements of folk dance and instrumental music can be heard throughout this work. The Cantilon Chamber Choir learned the tunes of Norwegian Trilogy from a trio of folk musicians (a singer, fiddler, and tabla player) over the course of three intense and exciting days. New melodies, language and cow calls were all learned in true folk music fashion – by ear. This experience enriched the lives of all involved and has created a love of Norwegian folk music that will last a life time.”

I. God morgen Ola Reppom

God morgen Ola Reppom,
god morgen te deg,
tak au deg slein skreppa,
tak på deg rein skjarte,
kem og legg deg med meg.

I. Translation

Good morning, Ola Reppom
good morning to you,
take off your stone pack,
put on your clean shirt,
come and lie down with me.

II. Ned i vester soli glader

Ned i vester soli glader.
Takk for dagen, Gud of Fader,
giv oss trygd til natti no!
Takk for mat og, takk for klede,
takk for arbeidskraft og glede,
giv oss hjartefred og ro,
giv oss hjartefred og ro!

II. Translation

Down in the west, happy sun.
thanks for the day, God and Father.
Give us protection during the night now.
Thanks for food and thanks for clothing
thanks for the strength to work and the joy.
Give us peace in heart and rest,
Give us peace in heart and rest!

III. Ekorn gjekk på volln og slo

Ekorn gjekk på volln og slo
og ekorn ljåen forte.
Skjora lesste kråka drog
og vessle pusekatten kjørte.

III. Translation

The squirrel mowed the hay on the field
and the squirrel worked the scythe.
The magpie loaded, the crow pulled
and the little car was driving.

O Canada

Academic Festival Overture

Johannes Brahms never went to college but in 1879 the University of Breslau conferred upon him the degree of Doctor of Philosophy. Brahms was flattered and sent a postcard of thanks to the faculty. However, a subsequent letter from his friend Bernhard Scholz, Director of Music in Breslau, made it clear that the university expected him to express his gratitude in musical form. During the summer of 1880, Brahms penned his musical “thank you” – the Academic Festival Overture.

With a masterful balance of serious and light-hearted elements, the emphasis is on the “festival” rather than the “academic” in an overture that brims with an irrepressible sense of fun. The work also sports the most extravagant orchestral forces the composer ever employed. Brahms himself described the piece as “a very boisterous potpourri of student songs.” Indeed, excerpts from four student beer-hall tunes play a significant role in the orchestral texture.

A hushed, but urgent statement launches the Overture, followed by a dramatic succession of contrasting ideas and dynamics. The principal idea here is an adaptation of the Rakóczy March, a favorite tune with the composer since his youth. Following a soft drumroll, three trumpets then present the first of the traditional students’ songs: “Wir hatten gebauet ein stattliches Haus” (We have built a stately house). Its roots lie in a Thuringian folk song, which had been transformed into a defiant protest song in the East German town of Jena when the students’ association there was disbanded in 1819. After Brahms develops and mixes this song with the earlier Rakóczy adaptation, the melody of “Der Landesvater” (The father of our country) appears in a sweeping, lyrical rendition introduced by violins and violas.

The tempo shifts to animato for the freshman’s song known as The Fox-Ride (“Was komm dort von der Höh’ ” – What comes from afar). Bassoons, accompanied by off-the-beat violas and cellos, add a touch of humor that must have raised a faculty eyebrow or two at the premiere. Not forgetting to stir in his original material, Brahms then plays the three student songs off one another in a light-handed development. For the grand finale, a rambunctious version of the imposing “Gaudeamus igitur” (Therefore, let us be merry) makes a joyful noise and provides a rousing conclusion with its blazing brass and full orchestral forces.

The Overture has been one of Brahms’ most often played works ever since the composer himself conducted the premiere in Breslau on January 4, 1881.

(Program note—Kathy Henkel)

Ad Astra

From the publisher:

"With a pulsating and highly rhythmic piano accompaniment, composer Narverud's Ad Astra radiates energy. Filled with hope and empowerment, the text reads, "To the stars through difficulties, look upward, move forward, leave all cares behind."

Elements

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.”

High Flight

Laurier We'll Praise Thee Ever

Seafever

The Yellow Jacket