Program Notes Concert Choir Laurier Singers Concert

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Lumen (2012) – Abbie Betinis

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."

La Mia Stella (2015) – Ivo Antognini

From the composer: “The sun is shining on a beautiful morning, while I peacefully read the newspaper. A photograph catches my eye of a boat with three hundred Africans on board. I read the caption: unfortunately, many of them will not arrive alive on the shores of Lampedusa, in the Mediterranean Sea. I stare attentively at the picture, and among the many distraught faces one stands out above the rest, a child with wide eyes, hands holding tight on the arms of an adult. I am moved, and I feel a duty to do something for this poor creature.

La mia stella is dedicated to him and to all those that are forced to flee from their homeland in hopes of finding, after long and frightening journeys, a better life.

Nyota yangu means “My star” in the Swahili language, spoken by tribes of the eastern coast of Africa.”

Nyota yangu

Guarda quella stella disse il mio papà

Segui la sua luce: lei ti guiderà

In un mondo senza guerre,

Dove tu potrai giocar;

Dai, chiudi gli occhi, bambino mio

Prova a sognar...

Sofro tanto il freddo disse il mio papà;

Stai attento al l'onda: presto tornerà

Chissà quante notti ancora

Noi dovremo aspettar

Un nuovo mondo, una nuova vita,

Su questa barca in mezzo al mar?

Ma la mia stella, lassù nel ciel,

presto ci manderà un salvatore per tutti noi

E anche per quelli in fondo al mar

Nyota yangu

Guarda com'é grande disse il mio papà

Tieniti più forte: non ti prenderà

Come ha fatto con la mamma

che riposa in fondo al mar.

Chiudi la bocca, bambino mio, non respirar...

Vado dalla mamma disseil mio papà

Oramai sei grande: tu rimani qua.

So che non avrai paura e che presto troverai

Un'altra terra, un altro mono e un'altra vita comincerà!

Ma la mia stella, lassù nel ciel,

presto ci manderà un salvatore per tutti noi

E anche per quelli in fondo al mar

Ma cosa fai? Ma dove sei?

Stellina mia, lassù de cielo...

Fatti vedere, stellina mia!

Fatti trovare lassù nel cielo, oh

Nyota yangu

Ho trovato la mia stella sù nel cielo

Nyota yangu, mmh

Nyota yangu

Look up to that star,

My father said.

Follow its light, it will lead you

Into a world without wars

Where you will be free to play.

Come on my son, close your eyes,

See if you can dream...

I am cold, my father said:

Look out for the wave; it will come back.

Who knows how many nights

Will we have to wait

For a new world, a new life,

In this boat adrift in the sea?

And my star up in the sky,

Soon will send

A savior for us all

And for those those he has taken away,

Those those he has taken away...

Nyota yangu

See how big the wave is, my father said

Hold on tight, it will not sweep you away

As it did with your mother,

Now asleep on the bottom of the sea.

Do not open your mouth, my son,

Do not breathe...

I'm going to join your mother, my father said.

You are a big boy now, you can stay.

I know you won't be afraid and soon you'll find

Another land, another world,

And another life will begin.

And my star up in the sky,

Soon will send

A savior for us all

And for those he has taken away,

Those he has taken away...

Nyota yangu

But what are you doing? But where are you?

My little star, up in the sky...

Let me see you, my little star.

Let me find you

Up in the sky

Oh, nyota yangu

Over the rainbow (2014) – Harold Arlen, arr. Mac Huff

This fan favourite ballad from the Wizard of Oz combines childhood nostalgia and fresh jazzy choral setting by Mac Huff. A classic melody that lingers in memories long after we are grown, this reimagining is dreamy and free with a loose tempo, truly transporting audiences somewhere over the rainbow.

Semangat Membara (2025) - Hildegard Von Bingen / Tracy Wong*

From the composer: “Semangat Membara is a rhythmic composition for SAB choir and percussion. Inspired by Hildegard von Bingen’s O ignee Spiritus (O fiery Spirit), the piece encourages us to celebrate the human spirit in all its resilience and strength. Original Malay text is merged with excerpts of Hildegard’s Latin text and a small musical reference of her hymn is interwoven with rhythmic word and vocal play, sung in Malay.

Commissioned by Saint Paul Academy and Summit School and Tim Kraack (Director), the piece is also inspired by the outcome of a fun exercise as part of its creation process – singers collecting field recordings of environmental sounds.”

O ignee Spiritus, laus tibi sit,

qui in timpanis et citharis

operaris.

Mentes hominum de te flagrant

et tabernacula animarum eorum

vires ipsarum continent.

Nunc dignare nos omnes ad te colligere

et ad recta itinera dirigere.

O fiery Spirit, praise to you,

who on the tympana and lyre

work and play!

By you the human mind is set ablaze,

the tabernacle of its soul

contains its strength.

Now deign to gather us, to draw us all to you,

and to direct us on the upright course.

From Where the earth meets the sky (1994) – Z. Randall Stroope

1. In time of silver rain
2. Randall Stroope's music is characterized by lyrical melodic lines, a deep sense of emotion, and innovative use of texts, in this case poetry by African American poet laureate Langhston Hughes. The poem "In Time of Silver Rain" is full of colourful imagery of new life in the springtime, reminding us that even the earth, old as it is, renews itself each year.

My Name (2026)  – Alec Schumacker

From the composer: “When my daughters began speaking with regularity, I started keeping a list on my phone
called “Funny Things My Kids Said.”   Whenever they said something funny, completely out of left field, or filled with the kind of wisdom that only toddlers possess, I would jot it down verbatim in an effort to document and later remember one of these precious and all-too-fleeting moments.”

J'entends le moulin (1993) - trad., arr. Donald Patriquin*

From the composer: “Spurred on by the interest in “Ah! si mon moine” and being drawn to the vibrancy and beauty of French Canadian folk melodies, in the early 90’s I embarked on a suite of French Canadian folk songs of which “J’entends le moulin” was to be the first.

The arrangement of this song was commissioned by the children’s choir of the Protestant School Board of Greater Montreal (now the English Language Montreal School Board) whose director, Erica Phare, invited me to hold an exploratory workshop with her choir in preparation for the creation of the arrangement. I spent a day working with the students, having them improvise with both melodic and percussive elements of this piece, and then set about creating the arrangement.”

J’entends le moulin (tique tique taque)

Mon père a fait bâtir maison.

L’a fait bâtir à trois pignons.

Sont trois charpentiers qui la font.

Le plus jeune c’est mon mignon.

Qu’apporte-tu dans ton jupon?

C’est un paté de trois pigeons.

Asseyons-nous et le mangeons.

En s’asseyant il fit un bond,

Qui fit trembler mer et poisson

Et les cailloux qui sont au fond.

I hear the millwheel (tique tique taque)

My father is having a house built.

It’s being built with three gables.

There are three carpenters building it.

The youngest is my darling.

What do you have in your apron?

It’s a pie made of three pigeons.

Let’s sit down and eat it.

While sitting down they all lept up,

Causing the sea and fish to tremble,

and the stones on the bottom of the sea.

Text and translation from Elektra Choir program notes

I Will Sing (2014) – Michael Engelhardt 

From the composer: “This medium tempo gospel-style piece invites the singers and the audience contemplate the “song” that they will sing on this earth during the short time we've been given. Written for the 2014-15 All-State Choirs of Minnesota and Kansas, directed by Dr. Brad Holmes.”

If There Is (2016) – Dominick DiOrio

From the composer: If There Is was written at the request of Sean Cator and his colleagues in the Fairfax General Educators Association. This work is a rousing anthem about the power of each person to make positive change with our actions even the smallest but most committed of our convictions can lead to a better world, and it starts with the "courage of the heart."

Sing Creations Music On (1995) – Stephen Paulus

Stephen Paulus sets text by Romantic poet John Clare in this dynamic, harmonically lush piece. The text encompases some of Clare's favourite subjects: nature and the beauty in ordinary things being a voice in Creation's song of praise. The piece was commissioned by American Boy Choir and Glen Ellyn Children’s chorus.

Für zwei Stingstimme oder zwei Waldhörner, D. 202 (1815) – Franz Schubert (1797-1828)

1. Der Schnee zerrint (Mailied / May Song)

Mailied

Der Schnee zerrinnt,
Der Mai beginnt,
Die Blüten keimen
Den Gartenbäumen,
Und Vogelschall
Tönt überall.

Pflückt einen Kranz,
Und haltet Tanz
Auf grünen Auen,
Ihr schönen Frauen,
Wo junge Main
Uns Kühlung streun.

Wer weiß, wie bald
Die Glocke schallt,
Da wir des Maien
Uns nicht mehr freuen:
Wer weiß, wie bald
Die Glocke schallt!

Drum werdet froh!
Gott will es so,
Der uns dies Leben
Zur Lust gegeben!
Genießt der Zeit,
Die Gott verleiht!

May song

The snow is melting,
May is beginning,
The blossoms are sprouting
On the trees in the garden
And the sound of birds
Can be heard everywhere.

Pluck a garland
And hold a dance
On the green meadow
You beautiful women,
Where young May blossoms
Strew coolness over us.

Who knows how soon
The bell will toll!
Since May is something we
Shall not enjoy any more:
Who knows how soon
The bell will toll!

So, be happy!
God wills it thus,
He who gave us this life,
A life given to us for enjoyment!
Enjoy the time
That God has made available!

*Translation by Malcom Wren. Source: schubertsong.uk

Magnificat (2007) - Christine Donkin*

From program notes of Old First concerts and Elektra choir: Canadian composer Christine Donkin writes an unusual setting of the Magnificat (Mary’s Song). A chantlike mezzo soprano solo represents the words of Mary, while the rest of the choir is divided into parts that pick up the endings of the solo lines and form a swirling sound reminiscient of angel's wings around Mary as she sings.

Magnificat anima mea Dominum

Et exsultavit spiritus meus

in Deo salutari meo.

Gloria Patri et Filio,

Et Spiritui Sancto.

Sicut erat in principio, et nunc E

t semper et in saecula saeculorum.

Amen.

 - text from Luke 1: 46-55

My soul doth magnify the Lord.

And my spirit hath rejoiced in God my Saviour.

Glory be to the Father, and to the Son,

And to the Holy Spirit:

As it was in the beginning, is now,

And ever shall be, world without end.

Amen.

*Text and translation from program notes of Old First concerts

Kyrie (2022) – Alec Schumacker

This sparkling a cappella rendition of the ancient prayer Kyrie eleison was commissioned by World Projects for the 2022 New York International Music Festival for Martina Juríková and the Youth Choir Premoník. The melody line gets seamlessly passed from voice to voice, giving each section of the choir a chance to shine throughout the piece.

Kyrie eleison
Christe eleison
Kyrie eleison

Lord have mercy
Christ have mercy
Lord have mercy

I Am Here (2025) – Tracy Wong

From the composer: “This uplifting piece sets a text by Eleanor Wright about courage, creativity, community, and resilience. The music is lyrical, lilting, and triumphant, encouraging self exploration through singing within a supportive community. The repeated phrases 'I am here!' and 'without fear!' may be sung by either soloists or the audience, amplifying the sense of unity and togetherness that the piece champions.”

La belle se promène (2017) – Meghan Quinlan*

From the composer: “La belle se promène” tells the story of an encounter between a beautiful girl and a sailor on the banks of a river. Originally a French folk song—an alternative lyric places the strangers’ meeting on the Loire river—it was brought to Canada by French settlers, where it was absorbed and adapted into Acadian culture. This arrangement casts the story in a dream-like atmosphere: its opening evokes the banks of a more solitary river, hidden away in green forests. Moving from the charged stillness of the girl’s encounter with nature to the thrill of meeting a stranger—and sailing away with him—the arrangement provides a full palette of expressive colours. In order to join the sailor on his journey, the girl asks him to teach her the song he’s singing. For the girl, singing is a means of both getting to know and of escaping into the unknown, leaving her past life behind like a dream.”

La belle se promène au fond de son jardin.
au fond de son jardin sur les bords de l’île
au fond de son jardin sur les lords du l’eau,
sur les bords du ruisseau.

Elle voit venir une barque de trente matelots,
de trente matelots sur les bords de l’île
de trente matelots sur les bords de l’eau
sur les bords du ruisseau.

Le plus jeune des trente, il se mit à chanter,
il se mit à chanter sur les bords de l’île
il se mit à chanter sur les bords de l’eau,
sur les bords du ruisseau.

La chanson que tu chantes, je voudrai la savoir,
je voudra la savoir sur les bords de l’île
je voudrai la savoir sur les bords de l’eau,
sur les bords du ruisseau.

Embarque dans ma barque, je te la chanterai
je te la chanterai sur les bords de l’île
je te la chanterai sur les bords de l’eau,
sur les bords du ruiseau.

The fair maiden walks at the far end of her garden,

at the far end of her garden, by the edge of the island,

at the far end of her garden, by the water’s edge,

by the edge of the stream.

She sees a boat approaching with thirty sailors,

with thirty sailors, by the edge of the island,

with thirty sailors, by the water’s edge,

by the edge of the stream.

The youngest of the thirty began to sing,

he began to sing by the edge of the island,

he began to sing by the water’s edge,

by the edge of the stream.

"The song you are singing—I would like to know it,

I would like to know it, by the edge of the island,

I would like to know it, by the water’s edge,

by the edge of the stream."

"Step into my boat, and I will sing it to you,

I will sing it to you by the edge of the island,

I will sing it to you by the water’s edge,

by the edge of the stream."

*French lyrics from Elektra Choir program

Over and Over (2022) - 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 enamored 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, but 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 from a rainy driveway, consider “Over and Over” a musical inoculation to future heartbreak."

From the Start (2025) – Laufey & Stewart, arr. Roger Emerson

This SSAA arrangement of Laufey & Stewart’s “From The Start” stays true to the playful mix of old sounds with modern lyrics of the original pop single. The transition from solo line to blending treble voices adds another dimension to the lyrics of unrequited love, an experience which is nearly universal.

Lovely Day (2022) - Withers and Scarborough, arr. Robert T. Gibson

From the publisher: "Grammy Award winner Bill Withers recorded this happy song in 1977, and this groovin' arrangement stays true to the R&B style of the original."

Aloha 'Oe (1878) - Queen Lili'uokalani, arr. Alec Schumacker

From the arranger: “Aloha ‘Oe ranks as Queen Lili‘uokalani’s most well known song. The work’s genesis lies in an 1877 tour of O‘ahu by then-Princess Lili‘uokalani on the ocassion of her designation as heir apparent to the throne. On the tour, she and her entourage visited a ranch in Maunawili, a small area aside the Ko‘olau Mountains and on the windward side of O‘ahu. As the story goes, when the party left to return to Honolulu, one member of the group, Colonel Boyd, stayed behind a moment to receive both a lei and ‘fond embrace’ from one of the young woman at the ranch. Inspired by this loving farewell, Lili‘uoklani began to hum the tune and craft the lyrics during the trip over the mountains back to Honolulu.

Haʻaheo ka ua i nā pali
Ke nihi aʻela i ka nahele
E hahai (uhai) ana paha i ka liko
Pua ʻāhihi lehua o uka

Hui:
Aloha ʻoe, aloha ʻoe
E ke onaona noho i ka lipo
One fond embrace,
A hoʻi aʻe au
Until we meet again

ʻO ka haliʻa aloha i hiki mai
Ke hone aʻe nei i kuʻu manawa
ʻO ʻoe nō kaʻu ipo aloha
A loko e hana nei

Proudly swept the rain by the cliffs
As it glided through the trees
Still following ever the bud
The ʻahihi lehua of the vale

Chorus:
Farewell to you, farewell to you
The charming one who dwells in the shaded bowers
One fond embrace,
'Ere I depart
Until we meet again

Sweet memories come back to me
Bringing fresh remembrances of the past
Dearest one, yes, you are mine own
From you, true love shall never depart