I want say That I had the best time last at the concert with all my friends in the amazing choir. We definitely rock the night away & it was so much fun to share our beautiful music what we learn together 10weeks & on own time at home. I hope u enjoy the program notes from one of the lady from the choir.. Love ya all have gr8 super weekend. Until our next posts. I 'll post pics later...
Program Notes
October 14, 2010
This is One of Those Moments, from the motion picture “Yentl,” by Michael LeGrand, arranged by Merrilee Webb
This song comes from the movie Yentl, starring Barbara Streisand. In a Jewish society where women were not allowed to study the Talmudic law, a young girl’s father secretly instructs her in these sacred teachings. When he dies, she disguises herself as a man so she can continue to study the word of God. We, the women of this choir, know “there are moments you remember all your life,” and, for us, being in this choir is one of them. We rejoice in the freedoms we have in this country that “no man can take away.”
Come To The Music, by Joseph M. Martin
This song of celebration and “alleluia,” which is Hebrew for “Praise Jehovah,” comes alive with percussion and piccolo accompaniment.
Let Zion In Her Beauty Rise, lyrics by Edward Partridge, music by a German composer (ca. 1784), arranged by Steven Smith (SATB), Merrilee Webb (SSAA)
In the early days of the LDS church, amidst great persecution, the vision of Zion stood as a beacon of hope to the believers. When Joseph Smith first visited Jackson County, Missouri to select a site on which Zion would be built, he left Edward Partridge in charge, and called him to be the Presiding Bishop of the Church. It was under these circumstances that Edward Partridge penned the words to the hymn that would be included in the first LDS hymnal, “Let Zion in Her Beauty Rise.” It stands today as one of the great hymns of the restoration, with a powerful message about Zion’s role and glory in these last days.
Chant (Hiki mai e na pua I ka La’ie) by Kumu Hula, Cy Bridges
This Hawaiian chant is meant to be used as a Hula Ka’I, or entrance hula, performed at the beginning of a hula program. This chant can also be used as an Oli Kahea, or chant, calling out to people and sharing the message contained within the chant. This particular chant was written especially for the “Pioneers in the Pacific Celebration” held at BYU-Hawaii I on Oct. 7-11, 1997. Our choir opens each rehearsal with this chant, and it is our hope that, as one line of the chant says, we can live worthy of being “the most precious adornment worn around the neck of [our] ancestors.”
Waika, music by John Spencer, arranged by Merrilee Webb
The oldest known reference to “Waika” comes from a chant that was said to have been a name song for the great King Kamehameha, who united the Hawaiian islands in 1810. The lyrics of “Waika,” which are reminiscent of Hawaiian poetry, paint a picture of romance and of deep reverence for nature. Transcriber and arranger, Merrilee Webb, is no stranger to Hawaii. Having taught men’s and women’s choirs at BYU-Hawaii for three years, she now resides in Utah, but her love for all things Hawaiian runs deep. She incorporates Hawaiian customs into her choir rehearsals, and teaches her choir members to open their hearts to the beautiful customs/traditions of Hawaii. Webb’s arrangement of Waika for a women’s choir is complemented tonight by the presence of a Hawaiian hula dancer.
Hamisha Asar, by Flora Jagoda, arranged by Nick Page
This song commemorates a Jewish holiday of the springtime, Hamisha Asar, as celebrated by the author, a folksinger from Bosnia. Jews today observe the holiday by planting trees, eating dried fruits and nuts, and remembering the Lord’s goodness. A translation of the Ladino lyrics (Spanish-Hebrew language spoken by Sephardic Jews) of “Hamisha Asar” is as follows: “Come to visit us, we will sing; The hostess awaits us with fifteen platters of fruit; Blessed be his name, Lord of the Universe; Fruits of Israel; Come to visit us, let us dance; The hostess awaits us with baklava and coffee.” Arranger Nick Page begins the song with a unison melodic line and percussion, gradually adding layers of harmonies, like people joining a celebration. The uneven time signature, 7/8, gives the piece its lilting, dance-like feel.
My Love’s In Germany, words by Hector Macneill, lyrics by Thomas Traill, arranged by Mack Wilberg (SATB), Merrilee Webb (SSAA)
The lyrics to this song come from a poem written by the Scottish poet, Hector Macneill. Published in 1794, Macneill’s poem chronicles the laments of a Scottish woman for her lover. The melody was composed around 1630 by Colonel Thomas Traill, a soldier during the Thirty Years’ War (which was fought mostly in what is now Germany). Arranger Mack Wilberg allows this song minimal piano accompaniment, which shifts the focus to the extensive vocal accompaniment. These oo’s and oh’s serve as expressions of grief for poor soldier “Willie” even before news of his death arrives, and certainly after. The piece tapers down to the unison lament of Willie’s widow, Jeanie.
What Would You Do if You Married a Soldier? Arranged by Mack Wilberg (SATB), and Merrilee Webb (SSAA)
This cheerful folksong, based on an Irish jig dating to 1600s, follows the question-and-answer between a worried questioner and a matter-of-fact, carefree respondent. If you’re not too busy trying to decipher the nonsensical lyrics (including the extensive section of “diddly dums”) of the second half of the song, listen for this jig to split into five vocal parts, and for the rousing piano accompaniment throughout.
Savior, Redeemer of My Soul, by Rob Gardner, arranged by Merrilee Webb
This selection is part of a sacred oratorio called “Joseph Smith, the Prophet.” The lyrics, which were originally penned by Orson F. Whitney, come from as an LDS hymn by the same name. Composer Rob Gardner’s original tune gives new depth to this powerful prayer of gratitude by a humble servant.
Revelation, by Z. Randall Stroope
Based on chapters 8-11 of the last book in the New Testament, “Revelation” describes the apocalyptic sequence of the sounding of seven trumpets, and the accompanying terrors that God allows to be unleashed on the earth. In this moving original composition, Z. Randall Stroope captures the horror of the seven trumpets, but most significant is his presentation, through the sixth angel, of the outstretched arms of a loving God who must sanctify the earth to complete the salvation of man (see D&C 77:12).
Bach (Again)/Come Sweet Death, by J. S. Bach, conceived by Edwin London, arranged by Rhonda Sandberg
Johann Sebastian Bach, considered one of the greatest composers of all time, produced many religious works, thanks to the demand for religious music during his time and to his own religious devotion. Many of these religious compositions were Lutheran chorale hymns, such as “Come Sweet Death.” In the first part of this selection, the choir will sing through the chorale, which heralds the majesty of death, with its merciful gateway to home and soothing rest. As prescribed by contemporary arranger E. London, the choir will then perform a “deconstruction” of the first phrase of the chorale, where each woman will sing—without tempo and with the use of sign language—her own experience of this moving masterpiece.
Ain’t No Grave, arranged by Paul Caldwell and Sean Ivory
Spirituals are religious songs that were traditionally written by African slaves in America. The composers of spirituals combined Bible events or imagery with Christian hymns, and spirituals often contain undertones about the hardship of slavery. Arrangers Caldwell and Ivory wrote the lyrics and music of the verses of this spiritual to complement the refrain, which was popular in the South during the early twentieth century. Sign language, clapping, and incredible piano accompaniment bring this piece to life.
Omnia Sol, by Z. Randall Stroope
It may be hard to believe that this “song of parting” was written by the same composer as the selection “Revelation.” The relatively simple two-part harmonies and unison vocal passages of “Omnia Sol” serve to focus the listener on the message of “Omnia Sol. Composer Z. Randall Stroope writes that “One’s life has an inseparable kinship with others. The metaphor for that kinship in this piece is “omnia sol” (or “everywhere light” [sun]), and that kinship or light is perpetuated by our daily investing and leaving a bit of ourselves in every soul we encounter.” The translation of the Latin text is “The sun warms everything, even when I am far away. Love me faithfully, and know that I am faithful.”
Go the Distance, from the animated film Hercules, by Alan Menken, arranged by Merrilee Webb
In Disney’s animated film by the same name, a discouraged Hercules expresses his frustration of not fitting in with his peers. When he discovers his birthright as a son of a god, the song “Go the Distance” articulates his determination to courageously pursue his quest to become a hero. As daughters of God, we echo Hercules’ assertion that “a hero’s strength is measured by [her] heart.”
How Beautiful, by Twila Paris
The late 1960s saw the emergence of Contemporary Christian Music, a genre of popular music that was uniquely characterized by lyrics having to do with the Christian faith.
Composer Twila Paris’s song, “How Beautiful” is a poignant tribute to the life and sacrifice of Jesus Christ, as well as a poetic commendation of those who give of themselves to serve Him. Biblical references throughout the song, such as “the radiant bride who waits for her groom with his light in her eyes,” give this song an added measure of depth and power.
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