Liberty University School of Music

presents

Liberty University Concert Dr. John Hugo, director

&

University Chorale Dr. Dan Suttles, director

November 9, 2020 Center for Music and the Worship Arts Concert Hall MUSIC 050 7:30 PM

Liberty University Concert Choir Dr. John Hugo, director

The Star-Spangled Banner /John Stafford Smith

Kyrie eleison Hans Leo Hassler from Missa Secunda (sine nomine*) (1564-1612)

Alelluia John Hugo (b. 1956)

Ave verum corpus, KV 618 Wolfgang A. Mozart (1756-1791)

Locus Iste Anton Bruckner (1824-1896)

Quem vidistis Francis Poulenc (1899-1965)

God So Loved the World John Stainer (1840-1901)

Valiant-for-truth Ralph Vaughan Williams (1872-1958)

Ride On, King arr. Robert Shaw and Alice Parker

Hush! Somebody’s Callin’ My Name Brazeal Dennard

Sleigh Ride Leroy Anderson (1908-1975) Ades

Puisque tout passe Paul Hindemith (1895-1963)

Champions, Arise! Alma Mater (composed 1993)

University Chorale Dr. Dan Suttles, director Caroline Petrick, accompanist

Waymaker Osinachi Sinach (b. 1973)

The Heavens are Telling Ludwig van Beethoven (1770-1827)

Toccata of Praise Joseph M. Martin (b. 1959)

If Ye Love Me (1505-1585)

O Bone Jesu Marc’Antonio Ingegneri (1536-1592)

Praise His Holy Names Fred Bock (1939-1998)

Let Everything That Hath Breath Jeffery L. Ames (b. 1969) Mackenzie Mendenhall, soloist Amy Blalock, conductor

Be Thou My Vision Dallán Forgaill, (530-598) arr. Josh Stewart Joshua Tomes, conductor

Gloria I: Allegro Vivace John Rutter (b. 1945)

God Rest Ye Merry, Gentlemen Traditional 16th c. English Carol arr. Don Marsh

- PROGRAM NOTES -

Miniatures of Grace When we think of the monumental works of choral literature, Handel’s Messiah, Bach’s Mass in b minor, and Mendelssohn’s Elijah come to mind. Indeed, these works are certainly the ‘Giant Sequoias’ of the choral forest, but around these great trees have sprung up equally beautiful works of smaller dimensions. God thunders in the great choral/orchestral works, but He whispers in the more intimate works of the a cappella tradition. The music on this evening’s program consists of works where listener and performer alike can be transported by the subtleties of the choral art, an art that simultaneously conveys objective meaning and evokes an emotional or even a spiritual response; choral works of brief duration must accomplish their purpose by distilling rich musical meaning into a restricted time frame. While we value large scale choral works with their power and splendor, we also value the smaller forms as gems in the crown of the choral art for which we thank and glorify God.

The Star-Spangled Banner Note: It was common practice in early America to write new words to tunes that everyone knew. Key apparently had the tune To Anachreon in Heaven (written by , ’s John Stafford Smith in 1780) in mind when writing his poem ‘The Defence of Fort M’Henry’ on September 16, 1814. Key published his poem as a broadside (a single sheet) with instructions to sing it to Smith’s familiar melody! According to the Smithsonian Institution, “the first documented public performance of the words and music together took place at the Holliday Street Theatre in Baltimore on October 19, 1814.” Thus, The Star Spangled Banner that we know today was born. It was designated as the National of the United States by Congress in 1931.

Kyrie eleison, from Missa Secunda (sine nomine*) (ca. 1599) Hassler was the first important German composer to study at the Basilica of St. Mark in Venice, where he had interaction with the Gabrielis in the late 1500s. His experiences in St. Mark’s strongly influenced his style, and it is said that he was the first to bring the Italian style to the German lands. The contrast of alternating imitative and homorhythmic textures in this Kyrie reflects both Netherlandish contrapuntal and lilting Italian Renaissance characteristics. The simple descending motive heard at the beginning is repeated no less than 18 times; these reiterations give unity to this concise three part movement, whose text translates as ‘Lord have mercy, Christ have mercy, Lord have mercy.’ *(sine nomine is a term composers and publishers used to indicate that the mass has no borrowed material in it, or more simply, that it has no ‘nickname. In this case, ‘Missa Secunda’ also simply means that the mass is the second but unnamed mass in a larger collection of masses.)

Alleluia (2005) This simple work updates older styles while capturing the essence of the word “Alleluia.” The cheerful melody moves through major and minor harmonies, reflecting the idea that Christians ought to cheerfully praise God in all circumstances. The inner voice parts act as foils that wrestle a bit with this cheerful tune, but despite any ‘circumstantial turmoil,’ the musical journey ends serenely.

Ave verum corpus (KV 618) One of the great short choral works of all time, Mozart’s Ave verum corpus is a very late work by the inspired genius: some have called it the most perfect 46 bars of music ever written. It was first performed at a small church outside Vienna on June 23, 1791, in the year of the composer’s death; the serenity of this accompanied contrasts strongly with the inner turmoil that the busy Mozart, beset as he was with many personal troubles, must have been suffering. Somehow, in his turmoil, Mozart was able to produce a work of infinite serenity, expressive of his confidence in the Almighty. The text translates: ‘Hail, true body, born of the Virgin Mary, who has truly suffered, sacrificed on the cross for mankind, whose side was pierced, out of which flowed water and blood. Be for us a foretaste of heaven during our final examining. O sweet Jesus, O pious Jesus, O Jesus Son of Mary, have mercy on me.’ Perhaps the weary Mozart empathized with the suffering Savior and found peace and comfort in the One who suffered all for his sake.

Locus Iste (1869) The text of this is Latin gradual by Austria’s favorite musical son is sung for celebrations of anniversaries of church building dedications in the Roman rite. Music with this text is performed annually on November 9th at the Pope’s Cathedral Church in Rome, St. John Lateran, so while we are performing this text here today, it was performed in Rome earlier today! A translation of the text is: This place was made by God: a priceless holy place, it is without fault.

Quem vidistis (1952) Poulenc wrote a set of four church to commemorate the Christmas season. This one (Quem vidistis, pastores, dicite) is a dialog between curious townspeople and the shepherds who witness the Nativity. “Whom did you see? Tell us shepherds! Proclaim to us who has appeared to us on the earth?” “We saw the new-born child and the Angel praising God. “Tell us what you have seen! Announce the birth of Christ!” We can almost hear the wanderings of the shepherds in the alto part in the opening bars.

God so loved the world (1887) This famous piece is an excerpt from Stainer famous Oratorio, The Crucifixion; it became a choral staple in Protestant worship in the 20th century. It is probably the most famous English setting of John 3:16-17. Stainer’s music speaks quietly and directly to the soul with irresistible tenderness and poignancy. - PROGRAM NOTES -

Valiant-for-Truth (1941) The Pilgrim’s Progress by John Bunyan (1628-1688) is one of the most popular books written in English, although sadly it has lately fallen out of favor; still, it bears reading by Christians who wish to understand more about the hazards faced by the believer during the earthly pilgrimage. Among the beloved pilgrims in this book is Mr. Valiant-for-truth, honored for using his sword (Word of God) to fight God’s battles during his journey. One day, he is called “to cross the river” and joint the other pilgrims in the Celestial City. Vaughan Williams chose Valiant’s farewell speech as his text for this moving work, first performed in 1942; it must have resonated strongly with those living in England through the darkest days of World War II; the brilliant trumpet calls that welcome Valiant into the Celestial City are particularly affecting. The entire text is quoted below.

“After this it was noised abroad that Mister Valiant-for-truth was taken with a summons…; and had this for a token that the summons was true, ‘That his pitcher was broken at the fountain.’ When he understood it, he called for his friends and told them of it. Then, said he, ‘I am going to my Father’s, and though with great difficulty I am got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword, I give to him that shall succeed me in my pilgrimage, and my courage and skill, to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought his battles who now shall be my rewarder.’ When the day that he must go hence was come, many accompanied him to the riverside, into which as he went, he said, ‘Death, where is thy sting?’ And as he went down deeper, he said, ‘Grave, where is thy victory?” So he passed over, and all the trumpets sounded for him on the other side.

Ride on, King Jesus (1963) This setting is powerful yet clever use of canonic imitation, complete with the technique of augmentation and diminution, and a rough- hewn carefree harmonic treatment. It expresses the believer’s faith in the mighty King Jesus, who rides a milk-white horse. Few arrangements of this spiritual deliver the Gospel message in such unadulterated directness and energy!

Hush! Somebody’s Callin’ My Name (1986) In this simple setting of the spiritual, Dennard depicts of the fear a believer might feel in the night. One has to ask who the “somebody” is who is calling the believer’s name! The believer’s fear is somewhat relieved when he/she remembers that there is nothing to fear because they “got their religion in time!”

Sleigh Ride (1948) Liberty University performances of Anderson’s Sleigh Ride were once a beloved holiday tradition in December Christmas Convocations in the Vines Center. The assembled student body would enhance the performances by jingling 10,000 sets of keys in imitation of sleigh bells! Tonight’s audience is invited to help restore this amusing tradition! Legend has it that Anderson wrote this wintery piece in the middle of a Connecticut heatwave!

Puisque tout passe (1939) This miniature chanson is the third of Hindemith’s Six Chansons. Rather than offering a word-for-word translation of Rilke’s French text, an explanation of what the text means is the best approach, but read quickly: the dlightul minatureS may be over before you finish reading this note!

Since life is so fleeting a thing, let us write a fleeting song; if it refreshes us, it is right for us! Let us sing something that leaves traces of love and of art, and before we can feel grief at its departure, let us depart all the faster!

Champions, Arise! Alma Mater (composed 1993) Notes by John W. Hugo, all rights reserved.

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- PROGRAM NOTES -

Way Maker Way Maker is a contemporary worship song written by Nigerian gospel singer Osinachi Sinach in 2015. Way Maker talks about how the Lord is in fact a Way Maker, Miracle Worker, and Promise Keeper and is a declaration that we, the body of Christ, acknowledge who He is and that we worship him. This powerful song acknowledges the Holy Spirit’s presence in our hearts and in our midst doing works that only He can do. This particular arrangement was created by a group of arrangers from the worship staff at Christ Church in Nashville TN: Christopher Phillips, Phil Nitz, and Jenn Crider.

The Heavens are Telling The Heavens are Telling is a German Lied (song) that consists of a poem by German pastor Christian Gellert with a musical setting composed by Ludwig Van Beethoven. The German title is Die Himmel ruhmen, the opening words of the poem. The Heavens are Telling is inspired by the opening verses of Psalm 19; it expounds upon those verses with notable themes of “natural theology” in which God’s magnificence is revealed in the wonders of nature. Beethoven used the first two stanzas of Gellert’s text and structured the music in ternary form ABA. The music is composed in the key of C major, and in the original manuscript the tempo is marked as Majestatisch und erhaben (majestic and sublime) which is highly appropriate considering the majestic and glorious nature of the music. The accompaniment for tonight’s performance was arranged by Dudley Buck, a prominent classical conductor, composer, and organist in New York in the later 19th century.

Toccata of Praise Joseph M. Martin is a North Carolina native. Since 1979 he has served as a concert pianist and a sought-after composer. He is currently the Director of Sacred Publications for music publisher Shawnee Press. His compositions have been performed in several unique locations, including Carnegie Hall, the Lawrence Welk Theatre, and cathedrals from Austria to Scotland. This piece is an expression of musical praise to God for the gift of music itself.

If Ye Love Me If Ye Love Me is a four-part motet composed by Thomas Tallis during the reign of in 17th century England. The text is derived from the Gospel of John chapter 14, specifically from verses 15-17. If Ye Love Me is comprised of many satisfying moments of imitation, set for an a cappella choir consisting of four voice parts—a style which was very common during the Reformation period in England. As was typical for Anglican motets of the era, this particular piece was composed in an ABB form with the second section being repeated.

O Bone Jesu O Bone Jesu was composed by the Renaissance composer Marc’Antonio Ingegneri during the 15th Century. This particular motet was composed for a four-part a cappella choir and features many tonal ideas that were found in Renaissance music. Although the piece is typically ascribed to Palestrina, it is generally accepted in current scholarship that Ingegneri was the actual composer (a piece of the same name from Palestrina contains six choral parts as opposed to four). As a representative of the Counter-reformation style, his works are generally lucid and transparent as are Palestrina’s.

Praise His Holy Names Praise His Holy Names was composed by Fred Bock in 1977. Bock lived in Los Angeles, California where he was Minister of Music at Hollywood Presbyterian Church for 18 years and Bel Air Presbyterian Church for 14 years. He was also a studio musician and conductor for a variety of recordings. In addition to founding and directing the music publishing division of WORD Music at age 24, Bock went on to serve as a choral clinician, arranger, pianist, organist and director. He composed this choral work which includes over thirty-five different names of the Lord, compiled from both the Old and New Testaments. The piece reflects adoration and respect for the variety of names and offices which Christ holds.

Let Everything That Hath Breath Jeffery L. Ames, the composer of Let Everything That Hath Breath, currently serves at Belmont University as Director of Choral Activities, a position he has held previously at various high schools and universities across the country. He has also served as a choral clinician for multiple ACDA events. Much of his music draws on African-American choral traditions of spirituals and gospel songs. The text for this piece includes excerpts from several Psalms, and encourages all creation to praise the Lord with exuberant worship.

Be Thou My Vision Be Thou My Vision is a well-known hymn with international origins. It was first written in Irish by the Christian poet, Dallán Forgaill, likely in the sixth century, and was translated to English in 1912. The lyrics may refer to the author’s struggle with blindness later in life. The melody for this song is an Irish folk tune known as “Slane,” after a village in Scotland. While the text existed as a common Irish prayer for years, it was first published together with the melody in a hymnal in 1919. Josh Stewart is pianist/arranger/music minister at Bellevue Baptist Church, Memphis, TN.

- PROGRAM NOTES -

Gloria I : Allegro vivace John Rutter is a British composer and choral director who is known worldwide for his choral works—particularly his Christmas carols, and . He founded his own choir-- the Cambridge Singers, and has conducted many sacred choral works as well as his own compositions.

Rutter composed this setting of Gloria in 1974 on a commission from American conductor Mel Olsen. The work is structured in three movements and scored for choir, brass, percussion and organ. Although the setting is a liturgical text, this composition was conceived as a concert piece. Its form follows the typical concerto format of fast-slow-fast in terms of movement tempos, thus the tempo marking for the first movement is allegro vivace. The first movement “Gloria in excelsis Deo” contains an incisive, punchy, syncopated brass opening followed by strong rhythms and triumphant shouts as well as moments of repose from the chorus. It is a jubilant worship celebration!

God Rest Ye Merry, Gentlemen This particular arrangement of God Rest Ye Merry, Gentlemen was arranged by Liberty University’s own Don Marsh. Featuring the familiar tune of the well-loved Christmas carol, the jazz arrangement features some additional lyrics by Mr. Marsh’s wife, Lorie. Don Marsh has been in the publishing and recording business for over 45 years and has produced over 200 choral collections, anthems, and musicals for both adults and children, many of which are collaborations with Lorie. He has published over 3000 arrangements for a variety of artists including Kathleen Battle, Wynton Marsalis, the Gaithers, and Pat Boone. Don is the recipient of a Grammy, and several Dove and Emmy awards. Tonight’s piece is taken from his project, Let Heaven and Nature Swing. -Program Notes by Josh Tomes, Mackenzie Primrose, and Hope Dornfeld

- DIRECTORS - Dr. John Hugo Dr. John Hugo attended Houghton College (B.M.E.), New England Conservatory (M.M. in Choral Conducting), and Arizona State University (M.M. in Vocal Performance, and D.M.A. in Choral Music). His distinguished conducting teachers include Donald L. Bailey, Lorna Cooke DeVaron, and Douglas R. McEwen. While in Boston, he assisted in the preparation of BSO choral/orchestral concerts conducted by Seiji Ozawa, Claudio Abbado, Robert Shaw, Gunther Schuller, Andrew Davis, and Antal Dorati. He currently chairs the Department of Music Theory and History in the School of Music and is in his 33rd year on the choral/voice faculty of Liberty University. He also served as Chorus Master for the Roanoke Symphony Chorus. He has presented over 100 choral performances of at LU. As a member of the Virginia District of the National Association of Teachers of Singing (VANATS), Dr. Hugo has served as Governor, President, Vice President, and Secretary. He is also a member of the National Association for Music Education (NAfME, formerly MENC), the American Choral Directors Association (ACDA), and the American Society for Composers, Authors, and Publishers (ASCAP). Guest conducting appearances have included concerts with the Roanoke Symphony, Opera Roanoke, and the Jefferson Choral Society. Dr. Hugo frequently adjudicates for the Virginia Honor Choir, Virginia All-State Chorus, and for regional choral festivals.

Dr. Dan Suttles Dr. Dan Suttles completed his undergraduate studies at Piedmont International University (Bachelor of Religious Education, 1977) and the University of North Carolina at Greensboro (UNCG: Bachelor of Music, piano, 1981). His Master of Music is in conducting from UNCG (1983). His Doctor of Musical Arts (conducting) is from the Southwestern Baptist Theological Seminary (2006).

Associate Professor Suttles is originally from Covington, KY. He has served since 1973 in six churches in North Carolina, Texas, and Virginia as a music minister, worship leader, orchestra director, and pianist. He has performed for 45 years as a free-lance pianist (soloist and accompanist), accordionist, and conductor in a variety of venues. Since 2007 he has specialized in worship piano music, having ministered with concerts in over 100 churches.

Dr. Suttles has recorded three CDs of secular and sacred piano music. He was ordained to the Gospel Ministry in 2002.

He, his wife Gloria, and daughter Hannah live in Lynchburg, VA. - LIBERTY UNIVERSITY CONCERT CHOIR -

Soprano I Alto I Tenor I Bass I Allison Chiacchira Sadie DeShon Benjamin Cox James Carrig Bailey Coffer Savannah Minyard Mason Edmiston Cole Hoeness Blythe Condon Bailey Rhodes Jareth Marlow Aubrey Mangle Sarah Waters Tenor II Evan Trowbridge Deborah Nava Caleb Faia Olivia Wilburn Alto II Sam Lee Bass II Miranda Osorio McKenzie Bigott Seth Norris Connor Bujno Kayla Suter Emelia Braun Andrew O’Harrow Nolan Small Abigail Wilson Madelyn Chalkey Jacob Slabonik Madison Ford Soprano II Ireland Garrett Sarah Behnke Hannah Bruckner Ashley Doherty Natalie Ely Amanda Harris Katie Hutchison Taylor Lowe Joanna Wichern

- UNIVERSITY CHORALE -

Soprano Alto Tenor Bass Hannah Alexander Cassidy Askew Elijah Andrew Isaiah Barr Ciara Allen Mikayla Benner Andrew Carr Joshua Burfeind Allison Chiacchira Cesi Betances Nathaniel Lewis Dam James Carrig Katherine Cornell Rebecca Boerner Samuel Diaz Marcus Couch Abigail Danielson Sydney Brown Caleb Gauntt Brandon Davis Madison Davis Allison Bunner Jonah Mathews Matthew Dillard Chloe Devincent Kailee Dishmon Michael Pietruski Joshua Dowdy Ashley Doherty Olivia Foster Jacob Rahm David Escobar Hope Dornfeld Lauren Gabler Canaan Santele Seth Good Maggie Effler Amaya Gallivan Christian Santiago Samuel Herlihy Abigail Hamilton Margaret Gregory Seth Talley Samuel Lyon Audrey Lambert Faith Gunter Christian Waldron Lucas Meinerding Sonia Long Rachel Hadley Gary (Ridge) Miller Ava Parker Karlyn Hartman Isaac Nichols Isabel Perry Lillian Heilman David Perhai Mia Roberts Kearston Hudson Will Robertson Jocelyn Robertson Madeline Johnson Jacob Salomon Sadie Sublett Kaycee Ketron Daniel Sampson Jennifer Tibberts Kayeon (Rachel) Kim Gabriel Taylor Lily Walter Nina Koestler-Levy Evan Trowbridge Madison Williams Mackenzie Mendenhall Daniel Waid Carissa Millette Danielle Neufvill Sarah Parham Lauren Rancourt Stephanie Wilkinson

Trumpet Tuba Trombone Keyboard Kent Bergin Dillon Ramsey Christian Marple Caroline Petrick Shepard Wells Jake Widger Kim Parker Autumn Mortenson Bass Kevin Bergin Jeremy Rumrill Jake Widger Percussion A/V Team David MacPherson Kevin Williams Josh Phillips Daniel Mixer Liberty University School of Music Upcoming Events Guitar Ensemble Showcase Old Pate Chapel, 701 Thomas Road Tuesday, November 10, 7:30 p.m. REVIVE: Refreshing the Soul through Student-Led Worship Center for Music and the Worship Arts This concert is presented in conjunction with College for a Weekend Concert Hall (CFAW) Saturday, November 14, 11:00 a.m. Chamber Singers Concert Old Pate Chapel, 701 Thomas Road Monday, November 16, 7:30 p.m. Liberty University Wind Symphony Concert II Center for Music and the Worship Arts Concert Hall Tuesday, November 17, 7:30 p.m. Percussion Ensemble Concert Center for Music and the Worship Arts Concert Hall Thursday, November 19, 7:30 p.m. Please note: Masks are required and socially distanced seating will be enforced. Families may sit together.

For the health and safety of the Liberty University and Lynchburg communities, the general public is not able to attend these events. However, Liberty faculty, staff, and students are welcome to attend and performers may personally invite friends and family.

We would like to thank the Liberty University Administration for their faithful support of the School of Music.

Dr. Jerry Prevo, Acting President Dr. Scott Hicks, Provost and Chief Academic Officer Dr. Stephen Müller, Interim Dean, School of Music The School of Music Administration, Faculty, and Staff