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									      YALE ALUMNI CHORUS

             Voces Unidas Tour 2009

               Guatemala  México




                  PRESS KIT


Yale Alumni Chorus Description

(English and Spanish)                  2

Jeffrey Douma, Musical Director

(English and Spanish)                  5

Soloists                               8

Chorus Members                        11

Program                               14
                       YALE ALUMNI CHORUS

                              Voces Unidas Tour 2009

                                 Guatemala  México


The Yale Alumni Chorus was founded in 1997 and consists of an exclusive group of
singers who are graduates of Yale University. Members are men and women who
travel the world with the aim of enriching the communities they visit through their
art. The chorus members are leaders in numerous fields, such as business, law,
medicine, education, the fine arts, philanthropy, and theology. They come together
as "Ambassadors of Song" to foster connections and to change lives through the
power of song.

Yale University has a long tradition of song and of music education. Beginning with
the founding of the Music Society at Yale in 1812, Yale song has had an
extraordinary impact upon its students by exposing them to many choral programs.
Maestro Robert Shaw cited the tradition of singing at Yale as one of the most
important influences in the interpretation of twentieth century choral music. The Yale
Glee Club, founded in 1861, and the Whiffenpoofs, founded in 1909, are among the
most recognized a capella groups in the world.

The tradition of graduate singing began in 1937 with the founding of the Graduate
Association of the Yale Glee Club, by Senator Prescott Bush, father of President
George H. W. Bush and grandfather of president George W. Bush. Yale Glee Club
members have gone on to become U.S. Senators and Congressmen, Fortune-500
executives, Hollywood actors, and singers and stars of Hollywood and Broadway.

In 1998 the Yale Alumni Chorus made its first international trip, visiting China. The
Chorus won First Prize at the International Choir Festival of China. They traveled to
Beijing, Xi'an and Shanghai, performing in concerts with The Beijing Symphony
Orchestra, The Xi'an Symphony Orchestra, and The National Radio Orchestra of
Shanghai.

In 2001, the Stars of the White Nights international arts festival in Saint
Petersburg, Russia invited the Chorus to sing in concerts with Maestro Valery
Gergiev and the Kirov Orchestra at the Mariinsky Theater. The Chorus also
performed with maestro Constantine Orbelian and the Moscow Chamber
Orchestra, at the Moscow Conservatory.                The Chorus celebrated Yale’s
tercentennial with a gala concert at St. Paul’s Cathedral, London, performing with the
Royal Philharmonic Orchestra.         At the 55th Annual Llangollen International
Musical Eisteddfod, a world-renowned festival in Llangollen, Wales, the Yale
Alumni Chorus was selected as the official chorus of the opening ceremony.

In the autumn of 2001, the Chorus appeared at New York's prestigious Lincoln
Center, performing with the Moscow Chamber Orchestra in America Salutes
the Tercentennial of St. Petersburg. At Carnegie Hall in October, 2003, the
Chorus performed with the Philharmonia of Russia in the 100th Anniversary
Salute to Aram Khachaturian. The Yale Alumni Chorus was the first choir invited
to give a concert at the State Kremlin Palace. There, accompanied by the



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Philharmonia of Russia and the international opera star Dmitri Hvorostovsky,
the Chorus performed Patriotic Songs of the Great Russian War, in a program viewed
on Russian television by some 98 million people. In 2006, the choir traveled to
Holland for a concert with the Rotterdam Philharmonic Orchestra under the
direction of maestro Valery Gergiev. In 2007, the Chorus completed an
extraordinary journey to South Africa, singing with the acclaimed bass-baritone,
Simon Estes.

As "Ambassadors of Song," the Yale Alumni Chorus is dedicated to promoting
international harmony and goodwill through music, providing valuable artistic
collaborations with the best musicians and musical groups of the world.


                                       ***


El Yale Alumni Chorus se fundó en 1997 y está compuesto de un grupo exclusivo de
cantantes graduados de la Universidad de Yale. Los miembros son hombres y
mujeres que viajan por el mundo con el propósito de enriquecer las comunidades
que visitan a través de su arte. Los miembros del coro son líderes en áreas
distintas: los negocios, la ley, la medicina, la educación, las bellas artes, la
filantropía, y la teología. Se reúnen como “Embajadores de la Canción” para fometar
enlaces y cambiar vidas por medio del poder del canto.

La Universidad de Yale tiene una tradición larga de canto y educación musical.
Desde sus inicios en 1800 con la fundación de la Sociedad de Música de Yale en
1812, Yale ha tenido una influencia extraordinaria en sus estudiantes integrándolos
a los programas de canto universitario. El maestro Robert Shaw citó la tradición de
canto de Yale como una de las influencias más importantes dentro de la
interpretación coral del siglo veinte. Coros como el Yale Glee Club fundado en 1861
y los Whiffenpoof en 1909 forman parte de los primeros y más reconocidos grupos
corales que interpretan música a capella en el mundo.

La tradición de canto de los graduados empezó en 1937 con la fundación de la
Asociación de Graduados del Yale Glee Club, una asociación de graduados fundada
por el Senador Prescott Bush, el padre del ex presidente George H. W. Bush y el
abuelo del ex presidente George W. Bush. La lista de los miembros graduados del
Yale Glee Club ha incluido senadores y miembros de la Cámara del Congreso de los
EE.UU, oficiales ejecutivos de las empresas de la lista de Fortune 500, actores de
Hollywood, y numerosos cantantes y estrellas de ópera y Broadway.

En 1998, el Yale Alumni Chorus hizo su primer viaje internacional a la China. Allí
ganaron el primer premio en el Festival Internacional de Coros de China. Viajaron a
las ciudades de Beijing, Xi’an y Shanghai y tuvieron conciertos con la Orquesta
Sinfónica de Beijing, la Orquesta Sinfónica de Xi’an, y la Orquesta Nacional de
Radiodifusión de Shanghai.

En 2001, el Stars of the White Nights International Arts Festival en San
Petersburgo, Rusia invitó al coro a cantar en conciertos con el maestro Valery
Gergiev y la Orquesta Kirov en el Teatro Mariinsky, y con el maestro Constantine
Orbelian y la Orquesta de Cámara de Moscú en el Conservatio de Moscú. El
coro celebró el tercentenario de Yale con un concierto de gala en la Catedral de San
Pablo, Londres con la Orquesta Filarmónica Real, y fue seleccionado como el coro


                                         3
oficial de la ceremonia de apertura del 55º Festival Anual Internacional de
Música Eisteddfod en Llangollen, Gales.

En el otoño de 2001, el coro cantó en New York en el prestigioso Lincoln Center
con la Orquesta de Cámara de Moscú en America Salutes the Tercentennial of
St. Petersburg y en el Carnegie Hall en octubre de 2003, con la Filarmónica de
Rusia en el 100th Anniversary Salute to Aram Khachaturian. El Yale Alumni
Chorus fue el primer coro invitado a dar un concierto en el Palacio de Estado del
Kremlin el 8 de abril del 2003, acompañando por la Filarmónica de Rusia y la
estrella internacional de ópera Dmitri Hvorostovsky. En este concierto el coro
interpretó Canciones Patrióticas de la Gran Guerra Rusa, conmemorando las fiestas
rusas patrióticas, transmitido por RTR, red de televisión rusa y visto por 98 millones
de personas. En 2006, el coro viajó a Holanda para efectuar un concierto con la
Orquesta Filarmónica de Rotterdam bajo la dirección del maestro Valery
Gergiev. En 2007, el coro completó un viaje extraordinario por Sudáfrica, cantando
con el bajo-barítono aclamado Simon Estes.

Como “Embajadores de la Canción”, el Yale Alumni Chorus está dedicado a fomentar
la armonía y buena voluntad internacional por medio de la música, estableciendo
colaboraciones artísticas valiosas con los mejores músicos y grupos musicales del
mundo.




                                          4
                           Jeffrey Douma, Musical Director




Jeffrey Douma became Director of the Yale Glee Club, Yale’s premier undergraduate
mixed chorus, in 2003, and also serves as Associate Professor at the Yale School of
Music, where he teaches conducting and Choral literature.

Douma has appeared as guest conductor with ensembles on six continents, including
the Royal Melbourne Philharmonic Orchestra, Buenos Aires Philharmonic Orchestra,
Bahian Symphony Orchestra, Daejeon Philharmonic Choir, Moscow Chamber
Orchestra, Windsor Symphony Orchestra, and the Johannesburg Festival Orchestra
and Symphony Choir of Johannesburg. He also currently serves as Musical Director
of the Yale Alumni Chorus, which he has lead on four tours, most recently to South
Africa in the summer of 2007. Choirs under his direction have performed in Leipzig’s
Neue Gewandhaus, Dvorak Hall in Prague, Argentina’s Teatro Colon, Sydney Town
Hall, Avery Fischer Hall and Carnegie Hall, and he has prepared choruses for
performances under such eminent conductors as Valery Gergiev, Sir Neville Marriner,
Sir David Willcocks, Shinik Hahm, Constantine Orbellian, Toshiyuki Shimada,
Krzysztof Penderecki and Helmuth Rilling. Active with musicians of all ages, Douma
served for four years on the conducting faculty at the Interlochen Center for the Arts,
America’s premier training ground for high school age musicians, conducting the
Concert Choir, Women’s Choir, and Festival Choir, and frequently serves as clinician
for festivals and honor choirs.

An advocate of new music, Douma recently established the Yale Glee Club Emerging
Composers Competition and Fenno Heath Award, and has premiered new works with
the Glee Club by such composers as Dominick Argento, Lee Hoiby, Jan Sandström,
and James Macmillan. He also serves as editor of the Yale Glee Club New Classics
Choral Series, published by Boosey & Hawkes.

A tenor, Douma has appeared as an ensemble member and frequent soloist with the
nation’s leading professional choirs, including the Dale Warland Singers, Bella Voce
of Chicago, the Arcadia Players, the Oregon Bach Festival Chorus under Helmuth
Rilling, and the Robert Shaw Festival Singers.


                                          5
In the spring of 2003, Douma was one of only two North American conductors invited
to compete for the first Eric Ericson Award, a new international competition for choral
conductors, advancing to the semifinal round in October, 2003, and appearing in
Uppsala and Stockholm. Prior to his appointment at Yale he taught at Carroll
College, where he was Director of Choral Activities, and also served on the
conducting faculties of Smith College and St. Cloud State University. Jeffrey Douma
earned a Bachelor of Music Degree from Concordia College, nationally renowned for
its choral music program. He holds both the Master of Music and Doctor of Musical
Arts degrees in Choral Conducting from the University of Michigan.

                                        ***

Jeffrey Douma se convirtió en Director del Glee Club de Yale, el principal coro mixto
de estudiantes de grado de la universidad, en 2003, y asimismo ejerce como
profesor adjunto en la Facultad de Música de Yale enseñando dirección y literatura
coral.

Douma ha actuado como director invitado con conjuntos de los seis continentes,
incluyendo la Orquesta Filarmónica de Melbourne, la Orquesta Filarmónica de Buenos
Aires, la Orquesta Sinfónica de Bahía, el Coro Filarmónico de Daejeon, la Orquesta
de Cámara de Moscú, la Orquesta Sinfónica de Windsor, y la Orquesta del Festival de
Johannesburgo y el Coro Sinfónico de Johannesburgo. En la actualidad sirve también
como director del Coro de Graduados de Yale, al frente del cual ha participado en
cuatro giras, la más reciente por Sudáfrica en el verano de 2007.

Los coros que Douma ha tenido bajo su dirección han actuado en el Neue
Gewandhaus de Leipzig, el Auditorio Dvorak en Praga, el Teatro Colón de Buenos
Aires, el Sydney Town Hall, el Avery Fisher Hall y el Carnegie Hall, y ha preparado
coros para actuaciones dirigidas por célebres directores como Valery Gergiev, Sir
Neville Marriner, Sir David Wilcocks, Shink Hahm, Constantine Orbellian, Toshiyuki
Shimada, Krzysztof Penderecki y Helmuth Rilling.

Activo con músicos de todas las edades, Douma ejerció durante cuatro años como
profesor de dirección en el Interlochen Center for the Arts (Michigan), el principal
espacio de formación de músicos de escuela secundaria, dirigiendo allí el Coro de
Concierto, el Coro de Mujeres y el Coro del Festival. Asimismo, ejerce con frecuencia
como médico para festivales y coros de honor.

Como defensor de música de nueva creación, Douma estableció recientemente la
Competición de Compositores Emergentes del Yale Glee Club, así como el Premio
Fenno Heath, y ha estrenado con el Glee Club nuevas piezas de autores tales como
Dominick Argento, Lee Hoiby, Jan Sandström y James Macmillan. De igual modo,
desempeña labores como editor de la serie «Yale Glee Club New Classics Choral»,
publicada por Boosey & Hawkes.

Como tenor, Douma ha aparecido como miembro de conjunto y frecuentemente
también como solista junto a los coros profesionales líderes del país, incluyendo el
“Dale Warland Singers”, el “Bella Voce” de Chicago, el “Arcadia Players”, el “Oregon
Bach Festival Chorus” bajo la dirección de Helmuth Rilling, y el “Robert Shaw Festival
Singers”.




                                          6
En la primavera de 2003, Douma fue uno de los dos únicos directores
norteamericanos invitados a competir por el Premio “Eric Ericson”, una nueva
competición internacional para directores corales. Douma llegó hasta la ronda de
semifinales en octubre de 200, llegando a actuar en Uppsala y Estocolmo.

Antes de su nombramiento como profesor en la universidad de Yale, Douma
desarrolló labores docentes en Carroll College, donde ostentó el cargo de Director de
Actividades Corales, y también ejerció como miembro del profesorado de dirección
musical de Smith College y de la Universidad Estatal de St. Cloud. Jeffrey. Douma
obtuvo su grado en Música en Concordia College, institución de renombre en los
Estados Unidos por su programa de música coral. Douma posee tanto el título de
Maestría en Música como el de Doctor en Artes Musicales en Dirección Coral por la
Universidad de Michigan.

                                       ***




                                         7
                                      Soloists




Astrid Marshall, soprano




Astrid Marshall, a soprano from the Chicago area, recently received her Master’s
degree from the renowned Maryland Opera Studio. In 2007, Astrid sang as a young
artist with the Natchez Festival of Music in Mississippi. In the realm of new music,
Astrid recently premiered the role of Bobachina in An Inspector from Rome by John
Musto and Mark Campbell in a workshop with the Wolf Trap Opera Company in
Virginia. Operatic roles recently performed include Queen of the Night (The Magic
Flute) with the Bronx Opera in New York, Romilda (Xerxes) and Tytania (A
Midsummer Night’s Dream) with Maryland Opera Studio, Queen of the Night
(Amadeus, the Tony award winning play turned musical), Adina (L’elisir d’amore),
Erste Dame (Die Zauberflöte), and Lucia (Lucia di Lammermoor), among others.
Astrid also holds a B.A. magna cum laude from Columbia University.

Sharon Agar, alto

Sharon Agar has spent most of her singing life in the non-classical arena, including
musical theater, cabaret and small-group a cappella. She has also conducted and
arranged for a cappella groups, including Yale's all-senior women's group Whim 'N
Rhythm, and The New Blue. She is delighted to return to classical music with the
glorious Mozart. Sharon is also President of the Yale Alumni Chorus.




                                         8
John Rouse, tenor




John Rouse is an active performer in opera, operetta, and concerts throughout
Northern California, having performed with Berkeley Opera (Tamino in Magic Flute,
Eisenstein in Die Fledermaus), West Bay Opera (Des Grieux in Manon, Ramiro in La
Cenerentola), Monterey Opera (Don José in Carmen), and San Francisco’s Pocket
Opera (Belmonte in Yanked from the Harem). He frequently appears in concert with
American Bach Soloists and was tenor soloist in two productions of Bach’s St. John
Passion with the Sacramento Area Bach Festival. He is probably best known to San
Francisco Bay Area audiences through the Lamplighters, for whom he has sung
Alfred in Die Fledermaus, Rossilon in The Merry Widow, and most of the Gilbert &
Sullivan tenor roles.

He first visited Mexico and Central America as a soloist on the 1975 Yale Glee Club
Tour. More recently, he has toured internationally as soloist with the Yale Alumni
Chorus, performing Beethoven’s Ninth Symphony in China, the Beethoven Choral
Fantasy and a Cole Porter medley in St. Petersburg, Moscow, Wales, and London
(with the Royal Philharmonic at St. Paul’s Cathedral) and the Vaughan-Williams
Serenade to Music (under David Willcocks in Ely Cathedral). On the Yale Alumni
Chorus Gift of Song Tour he performed the South American première of Leonard
Bernstein’s Chichester Psalms as well as the Rossini Stabat Mater in Valparaiso and
in Buenos Aires’ Teatro Colon.

Mr. Rouse was a Regional Finalist in the Metropolitan Opera Auditions, and has
studied with Benjamin DeLoache, Jess Thomas, and Orva Hoskinson.




                                        9
Andrew Broadaway, bass




Andrew Broadaway, a Washington, DC native, completed his Master of Music degree
at Rice University in Houston, Texas under the esteemed tutelage of Dr. Joyce
Farwell. Recently, Andrew has been featured in productions of Tosca and Menotti’s
Amahl and the Night Visitors with the South Texas Lyric Opera and was a featured
soloist with Procantus Lyric Opera in their 2007 Opera Gala. Other recent
performances include Ford (cover cast) in Falstaff with the Natchez Opera Festival,
Don Giovanni with the New York Opera Forum, Belcore from The Elixir of Love with
the Bel Cantanti Opera Company ‘Bel Canto Gala’ in Washington, DC and Mr.
Gobineau in The Medium with the Artery Performing Arts Center in Houston. Mr.
Broadaway has also been seen in productions of Cosi fan tutte, La Boheme, La
Clemenza di Tito, The Rake’s Progress, Ariadne auf Naxos, Wozzeck and The
Marriage of Figaro. Andrew has performed these and several other operas with the
Janiec Opera Company in Brevard, NC, the Rice University Opera Theater, the
Annapolis Opera Company, Wolftrap Opera, Washington Summer Opera Theater and
the Indiana University Opera Theater. While completing his Bachelor’s Degree at
Indiana University, Mr. Broadaway performed in the Milken Foundation Jewish Opera
Music festival and concert, where he sang and recorded various roles in rarely
performed operas by Jewish composers.

Timothy DeWerff, piano accompanist

Pianist Timothy DeWerff, Yale Class of 1992 has been the primary accompanist of the
Yale Alumni Chorus since 2003, performing on all YAC concert tours, Yale alumni
reunions, and annual events at the Yale Clubs of Boston and New York City. Other
engagements include a recital at the historic Rokeby estate in the Hudson River
Valley, the New York City premiere of selections of Ned Rorem’s opera Our Town,
and the student production of Cole Porter’s Anything Goes at the Brearley School. A
native of Kansas City, Kansas, he is an editor of scholarly books by profession.


                                      ***




                                        10
                            YALE ALUMNI CHORUS

Soprano

Rhonda Canby
Laura Daniels Couchman
Diana Russell Deacon
Rachael Doud
Susan Doud
Frances C. Everett
Carol Galbreath
Alison L. Gerlach
Stephanie Hagan
Pamela Hanold
Alice B. Hollingsworth
Astrid Marshall
Mandela Moore Mischler
Hopi Moore-Sargent
Valerie Norton
Julianne Parolisi
Amy L. Rice
Karen Schoenberger
Joyce G. Spencer
Laurel Styner
Catherine Widgery

Alto

Sharon V. Agar
Mary Ann Beaumont
Holly Bodman
Lisa K. Catapano-Friedman
Peggy Curchack
Suellen Davidson
Ainsley Donaldson
Joanne B. Gerlach
Rita F. Helfand
Judith Holding
Brenda Jaffe
Christine Johnston
Amy Kaiser
Lucy Kirk
Marlyn McGary Klee
Judith S. Knutson
Ellen R. Marshall
Wynn Meyer
Ann Moore
Pamela P. Resor
Abigail Tate Reynolds
Margaret Rogow
Morgan Stebbins




                                    11
Tenor

Michael Bales
Matthew Doud
Jesse M. Eshkol
Miguel A. Garcia
Brit L. Geiger
John A. Gerlach
Jerome Johnston
Daniel I. Kim
John Knutson
Stanley T. Lamar
Kenneth W. Liebman
Roberto Martinez
John L. Matilaine
James Newby
Robert O’Brien
John Rouse
Ronald G. Sampson
James A. E. Spencer
John N. Williams

Bass

Matthew Agar-Johnson
Nicholas Agar-Johnson
Mark E. Alberta
David Barnett
Alan F. Blanchard
Robert Bonds
Andrew J. Broadaway
William Bunn
Roy J. Byrd
David Coghlan
Richard Collins
Dennis Corcoran
William R. Couchman
Mark Curchack
John F. Davenport
Timothy J. DeWerff
Charles Day Dilks
Richard Everett III
Edward J. Greenberg
Alex Scott Gunn
John T. Hanold
Thomas R. Harter
William Holding
Vertrees Hollingsworth
Richard P. Holloway
David F. Jaffe
Richard Johnson
M. Andrew Johnston
Eugene M. McKelvey


                         12
James DuBois McNeely
Mike Moore
Griffith L. Resor III
Terry Rogers
McKinney H. Russell
David Schrieber
Darrell Styner
William J. Tate III
Robert L. Teicher
Linus Travers
Bruce Tuckman
Harold Weintraub
Murray Wheeler, Jr.
Raymond S. Williams

          Yale Alumni Chorus concert and travel arrangements by
                        Classical Movements Inc.

                                  ***




                                    13
                                     PROGRAM

I. Sacred Music

The Last Words of David – Randall Thompson

Randall Thompson (April 21, 1899 – July 9, 1984) is one of the most important
contributors to American choral works and education in the twentieth century.
Thompson wrote “The Last Words of David” in 1949 in response to a commission by
the Boston Symphony to honor their music director’s twenty-fifth anniversary and
was originally performed by both a choir and the full Boston Symphony. “The Last
Words of David” premiered on 12 August 1949 and was filmed as part of a
documentary on Koussevitsky and the Tanglewood music festival in western
Massachusetts. During his career, Thompson strove to create music of sensibility
and good taste, which both musicians and audiences would appreciate. “The Last
Words of David” begins with a firm declaration that the “ruler of men must be just.”
This theme continues throughout the work as the music gradually softens, finishing
with the peaceful and quiet Alleluia. Today, as a result, the music of Randall
Thompson has become a staple in the choral repertoire, with “The Last Words of
David” and the “Alleluia” among the most performed of his works.

The Lamb – Fenno Heath

Fenno Follansbee Heath, Jr. (December 30, 1926 – December 5, 2008) was an
American conductor, composer, and arranger of choral music. Fenno conducted the
Yale Glee Club from 1953 to 1992, during which time he composed numerous pieces
for choral and a cappella ensembles. He also oversaw the transition of the choir from
an all-male group to a mixed chorus in 1970. Most of Heath’s works are based on
Christian religious texts or subjects and “The Lamb,” a poem by William Blake, is no
exception. The choir asks, “Little Lamb who made thee? Dost thou know who made
thee?” referring to God the creator. The piece was composed for the Yale Glee Club
during his tenure as conductor.

Convidando está la noche - Juan García de Zéspedes

Mexican composer Juan García de Zéspedes (c. 1619-1678) was born in Puebla,
Mexico. He was a singer, viol player, and teacher. He composed both sacred and
secular compositions in every style from the Palestrina-like to the folkloric. During
the seventeenth century, popular street music and dances became fashionable in
high society. Composers in Spain and in the New World employed these vivacious
rhythms and dance energies in their villancicos.         Zéspedes’ lively composition
“Convidando está la noche” is a guaracha, an early form of peasant street music with
satirical lyrics. The music draws heavily on secular influences in text and style, with
origins from both Spain and Africa.

II. New Music

Prayer – René Clausen    (world premiere)

René Clausen (born 1953) is an American composer and current conductor of the
Concordia Choir at Concordia College in Moorhead, Minnesota. He is the founder of
the René Clausen Choral School and his works are widely performed by high school
and church choirs, while his more demanding pieces have been performed and


                                            14
recorded by collegiate and professional choirs. Clausen's compositional style is
varied and eclectic, with compositions and arrangements that cover many artistic
media, including choral, orchestral, wind ensemble, film, video, and solo voice. His
style is sometimes classified as Neo-Romantic, as all of his works are unmistakably
tonal, yet they push the boundaries of choral language. The traditional functions of
choral progression are blurred by his use of tone clusters. “Prayer” was composed
for the Yale Alumni Chorus and sets a prayer written by Mother Teresa of Calcutta,
the Roman Catholic nun who for decades served the most destitute residents of that
Indian city. In this text, the supplicant begs God to help her be a conduit for God’s
will. “Shine through me,” she petitions, “let them look up and see no longer me but
only you.”

Tú – Jorge Córdoba Valencia    (world premiere)

The contemporary Mexican composer and conductor Jorge Córdoba Valencia has
gained prominence both as a composer and a conductor, performing throughout his
homeland, as well as Spain, Brazil, the Dominican Republic, Hungary, and the United
States. He studied at the National Conservatory of Mexico and served as conductor
for several well-known choirs, including the National Youth Choir, University National
Choir, and Madrigalist Choir. He has received numerous prizes for his musical
activities, including first prize in the Third National Contest of Choral Music, and has
participated in many contemporary music festivals. He has been producer of the
recording series "Contemporary Chamber Music" since 1984. He is the coordinator of
the University Choirs of the National University of Mexico. The text of “Tú” is a
religious poem written by Amado Nervo, one of the most important Mexican poets of
the nineteenth century, whose Modernist poetry was known for its use of metaphor
and reference to mysticism. “Tú” was commissioned by Classical Movements Inc. for
the Yale Alumni Chorus for its 2009 summer tour.

III. Folk Song, Popular Song and Spirituals

This section of the program includes charming and imaginative choral settings of
traditional folk music, gleaned from the oral tradition of an earlier and more
predominantly rural society. Spirituals were created and first sung by African
Americans during slavery. Their original composers are unknown. Although it is
impossible to determine with certainty when the first spirituals were created, most
scholars speculate that these songs proliferated near the end of the eighteenth
century and during the last few decades leading up to the end of legalized slavery in
the 1860s.      The arrangers of these tunes often captured them for posterity by
listening outside rural churches, jotting down in musical notation the tunes they
overheard, and later adapting them in these interesting settings.

Every Time I Feel the Spirit – arr. Fenno Heath

This song is an African-American spiritual that has become one of the staples in the
American Spiritual tradition. Fenno Heath arranged many spirituals for the Yale Glee
Club during his thirty-nine-year tenure as conductor. He was attracted to what he
called “the spirit of the spiritual” as “a wonderful source of inspiration, in melody,
rhythm, and text.” In “Every Time I Feel the Spirit,” the choir sings repeatedly of
the spirit of the Lord, which moves them to prayer. The baritone soloist sings of his
own experience with God on Jordan’s river where he prayed for mercy.




                                           15
La golondrina - Narciso Serradel Serradel Sevilla

Narciso Serradel Serradel Sevilla (1843–1910), a native of Alvarado, Veracruz,
Mexico, was both a physician and a composer. During the war against the French-
sponsored Mexican Emperor Maximiliano, Serradel fought against the French
Imperial troops alongside General Zaragoza. He was taken prisoner during the Battle
of Puebla on May 5, 1862, and deported to France. He is most famous for his
popular song of farewell, La golondrina. This song reminds us of how Mexico draws
us back, time and again, like the wandering swallow.

I am Loved As I Love – arr. Jeffrey Douma

The Shakers are a Christian sect that originated in Manchester, England, in 1747,
and later became established in colonial America. The Shakers considered music to
be an essential component of the religious experience. They composed thousands of
songs, and also created many dances. Both were an important part of the Shaker
worship services. It has been surmised that many of them were imitated from the
sounds of Native American languages, as well as from the songs of African slaves,
especially in the southernmost of the Shaker communities, but in fact the melodic
material is derived from European scales and modes. Jeffrey Douma, the musical
director of Yale Alumni Chorus and of the Yale Glee Club, and Associate Professor of
Choral Music at the Yale School of Music. has arranged the Shaker song “I Am Loved
As I Love” for mixed chorus. The words of the song ask us to remember that we
are treated by God in the same way that we treat other people.

Humble – arr. Marshall Bartholomew and David Connell

“Humble” is an American Spiritual from the African-American tradition. Originally
arranged by Marshall Bartholomew for male chorus, it was adapted by David Connell
for mixed chorus. The verses of the song describe different stories from the Old
Testament. Between the verses, the chorus admonishes the congregation to be
humble before God.

Ride the Chariot – arr. William Henry Smith

“Ride the Chariot” is a traditional American Spiritual; a rollicking work, full of
excitement about the coming of Judgment Day, when God would release his people
from the bonds of slavery. The song describes the soul's ascent to heaven as a
chariot ride. The music is sung in the traditional call and response style. The soloist
asks the choir if they are ready for the journey up to Heaven and the choir responds
“Oh Yes, I’m waiting for the chariot ‘cause I’m ready to go.”

IV. Yale Songs

Yale University’s tradition of group singing is fabled. Throughout the decades, the
campus has echoed with the voices of small a cappella groups, large traditional
ensembles, and groups dedicated to particular musical genres.        Yale has been
blessed with conductors and singers who have treasured and preserved this tradition
and passed it among generations, through published songbooks and
intergenerational gatherings.




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We Meet Again Tonight - arr. Fenno Heath

The 1882 edition of the Yale Songs was the first to include this enduring standard, by
license agreement with S. Brainard’s Sons.            Its composer and lyricist are
anonymous. Fenno Heath’s mixed chorus arrangement, with revised lyrics for
greater inclusivity, was published in 1978.       The singers recount the joys of
friendships, the laughter, mirth and song. And though they must part they hope for
the time to come soon when they will “meet again.”

‘Neath the Elms – Gustave J. Stoeckel, arr. Jonathan Clune

The song dates from 1871 and was one of the enduring arrangements Gustave J.
Stoeckel made for the then-fledgling Yale Glee Club. The melody was borrowed form
a German children’s marching song, Soldatenlied, by Friedrich Wilhelm Kücken, while
the middle section is Stoeckel’s own. The words are by Henry Baldwin, a student in
the Yale class of 1871. Originally written for male voices, the mixed chorus
arrangement was created by Jonathan Clune, Yale Class of 1974.

Football Medley

This medley of songs sung by fans at football games and other sporting events
begins with songs of Yale’s rival schools, sung somewhat mockingly. The chorus
then moves on to a series of traditional Yale songs. They include snippets from
songs by the famous songwriter Cole Porter, Yale Class of 1913, and salutes to the
Yale mascot, the bulldog. Listen for the bulldog barking in the interlude from the
beloved ditty, “Bulldog, Bulldog, Bow Wow Wow.”

Bright College Years - Henry Durand

This song is considered the alma mater of Yale University, albeit unofficial. It was
composed in 1881, using an earlier German folk melody. The text describes one’s
college days as “the shortest, gladdest years of life,” imagining how the graduate
will, years later, think back upon the college experience. At the end of the song, it is
the tradition to wave our handkerchief while exclaiming, “For God, for country, and
for Yale!”

V. Works of Mozart

Laudate Dominum (from Vesperae solennes de confessore, K. 339) by Wolfgang
Amadeus Mozart

Wolfgang Amadeus Mozart (1756–1791) composed over six hundred works, and is
among the most enduringly popular of classical composers. Laudate Dominum was
written in 1780 while Mozart was in Salzburg, and it is one of Mozart’s last sacred
works. The text, from Psalm 117, is the most familiar movement of the Vespers. In
Mozart’s time, aside from the Mass, the evening Vespers was the only service in the
Catholic church that permitted music other than plainsong. Laudate Dominum
features a soprano solo line accompanied by chorus. Although the title Vesperae
solennes de confessore indicates that it was written for a confessor saint, we do not
know the "Saint Confessor" in whose honor it was written.




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Coronation Mass, K. 317 – W. A. Mozart

The Coronation Mass, written in 1779, is also among the last of Mozart’s sacred
works written during his time in Salzburg. At the age of twenty-three and having just
lost his mother, Mozart returned home to Salzburg to work for the Prince Archbishop,
who sought to control Mozart’s style by forbidding the commonly used operatic
conventions in church music to which Mozart had become accustomed while abroad.
Given the deep discontentment in Mozart’s life, it is remarkable that he was able to
produce such joyful masterpieces as the Coronation Mass.




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