Riddlers - Brothers, Sing On!

Brothers, Sing On

Edvard Grieg (1843-1907)

Jerusalem

Charles H.H. Parry (1848-1919) Ezequiel Menéndez, Organ

The Cathedral Brass Last Words of David

Randall Thompson (1899-1984)

Danny Boy

Old Irish Air, arr. Julies Knowles Jonas Nissley ‟10, Apprentice Conductor

Patrick Hampton ‟10, Tenor

River of Dreams Terry Gilmore ‟11, Tenor Lincoln Young ‟11, Conga Erik James Holst-Grubbe, Piano

Billy Joel (b. 1949)

Three Love Songs Black is the color of my true love‟s hair I love my love Duncan Cooke ‟13, Tenor

arr. Stuart Churchill Gustav Holst (1874-1934) Terry Gilmore „11, Tenor

The Turtle Dove

Ralph Vaughan Williams (1872-1958) Alex Levy ‟10, Tenor

Gloria from Messe cum Jubilo Eric Jingwei Fan ‟11, Baritone

Maurice Duruflé (1902-1986) Paul J. Murray, Organ arr. Patrick Hampton „10

Lion Sleeps Tonight Connor Brackett ‟10, Tenor And so it goes

Billy Joel

I vow to thee my country The Cathedral Brass Men Men Men Jonas Nissley ‟10, Baritone Connor Supple ‟10, Bass Laudate Pueri

Gustav Holst Ezequiel Menéndez, Organ arr. Patrick Hampton ‟10 Isaiah Farrow ‟10, Baritone Patrick Hampton ‟10, Tenor Felix Mendelssohn (1809-1847)

Good Old A Cappella arr. Patrick Hampton „10 Connor Supple ‟10, Bass Isaiah Farrow ‟10, Baritone Patrick Hampton ‟10, Bass Ave Maria Barcarolle from Tales of Hoffman Men of Avon

Franz Biebl (1905-2001) Jacques Offenbach (1819-1880) Ode to Joy

Texts, Translations and Program Notes

1. Brothers, Sing On!

Text: Translated by Herbert Dalmas

Come and let our swelling song mount like the whirling wind, as it meets our singing throng, so blithe of heart and mind. Care and sorrow now be gone, brothers in song, sing on!

Youth is a wand‟ring troubadour, sailing the singing breeze, wooing a maid on a distant shore, over the tossing seas; steering by the stars above, his vessel a song of love, brothers in song, sing on!

Errant minstrels, thus we greet you, list to our voices strong, with glad and open hearts we meet you in our festival of song. Care and sorrow now be gone, brothers in song, sing on!

The rousing chorus, Brothers, Sing On!, was first known as the popular Norwegian folk song Sangerhilsen. A favorite piece among male glee clubs, this choral salutation was chosen as the opening track for its meaningful and applicable text as it relates to Avon Old Farms School.

Similar to other glee clubs worldwide, The Riddlers are made up of many individuals who, through the unifying power of music, find a sense of community and brotherhood in song. With a student population from nearly 30 countries, Avon Old Farms School thrives on the brotherhood created among great diversity. Known as an unofficial „international anthem‟ of men‟s choral singing, The Riddlers present their own performance of Brothers, Sing On! as a tribute to the Avon brotherhood experienced each day; and so, with glad and open hearts, brothers, in song, sing on!

2. Jerusalem

Text: William Blake (1757-1827)

And did those feet in ancient time walk upon England‟s mountains green?

And was the Holy Lamb of God on England‟s pleasant pastures seen?

And did the countenance divine shine forth upon our clouded hills?

And was Jerusalem builded here among these dark satanic mills?

Bring me my bow of burning gold! Bring me my arrows of desire!

Bring me my spear! O clouds unfold! Bring me my chariot of fire!

I will not cease from mental fight, nor shall my sword sleep in my hand, Till we have built Jerusalem in England‟s green and pleasant land.

William Blake‟s epic poem Milton a poem has inspired countless generations, including the famous British composer Sir Charles H.H. Parry. The Jerusalem text appears in the preface of Blake‟s poem and is derived from an ancient apocryphal story where a young Jesus, accompanied by his uncle Joseph of Arimathea, traveled to the area that is now England and visited Glastonbury. The legend is linked to an idea in the Book of Revelation describing a Second Coming, wherein Jesus establishes a New Jerusalem. The Christian church in general, and the English Church in particular, used Jerusalem as a metaphor for Heaven, a place of universal love and peace. The text “satanic mills” has often thought to refer to the industrial revolution and the destruction that followed, devastating much of England‟s beautiful countryside. Blake‟s poem charges us with the mission to restore England to her former glory and to build this New Jerusalem “in England‟s green and pleasant land”.

3. Last Words of David

Text: 2 Samuel 23:3-4

He that ruleth over men must be just, ruling in the fear of God. And he shall be as the light of the morning, when the sun riseth, even a morning without clouds; as the tenders grass springing out of the earth by clear shining, after rain. Alleluia, Amen.

One of the most famed choral works of the 20th century, the Last Words of David is a staple of American choral literature. Randall Thompson, a prolific American choral composer of the 20th Century, is also known for other famous works including The Peacable Kingdom, Frostiana, and his most performed work, the Alleluia. Taken from an Old Testament text, the Last Words of David, retells the tale of King David‟s final moments. The musical setting creates a masterful balance of contrasts with large fortes and the softest of pianos. Thompson writes with great skill as he paints the text and tells the story through the music.

The piece begins with a virtuosic ascending motive from the lowest octaves of the piano.

Coupled with a strong chordal entrance in the choir, it is clear by the grand entrance of the piano that scenes of a grand entrance or arrival are being painted by the music. Perhaps it is King David? The sweeping line in the piano continues to ascend from its depths until it reaches the piano‟s greatest heights. The opening section concludes in great force as the choir proclaims with fervent exultation “ruling in the fear of God”. The text then repeats in a hushed pianissimo as if the words “the fear of God” are spoken with the greatest fear, reverence, and solemnity.

Reading the text closely and within its biblical context, one will quickly realize that the title of this piece is a misnomer. For the text heard is never actually spoken by King David nor are these words ever his. This text is spoken by a different king, the true King of Israel, the God of Abraham, Isaac, and Jacob. Thus, this grand entrance is not an announcement of an earthly king but that of the divine one. The dramatic ascending motive of the piano, in the opening section, recalls a mighty and omnipotent God; a God, who in Genesis, originates from the depths of eternity. Thompson imitates this idea with a rapidly ascending piano line from the instrument‟s lowest octaves.

With great trepidation the music continues and an intense pianissimo surrounds the text.

Who shall speak in the awesome presence of Jehovah? The music seems to suggest. For surely in his awesome presence, we tremble in fear. With this reverent trepidation, the piece silently concludes. As the music gradually grows fainter we hear the ancient Hebrew hymn, the Alleluia, sung as if, for a moment, we are listening to the distant angelic choirs of eternity.

4. Danny Boy

Text: Fred E. Weatherly

Oh, Danny Boy, the pipes are calling, from glen to glen, and down the mountain‟s side; the summer‟s gone, and all the roses falling. „Tis you must go, and I must bide.

But come ye back when summer‟s in the meadow, or when the valley‟s hushed and white with snow, and I‟ll be here in sunshine or in shadow, oh, Danny Boy, I love you so!

But when ye come, and all the flow‟rs are dying, and I am dead, as dead I well may be, Ye‟ll come and find the place where I am lying, and kneel and say an „Ave‟ there for me; and I‟ll shall hear, tho‟ soft you tread above me, and all my grave will warmer, sweeter, be, for you will bend and tell me that you love me, and I shall sleep in peace until you come to me! Oh, Danny Boy, I love you so!

Also known as Londonderry Air, this melody has often been called the unofficial Irish anthem. While the song has been interpreted in many ways, it is believed to have been inspired by the Irish Diaspora which caused the separation of many families. Danny Boy is a product of that period and an expression of a parent‟s deep longing for a separated son.

5. River of Dreams

Text: Billy Joel (b. 1949)

In the middle of the night I go walking in my sleep, from the mountains of faith to a river so deep. I must be looking for something, something sacred I lost but the river is wide and it‟s too hard to cross.

And even though I know the river is wide I walk down every evening and stand on the shore, and try to cross to the opposite side so I can finally find what I‟ve been looking for.

In the middle of the night I go walking in my sleep, through the valley of fear to a river so deep. And I‟ve been searching for something, taken out of my soul, something I would never lose something somebody stole.

I don‟t know why I go walking at night, but now I‟m tired and I don‟t want to walk anymore. I hope it doesn‟t take the rest of my life until I find what I‟ve been looking for.

Peaking at #3 on the US and UK Charts, the single River of Dreams, rose to great fame in 1993. As the most popular single in an album of the same name, River of Dreams received top ratings in Australia and on the Billboard Adult Contemporary chart. The song is thought to have been inspired by a repeated dream Billy Joel is said to have had. Nominated for the 1993 Grammy Record of the Year, the album lost to Whitney Houston‟s I will always love you.

6. Black is the color of my true love‟s hair

Appalachian Folk Song

Black is the color of my true love‟s hair.

Her lips are something wond‟rous fair; the purest eyes and the daintiest hands.

I love the grass on where she stands. I love my love and well she knows.

I love the grass on where she goes. If she on earth no more I‟d see, my life would quickly fade away. Black is the color of my true love‟s hair.

The 17th Century gave birth to some of the most enduring English love songs; these were folk songs, often written anonymously, that told of unrequited or lost love.

Their haunting modal melodies and evocative lyrics have ensured their continuous popularity over the centuries despite changing tastes in music. In the United States, Black is the color of my true love‟s hair first appeared in the Appalachian Mountain region. Avon alumnus Pete Seeger ‟36 immortalized a version of this popular song in his 2003 recording American Favorite Ballads and in his 2006 recording Folk Music of the World. Stuart Churchill‟s beautiful arrangement is delicate with sweeping melodies passed between the voices and the piano. A truly romantic song, this intimate setting is as delicate as the fair beauty it describes.

7. I love my love

Cornish Folk Song

Abroad as I was walking, one evening in the spring, I heard a maid in Bedlam so sweetly for to sing; her chains she rattled with her hands and thus replied she: “I love my love because I know my love loves me!”

O cruel were his parents who sent my love to sea, and cruel was the ship that bore my love from me! Yet I love his parents since they‟re his, although they‟ve ruined me. I love my love because I know my love loves me!

With straw I‟ll weave a garland, I‟ll weave it very fine; with roses, lilies, daisies, I‟ll mix the eglantine, and I‟ll present it to my love when he returns from sea. For I love my love, because I know my love loves me.

Just as she there sat weeping, her love he came on land. Then, hearing she was in Bedlam, he ran straight out of hand; he flew into her snow white arms, and thus replied he: “I love my love because I know my love loves me.

She said “my love don‟t frighten me; are you my love or no?” “O yes, my dearest Nancy I am your love, also. I am return‟d to make amends for all your injury; I love my love because I know my love loves me.”

So now these two are married, and happy they may be like turtle doves together, in love and unity. All pretty maids with patience wait that have got loves at sea. I love my love because I know my love loves me.

A Cornish folksong collected by Balfour Gardiner, I love my love is one of the Six Choral Folksongs Gustav Holst arranged in 1916. Most famous today for his ubiquitous orchestral suite The Planets, Holst was a fellow student with Ralph Vaughan Williams at the Royal College of Music in London. Influenced by Ravel, Grieg, and Richard Strauss, Holst was particularly inspired by Hindu spiritualism and the English folk tune. In I love my love Holst‟s haunting melody creates a deep emotional soundscape. The song tells the tale of a young man who is sent to sea by his parents. While he is gone, his distraught sweetheart is sent to an asylum, but her faith is rewarded when, to her surprise, he returns to rescue and marry her.

8. The Turtle Dove

Text: English Folk Song

Fare you well my dear, I must be gone, and leave your for a while; if I roam away I‟ll come back again, though I roam ten thousand miles, my dear.

As fair thou art my bonny lass, so deep in love am I; but I never will prove false to the pretty girl I love, till the stars fall from the sky, my dear.

The sea will never run dry, my dear, nor the rocks never melt with the sun, but I never will prove false to the pretty girl I love, till all those things be done, my dear.

O yonder doth sit that little turtle dove, he doth sit on yonder high tree, amaking a moan for the loss of his love, as I will do for thee, my dear.

Featured in a number of English folk songs, the Turtle Dove is a symbol representing feelings of love and loss. Like Holst in his I love my love, Vaughan Williams expresses the longing of the text through a delicate treatment of the melody through all the voices. One can hear the use of expressive melodies; creating a deeply emotional affect to the text.

9. Gloria from Messe cum Jubilo

Text: Latin Ordinary of the Roman Mass

Glória in excélsis Deo. Et in terra pax homínibus bonae voluntátis.

Laudámus te. Benedícimus te.

Adorámus te. Glorificámus te.

Grátias ágimus tibi propter magnam glóriam tuam.

Glory to God in the highest.

And on earth peace to all those of good will.

We praise thee. We bless thee.

We worship thee. We glorify thee.

We give thank to thee according to they great glory.

Dómine Deus, Rex cæléstis, Deus Pater omnípotens.

Dómine Fili Unigénite, Jesu Christe, Dómine Deus, Agnus Dei, Fílius Patris.

Lord God, Heavenly King, God the Father almighty.

Lord Jesus Christ, the only begotten son.

Lord God, Lamb of God, Son of the Father.

Qui tollis peccáta mundi, miserére nobis; qui tollis peccáta mundi, súscipe deprecatiónem nostram.

Qui sedes ad déxteram Patris, miserére nobis.

Thou who takest away the sins of the world, have mercy upon us Thou who takest away the sins of the world, receive our prayer.

Thou who sittest at the right hand of the Father, have mercy upon us.

Quóniam tu solus Sanctus.

Tu solus Dóminus.

Tu solus Altíssimus, Jesu Christe.

Cum Sancto Spíritu in glória Dei Patris. Amen.

For Thou alone art holy.

Thou alone art the Lord.

Thou alone art the most high, Jesus Christ.

With the Holy Spirit in the glory of the Father.

Amen.

French organist and composer Maurice Duruflé is known for a small number of extraordinary compositions, among which the Requiem is perhaps the finest and most celebrated.

Due to his crippling self-criticism, his choral works number to only 14. His compositions are all based upon melodies taken from Gregorian Chant and his works are absorbed with these supple and timeless melodies. With great skill he surrounds these melodies with complex modal harmonies generating an intricate web of polyphony. Similar to the brush techniques of an impressionist painter, Duruflé‟s harmonic writing creates an impressionistic aural picture.

Premiered in Paris in 1966, the Messe “Cum jubilo” is a demanding piece for male voices. With its high tessitura and complex rhythmic formulas, the Gloria presents many challenges for the singer as well as for the organist.

10. Lion Sleeps Tonight

Text: George David Weiss

In the jungle, the mighty jungle, the lion sleeps tonight.

In the jungle, the quiet jungle, the lion sleeps tonight.

In the village, the peaceful village, the lion sleeps tonight.

In the village, the quiet village, the lion sleeps tonight.

Hush my darling, don't fear my darling, the lion sleeps tonight.

Also known as Wimoweh, Lion Sleeps Tonight, is a song written by Solomon Linda in 1939.

Covered internationally by many artists, including Miriam Makeba, and Pete Seeger‟s The Weavers, The Tokens immortalized the song and brought it to number one on the US charts.

11. And so it goes

Text: Billy Joel

In every heart there is a room, a sanctuary safe and strong. To heal the wounds from lovers past, until a new one comes along. I spoke to you in cautious tones; you answered me with no pretense. And still I feel I said too much. My silence is my self defense.

And every time I‟ve held a rose it seems I only felt the thorns. And so it goes, and so will you soon, I suppose. But if my silence made you leave, then that would be my worst mistake. So I will share this room with you. And you can have this heart to break.

And this is why my eyes are closed, it‟s just as well for all I‟ve seen. And so it goes, and you‟re the only on who knows. So I would choose to be with you. That‟s if the choice were mine to make. But you can make decisions too. And you can have this heart to break.

Originally written in 1983, And so it goes was released in Billy Joel‟s 1989 album Storm Front. Peaking at #1 on the charts, the album also included the debuts of We didn‟t start the fire and Leningrad. Inspired by his own personal experience with heart break, Joel writes this song with great simplicity as the repeated melody creates a sense of reverie and reflection.

12. I vow to thee my country

Text: Cecil Spring Rice

I vow to thee my country all earthly things above entire and whole and perfect, the service of my love.

The love that asks no question: The love that stands the test, That lays upon the altar the dearest and the best: The love that never falters, The love that pays the price, the love that makes undaunted the final sacrifice.

And there‟s another country, I‟ve heard of long ago, Most dear to them that love her, most great to them that know; We may not count her armies, we may not see her king; her fortress is a faithful heart, her pride is suffering; And soul by soul and silently, her shining bounds increase, And her ways are ways of gentleness and all her paths are peace.

In his poem Urbis Dei, the diplomat Cecil Spring-Rice describes how citizens of the world owe their loyalties to both their homeland and to a heavenly kingdom. The first verse, with its tones of patriotic fervor, was typical of the pre-WWI era. The final stanza of the poem is a reference to heaven and is a quotation from Proverbs 3:17. While appointed the British ambassador to the United States, Spring-Rice was instrumental in the United States‟ abandonment of neutrality and its participation in the Great War. In 1921, Gustav Holst adapted a section of Jupiter from his suite The Planets to create a setting for the poem. Since then, I vow to thee my country has been known the world over as one of England‟s finest patriotic songs.

13. Men Men Men

Text: Patrick Hampton „10

It‟s great to be on a ship with men and sail across the sea We don‟t know where we‟ll land or when, but its great to be with men. „Cause men can sweat and men can stink and no one seems to care we‟ll throw our dishes in the sink and clog the drain with hair.

Men, it‟s a ship all filled with men, so batten down the ladies‟ room, there‟s no one here but men!

There‟s men above and men below and men down in the galley, There‟s Ben, Isaiah, Levy and Nick and one guy we call Sally!

We‟re men and friends until the end and none of us are sissies, at night we sleep in separate beds and blow each other kissies!

No Sing-ed Beavers performance would be complete without a rendition of Men Men Men. Inspired by a similar song shared among collegiate a cappella groups, this arrangement by Patrick Hampton ‟10 is a staple of the Beaver repertoire and a favorite among their adoring fans.

14. Laudate Pueri

Text: Psalm 113

Laudate pueri Dominum, laudate nomen Domini.

Praise the Lord, all ye children, praise the name of the Lord.

Sit nomen Domini benedictum ex hoc nunc et usque in saeculum

Blessed be the name of the Lord from henceforth now and forever.

Felix Mendelssohn‟s profound influence on nineteenth century choral music stems primarily from his oratorios St. Paul, Elijah, and Christus, and his choral symphony Hymn of Praise. Mendelssohn was not only one of the most gifted composers of the period, he was a piano virtuoso and conductor, and was the administrator and head teacher at the Conservatory in Leipzig, Germany. Classical elegance, sensitivity to text and phrase, rhythmic vitality, and harmonic variety characterize his choral style and are found in abundance in his a cappella part songs written for men‟s, women‟s and mixed voices. Laudate Pueri, Opus 39, No. 2, is the second piece of Mendelssohn‟s Three Motets. These motets, as his other works composed while visiting Rome, contain deep spiritual messages, reflecting his proximity near the center of the Catholic world. Originally composed for women‟s voices with organ, this arrangement for men‟s chorus offers a fresh and pleasant alternative.

15. Good Old A Cappella

Text: Brenda Lee

Well there's a light coming from the window and it shines down on the street And these guys are standing on the corner singin' that good old harmony And now I rise up from the shadows and my voice carries down the street And I‟m alive and I‟m starting to sing and I‟m singing that good „ole harmony I‟m singing that soul to soul, brother to brother, a cappella, sounds good to me Well I just want it understood my boys brought boogey to the neighborhood And we‟re dancing under the light singing through the night Singing that good old a cappella and it sounds so sweet Let „em laugh, let 'em sing, singing that good „ole harmony Well now I turn out the lights say goodbye to another night I'm gonna rest my weary head put my bones away to bed I'm gonna get on my knees and pray to the lord to give me just one more day Oh lord, hear my plea „cause its music, it means so much to me Known for the 1960‟s hits I‟m Sorry and Rockin‟ around the Christmas tree, Brenda Lee is an American performer with 37 US charts hits to her name. At 4 feet 9 inches tall, Lee has been nicknamed Little Miss Dynamite and was among one of the earliest pop stars to have a major international following. Boasting a dynamic and varied career, Brenda Lee is well known for both her country and pop music performances as well as her success in the early days of rock „n roll.

16. Ave Maria

Text: The Angelus

Angelus Domini nuntiavit Mariæ.

Et concepit de Spiritu Sancto.

L Ave Maria, gratia plena, Dominus tecum.

Benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus.

The Angel of the Lord declared unto Mary.

And she conceived by the Holy Spirit.

Ecce Ancilla Domini.

Fiat mihi secundum Verbum tuum.

L Ave Maria... l Et Verbum caro factum est.

Et habitavit in nobis.

L Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostræ. Amen

Behold the handmaid of the Lord.

Be it done unto me according to Thy word.

Hail Mary, full of grace, the lord is with thee, blessed art thou among women, and blessed is the fruit of thy womb, Jesus.

Hail Mary…

And the Word was made flesh.

And dwelt among us.

Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen

The German composer Franz Biebl is best known for this Ave Maria composed in 1964.

Brought to the United States by the Cornell University Glee Club, it quickly became a popular piece among many choral ensembles. The text combines the prayers of the Angelus and the Ave Maria; a practice that has been observed in monasteries and convents for centuries. Similar to the prayers, Biebl‟s music is repetitive and opens a window for contemplation as the listener meditates on the repeated chants and melodies.

17. Barcarolle from Tales of Hoffman

Text: Jules Barbier

Belle nuit, ô nuit d'amour, souris à nos ivresses!

Nuit plus douce que le jour, Ô belle nuit d'amour!

Lovely night, o night of love smile upon our ecstasy!

Night, softer than the day, O beautiful night of love!

Le temps fuit et sans retour emporte nos tendresses, Loin de cet heureux séjour le temps fuit sans retour.

Time flees and without return carrie off our tender affections Far from this happy sojourn time flees without return

Zéphyrs embrasés, versez-nous vos caresses, Zéphyrs embrasés, donnez-nous vos baisers!

Emblazed zephyrs, pour your caresses upon us, Emblazed zephyrs give us your kisses!

While Jacques Offenbach (1819-1880) gained lasting fame for the operettas he wrote for the Parisian stage, his operatic master piece, Les Contes d‟Hoffman, was far more substantial in nature. The libretto is based on a play by Jules Barbier and Michel Carre, in which the German author E.T.A. Hoffman appears as a character in his own stories. The Barcarolle opens the act set in Venice. Nicklausse, a young man, and Giulietta, a courtesan, sing this duet in a gondola while drifting down Venice‟s gorgeous and romantic Great Canal.

18. Men of Avon

Text: Paul Child Strike the drumhead, fly the banner!

Youth leaps forward, like a wave sweeping all that‟s bad before it, Build the future for the brave.

Thwart the foolish, guard the prudent, strike out boldly for the right; keep this land the home of freedom where all men may take delight.

Make our school and make our nation into places where secure lawfulness will find a haven and where peace will long endure.

Now we gather, Men of Avon, men of honor, men of will, set our hearts upon the mountains, and our destiny fulfill.

The school song, Men of Avon, is an anthem shared by generations of proud Avonians.

Set to a text by Paul Child, husband of Julia Child, the music of Beethoven‟s Ode to Joy is a perfect pairing. Sung during chapel services, graduations, and other official events this anthem has come to embody the values and virtues all Men of Avon hold dear.

--Program Notes by Bryan Zaros

The Riddlers Bryan L. Zaros, Conductor Mercedes Featherston de Menéndez, Piano +Connor A. Brackett, „10

Avon, Connecticut

H. Jackson Brady, ‟11

Simsbury, Connecticut

Durst A. Breneiser, „11

Reading, Pennsylvania

+Duncan M. Cooke, ‟13

Princeton, New Jersey

+Benjamin B. Custer, „10 Eric Jingwei Fan, ‟11 +Isaiah Farrow, ‟10 +Terry Gilmore Jr., ‟11 +Patrick D. Hampton, „10 Won Bok Lee, „12

Avon, Connecticut Xiamen, China Bridgewater, Connecticut Newark, New Jersey Farmington, Connecticut Seoul, Korea

+Alexander J. Levy, „10

Farmington, Connecticut

Michael A. Nicolia, „12

West Islip, New York

+Jonas R. Nissley, „10 +Nicholas J. Papadopoulos, „12 +Soon Kyu Park, ‟12

Bainbridge, Pennsylvania Avon, Connecticut Seoul, Korea

Phonkrit Saejia, ‟11

Bangkok, Thailand

+Euan Sorrell, „11

Windsor, England

+Connor P. Supple, ‟10

Avon, Connecticut

Kevin D. Thomas, ‟10 Harrison J. Wasserbauer, „12 Michael Zhai, „12

+ Member of the Sing-ed Beavers

Freehold, New Jersey Canton, Connecticut Wellesley, Massachusetts

The Cathedral Brass Trumpet: Lois Hanzlik, Wayne DuMaine French Horn: Robert Hoyle Trombone: Scott Cranston Tuba: Stephen Perry Timpani: Robert McEwan

Organists Sir Paul J. Murray KHS Church of the Holy Family The United Nations Parish New York, New York

Dr. Ezequiel MenĂŠndez Cathedral of St. Joseph Hartford, Connecticut

Additional Credits Robert J. Volo, Chairman of the Performing Arts Department Produced, mixed, and mastered by Erik James Holst-Grubbe Engineered by Brenner Eugenides Executive Producers Bryan L. Zaros and Robert J. Volo Recorded in the Susan Casey Brown Auditorium at Avon Old Farms School; Tracks 2, 9, 12, and 16 recorded in the Cathedral of St. Joseph in Hartford, Connecticut

by Mateusz Zechowski, StudioTeo Recording Services

We are grateful to the faculty and Headmaster of Avon Old Farms School whose support and leadership inspire us to sing. We are also grateful for the contributions and generous support of Dr. Ezequiel MenĂŠndez, The Cathedral Brass of The Cathedral of St. Joseph, Sir Paul J. Murray KHS and the Avon Old Farms School Parents Association.

The Riddlers Striving for musical excellence, the Riddlers consist of the finest students in the choral program at Avon Old Farms School. This highly select group of experienced and dedicated singers, named after our school‟s founder, Theodate Pope Riddle, aims for the highest standards of musicianship and performance. They perform a diverse repertoire of music including medieval chant, renaissance polyphony, romantic part songs, folksongs, contemporary classical music, popular songs, and a cappella numbers. Riddlers meet as a regularly scheduled class.

Members of the Riddlers are typically upperclassmen and will have progressed through the various stages of choral training. In addition to their own repertoire, the Riddlers rehearse and perform in concert with the school‟s larger choral ensembles. The Riddlers give performances several times throughout the school year and regularly perform off-campus. They travel for performances in Boston , New York City and throughout the Northeast and have recently toured internationally in the United Kingdom, Germany, and Austria.

Sing-ed Beavers Founded and directed entirely by students, this a cappella group is a favorite among the student body. These students take full and complete leadership of the ensemble: they choose their own repertoire, audition their own members, manage their own performances, and, in performance have their own exciting and captivating energy.

Rehearsals meet outside of class. Performing often at Miss Porter‟s School and at local venues in and around the town of Avon, the group has their own devoted fan club.

Mercedes Featherston de Menéndez Mercedes Featherston de Menéndez received her Master‟s Degree in Piano from the Hartt School of Music at the University of Hartford in May 1995. She has studied piano with Luiz de Moura Castro and Watson Morrison. Further educational achievements include the degree of Professor Superior de Piano from Conservatorio Gilardo Gilardi in Bs.As. Argentina, and studies with Manuel Rego and Elsa Carranza.

Mercedes‟ professional accomplishments include performances in Argentina, Italy and the United States as both soloist and accompanist. Her career currently includes the position of Assistant Director of Choirs and Piano Instructor at Avon Old Farms School since 1995, and Accompanist at the Ethel Walker School since 2001.

Bryan L. Zaros Originally from Armonk, New York, American conductor Bryan Zaros earned a Bachelor of Music in Sacred Music from Westminster Choir College and a Master of Music in Conducting from the University of Michigan. As a member of the Metropolitan Opera Children‟s Chorus for six years, Bryan was a frequent performer on the stage of the Metropolitan Opera House throughout his childhood. Performing regularly with Luciano Pavarotti, Placido Domingo, Denyce Graves, Cecilia Bartoli and James Levine among others, Bryan was featured in over twenty operas, performing over a hundred performances a year. Featured as a soloist on national and international television and radio including Live from Lincoln Center and the Chevron Texaco Metropolitan Opera Radio Broadcasts, Bryan has also been a guest artist on the NBC Today Show. He has performed on several occasions on the stages of Avery Fisher Hall, Carnegie Hall, and on the stage of the Patriots Theatre at the Trenton War Memorial.

Devoted to scientific research, Bryan was a competitor in regional and national science competitions during his youth, including the historic INTEL Westinghouse competition. A recipient of the United States Naval Award, for “most promising scientist” in 2001, Bryan has also been a guest lecturer on the topic of astrobiology at symposiums hosted by SUNY Albany, Manhanttanville College, and Pace University.

At sixteen, he was appointed the Assistant Choirmaster of the Church of the Transfiguration in New York City, and became the assistant conductor of the oldest Men and Boy‟s Choir in the United States. Since then he has served as a church musician in many states, including New York, New Jersey, Michigan, and Connecticut.

Recent conducting engagements have included invitations with choirs in England, Italy, Switzerland, Canada and Slovenia. In February 2009, Bryan was a guest conductor of the Vancouver Chamber Choir, Canada‟s premier choral ensemble, in a concert featuring songs of nature and romance. In the same year, Bryan was the only American conductor invited to compete at the 5th International Competition for Young Choral Conductors and, as such, was the official American representative at this prestigious international event held in Ljubljana, Slovenia. He has also conducted a variety of established orchestras including the Philadelphia Chamber Orchestra, The Oregon Bach Festival Orchestra, The Michigan Sinfonietta Orchestra, and the Charpentier Sextet. He is a recipient of awards, grants and fellowships from Westminster Choir College, the University of Michigan, the National Endowment for the Humanities, and a semi-finalist award in Conducting from the American Prize.

In 2010 Bryan was appointed the Conductor of the Archdiocesan Choir at the Cathedral of St. Joseph in Hartford, Connecticut. He directs music at Archdiocesan events, conducting the Cathedral Brass, and leads the Archdiocesan Choir in their performances at St. Patrick‟s Cathedral, New York and in Rome, Italy.

Bryan is currently the Director of Choral Activities at Avon Old Farms School; an exclusive all-male boarding school, serving students in grades 9-12 and Post Graduate from 30 countries. Students under Bryan‟s direction have earned regional and national recognition. His ensemble, The Riddlers, have toured nationally and internationally and recently released, this, their second recording to date, “Brothers, Sing On!”.