JON S. KULAGA, PH.D.
PRESIDENT, INDIANA WESLEYAN UNIVERSITY
“Music helps us to ‘keep time’ in the sense of keeping us in touch with time, not just time as an ever-flowing stream that bears all of us away at last, but time also as a stream that every once in a while, slows down and becomes transparent enough for us to see down to the streambed. The way, at a wedding, say, or watching the sun rise, past, present, and future are so caught up in a single moment that we catch a glimpse of the mystery that, at its deepest place, time is timeless.” – Frederick Buechner
This is the experience that occurs each time you hear the Indiana Wesleyan University Chorale perform. For a moment, perhaps for a song, time becomes timeless. You are no longer merely at a concert, or a commencement, or a church gathering. For that moment, you are caught up in the mystery that allows you to not only listen – but also worship. Keeping time, as one note follows another, but also losing all sense of time – and in some ways, perhaps, not wanting the song to end.
The students that make up the entirety of the IWU Chorale perform with the singular understanding that what they share with their audiences is secondary to the audience of ONE – to Whom and for Whom they sing.
I know that today’s concert will inspire and encourage you. I also want to invite you to consider entering into the performance as more than a passive receiver. Listen to the words with not only your ears, but also your heart, as your act of spiritual worship (Romans 12:2) – and you will leave with a greater sense of gratitude for the gifts your Creator has given you, and a renewed sense of energy to use them for His Kingdom.
Jon S. Kulaga, Ph. D. PRESIDENT, INDIANA WESLEYAN UNIVERSITY
“A NOTE FROM
Music has a unique way of bringing people together, and I witnessed this firsthand during our unforgettable collaboration with the IWU Chorale at the Museum of the Bible in Washington D.C. What struck me most wasn’t just their polished performance or technical excellence – though both were exceptional – but rather the authentic community these students create together. From negotiating the perfect balance between classical discipline and contemporary expression for our final number, to sharing late-night tacos and discovering hidden talents (who knew we had everything from competitive cornhole players to amateur magicians in our midst?), these students demonstrated that true musicianship extends far beyond the stage.
The IWU Chorale embodies something rare and beautiful: the ability to maintain professional excellence while nurturing genuine relationships and spiritual depth. They don’t just perform – they invite us into an experience where musical artistry and authentic worship become one. Their commitment to their craft, to each other, and most importantly, to Christ, creates moments that transcend the ordinary and touch the divine.
Ryan Dahl FOUNDER/CEO PRAISE CHARTS
A History Of Excellence
The Indiana Wesleyan University Chorale, under the direction of Professor Davy Chinn, strives to present the finest level of performance in ministry in choral music. Membership in this 40-voice ensemble is decided by competitive auditions and represents a wide spectrum of majors. The Chorale seeks to worship the Lord Jesus Christ through a diverse repertoire of music, including sacred and secular classics, hymns, spirituals, and contemporary compositions.
Over the years, the Chorale has been honored to participate in many special events, including 18 years of the Gaither Praise Gathering and the 2000 dedication of the Van Kampen Foundation’s Hampton Court in Herfordshire, England. The Chorale has appeared as musical guests for Robert Schuller’s The Hour of Power at the Crystal Cathedral in Garden Grove, California, and at Coral Ridge Presbyterian Church in Fort Lauderdale, Florida, under the ministry of the late Dr. D. James Kennedy.
The Chorale has also performed in Europe with concerts in St. Giles’ Cathedral, Edinburgh, Scotland; St. Michael and All Angels’ Church, Haworth, England; York Minster, York, England; Christ Church College Chapel, Oxford, England; St. Paul’s Cathedral, London, England; and Sacré-Cœur Basilica, Paris, France.
The Chorale made their sixth overseas tour in May of 2014 performing concerts in both France and England. In May of 2018 the Chorale made their seventh overseas tour to Italy. The Chorale was well received and was honored to perform in such prestigious venues as St. Mark’s Basilica in Venice and St. Peter’s Basilica in the Vatican City.
Closer to home, the Chorale prepares for several regularly scheduled concerts each year throughout the Midwestern United States, as well as a week-long spring tour. Past tours have included the East Coast, California, Florida and Washington D.C. In March of 2015, the Chorale made its Carnegie Hall debut performing Maurice Duruflé’s Requiem. In addition to these venues, the Chorale has been selected to perform at recent National Music Education Association Indiana State Conventions. Most recently, the Chorale was invited to collaborate in two major projects at the Museum of the Bible in Washington D.C including “All Creation Sings,” an ongoing immersive exhibit, and “Everlasting Light” a collaborative Christmas concert.
MASTER DAVY CHINN
Conductor
Master Davy Chinn is a vibrant and energetic young conductor and teacher. He serves Indiana Wesleyan University as Assistant Professor of Music, conducting the IWU Chorale and teaching courses related to choral music.
After earning his Bachelor of Arts degree in Music Composition and Theory from Indiana Wesleyan University, he spent a year studying choral music and conducting at the University of Colorado Boulder. He went on to pursue his Master of Music degree in Choral Music at the University Of Southern California
Thornton School Of Music. In his first year of study at USC, he was accepted into the USC Thornton School of Music’s Board of Counselor’s Mentorship Program, through which he was awarded mentorship with Grant Gershon, artistic director of the Los Angeles Master Chorale and resident conductor and chorus director of the L.A. Opera. As a champion of new music, Chinn has prepared choruses for and conducted eight world premieres. Master Chinn’s greatest area of interest in the choral field is supporting young composers, especially students, helping them find their unique voice in the deep sea of new music.
As a choral performer, Chinn has sung with such artists as Point of Grace, Fernando Ortega, Barry Manilow, the Gaither Vocal Band, the Rolling Stones, and Sir Elton John. He has performed on such programs as the Crystal Cathedral’s The Hour of Power, The Thrilling Adventure Hour, L.A. Live’s Christmas tree lighting, and the Primetime Emmy Awards.
In addition to his role as Assistant Professor of Music, he currently serves as the Chair of the Division of Music and Theatre, and the Director of Choral Activities. Master Chinn is a member of the American Choral Director’s Association, the National Collegiate Choral Organization, and the National Association for Music Educators.
Above all musical and professional accomplishments, Davy’s greatest earthly joy comes from spending time with his bride, Olivia, and their young children, Violet and Harvy.
A note from the director
St. Augustine, one of the great fathers of our faith, is often quoted as saying, “To sing is to pray twice.” While the attribution may be debated, the sentiment remains profound. Singing with others weaves a tapestry of fellowship, enriching our experience and deepening our understanding of community. The IWU Chorale strives to foster this fellowship, sing in exquisite harmony, and pursue excellence in every aspect, all for the glory of God.
These “Choraleians,” as they proudly call themselves, have undergone a rigorous audition process and dedicated countless hours to rehearsals. Their dedication and hard work resonate in every note they sing, and their passion for music and their Creator is truly inspiring.
I am incredibly proud of each and every one of them. Their talent, discipline, and unwavering commitment to excellence make our performances a true celebration of their hard work and God’s glory. We hope that our music uplifts your spirit and brings you joy, just as it does for us.
Humbly,
Master Davy Chinn
IWU CHORALE CONDUCTOR
IWU DIVISION OF MUSIC AND THEATRE
Music plays an important role in the life of the Indiana Wesleyan University community, where students participate in performing groups, private lessons, small chamber ensembles or ministry teams. More than just a vocational activity or an artistic discipline, musical expression is also a testimony of lives redeemed by God, telling others of His love.
The Divsion’s outstanding performing groups include the University Chorale, Marching Wildcats, Orchestra, Jazz Band, Wind Ensemble, and many other large and small ensembles.
The Division of Music and Theatre offers degrees in Music Education, Music Therapy, Composition, and Performance. Minors in Music and Theatre are also offered. Indiana Wesleyan University has been a fully accredited institutional member of the National Association of Schools of Music since 1994.
The Division of Music and Theatre is housed in the Phillippe Performing Arts Center. This architectural award-winning building includes: a 1,200-seat auditorium designed to enhance natural acoustics, a 175-seat recital hall, 18 practice suites that students have access to 15 hours a day/six days a week, a music computer lab equipped with ten midi-keyboards
and a state-of-the-art electric piano lab.
For more information on the Division of Music and Theatre, stop at the display table following the concert or contact the University at 765-674-6901. You can also visit us at indwes.edu/music. iwudivisionofmusic
iwumus
iwumus
Indiana Wesleyan University is celebrating 100 years as a Christian, global, comprehensive university providing liberal arts and professional education to approximately 14,000 students worldwide. IWU is one of the largest faith-based universities in America with rich undergraduate, graduate, masters, and doctoral programs in such highly acclaimed academic units as the School of Nursing, School of Physical and Applied Sciences, College of Adult and Professional Studies, and School of Arts and Humanities.
An early leader in adult and online education, IWU is known for excellence in innovation. Students live and learn on the beautiful 300-acre IWU-Marion traditional campus, and study through IWUNational & Global programs offered online and at education centers in Indiana, Kentucky and Ohio.
Wesley Seminary at Indiana Wesleyan University, founded by the Wesleyan Church denomination and IWU, prepares Christian leaders to engage in missional ministry locally and globally. Indiana Wesleyan University is accredited by The Higher Learning Commission and is a member of the North Central Association of Colleges and Schools.
For more information, visit indwes.edu.
Scan the code to view the full program including roster and song notes.
To donate to the Chorale and support their ministry, please stop at the Indiana Wesleyan University display table.
*Checks can be made out to Indiana Wesleyan University
iwuchorale
A PRAYER OF THE MIDDLE AGES
Composer: Howard Hanson (1896 – 1981)
Text: Anonymous, 8th Century
Translation: Jame Francis Cooke
Program Note:
Howard Hanson’s 1976 motet “A Prayer of the Middle Ages” draws on James Francis Cooke’s English translation of an eighth-century poem, artfully combining 20th-century experimentation, medieval quintal chords, and a uniquely American spirit. Hanson was a prolific 20th-century composer who won a Pulitzer Prize in 1944. However, he was ridiculed for his “outdated” devotion to tonal music in a time when atonality was championed. This piece, commissioned towards the end of his career for the 150th year of Furman University, starts in the most American way: with a declarative fanfare of voices. Hanson spends much of the piece playing with the listener’s sense of tonality. The first forty-four measures, well over half the piece, do not feature a tonal center, depicting the chaos of the unformed earth. Throughout this, Hanson uses quintal chords, considered the ideal harmony in organum from the Middle Ages, to symbolize God’s power amid the chaos. At the conclusion of this piece, Hanson brings us into G major, giving a sense of peace and serenity that matches the text. In response to the pushback he received, Hanson masterfully drew on the experimental music of his time while maintaining his uniquely tonal, text-driven, and American flavor.
– Elayna Parandi-Horgen, Bryan Crossman, and Michael Biven
SCHAFFE IN MIR, GOTT, EIN REIN HERZ, OP. 29 NO. 2
Composer: Johannes Brahms (1826-1899)
Text: Psalm 51:10-12
Translation: English Standard Version
Schaffe in mir, Gott, ein rein Herz, und gib mir einen neuen, gewissen Geist.
Verwirf mich nicht von deinem Angesicht und nimm deinen heiligen Geist nicht von mir.
Tröste mich wieder mit deiner Hülfe, und der freudige Geist erhalte mich
Create in me a clean heart, O God, and renew a right spirit within me.
Cast me not away from your presence, and take not your Holy Spirit from me.
Restore to me the joy of your salvation, and uphold me with a willing spirit
Program Note:
The three-part motet “Schaffe in mir, Gott, ein rein Herz” was composed in approximately 1860, and immediately received high praise from musicians whose opinions carried weight in Brahms’ life. When she first encountered the work, Clara Schumann singled out the second movement, calling it “the prize.” Opening in a bright major sonority, Brahms’ setting of Psalm 51 begins as an intriguing, widely voiced imitative interplay between the outer voices. Upon the arrival of the second movement, this chromatic fugue centers around the text “cast me not away from thy presence.” The interweaving lines blur the boundary between major and minor, harmonically expressing the emotional dissonance portrayed in the psalmist’s text. Echoes of the compositional techniques from the first movement return in the third, which revisits the initial text as well. Brahms masterfully writes the treble voices in dialogue with their lower counterparts, trading prominent phrases before erupting in a spirited surge of sound, as the choir petitions God with the words of David: “Create in me a clean heart, O God, and renew a steadfast spirit within me.”
– Christopher Paterson
LEAD ME, LORD
Composer: Samuel Sebastian Wesley (1810 – 1876)
Arranger: Fred Bock (1939 – 1998)
Text: Psalm 5:8, 4:8
Program Note:
The hymn “Lead me Lord” was originally written by Samuel Sebastian Wesley, the grandson of Charles Wesley, as the last movement of the choral and organ work “Praise the Lord, O My Soul.”
Taking inspiration from Wesley’s original work, Fred Bock’s arrangement reflects the tender prayers of Psalms 4 and 5. This musical prayer begins in the simplicity of D major emphasizing a moment of sweet intimacy with the Lord. As the piece unfolds, the prayer builds in earnestness as the choir weaves in and out of compelling harmonies and the key rises to ‘F’ major. The final moments of the piece rest in striking acapella showcasing the tension of the harmonies and reflecting the emotions of an honest prayer asking for the Lord’s protection.
– McKenna O’Donnell
IN THE BLEAK MIDWINTER
Composer: David Horace Davies
Text: Christina Rossetti (1830 – 1894)
Program Note:
“In the Bleak Midwinter,” originally titled “A Christmas Carol,” is a poem by the English poet Christina Rossetti, written in 1872. The text serves as a poetic account of both the wonder and majesty of the birth of Jesus Christ; it reminds its readers of Jesus’s humility as He descended into His own creation as an infant to save humanity. In 2017, David Horace Davies (b.1979), now serving as the Vice President of Academic Affairs and Chief Academic Officer at Indiana Wesleyan University, composed a new setting of this beloved text for the University Chorale at East Texas A&M University. This piece displays the mystery and awe of the Incarnation; with beautiful text-painting and powerful stylistic choices, Davies breathes renewed life into Rossetti’s text, drawing attention to the contrast between the ruthless, dark winter and God’s ultimate act of love. It was Davies’ intention for this piece to serve as an encouragement to believers who are experiencing challenging circumstances and difficulty. Even when days grow bleak and cold, the love of Christ is always present and active. We are poor and frail, unworthy of Jesus’s sacrifice, but the love of God does not require recompense but, rather, our full devotion and faith. As the text and piece so beautifully concludes, “...What I can I give him: give my heart.”
– Daniel Terhune, Nora Marden, and Emma Davies
PEACE SONG
Composer: Tim Brent
Text: Matthew 5:7-9
Program Note:
Directly preceding the opening of Jesus’ Sermon on the Mount it is written “And He opened his mouth…” Jesus breathed out the words that gave life into people just as He breathed life into humanity; now Jesus was breathing out and uttering the words that people were longing to hear. They were meek, pure, merciful, poor in spirit, full of peace even amidst persecution, and they hungered and thirsted for righteousness. Because of this, they will inherit everything. The text of “Peace Song” is quoted from three of the Beatitudes in the Gospel of Matthew. Brent clearly displays the blessing, joy, and hope so evident in this scripture, which really brings his composition to life. Particularly, the word “blessed” is repeated throughout the entirety of the work which propels the rest of the lyrics forward. The echoed response of the quintet singing the Latin translation of these scriptures brings an energy to the piece and emphasizes the dynamic relationship between God and his children, just as the words proclaim. The work opens on a unison ‘E,’ with treble voices dissonantly carrying the work forward, quickly accompanied by drum & finger cymbals, followed by the low voices before briefly clarifying the piece’s modal center. Listen for shifts in texture as the choir morphs between unison and polyphony. Soon, the quintet emerges, interacting dialogically with the chorus before building and overlapping one another at the highest point of the A section. Modified ternary in form, instructed aleatory marks the climax of the B section, driving the repetition of the words “Blessed are the merciful” before quickly receding in dynamic towards the return of the harmonic language from the A section. Here the quintet similarly thickens in intensity and interaction with the choir before an explosive end to the piece.
– Katelyn Ranck, Myah Miller, and Christopher Paterson
CHRIST, WHOSE GLORY FILLS THE SKIES
Composer: Brad Nix (b. 1975)
Text: Charles Wesley (1707 – 1788)
Program Note:
The great Methodist evangelist Charles Wesley wrote nearly 9,000 poems, 6,000 of which are considered hymns. Amongst this tremendous number of hymns is the text “Christ Whose Glory Fills the Skies,” a morning hymn first published in 1740 in the Wesley collection Hymns and Sacred Poems. Wesley’s compares Christ’s omnipotence and omniscience to “light,” “dayspring,” “radiancy,” and the “daystar.” Brad Nix evokes the opposing expression of Christ as “Sun of Righteousness” and our “Dark and cheerless” mornings without Him through dynamic contrast and tonal center shifts amongst other techniques. Listen especially close during the third verse as the text is a prayer for us all to pray.
– Chase Dowdy
TRISTIS EST ANIMA MEA
Composer: Carlo Gesualdo de Venosa (c.1560 – 1613)
Text: Matthew 26:38
Translation: from the Roman Catholic Church
Tristis est anima mea usque ad mortem: sustinete hic, et vigilate mecum: nunc videbitis turbam, quæ circumdabit me.
Vos fugam capietis, et ego vadam immolari pro vobis.
Ecce appropinquat hora, et Filius hominis tradetur in manus peccatorum.
My soul is sorrowful even unto death; stay you here, and watch with me. Now ye shall see a multitude that will surround me.
Ye shall run away, and I will go to be sacrificed for you.
Behold, the hour is at hand, and the Son of Man shall be betrayed into the hands of sinners.
Program Note:
Carlo Gesualdo, Prince of Venosa (c. 1560-1613), remains one of the most “colorful figures of music history”, stated by Brabara Russano Hanning in her book, Concise History of Western Music. Remembered as much for his prevalent chromaticism and unconventional cadences, Gesualdo wrote many madrigal and sacred works that far exceed the harmonic expectations of his time. One of those sacred works is “Tristis est anima mea,” which sets one of the most haunting scenes in the Passion narrative: Christ’s words in the Garden of Gethsemane, “My soul is sorrowful, even unto death...You will take flight, and I will go to be sacrificed for you.”
Traditionally sung during Holy Week as part of the Tenebrae responsories, the text inhabits a glimmer into the humanity of a man fully divine. In hearing this work, the listener is drawn not only into a sacred story, but into an intimate landscape of sacrifice. Participants stand for a moment in the shadow of the cross, then see beyond it the profound beauty made possible through Jesus’ sacrifice: love enacted through and enduring beyond death.
– Wyndham Ross, Cooper Sherrill, and Eli Berg
WERE YOU THERE?
Composer: Anonymous
Arranger: Norman Luboff (1917 – 1987)
Text: Anonymous
Program Note:
Though the true author of this traditional African American spiritual is unknown, the spiritual was first published in the hymnal, Old Plantation Hymns in 1899. It later became one of the first black spirituals to be included in a major American hymnal, The Episcopal Church Hymnal. In the 1960’s Norman Luboff recorded his arrangement of the spiritual with his choir, the Norman Luboff Choir, for his album The Gospel Truth. Musically, Luboff employs dynamic contrast, layered voicing, and expressive phrasing to heighten the narrative arc of the text. Gentle, almost whispered openings give way to fuller, more resonant harmonies, mirroring the emotional progression from awe and sorrow to reverence and resolve. The repeated question, “Were you there?” becomes not only a historical inquiry but a personal one, drawing each listener into the story and asking them to confront their own relationship to faith, suffering, and grace. Through this thoughtful and restrained arrangement, Luboff transforms a traditional spiritual into a powerful choral meditation, offering moments of stillness, reflection, and shared humanity.
– McKenna O’Donnell, Charles Osborne III, and Kensington Skinner
WONDROUS LOVE
Composer: Anonymous
Arranger: Eric Nelson
Text: Anonymous
Program Note:
Eric Nelson’s 2020 arrangement of “Wondrous Love” takes us on a journey from murmurings of God’s love to a triumphant declaration. This hymn’s lyrics were first published in the 1811 camp meeting songbook A General Selection of the Newest and Most Admired Hymns and Spiritual Songs Now in Use. However, it did not have a printed melody assigned to it. Many congregations paired popular melodies with the lyrics of “Wondrous Love,” with the “The Ballad of Captain Kidd” melody being the most popular pairing. The text and melody were first published together in the appendix of the 1840 edition of The Southern Harmony, compiled by William Walker. In Nelson’s arrangement, the tenors and basses begin singing this piece, quietly pondering Jesus’ love. Later, a solo tenor and soprano inspire more voices to “join the theme.” The piece explodes into a unison declaration of triumph over death, expanding into an endless waterfall of “I’ll sing on.” The piece concludes with the tenors and basses singing softly in unison, just as it began. Masterfully driven by the lyrics of this piece, Nelson takes us on an arc, from pondering Jesus’ love to victory over death.
– Elayna Parandi-Horgen
DOMINE DEUS
Composer: David Caldarella (b. 2002)
Text: traditional
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Domine Deus, Rex caelestis, Deus Pater omnipotens.
Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Cum Sancto Spiritu in gloria Dei Patris. Amen.
Glory to God in the highest. And on earth, peace to men of good will. We praise you. We bless you. We adore you. We glorify you. Lord God, heavenly King, God the Father Almighty.
You who takes away the sins of the world, have mercy on us.
You who takes away the sins of the world, hear our prayer.
You who sits at the right hand of the Father, have mercy on us.
In the glory of God the Father. Amen.
Program Note:
“Domine Deus” is a work that thrives on intensity, with its rhythmic and harmonic expressiveness. From the very first beat of the piece, there is a sense of urgency. Through the momentum of the rhythm and the quiet nature of the treble voices, we get this vivid reverence to the Lord that grabs listeners’ attention. The unexpectedness of Caldarella’s harmonic shifts, tension between tones, and resolution throughout the piece bring about moments of anticipation, brightness, and finally peacefulness. As the different voices interact and trade melodic significance, we see the lively nature within this piece and how it moves so naturally. This allows for the repetition of the text to reinforce the weight of the lyrics and the significance of their meaning.
– Wyatt Wakeman
RAHAB’S CRY
Composer: Emery Rewa (b. 2006)
Text: Emery Rewa
Program Note:
Emery Rewa’s “Rahab’s Cry” encapsulates the events of Joshua 2 and the battle of Jericho. The piece begins with Rahab’s words to the spies, acknowledging the destruction to come and asking to be spared. Her scarlet rope, hanging from the window, is a sign of safety for her household. There is calm before the storm, and then chaos ensues. Rewa masterfully depicts what the people inside Jericho’s walls may have been experiencing. Using various percussive and vocal effects, there is a sense of marching, stomping, screaming, and growing tension. The walls begin to topple, and once they do, the world seems to grow louder and louder until the city crumbles at a climax, leaving the people in a deafening silence.
– Charles Osborne IV
WHERE GO THE BOATS
Composer: Dale Trumbore (b. 1987)
Text: Robert Louis Stevenson (1850 – 1894)
Program Note:
Dale Trumbore is a Los Angeles based composer who has become one of the most performed, recognized, and praised living American composers. The New York Times describes her music as having “soaring melodies and beguiling harmonies deployed with finesse.” “Where Go the Boats?” is a tremendous display of these compliments. Trumbore vividly paints Stevenson’s text through her use of wandering harmonies, colorful dissonances, imitation, and delicate melodies. Stevenson’s poem tells the story from a little child’s perspective as they watch their boats sail down a river. As the boats sail away, the child wonders if they will ever return. In the end, the child realizes his boats will not return. “Other little children shall bring my boats ashore,” says the child. Trumbore’s setting of the poem emphasizes the bittersweet yet heart-aching emotions that “reach far beyond a child’s immediate experience”(Trumbore).
– Eli Berg
MY LITTLE SHIP
*World Premiere
Composer: Dale Trumbore (b. 1987)
Text: Ruth Moshier (Marion College class of 1927)
Program Note:
“Love’s ship I then must send to sea – else how could one return to me?” These beautifully tragic words come from a poem originally found in the Indiana Wesleyan University (formerly Marion College) yearbook of 1927. The text presents the reader with a striking contrast, both the fragile and flitting nature and eternal joy and richness that love provides. Set to tune by the renowned composer Dale Trumbore, this piece features melodies that swell as does a ship at sea, occasionally exposing striking harmonies or individual voice parts to signify, perhaps, the vulnerability upon which love must be built. As the song progresses the listener is brought to the conclusion; despite the inevitable presence of anxiety, or potential pain – lasting love is only achieved with sacrifice, and a beautiful amount of trust. To love is to breathe, and to breathe is to fall into a rhythm of inhale and exhale – a gentle tide which engulfs those who partake with joy.
“My Little Ship” was commissioned by the 2026 IWU Chorale to honor the legacy of cultivating spiritual imagination through choral music. Moshier’s text poetically illustrates how someone learns to receive love by first being willing to give it.
– Wyndham Ross, Lauren Ulstad, Lauren Kemerling, Grace Rinkel, and Elijah Sherman
LET THE PEOPLE PRAISE THEE, O GOD
Composer: William Mathias (1934 – 1992)
Text: Psalm 67
Program Note:
“Let The People Praise Thee, O God,” was composed by William Mathias in 1981 to serve as the first song to be heard after Lady Diana Spencer and The Prince of Wales were pronounced man and wife by the Archbishop of Canterbury. Prince Charles, now King Charles III commissioned this piece for his marriage to Diana Spencer at St. Paul’s Cathedral July 29th, 1981. William Mathias was chosen to compose this piece over Malcom Williamson, who was the Master of the Queen’s Music at the time. Although Mathias was an established composer, professor, and conductor, his Welsh origins were thought to have played a role in the selection. The Choir of St. Paul’s Cathedral was the first ensemble to sing this setting of Psalm 67, a celebration of God’s righteousness, governance, and mercy. Psalm 67 was not a part of the Anglican liturgy for wedding ceremonies, but is included in the Anglican Book of Common Prayer. Mathias chose Psalm 67 as the inspiration for this piece because of its joyous tone to celebrate the momentous royal wedding that would serve as a cultural moment in history. Our hope as you listen to this piece is that you would be reminded of God’s blessing, guidance, and holiness that is worthy of our highest praise!
– Macy Mandrell
THE LORD BLESS YOU AND KEEP YOU
Composer: John Rutter (b. 1945)
Text: Numbers 6:24-26
Program Note:
John Rutter’s setting of Numbers 6:24-26 is one of his most performed works that blesses all who hear it. This Old Testament text, also known as the Aaronic Blessing or Priestly Blessing, is commonly used in a multitude of liturgical services. This piece of music was originally composed for the memorial service of Edward T. Chapman, who was a mentor and teacher of Rutter. The text reflects God’s love and care for those on earth who need the peace of the Lord, which makes it the perfect benediction. The work was written for SATB and organ, and features unison lines along with tender harmonic progressions. The IWU Chorale closes their performances with a setting of “The Lord Bless You and Keep You” as a prayer of blessing over the audience, whether it is a large crowd or a small group of people. We hope you feel strengthened by God’s peace.
– Rachel Becker
THE LORD BLESS YOU AND KEEP YOU
Composer: Peter C. Lutkin (1858-1931)
Text: Numbers 6:24-26
Program Note:
This piece is a classical and sacred choral arrangement, composed by Peter C. Lutkin, who was known for writing unaccompanied choral music for his own choir, but others were introduced to his compositions through his setting of this traditional biblical benediction. The Lord Bless You and Keep You, was originally a traditional Priestly Blessing, also known as an Aaronic blessing, read from the book of Numbers, and would either be spoken or sung to conclude a Christian sermon, worship, baptism, marriage, or other significant Christian occasions. Lutkin composed this piece to have a four-part harmony, weaving the original melody between the various voice parts. Uniquely, Lutkin’s arrangement includes an extended sevenfold Amen to conclude the blessing, with each part delivering an individualized and beautifully interwoven line flowing from one “amen” to the next. This piece is meant to leave the audience with a feeling of the Lord’s blessing and embrace to conclude the valuable and intimate time that we spend worshiping together. We as the IWU Chorale, intentionally end each concert or performance with this piece, surrounding our audience, praying that the Lord brings you peace and blesses you immeasurably. May the Lord bless you and keep you!
– Alisa Giammarco (2023)