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
NOW SHOUT
Composer: Gerald Kemner (1932-2007)
Text: from Psalms 47, 98, 100, 103, 104, and 114
Program Note:
In this brilliant composition, Gerald Kemner, inspired by the words of the Psalmists, demanded shouts and praises to our Lord and King. This harmonically thick piece truly shouts praises to our King through its atypical progressions and cacophonies of voices raised. Its intensity spans throughout the piece, only pausing momentarily to sweetly sing of the Lord’s mercy, forgiveness, love, and tenderness. However, the conclusion of this composition demands that all creation clap their hands in adoration as excitement rises into one last shout.
York
JT
HOW CAN I KEEP FROM SINGING?
Composer: Robert Lowry (1826-1899)
Arranger: Sarah Quartel (b. 1982)
Text: unattributed
Program Note:
Like many American hymns and folk songs, the original authorship of the text of “How can I keep from singing?” is something of a mystery. Most hymnals (and the score of our arrangement by Sarah Quartel) attribute the piece to Robert Lowry, an American Baptist minister who lived in the 19th century in Pennsylvania. In his lifetime he wrote over 500 hymns, the most popular being “Shall We Gather At The River” “Christ Arose!” and “How can I keep from singing?” However, the text of “How can I keep from singing?” was first published in the New York Observer in 1868 by a woman named Pauline T., and Robert Lowry’s arrangement of the hymn was published first in 1869 in his songbook Bright Jewels for the Sunday School and later in his other songbook publications. It is likely that Lowry was inspired by the original text and wrote more verses and set the poem to music. The main theme in the piece is the joy and peace that Christians can find in their faith in God amid life circumstances that are difficult to go through. Sarah Quartel does a beautiful job arranging this text to music by writing each verse as a variation on the same general melodic idea. These shifts from verse to verse reflect different seasons in life and show that no matter what season of life someone is in, their joy found in Christ is the reason that they endlessly sing praises to God.
Lauren Ulstad
THE WORD WAS GOD
Composer: Rosephanye Powell (b. 1962)
Text: John 1:1-3
Program Note:
The “Word was God” is a sacred choral anthem for unaccompanied mixed voices, composed in 1996 by Dr. Rosephanye Powell. Setting the profound opening verses of John 1, the piece reflects on the eternal nature of the Word: “In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not anything made that was made.” A key feature of the piece is the six rising repetitions of “In the beginning was the Word...” building from soft to powerful before a dramatic pause replaces the seventh. The voices weave through an intricate three-part canon, while the bass sustains droning perfect fifths, creating a sense of motion and tension. This powerful work blends intricate counterpoint with dynamic intensity, drawing listeners into a musical expression of the eternal nature of the Word.
Jamon Spikings
MY LORD, WHAT A MORNIN’
Composer: traditional spiritual
Arranger: Harry T. Burleigh (1866-1949)
Text: traditional
Program Note:
Spirituals have a way of carrying deep emotion with just a few simple words, and “My Lord, what a mornin’” is no exception. It is a song of longing and hope, looking forward to a day when suffering ends and freedom comes. That hope is Biblical, pointing to the final day of redemption, and deeply personal, rooted in the experience of enslaved African Americans who sang these songs to hold on to faith in impossible circumstances.
Harry T. Burleigh played a huge role in preserving and arranging spirituals for the concert stage, and the setting of this piece is beautifully expressive. The harmonies are rich in spirit, the phrasing is thoughtful and meticulously planned, and the whole piece builds with an emotional weight that feels like a deep exhale: sorrow, longing, and joy all wrapped into one. It is a reminder that music is not just something we sing; it is something we carry that tells our story.
Levi Hines
WHEN GOD DECIDED TO INVENT
Composer: Joshua Shank (b. 1980)
Text: E.E. Cummings
Program Note:
This captivating piece arranged for SATB choir and soprano saxophone tells the story of creation/destruction/re-creation as described by Shank. The text, a poem written by E.E. Cummings, expresses how humanity’s acts of violence and sin are not only destructive but also suicidal. The first stanza describes God creating everything with one breath, and the second stanza shows how man refuses God’s perfect creation to indulge in our own ideological beliefs and destroy his creation. Shank turns the poem to music by making creation sound “meticulously planned, lovingly, and playfully executed.” At the end of the piece, Shank reiterates God breathing to symbolize the re-creation, tying the piece together to make the intimate poem larger than life.
Eli Berg
WADE IN THE WATER
Composer: traditional spiritual
Arranger: Stacey V. Gibbs (b. 1962)
Text: traditional
Program Note:
“Wade in the Water” was originally sung as a coded message between enslaved African Americans escaping the bondage of slavery. This spiritual not only represents the hope that God will divinely trouble the waters of injustice and bring forth deliverance for his people as he did in the Exodus of the Israelites but was a sung reality of the enslaved as they traversed through rivers on the underground railroad so as not to leave their scent or footprints behind. The opening refrain is steeped in a feeling of trepidation as the hushed voices pass the word “trouble” from part to part. Additionally, as the song progresses, trepidation fades to a sense of urgency and longing as the phrase “God’s gonna trouble da water,” is sung repeatedly while growing in intensity till the final sound. This piece, birthed out of the shackles of oppression, serves as a reminder that God is in control of the waters of our lives, no matter how turbulent, and that our response should be to look to him and say, “Oh yes, oh yes, I’m gonna wade.”
McKenna O’Donnell
AVE MARIS STELLA
Composer: Edvard Grieg (1843-1907)
Text: various attributions
Translation: Ron Jeffers
Ave, maris stella, Dei Mater alma, Atque semper Virgo, Felix caeli porta.
Solve vincla reis, Profer lumen caecis, Mala nostra pelle, Bona cuncta posce.
Vitam praesta puram, Iter para tutum, Ut videntes Jesum, Semper collaetemur.
Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto: Tribus honor unus.
Amen.
Hail, Star of the Sea, Loving Mother of God, And Virgin immortal, Heaven’s blissful portal!
Break the chains of sinners, Bring light to the blind, Drive away our evils, And ask for all good things.
Keep our life pure, Make our journey safe, So that, seeing Jesus, We may rejoice together forever.
Let there be praise to God the Father, And glory to Christ the most High, And to the Holy Spirit, And to the Three be one honor.
Amen.
Program Note:
Edvard Hagerup Grieg is a celebrated Romantic-era composer from Norway. “Ave maris stella” is one of his few sacred choral works, a cheerful and homophonic setting of a Marian hymn from the Middle Ages. The Latin title is translated as “Hail, Star of the Sea,” a metaphorical reference to the Virgin Mary, seen as a guiding light to Jesus Christ. Grieg was heavily influenced by the classical era as is evident through this piece’s form, harmonic progressions, and rhythmic emphasis. However, he also employed romanticism to further enhance this simple text, such as noticeable shifts in harmony, tempo, and emotion. This delightful piece showcases Grieg’s ability to blend his personal musical style with ancient liturgical text, creating a timeless and captivating choral work.
Evangeline Grunden
TE LUCIS ANTE TERMINUM
Composer: Keane Southard (b. 1987)
Text: from the Roman Catholic Breviary
Translation: J.M. Neale (1818-1866)
Te lucis ante terminum
Rerum Creator, poscimus, Ut solita clementia
Sis praesul ad custodiam, Procul recedant somnia, et noctium phantasmata; hostemque nostrum comprime ne polluantar corpora,
Praesta, Pater omnipotens, Per Jesum Christum Dominum, Qui tecum in perpetuum
Regnat cum Santo Spiritu.
Amen.
To Thee, before the close of day Creator of the world, we pray that with Thy wonted favor, Thou wouldst be our Guard and Keeper now.
From all ill dreams defend our eyes, from nightly fears and fantasies; tread under foot our ghostly foe, that no pollution we may know.
O Father, that we ask be done through Jesus Christ Thine only Son; who, with the Holy Ghost and Thee, shall live and reign eternally.
Amen.
Program Note:
This text originates from the Catholic tradition and was likely originally sung as a plainsong, which is demonstrated by the call and response moments the piece opens with. It is a perfect example of a Compline hymn, a piece that was meant to be sung and reflected on at the end of the day. Compline hymns, and thus Compline services, are times of reflection on the day and on the night to come. The text is a simple but powerful prayer of protection during the night. God is called upon to protect us through his Son and his Holy Spirit. Southard uses unconventional harmonies to draw out the tension of this prayer. The dissonance reflects the fear and dread of the night and the dangers it can bring to us. But God pulls us out of our anxieties toward his serenity, demonstrated by Southard’s clever harmonic resolutions. This piece asks us to confront our fears with the security of God’s protection and light.
Bryan Crossman
HEAR MY PRAYER, O LORD
Composer: Henry Purcell (1659-1695)
Text: Psalm 102:1
Program Note:
Set for an a cappella choir in eight parts, Purcell set the text of Psalm 102:1 to music in 1682. The cry-like melodies serve to present the text’s emphasis of crying out in prayer to our Lord. Beginning with Alto I’s, the melody slowly shifts into dissonance, possibly representing the uncertainty in crying but giving our worries to God. The piece crescendos into a monumental discourse between the voices, resolving in the last measure, as prayer often serves to fix our minds on the goodness of God within the discourse of life.
Chase Dowdy
EVENING PRAYER
Composer: Ola Gjeilo (b. 1978)
Text: St. Augustine (354-430)
Program Note:
St. Augustine wrote this beautiful evening prayer in the 5th century. The prayer asks, “Watch, O Lord, with those who wake, or watch or weep tonight, and give your angels charge over those who sleep.” This simple yet powerful prayer intercedes and asks for the care of those going through many different walks of life. Ola Gjeilo crafted the words of St. Augustine into an emotional plea to God. The prayer asks for the help of those in need and the protection of those going through joyous times. This SATB arrangement includes improvisation on the tenor saxophone and piano in combination with the words of St. Augustine, giving the listener a transcendent experience through song and prayer.
Rachel Becker
ABENDLIED from: Drei geistliche Gesänge, op. 69, no. 3
Composer: Josef Rheinberger (1839-1901)
Text: Luke 24:29
Program Note:
“Abendlied,” meaning “evening song,” is a sacred motet in F major for a six-part mixed choir. It was composed in 1855 by a 15-year-old Josef Rheinberger, but this piece remained unpublished until 1873. However, the original meaning of the text remains the same. It borrows from the Biblical narration of the Road to Emmaus in the late theologian Martin Luther’s German Bible. Luke 24:29 instills a sense of hope in both performers and audience alike with the reminder of the Holy Spirit in the present moment and the promise of eternity in the future. It is because of the power of the lyrics and its beautifully orchestrated motet that “Abendlied” remains Rheinberger’s best-known sacred composition.
Cooper Sherrill
THE LORD’S PRAYER
Composer: Scott Perkins (b. 1980)
Text: Matthew 6:9-13
Program Note:
Scott Perkins’ setting of “The Lord’s Prayer” is led by a cantor establishing the text on a single note. As if echoing and revealing the true beauty of seemingly simple words, the choir repeats the text with wide, rich chords full of harmonic tension. This beautiful work has a sense of steadiness to compliment a prayer that has been constant throughout the Christian tradition. The piece showcases unconventional harmonies that clash with traditional open chords, demonstrating the mysterious nature of God
Emery Rewa
PRAYER OF ST. PATRICK
Composer: Ross C. Bernhardt (b. 1964)
Text: Adaptation of St. Patrick’s Breastplate
Program Note:
Ross C. Bernhardt’s setting of “The Prayer of St. Patrick” envelops listeners in a prayer of divine protection. This text, traditionally attributed to Saint Patrick, is a traditional Irish druidic incantation, calling on God for His supernatural shielding on a long journey ahead. For this piece, the choir stands in an off-center circular formation surrounding the audience. This formation, combined with melodic displacement between voice parts and interwoven chords, encapsulate the audience in this text. This gives a surround sound effect, personifying the idea of a shield by encircling listeners in a tangible and audible wall of protective prayer.
Elayna Parandi
IMMORTAL BACH
Composer: J.S. Bach (1685-1750)
Arranger: Knut Nystedt (1915-2014)
Text: Anonymous
Komm, süßer Tod, komm selge Ruh!
Komm führe mich in Friede
Come, sweet death, come, blessed rest!
Come lead me to peace
Program Note:
Originally written as the first line of a much longer work by Johann Sebastian Bach in 1736, this powerful 8-measure arrangement was adapted and harmonized in four parts by Nystedt in the year 1987. Although this piece is very short on written music, Nystedt’s performance instructions are extensive, involving the formation of five choirs, and giving each choir a different length of time as a beat duration. This difference in tempo causes many moments of dissonance, reflecting the yearning for death in the text, and these tensions are ultimately resolved, just as heaven is the ultimate reward for life on earth.
Elijah Sherman
SALMO 150
Composer: Ernani Aguiar (b. 1950)
Text: Psalm 150
Program Note:
Ernani Aguiar’s “Salmo 150” is a dynamic and expressive choral work that showcases the Brazilian composer’s unique blend of traditional liturgical music with unconventional harmonic and rhythmic elements. Composed in 1975, it is based on the Biblical text of Psalm 150, which calls for the praise of God through various instruments and voices. In an interview, Aguiar said that he hopes that performers enjoy singing his music, and the public cares to listen. Notable for its rhythmic complexity, diverse vocal ranges, and incorporation of atypical vocal movement meant to “break the rules,” “Salmo 150” stands out as an example of Aguiar’s ability to merge sacred themes with personal influences and certainly achieves his goal.
Anastasia Hiatt
AMAZING GRACE
Composer: traditional
Arranger: Ēriks Ešenvalds (b. 1977)
Text: John Newton (1725-1807)
Program Note:
Ēriks Ešenvalds’ “Amazing Grace” is a hauntingly beautiful choral arrangement of the iconic hymn, originally written by former slave trader John Newton in 1772. Composed in 2010, Ešenvalds infuses the piece with rich harmonies and subtle yet fluid rhythms, creating an ethereal soundscape that enhances the hymn’s themes of redemption. Beginning with a soprano solo, the piece then blooms with a full choral sound, with soaring and seamlessly blending harmonies that reinforce the beauty and emotional intent of the piece. Ešenvalds’ arrangement captures the timeless, spiritual essence of “Amazing Grace,” while offering a fresh, modern interpretation that resonates with contemporary audiences and truly captures the essence of the divine gift of grace.
Anastasia Hiatt
GOD SO LOVED THE WORLD
Composer: John Stainer (1840-1901)
Text: John 3:16-17
Program Note:
This piece, written for The Crucifixion cantata, expresses God’s immense love for humankind. Drawn from John 3:16-17, it serves as a reminder that through the Father giving His only Son, Jesus, as a sacrifice, humanity has the opportunity to receive eternal life when they believe in Jesus Christ as their Savior. As the piece develops and the text is repeated, there are dynamic shifts so that the listener can comprehend the importance of the crucifixion. The anthem ends solemnly reminding the listener that “it is finished.” (John 19:30)
Marta López Torres
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)