Pacific Choirs
and the Tenor-Bass Day Festival Choir
Brett Epperson, conductor Monica Adams and Jake Frye, collaborative piano
Tuesday, September 15, 2026 6:30 pm Thomas J. Long Theatre
3RD PERFORMANCE OF 2026–27 ACADEMIC YEAR
SEPTEMBER 15, 2026, 6:30 PM University Chorus Verleih uns Frieden (1831)
Felix Mendelssohn (1809–1847)
5′
Tracy Wong (b. 1985)
3′
Sarah Quartel (b. 1982)
3′
Thomas Tallis (1505–1585)
3′
Isabella Leonarda (1620–1704)
4′
Franz Schubert (1797–1828)
5′
Wong
3′
Sehati (2021) Michael Gibson, baritone Cole Long, percussion Wide Open Spaces (2014)
Pacific Singers If Ye Love Me (1565)
Memento Rerum (1670)
Des Tages Weihe: Schicksalslenker, op. posth. 146, D 763 (1822) Landon Horstman, baritone Aidan O’Shea, tenor Riuh: Chaotic Joy (2023)
Ava Cornell and Sidney Clark, voice Rei Vindiola and Daegan Luster, percussion
SEPTEMBER 15, 2026, 6:30 PM Dirait-on, from Les Chanson des Roses (1993)
Morten Lauridsen (b. 1943)
5′
Bobbi Fischer (b. 1965)
7′
Rosephanye Powell (b. 1962) arr. William and Rosephanye Powell Siry Smith and Natalie Aires, sopranos Victor Camacho, double bass Cole Long, drum set
4′
Sommerfrische (2013/2023) Santo Avalos, tenor saxophone Victor Camacho, double bass Cole Long, drum set
Still I Rise (2018)
Tenor-Bass Day Festival Choir Matt Carlson (b. 1991)
5′
Dan Davison (b. 1956) Cole Long, Daegan Luster and Rei Vindiola, percussion Celestino Mederos, guitar
4′
The Little Creek (2025) Celestino Mederos, guitar
¡Bailará! (2025)
Combined Choirs Keep Your Lamps! (1982)
African-American spiritual arr. André Thomas Rei Vindiola, congas
3′
PROGRAM NOTES Program notes by Brett Epperson Welcome to Pacific Choirs’ first concert of the 2026-27 academic year. With classes having only been in session for three weeks, our students have jumped right into the rehearsal and learning process. Thank you for joining us this evening. Mendelssohn: Verleih uns Frieden Felix Mendelssohn wrote Verleih uns Frieden when he was just 22 years old. Employing a single verse of text by Martin Luther, the piece achieves a sense of growth through textural augmentation on each repetition of the text. Unison tenors and basses share the melody first after an elongated instrumental introduction. Sopranos and altos carry the melody next with a countermelody from the tenors and basses in the second “verse.” A four part chorale-like texture fills out the third repetition of the text, with a codetta that builds via short points-of-imitation, leading to a brief final peak before tapering towards a gentle finish at a dynamic that mirrors the instrumental opening. Quartel: Wide Open Spaces This work was originally written for and performed by an honor choir at the national conference of the American Choral Directors Association in 2015. Written by Canadian composer Sarah Quartel, her original text communicates a sense of optimism and hope when considering the future, brought to life primarily via a pentatonic melody and a quick lilting 3/4 that communicates a folk-like character to the music. Wong: Sehati In Canadian-Malaysian composer Tracy Wong’s own words: "Sehati is an uplifting piece that is rooted in acceptance and belonging. It also humbly captures my gratitude and love for the choral community, a sanctuary for many. The music features the weaving of Malay folk elements in the contemporary Western choral setting. Small musical references of the popular Malay folk song Geylang Sipaku Geylang can be heard in sections of the piece. The words pulang Bersama-sama (from the same folk song) encourage listeners to “come home” to a community that is “still here, together.” The driving triplet rhythm is inspired by the contemporary style of joget, a popular and fast-paced Malay dance/music." Tallis: If Ye Love Me Thomas Tallis was a prominent English composer of the later Renaissance era whose employment within the Chapel Royal over many decades provided him with significant influence over music publication and church music within England during his lifetime. Queen Elizabeth I granted Tallis and his student William Byrd a monopoly on the printing and publishing of choral music for 21
PROGRAM NOTES years. If Ye Love Me is a short and familiar anthem, opening in a brief moment of homophony before primarily unfolding via short points-of-imitation. Leonarda: Memento Rerum Isabella Leonarda was born into a wealthy family in Novara (west of Milan, Italy), joining the convent at the age of 16. She composed throughout her many decades living as a nun. During her lifetime, her music was popular in the region, but largely unknown outside of northern Italy. Memento Rerum exhibits many of the recognizable features from the Renaissance that continued into the Baroque, with points-of-imitation becoming longer and more florid than in the previous era. Interestingly, this motet is constructed in such a manner that all parts sing the exact same melodies, off-set in canon by a half-note in each voice, with sopranos and tenors singing these phrases a perfect 5th higher than the altos and basses. Schubert: Des Tages Weihe: Schicksalslenker This work—also known by its opening text, “Schicksalslenker”—poetically speaks a sense of gratitude to the divine for the sorrows of life being taken away, to reveal life’s joys. This short piece represents “vocal chamber music,” where amateur musicians of the day might have gathered in a friend’s salon with one singer on each part, making this music just for the enjoyment of it. Like much of Schubert’s choral music, “Schicksalslenker” exhibits characteristics of both the Classical era, such as an elegantly restrained piano part, and the Romantic, exploring slightly more adventurous harmony. Wong: Riuh Like University Chorus, Pacific Singers is also performing a piece by Tracy Wong. Her thoughts on Riuh (Chaotic Joy) are as follows: "I envisioned this piece to be folk-focused, connecting joy and chaos, includes percussive elements, and outside the box of traditional choral music. When thinking about “joy and chaos,” the Malay word “riuh” embodies this expression. The music captures this through quirky word and vocal play, juxtaposition of calm amidst chaos while making room for both noise and joy. The piece allows each choir to explore their unique artistic interpretation and non-traditional performance style . . . chaotic joy!" Lauridsen: Rose Songs Morten Lauridsen has been embraced as one of the most influential American choral composers of the latter half of the 20th century. Much of his music artfully synthesizes tuneful melodic lyricism with his signature harmonic language, reflective of the Renaissance technique of faux bourdon where the third of a triad is consistently placed in the bottom voice. The final movement of his five Rose Songs, this Rilke setting employs a myriad of textures within a short timeframe: unison, two-part imitation, melody support by homophony,
PROGRAM NOTES all inflecting different ways of considering the somewhat ambiguously ambivalent title text: “Dirait-on” or so they say . . . Many thanks to Eric Dudley for coaching Pacific Singers on the pronunciation of this French text. Fischer: Sommerfrische The music of living German composer Bobbi Fischer (not to be confused with American chess grandmaster Bobby Fischer) encompasses classical and jazz idioms. Sommerfrische or Summer’s Freshness is a setting of Joachim Ringelnatz’s whimsical text celebrating the freedom that summer provides, underscored by a warm bossa nova. While published with only the German text, I hope my English translation makes our exploration into vocal jazz a bit more accessible for students and audience members alike. Powell: Still I Rise Rosephanye Powell teaches at Auburn University in Alabama and has been one of the most prolific Black female composers in the United States over the past three decades. Originally written for soprano-alto ensemble, Rosephanye and her husband William further arranged the original to be suitable for SATB voices. This uptempo Gospel piece features a frequent call-and-response form between soloists and the choir, with an inspiring text that celebrates resilience in spite of the challenges that life can bring. Carlson: The Little Creek The Little Creek was written by Matthew Carlson, a DMA candidate at the University of North Texas. The folksy feel and character of text make this piece sound almost like a pop tune one might hear from a popular guitar-driven crossover artist. Carlson’s text speaks to the soothing and centering power that a quiet moment in a beloved peaceful natural spot can bring. Davison: ¡Bailará! Long-time middle school choral director Dan Davison writes music that is immediately accessible and engaging. ¡Bailará! is a celebration of dance and passion, with driving rhythms and repeated, short-burst choral phrases iterating wonder at the skill of the dancer, and urging one to “dance on!” Thomas: Keep Your Lamps Conductor and composer André Thomas has remained professionally active since his retirement from full-time academic work in 2019. He has been an Associate Artist with the London Symphony Orchestra since 2022, curating programs for the LSO centered on African-American choral music genres. Keep Your Lamps is a spiritual arrangement in ABA form, urging the listener to maintain vigilance, because the “time is drawing nigh.”
TEXTS AND TRANSLATIONS Mendelssohn: Verleih uns Frieden
Mendelssohn: Grant Us Peace Graciously Verleih uns Frieden gnädiglich, Grant us peace graciously Herr Gott, zu unsern Zeiten. Lord God, in our times. Es ist doch ja kein andrer nicht, Truly there is no other der für uns könnte streiten, who could fight for us denn du, unser Gott, alleine. but you, our God, alone. —Martin Luther —trans. Brett Epperson Wong: Sehati
Wong: One Heart
Sepakata bertepuk, serentak menyani Clapping together, singing as one Nyanyi bersama-sama Still here, together Pulang
Singing together Still here, together Come home
Setia, sehati, di sini
Always, one heart, here
Oh satu serasi, sejambak hati Still here, together Pulang marilah pulang
Oh one and harmonious, a bouquet of hearts Still here, together Come home
Pulang bersama-sama Come home together Melangkah bersama-sama —Tracy Wong and Mohammed Fairuz Walking together bin Mohammed Tauhid —trans. Tracy Wong
View digital programs at issuu.com/MusicAtPacific
TEXTS AND TRANSLATIONS Quartel: Wide Open Spaces There’s part of my story, there’s part of my song, There’s part of my journey that’s yet to be found. With life all around us and so much to see, Adventure is calling, It’s calling to me. Out in the wide open spaces around me. With big sky above me, I’m on my way, Scanning the horizon of a brand new day. Feet to the earth now, there’s no turning back. Into the world now, look at me, look at me go! Out in the wide open spaces around me, out in the wide open spaces around me. But as I journey out I look within and see The spaces inside of me yet to be filled, Filled with what I have seen and what I will be. Oh! I’m filling the wide open spaces inside of me With something I love, something I would like to be, be, be! Filling the wide open spaces inside of me, Filling the wide open spaces within me. —Sarah Quartel Tallis: If Ye Love Me If ye love me, keep my commandments, and I will pray the Father, and he shall give you another comforter. That he may abide with you forever: E’en the sp’rit of truth.
—John 14:15-16
TEXTS AND TRANSLATIONS Leonarda: Memento rerum
Leonarda: Remember
Meménto Rerum cónditor Nostri quod olim corporis Sacráta ab Alvo Vírginis Nascéndo formam súmpseris.
Remember, O Creator Lord, that once of our own flesh, from the Virgin’s sacred womb, by birth, You took on human form.
María Mater grátiæ Dulcis Parens cleméntiæ, Tu nos ab hoste Prótege, Et hora mortis súscipe.
Mary, Mother of grace, Sweet Parent of mercy, protect us from the enemy, and receive us at the hour of death.
Iesu tibi sit glória qui Natus es de Vírgine cum Patre, et Almo Spíritu in sempitérna sǽcula, Amen. —Ecclesiastical Latin
To You, O Jesus, be glory, who were born of the Virgin, with the Father and Holy Spirit, forever and ever. Amen. —trans. Andrew Bruhn
Schubert: Des Tages Weihe
Schubert: Guider of fate, look down
Schicksalslenker, blicke nieder, auf ein daunkerfülltes Herz, uns belebt die Freude wieder, fern entfloh’n ist jeder Schmerz;
Guider of fate, look down on this grateful heart, we are stirred anew by joy, all suffering has fled far away;
und das Leid, es ist vergessen, durch die Nebel strahlt der Glanz deiner Größe unermessen, wie aus hellem Sternenkranz;
and sorrow is forgotten, through the mists shines the immeasurable radiance of your greatness, as if from a brilliant wreath of stars;
liebevoll nahmst du der Leiden herben Kelch von Vaters Mund, darum ward in Fern und Weiten deine höchste Milde kund. —Anonymous
lovingly you took the bitter cup of sorrows from your Father’s lips, and your supreme merciful kindness was made known far and wide. —trans. Richard Wigmore
TEXTS AND TRANSLATIONS Wong: Riuh
Wong: Chaotic Joy
Dalam huru-hara dunia Hargai bibit ketenangan Anyaman riuh dan dami terserlah Gelombang hidup dilayar —Bihzhu
In the chaos of the world Treasure the seeds of stillness Woven together – chaos and peace – they shine As the waves of life are sailed —trans. Tracy Wong
Lauridsen: Dirait-on
Lauridsen: Would One Say
Abandon entouré d’abandon, tendresse touchant aux tendresses… C’est ton intérieur qui sans cesse se caresse, dirait-on;
Abandon surrounding abandon, tenderness touching tenderness… Your oneness endlessly caresses itself, so they say;
se caress en soi-même, par son proper reflect éclairé. Ainsi tu inventes le theme du Narcisse exaucé. —Rainer Maria Rilke
self-caressing through its own clear reflection. Thus you invent the theme of Narcissus fulfilled. —trans. Barbara and Erica Muhl
Fischer: Sommerfrische
Fischer: Summer’s Freshness
Zupf dir ein Wölkchen aus dem Wolkenweiß, das durch den sonnigen Himmel schreitet. Und schmücke den Hut, der dich begleitet, Mit einem grünen Reis.
Pluck little clouds from the cloudy white, that through the sunny sky wanders. And decorate the hat you love to wear with some green rice.
Verstecke dich faul in die Fülle der Gräser. Weil’s wohltut, weil’s frommt. Und bist du ein Mundharmonkabläser Und hast eine bei dir, dann spiel, was dir kommt.
Go hide yourself poorly in the tall of the grass. It’s good and it’s sacred. And you should play a harmonica nicely if you have one on you, then play what you can.
Und laß deine Melodien lenken Von dem freigegebenen Wolkengezupf. Vergiß dich. Es soll dein Denken Nicht weiter reichen, als ein Grashüpferhupf. —Joachim Ringelnatz
And let your melodies be guided by the cloud that you have freed. Forget yourself. Don’t let your own thoughts go wandering aimlessly like a Grasshopper’s hops. —trans. Brett Epperson
TEXTS AND TRANSLATIONS Powell: Still I Rise Though I have been wounded: aching heart full of pain, Still I rise, yes, still I rise. Jus’ like a budding rose, my bloom is nourished by rain. Still I rise, yes, still I rise. Haven’t time to wonder why, tho’ fearful I strive. Still I rise, yes, still I rise. My prayer and faith uphold me ‘til my courage arrives. Still I rise, yes, still I rise. Still I rise as an eagle, soaring above ev’ry fear. With each day I succeed, I grow strong an’ believe that it’s all within my reach. I’m reaching for the skies, bolstered by courage. Yes, still I rise. Yes, it’s all within my reach. I’m reaching for the skies, yes, still I rise. As my heart grows heavy, and my confidence dies, Still I rise, yes, still I rise. Pure strength is in my tears and healing rains in my cries. Still I rise, yes, still I rise. Plunging depths of anguish, I determine to strive. Still I rise, yes, still I rise. My pray’r and faith uphold me ‘til my courage arrives. Still I rise, yes, still I rise. Though you see me slump with heartache: heart so heavy that it breaks. Be not deceived I fly on birds’ wings, rising sun, it’s healing rays. Look at me, I’m getting stronger; I’m stronger; I’m determined to survived. Tho’ I get tired an’ I get weary, I won’t give up. I’m still alive. —Rosephanye Powell
TEXTS AND TRANSLATIONS Carlson: The Little Creek Come with me to the little creek Where my thoughts are running free. They might run swift or they might run deep, but these waters wind their way through me. When we reach the hill, we’ll follow it down. Cross the rough and rocky ground. Get a little bit lost and a little bit found, but it evens out when we hear that sound. Why are we so scared to search our centers? It may seem so, but every door you enter you find a piece of something inside you never knew. Keep moving through. You’ve got your pain, I’ve got mine. It’s hard to say it’ll work out fine, but we can share the load when we share a sigh. At the creek our dreams are by design. It flows in you, and it flow in me. Some days you will find it, some days it’s hard to see. There’s twists and there’s turns and there’s lessons to learn by the creek. Take a breath and think. Please don’t be so scared to search your center. Let those seeds grow, ‘cause every door you enter You find a piece of something inside you never knew. Keep moving through. Believe it’s true. I know that you will keep moving through. Make a little change at the little creek.
—Matthew Carlson
TEXTS AND TRANSLATIONS Davison: ¡Bailará!
Davison: Dance!
Baile con fervor. Baile con amor. Toda la noche bailará.
Dance with fervor. Dance with love. She will dance all night.
Con emoción. Con precisión. Toda la noche bailará. ¡Bailará! ¡Bailará! ¡Bailará con much corazón! ¡Bailará! ¡Bailará!
With emotion. With precision. She will dance all night. She will dance! She will dance! She will dance with a lot of heart! She will dance! She will dance!
Con emoción. Con precision. Con compassion. Con imaginación. ¡Bailará!
With emotion. With precision. With compassion. With imagination. She will dance!
Serenidad. Vitalidad. Mira que gapa, y mira que encantadora.
Serenity. Vitality. Look at how handsome, and look how lovely.
Tranquilidad. Felicidad. Toda la gente observa su vivicidad. Mira sus pasos. ¡Baila rápido! Mira su emoción, su amor. Mira su cara. ¡Quen enérgica! Mira que expresivamente baila. ¡Bailará! ¡Bailará! ¡Bailará! Miro con todo mi corazón. Baile, ya baile, ye baile, ya bailará. —Dan Davison
Peace. Happiness. Everyone is watching her liveliness. Look at her footsteps. She dances fast! Look at her emotion, her love. Look at her face. How energetic! Look how expressively she dances. She will dance! She will dance! She will dance! I watch with all my heart. Dance on, dance on, dance on, and she will dance. —Dan Davison
TEXTS AND TRANSLATIONS Thomas: Keep Your Lamps! Keep your lamps trimmed and burning, the time is drawing nigh. Children, don’t get weary ‘til your work is done. Christian journey soon be over, the time is drawing nigh. Keep your lamps trimmed and burning, the time is drawing nigh. —Anonymous
ARTIST BIOGRAPHIES Brett D. Epperson is assistant professor of choral conducting and director of Pacific Choirs at University of the Pacific. He conducts University Chorus and Pacific Singers and teaches coursework in conducting, voice, and education methods. He is also artistic director of the Sacramento Master Singers. Before moving to California, Epperson was director of choral activities at Hastings College and director of the Chancel Choir and Langenberg Music Series at First Presbyterian Church in Hastings, Nebraska. Prior to doctoral coursework, Epperson was a public school music educator, teaching at Jefferson High School in Cedar Rapids, Iowa, and East High School in Lincoln, Nebraska. While in Lincoln, he also served as artistic director of the Lincoln Lutheran Choir, adjunct instructor of voice at Doane University, and interim assistant minister of music at First-Plymouth Church. He is frequently sought out as a clinician, presenter, adjudicator, and guest conductor, with appearances across the United States, Caribbean, Mexico, Europe, Kenya, and Japan. In 2027, Epperson will travel to South Africa as part of a choral festival. As a composer, he has had choral works performed across the United States. Monica Adams has worked at University of the Pacific as a collaborative pianist and professor of practice since 1995. During her time at Pacific, she taught the voice class for music therapy and music education majors and conducted the University Chorus. Currently, she serves as collaborative pianist for voice majors and Pacific Choirs. Adams holds a Bachelor of Music in music performance, voice, from Pacific, where she studied piano with Frank Wiens, voice with William Whitesides, George Buckbee and John DeHaan, and conducting with William Dehning and Robert Halseth. Adams has performed as a pianist with the Stockton Symphony Orchestra and sang the roles of Eliza Doolittle in My Fair Lady, Cherubino in Le Nozze di Figaro and Old Maid in Old Maid and the Thief. She has served as musical director and conductor at Pacific for Pajama Game (Fallon House), Paint Your Wagon (Fallon House), You're a Good Man Charlie Brown, Apple Tree, Falsettoland, Assassins and 1940's Radio Hour. She has also music-directed
ARTIST BIOGRAPHIES for various local theaters for performances of Oliver, La Cage aux Folles, Babes in Arms, Footloose (conducted, too), Beauty and the Beast, The Full Monty and Godspell. In 2004 Adams participated in the summer SongFest program, which included coaching with Martin Katz, Graham Johnson, D'Anna Fortunato, John Hall, Judith Kellock and John Harbison, as well as performing in multiple recitals. Deemed by colleagues and mentors as “refreshing,” “story-telling,” and “innovative,” Jake Frye is a thirdyear music perfromance major at University of the Pacific. His command at the piano is considered technically grounded and creative. He reveres and challenges the interpretive traditions of classical repertoire. Frye has worked with piano pedagogues ranging from Grammy Board Member Jennifer Reason to Steinway Artist Natsuki Fukasawa, and continues to develop his interpretive voice through his studies at Pacific with Shichao Zhang and Patricia Grimm. As a performer, Frye has played on national and international stages including Carnegie Hall where he debuted as a soloist in 2023. He has garnered an invitation to perform at the Philharmonie de Paris. Most recently, he traveled to Bosnia performing solo and chamber music through the Balkans.
ENSEMBLES University Chorus University Chorus is a large, mixed chorus that performs both a cappella and choral- orchestral works in a wide variety of genres, often collaborating with other ensembles at Pacific. Sopranos Bella Andino Katie Carlos Renata Espinosa Angel Simarveer Gill Kiersten Hogue Anna Kazimi Maya Liu Rei Vindiola Altos Evelyn Aburto Jade Anderson Maggie Chen Nathalie Garibay Mia Gonzalez Soyoul Heo Zahara Herd Sonja Hwang Rain Jia Amalia Silva Kaitlyn Tamondong Xi Zhang
Tenors Andrew Cates Marcelo Contreras Dylan Crawford Ray Cruz Danny Guerrero Jacob Mora Gabriel Murphy Jinsoo Park Daniel Punh Basses Victor Camacho Jake Frye Michael Gibson Connor Hsu Severyn Kurach Daegan Luster Celestino Mederos Juan Perez Apolinar Michael Shove Santiago Villalobos Jason Wu Luke Zimbelman
ENSEMBLES Pacific Singers Pacific Singers is a select, mixed-voice chamber choir who collaborates with the University Chorus for two choral concerts each semester and perform at major university events and ceremonies. They also work with the University Symphony Orchestra and the Stockton Symphony to perform major choral and orchestral pieces. Sopranos Natalie Aires Kyrielle Bonner Magdalena Bowen Sidney Clark Ava Cornell Rose Krueger Siry Smith Altos Elleanor Cooper Amara Havens Jennifer Lopez Elizabeth Neumeyer Felicity Pitts Jennifer Sun Cara Taylor Sara Wolfe
Tenors Andrew Cates Leo Hogan Aidan O’Shea Phu Phan Basses Daniel Campbell Kwaeku Harris Landon Horstman Austin Nie Mateo Sheriff Xingyuan Song Matthew Thayer
ENSEMBLES Pacific Voice and Choral Faculty Daniel Ebbers, program director Brett Epperson Eric Dudley James Haffner Heidi Moss Erickson Jonathan Latta, ensemble program director Inga Peterbark, ensemble librarian
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