Three Movements from the “Waisenhaus” Mass | ed. David Rayl | TB
Dum Spiro Spero | Andrea Ramsey | SSA
'Tis Love, All Love | Kurt Knecht | SATB
Psalm 61 | Zanaida Robles | SATB divisi
How Can I Keep From Singing | Bradley Vogel | SATB
Winter Stars | Valerie Crescenz | SATB
Senzeni na/Khaya la bazali bam | Thabo Matshego | SATB
We'll Meet Again | Timothy Tharaldson | SATB
My Heart’s In The Highlands | Zachary J. Moore | SATB
We Are Timeless | Moira Smiley | SAA
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KCDA 2025
Three Movements from the “Waisenhaus” Mass
from "Waisenhaus" Mass, K. 139
1.Laudamus te
2.Domine Deus
3.Et incarnatus est for TB choir and piano
Wolfgang Amadeus Mozart (1756-1791)
edited
by
David Rayl
KCDA 2025
N o t e s :
T
h e s e t h r e e b r i e f d u e t s f r o m M o z a r t ’ s “ Wa i s e n h a u s ” M a s s o f f e r
a n a t t r a c t i v e a n d a c c e s s i b l e i n t r o d u c t i o n t o m u s i c f r o m t h e
C l a s s i c a l P e r i o d . T h e t w e l v e - y e a r - o l d M o z a r t ’ s l y r i c a l m e l o d i c
w r i t i n g , c o m b i n e d w i t h r a t h e r m o d e s t r a n g e s a n d t e c h n i c a l
d e m a n d s , m a k e t h e s e d u e t s i d e a l a d d i t i o n s t o t h e r e p e r t o i r e f o r S A
o r T B c h o i r s o f a l l a g e s .
A l t h o u g h f o r m a l l y k n o w n a s t h e M a s s i n C M i n o r , K V 1 3 9 ( 4 7 a ) ,
t h e w o r k i s c o m m o n l y r e f e r r e d t o a s t h e “ Wa i s e n h a u s ” M a s s b e c a u s e
i t wa s c o m m i s s i o n e d f o r t h e c o n s e c r a t i o n o f t h e n e w l y c o n s t r u c t e d
O r p h a n a g e C h u r c h ( Wa i s e n h a u s k i r c h e ) i n Vi e n n a , a b u i l d i n g t h a t
s t i l l f u n c t i o n s a s a pa r i s h c h u r c h . T h e p r e m i e r e , o n D e c e m b e r 7 ,
1 7 6 8 , wa s a n a u s p i c i o u s e v e n t , a t t e n d e d b y t h e E m p r e s s M a r i a
T h e r e s a , h e r c h i l d r e n , a n d m u c h o f t h e i m p e r i a l c o u r t .
E a c h d u e t i s e x t r a c t e d f r o m a l a r g e r m o v e m e n t w i t h i n t h e M a s s :
“ L a u d a m u s t e ” a n d “ D o m i n e D e u s ” f r o m t h e G l o r i a a n d “ E t
i n c a r n a t u s e s t ” f r o m t h e C r e d o . “ L a u d a m u s t e ” a n d “ E t i n c a r n a t u s
e s t ” w e r e o r i g i n a l l y s c o r e d f o r s o p r a n o a n d a l t o s o l o i s t s , w h i l e
“ D o m i n e D e u s ” wa s s c o r e d f o r t e n o r a n d b a s s s o l o i s t s . “ L a u d a m u s
t e ” h a s b e e n t r a n s p o s e d f r o m G t o F m a j o r t o a l l o w t h e t h r e e
m o v e m e n t s t o b e p e r f o r m e d i n s e q u e n c e . T h i s e d i t i o n o f f e r s g r e a t
f l e x i b i l i t y r e g a r d i n g p e r f o r m a n c e . C o n d u c t o r s c a n p e r f o r m j u s t o n e
o r a n y t w o o r a l l t h r e e m o v e m e n t s i n t h e o r d e r p r e s e n t e d o r
i n a n a l t e r n a t i v e o r d e r .
M o z a r t m a r k e d e a c h o f t h e m o v e m e n t s a s A n d a n t e , w h i c h , i n t h e
e i g h t e e n t h c e n t u r y , wa s c o n s i d e r e d a r e l a t i v e l y l i v e l y t e m p o , o n l y
KCDA 2025
s l i g h t l y s l o w e r t h a n A l l e g r o . T h e s c o r e p r o v i d e s t e m p o
s u g g e s t i o n s , b u t a g r a c e f u l a n d e l e g a n t a p p r o a c h i s m o r e i m p o r t a n t
t h a n t h e a c t ua l s p e e d o f t h e p e r f o r m a n c e . T h e v e r t i c a l s t r o k e s o n
s o m e n o t e s i n t h e p i a n o pa r t c o m e f r o m M o z a r t ’ s o r c h e s t r a l s c o r e
a n d s h o u l d b e i n t e r p r e t e d a s b e i n g v e r y s l i g h t l y s e pa r a t e d f r o m
t h e n o t e s b e f o r e a n d a f t e r . B y n o m e a n s s h o u l d t h e y b e p l ay e d t o o
s h o r t o r w i t h t o o m u c h a c c e n t . T r a n s l a t i o n s o f t h e M a s s t e x t s a r e
n o t p r o v i d e d s i n c e t h e y a r e r e a d i l y ava i l a b l e e l s e w h e r e .
Andante ( ≈ 88–94)
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*If 'Laudamus te' and 'Domine Deus' are performed in succession, it is possible to omit measures 1 through 8 and begin at measure 9.
KCDA
KCDA 2025
Three Movements from the “Waisenhaus” Mass - Domine Deus
Andante ( ≈ 102–110)
3.Et incarnatus est
*Conduct in two (dotted quarter gets the beat)
KCDA 2025
KCDA 2025
KCDA 2025
Text: Latin phrase of unknown origin; State motto of South Carolina
Commisioned by the Niceville High School Chorus Catherine Feazell, conductor
Commissioned by Kevin Cole and Mary Lutz in celebration of the marriage of Allison Lutz Cole and Michael James Florek, April 17, 2016. for SATB chorus unaccompanied
'Tis love, all love! kurt knecht
& & V ? & ?
V ? & ?
About the Composer
Dr. Zanaida Stewart Robles (b. 1979) is an award-winning Black American female composer, vocalist, and teacher. She is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her
teaching and performance methods. Born, raised, and educated in Southern California on the unceded lands of the Gabrielino-Tongva people, she is in demand as a composer, vocalist, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music.
Dr. Robles’s original music has been performed by professional ensembles, community choirs, educational institutions, churches, and individuals worldwide. Her works are published by Stewart Robles Music, Music Spoke, E.B. Marks Music, Pavane Publishing, Stainer and Bell and Hinshaw Music. Her compositional style can be described as energized, soulful, contrapuntal, harmonically colorful, rhythmically driven, heavily modal, occasionally with African elements and touches of progressive rock.
KCDA 2025
Dr. Robles holds a Doctor of Musical Arts degree from the USC Thornton School of Music, a Master of Music degree from CSU Northridge, a Bachelor of Music degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts.
written to commeorate the 100th anniversary of the end of World War
& V ? &
KCDA 2025
Soprano Alto
Tenor
Bass
Piano
Valerie Showers Crescenz, ASCAP
Sara Teasdale
& V ? & ?
KCDA 2025
& V ? & ?
KCDA 2025
T raditional Afr ican S ongs, Ar ranged by T habo Matshego, T ranscr ibed by Peter Brown
KCDA 2025
KCDA 2025
Senzeni na/ Khaya la bazali bam medley
Lyrics
Senzeni na, senzeni na
Senzeni na, senzeni na
Senzeni na, senzeni na
Senzeni na, senzeni na (What have we done)
Khaya, Khaya ( Home, home)
Khaya la bazali bam (My parents home)
Khaya, Khaya ( Home, home)
Khaya la bazali bam (My parents home)
Sengikhumbula ikhaya labazli Bam (I miss my parents home)
Sengikhumbula ikhaya labazli Bam (I miss my parents home)
O mama no baba bangishiya ngsese mncane
(My mother and Father left me when I was still young)
O mama no baba bangishiya ngsese mncane (My mother and Father left me when I was still young)
Extended translation
What have we done to deserve this plight
I miss my parents home, my mother and father left me when I was young
We'll Meet Again
A n arrangement of Two american C ivil War S ongs:
Weeping S ad and L onely Tenting Tonight
S AT B divisi T I M O T H Y J O N T H A R A L D S O N
KCDA 2025
For SATB with piano, snare drum, and violin
Duration: 3:53
My Heart's In The Highlands
ZACHARY J. MOORE
Due to his broad popularity and cultural importance, Robert Burns (1759 – 1796) is often dubbed the national poet of Scotland. In fact, around January 25th, Burns Night is celebrated annually to honor his many contributions to the Scottish culture. Burns had a clear love and devotion for his country and that can be seen in his poem, My Heart’s in The Highlands.
While studying this text, the idea of an anthem immediately came to mind. Because of this, simple chord progressions, strong ascending melodies, and secondary dominant chords are used to embody the style of an anthem. The composition starts with a subtle buzz of energy as a soloist delivers the opening chorus. As the piece unfolds, the music builds and becomes more dramatic to reflect the overwhelming emotion found in Burns’ words. At measure 68 the music and words embody a steadfast love for the highlands. To reflect this notion, a snare drum is used to symbolize an unwavering march within one’s heart. This all builds to the climax at measure 84 when the text exclaims, “my heart’s in the highlands!”
Beyond an anthem, the poem is clearly a farewell. Saying “goodbye” to a place one loves can be difficult. When it is time to spread our wings and fly, we have an idea of where life will take us, but the winds of fate often take us in unexpected directions. We go off to school, to new jobs, or search for new adventures. Sometimes those adventures are simply down the road, while others may be thousands of miles away. But no matter how far one is taken from home, that connection is never truly lost. For whether one’s home is a country, a choir, close friends, or family – that home will always exist in one’s heart wherever they go.
Performance Notes:
Although the snare drum dynamics are written loudly, they should still be balanced with the choir and not overpower the choir.
My Heart's in The Highlands
My heart's in the Highlands, my heart is not here, My heart's in the Highlands, a-chasing the deer; Chasing the wild-deer, and following the roe, My heart's in the Highlands, wherever I go.
KCDA 2025
Farewell to the Highlands, farewell to the North, The birth-place of Valour, the country of Worth; Wherever I wander, wherever I rove, The hills of the Highlands forever I love.
Farewell to the mountains, high-cover'd with snow, Farewell to the straths and green vallies below; Farewell to the forests and wild-hanging woods, Farewell to the torrents and loud-pouring floods.
My heart's in the Highlands, my heart is not here, My heart's in the Highlands, a-chasing the deer; Chasing the wild-deer, and following the roe, My heart's in the Highlands, wherever I go.
- Robert Burns (1759 - 1796)
dedicated to the Plano Civic Chorus and their 50th anniversary Ralph Stannard, conductor
My Heart's in The Highlands
Words by: Robert Burn for SATB with Piano, Violin and Snare Drum
A fierce, hopeful anthem celebrating LGBTQIA experience and joy. Commissioned by Mirabai and Denver Women’s Cho rus
CHORUS
For we are timeless, we are far, we are near. We are alive beyond the poison of fear We are all stronger when we are open and true You with me, me with you.
VERSE - CHANT
I am alive in the 21st century, everyone said to me Ooh, child, you may be unlucky to be born now, but be calm, child. Many things are wrong, child, so try to get along, put your head down…. watch out for the bully! Oh! They say I’m just a girl, just a boy, don’t play with that toy! But I come to know what I love more than what I hate Do not negotiate who I am, who I love, what I’m made of And if you say you hate me that’s all you, not me I’m sorry someone lied and told you what you couldn’t be Have they never seen a rainbow? So many colors in a rainbow. Have they never seen a rainbow? They don’t know… They don’t know…
VERSE 2
I came to you, my guardian angels With hope that you would see all of me When I was shunned away to darkness And I yearned for chosen family.
I found myself through community Bloomed into a glorious me I stand on the shoulders of my elders Who fought so I could live to be free We need every color in the rainbow
M o i r a S m i l e y w i t h V2 b y S h r u � R a m a n i , K
S P n o
S
y
l l
l E
C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3 fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
& M i r a b a i C h o r a l S e r i e s M o i r a S m i l e y p i a n o a r r a n ge m e n t b y M . S m i l e y + K a i F u
q = 7 6 mf S 1 A 1
P n o
P e r fo r m a n c e N o te s :
AL L s n g th s m e o d y, th e n p e e l o ff We A r e T i m e l e s s
I N TR O C H O R U S & b b b ? b b b
1 . U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
P n o
M o i r a S m i l e y p i a n o a r r a n ge m e n t b y M . S m i l e y + K a i F u k u d a
F o r w e a r e � m e l e s s , - w e a r e fa r w e a r e n e a r
2 Th e p a u s e a t m 6 6 b e fo r e t h e fi n a l c h o r u s , I h e a r /s e e s o m e t h i n g fe r o c i o u s
P e r fo r m a n c e N o te s :
s c e n d i n g vo c a l fl o u r i s h , a s h o u t , a s t u n n i n g m o ve m e n t b y o n e p e r s o n . . . s o m e t h i n g t h a t s
1 U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
3 Th e ' w o o p ' a n d ' h e
2 Th e p a u s e a t m 6 6 b e fo r e t h e
a s h o u t , a s t u n n i n g m o ve m e n t b y o n e p e r s o n
3
e ' w
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
t r u e f Yo u w i t h m e m e w i t h yo u
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u F o r w e a r e � m e l e s s , - h m m ! w e a r e
f Yo u w i t h m e m e w i t h yo u
F o r w e a r e � m e l e s s , - h m m ! w e a r e f 4 4 4 4 4 4 & b b b ∑
1 A 1 P n o
w h a t I h a te mf o h o h o h
o h ff D o n o t n e g o - � - a te - w h o I a m , w h o I l o ve , w h a t I ' m m a d e o f, i f yo u s a y yo u S 1 A 1 P n o
h a te m e t h a t ' s a l l yo u , n o t m e S o r r y - s o m e o n e - l i e d , a n d to l d yo u w h a t yo u c o u l d n ' t - b e S 1
H a ve f t h e y n e ve r - s e e n a r a i n b o w ? - S o m a n y - c o l o r s - i n a r a i n b o w H a ve t h e y n e ve r - s e e n a r a i n b o w ?f S 1
Th e y mp d o n ' t k n o w, t h e y d o n ' t k n o w t h a t w e a r e � m e l e s s , -
We
1
1
s h u n n e d a w a y - to d a r k - n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t y -
P n o
s h u n n e d a w a y - to d a r k n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t yS 1 A 1
P n o
3
b l o o m ' d i n to - a g l o r i o u s m e I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
S 1 A 1 A
b l o o m ' d i n to - a g l o r i o u s m e . I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
i ve to b e f r e e
P n o
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
S 1 A 1
P n o n e e d f e ve r y - c o l o r - i n t h e r a i n b o w - o h o h ! o h ! w h o w e a r e i s a r t ! w h o ff w e a r e i s a r t ! 6 1
n e e d f e ve r y - c o l o r -
p o i s o n - o f fe a r We a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
p
i s
p o i s o n - o f fe a r
P n o
a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
We A r e T i m e l e s s
S S A A d i v. + B P, C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3
fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
M o i r a S m i l e y w i t h V 2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e
pi a n o st a r t s b a r 1
B P t h e n v o i c e s b a r 2
I N TR O C H O R U S /
n t r o B P p a �e r n h a p p e n s t w i c e
R s to m p c l a p c l a p R s t
S to m p e t h e r fo o t - s n g e r s c h o i c e /
M o i r a S m i l e y
c l c l L s t c l c l R s t L s to m p R s t c l c l L s to m p R s t c l c l
L s to m p R s t . c l c l L s t . c l c l R s t . L s to m p R s t . c l c l L s to m p R s t . c l c l L s to m p
C H O R U S 1 /
s to m p c l c l c l a p c l a p c l a p s to m p s to m p c l c l c l a p c l a p c l a p s to m p s to m p c l c l c l a p c l a p c l a p
c l . c l . c l a p c l a p c l a p c l a p + s to m p 2 /
4 4
s to m p s to m p
c l . c l . c l a p c l a p c l a p s to m p s to m p
V E R S E 1 - A 2 + S 2 t r a d e l e a d
C u p p e d ( d e e p e r s o u n d ) c l a p s
s to m p
c l . c l . s to m p c l . c l . s to m p c l . c l . s to m p c l . c l . s
s to m p
c l c l s to m p
c l c l s to m p c l c l /
s to m p
P R E - C H O R U S
c l c l s
c l c l s to m
C H O R U S 2 /
c l c l
s to m p
c l c l
c l a p c l a p c l a p s to m p s t s t s t s to m p
P l e a s e n o te t w o a d d i � o n a l c l a p s
c l a p c l a p
c l a p c l a p s to m p s t s t s t s to m p
c l c l
c l a p c l a p c l a p s t s t s t s t s to m p
c l c l c l a p c l a p c l a p s to m p s t s t s t /
V E R S E 2 - S 1 + A 1 L e a d /
s to m p s to m p s to m p s to m p s to m p s to m p
B R I D G E / 2 3
s to m p ! s to m p ! s to m p ! s to m p ! 3
P R E - C H O R U S 2
C H O R U S 3 /
s to m p
s to m p c l c l s t . c l . F i n a l B P i s l i g h t & jo y f u l s t . c l . s t . c l . s to m p
c l c l s t . c l . s t . c l . s t . c l . s to m p c l c l s t . c l . s t . c l . s t . c l .
c l c l s t . c l s t . c l s t . c l s to m p c l c l s t . c l s t . c l s t . c l s to m p c l c l s t . c l s t . c l s t . c l s to m p c l c l s t . c l s t . c l s t . c l /
s to m p
c l . c l . s t c l s to m p c l . c l . s t c l s t c l s t c l s t c l s t c l s to m p c l . c l . s t c l s t c l
