NCDA 2025 Reading Session by MusicSpoke

MUSICSPOKE

Nebraska Choral Directors Association 2025 Summer Conference Reading Session

Phone & FAX: 844.687.7653 • Email: notes@musicspoke.com

P.O. Box 10026 | Kansas City, MO 64171

Nebraska Choral Directors Association

2025 Summer Conference

Reading Session

Meet Me There | David von Kampen | SATB

'Tis Love, All Love | Kurt Knecht | SATB

Three Movements from the “Waisenhaus” Mass | ed. David Rayl | TB

Dum Spiro Spero | Andrea Ramsey | SSA

Senzeni na/Khaya la bazali bam | Thabo Matshego | SATB

Invitation to Love | Jane Kozhevnikova | SATB

If You Were Coming in the Fall | Matt Hill | SATB

Winter Stars | Valerie Crescenz | SATB

Come, let’s begin | Matthew & Shelly Armstrong | SATB

My Heart’s In The Highlands | Zachary J. Moore | SATB

We Are Timeless | Moira Smiley | SAA * If ordering printed scores, shipping will be added to the invoice

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NCDA 2025

Meet Me There

Fanny Crosby (1820-1915) SATB and Piano

David von Kampen

Percy Bysshe Shelley

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 ? & ?

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

David Rayl

NCDA 2025

N o t e s :

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

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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)

NCDA 2025

*If 'Laudamus te' and 'Domine Deus' are performed in succession, it is possible to omit measures 1 through 8 and begin at measure 9.

Three Movements from the “Waisenhaus” Mass - Domine Deus

Andante ( ≈ 102–110)

3.Et incarnatus est

*Conduct in two (dotted quarter gets the beat)

NCDA 2025

Text: Latin phrase of unknown origin; State motto of South Carolina

Commisioned by the Niceville High School Chorus Catherine Feazell, conductor

Dum Spiro Spero

(While I breathe, I hope)

SSA Chorus with Piano

Music by Andrea Ramsey

b b b b b

Tempo primo ( q»120 - 136 )

spi ro

b b b b b b b b b b

dum spi ro spe ro, dum

Tempo primo ( q»120 - 136 )

b b b b b b b b b b

Tempo primo ( q»120 - 136 )

A bit slower, rubato

molto legato molto legato

molto legato

A bit slower, rubato

NCDA 2025

molto legato

A bit slower, rubato

Tempo primo ( q»120 - 136

& & ?

b b b b b

b b b b b b b b b b

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T raditional Afr ican S ongs, Ar ranged by T habo Matshego, T ranscr ibed by Peter Brown

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Coda

Senzeni na/ Khaya la bazali bam medley

Lyrics

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)

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

NCDA 2025

INVITATION TO LOVE

text by Paul Laurence Dunbar, music by Jane Kozhevnikova

About the work

Written by Evgeniya “Jane” Kozhevnikova in 2021, “Invitation to Love” is a setting of the poem by Paul Laurence Dunbar for SATB and piano/voice and piano. The choral version of this piece was premiered on October 4, 2022 by the UNCG University Chorale under the direction of Dr. Carole Ott Coelho.

Duration: ca. 5’

For inquiries or performance reports, please email homoinsomnis@yahoo.com

Invitation to Love by Paul Laurence Dunbar (1872-1906)

Come when the nights are bright with stars

Or come when the moon is mellow;

Come when the sun his golden bars

Drops on the hay-field yellow.

Come in the twilight soft and gray,

Come in the night or come in the day,

Come, O love, whene’er you may, And you are welcome, welcome.

You are sweet, O Love, dear Love, You are soft as the nesting dove.

Come to my heart and bring it to rest

As the bird flies home to its welcome nest.

NCDA 2025

Come when my heart is full of grief

Or when my heart is merry;

Come with the falling of the leaf

Or with the redd’ning cherry.

Come when the year’s first blossom blows,

Come when the summer gleams and glows,

Come with the winter’s drifting snows,

And you are welcome, welcome.

JANE KOZHEVNIKOVA (b

Come

Come with the fall ingrit.

Come when the year's first blos som - blows, mf mp

Come when the year's first blos som - blows, mf mp mf

with the

win ter's - drift ing - snows, and you are wel come, -

win ter's - drift ing - snows, and you are with the drift ing - snows, and you are with the drift ing - snows, and you are

Love, You are soft as the nest ing - dove,

Love, You are soft as the nest ing - dove, O Love, as the nest ing - dove,

NCDA 2025

Emily Dickinson

If You Were Coming in the Fall

With Quiet Reflection  = 76

Piano

pedal

If you were com ing in the

I would brush the

If you were com ing in the

I would brush the sum mer

Matt Hill

hand.

cer tain when this

If when this

be,

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drawers

ies de layed, I'd

yours and mine would

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tween,

count them on

hand. If

count

hand. If

cer tain when this

cer tain

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Winter Stars

written to commeorate the 100th anniversary of the end of World War

& & V ? &

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Soprano Alto

Tenor

Bass

Piano

Valerie Showers Crescenz, ASCAP

Sara Teasdale

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NCDA 2025

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Come, let’s begin

Thomas Weelkes SATB, a cappella arr. Matthew A. Armstrong

NCDA 2025

Thomas Weelkes

arr. Matthew A. Armstrong Come, let’s begin

Come, let’s begin Thomas Weelkes (1573-1623) from Ayeres or Phantasticke Spirites London, 1608

Come, let’s begin to revel’t out, And tread the hills and dales about; That hills and dales and woods may sound

An echo to this warbling round.

Lads, merry be with music sweet, And, fairies, trip it with your feet, That hills and dales and woods may sound

An echo to this warbling round.

Thomas Weelkes, Gentleman of His Majesties Chappell, Batchelor of Musicke, and Organist of the Cathedral Church of Chichester.

Dedicated “To the right noble, and most worthy, Edward Lord Denny, Baron of Waltham.”

Originally written for three voices-Cantus, Altus, and Bassus

NCDA 2025

Come,let'sbegin from Ayeres or Phantasticke Spirites, London,1608ThomasWeelkes (1573-1623) arr.MatthewA.Armstrong

Thathillsand

dalesanddalesand

hillsanddales

andwoods

hillsanddalesand

woodsmaysound,

maysound,An

woodsmaysound,

hillsanddalesand

woodsmaysound,

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.

NCDA 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)

Words

by:

Robert Burn

dedicated to the Plano Civic Chorus and their 50th anniversary Ralph Stannard, conductor

My Heart's in The Highlands

for SATB with Piano, Violin and Snare Drum

Duration: ca 3:53

Music by: Zachary J. Moore

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highlands, my

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WE ARE TIMELESS

SAA + Piano

by Moira Smiley

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 Copyright 2023, Moira Smiley Music Publishing,

b b ∑

q = 7 6

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 i a r a h O ’ K a n e I N TR O C H O R U S & b b b

S P n o

P n o

b b b

P e r fo r m a n c e N o te s :

4 4 4 4 4 4 & b b b ∑

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 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

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 i a r a h O ’ K a n e

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

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 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

AL L s n g th s m e o d y th e n p e e l o ﬀ

I N TR O C H O R U S & b b b ? b b b P e r fo r m a n c e N o te 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 '

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

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

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 to p s � m e

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 '

2 Th e p a u s e a t m 6 6 b e fo r e t

l ﬂ o u

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

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 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 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

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 S 1 A 1

P n o

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 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 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

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 , -

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

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

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 /

c l c l

s to m p

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

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

c l . c l . c l a p c l a p c l a p c l a 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 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 /

c l c l

s to m p

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 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 . 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

2 4 4 4

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

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 to m p

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 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 . s t . c l . s to m p c l c l s t . c l . /

3 4 4 4 4 4 2 4 4 4 4 4 /

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

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