Texts, Translations & Program Notes
Langston Dreams Text: Langston Hughes (1901-1967) I. I Dream a World
I Dream A World is a setting of the poem “To You” by Harlem Renaissance jazz poet, playwright and social activist Langston Hughes (1902-1967). In this song, the composer depicts musically Mr. Hughes’s juxtaposition of the world that is and the world that could be. The world of which Langston Hughes dreams is characterized by joy, peace and freedom; yet, the one in which he lives is full of the “wretchedness” of racial prejudice and avarice. The composer begins the work with a joyful piano introduction that represents the “dream” theme. This is followed by a choral introduction in which the women, echoed by the men, sound the first hearing of “I Dream A World”. The beginning of the song is, for Hughes, a pleasant dream, in which “our world” is one where love, joy and freedom rule. However, as the song develops, the dream becomes dark, representing the present state of being. This is heard in a shift from consonant chords to the use of dissonance in the piano, as well as rhythmic agitation in both the vocal and piano parts. As Hughes’ dream develops further, the poet chooses to believe that “joy, like a pearl” will one day “attend the needs of all mankind”. Because of this, he will continue to dream for a better world, heard in the passionately repeated phrase “I Dream” near the end of the song. I Dream A World ends with a final climactic statement of “our world,” followed by two accented and strident piano chords which depict the poet startled awake–only now aware that he has been dreaming.
I dream a world where man
No other man will scorn, Where love will bless the earth And peace its paths adorn I dream a world where all Will know sweet freedom’s way, Where greed no longer saps the soul Nor avarice blights our day. A world I dream where black and white, Whatever race you be, Will share the bounties of the earth And every man is free, Where wretchedness will hang its head And joy, like a pearl, Attends the needs of all mankind. Of such I dream, my world!
II. To Sit and Dream
Setting the poetry of the same title by Langston Hughes, this text addresses “our problem world” with the hope that those who dare to dream can “make our world anew”. The composer sought to capture, in concert form, the jazz influences harmonically that were such a part of Hughes’ world. She sought to utilize harmonic colors that could be both “dark” (representing “our problem world”) and “bright” (“our world anew”) dependent upon the listener’s perspective. In her mind, the composer
imagined Hughes, in his apartment, in solitude, reading the paper, overwhelmed by the realities of America’s present state, yet daring to dream of a better day. Almost in a state of trance, he makes his way to the busy streets of New York, reaching out his hand to passersby–those of like mind who will join him in being a catalyst for positive change. Many respond positively and joyfully to his invitation and begin to reach out to others. This idea is expressed in the last section of the song as parts enter successively singing, “I reach out my hand to you,” then join in one voice. For a few moments, everyone reaches out to everyone else in love and peace. In the final phrase of the song “to sit and dream,” Hughes awakens– the newspaper headlines still before him–and resolves that he may never see such a day, except when he sits and dreams.
To sit and dream, to sit and read, To sit and learn about the world.
Outside our world of here and now, Our problem world,
To dream of vast horizons of the soul
Though dreams made whole, Unfettered, free.
Help me!
All you who are dreamers, too,
Help me to make our world anew. I reach out my dreams to you.
III. Hold Fast to Dreams
Inspired by another powerful poem by Langston Hughes, Hold Fast to Dreams reflects the enduring spirit of hope and resilience in the face of adversity. Powell’s setting of Hughes’ text captures the depth and beauty of the poet’s message with a poignant, lyrical melody that echoes the urgency of holding onto one’s dreams despite life's challenges. The piece flows with a sense of longing and strength, reminding us that dreams are essential for overcoming hardship and for living a fulfilling, meaningful life. Powell’s skillful use of harmony and dynamic expression further enhances the emotional impact, creating a stirring anthem for perseverance and vision.
Hold fast to dreams
For if dreams die
Life is a broken-winged bird That cannot fly.
Hold fast to dreams
For when dreams go Life is a barren field
Frozen with snow.
Quiet Revolutionary
Quiet Revolutionary is a powerful and introspective work that speaks to the strength of those who effect change without the need for public recognition or fanfare. Drawing inspiration from the quiet, yet profound impact of individuals who revolutionize society through subtle acts of courage, perseverance, and conviction, Powell’s composition emphasizes the understated yet transformative power of inner strength. The text emphasizes either bible verses or African-American spirituals which tell stories of empowerment and freedom throughout the piece. The music’s elegant and
expressive lines, paired with intricate harmonies, mirror the delicate balance of quiet determination and profound influence. Through its delicate phrasing and evocative structure, Quiet Revolutionary honors those whose actions may go unnoticed but whose legacies leave an indelible mark on the world.
I. Quiet Revolutionary Text: Rosephanye Powell Quiet Revolutionary.
II. Blow the Trumpet African American Spiritual Blow the Trumpet!
An’ let my people go!
When Israel was in Egypt’s lan’ Oppress’d so hard they could not stand. God said to Moses, “Tell Pharaoh To let my people go!”
Go down, Moses, Way down in Egypt’s lan’
Tell ole Pharaoh, “To let my people go!”
III. Song in a Strange Land Text: Psalm 137, James Weldon Johnson (1871-1938) and J. Rosamond Johnson (1873-1954) By the rivers of Babylon we sat and wept. How shall we sing the Lord’s song In a strange, strange, land? They that carried us away captive, Required of us a song; And they that wasted us, required of us joy; Saying, Sing us one of the songs of Zion. But how shall we sing the Lord’s song In a strange, strange, land?
Lift every voice and sing, Till earth and heaven ring, Ring with the harmonies of liberty. Let our rejoicing rise, High as the list’ning skies, Let it resound loud as the roaring sea. We will sing in this strange, strange, land!
Hallelujah from Cry of Jeremiah Text: Jeremiah 20:11-13
Hallelujah begins serenely revealing that Jeremiah has resolved his issues with God. The song builds to a joyful celebration of God’s faithfulness. The specific style of gospel song in which Hallelujah is composed is the praise and worship style. Indicative of gospel, in the final section, called the “special,” vocal parts are repeated independently and in harmony to build energy and develop to a climax.
Hallelujah!
Praise the lord above. He will deliver me.
Hallelujah!
Faithful God of love; His glory I will see.
Rest in the lord, O my soul.
Trust in God. Fear not; He’s always near.
Stand on the word of the Father.
Pray in the spirit;
Believing God always hears.
Hallelujah!
Sing to the Lord of love, For he will provide for me. Hallelujah!
Almighty God above; His glory I shall see.
Rest in the lord, O my soul.
Trust in God. Fear not; He’s always near.
Stand on the word of the Father.
Pray in the spirit;
Believing God always hears.
Rejoice!
God will deliver me.
Rejoice!
His glory I shall see.
God is my refuge, strong mighty tower. He is my deliverer.
Hallelujah!
I will rejoice Hallelujah!
In Dat Great Giddin’ Up Mo’nin’ African American Spiritual
This vibrant and energizing spiritual by Rosephanye Powell draws inspiration from the African American gospel tradition, infused with rhythmic vitality and joyful exuberance. The work evokes the powerful anticipation and hope surrounding the "Great Gettin’ Up Morning," a reference to the promise of resurrection and renewal
Fare ye well, In that mornin’,
I got a home up in the kingdom, Fare ye well, I’m gonna lay down this worl’, Gonna shoulder up my cross.
Gonna take it home to my Jesus, Fare ye well.
He’s gonna call us up to heaven, Fare ye well, I will hear my Savior callin’, And I’ll hear the trumpet sound, Then He’s gonna call us up to glory,
Fare ye well.
In that great gettin’ up mornin’, Fare ye well, Fare ye well.
Samuel Coleridge-Taylor (1875–1912) was one of the most remarkable composers of his generation, a British musician of African descent who overcame racial and social barriers to achieve international success. His compositions, particularly Hiawatha’s Wedding Feast, cemented his reputation as a major figure in late 19th- and early 20thcentury music. In 2025, we mark the 150th anniversary of Coleridge-Taylor’s birth, a milestone that offers a renewed opportunity to celebrate his life and artistic achievements.
Born in London to an English mother and a father from Sierra Leone, Samuel Coleridge-Taylor displayed exceptional musical talent from an early age. He studied at the Royal College of Music, where he was mentored by Sir Charles Villiers Stanford. Despite facing racial discrimination, he became a respected composer and conductor, with his works championed by leading musicians of the time. Coleridge-Taylor’s music is characterized by lush harmonies, rhythmic vitality, and a strong sense of lyricism. Deeply influenced by the works of Antonín Dvořák and the Romantic tradition, he also sought inspiration from his African heritage, integrating spiritual and folk elements into his compositions. He was particularly admired in the United States, where he toured extensively and was warmly received by African American audiences who saw him as a cultural hero.
Requiescat Text: Matthew Arnold (1822-1888)
Requiescat is the first song in a two-cycle set titled “Two 4 part songs.” This edition was created from the holograph manuscript MS 5006, housed at the Royal College of Music Library. While the manuscript notes two songs, the first, Requiescat, is the only one that remains. The text is by English poet and literary critic Matthew Arnold (18221888). Coleridge-Taylor sets the text in its original form except for two moments in the composition. These are marked in the score with the original text in brackets where he changes original text. The original manuscript had several inconsistencies in the piano reduction. Where these occurred, the reduction was corrected to match the vocal lines for ease of playing. Likewise, bracketed articulations in the lower voices throughout the score are editorial and not original to the manuscript. However, they support the articulations in the soprano voice, noted by the composer throughout. This edition was created by Vinroy D. Brown, Jr. and first performed by the Temple University Graduate Conductors’ Chorus. The Westminster Symphonic Choir presents the second performance of this new edition.
Strew on her roses, roses, And never a spray of yew. In quiet she reposes: Ah! would that I did too.
Her mirth the world required: She bathed it in smiles of glee. But her heart was tired, tired, And now they let her be.
Her life was turning, turning, In mazes of heat and sound.
But for peace her soul was yearning And now peace laps her round.
Her cabin’d, ample Spirit, It flutter’d and fail’d for breath.
To-night it doth inherit
The vasty hall of Death.
The Song of Hiawatha
XI. Hiawatha’s Wedding Feast
Text: Henry Wadsworth Longfellow (1807-1882)
Coleridge-Taylor’s most famous composition, Hiawatha’s Wedding Feast, is a cantata for tenor soloist, chorus, and orchestra, first performed in 1898 at the Royal College of Music. The piece is the first and most celebrated part of a trilogy based on Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha. It tells the story of the Native American leader Hiawatha and his marriage to Minnehaha, evoking the grandeur and mysticism of the narrative through rich choral writing and colorful orchestration.
The premiere of Hiawatha’s Wedding Feast was an overwhelming success, earning Coleridge-Taylor widespread recognition. The work’s immediate popularity led to frequent performances, and it quickly became a staple of choral societies in Britain and beyond. The cantata’s accessibility, with its sweeping melodies and dramatic choral passages, contributed to its enduring appeal.
One of the defining features of Hiawatha’s Wedding Feast is its brilliant fusion of influences. While firmly rooted in the Western classical tradition, the music reflects Coleridge-Taylor’s interest in folk idioms and rhythmic drive, creating a unique sound world. The tenor solo, “Onaway! Awake, Beloved!”, remains one of the most admired passages in the choral repertoire, showcasing the composer’s gift for melody and expressive lyricism.
Following its premiere, Hiawatha’s Wedding Feast was hailed as a masterpiece, and Coleridge-Taylor was often compared to his contemporary Edward Elgar. The work’s popularity led to a series of annual performances at the Royal Albert Hall, with elaborate staged productions becoming a highlight of British musical life in the early 20th century.
Despite its early success, Hiawatha’s Wedding Feast gradually faded from mainstream programming in the later 20th century. However, in recent years, there has been a growing interest in rediscovering Coleridge-Taylor’s music, with new recordings and performances helping to restore his rightful place in the classical canon.
As we commemorate the 150th anniversary of Samuel Coleridge-Taylor’s birth in 2025, his legacy as a pioneering composer is more relevant than ever. His work not only enriched the musical landscape of his time but also broke barriers, paving the way for greater diversity in classical music. Hiawatha’s Wedding Feast remains a testament to his genius, a work that continues to captivate audiences with its beauty and power. This anniversary year presents an opportunity to celebrate Coleridge-Taylor’s contributions and to introduce his music to new generations of listeners. Through performances of Hiawatha’s Wedding Feast and other works, we honor a composer whose artistic vision and determination continue to inspire.
You shall hear how Pau-Puk-Keewis, How the handsome Yenadizze Danced at Hiawatha’s wedding; How the gentle Chibiabos, He the sweetest of musicians, Sand his songs of love and longing; How Iagoo, the great boaster, He the marvellous story-teller, Told his tales of strange adventure, That the feast might be more joyous, That the time might pass more gayly, And the guests be more contented. Sumptuous was the feast Nokomis Made at Hiawatha’s wedding; All the bowls were made of basswood,
White and polished very smoothly, All the spoons of horn of bison, Black and polished very smoothly. She had sent through all the village Messengers with wands of willow, As a sign of invitation, As a token of the feasting; And the wedding guests assembled, Clad in all their richest raiment, Robes of fur and belts of wampum, Splendid with their paint and plumage, Beautiful with beads and tassels.
First they ate the sturgeon, Nahma, And the pike, the Maskenozha, Caught and cooked by old Nokomis; Then on pemican they feasted, Pemican and buffalo marrow, Haunch of deer and hump of bison, Yellow cakes of the Mondamin, And the wild rice of the river.
But the gracious Hiawatha, And the lovely Laughing Water And the careful old Nokomis, Tasted not the food before them, Only waited on the others, Only served their guests in silence And when all the guests had finished Old Nokomis, brisk and busy, From an ample pouch of otter, Filled the red-stone pipes for smoking With tobacco from the South-land, Mixed with bark of the red willow,
And with herbs and leaves of fragrance.
Then she said, “O Pau-Puk-Keewis, Dance for us your merry dances, Dance the Beggar’s Dance to please us,
That the feast may be more joyous, That the time may pass more gayly, And our guests be more contented!”
Then the handsome Pau-Puk-Keewis, He the idle Yenadizze, He the merry mischief-maker, Whom the people called the StormFool,
Rose among the guests assembled. Skilled was he in sports and pastimes, In the merry dance of snow-shoes, In the play of quoits and ball-play; Skilled was he in games of hazard, In all games of skill and hazard, Pugasaing, the Bowl and Counters, Kuntassoo, the Game of Plum-stones. Though the warriors called him FaintHeart,
Called him coward, Shaugodaya, Idler, gambler, Yenadizze, Little heeded he their jesting, Little cared he for their insults, For the women and the maidens Loved the handsome Pau-Puk-Keewis. He was dressed in shirt of doeskin, White and soft, and fringed with ermine, All inwrought with beads of wampum; He was dressed in deer-skin leggings, Fringed with hedgehog quills and ermine,
And in moccasins of buck-skin, Thick with quills and beads embroidered.
On his head were plumes of swan’s down,
On his heels were tails of foxes, In one hand a fan of feathers, And a pipe was in the other. Barred with streaks of red and yellow, Streaks of blue and bright vermilion, Shone the face of Pau-Puk-Keewis. From his forehead fell his tresses,
Smooth, and parted like a woman’s, Shining bright with oil, and plaited, Hung with braids of scented grasses, As among the guests assembled, To the sound of flutes and singing, To the sound of drums and voices, Rose the handsome Pau-Puk-Keewis, And began his mystic dances.
First he danced a solemn measure, Very slow in step and gesture, In and out among the pine-trees, Through the shadows and the sunshine,
Treading softly like a panther. Then more swiftly and still swifter, Whirling, spinning round in circles, Leaping o’er the guests assembled, Eddying round and round the wigwam,
Till the leaves went whirling with him, Till the dust and wind together
Swept in eddies round about him. Then along the sandy margin Of the lake, the Big-Sea-Water, On he sped with frenzied gestures, Stamped upon the sand, and tossed it Wildly in the air around him; Till the wind became a whirlwind, Till the sand was blown and sifted
Like great snowdrifts o’er the landscape,
Heaping all the shores with Sand Dunes,
Sand Hills of the Nagow Wudjoo!
Thus the merry Pau-Puk-Keewis
Danced his Beggar’s Dance to please them,
And, returning, sat down laughing
There among the guests assembled, Sat and fanned himself serenely With his fan of turkey-feathers. Then they said to Chibiabos, To the friend of Hiawatha, To the sweetest of all singers, To the best of all musicians, “Sing to us, O Chibiabos!
Songs of love and songs of longing, That the feast may be more joyous, That the time may pass more gayly,
And our guests be more contented!”
And the gentle Chibiabos
Sang in accents sweet and tender, Sang in tones of deep emotion
Songs of love and songs of longing; Looking still at Hiawatha, Looking at fair Laughing Water, Sang he softly, sang in this wise:
“Onaway! Awake, beloved!
Thou the wild-flower of the forest!
Thou the wild-bird of the prairie!
Thou with eyes so soft and fawn-like!
“If thou only lookest at me, I am happy, I am happy, As the lilies of the prairie,
When they feel the dew upon them!
“Sweet thy breath is as the fragrance Of the wild-flowers in the morning, As their fragrance is at evening, In the Moon when leaves are falling. Does not all the blood within me
Leap to meet thee, leap to meet thee, As the springs to meet the sunshine, In the Moon when nights are brightest?
“Onaway! my heart sings to thee, Sings with joy when thou art near me, As the sighing, singing branches In the pleasant Moon of Strawberries!
“When thou art not pleased, beloved, Then my heart is sad and darkened, As the shining river darkens
When the clouds drop shadows on it!
“When thou smilest, my beloved, Then my troubled heart is brightened, As in sunshine gleam the ripples
That the cold wind makes in rivers.
“Smiles the earth, and smile the waters,
Smile the cloudless skies above us, But I lose the way of smiling
When thou art no longer near me!
“I myself, myself! behold me!
Blood of my beating heart, behold me!
Oh awake, awake, beloved!
Onaway! awake, beloved!”
Thus the gentle Chibiabos
Sang his song of love and longing; And Iagoo, the great boaster,
He the marvellous story-teller, He the friend of old Nokomis, Jealous of the sweet musician, Jealous of the applause they gave him, Saw in all the eyes around him, Saw in all their looks and gestures, That the wedding guests assembled Longed to hear his pleasant stories, His immeasurable falsehoods. Very boastful was Iagoo; Never heard he an adventure
But himself had met a greater; Never any deed of daring But himself had done a bolder; Never any marvellous story But himself could tell a stranger. Would you listen to his boasting, Would you only give him credence, No one ever shot an arrow
Half so far and high as he had Ever caught so many fishes, Ever killed so many reindeer, Ever trapped so many beaver!
None could run so fast as he could, None could dive so deep as he could, None could swim so far as he could; None had made so many journeys, None had seen so many wonders, As this wonderful Iagoo, As this marvellous story-teller!
About the Artists
WESTMINSTER JUBILEE SINGERS
Thus his name became a by-word And a jest among the people; And whene’er a boastful hunter Praised his own address too highly, Or a warrior, home returning, Talked too much of his achievements, All his hearers cried, “Iagoo! Here’s Iagoo come among us!” He it was who carved the cradle Of the little Hiawatha, Carved its framework out of linden, Bound it strong with reindeer sinews He it was who taught him later How to make his bows and arrows, How to make the bows of ash-tree, And the arrows of the oak-tree So among the guests assembled At my Hiawatha’s wedding Sat Iagoo, old and ugly, Sat the marvellous story-teller. And they said, “O good Iagoo, Tell us now a tale of wonder, Tell us of some strange adventure, That the feast may be more joyous, That the time may pass more gayly, And our guests be more contented! And Iagoo answered straightway, You shall hear the strange adventures Of Osseo, the Magician, From the Evening Star descended.”
Composed of students selected by audition, the Westminster Jubilee Singers is modeled after the historically acclaimed Fisk Jubilee Singers. Its repertoire, while specialized and select, is very diverse and focuses on solo and ensemble artistic expressions from its singers. Part of Westminster Choir College’s Sacred Music Department, the ensemble performs literature that includes African-American spirituals and folk songs; classical music by African-American composers; gospel music and secular songs by musical greats such as William Dawson, Duke Ellington, Walter Hawkins, Andraé Crouch, Richard Smallwood, Kirk Franklin and Dr. Nathan Carter, as well as Westminster graduates, Rosephanye Powell, Donald Dillard and M. Roger Holland. Also explored and performed are works by non-African-American composers, including George Gershwin, Alice Parker, Robert Shaw, Robert Page, Gail
Poch, Steve Pilkington and others who have composed and/or arranged music of the African-American experience.
In addition to its rich repertoire of African-American spirituals, hymn arrangements and gospel songs, the Westminster Jubilee Singers has performed classical works, such as And They Lynched Him On a Tree by William Grant Still and Shout for Joy and I Will Lift Up My Eyes by Adolphus Hailstork. Highlights of recent seasons include the performance of Duke Ellington’s Sacred Concerts and R. Nathaniel Dett’s The Ordering of Moses. The ensemble’s 2024-2025 season includes performances in Lawrenceville, Princeton and Trenton, including a performance of Porgy and Bess with the Capital Philharmonic. They will also anchor the Celebration of Black Music in a special performance of works by Rosephanye Powell with the composer at the helm.
Previous seasons have included appearances at the Music Educators National Conference (MENC) in Kansas City and Regional Conference in Baltimore; the American Choral Directors Association (ACDA) Eastern Regional Convention in Boston; a performance with Denyce Graves at New York’s Apollo Theater to celebrate the 30th anniversary of the Children’s Defense Fund; a joint concert entitled Living the Dream with Penn State University’s Essence of Joy ensemble as a tribute to Rev. Dr. Martin Luther King, Jr.; and its Lincoln Center debut performing in An Evening of Choral Artistry, presented by the American Choral Directors Association. The ensemble has performed at Carnegie Hall with the New York Pops Orchestra, under the baton of Skitch Henderson, in a concert version of Porgy and Bess. At the New Jersey Performing Arts Center in Newark, Westminster Jubilee Singers presented joint concerts with the Fisk University Jubilee Singers and the legendary Sweet Honey in the Rock.
Vinroy D. Brown, Jr., conductor
Akiko Hosaki, accompanist
Maxwell Brey, graduate assistant conductor
Lucas Heredia, graduate assistant conductor
Emilie Beals, Carlisle, PA
Kamany Belcher, Easton, PA
Elizabeth Berger, Sparks, MD
Cherisse R Bonefont, Lumberton, NJ
Maxwell Brey, Tallahassee, FL
Kevin Catalon, Fords, NJ
Juli Chiriboga, Huntington, NY
Maya Cooper, Fairfax, VA
Xavier Desrosiers, Southampton, PA
Olivia Dixon, Woodbury, NJ
Diego Dominguez, El Paso, TX
Sarah Febonio, Flemington, NJ
Lucas Heredia, East Brunswick, NJ
Anna Maher, Ipswich, MA
Jada Laws, Pine Beach, NJ
Alyssa M Lester, Monroe, NJ
Samuel Messenger, Bellmawr, NJ
Kianna Mitchner, Groton, CT
Abbey Ritter, Geneva, NY
Abigail A Rose, Perkasie, PA
Bailey Shay, Matamoras, PA
Alastair Stewart, Quebec, Canada
Julia Wilder, Carmel, NY
D’Andre D Wright, Trumbull, CT
Weicheng Ying, Shanghai, China
WESTMINSTER SYMPHONIC CHOIR
Long recognized as one of the world’s leading symphonic choral ensembles, the Westminster Symphonic Choir has recorded and performed with major orchestras under virtually every internationally acclaimed conductor of the past 90 years.
The choir first performed in 1934 when it joined The Philadelphia Orchestra and Leopold Stokowski to perform Bach’s Mass in B Minor in the Princeton University Chapel to celebrate the move of Westminster Choir College to New Jersey. Subsequent seasons have included a performance of Holst’s The Planets with The Philadelphia Orchestra conducted by Cristian Măcelaru; the premiere of Machover’s Philadelphia Voices with The Philadelphia Orchestra, conducted by Yannick NézetSéguin; Mozart’s Mass in C Minor with the Orchestra of St. Luke’s conducted by Pablo Heras-Casado; Handel’s Messiah with the New York Philharmonic conducted by Andrew Manze; and Beethoven’s Symphony No. 9 with the Princeton Symphony Orchestra, conducted by Rossen Milanov. The choir can be heard on recordings of Leonard Bernstein’s MASS with The Philadelphia Orchestra and Yannick Nézet-Séguin, released on the Deutsche Grammophon label, and Benjamin Britten’s War Requiem with the New York Philharmonic, conducted by Kurt Masur, and numerous recordings of Bernstein and the New York Philharmonic
The choir is featured on the 30th anniversary broadcast Christmas at Westminster: An Evening of Readings and Carols, available on more than 350 public television stations and streaming nationwide, and on a 2-CD set of the complete performance.
Donald Nally, conductor
Annie McCasland and Katelyn Reinhard, graduate assistant conductor
Gregory Stout, collaborative keyboardist
Nidhi Advani, Columbus, NJ
Nathan Anderson, Dickson, TN
Emilie Beals, Carlisle, PA
Jessica Bella, Naperville, IL
Mackenzie J. Bella, Wood River, NE
Elizabeth Berger, Sparks, MD
Mackenzie Berry, Frederick, MD
Katrina Blowitski, Southampton, PA
Cherisse R Bonefont, Lumberton, NJ
Maxwell Brey, Tallahassee, FL
Jacqueline Burkholder, Philadelphia, PA
Kevin Catalon, Fords, NJ
Emma Clark, Danville, PA
Grace Comeau, Bristow, VA
Maya Cooper, Fairfax, VA
Abi Culkin, Woodbine, MD
Jessie Zixi Deng, Shanghai, China
Skylar Derthick, Camas, WA
Olivia Dixon, Woodbury, NJ
Diego Dominguez, El Paso, TX
Alexa Farah, Northvale, NJ
Sarah Febonio, Flemington, NJ
Claire Fritz, Elizabethtown, PA
Jiayun Gao, Shanghai, China
Sean D. Haugh, Point Pleasant, NJ
Lucas Heredia, East Brunswick, NJ
Emily Huguenin, Howell, NJ
Grisha P. Ivanov, Brooklyn, NY
Christian Gray Johnson, Covington, GA
Ben Kirk, Lumberton, NJ
Jessica Kosack, Tamaqua, PA
Alyssa M. Lester, Monroe Twp., NJ
Duomi Liu, Beijing, China
Annie McCasland, Potomac, MD
Sela J. McMullen, Towson, MD
Samuel Messenger, Bellmawr, NJ
Kianna Mitchner, Groton, CT
James Moyer, Yardley, PA
Sarah Ounsworth, Pottstown, PA
Juliana Rappaport, Frederick, MD
Katelyn Reinhard, Fort Wayne, IN
Brenna Richard, York, PA
Ricky Sazon Salazar, New York, NY
Bailey Shay, Matamoras, PA
Jennie Mae Sprouse, Nashville, TN
PINE FORGE ACADEMY CHOIR
Alastair Stewart, Quebec, Canada
Arseniy Vasilyev, Moscow, Russia
Julia Wilder, Carmel, NY
The world-renowned Pine Forge Academy Choir is a group of vocally diverse, talented, and dedicated youth. Directed by Jarrett Roseborough, the choir is noted for its full, rich, and powerful harmonious quality as heard through its spirituals, gospels, anthems, and classical repertoire.
Kamryn Brown
Jody Brown
Misael Hunt Butler
Kevin Campbell
Azaria Carrol
Maylin Chavers
Abigail Clay
Mackenzie Davis
Peyton Davis
Gabriella Dege
Justin Edgar
Seth Ferguson
Jamarea Fields
Nalani Flint
Kayleigh Grant
Timothy Grissom
Darby Holder
Amari Holliday
Ilide Iheme
Kiera John-Lewis
Avery Johnson
Daniel Joseph
FELICIA BARBER
Marley Keith
Thokozani Kulemeka
Benjamin Levy
Elijah Louis
Joshua Martin
Kamau Maxwell
Marie Michele-Desir
Frederick Montgomery
Keyonte Moore
Queen Nora
Taree Oakley
Jourdyn Pettigrew
Kerstynne Powell
Kennedy Ricks
Nasiya Romelus
James Seals
Kaitlyn Shields
Noah Simmons
Rhianna Sims
Andres Trellis
Jahni Wilson
Dr. Felicia Barber is the associate professor, adjunct, of choral conducting at Yale University, and conductor of the Yale Camerata. In addition to teaching graduate-level choral conductors and aspiring undergraduate conductors, Dr. Barber is developing a new initiative designed to prepare Yale students to work with young musicians on choral music in school and church settings.
Previous to her appointment at Yale, Dr. Barber served as associate professor of music and director of choral activities at Westfield State University (WSU) in Westfield, MA, where she conducted the University Chorus, Chamber Chorale, and Gospel Choir; as well as taught courses in conducting and choral methods. In addition to her position at WSU, Dr. Barber also served as choral lecturer for the summer master’s program at
Gordon College for five years. There she taught courses in choral conducting and choral music education for the MME degree.
Dr. Barber, whose research interests include effective teaching strategies, fostering classroom diversity and incorporating equity and justice initiatives in choral curricula, and the linguistic performance practice of African American spirituals, has contributed to such periodicals as the American Choral Directors Association’s Choral Journal and is the author of A New Perspective for the Use of Dialect in African American Spirituals: History, Context, and Linguistics (Rowman & Littlefield, 2021).
Additional projects include serving as curator and editor for the “Felicia Barber Choral Series,” a choral series with Hinshaw Music Publications to promote and amplify music of new BIPOC composers and arrangers. In addition, Dr. Barber’s poetry has recently been featured in a for a new choral project entitled Dedication (music composed by Dr. Zanaida Robles). Dr. Barber also served as the conductor for the SATB premiere at American Choral Director’s (ACDA) Eastern Division SATB High School Honor Choir; the SSAA version will be premiered March of 2025 in Dallas as part of ACDA’s National Conference with the SSAA National High School Honor Choir.
An active member of American Choral Directors Association (ACDA), she has presented her research at state, divisional, and national conferences. Dr. Barber has also served the organization on the National Diversity Committee, the Eastern Division 2020 Conference committee, and is the current president of the Massachusetts ACDA board. In addition, she is regularly engaged as a guest conductor for youth and community festivals around the country; including several All-State ensembles including Vermont, Oklahoma, California, Louisiana, New Hampshire, North Carolina, Wisconsin, and Rhode Island; and she conducted the ACDA Eastern Division Conference in 2024.
Dr. Barber earned a B.M. in vocal performance from Oral Roberts University, in Tulsa, OK, a M.M. in Choral Music Education from Mansfield University, in Mansfield, PA, and a Ph.D. in music education and choral conducting from The Florida State University.
DARIAN CLONTS
Tenor Darian Clonts, originally from Atlanta, Ga., earned his Bachelor of Arts degree in Voice Performance from Morehouse College. Dr. Clonts received his Master of Music degree and Doctor of Music degree in Voice Performance from the Jacobs School of Music at Indiana University. Clonts has performed with several opera theaters including Cincinnati Opera, The Utah Festival Opera and Musical Theater, The Princeton Festival, and The Atlanta Opera. He has performed as the tenor soloist in several concert works such as Bach’s Magnificat, Mozart’s Requiem, Handel’s Messiah, Hailstork’s I Will Lift Up Mine Eyes, and more. He is currently a voice faculty member at the John J. Cali School of Music at Montclair State University and William Paterson University. Clonts previously taught as an associate instructor at Indiana University in the department of African American and African Diaspora Studies. He is on the Board of Directors for the New York City Chapter of the National Association of Teachers of Singing.
ROCHELLE ELLIS
Rochelle Ellis, DMA Voice, is a performer, teacher and conductor. She held positions as Adjunct Associate Professor of Voice at Westminster Choir College of Rider University and Lecturer of Voice at Princeton University. She has sung extensively in the U. S. A. and internationally in both concert and opera. She made her New York City Opera debut in Gershwin's Porgy and Bess, and her Carnegie Hall debut in Bach’s Cantata 140, under the baton of the late Joseph Flummerfelt.
Active in community outreach in music, Dr. Ellis teaches in the summer Westminster Conservatory High School Vocal Institute and in the Solo Vocal Artist Camp. Dr. Ellis has served as Teaching Artist for The Princeton Festival Guild and has served as Music Director and Solo/Small Ensemble Director for the Trenton Children’s Chorus.
The St. Louis native received her Doctor of Musical Arts degree in Voice from the Mason Gross School of the Arts at Rutgers University. She received her Master of Music Education degree from Westminster Choir College of Rider University and a Bachelor of Music Education degree from the University of Missouri-Kansas City Conservatory of Music.
NATHANIEL GUMBS
Nathaniel Gumbs is a native of the Bronx, NY and has performed throughout the United States and abroad, including Antigua, St. Thomas, Ghana, Paris, and Munich, and is consistently gathering new fans and followers. The New York Times described Nathaniel’s playing in their review of his recording with bass-baritone Dashon Burton, as “mature, lyrical, accurate and energetic,” and that his performance was presented “deftly and with feeling.”
Dr. Gumbs currently serves as Director of Chapel Music at Yale University where he works with students, faculty, and guests to coordinate music for three worshiping communities: the University Church in Battell Chapel, and at Yale Divinity School in both Marquand Chapel and at Berkeley Divinity School. He earned his undergraduate degree from Shenandoah Conservatory in Virginia, his Master of Music degree from Yale University, and his Doctor of Musical Arts degree from the Eastman School of Music. Nathaniel’s principal teachers include Steven Cooksey, David Higgs, and Martin Jean.
Prior to his position at Yale, Dr. Gumbs served as Director of Music and Arts and Church Organist at Friendship Missionary Baptist Church in Charlotte, NC, where he led several hundred volunteer musicians and staff in four choirs and other ensembles. Nathaniel currently serves as the Interim Minister of Music and Fine Arts at the historic Abyssinian Baptist Church in Harlem, NY.
ROSEPHANYE POWELL
Rosephanye Powell (b.1962) has been hailed as one of America’s premier women composers of solo vocal and choral music. She has an impressive catalogue of works published by some of the nation’s leading publishers, including the Hal Leonard Corporation, the Fred Bock Music Companies, Gentry Publications, Oxford University Press, Alliance Music Publications, and Shawnee Press. Dr. Powell’s works have been
conducted and premiered by nationally and internationally renowned conductors and have been premiered at distinguished halls around the country, including Carnegie Hall, the Lincoln Center, and Spivey Hall, to name a few. Dr. Powell’s works have been commissioned by professional choral ensembles, including Cantus and the Grammy award-winning men’s vocal ensemble Chanticleer. Dr. Powell is commissioned yearly to compose for university choruses, professional, community and church choirs, as well as secondary school choruses. Her work has been auctioned by Chorus America and her compositions are in great demand at choral festivals around the country, frequently appearing on the regional and national conventions of the American Choral Directors Association, as well as Honor Choir festivals. Dr. Powell’s compositions include sacred and secular works for mixed chorus, women’s chorus, men’s chorus, and children’s voices.
THULA SIZWE
Resonating from deep within the musical traditions of South Africa, the voices of Thula Sizwe call out with songs of peace and hope. Reminiscent of the harmonies of Ladysmith Black Mambazo heard on Paul Simon’s Graceland album, Thula Sizwe’s arrangements are rich, soulful, and uplifting. Blending their tuneful singing with traditional dance and drumming, this ten-man ensemble brings and authentic snapshot of Zulu culture to the eyes and ears of the American public.
Thula Sizwe tours and teaches with this overall mission:
• promote global peace and goodwill,
• encourage oppressed voices to be heard,
• and advocate for living wage and economic equity.
ADMINISTRATIVE STAFF
Dean, College of Arts and Sciences
Kelly Bidle
Associate Dean, College of Arts and Sciences Jason Vodicka
Director of Choral Studies Donald Nally
Director of Performance Management Kristen Rodgers
Associate Director of Performance Management Leandra Acosta
Coordinator of Performance Management Samuel Stephenson
Rider University gratefully acknowledges the generous support of: The Martinson Family Foundation for its support of theater technology equipment.
Richard and Heather Frye-Ginsberg & Michael T. '89 and Susana Santaguida '89 Gummel for their support of our Rider Friend of the Arts patron program.
