UGA Glee Club & University Chorus
TUESDAY, OCTOBER 7, 2025 at 7:30 p.m.
HODGSON CONCERT HALL
Colin Mann, conductor
Tuesday, October 7, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
UGA Glee Club & University Chorus
University of Georgia Glee Club
Colin Mann, conductor
Matthew Elsey, administrative coordinator and assistant conductor
Haoying Wu, piano
University of Georgia University Chorus
Colin Mann, conductor
Christopher Hickey, administrative coordinator and assistant conductor
Eva Panagou, piano
Performance Orchestra
Alexis Boylan, concertmaster
Karla Mejias, Jocelyne Andronache-Opris, violin 1
Ori Kang, Sageiana Codispoti, Raunak Das, violin 2
Rachel Liu, Daniel Boscan, Mason Minutella,viola
Michelle Moeller, oboe
Daniel Johnson, bassoon
Thomas LaMon, cello
Bianca Wilson, double bass
Greg Hankins, organ
UGA Glee Club
Glorious Things of Thee Are Spoken
On the Tune of “Jefferson”
Veni Sancte Spiritus
Sure on this Shining Night
Georgia Medley
I Want to Go Back to U-G-A
Glory
Hail to Georgia
She’s the Daughter of the Red and Black
Going Back
Matthew Elsey ‘22, conductor
arr. Luther Noss (1907-1995)
ed. Colin Mann
Leoš Janáček (1854-1928)
Morten Lauridsen (b. 1943)
arr. Hugh Hodgson (1893-1969)
Thomas Connerley and Haoying Wu, piano
The Times They Are A-Changin’
Sing Out, My Soul
Dance (Invocation and Dance)
Carter Henley, solo
INTERMISSION
UGA University Chorus
Bob Dylan (b. 1941)
arr. Adam Podd
Marques L. A. Garrett (b. 1984)
Eva Panagou and Haoying Wu, piano
As Longs the Hart for Flowing Streams (Psalm 42), HWV 251
Chandos Anthem No. 6
I. Sonata (Instrumental)
II. As longs the hart (Soprano, Alto, Tenor, Bass, and Chorus)
III. Tears have been my daily bread (Alto and Chorus)
IV. These things I remember (Bass recitative)
V. With glad shouts (Chorus)
VI. Why art thou cast down (Alto and Tenor duet)
VII. Put thy trust in God (Bass and Chorus)
Yiqi Wang, soprano
Avery Britt, mezzo soprano
Christopher Hickey, tenor
Antonio Azpiri, bass-baritone
David Conte (b. 1955)
G. F. Handel (1685-1759)
ed. Samuel Adler (b. 1928)
Glorious Things of Thee Are Spoken
Text by John Newton
Undoubtedly, Luther Noss was influenced by the mid-nineteenth century sacred harp tradition of shape-note singing. Shape-note singing is a blend of both aural memorization and visual notation in which Protestant congregations learned to sing in harmony. Instead of relying on key signatures and complex rhythms, singers became more literate by reading shaped noteheads which provided quick musical context. “Glorious Things of Thee Are Spoken” comes from a collection of harmonized hymn tunes called The Missouri Harmony (1820) and was originally composed for three-voices. These singing practices originated in New England but migrated to the southern United States. Like other traditional hymns, the text can be substituted to pair with other tunes.
Glorious things of thee are spoken, Zion, city of our God; He whose word can ne’er be broken, form’d thee for his own abode. On the rock of ages founded, who can shake your sure repose? With salvation’s walls surrounded, tho may smile at all thy foes.
See the streams of living waters, springing from eternal love, Well supply thy sons and daughters and all fear of want remove. Who can faint when such a river ever flows their thirst to assuage? Grace, which like the Lord the giver, never fails from age to age.
Round each habitation hovering, see the cloud and fire appear, For a glory and a covering, showing that the Lord is near! Thus deriving from their banner light by night and shade by day, Safe they feed upon the manna which he gives them when they pray.
Savior, since of Zion’s city I through grace a member am, Let the world deride or pity, I will glory in your name.
Fading are the worldings’ pleasures, all their boasted pomp and show; Solid joys and lasting treasure none but Zion’s children know.
Veni Sancte Spiritus
Leoš Janáček lived a diverse musical life. He was educated in Brno, Prague, Leipzig, and Vienna. During his youth, he learned to sing and conduct Gregorian and Old Slavonic chant. Coincidentally, he returned to Brno where he directed amateur choirs, taught composition, and became director of the organ school at the conservatory. Janáček was influenced by all geographical sides, often pulled by western European, eastern European, Russian, and Czech folk traditions. His oeuvre is expansive as he composed in all genres of music including opera and choral-orchestral repertoire. “Veni Sancte Spiritus” was composed one year before Giuseppe Verdi died. This short motet imitates the rich operatic texture and harmony of Italian opera of the age. Janáček intensifies the text with chromatic harmony and uses extremes in range to deliver a strong musical message.
Veni, Sancte Spiritus, Come, Holy Spirit, Reple tuorum corda fidelium Fill the hearts of your faithful Et tui amoris ignem incende. And kindle the fire of your love.
Qui per diversitatem linguarum cunctarum gentes You, who from the diverse tongues of all peoples In unitate fidei congregasti. Have gathered together in unity of faith. Amen. Amen.
Sure on this Shining Night
Text by James Agee
“Sure on this Shining Night” is among Morten Lauridsen’s most lyrical writing for choirs. Singers often ask to explore and repeat works by Lauridsen due to his mastery of legato, his vocal warmth, and his harmony that deeply resonates with people. This piece exists in many forms. Originally composed for mixed choir, the tenor-bass arrangement was dedicated to Paul Salamunovich, former conductor of the Los Angeles Master Chorale. It can also be performed as an art song for solo singer and piano. When Lauridsen is not guest teaching or traveling the world, he resides on a remote island off the coast of Washington State free of distractions.
Sure on this shining night
Of starmade shadows round, Kindness must watch for me This side the ground.
The late year lies down the north. All is healed, all is health. High summer holds the earth. Hearts all whole.
Sure on this shining night I weep for wonder Wandering far alone
Of shadows on the stars.
The Times They Are A-Changin’
Words by Bob Dylan
Bob Dylan’s music and lyrics are, of course, among the best in the world. As the director of a church choir I thought “The Times They Are A-Changin’” would be a perfect text for any service or concert with themes of social justice. My hope with this arrangement is that the reharmonization and contrasting musical style to the original version of the song would bring a new attention and poignancy to these well-known words, and also to give this song a second musical home with choirs and in concert halls where it might not normally be found.
- Adam Podd
Come gather ‘round people wherever you roam
And admit that the waters around you have grown
And accept it that soon you’ll be drenched to the bone
If your time to you is worth savin’
And you better start swimmin’ or you’ll sink like a stone
For the times they are a-changin’.
Come mothers, and fathers throughout the land
And don’t criticize what you can’t understand Your sons and your daughters are beyond your command
Your old road is rapidly aging
Please get out the new one if you can’t lend a hand
For the times they are a-changin’.
The line it is drawn the curse it is cast
The slow one now will later be fast
As the present now will later be past, The order is rapidly fading
And the first one now will later be last
For the times they are a-changin’!
Sing Out, My Soul
Text by William Henry Davies
The opening line of the poem by William Henry Davies calls out to our souls to sing. While there are many things about which we can be happy, these days of heavy social media involvement and constant comparisons to other people require that we remind ourselves that it is not about the outside that matters. The inside—our hearts, minds, and soul—is who we are. Let joy come from deep within, from the assurance that who you are is enough. Because of that, you can sing your song of joy.
- Marques Garrett
Sing out, my soul, your songs of joy;
Sing as a happy bird will sing
Beneath a rainbow’s lovely arch
In early spring.
Think not of death… Strive not for gold…
Train up your mind to feel content, What matters then how low your store?
What we enjoy, and not possess, Makes rich or poor.
Dance
Excerpted text by Walt Whitman
The multi-movement work Invocation and Dance is based on text drawn from Walt Whitman’s When Lilacs Last in Dooryard Bloom’d. It is a hymn to nature and the place of death within the cycle of life on earth. The second movement is an exuberant dance celebrating life and joy.
- David Conte
Come lovely and soothing death, Undulate round the world, serenely arriving, arriving, In the day, in the night, to all, to each, Sooner or later delicate death.
Prais’d be the fathomless universe, For life and joy, and for objects and knowledge curious, And for love, sweet love—but praise! praise! praise! For the sure-enwinding arms of cool-enfolding death.
Dark mother always gliding near with soft feet, Have none chanted for thee a chant of fullest welcome? Then I chant it for thee, I glorify thee above all, I bring thee a song that when thou must indeed come, come unfalteringly.
Approach strong deliveress, When it is so, when thou hast taken them I joyously sing the dead, Lost in the loving floating ocean of thee, Laved in the flood of thy bliss O death.
From me to thee glad serenades, Dances for thee I propose saluting thee, adornments and feastings for thee, And the sights of the open landscape and the high-spread sky are fitting, And life and the fields, and the huge and thoughtful night.
As Longs the Hart for Flowing Streams (Psalm 42)
When Georg Friedrich Händel (1685-1759) was in his thirties, and before he was officially an English subject, he was hired for a few summers as a composer-in-residence in Cannons for the Earl of Carnarvon (later named the “Duke of Chandos”). During this appointment, he composed eleven “Chandos Anthems” for the Duke. The Chandos Anthems follow a uniform convention: six to eight movements, an instrumental overture or sinfonia, solos, and choruses. Unlike Handel’s four Coronation Anthems which mostly use winds, brass, and tympani, the Chandos Anthems are much simpler. Handel was without altos and violas, so he made do with what he had: oboe, strings, and basso continuo. Psalm 42, “As Pants the Hart,” was revised at least four times and is cataloged in Handel’s collected works as HWV 251a-d. Handel’s manuscript shows that the
sinfonia includes two basso continuo lines, so we can infer that his original work was scored for organ and another keyboard instrument. Handel also included an “Allelujah” chorus in D minor which was later recycled and plugged into his oratorio Athaliah (1733). University Chorus is singing yet another rendition of this Handel anthem edited by Samuel Adler. Adler’s edition has made the anthem more accessible for a mixed chorus. He has written out a complete harmonization of one continuo part and has added altos and violas to the texture.
As longs the hart
As longs the hart for flowing streams, so thirsteth my soul for thee, O God.
Tears have been my daily bread
Tears have been my daily bread, when thus they say: “Where is now thy God?”
These things I remember
These things I remember, and pour out my soul within me.
For I went with the multitude and led them forth into the house of God.
With glad shouts
With glad shouts of praise and thanksgiving, a multitude keeping holy day!
Why art thou cast down?
Why art thou cast down, O my soul?
Why so disquieted within me?
Put thy trust in God
Put thy trust in God, for I will praise Him. Alleluja.
Colin Mann, conductor
Matthew Elsey, administrative coordinator and assistant conductor
Haoying Wu, piano
August Bauer
Lucas Baughcum
West Clayton
Matthew Elsey*
Ronan Gawley
Judah Giedd
Carter Henley
Christopher Hickey*
Bryson Maycumber
Connor McAlister
Shane McAlister
Gabriel McBryde
Jack McKinney
Ethan Olah
Wyatt Pangburn
Jordan Strong
Kenny Tsao
Lincon Walker
* denotes Graduate Assistant
UGA UNIVERSITY CHORUS
Colin Mann, conductor
Christopher Hickey, administrative coordinator and assistant conductor
Eva Panagou, piano
Soprano
Sylvia Carnathan
Eva Christopher
Eva Cochran
Vivian Comb
Ellen Daniel
Katie Drybrough
Teagan Durham
Natalie Elliott
Lainie Ewers
Dianne Grove
Kaitlyn Horn
Jasmine Jensen
Kaylee Kim
Beata Kochut
Kaitlyn Martin
Kayla McGuinn
Claire Murphy
Emaline Newbury
Caitlien Nguyen
Camilla Nivison
Sarah Ozio
Emily Park
Sherry Park
Elizabeth Pearce
Addie Pursley
Abigail Rong
Stella Schroter
Sophia Sekman
Nola Setser
Brynn Spicer
Naomi Su
Amber Sugarman
Sarah Visser
Ellie Wages
Cara Wardell
Laura Weeks
Mary Weeks
Leigh Williams
Courtney Yon
Alto
Lauren Abrams
Lily Kate Akins
Nora Avery
Andreea Barca
Julia Beauchamp
Ashley Belcher
Katie Boyle
Katherine Brewer
Kailey Bridgette
Tyla Cann
Mackenzie Carr
Graysen Carlsen
Shirley Chen
Nedra Conrad
Grace Deaton
Mona Dunn Betanzos
Meredith Emery
Bobbie Epting
Alice Gardner
Julia Gardner
Lizzie Gesner
Sophia Goldemund
Mia Hansen
Rhonda Herring
Meredith Hoots
Emma Jackson
Soyoung Jeong
Olivia Krisniski
Adalyn Ledbetter
Elizabeth Lewis
Jeanne Marie Martineau
Alexandria McConkey
Aubrey Melling
Gabriella Miller
Kathryn Miller
Emma Sue Mitchell
Danielle Olivares
Megan Ostrat
Sahasra Pappula
Brenna Pursley
Jewell Rooker
Sophie Schug
Harini Senthil
Sneha Sharma
Lauren Slicker
Angela Smith
Rebecca Smith
Alina Soifer
Lela Stair
Jenna Vidal
Bhavya Vishnubhotla
Tierney Walton
Beth Weigle
Abigail Weller
Karen Whelchel-Redwine
Jane Whitehead
Sandy Woods
Libby Zavadil
Tenor
Paul Downey
Matthew Elsey
Chris Herring
Christopher Hickey
Dylan McQueen
Cole Prewitt
Mason Rountree
Judson Stricklin
Landon Vaughn
Bass
Migel Camargo
Jayden Chong
Tom Connerley
Chase Crumbley
Benjamin Daugherty
Mitch Gindlesperger
Richard Guyton
Jackson Hamilton
Finnegan Howard
Cole Jones
Peter Kandra
Ethan Klosky
Jayden Lin
Pierce Roberts
Ethan Stalineseu
Aidan Thompson
Kenny Tsao
Matthew Turbeville
Gary Weed
HUGH HODGSON SCHOOL OF MUSIC FACULTY
Daniel Bara, Interim Director
Brandon Craswell, Associate Director, Director of Undergraduate Studies
Emily Gertsch, Associate Director, Director of Graduate Studies
Amy Pollard, Associate Director, Director of Performance Activities
PERFORMANCE FACULTY
*Angela Jones-Reus
D. Ray McClellan
Reid Messich
Amy Pollard
Brandon Quarles
Josh Bynum
Brandon Craswell
Jean Martin-Williams
James Naigus
*Matthew Shipes
Gilbert Villagrana
Kimberly Toscano Adams
*Timothy Adams
Gregory Broughton
Jay Ivey
*Elizabeth Knight
Amy Petrongelli
Anne Slovin
Wanda Yang Temko
John Coble
Damon Denton
Scott Higgins
Grace Huang
Emely Phelps
Evgeny Rivkin
Anatoly Sheludyakov
*Liza Stepanova
Alan Woo
Levon Ambartsumian
Shakhida Azimkhodjaeva
*Daniel Bolshoy
Monica Hargrave
Michael Heald
James Kim
Edward Kreitman
Milton Masciadri
Maggie Snyder
Shaun Baer
Levi Dean
Elizabeth Durusau
Heather Gozdan-Bynum
Tony Graves
Scott Higgins
flute clarinet oboe bassoon saxophone trombone trumpet horn horn
tuba/euphonium trumpet
percussion percussion voice voice voice voice voice voice organ piano piano
piano piano
piano
piano piano
piano
violin violin guitar
harp
violin cello
Suzuki
double bass
viola
BANDS
Mia Athanas
Brett Bawcum
Jack A. Eaddy, Jr.
*Nicholas Enrico Williams
CHORAL
Daniel Bara
Colin Mann
Daniel Shafer
COMMUNITY MUSIC SCHOOL
SUMMER CAMPS
Stephen Fischer
COMPOSITION & THEORY
Tyler Beckett
Adrian Childs
Emily Gertsch
Daniel Karcher
*Emily Koh
Peter Lane
Dickie Lee
Jared Tubbs
Trinity Vélez-Justo
JAZZ STUDIES
David D’Angelo
Gregory Satterthwaite
James Weidman
MUSIC EDUCATION
*Rebecca Atkins
Alison Farley
Tyler Goehring
Roy Legette
Kristen Lynch
Michael Robinson
Johanna Royo
Brian Wesolowski
Edith Hollander, Administrative Assistant to the Director
Director of Public Relations
Development Associate Music Library Manager
Undergraduate Academic Advisor
Piano Technician
Senior Piano Technician
Marcus Morris
Kathleen Powell
Rocky Raffle
James Sewell
Jared Tubbs
Marshall Williams
MUSIC THERAPY
*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
Joanna Smolko
OPERA
Daniel Ellis
Andrew Voelker
ORCHESTRA
Mark Cedel
RECORDING & STREAMING
Eric Dluzniewski
Paul Griffith
*Area Chair
Assistant Director of Athletic Bands
Graduate Program Administrator
Administrative Associate in Bands
Production & Events Manager
Sectioning Officer
Director of Admissions
HUGH HODGSON SCHOOL OF MUSIC STAFF
WED 10/8
5:30 p.m.
Ramsey Concert Hall FREE CONCERT
BRASS HONORS RECITAL
Join the UGA Hugh Hodgson School of Music Brass department for a performance featuring the top brass students!
TUES 9/9
FRI 10/10
7:30 p.m.
7:30 p.m.
Hodgson Concert Hall
$15, Adult
$3, Student
Additional fees for online purchases apply.
HODGSON SINGERS & TREBLE CHOIR
This evening’s program features two of our stunning vocal ensembles. Alongside the Hodgson Singers, conducted by Daniel Bara, will be the Treble Choir, conducted by one of the newest additions to the Hugh Hodgson School of Music faculty. Colin Mann, new assistant professor of music and associate director of choral activities, joins the UGA faculty this fall.
TUES 9/9
TUES 10/14
7:30 p.m.
7:30 p.m.
Hodgson Concert Hall
$15, Adult
$3, Student
Additional fees for online purchases apply.
RACHMANINOFF SYMPHONY NO.2 SYMPHONY ORCHESTRA
Rachmaninoff has been known as a barnstorming pianist/composer of the late romantic period. However, his work as a symphonist is equally impressive as you will hear in his second symphony. The score is dedicated to Sergei Taneyev, a Russian composer, teacher, theorist, author, and pupil of Pyotr Ilyich Tchaikovsky. This evening will be conducted by Nicholas Han as his final Doctor of Musical Arts recital.
TUES 10/14
7:30 p.m.
Ramsey Concert Hall FREE CONCERT
GUEST
ARTIST RECITAL: TESSERAE TRIO
The Tesserae Trio was founded by violinist Fabiola Kim, cellist Leo Singer, and pianist Alan Woo. As passionate chamber musicians and acclaimed artists in their respective fields, the trio brings inventive and engaging programs to audiences around the world.