A Choral Concert: Choir for Good (Western Michigan University)

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WESTERN MICHIGAN UNIVERSITY SCHOOL OF MUSIC

A Choral Concert: Featuring eight chamber ensembles from University Chorale and Anima



Choir for Good We began this academic year wondering if singing together was even possible! Choral music — an act of musical communion —  was deemed unsafe within the context of a worldwide pandemic. As scientific guidance was released, the choral program at WMU transitioned with it. Each ensemble was split into groups of 8, rehearsed almost exclusively outdoors, and sang with masks more than 6 feet apart. We affirmed that choir isn’t going to disappear — choir is here for good. But what purpose does choir serve in a pandemic? Certainly it creates a community, a shared purpose, and a group avenue of expression. We experience artistic fulfillment, educational growth, and blossoming creativity. Most importantly, we believe that music can and should create positive change in our communities. We believe that choir can stand for good. To try to create a positive impact at a time that has been so difficult for so many people, we developed this concert project — Choir for Good — so our musical work can amplify and raise awareness for local charitable organizations. As you page through the program, you’ll see important organizations featured throughout. We hope you’ll read the notes, watch the performance, and be inspired to give — to do good for our community. Sincerely, Kimberly Dunn Adams, Director of Choral Activities

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Scroll through the program as you would any other concert program, using the arrows at the right and left to move forwards and backwards through each piece. Each section features a new video along with program notes, texts and translations, charity information, and links to donate to each cause. Press the “play” button to start each song. The video will play directly within the program. Read about each charity by clicking the links embedded on each page. Donate by pressing the “donate” buttons.

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Program Nathaniel Brenner/Merrill Garbus Arr. Kristopher Fulton

Water Fountain

Abbie Betinis (b. 1980)

Be Like the Bird

Missy Mazzoli (b. 1980)

Vesper Sparrow

Bobby McFerrin (b. 1950)

The 23rd Psalm (dedicated to my mother)

Abbie Betinis (b. 1980)

Hunger of the World: a table grace

Ysaÿe Barnwell (b. 1946)

Breaths

Tomás de Torrejón y Velasco (1644–1728)

El Cantarico

Juan de Araujo (1646–1712)

Ay andar a tocar a cantar a bailar

Marques L. A. Garrett (b. 1984)

My Heart Be Brave

Daniel Reed (1757–1836) Arr. Derrick Fox

My Spirit Looks to God Alone

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Nathaniel Brenner/Merrill Garbus Arr. Kristopher Fulton

Water Fountain

Performed by University Chorale’s “Doritos Vocos Tacos” Percussion: Rob Lindsay, Dewey Bolz, Margaret Winchell, Evan Stoor, Helen Delphia Bass: Aiden Harmon Water Fountain by tUnE-yArDs, a musical group led by Merrill Garbus, is a modern piece in both message and sound. Garbus wrote the song to expose the water crisis all around the world, describing it as “very much a product of the world I’m growing up in.” This song captures the anxiety of lacking access to clean water and the cost to society if people cared only for themselves. The layered syncopated rhythms, varied timbres, and manic lyrics suggest the anarchy and desperation of a divided and selfish world.

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More than two million Americans live without access to safe drinking water and basic sanitation. To help close the water access gap, please consider donating to Water for People, a charity that promotes the development of high-quality drinking water and sanitation services that are accessible to all and sustained by strong communities, businesses, and governments. d o n at e

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Text Excerpt: No water in the water fountain No wood in the woodstock If you say Old Molly Hare, whatcha doin’ there? Nothin’ much to do when you’re goin’ nowhere Woo-ha! Woo-ha! Gotcha! We’re gonna get the water from your house, your house Nothing feels like dying like the drying of my skin and lawn Why do we just sit here while they watch us whither ‘til we’re gone? I can’t seem to feel it, I can’t seem to feel it I can’t seem to feel, I’ll kneel, I’ll kneel, the cold steel. You will ride the whip, you’ll ride the crack, no use in fighting back You’ll sledge the hammer if there’s no one else to take the flak. I can’t seem to feel it, I can’t seem to find it, your fist clenched my neck. We’re neck and neck and neck… No water in the water fountain No phone in the phone booth If you say old Molly Hare, whatcha doin’ there? Jump back! Jump back! Daddy shot a bear Woo-ha! Woo-ha! Gotcha! We’re gonna get the water from your house I saved up all my pennies and I gave them to this special guy When he had enough of them he bought himself a cherry pie He gave me a dollar, a blood-soaked dollar I cannot get the spot out, but it’s okay, it still works in the store Greasy man come and dig my well Life without your water is a burning hell Serve me up with your home-grown rice Anything make me look nice Se pou zanmi mwen, se pou zanmi mwen And a two-pound chicken tastes better with friends A two-pound chicken tastes better with two And I know where to find you


So listen to the words I said Let it sink into your head A vertigo round-and-round-and-round Now I’m warm in your bed How did I get ahead? Thread your fingers through my hair Give me a dress, give me a dress, A give a thing a caress, would-ja? Listen to the words I say Sound like a floral bouquet A lyrical round-and-round-and-round-and-round Okay, take a picture, it’ll last all day Run your fingers through my hair Do it ‘til you disappear Gimme your head No water in the water fountain... Gonna get the water from your house, your house

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Abbie Betinis (b. 1980) Text: Victor Hugo

Be Like the Bird

Performed by Anima’s “Cantores Luminis” and “A Choired Taste” Composer Abbie Betinis writes music called “inventive, richly melodic” (The New York Times) and “joyful… shattering, incandescent” (Boston Globe). A two-time McKnight Artist Fellow, and listed in NPR Music’s 100 Composers Under Forty, she was recently named Musical America’s Artist of the Month, with a feature article lauding her “contrapuntal vitality” and “her ability to use her talents to effect social change.” The five-part canon “Be Like the Bird” is about resilience in the face of great adversity. Betinis writes: This canon was composed in 2009, just after I’d completed cancer treatment for the second time. My parents and I sent it out as our Christmas card that year which continued a tradition started in 1922 by my great-grandfather. This canon, inspired by my own struggle, is dedicated to High Rocks for Girls, an innovative school for middle and high school girls, founded by Susan Burt in the mountains of rural West Virginia. May High Rocks continue to educate, empower, and inspire each girl to know that “she hath wings.” Text: Be like the bird that, Pausing in her flight awhile on boughs too slight, Feels them give way beneath her — and sings —  knowing she hath wings.


In the spirit of resilience, we would like to amplify the work of two important organizations that help women when they need it most. Founded in 1885, the Kalamazoo YWCA is longest-serving association in Michigan. Today YWCA Kalamazoo serves as a primary resource for economic, gender and racial justice for women, children and families in Kalamazoo. They provide individuals and families with victimfocused counseling and advocacy services, shelter for survivors of violence, transitional housing, and legal services. You can read more about their important work here: www.ywcakalamazoo.org d o n at e

March of Dimes is a national non-profit that works to improve the health of mothers and their babies. They provide education, support, and resources to mothers throughout their pregnancy and their families after birth, focusing on improving outcomes for NICU babies. March of Dimes advocates for policies that prioritize the health of expectant mothers and their children, support scientific and medical research, and fight to lower the infant mortality rate in the USA and around the world. Read more about the March of Dimes at: www.marchofdimes.org d o n at e

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Missy Mazzoli (b. 1980) Text: Farnoosh Fathi

Vesper Sparrow

Performed by University Chorale’s “Achilles Feel” Missy Mazzoli is a Grammy-nominated composer whose music is performed across the world. She is the current Mead Composerin-Residence at the Chicago Symphony Orchestra. In 2018, she became one of the first two women to be commissioned by the Met. Commissioned and premiered by Roomful of Teeth during their residency at MASS MoCA, Missy Mazzoli’s “Vesper Sparrow” explores lively textures of imaginary birdsong and interpretations of extended vocal techniques such as Sardinian su cantu a tenòre singing. The lyrical text was written by poet Farnoosh Fathi, taken from her book Great Guns. Missy Mazzoli has described her “Vesper Sparrow” as an “eclectic amalgamation of imaginary birdsong and [her] own interpretation of Sardinian overtone singing.” She amasses music in layers not normally found together, creating matchless vertical harmonies in the process. Text: What will come so soon To my golden door When asleep from all sides Asleep in the glass pajamas of man — from the book Great Guns (modified for Roomful of Teeth in August 2012)


Apart from her active and acclaimed work in composition, Mazzoli works to provide mentorship and resources to developing female, non-binary, and gender non-conforming composers through the Luna Composition Lab. Inspired by Mazzoli’s efforts to provide resources and representation to those who need them, we would like to draw your attention to a local not-for-profit organization that works to advance social justice in Kalamazoo. OutFront Kalamazoo offers support to members and allies of the LGBTQIA+ community through a variety of programs and services. You can read more about their work at, www.outfrontkzoo.org. d o n at e

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Bobby McFerrin (b. 1950)

The 23rd Psalm (dedicated to my mother)

Performed by University Chorale’s “Doritos Vocos Tacos” Throughout his career, Bobby McFerrin has made an art form out of combining concepts from different genres of music to create new and unique works. In “The 23rd Psalm,” McFerrin draws on Anglican chant for the stylistic and atmospheric framework of his piece. Anglican chant arose in the 18th century and is classified as the singing of unmetrical texts, specifically psalms and canticles from the Bible, scored with completely homophonic textures. McFerrin infuses “The 23rd Psalm” with contemporary, jazz-inspired harmonic progressions. Most notably, McFerrin opts to use feminine pronouns to represent God and the Holy Trinity. In a 2017 interview with the Omega Institute, when asked why he had chosen a feminine representation of God, McFerrin responded, “…we’re shown a glimpse of how God loves us through our mothers. They cherish our spirits, they demand that we become our best selves, and they take care of us.”

Text: The Lord is my Shepherd I have all I need. She makes me lie down in green  meadows, Beside the still waters, She will lead.

She sets a table before me In the presence of my foes. She anoints my head with oil, And my cup overflows.

She restores my soul She rights my wrongs She leads me in a path of good things And fills my heart with songs.

Surely, surely goodness and   kindness will follow me, All the days of my life, And I will live in her house forever, Forever and ever.

Even though I walk through a   dark & dreary land, There is nothing that can shake me. She has said She won’t forsake me, I’m in her hand.

Glory be to our Mother and Daughter And to the Holy of Holies, As it was in the beginning,   is now and ever shall be, World without end. Amen.


YWCA Kalamazoo (YWCA) meets the needs of the Kalamazoo community by implementing our timeless mission of eliminating racism and empowering women. The association remains relevant by not seeking to duplicate services, but by addressing the service gaps that affect the community’s most vulnerable populations: children and women of color. To address these gaps, YWCA takes a holistic approach to programs and services by coordinating care and implementing evidence-based practices from across multiple sectors including early education, legal, public health, and violence prevention.   In 2019, YWCA served over 10,000 women, men and children through direct service, community education, and outreach events. The YWCA serves a large and diverse population of clients and stakeholders through our four strategic focus areas: (1) advocacy and system change, (2) caring for victims of abuse (e.g. domestic violence, human trafficking, sexual assault), (3) improving the lives of children, and (4) promoting maternal and child health. d o n at e

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Abbie Betinis (b. 1980)

Hunger of the World: a table grace

Text: Josephine Preston Peabody (1874–1922) Performed by Anima’s “Eunoia Evvea” and “Sisters in Song” “Hunger of the World” was commissioned by the Empty Bowls Project at Independent School District #191 in Minnesota. The Empty Bowls Project encourages people to “think globally and act locally,” and supports food-related charitable organizations around the world. In fall of 2020, Anima presented an online performance of the piece on World Food Day, October 16. A canon in 4 to 8 parts, the rollicking melody is meant to be sung “bold and folksy...bravely and clearly.” The text, urging the listener to consider those who lack access to food, is set with broad, open-interval leaps that recall pangs of hunger and thirst.

Text: Hunger of the world, When we ask a grace, Be remembered here with us By Thy vacant place. Thirst with naught to drink Sorrow more than mine, May God someday make you laugh With water turned to wine.


Kalamazoo Loaves & Fishes’ mission is to feed hungry people and engage our community in the fight to end hunger. Loaves & Fishes runs the largest charitable food distribution in Kalamazoo County —  it provides an average of 700 people with groceries each day. They can provide three full meals for every $1 donated. Read more about Kalamazoo Loaves & Fishes at www.kzoolf.org d o n at e

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Ysaÿe Barnwell (b. 1946)

Breaths

Performed by WMU Chorale’s “Chamber of Secrets” “Breaths” was composed by Dr. Ysaÿe Maria Barnwell. Dr. Barnwell, Ph.D. MSPH, is a commissioned composer, arranger, author, actress and former member of the African American female a cappella ensemble Sweet Honey In The Rock. She holds degrees in speech pathology (BS, MSEd), cranio-facial studies (Ph.D.) and public health (MSPH). For almost thirty years, Barnwell has led the workshop Building a Vocal Community®: Singing In the African American Tradition. Barnwell discussed “Breaths” in a 2007 interview on NPR, saying “it really expresses a world view about those who have died...they are with us always.” The text by Sengalese poet and storyteller Birago Diop (1906–1989) depicts the ancestors living among us as part of the earth. Dr. Barnwell combines Diop’s reassuring poem with a cappella vocal accompaniment and a smooth soprano duet. Her composition encourages the reclaiming of one’s own relationship with the earth and its calming energy. Text: Listen more often to things than to beings Listen more often to things than to beings ‘Tis the ancestors’ breath when the fire’s voice is heard ‘Tis the ancestors’ breath in the voice of the waters Those who have died have never, never left The dead are not under the earth They are in the rustling trees, they are in the groaning woods They are in the crying grass, they are in the moaning rocks The dead are not under the earth So listen more often to things than to beings... Those who have died have never, never left The dead have a pact with the living They are in the woman’s breast, they are in the wailing child They are with us in the home, they are with us in the crowd The dead have a pact with the living Listen more often to things than to beings...


As our ensemble has explored the themes of ancestry featured in the text, we found it natural to partner with Support for Seniors in Van Buren County. SSVBC provides professional services, opportunities and caring support for seniors in Van Buren County, Michigan to enhance their quality of life and living situations. By supplying services such as in-home care, transportation to medical care appointments and more, SSVBC strives to enhance the quality of life for people 60 years of age and older. Their impact is enormous, with statewide centers in Bangor, Decatur, Grand Junction, Gobles, Paw Paw, and South Haven. For volunteer opportunities, visit their website at www.seniorservices-vbc.org Please consider sending donations to 1635 76th Street, South Haven, MI 49090.

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Tomás de Torrejón y Velasco (1644–1728)

El Cantarico

Performed by WMU Chorale’s Cantant8 Noah Walter, harpsichord Piper Meldrum-Roy, cello “El Cantarico” is a Baroque choral piece written by Tomás de Torrejón y Velasco (1644-1728). Torrejón y Velasco was a Spanish composer and organist based in Peru and was an important figure in the American Baroque. This piece features three soprano parts and one bass part as four main characters—a desirable man and three women who are fighting for his love. The ensemble sings the “Estribillo” section together, expressing the loneliness and desire of all of the characters. Then, the solo section (“Coplas”) depicts each of the three women as a different element—water, fire, and wind— as they plead for the heart of the man, who represents earth. Even though all characters sing the same basic melody, the soloists use tempo, tone, melodic contour, and ornamentation to represent the passions of their characters. After each suitor makes her elaborate plea, the bass addresses each of them and finally indicates his romantic choice.


t r a n s l at i o n El Cantarico

The Little Jar

Estribillo:

Refrain:

Cantarico que vas a la fuente, no te me quiebres, porque lloraré si me faltas y tristes los dos volveremos a casa. Tú sin el agua y yo con el agua.

O little jar that goes to the fountain, do not break on me, because I will cry if you are no longer with me and sad, the two of us will return home: You without the water and I with the water.

Coplas:

Verses:

Si por agua a la fuente voy cuando lloró, ¿de qué sirve que sean fuentes mis ojos?

If I go to the fountain when I weep, What is the use of my eyes turning into fountains?

A la fuente a estas horas mi amor me lleva, ¿quién ha visto del fuego temer al agua?

My love takes me to the fountain at this hour, having seen such fire, who would fear the water?

Aunque voy a la fuente, no voy por agua Porque son del viento mis esperanzas.

Though I go to the fountain, I do not go for water, because my hopes belong to the wind!

Amor llanto y suspiros mi vida anegan, ¿quien de tanto elemento corrió tormenta?

I’m drowning in love, tears, and sighs. Who has seen such a storm of so many elements? 19


Juan de Araujo (1646–1712)

Ay andar a tocar a cantar a bailar

Performed by WMU Chorale’s Cantant8 Noah Walter, harpsichord Piper Meldrum-Roy, cello Juan de Araujo (1646–1712) was a composer of the Baroque era. While he was born in Spain, he spent most of his career working in South America, especially in Peru. Baroque music from South America is sometimes neglected, as music history of the era usually centers on Europe. “Ay andar” is a festive, playful piece subtitled as a juguete, which translates to “game” or “toy.” In this juguete, each soloist takes a turn weaving a scene from the Bible into their improvisatory verse, playing with rhythm and rhyme and incorporating tons of puns. The ensemble’s refrain points to “Ay andar” as a celebration of Christmas.

t r a n s l at i o n ¡Ay! ¡Andar, andar, andar! ¡A tocar, a cantar, a bailar! ¡A cantar todo gargüero! Que si no quiere cantar, ¡por la ley de los folijones, la garganta perderá! ¡Ay! ¡Andar, andar, andar!

Hey! Come on, come on, come on! Play, sing and dance! Open your throats and sing! for he who refuses to sing, by the law of the jig, will lose his throat forever! Hey! Come on, come on, come on!

¡Ay! ¡A tocar todo pandero! Nadie se podrá excusar, que donde ay mucho concurso, ¡muchos panderos habrá!

Hey! Come on, shake those tambourines! No one has any excuse, for wherever there’s a crowd there will always be plenty of fools!

¡Ay! ¡Andar, andar, andar! ¡A bailar todo Juanete! Que no podrá disculpar; ¡condenase a sabañones por huir la agilidad!

Hey! Come on, come on, come on! Get dancing all you bunions! For there’s no excuse at all. You’ll be condemned to chilblains (sore feet) if you try to dodge the dancing!


¡Ay! ¡Andar, andar, andar! ¡Que toca y retoca y repica Pascual! Que hoy ha nacido una rara beldad. ¡Que todos y todas y muchos y más, astillas se hagan a puro bailar! ¡Repite Pascual!

Hey! Come on, come on, come on! Let Pascual play it, play it and play it again! For a rare beauty has been born today. Let all men and women, many and more, wear themselves out purely by dancing! Play it again, Pascual!

¿Cuál será en creciendo aquesta Deidad, si recién nacida no tiene otra igual? ¡Que toca y retoca y repica Pascual, pues hoy ha nacido quien vida nos da!

What will this Deity be like when it grows up, if, new-born, it is already without equal? Let Pascual play it, play it and play it again, for this is his birthday who gives life to us all!

¡Repica bien las sonajas, porque hoy, haciéndome rajas, he de bailar con ventajas, al airoso vendaval!

Set the jingles jingling, because today, though I wear myself out, I shall outdo the West Wind with my dancing.

¡Que toca y retoca y repica Pascual, pues hoy ha nacido quien vida nos da! Folijón en español quiere la Madre del sol; no tiene en su facistol otro mejor Portugal. ¡Que toca y retoca y repica Pascual, pues hoy ha nacido quien vida nos da!

Let Pascual play it, play it and play it again, for this is his birthday who gives life to us all! The mother of the sun desires a Spanish jig; Portugal has nothing Better in its facistol. Let Pascual play it, play it and play it again, for this is his birthday who gives life to us all!

Un monaguillo atrevido, encaramando el chillido; da un grito tan desmedido, que le quita a un sordo el mal. ¡Que toca y retoca y repica Pascual, pues hoy ha nacido quien vida nos da!

A mischievous altar boy, raising his high-pitched voice; gives out such a great shout, that even a deaf man might hear it. Let Pascual play it, play it and play it again, for this is his birthday who gives life to us all!

A otro, dando zapatetas, no le valieron las tretas, que, en lugar de zapatetas, dió el colodrillo al umbral. ¡Que toca y retoca y repica Pascual, pues hoy ha nacido quien vida nos da!

Another, leaping to kick his heels, couldn’t perform the trick, and instead of kicking his heels fell flat on his back just like that! Let Pascual play it, play it and play it again, for this is his birthday who gives life to us all! 21


Marques L. A. Garrett (b. 1984) Text: James Weldon Johnson

My Heart Be Brave

Performed by University Chorale’s “Achilles Feel” Marques L. A. Garrett currently serves as the Assistant Professor of Choral Music Activities at the University of Nebraska-Lincoln in the Glenn Korff School of Music. Dr. Garrett has led many conducting workshops at different universities and conferences. He has served as a guest conductor at many festival and honor choirs throughout the country, most recently at Michigan’s MSVMA Honors Choir, where this piece was featured. “My Heart Be Brave” was requested by Anthony Trecek-King with the note that it should align with the social justice theme of his concerts with Seraphic Fire. Garrett’s text choice of a sonnet by James Weldon Johnson — American writer, civil rights activist, and lyricist for “Lift Ev’ry Voice and Sing”— explores how our hearts must guide us towards change in the face of discrimination. Garrett’s lush textures, sweeping vocal lines, and powerful harmonies effectively serve as a rallying cry for the fight against racism. In times of darkness, Garrett notes that “the principles of honesty, love, and justice will give us the power to strive for what is due all of humanity.” Text: My heart be brave, and do not falter so, Nor utter more that deep, despairing wail. Thy way is very dark and drear I know, But do not let thy strength and courage fail; For certain as the raven-winged night Is followed by the bright and blushing morn, Thy coming morrow will be clear and bright; ’Tis darkest when the night is furthest worn. Look up, and out, beyond, surrounding clouds, And do not in thine own gross darkness grope, Rise up, and casting off thy hind’ring shrouds, Cling thou to this, and ever inspiring hope: Tho’ thick the battle and tho’ fierce the fight, There is a power making for the right.


Without active works towards justice, we will never truly be equal and united as people. We must look towards our hearts in order to rise up and remember that “there is power in making for the right.” In consideration of this truth, we would like to turn your attention to a local nonprofit, ERACCE (Eliminating Racism and Creating/Celebrating Equity). ERACCE seeks to eliminate structural racism and create a network of equitable anti-racist institutions and communities. You can learn more at www.eracce.org. d o n at e

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Daniel Reed (1757–1836) Arr. Derrick Fox

My Spirit Looks to God Alone

Performed by University Chorale My Spirit Looks to God Alone is a robust, earthy, rhythmic, and uniquely American tune. Arranger Derrick Fox notes in the score that at the start of the 18th century, congregational singing was compromised and limited since few could read music; consequently, American musicians devised shape note singing to increase both congregational participation and musical complexity. He cites My Spirit Looks to God Alone as “one of the most performed tunes from the Sacred Harp, a popular collection of tunes for the intended purpose of congregational singing.” Shape-note singing increased access to choral music by bolstering the participation of communities. It is fitting to close this concert with a piece created to bring people to sing together in an academic year when so many have lived, worked, and sung apart from each other! In fact, this performance of My Spirit Looks to God Alone represents the only time that all 32 members of the University Chorale sang together in the Fall 2020 semester. Similarly, the text reflects current pandemic sentiments; it is based upon Psalm 62, which features no praise or celebration but trust and confidence in the future.

Text: My spirit looks to God alone, My rock and refuge is his throne. In all my fears, in all my straits, My soul on his salvation waits. Trust Him, ye saints, in all your ways, Pour out your hearts before His face: When helpers fail, and foes invade, God is our all-sufficient aid. False are the men of high degree, The baser sort are vanity; Laid in the balance, both appear Light as a puff of empty air. For sovereign power reigns not alone, Grace is a partner on the throne: Thy grace and justice, mighty Lord, Shall well divide our last reward.


Not all college students have regular access to food, housing, and healthcare. The WMU Invisible Need Project started in Fall 2014 as a grassroots initiative in recognition of the concerns surrounding students’ unmet basic needs. The INP offers a food pantry, student emergency fund, textbook purchasing support, and it promotes the health fund available through Sindecuse Health Center. All monetary donations to the Invisible Need Project go towards directly supporting WMU students in need. You can read more about the project at wmich.edu/invisibleneed. d o n at e

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Acknowledgements This project involved a significant amount of collaboration with other programs in and around the WMU College of Fine Arts. We are grateful for the time, resources, expertise, and enthusiasm that these programs and people gave to make this project a reality. Thank you! WMU School of Music Multimedia Arts Technology program   Dr. Carter Rice, Ian Awoyade, Jake Chandler, Harrison Cramer,   Domonic Gould, Carter Heald, and Noah Hewett Western Sound Studios   John Campos, Paul Schaedig, Rob Lindsay, Jacob Wolfe Frostic School of Art Design Center   Nicholas Kuder, Dave Marlott, and Paul Sizer   Jaylynn Mittig, Maddi Baker, Anna Myers,   Nicole Wieferich, and Kelton Lewis WMU School of Music   Kevin West and David Bernard, Concerts Office   Dr. Keith Kothman WMU Graduate Assistants   Evan Stoor and Margaret Winchell


We were fortunate to make connections with some of the composers and artists that created or have performed these works. Thank you to the following musician-artists for meeting with the choirs in person or via video conference — you inspire and enlighten us.

Composers Marques L. A. Garrett Missy Mazzoli Border CrosSing   Ahmed Anzaldúa, Artistic Director and Founder   Bethany Battafarano   Gabrielle Doran   Alyssa Anderson   Jake Endres

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A Student-Centered Project: Choral students worked hard to create a unique fusion of performance and purpose. Almost every aspect of this project was accomplished collaboratively. Working in groups, the students: · Learned, rehearsed, performed, and recorded the repertoire featured in this program. · Researched each composer’s history and compositional style · Researched each poet and analyzed each text in depth · Discussed collaboratively which societal issues connected to their repertoire · Researched non-profit organizations, including charity ratings, tax forms, and governance structure · Read and discussed each charity’s mission statement and attention to diversity, equity, and access · Wrote program notes, video text, and social media content

The students featured in the next page should not be credited simply as performers, but as the collaborative creators of this project.

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u nive r si t y ch or a l e Kimberly Dunn Adams, director Evan Stoor & Margaret Winchell, graduate assistant conductors Doritos Vocos Tacos

Chamber of Secrets

Candace MacMurray, soprano Amelia Marciniak, soprano Brianna Attard, alto Emily Hoekstra, alto Austin Malarchik, tenor Josh Vreeland, tenor Joey Buan, bass Ashton Watkins, bass

Jessica Parker, soprano Hannah Elandt, soprano Jaydenn Knepp, alto Helen Delphia, alto Micah Carabellese, tenor Evan Stoor, tenor JP Dizon, bass Kaleb Nuesse, bass

Achilles Feel

Cantant8

Lindsay Nichols, soprano Bethany Moses, soprano Alana Dyer, alto Brooke Leinbaugh, alto Dewey Bolz, tenor Jack Reeves, tenor Kevin Tran, bass Justin Hamann, bass

Onalee Melton, soprano Kayla Rose, soprano Katelyn Dietz, soprano Grace Hauschild, alto Camille Booth, alto Margaret Winchell, alto Lane Alsup, tenor Caleb Heemstra, bass


an im a Kimberly Dunn Adams, director Margaret Winchell, graduate assistant conductor Cantores Luminis

A Choired Taste

Marysol Millar, soprano Lauren Crossman, soprano Haley Bovee, soprano Jasanna Tayler, soprano April Shandor, alto Kelsey Murton, alto Katherine Gray, alto Amy Folkenroth, alto

Madelyn Atwood, soprano Ashley Hathaway, soprano Annie Gross, soprano Alli Rousseau, soprano Lindsay Beck, soprano Addisyn Tokarz, alto Becca Higgins, alto Amber Case, alto Alyssa Schmitt, alto

Eunoia Evvea Grace Gersch, soprano Lindsay Schnute, soprano Michelle Halagian, soprano Madi Springer, soprano LeAnn Chin, alto McKenna Martin, alto Kelly Gibson, alto Kait Lemon, alto

Sisters in Song Mackenzie Wells, soprano Alice Boesky, soprano Kayleigh Schulz, soprano Ally Lewkowski, soprano Rachel Rotay, soprano Shannon Fleming, alto Tess Decker, alto Izabella Silver, alto Amanda Rocha, alto Shanelle McGinnis, alto

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