PROGRAM NOTES

(One piece) From Three Different Perspectives for Group 1, Group 2, and Group 3

Improvisation is rarely found in the classical concert music performed today. Musicians carry on the traditions of the music from the Baroque era to the Romantic era often with little knowledge or desire to improvise in such settings. This is an odd practice considering that the master composers that we have come to admire regularly and happily were versed in improvisation.

With that being said, (One piece) From Three Different Perspectives is a completely improvisational piece in the classical setting. The musicians are called upon to read the given text and transform it into music by way of improvisation. Although I have provided a framework for this improvisation, the musicians are encouraged to interpret the piece in any way they choose.

The piece is split into three movements, or perspectives. Each movement is comprised of three parts. For each movement, each Group is assigned to improvise based on one of these parts. This process continues for the second and third movement, with each Group switching parts. In each movement, all three parts are always represented. Since each Group switches their part for each movement, the work represents one piece but from three different perspectives.

I would like to thank all of the musicians who dedicated their time to this piece. Thank you to the seasoned improvisers who love supporting new, experimental music and provided their leadership during rehearsals. Many thanks to the new improvisers for breaking out of your comfort zone to do some experimental music! It was really great to see you overcome your fears and support some new, weird music, even if it took some prodding at first!

There She Is for SATB choir and Soprano solo

Inspired by Swedish a cappella choral music, There She Is attempts to imitate some of the stylistic tendencies in the music from that region. Featuring a lush sound, lyrical melodies, and progressive harmonies, Swedish choral music usually focuses on an idyllic setting. Although my search for a fitting text started innocently enough, I soon came to enjoy a poem featuring a dark perversion of my original goal. The creepy, yet somehow countrified text is a far cry from a beautiful Swedish poem, but all the better to set to music.

The piece still features some of the same stylings as the source genre, but in a unique, sometimes twisted way. The harmonies are at times more dissonant, the melodies are a little more haunting, and the whispers should make those hairs on the back of your neck stand up. Yeah, those ones.

I want to give a big thank you to the choir; you’ve taken the notes from the page and given them so much life! It takes a certain choir to get the mixed and blended sound you have achieved, and I am so happy to have been apart of that! It was really great to work with such quick learners and such talented singers. Thank you so much.

There She Is
by Linda Gregg

When I go into the garden, there she is.
The specter holds up her arms to show
that her hands are eaten off.
She is silent because of the agony.
There is blood on her face.
I can see she has done this to herself.
So she would not feel the other pain.
And it is true, she does not feel it.
She does not even see me.
It is not she anymore, but the pain itself
that moves her. I look and think
how to forget. How can I live while she
stands there? And if I take her life
what will that make of me? I cannot
touch her, make her conscious.
It would hurt her too much.
I hear the sound all through the air
that was her eating, but it is on its own
now,
completely separate from her. I think
I am supposed to look. I am not supposed
to turn away. I am supposed to see each
detail
and all expression gone. My God, I think,
if paradise is to be here
it will have to include her.

Copyright 2008 by Linda Gregg

To Commemorate Life for mixed septet with Soprano and Baritone solo

Death is always an interesting facet of life. It is such a natural process, but at times it can be one of the most difficult things we as humans face. As I approached this piece, I had one question to answer: how does one commemorate life, specifically in music? There are plenty of examples, including requiems traditional and modern, pieces in memoriam, and songs expressing total loss and sadness. For this piece, I choose to tell a
narrative and to use themes to illustrate a story of life, loss, and everything in between.

The piece begins in total loss, featuring a reverent offstage trumpet solo supported by soft chords representing the quiet numbness of grief. After a quick outburst of anger followed by more grief, the trumpet returns to honor the dead. When the trumpet finishes, life themes pile on in jubilant celebration. Despite this celebration, grief returns, but only for a short while before life is back in a sweet, more controlled manner. After a few iterations of a folk-style like tune, the life themes from earlier return and grow to an
even greater conclusion.

The third movement opens with another trumpet solo, but this time on the theme of death. The clarinet enters to symbolize spirituality or those things in life that we do not know. As the ensemble continues and the third movement develops, the clarinet always is there, balancing out the forces at work in our world.

At the beginning of the fourth movement, the death theme returns in the trumpet, but with greater intensity. As this movement unfolds, death is gaining more and more traction. The parts become agitated, the message from the singers is a grim one, and the overall tone grows more chaotic. Life attempts to interrupt, but is soon cut off by death.

At the beginning of the last movement, death has conquered all. As such a powerful force in our lives, what can defeat and conquer death?
I would like to thank all of the members of this mixed septet (a nonet if you add the vocalists, which I most certainly do). You’ve taken such a monster of a piece, reined it in, and made beautiful music from it. I thank you for all of your hard work and dedication, and truly look forward to working with all of you in the future.

Movement II
“Hope” is the thing with feathers
by Emily Dickinson

“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -
And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -
I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.

Movement IV
I died for beauty, but was scarce
by Emily Dickinson

I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
"For beauty," I replied.
"And I for truth, -the two are one;
We brethren are," he said.
And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.

Movement V

Then shall thy light break forth as the morning, and thine health shall spring forth speedily: and thy righteousness shall go before thee; the glory of the Lord shall be thy reward.
—Isaiah 58:8 (KJV)

Jesus said unto her, I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live: —John 11:25 (KJV)

About the dedication

This piece was written to honor the memory of Gwendolyn Lantz. Although I did not know her personally, I learned much about her from her relationship with her children, especially her daughter, Sharon Lantz. Throughout Gwen’s struggles in her last years of life, Sharon was always a constant support for her family and ailing mother. As such a steadfast caretaker of her beloved mother, Sharon was an inspiration to me and an inspiration for this piece. I wanted to write a piece not only to illustrate the relationship between life and death, but also to comfort Sharon and commemorate her dedication to
her mother and Gwendolyn’s memory. Thank you, Sharon.

(One piece) From Three Different Perspectives for Group 1, Group 2, and Group 3

Mike Allerheiligen
Abi Evans
Philip De Roulet
Cory Swift
Marlee Ingle
including:
Donovan Armijo
Meredith Gersten
Erica Simpson
Stephen Foster
Patrick Rooney
Stirling Bowlick
Mike Gersten
Kyle Waggoner
Bryant Letellier

There She Is
for SATB choir and Soprano solo

words by Linda Gregg

Soprano

Rachel Hoster, soloist
Erin Moran
Kayla Stangis
Mackenzie Talley

Alto

Kara Brewer
Emily Callahan
Courtney Lorenz
Erica Simpson

Tenor

Philip De Roulet
Jake Brumley
Kyle Griffin
Alex Hill

Bass

Revere Taylor
Stephen Foster
Mark Ossip
Todd Resseguie

To Commemorate Life
words by Emily Dickinson and verses from the King James Bible

Oboe
Marlee Ingle

Clarinet
Stirling Bowlick, flute

Bassoon
Kyle Sneden, contrabassoon

Trumpet
Tanner Robison

Trombone
Bryant Letellier

Percussion
Kyle Waggoner

Violin
Mike Allerheiligen

Soprano
Mackenzie Talley

Baritone
Revere Taylor

(One Piece) From Three Different Perspectives

There She Is

PROGRAM NOTES

(One piece) From Three Different Perspectives for Group 1, Group 2, and Group 3

Improvisation is rarely found in the classical concert music performed today. Musicians carry on the traditions of the music from the Baroque era to the Romantic era often with little knowledge or desire to improvise in such settings. This is an odd practice considering that the master composers that we have come to admire regularly and happily were versed in improvisation.

With that being said, (One piece) From Three Different Perspectives is a completely improvisational piece in the classical setting. The musicians are called upon to read the given text and transform it into music by way of improvisation. Although I have provided a framework for this improvisation, the musicians are encouraged to interpret the piece in any way they choose.

The piece is split into three movements, or perspectives. Each movement is comprised of three parts. For each movement, each Group is assigned to improvise based on one of these parts. This process continues for the second and third movement, with each Group switching parts. In each movement, all three parts are always represented. Since each Group switches their part for each movement, the work represents one piece but from three different perspectives.

I would like to thank all of the musicians who dedicated their time to this piece. Thank you to the seasoned improvisers who love supporting new, experimental music and provided their leadership during rehearsals. Many thanks to the new improvisers for breaking out of your comfort zone to do some experimental music! It was really great to see you overcome your fears and support some new, weird music, even if it took some prodding at first!

There She Is for SATB choir and Soprano solo

Inspired by Swedish a cappella choral music, There She Is attempts to imitate some of the stylistic tendencies in the music from that region. Featuring a lush sound, lyrical melodies, and progressive harmonies, Swedish choral music usually focuses on an idyllic setting. Although my search for a fitting text started innocently enough, I soon came to enjoy a poem featuring a dark perversion of my original goal. The creepy, yet somehow countrified text is a far cry from a beautiful Swedish poem, but all the better to set to music.

The piece still features some of the same stylings as the source genre, but in a unique, sometimes twisted way. The harmonies are at times more dissonant, the melodies are a little more haunting, and the whispers should make those hairs on the back of your neck stand up. Yeah, those ones.

I want to give a big thank you to the choir; you’ve taken the notes from the page and given them so much life! It takes a certain choir to get the mixed and blended sound you have achieved, and I am so happy to have been apart of that! It was really great to work with such quick learners and such talented singers. Thank you so much.

There She Is
by Linda Gregg

When I go into the garden, there she is.
The specter holds up her arms to show
that her hands are eaten off.
She is silent because of the agony.
There is blood on her face.
I can see she has done this to herself.
So she would not feel the other pain.
And it is true, she does not feel it.
She does not even see me.
It is not she anymore, but the pain itself
that moves her. I look and think
how to forget. How can I live while she
stands there? And if I take her life
what will that make of me? I cannot
touch her, make her conscious.
It would hurt her too much.
I hear the sound all through the air
that was her eating, but it is on its own
now,
completely separate from her. I think
I am supposed to look. I am not supposed
to turn away. I am supposed to see each
detail
and all expression gone. My God, I think,
if paradise is to be here
it will have to include her.

Copyright 2008 by Linda Gregg

To Commemorate Life for mixed septet with Soprano and Baritone solo

Death is always an interesting facet of life. It is such a natural process, but at times it can be one of the most difficult things we as humans face. As I approached this piece, I had one question to answer: how does one commemorate life, specifically in music? There are plenty of examples, including requiems traditional and modern, pieces in memoriam, and songs expressing total loss and sadness. For this piece, I choose to tell a
narrative and to use themes to illustrate a story of life, loss, and everything in between.

The piece begins in total loss, featuring a reverent offstage trumpet solo supported by soft chords representing the quiet numbness of grief. After a quick outburst of anger followed by more grief, the trumpet returns to honor the dead. When the trumpet finishes, life themes pile on in jubilant celebration. Despite this celebration, grief returns, but only for a short while before life is back in a sweet, more controlled manner. After a few iterations of a folk-style like tune, the life themes from earlier return and grow to an
even greater conclusion.

The third movement opens with another trumpet solo, but this time on the theme of death. The clarinet enters to symbolize spirituality or those things in life that we do not know. As the ensemble continues and the third movement develops, the clarinet always is there, balancing out the forces at work in our world.

At the beginning of the fourth movement, the death theme returns in the trumpet, but with greater intensity. As this movement unfolds, death is gaining more and more traction. The parts become agitated, the message from the singers is a grim one, and the overall tone grows more chaotic. Life attempts to interrupt, but is soon cut off by death.

At the beginning of the last movement, death has conquered all. As such a powerful force in our lives, what can defeat and conquer death?
I would like to thank all of the members of this mixed septet (a nonet if you add the vocalists, which I most certainly do). You’ve taken such a monster of a piece, reined it in, and made beautiful music from it. I thank you for all of your hard work and dedication, and truly look forward to working with all of you in the future.

Movement II
“Hope” is the thing with feathers
by Emily Dickinson

“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -
And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -
I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.

Movement IV
I died for beauty, but was scarce
by Emily Dickinson

I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
"For beauty," I replied.
"And I for truth, -the two are one;
We brethren are," he said.
And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.

Movement V

Then shall thy light break forth as the morning, and thine health shall spring forth speedily: and thy righteousness shall go before thee; the glory of the Lord shall be thy reward.
—Isaiah 58:8 (KJV)

Jesus said unto her, I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live: —John 11:25 (KJV)

About the dedication

This piece was written to honor the memory of Gwendolyn Lantz. Although I did not know her personally, I learned much about her from her relationship with her children, especially her daughter, Sharon Lantz. Throughout Gwen’s struggles in her last years of life, Sharon was always a constant support for her family and ailing mother. As such a steadfast caretaker of her beloved mother, Sharon was an inspiration to me and an inspiration for this piece. I wanted to write a piece not only to illustrate the relationship between life and death, but also to comfort Sharon and commemorate her dedication to
her mother and Gwendolyn’s memory. Thank you, Sharon.

(One piece) From Three Different Perspectives for Group 1, Group 2, and Group 3

Mike Allerheiligen
Abi Evans
Philip De Roulet
Cory Swift
Marlee Ingle
including:
Donovan Armijo
Meredith Gersten
Erica Simpson
Stephen Foster
Patrick Rooney
Stirling Bowlick
Mike Gersten
Kyle Waggoner
Bryant Letellier

There She Is
for SATB choir and Soprano solo

words by Linda Gregg

Soprano

Rachel Hoster, soloist
Erin Moran
Kayla Stangis
Mackenzie Talley

Alto

Kara Brewer
Emily Callahan
Courtney Lorenz
Erica Simpson

Tenor

Philip De Roulet
Jake Brumley
Kyle Griffin
Alex Hill

Bass

Revere Taylor
Stephen Foster
Mark Ossip
Todd Resseguie

To Commemorate Life
words by Emily Dickinson and verses from the King James Bible

Oboe
Marlee Ingle

Clarinet
Stirling Bowlick, flute

Bassoon
Kyle Sneden, contrabassoon

Trumpet
Tanner Robison

Trombone
Bryant Letellier

Percussion
Kyle Waggoner

Violin
Mike Allerheiligen

Soprano
Mackenzie Talley

Baritone
Revere Taylor

Eric Pashia