Child/Adolescent Services

Fairmount assists children and adolescents in developing effective coping skills and building self-esteem to be able

to return home and back to school.

561 Fairthorne Avenue • Philadelphia, PA 19128

• 24 Hour Assessment Center

• Inpatient and Acute Partial Psychiatric Programs

• Separate and distinct units for children, adolescent boys and adolescent girls

• Specialized Gender-Responsive Program for Adolescent Girls

• Parent Education and Support Group

• Daily School Program run by two certified special education teachers

• Group, Allied and Family Therapy

• Two play yards and access to a full gymnasium

www.fairmountbhs.com

Please call 215-487-4100 to schedule an immediate evaluation.

The Academy is grateful to this program patron. Advertise in our program next season by contacting info@paperforming.org.

night watch

PRE SENTED BY

a chor al journeyfrom sun down to sun up

Pennsylvania Academy of Performing ArtsMasterworks and Chamber Choirs

S. K atherine She aly Christopher G. McGinle yDIRECTOR ASSI STAN T DIRECTOR

The Unionville Chadds Ford Education Foundation www.UCFEC.org

Presents From Beethoven to Broadway

featuring The Chesco Pops Orchestra, Jacques Voois, Music Director

and The Westminster Presbyterian Church Chancel Choir

Robert F. Morris, Music Director

Saturday, May 4 ∙ Unionville High School ∙ 7:30 p.m. Adults $15 ∙ Seniors $12 ∙ All children and students FREE

Tickets available online and at the door. For more concert information visit us at www.chescopops.org

The Chester County Pops Orchestra will present its 2013 Summer Series in July:

Thursday, July 11 – Unionville High School – 7:30 pm Sunday, July 14 – Phoenixville Middle School – 3:00 pm Tuesday, July 16 – Fugett Middle School (W.C.) – 7:30 pm

The Academy is grateful to these program patrons. Advertise in our program next season by contacting info@paperforming.org.

Pennsylvania Academy of Performing Artswww.paperforming.org

Our mission is to provide an environment that culturally enriches the community through exposure to the performing arts.

BOARD OF DIR ECTORS:

JANE BUATTI | PresidentKEVIN DEYOE | Vice President, Artistic DevelopmentJENNIFER SHEALY | Vice President, Business DevelopmentDAVID KOCH | TreasurerCHARLOTTE KROFT | Secretary

CONCERT ETIQUETTE:

The members of the Pennsylvania Academy of the Performing Arts strive to provide a program of musical excellence. For our mutual enjoyment of the concert, we kindly ask:

If you have a young child who begins to cry, exit the performance hall and return when (s)he has settled;

Wait for applause to enter or exit the performance hall;

Silence your cell phone and other personal electronic devices; and

Refrain from flash photography and video recording, as both are strictly forbidden and violate copyright law.

WITH OUR THANKS,

enjoy the performance

STAFF AND DISTINGUISHED VOLUNTEERS:

S. K ATHERINE SHEALY | DirectorCHRISTOPHER G. MCGINLEY | Assistant DirectorGAIL HABECKER | AccompanistREBECCA SHEALY | LibrarianELLEN MIKOW YCHOK YUSUF | Attendance ManagerCATHERINE SELIN | Concert Attire ManagerSUE NEWMAN | Fundraising Coordinator

THE 2013 SPRING CHOIR:

THE PA ACADEMY OF PERFOR MING ARTS

Members & Volunteers

] also a Chamber Choir member

SOPR ANO IJane Buatti ]Erica DeFruscioLaura Mikowychok ]Theresa MossRebecca Shealy ]

Katie Sprick

SOPR ANO IILeslie ClarkeJennifer Shealy ]Lynn Shealy ]Jennifer Wright

ALTO ILenore ClarkeJen FordMary McGintyBarbara MercerLorie Waters ]Marie E. Weber ]

BASS IIRyan K. BattinDavid Koch ]

Kurt NewmanDavid Shealy ]Wesley R. Weber ]

TENOR IKevin DeYoe ]

Aaron Shealy ]

Stephen Wilburn ]

TENOR IIIan Bowen ]Jeremy ClarkeDale Marchand

BASS ILuke Bauerlein ]Thomas F. McCormickChristopher G. McGinley ]Alexander NewmanJoel Waters ]

ALTO IIGail BuschJoanne JenkinsCharlotte KroftBeth McAdoo ]

Ellen Mikowychok Yusuf ]Sue NewmanElizabeth Sickler ]

Our most sincere thanks is given to the volunteers that coordinate PAPA operations, and to the generous Sponsors listed on the opposite page.

To make a tax-deductible donation to PAPA, please see your ticket-taker or visit http://www.paperforming.org.

Thank you for your support of the performing arts!

BENEFACTOR:Bill & Gwen Carpenter

AJ & Lenore ClarkPete & Laura DeYoe

Perry & Gail HabeckerKeith & Genie Hibbard

Nancy J. LadyVictor & Sally Vogel

AnonymousAlan & Lorraine WarrenSteve & Connie WhiteRick & Sue Zackroff

PATRON:Ronald & Dorothy BaughmanJoseph & Diane Jastrzembski

David & Donna KochIn Memory of Alfons & Elsa Rieger

In Memory of Herbert & Louise KroftBrett & Ann Pleines

Rose & Mike TricoskiDavid & Karen Valentino

Louise A. Vogel

THE PA ACADEMY OF PERFOR MING ARTS

2013 Sponsors

CORPOR ATE SPONSORS:AGC Chemicals, Inc.

Music Training Center

CORPOR ATE MATCHING GIFT:Johnson & Johnson

CONDUCTOR’S CIRCLE:Jane Buatti

David & Lynn Shealy

FOUNDER:Anonymous

Catherine G. McGinleyAlbert B. Murphy

FRIEND:Mr. & Mrs. Charles Ambrogi

Steven & Karen FoardJim & Gail Guterl

Karen & Mark LukendaAnonymous

Charley & Kathy ParkerLinda Schneider

Carla ShortDebra SkrajewskiMaggie Tucker

WITH OUR gratitude The Pennsylvania Academy of Performing Arts would like to express sincere thanks to the following people and organizations:

Gail Habecker for her ongoing time, effort, talent, and support;Christ Community Church for lending instruments for “Cover Me With the Night” and “Ask the Watchman”;Paoli United Methodist Church, The Church of the Holy Trinity, and The Church of the Good Samaritan for providing rehearsal and performance facilities;Choir Committee Members and PAPA volunteers who have donated time to help our organization run efficiently;Kevin DeYoe for providing audio recording equipment and services for the performances;Laura Mikowychok for program and marketing materials design;Rebecca Shealy and Roger Taylor for media outreach; andLeslie Clarke for assisted living performance facilitation and support.

Private Voice Instructionwith

S. Katherine Shealy

Refine your skills or discover new talent! Voice lessons for ages 12 and up

Contact Kate for more informationskshealy@gmail.com / 484.459.0739

S. K ATHERINE SHEALYDirector of Masterworks, Chamber Choir, and Ariana Women’s ChoirS. Katherine Shealy obtained her Bachelor of Music in Choral Music Education from the University of Delaware with Paul Head. During the summer of 2006, Ms. Shealy directed and led the Pennsylvania Academy of Performing Arts envoy of singers on a tour of four cities through China as part of the Fourth Annual Eric Whitacre International Choral Festival. Currently, she is the director of Masterworks, co-founder and co-director of Chamber Choir, an advanced ensemble that specializes in outreach performances throughout the community, and the founder and director of Ariana Women’s Choir. Ms. Shealy is currently pursuing her Master of Music in Choral Conducting at West Chester University as the graduate assistant to David DeVenney. She teaches voice privately in West Chester.

CHRISTOPHER G. MCGINLEYDirector of Chamber Choir, Orpheus Men’s Choir, and Assistant Director of MasterworksChristopher G. McGinley received his formal choral training from Paul Head at the University of Delaware. He currently teaches general music, chorus, and music history at Springside Chestnut Hill Academy, an Independent School for girls and boys in Chestnut Hill. There he serves as artistic director of Musica Mundi and oversees Players, the extracurricular theatre program in the upper school. Mr. McGinley is the founder and director of Orpheus Men’s Choir, assistant director of Masterworks, and co-founder and co-director of Chamber Choir. Chris has been proud to sing in, direct, or assist nearly every choir in PAPA.

GAIL HABECKER AccompanistGail Habecker, of Coatesville, joined PAPA the summer of 2007 to accompany Ariana Women’s Choir and is in her third season accompanying Masterworks. Born into a musical family, Gail has been playing piano since the age of four. She graduated from Juniata College with an emphasis on vocal accompaniment. Through the years, she has accompanied soloists, as well as numerous church and school choirs. She has also played in instrumental ensembles at chamber concerts of Immaculata University. Ms. Habecker is also a graduate of the Wharton School of the University of Pennsylvania. She has a career in investment management and is part owner of PMG Advisors in West Conshohocken, PA.

THE PA ACADEMY OF PERFOR MING ARTS

Leadership

NIGHT WATCHEvery Night (When the Sun Goes Down) ...................... arr. Gwyneth WalkerTraditional Appalachian

Stephen Wilburn, tenor

Chindia .............................................................. Alexandru Paşchanu (1920-1989)Romanian Folk Dance Tune

The Gartan Mother’s Lullaby ................................................. arr. Neil GinsbergTraditional Irish

Beth McAdoo, flute

Berceuse .............................................................................................Gabriel FaureFrom Dolly suite

Gail Busch and Gail Habecker, piano

Aftonen ........................................................................... Hugo Alfvén (1872-1960)English text by Norman Luboff

Hotaru Koi ....................................................................................... arr. Rō OguraJapanese Children’s Song

Masterworks Women

Cover Me With the Night .......................................................... Andrea RamseyTraditional Prayer from Ghana

Alex Newman, baritoneRyan Battin, Joel Waters, and Stephen Wilburn, trio

Aaron Shealy, percussionMasterworks Men

Clair de Lune ........................................................... Claude Debussy (1862-1918)From Suite bergamasque

Theresa Moss, piano

Nächtens ................................................................. Johannes Brahms (1833-1897)

O Schöne Nacht ........................................................................ Johannes Brahms

Sarah ...................................................................................... arr. Stephen HatfieldNewfoundland Folk Song

INTERMI SSION

Moonlight Sonata ........................................................... Ludwig van BeethovenFrom Piano Sonata No. 14 in C# Minor, Op. 27, No. 2

Kevin DeYoe, piano

Water Night ..................................................................................... Eric WhitacrePoem by Octavio Paz

Reggel .............................................................................György Ligeti (1923-2006)Poem by Sándor Weöres

Ecco mormorar l’onde ..................................... Claudio Monteverdi (1567-1643)

Chamber Choir

The Last Words of David .................................. Randall Thompson (1899-1984)II Samuel 23:3-4

The Drunken Sailor ................................................................... arr. Robert SundSea Chantey

Ask the Watchman .......................................................... arr. Caldwell and IvoryTwo Sea Island Spirituals

Joel Waters, baritoneAaron Shealy, percussion

PROGR AM NOTE SEVERY NIGHT (WHEN THE SUN GOES DOWN) Gwyneth Walker

Every Night (When the Sun Goes Down) is an arrangement of a traditional folk song from the Appalachian region of the Eastern United States. Appalachian music, which influenced the early development of country and bluegrass styles in the 1920s, grew out of European and African music traditions, including English ballads, Irish and Scottish fiddle music, hymns, and African-American blues. Of her arrangement, Walker says, “Every Night (When the Sun Goes Down) focuses on the transcendence of faith over sorrow and of peace (through death) over suffering and pain. A new verse is added at the end, during [which] the listener might hear a fluttering of wings (“la-la”s) from within the choral texture. This is to symbolize the spirit of a bird hovering close by.”

Every night, when the sun goes down,I hang my head and mournful cry.True love, don’t weep or mourn for me;The Lord has come to set me free.

Text added by the composer:And when I rise up in the sky,If you look up quickly,You will see me passing by.On wings of silver, I will fly.

CHINDIAAlexandru Paşchanu

Alexandru Paşchanu was a Romanian composer of choral, orchestral, and chamber music, as well as a faculty member of the Music Conservatory in Bucharest until his death in 1989. Chindia is Paşchanu’s most well known composition for voices and is based on an instrumental Romanian folk dance that is performed by both men in women in a closed circle, with the dancers’ arms on each others’ shoulders. Nonsense syllables are sung in this arrangement to represent the vigorous, small steps as well as entertaining athletic stunts that form the traditional dance. In addition to it being the name of the folk dance, the word chindia refers to the time of day just before the sun sets as well as to the place in the sky where the sun goes down.

THE GARTAN MOTHER’S LULLABYArr. Neil Ginsberg

Neil Ginsberg is an American composer, educator, and clinician residing in Brooklyn, New York, where he teaches music at Essex Street Academy High School. He has taught music and theater through a variety of schools, theaters, and programs both in the United States and abroad. The Gartan Mother’s Lullaby is an old Irish song and poem written by Herbert Hughes and Seosamh Mac Cathmhaoil, first published in Songs of Uladh [Ulster] in 1904. Hughes collected the traditional melody in Donegal the previous year and Campbell wrote the lyrics. The song is a lullaby by a mother, from the parish of Gartan in the lovely County Donegal. The song refers to Irish places and words, as well as a number of figures in Irish mythology, including Banshee (a ghost-like fairy woman who haunted the rock of Graglea), the Green Man (a medieval face with leaves growing out of it, which represents the death and rebirth of life in nature), and Sheevra (a mischievous type of fairy people).

Sleep, my child, for the red bee hums;The silent twilight falls.The Banshee from the grey rock comes,To wrap the world in thrall.

Alyanvan, O my child, my joy,My love, my heart’s desire,The cricket sings you a lullabyBeside the dyin’ fire.

Dusk is drawn and the Green Man’s thornIs wreathed in rings of fog.Sheevra sails his boat ‘til mornUpon the starry bog.

Alyanvan, O the pale half-moonHath brimmed her cusp in dew,And weeps to hear this sad, sleep tune,I sing, my love, to you.

AFTONENHugo Alfvén

Hugo Alfvén was a Swedish Nationalist composer, conductor, and violinist who is best known for his three “Swedish Rhapsodies” for orchestra. Aftonen, which translates to “Evening”, is one of his most beloved works for chorus, serenely depicting the lush landscape of his homeland at sunset. The piece will be performed on the English text by Norman Luboff, which is based on the Swedish poem by Herman Sätherberg.

Still, still, the woods,Radiant, the heavens.Dim, distant horns fill the air with their echo.

Sunset a-glow, soon disappears beneath the sea.Slowly, so slowly, it disappears beneath the sea.

Through the mountains, through the valleys,Lingering, the echoes sound.

HOTARU KOIRō Ogura

Hotaru Koi (“Ho, Firefly”) is a popular Japanese children’s song that is sung during the early summer rainy season when fireflies begin to hatch. Like many nursery rhymes, some of the text is silly and nonsensical, but Ogura used layered voices in canon to create the magical effect of blinking fireflies swarming at night.

Ho, firefly,Come, there’s some water that’s bitter to taste,Come, here’s some water that’s sweet to your taste;Ho, firefly, up this mountain path.

Firefly’s daddy struck it rich, so he’s got lots of dough,No wonder that his rear end sparkles in the dark.Ho, firefly, up this mountain path.In the daytime hiding amongst the dewy blades of grass,But when it’s night, his lantern burns bright.

Even though we’ve flown all the way from India,Zoom! And those sparrows swarm to swallow us.

Look! See a thousand lanterns sparkling in the dark.Ho, firefly, up this mountain path.

COVER ME WITH THE NIGHTAndrea Ramsey

Andrea Ramsey is an award winning composer, conductor, educator, and clinician. She is the composer-in-residence for Allegro Community Children’s Choir of Kansas City, Kansas and is currently a Ph.D student in choral music education at Michigan State University. Cover Me With the Night, her dazzling piece for men’s chorus, speaks for itself!

Come, Lord! Come, Lord, and cover me with the night.

Spread your grace over us, when the night is cold and dark.Your promises are more than the stars in the sky.Your mercy is deeper than the night.

Lord, we wait for you. Day and night, we wait for you.

NÄCHTENS and O SCHÖNE NACHTJohannes Brahms

Johannes Brahms was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms’ popularity and influence were considerable; he composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished. Nächtens and O Schöne Nacht are two of Brahms’ part songs, secular songs that were typically sung in casual settings for personal entertainment purposes, with just one singer per voice part. These part songs represent two very different depictions of nighttime: one in which grief and worry occupy the mind, and one in which young love blossoms.

NÄCHTENS:

At night awaken those wandering,deceptive phantomsthat bewilder the mind.

(continued)

At night in the flower gardenfrost falls so that it is futileto wait for flowers to bloom.

At night grief and worrynestle within your heartand the morning gazes in upon tears.

-FR ANZ THEODOR KUGLER

O SCHÖNE NACHT:

O beautiful night! In the heavens, the moon gleams magically in all its splendor; about it, the sweet comradeship of tiny stars.

The dew glimmers brightly on the green blades of grass; with great power, the nightingale sings out in the elder-bush; the young man steals quietly to his sweetheart.

-GEORG FRIEDRICH DAUMER

SAR AHArr. Stephen Hatfield

Canadian composer Stephen Hatfield’s playful arrangement of Sarah, a song much beloved in Newfoundland, tells a fine tale of comic romance as a young couple tries to outwit the girl’s ferocious mother. The piece features story-telling, character-playing and exchanges between the sections.

I came upon a charmin’ girl an’ Sarah is her name.Her parents want the husband with riches, wealth an’ fame.I haven’t the riches, wealth an’ fame; have never come my way,‘til the night I went to visit my love an’ through the keyhole say:

Sarah, Sarah, won’t you come out tonight?Sarah, Sarah, the moon is shining bright.Put yer hat and jacket on, tell your mother you won’t be long,An’ I’ ll be waiting for you round the corner.

Now Sarah is a girl like this, a girl you’ ll seldom see.She loves me only for me-self and not for me money.And every night at eight o’ clock she puts her needle awayAn’ standing just outside the door an’ through the keyhole say: Sarah, Sarah ...

One night after eight, I crept to the door.I whispered, “Sarah, darling!” as I’ve often done before.“I’ ll give yeh Sarah!” said a voice, as down I went a-flop.An’ her mother sang as she kicked me carcass all around her shop:Sarah, Sarah ...

Her mother thought she’ d finished me an’ I let her think so, too.As I lay there groaning on the floor, I scarce knew what to do.At last she said, “Alive or dead, my girl I’ ll let ‘ im wed.”Then up I jumps, says, “Thank you Ma’am” an’ to me girl I said:

Sarah, Sarah, won’t you come out tonight?Sarah, Sarah, the moon is shining bright.Put yer hat and jacket on, tell your mother you won’t be long,An’ I’ ll be waiting for you round the corner.

WATER NIGHTEric Whitacre

Eric Whitacre is one of the leading American choral composers of his generation, with his choral music having been firmly rooted in the repertory of high school, collegiate, community, and professional choirs around the world over the past 15 years. Most recently he’s been acclaimed for his establishment of the Eric Whitacre Singers, a professional chamber ensemble that performs and records Whitacre’s compositions, as well as four Virtual Choir recordings, available on YouTube, which have gained international attention through his innovative use of the Internet to incorporate thousands of singers from across the globe into one online performance. Whitacre has described in detail the genesis of Water Night: “I got home, opened up my book of Octavio Paz poetry, and started reading. I can’t really describe what happened. As I read the poem Water Night, the music seemed to sing itself out into the air, as if it were a part of the poetry itself. I just started taking ‘dictation’ as fast as I could, and the thing was basically finished in about 45 minutes. I have never experienced anything like it, before or since, and with my limited vocabulary I can only describe it as a pure and perfect and simple gift. I’ve heard countless people who sing it or hear it describing the same feeling I had when I wrote it down; I remain eternally grateful for this gift.” Though the twentieth-century Mexican poet Octavio Paz wrote in Spanish, Whitacre has set the words in English translation. Within a predominantly four-part texture, the voices divide occasionally, however, at two notable instances they expand into fourteen-note tone clusters. These dissonant but resonant sonorities have become a hallmark of Whitacre’s compositional style.

Night with the eyes of a horse that trembles in the night, night with eyes of water in the field asleep is in your eyes, a horse that trembles, is in your eyes of secret water. Eyes of shadow-water, eyes of well-water, eyes of dream-water. Silence and solitude, two little animals moon-led, drink in your eyes, drink in those waters. If you open your eyes, night opens, doors of musk, the secret kingdom of the water opens flowing from the center of the night. And if you close your eyes, a river, a silent and beautiful current, fills you from within, flows forward, darkens you: night brings its wetness to beaches in your soul.

REGGELGyörgy Ligeti

“György Ligeti’s initial studies in composition at the provincial ethnic-Hungarian town of Kolozsvár (now Cluj-Napoca, Romania) were interrupted by the Second World War. Eventually he resumed his studies at the Academy of Music in Budapest, where he then taught in the early 1950s. This was a tumultuous decade in Hungarian politics, and in such a music-oriented culture as Hungary, the arts were not immune from political controversy. In December 1956, amid the Soviet invasion of his homeland, Ligeti fled dangerously across the border to Austria. Ensconced in the West, he became affiliated with leading avant-garde composers such as Karlheinz Stockhausen and Pierre Boulez. The premieres of several orchestral works in the early 1960s, especially Apparitions and Atmosphères, brought him to international fame. By the time Stanley Kubrick used several of his works in his 1968 film 2001: A Space Odyssey, Ligeti was one of the most respected modernist composers. Reggel (“Morning”) and its partner piece, Éjszaka (“Night”) are two choruses on texts by Ligeti’s friend, the Hungarian poet and translator Sándor Weöres, which date from a brief period of thaw in mid-1950s totalitarianism. This political cooling allowed Ligeti to publish more adventuresome works than the straightforward folksong arrangements he had hitherto produced. Hallmarks of Ligeti’s style include static harmony and expansive structures.”

–Gary D. Cannon

Ring, tick-tock, tick-tock, bell!And the clock ticks, wishing well!In the dawn, cock-a-doodle-doo,The cock cries and the duck, too.Ring well, bell! Ring, tick-tock, tick-tock bell!

ECCO MORMOR AR L’ONDEClaudio Monteverdi

Monteverdi’s setting of Torquato Tasso’s evocative description of a sunrise expresses perfectly the text, because the music, like the text, moves literally from darkness to bright sunlight. Monteverdi indicates a dynamic marking of piano at the opening through his use of covered vowels and low voices, but indicates forte at the end through sustained full chords. Tasso also uses the arrival of dawn as a metaphor for renewal of the soul.

Hear the gentle breezes murmuring,And the leaves and young treesTrembling in the morning air.And, above, on leafy branchesBeautiful birds sing sweetly,And, slowly, the eastern sky brightens.

Now the dawn begins to appear,And to cast a reflection in the sea,And to lighten the sky,And to make pearls of delicate dewdrops,And to clothe in gold the high mountains.

Oh, radiant and shining dawn,This breeze is your messenger,And you are the messenger of the breathThat restores each ardent and withered heart.

THE LAST WORDS OF DAVIDRandall Thompson

“Composer Randall Thompson was a prominent figure in American choral music in the 20th century. In addition to his choral works, which include the popular Alleluia, he composed three symphonies and two string quartets. The Last Words of David was commissioned in 1949 by the Boston Symphony Orchestra, in honor of Serge Koussevitzky’s 25th anniversary as Music Director. The piece takes its text from II Samuel 23:3-4 and exists in a number of versions including one for male voices, one with orchestra, and one with band. The most popular version is for piano accompaniment. Typical of Thompson’s deep understanding of choral music, the text declamation in this piece is enormously clear and direct. The “Alleluia” near the end is especially effective, using a hushed Gregorian chant-like melodic figure set contrapuntally. Thompson concludes the piece with the chorus singing “Amen” in block chords, while the accompaniment restates the principal musical idea heard in the beginning.”

–James Bagwell

He that ruleth over men must be just, ruling in the fear of God.And he shall be as the light of the morning, when the sun riseth, even a morning without clouds;As the tender grass springing out of the earth by clear shining after rain.Alleluia.

THE DRUNKEN SAILORArr. Robert Sund

This familiar song is a sea chantey (also sometimes called a “shantey”) that sailors would sing to accompany certain work tasks aboard sailing ships. It was believed to originate in the early 19th century, during a period when ships’ crews, especially those of military vessels, were sufficiently large enough to permit hauling a rope whilst simply marching along the deck. The Drunken Sailor was revived as a popular song among non-sailors in the 20th century, and grew to become one of the best known songs of the chantey repertoire among mainstream audiences. It has been performed and recorded by many musical artists and appeared in many popular media. Although the song’s lyrics vary, they usually contain some variant of the question, “What shall we do with the drunken sailor, earlye in the morning?” In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. Sund’s vivacious arrangement applies new compositional treatment to each verse in which punishments are suggested, with an accelerando overarching the entire piece, culminating in an exciting climax.

What shall we do with the drunken sailor,earlye in the morning?

Hooray and up she rises, hooray and up she rises, hooray and up she rises,earlye in the morning.

Put him in the long boat till he’s sober,earlye in the morning.

Pull out the plug and wet him all over,earlye in the morning.

Put him in the scuppers with a hosepipe on him,earlye in the morning.

Heave him by the leg in a running bowlin’,earlye in the morning.

ASK THE WATCHMANArr. Caldwell and Ivory

Paul Caldwell and Sean Ivory’s Ask the Watchman is an arrangement of two traditional spirituals from the Sea Islands of South Carolina and Georgia, the culture and music of which are unique in American history. Because these islands were isolated from the mainland until well into the 20th century, their language (a Creole dialect, Gullah) and traditions remained intact for several generations longer than those of other mainland cultures. Caldwell and Ivory describe the connection of these two spirituals:

“The two spirituals used in this arrangement, Ask the Watchman How Long and Yonder Come Day, are contextually related. Both songs were sung on the eves of Christmas and the New Year during Watch Night Meetings, which would begin at midnight and end after dawn. The songs were performed in a call and response style, at first slow and somber, then evolve gradually into ecstatic utterances accompanied by complex clapping rhythms. With the heightening of the music’s intensity, individual singers (even the elderly and infirmed) would stand spontaneously and begin to dance. This is a practice strongly rooted in African tradition, and is notably similar to the custom of the Santeria, an Yoruban-based religion still practiced in Cuba. This arrangement is a musical snapshot, really, an attempt to capture a memory of an amazing culture which has almost vanished as a result of real estate development on the islands.”

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This could be

MAY 5, 2013

YOUR NIGHT.

Pennsylvania Academy of Performing ArtsMasterworks and Chamber Choirs www.paperforming.org

If you love to sing, don’t wait another moment to be a part of great nights of music like this one. Audition for PAPA. We’re waiting for you.

Auditions for Summer 2013 Season: “Fire and Light”

AUDITIONS BY APPOINTMENT; CONTACT INFO@PAPERFORMING.ORG.