Folk Songs Near and Far

Vicki Peters, Artistic Director and Conductor

Jesse Beulke, Assistant Conductor Stephen Swanson, Accompanist

Saturday, August 3, 2019 at 7:30 p.m. Sunday, August 4, 2019 at 3:00 p.m.

St. Mary’s Chapel at St. Paul Seminary

St. Paul, MN

Free concerts—contributions welcome

www.VoxNovaChorale.org

Notes from the Artistic Director Welcome to Vox Nova Chorale’s seventh season providing opportunities for emerging singers, conductors, and composers to hone their skills and connect with other choral musicians in the summer. It’s an honor and a pleasure to work with these 33 fine musicians. Seven years ago we started with six colleges represented. Today, we have 14. We are pleased to provide opportunities for more emerging musicians, and a few seasoned veterans, each year. We are proud to present Folk Songs Near and Far in 2019 touching on music from 12 countries including France, Korea, Latvia, Ireland, Scotland, Russia, Haiti, Norway, Bulgaria, Israel, Canada, and the USA. It has been a fun challenge to sing in

seven languages and different styles. Many of these are familiar, beloved folk songs we love to sing. We hope you recognize a few and learn about other cultures’ music. Some people say that folk music is simply what the people sing or dance to from their country. However, there are many different forms of folk music. My selections for this program include traditional folk songs, folk hymns, and religious folk songs or spirituals. Some of the songs are love poetry often of a tragic or regrettable nature which is common in many folk songs. Others are taken from the country’s dances and a few are the African American spiritual which is the largest form of American folk song. I’d like to thank our composer clinician Craig Carnahan and conductor clinician Matthew Culloton for working with these fine musicians who are eager to learn from professionals who are well known in their field. We feel fortunate and grateful to them for sharing their wonderful expertise! We have three world premieres we are excited to present to you. Last summer, we made our first recording, “A Minnesota Christmas,” and it was extremely well received by the community. You can purchase it in the lobby today. We are equally excited about the possibility of making another CD of this program. Stay tuned for future announcements of that possible CD release on our website at www.voxnovachorale.org. Thank you for your attendance today and for the encouragement and support. While Vox Nova Chorale is very proud to offer concerts free to the public, we are very appreciative of any financial support you can provide to continue our mission. Gratefully, Vicki Vincelli Peters Founder, Artistic Director

Folk Songs Near and Far

Ah! Si mon moine voilait danzer (French Canadian) Arr. David Patriquin What Wondrous Love is This (American) Arr. Matthew Culloton Conducted by Michael Atwood Arirang (South Korean) Arr. Kenneth Jennings Conducted by Ashley Morben; Soloist: Mitchell Peery Blow, Wind (Latvian) Arr. Imants Ramins Soloist: Elsa Swanson The Star of the County Down (Irish) Arr. Howard Goodall Deep River (African American) Arr. Norman Luboff Soloist: Chris Wallace Le Baylère (French) Arr. Goff Richards Russian Picnic (Russian) Arr. Harvey Enders Conducted by Amber Kavie; Soloist: Ben Winkler

INTERMISSION

The Water is Wide (Scottish) Arr. Jesse Beulke Soloists: Kaia Chambers, Val Peterson Kaval Sviri (Bulgarian) Arr. Chris Wallace Conducted by Jesse Beulke A Quilt of Snow (Norwegian) Arr. Patti Arntz Violinist: Janelle Lanz Choukoun(Haitian) Arr. Maxwell Lafontant Soloists: Amber Kavie, Ashley Morben No Time (American) Arr. Susan Brumfield Loch Lomond (Scottish) Arr. Jonathan Quick Soloist: Kyle Schwartz Yonder Come Day (African American) Arr. Craig Carnahan Conducted by Jesse Beulke Old Joe Clark (American) Arr. Greg Gilpin Hava Neytzey B’Machol (Israeli) Arr. Maurice Goldman

Program Notes: Ah! Si mon moine voilait danzer (French Canadian) Arr. David Patriquin Arranger Donald Patriquin writes, “This French Canadian folksong from Quebec deals humourously with a once topical subject – the clergy. A young lady dreams of what inducements she might offer her monk in order to get him to dance: a cap, sash, rosary, and a coat. The text takes on an amusing double meaning as “moine” means both a top, and a monk.” O danse mon moine danse, Tu n’entends pas la danse. Ah! Si mon moine voulait danser - - Un capuchon je lui donnerais. Un ceinturon je lui donnerais, Un chapelet je lui donnerais. Un froc de bur’ je lui donnerais. S’il n’avait fait voeu de pauvreté, Bien d’autres choses je lui donnerais!

O dance, my monk, dance, Ah! If my monk would like to dance - - I would give him a cap. I would give him a sash. I would give him a rosary. I would give him a homespun coat. If he had not made a vow of poverty, I would give him other things as well!

What Wondrous Love is This (American) Arr. Matthew Culloton Originally commissioned to be a wedding gift, Culloton’s setting of “What Wondrous Love Is This” brings new sensation to the traditional American folk hymn. Through interwoven humming lines, varying textures, and tempo changes, the work introduces layers of verses, each building in excitement. At the same time, by utilization of a Dorian mode and rigid rhythmic structure, there is a sense of familiarity true to the original hymn. By its final verse, the text proudly boasts the anticipation of freedom and joy that comes in our ultimate reunion with the Lord. What wondrous love is this, O my soul, O my soul. What wondrous love is this, O my soul! What wondrous love is this That caused the Lord of bliss To bear the dreadful curse For my soul, for my soul, To bear the dreadful curse for my soul! To God and to the Lamb, I will sing, I will sing! To God and to the Lamb, I will sing;

To God and to the Lamb, who is the great I AM, While millions join the theme, I will sing, I will sing! And when from death I’m free, I’ll sing on, I’ll sing on! And when from death I’m free, I’ll sing on, And when from death I’m free, I’ll sing and joyful be, And through eternity, I’ll sing on, I’ll sing on, And through eternity, I’ll sing on!

Arirang (South Korean) Arr. Kenneth Jennings “Arirang” is easily the most recognizable and revered folk tune from Korea. The ancient tune is said to be over 600 years old and is often considered to be the unofficial national anthem of Korea. One could say that “Arirang” is to Korea as Danny Boy is to Ireland. The song holds tremendous meaning for Koreans and has served as a means of unification in identity to inhabitants of both sides of the Korean peninsula. Music historian E. Taylor Atkins once wrote that “Arirang” has "articulated the sorrow of lovers parting, the injustices of life for common people, the nostalgia for one's hometown, the disorientation experienced during periods of dramatic change or the resolves to persevere and conquer oppression."

Blow, Wind (Latvian) Arr. Imants Ramins “Pūt, Vējiņi,” from “Five Latvian Folksongs,” is one of more than one million documented Latvian folk songs. It became the unofficial national hymn of Latvia during almost 50 years of Soviet occupation after World War II, when sacred music was banned. The song helped Latvians maintain their national identity during the period. To this day they become very emotional when singing the song, frequently performed in the Latvian summer song festivals, involving a massed choir of nearly 25,000 singers and more than 100,000 spectators in a stadium built expressly for choral singing. Pūt, vējiņi, dzen laiviņu, Aidzen mani Kurzemē. Kurzemniece man solīja Sav’ meitiņu, malējiņ. Solit sola, bet ne deva, Teic’ mani lielu dzērājiņu. Kuru krogu es izdzēru, Kam noskrēju kumeliņ’? Pats par savu naududzēru, Skrēju savu kumeliņu. Pats precēju līgaviņu, Tēvs, māmiņa nezināj’. Aidzen mani Kurzemē.

Blow, winds, blow, Blow my small boat Blow me back to Kurzeme. There a mother promised to me Her fair daughter, The miller maid. But the mother broke her promise, Called me a wastrel, Drunkard too, Where’s the horse that I’ve run ragged, Where’s the tavern I’ve drunk dry? But if I did ‘Twas my own horse, My own money drank it dry. I took my love far from home, Father, mother, left behind. Blow me back to Kurzeme.

아리랑 아리랑 아라리요

아리랑 고개로 넘어간다

Arirang, Arirang, oh Arirang To that pass, Arirang, I cross over now

나를 버리고 가시는 님은

십리도 못가서 발병 난다.

The one who loved me and went on their way Will have sore feet before they cross ten miles.

청천 하늘엔 별도 많고

우리네 살림 살이 말도 많다.

As there are many stars in heaven There are many words shared in life.

풍년이 온다네 풍년이 와요

이 강산 삼 천리 풍년이 와요

They say good times are coming, good times will come A thousand good years will come to this mountain side.

The Star of the County Down (Irish) Arr. Howard Goodall “Star of the County Down” is a Celtic folksong set in the town of Banbridge in County Down of Northern Ireland. It tells the story of a young man who meets a beautiful and charming lady named Rosie. He immediately becomes infatuated with this woman, and imagines what it would be like to marry her, for “No maid I’ve seen like the brown caileen that I met in the County Down”. Near to Banbridge Town in the County Down one morning in July, Down a boreen green came a sweet caileen, and she smiled as she passed me by. Oh, she looked so neat, from her two white feet to the sheen of the nutbrown hair. Such a coaxin’ elf, I’d to shake myself to make sure I was really there. Oh, from Bantry Bay up to Derry Quay and from Galway to Dublin Town, No maid I’ve seen like the brown caileen that I met in the County Down. As she onward sped I scratched my head and I gazed with a feelin’ quare, There I said, says I, to a passerby, “Who’s the maid with the nutbrown hair?” Oh, he smiled at me and pride says he, “That’s the gem of Ireland’s Crown. Young Rosie McCann from the banks of Bann, she’s the Star of the County Down.” At the Harvest Fair she’ll be surely there so I’ll dress in my Sunday clothes, With my shoes shone bright and my hat cocked right for the heart of the nutbrown Rose. No pipe I’ll smoke, no horse I’ll yoke, tho’ my plough with rust turn brown, ‘Till a smiling bride by my own fireside, sits the Star of the County Down. Deep River (African American) Arr. Norman Luboff “Deep River” is one of the most well–known and best-loved of African American spirituals and has a long and rich history. Born from slavery, songs of this genre are of hope and longing, expressing a desire for peace and freedom. The African American spiritual is the largest form of American folk songs. Deep river, my home is over Jordan Deep river, Lord, I want to cross over into camp ground. Oh, don’t you want to go to that Gospel feast – That promised land where all is peace. Deep river, my home is over Jordan Deep river, Lord, I want to cross over into camp ground. Le Baylère (French) Arr. Goff Richards “Le Baylère” is a traditional French folksong from a collection of folksongs compiled by French composer Joseph Canteloube, titled “Chants d’Auvergne” (“Songs from the Auvergne”). “Baïlèro” has remained the most famous of this set, and is known for its lush orchestration and soaring melody. Arranger Goff Richards created this arrangement for a cappella choir fitting alongside the original setting with its warmth and richness.

Baylèro, “Pâtre, par de la rive, Ce n’est pas de très bon temps?”, chante baylèro lèro, “Je n’ai pas de très bon temps”, chante baylèro lèro, “Pâtre, comment passer tous les jours par le grand ruisseau?” “Écoute moi, je viens te chercher baylèro lèro!”

Baylèro, “Shepherd across the river, Are you not happy?,” He sings the baylèro, “No, I am hardly having a good time,” Sing baylèro lèro, “Shepherd, how can we pass the time well when we are separated by the river?” “Listen to me, I’ll come to find you, baylèro lèro!”

Russian Picnic (Russian) Arr. Harvey Enders “Russian Picnic” is based on Russian folk tunes and describes the joys of going on a picnic. The song is very upbeat and has a moving piano part throughout. There is a lovely tenor solo in the middle of the piece that details a young man falling in love with a young woman. The piece then repeats and ends with a jubilant climax! The sun is high and bells are ringing; Young lads and maidens join in singing; Their songs and laughter fill the air, Across the fields and village square. Play a tune, hey, hey! Garanka; Garanka; Balalaika, strike! Garanka; In and out and with old Garmoshka; Fingers dancing on Garmoshka! Brinda, brinda, brinda, brinda, hey!

Masha, Dasha, Tanya, Olga, Lift your feet and dance a polka; We’ll make merry all the day long On the banks of mother Volga. Come, let’s dance! Soon the moon will rise up yonder, Silver moons make hearts beat fonder! Hey! In my heart dwells one whom I cherish, Without love of her I perish. She has cheeks like blushing poppies: Ah, my dearest, thou art mine! Garanka!

INTERMISSION The Water is Wide (Scottish) Arr. Jesse Beulke “The Water is Wide” has become one of the most popular folksongs, and has been recorded by many artists such as John Denver and James Taylor. Originally, it was a Scottish ballad titled “O Waly Waly” from the early 1720s. Since its conception, this song has told the story of both the wonder and challenges of love. Through many alterations since its early roots, what remains today is its ability to captivate performers and audiences through its wistful lyrics and compelling melody. The water is wide, I can’t get o’er, And neither have I wings to fly. Build me a boat that can carry two And both shall row my love and I. A ship there is and she sails the sea, She’s laden deep, as deep can be.

But not so deep, as the love I’m in, I know not if I sink or swim. I leaned my back against a young oak, I thought it was a trusty tree. But first it bent and then it broke, Thus did my love prove false to me.

Oh love is handsome, and love is kind, Bright as a jewel when first it’s new.

But love grows old, and waxes cold, And fades away like morning dew.

Kaval Sviri (Bulgarian) Arr. Chris Wallace “Kaval Sviri” is a folk song that originated in Bulgaria. The text tells the story of a girl who hears the sound of a flute playing outside of her village. She informs her mother that she would like to go find the person who is playing the flute; if it is someone from her village then she will love him for a day, but if it is a stranger then her heart is his forever. Bulgarian folk singing usually employs the use of a very bright and pointed tone. Combined with dissonance and mixed meters, this vocal technique creates a dazzling display of excitement and energy. The men’s and women’s parts in different meters give life to the story and keep with Bulgarian tradition. Kaval sviri, mamo, Gore, dole, mamo, Gore, dole, mamo, Kaval sviri, mamo, Gore, dole, mamo, Pod seloto. Ja shte ida, mamo, Da go vidja, Da go vidja, mamo, Ako mi e nashencheto Shte go lubja den do pladne, Ako mi e jabandzhijche, Shte go lubja dor do zhivot.

The kaval is playing, mother, Up, down, mother, Up, down, mother. The kaval is playing mother, Up, down, mother, Under the village. I will go, mother, To see it, To see it, mother, To hear it. If he is my own I’ll love him for a day, If he is a stranger I’ll love him all my life.

A Quilt of Snow (Norweigian) Arr. Patti Arntz Patti Arntz notes: While traveling in Norway several years ago, I came across some Norwegian children’s’ songbooks. I was immediately drawn to “Snoen er her” (“Snow is Here”) with its’ unusual melody line and harmonic structure. Adding the violin, a popular instrument in Norway, seemed to be the perfect way to include some new countermelodies. The story of “A Quilt of Snow” tells of a child’s excitement at the first snow of the season. I believe this sense of magic can speak to all generations. White is the air, white everywhere, All the world is silent amid glist’ning snow. Autumn is past, trees white at last, All the earth is warm ‘neath a quilt of snow.

Watch snowballs fly, through the sky, Grab your sled, cascade down the long, sloping hill. Darkness is near and our shadows appear, Home by the fire melts away snowy chill.

Outside we go, hearts with a glow, As we gently tread over new fallen snow. One by one, friends join the fun, All the earth is warm ‘neath a quilt of snow.

Outside we go, hearts with a glow, As we gently tread over new fallen snow. One by one, friends join the fun, All the earth is warm ‘neath a quilt of snow.

Choukoun(Haitian) Arr. Maxwell Lafontant The story of “Choukoun” is the classic story of a Haitian man falling in love with a beautiful woman, starting a relationship with her, and despairing as she's stolen by a pale Frenchman with a beautiful watch. It's also a thinly veiled criticism of colonialism. The original song was written by Michel M. Monton in 1893. It was rewritten in English as “Yellow Bird” in 1961. Maxwell Lafontant wanted to set this piece in its original Haitian creole as a way to explore his own Haitian heritage. Dèyè yon gwo touf pengwen Lot jou mwen kontrè Choukoun Li souri lè li wè mwen Mwen di, “Syèl a la bèl moun” Li di, “Ou trouve sa chè?” Ti zwazo nan bwa ki t’ apè koutè Kon mwen sonjè sa Mwen genyen lapen Ka dèpi jou-sa De pyè mwen nan chen Ti dan Choukoun blan kou lèt Bouch li koulè kayimit Li pa gwo fanm, li gwosèt Fanm konsa plè mwen touswit Tan pasè pa tan jodi Zwazo te tandè tout sa li tè di Si ou sonjè sa Yo dwè nan lapen Ka dèpi jou-sa Dè pyè mwen nan chen Yon ti blan vini rive Ti bab wouj, bèl figi woz Mont sou kotè, bel chive Malè mwen, li ki lakoz Li trouvè Choukoun joli Li pale fransè, Choukoun remen li Pito bliyè sa Sè two gran lapen Choukoun kitè mwen Dè pyè mwen nan chen

Behind a thick cactus grove Yesterday I met my Choucoune Oh! That smile when she saw me I said, “Heaven, what beauty!” She said, “Dear, do you think so?” Little bird, who listened deep in these woods When I think of this It brings me such pain Ever since that day Both my feet in chains Choucoune’s teeth are white as milk Her lips pink as kayimit She’s not fat but well padded Women like this send me fast Though yesterday’s not today Little bird, who hear every word she said If you think of this It will make you sad Ever since that day Both my feet in chains Young white fellow came around Trim red beard on his pink face Pocket watch and hair of silk My troubles, he brought them when He found my pretty Choucoune Spoke French words that made my Choucoune love him Better forget this The pain is too great Choucoune left me here Both my feet in chains

No Time (American) Arr. Susan Brumfield This traditional camp meeting song is from the early 19th century. The Second Great Awakening of this period shaped the religious landscapes of rural America for the 19th and 20th centuries. Many of these songs were born out of camp meetings of this time, in which itinerant preachers would gather in remote locations drawing crowds of people. Rise, oh, fathers rise; let’s go meet ‘em in the skies. We will hear the angels singing in that morning. Oh, I really do believe that, just before the end of time, We will hear the angels singing in that morning. Rise, oh, mothers rise; let’s go meet ‘em in the skies. We will hear the angels singing in that morning. Oh, I really do believe that just before the end of time, We will hear the angels singing in that morning. No time to tarry here, no time to wait for you. No time to tarry here, for I’m on my journey home. Brothers, oh, fare ye well, for I’m on my journey home. Sisters, oh, fare ye well, for I’m on my journey home. Loch Lomond (Scottish) Arr. Jonathan Quick Jonathan Quick’s arrangement of this traditional Scottish folksong has become a standard in many choral programs. While the exact meaning of the songs is unknown, most believe it is a tale of two of Bonnie Prince Charlie’s men who were captured and left behind after the failed uprising of 1745. One man was set free, the other “will never meet his true love again”. The condemned man’s spirit would return to his homeland via the “low road”. By yon bonnie banks and by yon bonnie braes, Where the sun shines bright on Loch Lomond, Where me and me true love were ever wont to gae, On the bonnie, bonnie banks of Loch Lomond. Oh, ye’ll take the high road an’ I’ll take the low road An’ I’ll be in Scotland a fore ye, But me and my true love will never meet again, On the bonnie, bonnie banks o’ Loch Lomond.

‘Twas there that we parted in on shady glen, On the steep, steep sides of Ben Lomond, Where deep in purple hue, the Highland hills we view, And the moon coming out in the gloamin’. The wee birdies sing and the wild flowers spring, And in sunshine the waters lie sleeping, But the broken heart will ken nae Second spring again, And the world knows not how we are grieving.

Yonder Come Day (African American) Arr. Craig Carnahan Minnesota composer Craig Carnahan, has given a fresh take on this traditional Georgia Sea Islands song. Syncopated rhythms and mixed meters move through each section of the choir. Carnahan introduces a new melody while paying homage to the traditional song by using its original rhythms. Yonder come day, day is a breakin’. Yonder come day, O my soul. Yonder come day, day is a breakin’. Sun is a risin’ in my soul. Sun is a risin’. Day is a breakin’. Sun is a risin’ in my soul. Trees are green and the air is sweet. The good earth is singin’ underneath my feet. I’ll point my feet down that freedom line. Walkin’ that road, I’m feelin’ fine. Old Joe Clark (American) Arr. Greg Gilpin This lively American folksong was especially popular among soldiers during World War I. Also considered a mountain ballad, it tells the tale of Joseph Clark – a Kentucky mountaineer born in 1839, thought to be a fiddler. Old Joe Clark has been described as one of the most widely known of all Southern fiddle tunes. ‘Round and around and fare thee well old Joe Clark! Fare thee well, old Joe Clark, fare thee well, I say. Fare thee well, old Joe Clark, I best be on my way. Old Joe Clark, he had a house, fifteen stories high, And ev’ry story in that house was filled with chicken pie. I went down to old Joe’s house; he invited me to supper. I stumped my toe on the table leg and stuck my nose in the butter Old Joe Clark had a yellow cat; she would neither sing nor pray. Stuck her head in a buttermilk jar and washed her sins away. Old Joe Clark, he had a mule; his name was Morgan Brown. And ev’ry tooth in that mule’s head was sixteen inches ‘round.

Hava Neytzey B’Machol (Israeli) Arr. Maurice Goldman This Israeli folk song translates to “Come and join in dance and song.” This folksong would often be accompanied by a well-known dance, the hora. You will feel like dancing as arranger Maurice Goldman has captured the whirlwind essence of this dance. Hava neytzey b’machol, Hava neytzey bimcholot, Yaleylee. Hava nageela hava. Nageela, veneesmecha. Hava!

Come and join in the song and dance, Come and join in the song and dance, Yaleylee. Come dance the Hora. Let’s rejoice and be happy. Come dance!

About the Chorale Vox Nova Chorale is a non-profit summer choir based in St. Paul, MN, founded in 2013. With the goal of encouraging educators, singers, and composers, the Chorale empowers and provides opportunity for musicians of diverse backgrounds to perform excellent choral music at the highest degree of artistry that enriches their lives and the community. Learning and singing together are the goals of the 33 musicians joining the Chorale in its seventh season. The diverse musical and educational backgrounds of each member—from current undergraduate students to community and professional singers—create an environment in which ideas converge into a shared expression of artistry. In this spirit, we are proud to feature four emerging composers and four emerging conductors to lead the Chorale in rehearsal and performance. Vox Nova Chorale is regularly featured on Classical Minnesota Public Radio and has been chosen for five MPR Regional Spotlights. In 2015, 2016, 2017, 2018, and 2019 the Chorale was one of a few regional ensembles selected to be on MPR’s “Taste of the Holidays,” its annual holiday album distributed nationally.

Personnel

Soprano Alto Tenor Bass Amber Kavie Molly Buhler Michael Atwood Jesse Beulke Jendalynn Lanz Kaia Chambers Kevin Fraley Mark Donlin Kelsey Letourneau Christy Emanuelson Jeff Kidder Jacob Kruse Laurie Meyers Joan O'Donnell Alvin Kim Kyle Lamb Ashley Morben Tara Priolo Kyle Schwartz Mitchell Peery Val Peterson Anachie Stueve Levi Seefeldt Bobby Schlidt Caroline Swanson Andrea Orem Scott Tunseth Jeff Tunseth Elsa Swanson Suzanne Wiebusch Ben Winkler Chris Wallace Sarah Wiechmann

Vicki Peters, Artistic Director and Conductor Vicki Peters enjoys an active career of conducting, teaching, and singing. Vicki co-founded Vox Nova Chorale in 2013 with the idea of bringing emerging choral musicians together to collaborate and hone their skills with other excellent choral musicians. She directed The Summer Singers for eight summers, including appearances at the 2010 North Central ACDA and 2008 Minnesota State conventions. Vicki is a private voice teacher, was a project singer for the Dale Warland Singers, and currently is a singer and soloist for the professional choir The Singers, under the direction of Dr. Matthew Culloton. She also sang in the Minnesota Beethoven Festival Chorale under the direction of Dale Warland for four summers. She taught choral music at Fridley High School. She developed and led excellent church choirs, hand bell choirs, and orchestral groups at various churches for 16 years. In addition, she was the assistant director for Two Rivers Chorale, under the direction of Bruce Phelps, and the North High Alumni Choir, under the direction of Carl Lipke, and a soloist on European tours with both directors. Vicki graduated with a vocal music education degree from St. Cloud State University, where she received choral, vocal, and opera scholarships and Phi Kappa Phi membership. She is listed as an Outstanding Alumni of the music department. She studied voice, choir, and opera with Charles (Chuck) Peterson. Vicki also is a choral and vocal clinician and judges state large group and solo/ensemble contests. She is a member of ACDA. She serves on the State High School League Contest Music Selection and Review Committee.

Jesse Beulke, Assistant Director

Jesse Beulke is a conductor, composer, music director, and pianist residing in Minnesota. He is currently the director of choral activities at St. Croix Preparatory Academy in Stillwater, MN. As a composer, Jesse’s pieces have been finalists for several contests around the United States, and featured at both state and national ACDA conventions. His music is published by Pavane Publishing, National Music Publishers, and Carl Fischer. Jesse works as a conductor, collaborative pianist, and music director in a variety of settings. Most recently, he worked as the music director and the conductor/principal keyboardist for “Mamma Mia” for the Theatre Workshop of Nantucket in Nantucket, MA.

Jesse has conducted orchestras for shows including “Assassins,” “Titanic: The Musical,” and “Ragtime.”. He has also worked as a music director, keyboardist, and accompanist for shows such as “Annie Get Your Gun,” “Mary Poppins,” “The Full Monty,” “Pirates of Penzance,” and “Suessical.”. As a classical accompanist, Jesse collaborates with professional and student vocalists and instrumentalists of varying ages for recitals, concerts, and opera productions. In addition to Vox Nova, Jesse has sung with the Minnesota State University, Mankato Concert Choir and Chamber Singers, Kantorei, and will be joining the The Singers – Minnesota Choral Artists for their 2019-20 season.

Composer and Conductor Biographies Patti Arntz has music degrees from Hamline University and Drake University, with a master’s degree from the University of St. Thomas. A lifelong choral singer, she began arranging music seriously after retiring from 30 years of teaching elementary vocal music in the Robbinsdale Area Schools. During that time, she directed the Robbinsdale All-District Elementary Choir for 15 years performing at MMEA, ACDA, and NAfME conferences. Patti currently sings with Singers in Accord and is the director of youth choirs at Shepherd of the Lake Lutheran Church in Prior Lake, MN. Michael D. Atwood holds a Bachelor of Music degree in vocal performance as well as a Master of Music degree in Choral Conducting. In addition to his work as a vocalist and conductor, Michael has found success in composition with published pieces now available through Pavane Publishing, Colla Voce Music, and MorningStar. His works have received honors as winner of multiple young composers’ competitions and professional calls for scores, most recently being featured at the 2019 Southern MN Big Nine Music Festival. Michael currently teaches voice out of his private studio near Minneapolis while serving as music director for local churches and theatre companies. Amber Kavie will be a senior next year at Concordia College in Moorhead pursuing a degree in music education. She will be student teaching at the high school level during fall semester as well as singing with the Concordia Choir for her third year. Amber is thrilled for the opportunity to conduct “Russian Picnic” on this year’s Vox Nova program! Her previous conducting experience has been with the Minnesota All-State Lutheran Choir over the last two years. When she is not on the podium, Amber enjoys being active and playing sports. She is grateful to Vicki and to Dr. Culloton for their guidance and support throughout this learning process. Maxwell R. Lafontant is a composer of concert music. Based in St. Paul, MN, his music has been played both nationally and internationally, including premieres by the Nevada Chamber Orchestra, the Mivos Quartet, Aliro Voices, and the New Mexico Contemporary Ensemble. His music has been described as “Pithy…whimsical,” “capricious to angsty…and always with charming melodic material,” and “Neoclassical” by his mother. Ashley Morben is a new singer to Vox Nova Chorale this season. She earned her degree in vocal music education from Concordia College in Moorhead, MN in 2015. Ashley will be starting her fifth year of teaching as a new hire in the Mounds View school district this coming school year where she will be teaching Kindergarten music full time. During the school year she sings in the soprano section with Magnum Chorum. Ashley is honored to have the opportunity to conduct in this weekend’s concert and thanks you for coming to support Vox Nova Chorale! Chris Wallace graduated from Augsburg College in 2016 with a Bachelor of Art in music and intends on going back in the fall of 2020 to complete his Bachelor of Music in music education. His works have been described by many as “good” and he has arranged and transcribed pieces for South St. Paul High School, South High School, Vox Nova Chorale, and the VocalEssence Ensemble Singers. Chris currently sings with the VocalEssence Chorus and outside of the choral world he enjoys playing drum set around the Twin Cities alongside his friends and fellow musicians.

Acknowledgements Jesse Beulke, program notes Craig Carnahan, composer clinician Matthew Culloton, conductor clinician Ken Fitzer, videographer Kelsey Letourneau, program

Father Tom Margevicius, St. Mary's Chapel Stephen Swanson, accompanist David Trembley, sound engineer Karen Wilkerson, St. Michael's Lutheran Maureen Armstrong, rehearsal accompanist sub

Board Members Jill Brown, president Kelsey Letourneau, vice president Joan O’Donnell, treasurer

Vicki Peters, artistic director and conductor Matthew Culloton, music advisor Scott Peters, finance advisor

Audition for 2020

Interested in conducting, having your music performed, and/or singing with us? E-mail a music resume to Vicki at vickipeters@voxnovachorale.org by May 1, 2020. Compositions must be submitted in PDF format along with an MP3 or MIDI recording. Rehearsals are held Monday and Thursday nights, 7 to 10 p.m. at St. Michael’s Lutheran Church in Roseville beginning in mid-June.

Thank You, 2018-19 Donors

Jack & Marsha Anderson Patti Arntz Charles & Ann Atwood Mathew Atwood Michael Atwood Sharon Austin David Bartholomew Christopher & Carolyn Bingham Jessie Braaten Pete Bradt Bob Bradt & Joan O’Donnell Jill Brown Phyllis Bruce Susan Buhler Craig Carnahan Matt Culloton Sierra Diehl Rolland Digre

Peggy & Mick Dobbins Ken Duvio Darla Emanuelson Jean English Diane Etling Hilde Flynn Judy Ford Gertrude Foreman Joan Foreman Bob & Tammy Fraley Deborah Fristad Adele Geiger Vicki George Marci Gorman Maureen Graham Dick Guiton Gene and Pat Gunderson Robert A Hausman Eva Hobbs Teresa Holaday

Pam Jewson Carol Johnson-Brooks Ramona Kaszos Andrew Kavie Jeffrey & Kristen Kidder Estee Stene Krueger Mark & Rose Larson Teresa Laughlin Debbie Lerdahl Longfellow Soap Pam Lukens Barb Michel Dennis & Marlys Nelson Cheryl O'Donnell Jeana & Paul Ogren Joan Olson Joann Parker Shirley Parramore Scott & Vicki Peters Dave Peterson

Helen Plourde Don & Barb Rebertus Tara Priolo Patty Reynolds Sandra Robinson Ken Rodgers Nancy and Everett Rotenberry Kay Sandeen Laura Sandham Howard Sasada Jacqueline Scott Lois Simon Harlene Swenson Jackie Tierney Anne Towner Roger & Carol Upcraft Patrick & Gayle Vincelli Suzanne Wiebusch Barbara Wies

Coporate Donors Long Fellow Soap Jill Brown Consulting Thompson Reuters

Mission

Vox Nova Chorale exists to educate, empower, and provide opportunity for singers, emerging conductors, and composers, to collaborate and perform excellent choral music at the highest degree of artistry that enriches their lives and the community.

Contribute

We are grateful for your generous financial contributions, 100% of which supports Chorale operations such as securing rehearsal and concert venues, music, accompanists, clinicians, program printing, and more. You may use the envelope enclosed in this program to donate today, or mail your contribution to:

Vox Nova Chorale 1480 Myrtle Court

Maplewood, MN 55119 Checks payable to Vox Nova Chorale

Vox Nova Chorale is a non-profit, 501(c)(3) tax-exempt organization. Contributions are tax-deductible to the extent allowed by law. Thank you!

Grants funded by the Arts and Cultural Heritage Fund: This activity is made possible by the voters of

Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund.

Thank you to our corporate sponsors.

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