Harold J.
Kaplan High School Music Department
Proudly Presents
THE NATURAL WORLD
Songs of the Earth & Nature
Featuring
Treble Chorus, Tenor-Bass Chorus
& Concert Choir
Hayden Klinedinst, Director of Choirs
Laura Dodson, Accompanist
Friday, April 26, 2024
Sydney Lieberman Auditorium
7:00pm
PROGRAM
Treble Chorus
Bright Morning Stars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .arr. Jay Althouse
(b. 1951)
Student Name, voice part
Student Name, voice part
Student Name, voice part
Orion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susan LaBarr
(b. 1981)
Does the World Say? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyle Pederson
(b. 1971)
Student Name, violin
Student Name, voice part
Student Name, voice part
The Storm Is Passing Over . . . . . . . . . . . . . . . . . . . . . . . . . . . .arr. Barbara W. Baker
(b. 1948)
Tenor-Bass Chorus
Witness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . arr. Jack Halloran
(1916-1997)
Give Me Your Stars to Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ruth Morris Gray
(b. 1961)
Sure On This Shining Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Morten Lauridsen
(b. 1943)
Tshotsholoza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .arr. Jeffery L. Ames
(b. 1969)
Student Name, voice part
Student Name, congas
Student Name, djembe
Concert Choir
Down in the River to Pray . . . . . . . . . . . . . . . . . . . . . . . . . . . .arr. David L. Mennicke
(b. 1962)
I Will Sing You the Stars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mark Burrows
(b. 1971)
Let the River Run . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . arr. Craig Hella Johnson
(b. 1962)
Student Name, bongo drums
Student Name, conga drums
Student Name, shaker
Temporal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . arr. Diana V. Sáez & Suzzette Ortiz
(b. 1961 & 1960)
Student Name, conga drums
Student Name, guiro
Combined Ensembles
Ad Astra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jacob Narverud
(b. 1986)
THANK YOU...
Dr. Phillip Collister, superintendent
Mrs. Lori Hultgren, principal
Mr. Tommy Hunter, custodian
Harold J. Kaplan High School Faculty & Staff
Harold J. Kaplan High School Music Boosters
TRANSLATIONS
Tshotsholoza
Go Forward
Tshotsholoza Go forward
Ku lezontaba On those mountains
Stimela siphum’e South Afrika The train is coming from South Africa
Wen’ uyabalekah You are running away
Temporal
Storm
Allá viene el temporal. There comes the storm.
Que será de Puerto Rico What will become of Puerto Rico
Cuando llegue el temporal? When the storm arrives?
Que será de mi Borinquen What will becomes of my Puerto Rico
Cuando llegue el temporal? When the storm arrives?
Se levanta el pueblo The people arise
Al son de los tambores To the rhythm of the drums
No nos tumba el viento The wind cannot bring us down
Ni diez mil temblores. Nor ten thousand earthquakes.
Somos resilientes. We are resilient.
Somos luchadores. We are warriors.
Ad Astra
To the Stars
Ad Astra per aspera. To the stars through difficulties.
Sursum. Look upward.
Movere deinceps. More forward.
Sine cura, post omnes. Leave all cares behind.
The earth has music for those who listen.
-Reginald Holmes
PROGRAM NOTES
Bright Morning Stars
arr. Jay Althouse
Originally an Appalachian folk song, this a cappella arrangement features spiritual-like
harmonic textures, as well as remarkable vocal trios to both open and close the piece.
Orion
Susan LaBarr
Set to Faith Zimmer’s poem, this piece reflects searching for our own inner worth. A
constellation lying on the celestial equator, Orion is visible at times even during winter, which is
believed to be the most difficult season. Composer Susan LaBarr describes this constellation as
“having strength even in the most difficult season,” which all of us can relate to in some way,
shape, or form.
Does the World Say?
Kyle Pederson
This empowering and lyrical piece refers to pressures that the world may “throw” at us
throughout our lifetimes, specifically referring to the community that each of us can build with
one another despite the challenges we face everyday.
The Storm Is Passing Over
arr. Barbara W. Baker
Originally composed by Charles Albert Tindley, this choral arrangement features many dynamic
contrasts and shapes that provide a gospel-like feel to the texture. With hand claps and heavily
accented vocal parts, this arrangement is a lot of fun for both performers and audience members.
Witness
arr. Jack Halloran
A traditional spiritual, this arrangement features lots of syncopated rhythms and polyphony.
Give Me Your Stars to Hold
Ruth Morris Gray
Set to Sara Teasdale’s text, this arrangement features closely-knit harmonies, superb text
painting, and legato vocal part-writing.
Sure On This Shining Night
Morten Lauridsen
James Agee’s text is set to this piece from composer Morten Lauriden’s song cycle, “Nocturnes,”
featuring four independent, yet cooperative vocal lines, along with a soaring piano
accompaniment.
Tshotsholoza
arr. Jeffery L. Ames
Originating from South Africa, this popular freedom song features a call-and-response texture,
with rhythmic percussion accompaniment and a powerful tenor soloist.
Down in the River to Pray
arr. David L. Mennicke
This a cappella arrangement of the original southern gospel hymn features layering vocal parts,
along with dynamic contrast across each of the verses.
I Will Sing You the Stars
Mark Burrows
The warm harmonies present throughout this piece emphasize the core center theme of this piece
– togetherness and support. “You are not alone; love will call you home.”
Let the River Run
arr. Craig Hella Johnson
Featuring vocal layering, as well as animate keyboard and percussion accompaniments, this
arrangement is memorable and will put a smile on your face.
Temporal
arr. Diana V. Sáez & Suzzette Ortiz
A traditional plena from Puerto Rico, this arrangement features many melodic and rhythmic
elements influenced from both Spanish and African musical cultures through both its choral and
accompaniment arrangements.
Ad Astra
Jacob Narverud
Radiating a message of hope and empowerment, this piece features highly rhythmic elements in
both the vocal and accompaniment parts. This powerful piece provides everyone with the
reminder to “look upward, move forward, and leave all cares behind.”
Treble Chorus
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Tenor-Bass Chorus
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Concert Choir
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Concert Programming Narrative
The purpose of this concert is to expose both the performers and audience members to
connections nature has to music and vice versa. There are many metaphors in life that use
language referring to nature, with an underlying message of hope, love, equality, etc. Music is
the same way; however, instead of expressing these emotions through only text, these emotions
are expressed through sound.
The opening piece, “Bright Morning Stars” appropriately sets the stage for the concert.
This could be interpreted literally as the “start of a day,” or as a means of realization or reaction
to an event in life. Programming this piece first was ideal, as it starts with one voice and
gradually expands into, eventually, a full treble chorus. Continuing the theme of constellations,
the next piece, “Orion,” is an empowering piece that will remind listeners that there is still light
even in our darkest moments. The third piece, “Does the World Say?” gives the audience a
chance to reflect on times in their lives when “the world,” or another figure, was challenging
them. In that moment, it may have felt as if the conflict would never resolve; however, through
the importance and essence of having a community, the piece concludes with a reminder that no
one is alone in this world. The final treble chorus ensemble piece is a fun, gospel-like
arrangement that reminds audience members that the worst (“the storm”) is gone; meaning that
life can only “more upwards” from here.
“Witness” is an excellent ensemble opener, featuring many syncopated rhythms and
polyphony. Although set to text relating to the Christian religion, this piece is still effective for
captivating the theme of nature and music. Moving from a more “classical” choral repertoire
selection to a more contemporary choral selection, “Give Me Your Stars to Hold” and “Sure On
This Shining Night” both capture the importance of peace, support, and reflection with one
another. Through soaring piano accompaniments and beautiful legato vocal part-writing, these
pieces were programmed appropriately for this moment in the program. To conclude the tenor-
bass portion of the program, Jeffery L. Ames’ arrangement of the South African freedom song,
“Tshotsholoza” is featured, including a powerful tenor soloist and rhythmic percussion
accompaniment. To effectively provide the audience with a sense of “reaching the light at the end
of the tunnel,” which has overall been closely reached so far throughout this program, this piece
was programmed at this moment in the concert.
David L. Mennicke’s a cappella arrangement of the southern gospel hymn “Down in the
River to Pray” is a magnificent opener for this ensemble, featuring “traditional” and conventional
choral part-writing. Transitioning immediately to a slightly more lyrical piece, Mark Burrows’ “I
Will Sing You the Stars” provides the audience with more perspectives on how we can each
support one another in this world. Finally, “Let the River Run” and “Temporal” feature creative
accompaniments that are both melodic and percussive. Both of these selections are excellent for
closing this portion of the program, which is why they are programmed here.
Finally, Jacob Narverud’s “Ad Astra” is the underlying motivation behind this entire
concert. So, what better way than to close out the concert with what “sparked” its initial program
idea! This piece features many aspects of the beauty of choral singing; unison singing, singing in
harmony, syncopated rhythms, and canonic affects too.
Pedagogical Goals & Challenges
Bright Morning Stars – arr. Jay Althouse [2:50]
• Goal No. 1 – Students will strengthen their ear training by listening to one another while
singing this a cappella arrangement.
• Goal No. 2 – Students will strengthen their understanding of legato-style singing.
• Challenge No. 1 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 2 – Balancing dynamics between singing in unison and singing in
harmony.
• Difficulty – for Treble Voices: Medium-Easy
• Link: https://youtu.be/pL-8meaqq9g?si=VcyFPFEzGyN8dE9n
Orion – Susan LaBarr [4:25]
• Goal No. 1 – Students will strengthen their understanding of legato-style singing.
• Goal No. 2 – Students will understand and execute the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 1 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 2 – Balancing dynamics between the melody and the “vocal
accompaniment.”
• Difficulty – for Treble Chorus: Medium
• Link: https://youtu.be/I_yDj5Fvoa4?si=vdMBATi7htCyRttM
Does the World Say? – Kyle Pederson [4:55]
• Goal No. 1 – Students will strengthen their musical literacy skills through singing in a
time signature that does not have a denominator of 4.
• Goal No. 2 – Students will strengthen their musical literacy skills through executing the
“unique” rhythmic values (e.g., duple groupings) found throughout the piece.
• Challenge No. 1 – Maintaining proper intonation through the whole-step key change.
• Challenge No. 2 – Executing dynamic contrast across the entire piece.
• Difficulty – for Treble Chorus: Medium
• Link: https://youtu.be/Nc1lx_6gh6s?si=uDAfmPPFg26-TjCL
The Storm Is Passing Over – arr. Barbara W. Baker [3:15]
• Goal No. 1 – Students will be exposed to the gospel musical composition style.
• Goal No. 2 – Students will strengthen their ability to provide dynamic contrast through a
repeating musical phrase.
• Challenge No. 1 – Providing dynamic contrasts that are both innovative from the
listener’s perspective and are conventional to what the arranger has notated in the score.
• Challenge No. 2 – Consonant cutoffs throughout the entire piece.
• Difficulty – for Treble Chorus: Easy
• Link: https://youtu.be/Q4be53jAvYw?si=muz7AvQ8aSQjOaTG
Witness – arr. Jack Halloran [2:45]
• Goal No. 1 – Students will strengthen their ear training by listening to one another while
singing this a cappella arrangement.
• Goal No. 2 – Students will understand and execute the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 1 – Consonant cutoffs throughout the entire piece.
• Challenge No. 2 – Maintaining proper intonation through the entire a cappella
arrangement.
• Difficulty – for Tenor-Bass Chorus: Medium
• Link: https://youtu.be/TwFeBVPeOPY?si=aIWhDitASqyAf6Zb
Give Me Your Stars to Hold – Ruth Morris Gray [3:30]
• Goal No. 1 – Students will strengthen their understanding of legato-style singing.
• Goal No. 2 – Students will practice staggered breathing throughout the piece to maintain
a continuous choral sound.
• Challenge No. 1 – Balancing dynamics between singing in unison and singing in
harmony.
• Challenge No. 2 – Balancing staggered breathing amongst individual voice parts.
• Difficulty – for Tenor-Bass Chorus: Easy
• Link: https://youtu.be/ar9FILHN_Dw?si=aZH5Q2ewKoWsi4cb
Sure On This Shining Night – Morten Lauridsen [4:40]
• Goal No. 1 – Students will strengthen their understanding of legato-style singing.
• Goal No. 2 – Students will practice staggered breathing throughout the piece to maintain
a continuous choral sound.
• Challenge No. 1 – Balancing dynamics between singing in unison and singing in
harmony.
• Challenge No. 2 – Balancing staggered breathing amongst individual voice parts.
• Difficulty – for Tenor-Bass Chorus: Medium
• Link: https://youtu.be/ZnmjP_wAAEM?si=mERu8KwqmgkuUS8c
Tshotsholoza – arr. Jeffery L. Ames [2:00]
• Goal No. 1 – Students will be exposed to the South African musical composition style.
• Goal No. 2 – Students will understand and execute the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 1 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 2 – Balancing dynamics between the soloist and the “vocal
accompaniment.”
• Difficulty – for Tenor-Bass Chorus: Medium-Easy
• Link: https://youtu.be/ZqMQqRX5u8w?si=znhxpr70USl1kGgo
Down in the River to Pray – arr. David L. Mennicke [3:40]
• Goal No. 1 – Students will strengthen their ear training by listening to one another while
singing this a cappella arrangement.
• Goal No. 2 – Students will strengthen their understanding of legato-style singing.
• Challenge No. 1 – Maintaining proper intonation through the entire a cappella
arrangement.
• Challenge No. 2 – Balancing dynamics between the melody and the “vocal
accompaniment.”
• Difficulty – for Concert Choir: Medium
• Link: https://youtu.be/PSmAYGuU988?si=8cTs_3-hrDYChiDw
I Will Sing You the Stars – Mark Burrows [3:30]
• Goal No. 1 – Students will strengthen their understanding of legato-style singing.
• Goal No. 2 – Students will practice staggered breathing throughout the piece to maintain
a continuous choral sound.
• Challenge No. 1 – Understanding phrase structure throughout the piece and how it relates
to breath management.
• Challenge No. 2 – Balancing staggered breathing amongst individual voice parts.
• Difficulty – for Concert Choir: Easy
• Link: https://youtu.be/ke7cBel0xRU?si=zK5tq4NlVLbXQD8S
Let the River Run – arr. Craig Hella Johnson [2:30]
• Goal No. 1 – Students will strengthen their ear training skills through listening to one
another to appropriately balance the (mostly) homophonic texture during the chorus.
• Goal No. 2 – Students will be exposed to both playing percussion instruments and
singing with percussion accompaniment in a choral setting.
• Challenge No. 1 – Maintaining a steady beat and balance between the vocal parts,
melodic accompaniment, and percussion accompaniments.
• Challenge No. 2 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Difficulty – for Concert Choir: Medium-Easy
• Link: https://youtu.be/2hhg1U09kKo?si=zozQmvs6VloTd2S1
Temporal – arr. Diana V. Sáez & Suzzette Ortiz [3:00]
• Goal No. 1 – Students will be exposed to the Afro-Puerto Rican musical composition
style.
• Goal No. 2 – Students will be exposed to both playing percussion instruments and
singing with percussion accompaniment in a choral setting.
• Challenge No. 1 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 2 – Maintaining a steady beat and balance between the vocal parts,
melodic accompaniment, and percussion accompaniments.
• Difficulty – for Concert Choir: Medium
• Link: https://youtu.be/v3HX4yukGZw?si=UnET-JoHG3bIX35K
Ad Astra – Jacob Narverud [3:05]
• Goal No. 1 – Students will be exposed to Latin diction techniques through the language
utilized in the composition.
• Goal No. 2 – Students will strengthen their musical literacy skills through executing the
“unique” rhythmic values (e.g., duple groupings) found throughout the piece.
• Challenge No. 1 – Understanding and executing the syncopated rhythms on the
appropriate beat, with appropriate accenting.
• Challenge No. 2 – Maintaining proper intonation through the whole-step key change.
• Difficulty – for Combined Ensembles: Medium
• Link: https://youtu.be/8UdOy7hvVxE?si=meVYtrPfRc2wxzjj
Ensemble Information
Treble Chorus – This ensemble is comprised of 36 sopranos and altos, rehearsing approximately
2-3 times per week. Most students in this ensemble are underclassmen (freshmen and
sophomores); however, about 40% of the ensemble is comprised of upperclassmen. This is a non-
auditioned ensemble.
Tenor-Bass Chorus – This ensemble is comprised of 24 tenors and basses, rehearsing
approximately 2-3 times per week. Most students in this ensemble are middle-classmen
(sophomores and juniors); however, there are still freshmen and senior members of the ensemble.
This is a non-auditioned ensemble.
Concert Choir – This ensemble is comprised of 48 sopranos, altos, tenors, and basses,
rehearsing approximately 3-4 times per week. Most students in this ensemble are upperclassmen
(juniors and seniors), as students are required to audition for this ensemble; if underclassmen do
not meet the same standards as the upperclassmen vocalists, then they are not accepted into the
ensemble and are encouraged to re-audition the subsequent semester.
