The Portland State University

College of the Arts - School of Music

presents

The 2015 National Conference of

The National Collegiate Choral Organization
Friday, November 13 at 7:30 p.m.
St. Marys Cathedral Portland, OR

PROGRAM
Movement 1 from The Sealed Angel

Rodion Shchedrin (b. 1932)

Truly. Angel of God, let your tears flow. May I enter into your presence. Truly.

Movement 9 from All-Night Vigil

Ian Timmons & Alex Trull, soloists

Sergei Rachmaninoff (1873-1943)

Blessed art Thou O Lord; teach me thy statutes.

The angelic host was filled with awe when it saw thee among the dead. By destroying the power of death,
O Saviour, thou didst raise Adam and save all men from hell. Blessed art thou
Why do you mingle myrrh with your tears of compassion, O ye women disciples? cried the radiant angel in
the tomb to the myrrh-bearers. Behold the tomb and understand: the Saviour is risen from the dead.
Blessed art thou
Very early in the morning the myrrh-bearers ran with sorrow to thy tomb, but an angel came to them and
said: The time for sorrow has come to an end. Do not weep, but announce the resurrection to the
apostles. Blessed art thou
The myrrh-bearers were sorrowful as they neared the tomb but the angel said to them: Why do you
number the living amongst the dead? Since he is God, He is risen from the tomb.
Glory to the Father and to the Son and to the Holy Spirit. We worship the Father, and his Son, and the Holy
Spirit. The Holy Trinity, one in essence. We cry with the seraphim: Holy, holy, holy art thou, O Lord. Both
now and ever and unto ages of ages. Amen. Since thou didst give birth to the Giver of Life, O Virgin, thou
didst deliver Adam from his sin. Thou gavest joy to Eve instead of sadness. The God-man who was born of
thee has restored to life those who had fallen from it. Alleluia.
Glory to thee, O God.

Movement 4 from Verses of Repentance

Alfred Schnittke (1934-1998)

My soul, my soul, why do you wallow in sin? What Will is it that you obey, and why are you so insanely
restless? Rise Up! Abandon everything, and weep bitterly over your deeds up to the moment of your death:
For then it will be too late to shed tears. Remember, my soul the bitter hours of fear and horror and the
eternal torment which awaits the sinner. But rejoice my soul and cry out for evermore: Merciful God, save
me!

Movement 6 from Inexpressible Wonder

Georgy Sviridov (1915-1998)

Oh, inexpressible wonder! He who in the furnace saved the pious youths from the flames
Is now placed in the tomb, lifeless and without breath, unto the salvation of us who sing:
O God, our Redeemer, blessed art Thou!

Passion and Resurrection

riks Eenvalds (b. 1977)

Hannah Consenz, soprano

Genna McAllister, Jaclyn Casabar, Adam Ramaley & Sterling Roberts, quartet
String Ensemble: Jonathan DeBruyn, concertmaster
Alberta Barnes, Lauren Grant & Chibia Ulinwa, violins
Tricia Bogdan & Matt Meeks, violas; Zach Banks & Ara Kang, cellos; Kyle Lissman, bass

Passion and Resurrection

I
Quartet:
Parce mihi, Domine, nihil enim sunt dies mei.
Quid est homo, quia magnificas eum?
Aut quid apponis erga eum cor tuum?
Visitas eum diluculo, et subito probas illum.
Usque quo non parcis mihi, nec dimittis
me, ut glutiam salivam meam?
Cur non tollis peccatum meum, et quare
non aufers iniquitatem meam?
Ecce, nune in pulvere dormiam, et si mane
me quaesieris, non subsistam.

Leave me alone, Lord. My life makes no sense.

Why is man so important to you?
Why pay attention to what he does?
You inspect him every morning and test
him every minute.
Wont you look away long enough for me
to swallow my spittle?
Cant you ever forgive my sin? Cant you
pardon the wrong I do?
Soon I will be in my grave, and Ill be gone
when you look for me.
(Job 7:16-21)

Soprano: Woe is me, for my foolish love of debauchery and my cleaving to iniquity have become a deep
night unto me in which no light shines. Accept thou the wellsprings of my tears, thou who drawest the
waters of the sea up into the clouds. Turn thy countenance upon the sobbing of my heart, thou who hast
come from Heaven in thy inexpressible sacrifice. I shall kiss thy immaculate feet; I shall dry them with the
tresses of my hair. In Paradise, Eve seeing them approaching, hid herself in fear. Who will examine the
multitude of my sins, and thy judgments? O my Saviour, Redeemer of my soul, do not turn away from me: I
am thy handmaiden, thou who art infinitely merciful. (from Byzantine liturgy)
Choir: Thy sins are forgiven; thy faith hath saved thee, go in peace. (Luke 7:48,50)
II
Choir: My soul is very sorrowful, even to death. My Father, if this cup may not pass away from me, except I
drink it, thy will be done. (Matthew 26:38-42)
They stripped him, and put on him a scarlet robe. When they had platted a crown of thorns, they put it upon
his head, and a reed in his right hand: and they have bowed the knee before him, and mocked him, saying,
Hail, King of the Jews. And they spit upon him. And after they had mocked him, they took the robe off from
him, and put his own raiment on him, and led him away to crucify him. (Matthew 27:28-31)
Father, forgive them, for they know not what they do. (Luke 23:34)
Quartet: My friend betrayed me by the token of a kiss: whom I shall kiss, that is he, hold him fast. That was
the wicked token which he gave, who by a kiss accomplished murder. Unhappy man, he relinquished the
price of blood, and in the end hanged himself. (from Byzantine liturgy)
Soprano: How great is thy love for mankind, O Lord! Thou bend down and wash Judas feet, although he
denied and betrayed thee. (from Byzantine liturgy)

III
Soprano: At thy mystic Supper, admit me to thy communion, O Son of God. For I shall not betray the
secret to thy enemies, nor give thee the kiss of Judas. But, like the thief, I beseech thee: Lord, remember
me when thou comest into thy kingdom. (from Byzantine liturgy)
Choir: Verily I say unto thee: today thou shall be with me in paradise. (Luke 23:43)
Soprano: The grieving Mother stood beside the cross weeping where her Son was hanging. Through her
weeping soul, compassionate and grieving, a sword passed. Who is the man who would not weep if seeing
the Mother of Christ in such agony? (from Stabat Mater)
Choir: Woman, behold thy son! Behold thy mother! (John 19:26)
Eloi, Eloi, lama sabachtani? (Matthew 27:46)
They have pierced my hands and my feet, they have counted all my bones. They divided my garments
among them, and upon my garments they have cast lots. (Psalm 22:17-19)
The enemy hath persecuted my soul, they have smitten my life down to the ground, they have made me to
dwell in darkness, as those that have been long dead. (Psalm 143:3)
I thirst! (John 19:28)
It is finished! (John 19:30)
Soprano: By his stripes are we healed. (Isaiah 53:5)
Quartet: Father, into thy hands I commend my spirit. (Luke 23:46)
IV
Soprano and Quartet:
O dulce lignum, dulces clavos, dulcia
ferens pondera, quae sola fuisti digna
sustinere Regem coelorum et Dominum.

O, sweet wood (cross), whose sweet nails

held the sweet burden. You (the cross)
were the only to hold the Ruler of Heaven
and Lord.

Choir: Why seek ye among the dead, as a mortal, the One who abides in everlasting light? Behold the
linens of burial, the Lord is risen! (Luke 24:5-6)
Quartet: Woman, why weepest thou? Woman, whom seekest thou?
Soprano: Sir, if thou hast borne him hence, tell me where thou hast laid him, and I will take him away.
(John 20:15)
Soprano, Quartet and Choir: Mariam. Rabboni.

Program Notes
Robert Shaws recording of Rachmaninoffs All-Night Vigil was released when I was a sophomore in college. It was the best
example of choral singing I had ever heard, and I still count it as one of the finest recordings in my collection of over 1,200
choral discs. More than that, it was my introduction into the glorious world of Slavonic choral music and to the possibility of a
major work for choir a cappella. Written just a few years before the Communist Revolution, Rachmaninoffs All-Night Vigil
could have been the last work in that genre. Tonights program seeks to outline the trajectory of Soviet-era Russian composers
attempting to write works that could follow in Rachmaninoffs footsteps without violating the Soviet governments restriction
against writing religious music. This music has particular resonance with me, being from a family of Jewish descent that fled
Russia at roughly the same time as Rachmaninoff did, and then later Poland.
Rodion Shchedrins Sealed Angel and Alfred Schnittkes Verses of Repentance were both commissioned by the Soviet government
in 1988 as part of a festival to commemorate the 1,000th Anniversary of the conversion of the Kievan Rus (the tribe that grew
into the country of Russia) to Orthodox Christianity. Both composers worked hard to write pieces that would be meaningful for
this Anniversary but had to avoid using Liturgical texts. Shchedrin chose the text of a popular play by Nicolai Leskov (18311895), whose works were popular with the Communist regime. Leskovs story concerns a community of Old Believers, a
conservative sect that sought to keep sacred icons and texts free from the influence of modern reforms. The communitys
greatest treasure is an icon of an angel, believed to provide healing and guidance. The first movement of the Sealed Angel is
Shchedrins musical image of religious life in Russia before the advent of Communism. It is simple and beautiful, and the angel,
whose theme is first voiced by the altos, can solve all problems as all hints of sadness or bitterness in the music easily resolve
back into this one theme. We follow the Shchedrin with one of the longest and most virtuosic movements of Rachmaninoffs
All-Night Vigil. This movement shows Rachmaninoff at his best using choral forces as a small orchestra. The piece begins with
a ritornello theme that recurs using the choir homophonically in a plea for knowledge. Each plea is answered by solo sections of
the choir dramatizing the story of the myrrh-bearers finding the tomb of Jesus to be empty. The piece concludes with a
homophonic prayer to Gods greatness building from the lowest male voices to the upper reaches of the sopranos. It is only in
Schnittkes work that we give voice to the struggle of faith in the Soviet era. Schnittke draws his texts from obscure 16thcentury manuscripts always selecting poems that dwell on the theme of repentance. The fourth movement begins with the
narrator questioning his own soul about the crisis of mortality. The music seems innocent but also wandering in search of a
key. The dissonance grows worse and worse as the fear of death grows, finally building to a section where Schnittke asks the
choir to divide into 16 parts with each section singing in a 4-part harmony of parallel semitones, which finally release into a
surprising burst of tonality as faith is restored. We conclude our set with Georgy Sviridovs attempt to capture the
inexpressible in music. Sviridov simply wrote the religious music he wanted to write and hoped that he would live long enough
to see an era in which it could be performed, which he did. His vision is uncomplicated and very beautiful: a static chord
harmonizing a chant-like melody; a unity of horizontal and vertical, line and wave, or a possible representation of a cross. Yet
Sviridov never lets the music completely resolve, perhaps because the human can never truly see or hear the inexpressible.
We follow these works with Passion and Resurrection by our guest composer riks Eenvalds, whom we are very honored to
have visiting us from Latvia. Writing in a post-Communist era, but having grown up with no religious upbringing allowed,
Eenvalds brings a fresh eyes and ears to the Passion story. Instead of using the traditional settings of this story from one of
the four Gospels, Eenvalds constructs his own libretto from a variety of liturgical sources including the Byzantine liturgy, the
Stabat Mater, and passages from Job, Isaiah, and the book of Psalms. The piece begins with a vocal quartet singing a portion of
a Renaissance motet by the Spanish composer Cristobal de Morales. The string orchestra enters next in a completely different
key, but the vocalists pay no attention, continuing their prayer, oblivious to the dissonance around them. The quartet returns
throughout the work as a dispassionate Greek chorus (or perhaps the voice of the church), commenting on the events, but
taking no part in them, rarely ever finding the same key as them. Next the soprano soloist appears in the role of Mary
Magdalene, watching the events of the Passion and wondering if her own sins are to blame for the horror she witnesses. The
choir enters next as a divine voice of forgiveness the choir has the most complex part in this work, having to constantly
change the role they are playing in this drama. After Mary is forgiven, the choir becomes the crowd that first narrates, then
witnesses, and finally executes the crucifixion. Eenvalds music for this scene is graphic and chilling, not shying from any of
the violence of this act. The scene ends with the entire choir as the voice of Jesus asking God to forgive the very people who are
killing him. Equally graphic is Eenvalds depiction of Christs death at the end of the third movement. The remainder of the
work is humanitys response to the crucifixion: an alternation between sections of meditative contemplation and those of
deepest sadness, leading to the Resurrection which appears not with the joyful music we are accustomed to, but instead with
the same terror that was present at the crucifixion. Eenvalds spectators, it seems, are just as terrified as we might be at the
spectacle of a man rising from the grave. The oratorio concludes with a more modern perspective as we make peace with what
has happened and contemplate the possibility of eternity. The soprano soloist, small vocal ensemble, and full chorus combine to
chant a final mantra in alternation, Mariam Rabboni (Mary, teacher/Rabbi), suggesting we need to look to the human instead
of to the divine to teach us the way forward. The Passion story has been set to music many times, but Eenvalds choices of
texts reframe this story as one where we witness the sheer pain that humans are able to inflict upon each other, and then
wonder if there is an appropriate response, any response, that can release this pain. Eenvalds ability to write music as
dissonant and angular as the masters of twentieth-century atonal movement, as well as music as beautiful as any living
composer, is a rare gift: one that allows both extremes of this story to be depicted musically side by side, and allow us to view
this centuries-old human story from a new perspective.
- Ethan Sperry

The Portland State Chamber Choir is the top choral ensemble at Portland State. Since its founding in 1975, the Chamber
Choir has performed and competed in venues across the country and around the world. The Chamber Choir has earned over 30
medals and awards in choir competitions including the Tolosa International Choral Contest in Spain in November, 2014; the
International Choral Kathaumixw in Powell River, Canada in June, 2014; the Seghizzi International Competition for Choral
Singing in Gorizia, Italy, where they became the first American Choir ever to win the Grand Prize in the competitions 52-year
history; and the Marktoberdorf in Germany in 2005 and 1999. The Chamber Choir appeared at conferences of the American
Choral Directors Association in 1985, 1997, 1998, 2003, 2006 and 2014. The choir has also appeared at conferences for the
National Association for Music Education and the International Society for Music Education. The group has collaborated with
leading conductors such as Frieder Bernius, Andrew Parrot, Robert Shaw, James DePriest, Carlos Kalmar, and Eric Ericson.

The Chamber Choir has recorded on the Albany Label. In November 2003, the choir recorded the choral music of Margaret
Garwood on the Hildegard Label; and in 2006 the Chamber Choir released the first English language recordings of the choral
music of Veljo Tormis, at the request of Tormis himself. In February, 2011 the Chamber Choir collaborated with Portlandborn composer Morten Lauridsen, who described their singing as an absolutely top-notch superb display of choral artistry.
The Chamber Choirs 2012 CD A Drop in the Ocean was favorably reviewed and featured in both Fanfare and Stereophile
magazines, and was a finalist for the 2012 American Prize in Choral Music. Their latest CD, Into Unknown Worlds, was named a
Recording to Die For by Stereophile magazine. It was the first ever student recording to receive this distinction, and was a
finalist for the 2014 CARA Award for Best Classical Album. Recordings are available at iTunes, Amazon, CDBaby, and at our
concerts. The Chamber Choir hopes the music you are hearing today will comprise their next recording.
Recently the Chamber Choir has been asked to collaborate with a variety of performers in the Portland area. No project is too
eclectic for us. In the summer of 2014, the Chamber Choir served as the chorus for the world premiere of the opera The Canticle
of the Black Madonna by Ethan Gans-Morse. Over the past three months, members of the Chamber Choir sang for the PICA
Festivals production of The Night Tripper, which involved singing Norwegian music in a park in the dark; joined a professional
orchestra to perform Legend of Zelda: Symphony of the Goddesses; and became the North American Champions of Sangeeth
Samraaj: The Carnatic Premiere League, an Indian reality television show similar to American Idol but devoted to the classical
music of Southern India. This September, the Chamber Choirs recording of Sperrys arrangement of Leonard Cohens
Hallelujah was the soundtrack for a short film that was commissioned by Pope Francis for his Moral Action on Climate Change
rally on the National Mall in Washington, D.C. And in three weeks, the Chamber Choir will perform Georg Friedrich Handels
Messiah with the Oregon Symphony under the baton of their music director Carlos Kalmar.

Hailed by The Oregonian for providing the finest choral concerts in Portland in recent memory, Ethan Sperry is in his sixth
year as Director of Choral Activities at Portland State University and his fifth year as Artistic Director and Conductor of
Oregon Repertory Singers. Sperry began studying conducting at the age of eight, cello at the age of twelve, and singing at the
age of eighteen. He earned a bachelor's degree in Philosophy from Harvard College and Masters and Doctoral degrees in
Choral Conducting from the University of Southern California. Ensembles under his direction have toured to Bermuda,
Canada, China, Estonia, Finland, France, Germany, Guadeloupe, Ireland, Italy, Jamaica, Japan, Korea, Luxembourg, Puerto
Rico, Russia, Spain, Taiwan, and Wales, and have performed at major venues in the United States including The Hollywood
Bowl, The Kennedy Center, The Washington National Cathedral, St. Patricks Cathedral in New York City, The Nassau
Coliseum, Cincinnatis Music Hall, Bostons Symphony Hall, and the United Nations.
A prolific arranger of world music for choirs, Dr. Sperry is the editor of the Global Rhythms series for Earthsongs Music, one of
the best-selling choral series in the country. Sperry is also a frequent collaborator with film composer AR Rahman and has
appeared as a guest conductor for him numerous times, including at Bollywood Night at the Hollywood Bowl and the 2008
Filmfare Awards, the Indian equivalent of the Oscars. He also serves as a consultant for the KM Music Conservatory in
Chennai, the first classical music school in India, which opened in 2009. From 2000-2010, Dr. Sperry was on the faculty at
Miami University in Ohio where he conducted the Mens Glee Club, Collegiate Chorale, and Global Rhythms Ensembles. From
2000-2006 he was the artistic administrator of the Arad Philharmonic Chorus in Arad, Romania, and from 2001-2003 was the
principal conductor of the Choeur Regional de Guadeloupe, the only symphonic choir in the French West Indies. He is a
founding member of The National Collegiate Choral Organization and was the first Board Member Representative from Ohio.

Soprano Hannah Consenz is 22 and a senior majoring in Vocal Performance at Portland State University. She sang in the
Portland State Chamber Choir under the direction of Ethan Sperry from 2011-2015. This year she won an encouragement
award at The Metropolitan National Council Auditions and won first place in two scholarship competitions. She has performed
four leading roles in PSU Opera productions, and studies voice with Christine Meadows. Hannah is currently looking for
graduate schools to apply for next year

THE FALL 2015 PORTLAND STATE CHAMBER CHOIR

Dr. Ethan Sperry, conductor
Tim Havis & Sterling Roberts, assistant conductors
Colin Shepard, accompanist
Adam Ramaley, president
Hanaa El-Warari & Saori Erickson, social chairs
Joanna Meline, annihilator of confusion Suzanne Gray, publicity
Camden Davis, webmaster
Michelle Fernandez, facebook
Jaclyn Casabar, instigator of confusion Ian Timmons, senior statesman
Name
Dennis Baumgardner
Lily Breshears
Marina Bubnova
Vanessa Burnham
Jaclyn Casabar
Camden Davis
Grant Edwards
Hanaa El-Warari
Saori Erickson
Michelle Fernandez
Andr Flynn
Colin Frey
Joel Godbey
Alex Habecker
Tim Havis
Jimmie Herrod
Sarah Hotz
Kenan Koenig
Kaleb Lee
Karolina Legkun
Will Lord
Emmalyn Luna
Alec Martinez
Genna McAllister
Ashley McCullar
Joanna Meline
Justin Peters
Adam Ramaley
Lisa Riffel
Sterling Roberts
Colin Shepard
Grace Skinner
Ian Timmons
Alex Trull
Derick Watson
Bryanna West
Rue Wildeman
Jereme Wilkie
Rebecca Yakos
Joey Zherebnenko

Year in School
Junior
Post-Baccalaureate
Sophomore
Post-Baccalaureate
Senior
Junior
Second-Year Graduate
Senior
Junior
Junior
Post-Baccalaureate
First-Year Graduate
Post-Baccalaureate
Junior
First-Year Graduate
Second-Year Graduate
Junior
Junior
Junior
Junior
Sophomore
Senior
Sophomore
Junior
Second-Year Graduate
Senior
Junior
Senior
Third-Year Graduate
Second-Year Graduate
First-Year Graduate
Senior
Senior
First-Year Graduate
Junior
Freshman
Senior
Freshman
Freshman
First-Year Graduate

Voice Part
Major
Home Town
Bass
B.M., Jazz Studies
Portland, OR
Soprano
B.S., Mathematics & Music
Salem, OR
Alto
B.M., Music Education
Portland, OR
Soprano
Physical Therapy
Newnan, GA
Alto
B.M., Vocal Performance
San Francisco, CA
Tenor
B.M., Music Education
Keizer, OR
Bass
M.M., Choral Conducting
Portland, OR
Soprano
B.A., Vocal Performance
Los Angeles, CA
Soprano
B.M., Vocal Performance
Portland, OR
Soprano
B.A., Management
Modesto, CA
Bass
Vocal Performance
Anchorage, AK
Bass
M.M., Choral Conducting
Eagle Pass, TX
Bass
Vocal Performance
Morenci, AZ
Soprano
B.M., Vocal Performance
Seaside, OR
Tenor
M.M., Choral Conducting
Edwardsville, IL
Alto
M.M., Jazz Studies
Bitburg, Germany
Alto
B.M., Music Education
Sacramento, CA
Bass
B.M., Vocal Performance
Bend, OR
Bass
B.M., Vocal Performance
Gresham, OR
Soprano
B.M., Music Education
Samara, Russia
Bass
B.M., Vocal Performance
New York, NY
Alto
B.M., Music Education
Oregon City, OR
Tenor
B.M, Music Education
Portland, OR
Alto
B.A., Communications Studies
Las Vegas, NV
Alto
M.M., Choral Conducting
Pittsburgh, PA
Alto
B.M., Vocal Performance
Penngrove, CA
Tenor
B.M., Vocal Performance
Hayward, CA
Tenor
B.M., Music Education
Lawrence, KS
Soprano
M.M., Choral Conducting
La Caada, CA
Bass
M.M., Choral Conducting
Rialto, CA
Bass
M.M., Piano Performance St. Petersburg, Russia
Alto
B.M., Vocal Performance
La Center, WA
Tenor
B.M., Vocal Performance
Portland, OR
Tenor
M.M., Vocal Performance
Leesburg, GA
Tenor
B.M., Jazz Studies
Astoria, OR
Alto
B.A., International Studies
Norman, OK
Alto
B.M., Music Composition
Yerington, NV
Tenor
B.M., Vocal Performance
Portland, OR
Soprano
B.M., Vocal Performance
Forest Grove, OR
Bass
M.M., Choral Conducting
Hayward, CA

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SAVE THE DATE!

The Chamber Choir will repeat the Eenvalds Passion and Resurrection at the Hult Center in Eugene on January 16 as part of
the Oregon State Music Educators Conference. The Chamber Choirs next Portland performances will be March 11 & 13 at
Portlands First United Methodist Church, in conjunction with Portland States Man Choir and Vox Femina. This year also
marks the 40th year of Chamber Choir at Portland State University! Join us for our 40th Anniversary Concert featuring the
current ensemble plus a larger chorus augmented by Chamber Choir alumni from all four decades under the direction of Ethan
Sperry and conductor emeritus Bruce Browne: Sunday, May 22, 2016 at 2:00 p.m. right here at St. Marys Cathedral. For
tickets or more information on PSU Choral performances, go to www.pdx.edu/boxoffice
The Chamber Choir will perform Handels Messiah with the Oregon Symphony on December 5 & 6 and the women of the
Chamber Choir will join the Oregon Symphony to perform Holsts The Planets on February 6, 7 & 8. For tickets or more
information on Oregon Symphony performances, go to www.orsymphony.org
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