Thursday, February 26
7:00 p.m.
Florence Kopleff Recital Hall
Prof. Meghan Stoll, conductor Carolyn Mielke, Kelly Grba & Madison Tiegreen, graduate conductors Nick Johns-Cooper, piano
Stars In Your Bones
Joan Szymko | B. 1957
Kelly Grba, conductor
"Stars In Your Bones" was composed as a gift to Aurora Chorus to celebrate the ensemble as "A Place Where You Belong", the theme of its 25th Anniversary Season (2016-17).The opening chords and exuberant opening unison suggests the “big bang”— the singular explosion theorized by astronomers as the origin of our expanding universe. (black note clusters at mm.1-6 and at mm.64-69 are to be played with forearm and side of hand). The piano ostinato that follows beginning at mm.7 consists of a 5-note 16th-note pattern over a steady quarter-note 5/4 pulse, lending an unstable, fluctuating quality to the the lyrics: “Earth changes…” As the underlying rhythm in the accompaniment settles, the lyrical quality of the setting takes hold, building toward a galvanizing, uplifting expression of “belonging.” Drawn to Alla Bozarth’s imagery and to her universal expressions of spirituality, this is the third prose poem by Bozarth set by the composer.
Wandl’ ich in dem Wald des abends
Fanny Mendelssohn Hensel | 1805-1847
Carolyn Mielke, conductor
Sing, Wearing the Sky
Jake Runestad | B. 1986
Madison Tiegreen, conductor Seth Byrd, violin
Lalla, a 14th century Sufi-mystic poet from the Kashmir region of India, believed strongly in the development of the self while reaching enlightenment. The metaphor of dancing while feeling free or naked exemplifies the beauty of empowerment and self-worth. This work uses influences of Classical Indian music and other vocal effects to allow Lalla’s message to come to life.
ENSEMBLE
Dr. Deanna Joseph, conductor Justin Maxey, piano
Swifter than Flame
Elaine Hagenberg | B. 1979
Swifter Than Flame was inspired by the poetry of John Carl Bostelman, which vividly describes an exhilarating journey into the unknown. The composition features layered vocal entrances that create a sense of ascent, as if the music is climbing toward new possibilities. Through text painting, especially with the phrase “upward into night,” I aimed to capture the awe and wonder of pushing beyond the limits of imagination. The racing rhythms of the piano accompaniment propel the music forward, launching the choir into an orbit of sound that evokes a thrilling sense of discovery. I hope singers feel the excitement of exploring the uncharted and realize their boundless potential if they dare to explore beyond the familiar.
Hymn to St. Cecilia
Benjamin Britten | 1913-1976
Benjamin Britten (1913–1976), born in Suffolk, was hailed by Sir Thomas Beecham as “the only composer of any worth to come out of our music colleges.” He studied at the Royal College of Music with Frank Bridge and John Ireland and early in his career met poet W.H. Auden while writing documentary film scores. Their intense friendship and collaboration shaped much of Britten’s artistic life, exploring themes that would define his work: innocence and corruption, the individual and society and the tension between desire and restraint. Auden later dedicated Hymn to St Cecilia to Britten. Britten began the piece in 1940 while in the United States, where he, Auden and tenor Peter Pears had relocated during World War II. After the first manuscript pages were confiscated by U.S. Customs, Britten rewrote the work from memory aboard ship, completing it in 1942. It premiered that year on St Cecilia’s Day, November 22, Britten’s birthday, sung by the BBC Singers. Auden’s poem unfolds in three stanzas, each ending with a refrain to St Cecilia. Britten mirrors this structure musically: an opening section rooted in E Phrygian echoing the refrain, a scherzo-like middle in modified fugue and a lyrical final section featuring SATB solos that evoke different instruments in tribute to music’s patron saint.
Come to Me
Ivo Antognini | B. 1963
Swiss composer Ivo Antognini (b. 1963) is widely admired for choral music that balances luminous lyricism with emotional immediacy. Come to Me is a striking example of his gift for shaping intimate text into expansive musical expression. Set to a poetic text of longing and devotion, the work unfolds as an earnest invitation — tender, vulnerable and deeply human. Antognini’s harmonic language is richly tonal yet colored with warm, unexpected shifts that heighten the emotional intensity. Flowing melodic lines pass between voice parts, often blooming into radiant, full-ensemble climaxes before retreating into moments of hushed transparency. The piece demands sustained legato singing and careful attention to balance, as inner voices frequently carry expressive countermelodies beneath soaring soprano lines. Dynamic contrasts are essential: Antognini builds drama not through rhythmic complexity but through gradual crescendos, harmonic expansion and carefully shaped phrasing. At its heart, Come to Me is about connection — the quiet courage it takes to reach outward and the vulnerability of waiting for a response. The result is music that feels both personal and universal, offering singers and listeners alike a moment of shared stillness and emotional resonance.
O Schöne Nacht, Op. 92, No. 1
Der Abend, Op. 64, No. 2
Der Gang zum Liebchen , Op. 31, No. 3
Johannes Brahms | 1833-1897
Johannes Brahms possessed a rare gift for transforming poetry into music of warmth, intimacy and expressive depth. His choral works, especially those for unaccompanied voices, reveal a composer deeply attuned to nature, longing and the quiet intensity of human feeling. O schöne Nacht (“O Lovely Night”) is radiant and gently luminous. Set in flowing triple meter, the piece glows with Romantic warmth as it depicts moonlit stillness and blossoming love. Brahms’ rich harmonies and buoyant rhythmic lift create a sense of hushed celebration, as if the night itself were breathing. The intertwining vocal lines shimmer with tenderness, capturing both the beauty of nature and the quiet thrill of affection. In Der Abend (“Evening”), Brahms turns inward. The music unfolds with serene lyricism, painting twilight as a time of reflection and calm. Long, sustained phrases and carefully shaped dynamics evoke the fading of daylight and the soft settling of the world into rest. Here, Brahms’ mastery of choral texture is especially evident, as he balances warmth and restraint with effortless elegance. Der Gang zum Liebchen (“The Walk to My Beloved”) offers a contrasting energy. Animated and rhythmically buoyant, it captures the eager anticipation of a lover hurrying through the night. Brahms uses lively motion and playful imitative passages to suggest both physical movement and emotional excitement. The music sparkles with rustic charm, ending in joyful exuberance. Together, these works reveal Brahms at his most expressive: attuned to poetry, grounded in rich harmonic language and deeply human in spirit. Whether basking in moonlight, resting in twilight or rushing toward love, his music sings with sincerity and enduring Romantic warmth.