Songs of God, Songs of NationsA spring concert of sacred pieces and

folksongs from around the world by theChristian Academy in Japan

High School Choirs, Handbell Ensemble and Flute Ensemble

Friday, May 19, 2017 • 7:00 P.M. • CAJ auditorium

Parade of the Shogun Old Japanese song,

arranged by Katsumi Kodama and K. Marayama

We begin our concert with an old Japanese song “Oedo Nihonbashi” (お江戸日本橋). Originally this piece was a song named “Hakonebushi” which was popular in the middle of the 18th century. The melody was so well-loved that many different words were put to it. “Oedo Nihonbashi” is the most popular text today. Both the modality and this arrangement are interesting, and excitement is built into it using various techniques including malleting, plucking and thumb-damping.

Handbell Ensemble

1/25

Joshua Fit the Battle of Jericho African-American spiritual, arranged by Hart Morris

The song is believed to have been composed by slaves in America in the first half of the 19th century. Early published versions include some parts in dialect, such as “fit” for “fought.” The lyrics allude to the biblical story of the Battle of Jericho, in which Joshua led the Israelites against Canaan (Joshua 6:15 – 21). However, like those of many other spirituals, the words may also be alluding to eventual escape from slavery. The lively melody and rhythm provide energy and inspiration, and Hart Morris’s arrangement takes full advantage of that. Listen for the musical interpretation of the walls falling down.

Handbell Ensemble

3/25

Londonderry Air Traditional Irish tune, arranged by Don Allured

This tune is an air, or ballad, that originated in County Londonderry in Northern Ireland. It is popular among the Irish and is well known throughout the world. The song “Danny Boy” uses the tune with a set of lyrics written in the early 20th century.

Handbell Ensemble

2/25

Pizzicato Polka by Johann and Joseph Strauss, arranged by Dick Averre

Played almost entirely with mallets, this lively piece, originally for strings, by the Austrian brothers Johann and Joseph Strauss sounds good on handbells. Changing tempi (speeds) and complete stops in unexpected places make playing it as much fun as learning it was a challenge. The added percussion is played by Rila Shishido and Josiah Balona.

Handbell Ensemble

4/25

The Christian Academy Japan

Flute Ensemble Denise Owen, director

Song of the Bard Variations on a Welsh folksong, by Ralph Guenther

5/25

O Sing Joyfully by Adrian Batten

Adrian Batten (c. 1591 – 1637) was an English organist and Anglican church composer. He was active during an important period of English church music, between the Reformation and the Civil War in the 1640s. “O Sing Joyfully” is his setting of Psalm 81:1 –4. Each of the four verses is set in a different style.

Chamber Singers

6/25

Ask and It Shall Be Given by Jonathan Adams

This setting of Matthew 7:7–8 is sensitive to the text’s meaning, and its sonorities are rich. It is one of the group’s favorite pieces. Jonathan Adams, the composer, is a high school choir director in Arkansas (USA).

Chamber Singers

7/25

I Will Praise Thee, O Lord by Knut Nystedt

Another psalm setting, this is a rousing exaltation of praise composed by Norwegian Knut Nystedt. He grew up in a Christian home where hymns and classical music were an important part of everyday life. This piece is in three short parts. The first and last are homophonic, in which everyone sings the same words simultaneously. The middle section is polyphonic. Voices sing the same text at different times, often overlapping.

Chamber Singers

8/25

Good Night, Dear Heart by Dan Forrest

A beautiful story is told in the composer’s notes to this piece. His brother and sister-in-law found out that the infant girl they were soon to adopt from Ethiopia was hospitalized there. Though they prayed and did all possible to speed up the process of adoption, they received the sad news that she had died. Forrest’s search for a text for his musical elegy led him to this poem by Mark Twain, written upon the gravestone of Twain’s own daughter who died unexpectedly. Deeply touched, Forrest wrote this gorgeous setting in one day.

Chamber Singers

9/25

Rather Be words and music by Grace Chatto, Jack Patterson,

Nicole Marshall and James Napier; arranged by Mark Brymer

Adapted from the Pentatonix cover of this song by Clean Bandit, this is an high-spirited a cappella vocal piece. The soloists are Keziah Paul, Jiwon Huh, Rita Watanabe and Sarah Kang. Taichi Ishikawa is the beatboxer.

Chamber Singers

10/25

Seal Lullaby by Eric Whitacre

Eric Whitacre has often been compared to Morten Lauridsen, composer of the next piece. The tonalities they employ share similarities, but their styles, their voices, are different. “Ah, weary wee flipperling, curl at thy ease! The storm shall not wake thee, nor shark overtake thee, asleep in the arms of the slow-swinging seas….” This charming poem by Rudyard Kipling is the inspiration for Whitacre’s song.

Senior Octet

11/25

Sure on this Shining Night by Morten Lauridsen

“Sure on this shining night of star-made shadows round, kindness must watch for me this side the ground.…” In this third movement of his song cycle Nocturnes, Morten Lauridsen’s flowing music captures all the beauty and wonder of James Agee’s poem.

Honor Choir Members

12/25

Didn’ My Lord Deliver Daniel African-American spiritual, arranged by Stacey Gibbs

The Honor Choir members’ first offering of folk-song this evening is a song of slavery and freedom. It appropriates an Old Testament seer and strong man of God, Daniel, as a heroic exemplar. Like Jonah and the “Hebrew Children”—also often heroes of spirituals—Daniel was protected by the Lord and delivered from confinement and danger. So, “why not every man?”

Honor Choir Members

14/25

Sednalo e Djore dos Bulgarian folksong, arranged by Sara Shakliyan

This is a lively setting from Bulgaria. It is characterized by its short and repetitive melodic line flavored with humorous energy. The song is about George, a silly young man, who is sitting in front of his house knitting a sock. A maiden walks by and asks, “Who is that for?” George replies, “It’s for the woman who will marry me.” “I will marry you, George.” He responds, “Then I will give this to you!”

Honor Choir Members

13/25

Túrót Eszik a Cigány Hungarian folksongs, arranged by Zoltán Kodály

This piece combines two Hungarian folksongs in ABA order.The gipsy is eating cottage cheese, duba.He’s arguing with me.He’s saying he’s going to smack me. “The day after tomorrow!” I said, leba.The buds of the rosehip bush are hanging over the road. Johnny saw it and tore one off.He is already running across with it.The gipsy is eating….

Chamber Singers

15/25

Arirang Korean folksong, arranged by Kenneth Jennings

“Arirang” is a Korean folksong, often considered as the unofficial national anthem of Korea. Many versions of the song start by describing the travails encountered by the subject of the song while crossing a mountain pass. “Arirang” is one name for the pass. The soloists are Joshua May and Joshua Mine.

Chamber Singers

16/25

Ride the Chariot African-American spiritual, arranged by William H. Smith

Part of the history of Black culture in the USA is embodied in the lyrics of African-American spirituals. In the days of slavery, slaves had to hide conversations from their owners and overseers, and songs became a form of communication. “I’m gonna ride the chariot in the morning, Lord” meant that an escape attempt is tomorrow. Our soloists are Ai Ozaki, David Tsuneki, Jonah Swenson, Emily Love and Yeji Jeong.

Chamber Singers

17/25

And the Glory of the Lord from Messiah, by George Frederik Handel

This is the first movement for the choir in Handel’s Messiah. It announces the revelation of God’s glory. The altos begin, the other voices answer, and gradually the music grows to a denser texture. The words “for the mouth of the Lord has spoken it” are sung on repeated long notes, which appear first in single voices, and then, after a long rest, conclude the movement in great affirmation.

Concert Choir

18/25

Chua-ay by Fidel Calalang, Jr.

From the composer’s notes: “‘Chua-ay’ is based on a popular folksong in the Philippines that depicts the Igorot tribes at work, pounding rice by means of a huge mortar and heavily weighted posts…. The piece begins with bird-calls serenely chanted by two sopranos and is followed by a set of rhythmic variations on the repetitive three-note theme of ‘Chua-ay.’ Foot stomps suggest the mortar and pestle action that also enhance the earthy character of this northern folksong.” The soloists are Yeji Jeong and Caroline McDonald.

Concert Choir

19/25

Teče Voda, Teče Czecho-Slovak folksong, arranged by Deems Taylor

In English this song is “Waters Ripple and Flow.” The melody of this Czecho-Slovak folksong is beautifully joined with the words in a flowing arrangement. The text is about a faithless lover who, being forgiven and called back, finally returns. Soloists are Ai Ozaki and Ryu Kurosawa.

Concert Choir

25/25

I Got a Home In-a Dat’ Rock African-American spiritual, arranged by Stacey Gibbs

I got a home in that rock, yes, don’t you see?Between the earth and skyThought I heard my Savior cry.Rich man Divies lived so well, don’t you see? When he died he had a home in Hell. He had no home in that rock, don’t you see? Poor man Lazarus, poor as I, don’t you see?When he died he found a home on high. He had a home in that rock, yes, don’t you see?God showed Noah the rainbow sign, don’t you see?No more water but fire next time.He had a home in that rock, yes, don’t you see?

Concert Choir

21/25

Bandyrowe Irish folksong, arranged by Susan Brumfield

“Way up yonder above the moon, a bluebird sits in a silver spoon. Kitty alone and I.…” This Irish nonsense song is a lovely, whirling, twirling kaleidoscope of sound and an excellent showcase for the women of the choir. It includes lines such as “To me tat, me tear, me ditt’n o-dill, Kitty alone and I.” The piece is accompanied by piano and bodhrán [bau-rahn], a traditional Irish drum.

Concert Choir Women

22/25

Johnny Schmoker Pennsylvania Dutch folksong, arranged by James Rodde

Based on a German folksong, this rousing Pennsylvania (USA) Dutch folksong asks a question: “Johnny Schmoker, can you sing, can you play?” Johnny answers with all the instruments he can play. This cumulative piece is an opportunity for our guys to have a bit of fun.

Concert Choir Men

23/25

O Whistle, and I’ll Come to Ye Scottish folksong, arranged by Mack Wilberg

The title and refrain are from a 1793 poem and song by Scottish poet Robert Burns. In it, two lovers are courting, but her family does not approve. So, they don’t want anyone to know.

O whistle, an’ I’ll come to ye, my lad.Tho’ father an’ mother an’ all should go mad,O whistle, an’ I’ll come to ye, my lad. At kirk [church], or at market, whene’er ye meet me, Go by me as tho’ that ye cared not a flie; But steal me a blink o’ your bonnie black eye,Yet look as ye were na lookin’ at me.

Mack Wilberg’s lively arrangement supports the flirtatious character of the poem and is scored for two pianists. Hitomi Langlais joins Denise Owen.

Concert Choir

24/25

No Time Traditional camp meeting songs, arranged by Susan Brumfield

Sia Shin, accompanist

The camp meeting is a Christian religious service originating in England and Scotland as an evangelical event. In the USA meetings were held in frontier areas, where people without regular preachers would travel from afar to a particular site to camp and hear itinerant preachers. Camp meetings offered community, prayer, singing, sometimes dancing, and diversion from work. The practice was a major component of the Second Great Awakening, an evangelical movement promoted by Baptist, Methodist, Presbyterian and other preachers in the early 19th century. This piece skillfully combines two songs, “No Time” and “Rise, Oh Fathers, Rise.”

Concert Choir

20/25

Thank you for coming and for your support

of the arts at CAJ.

A spring concert of sacred pieces and folksongs from around the world by the

Christian Academy in Japan High School Choirs, Handbell Ensemble and Flute Ensemble

Friday, May 19, 2017 • 7:00 P.M. • CAJ auditorium

Songs of God, Songs of Nations