Bishop Carroll Music
Celebrate the Season!
Bella Concert Hall, Taylor Centre for Performing Arts
7:00 PM
Friday, December 9, 2022
Bella Concert Hall, Taylor Centre for Performing Arts
7:00 PM
Friday, December 9, 2022
Imagine a school with no bells. Students learn what they want, when they want and how they want. This is Bishop Carroll High School. Canada’s flagship self-directed learning school has been on the cutting edge of educational pedagogy for over 50 years. A truly inspiring place to teach and learn, Bishop Carroll serves close to 1200 students from around the city of Calgary. Known for its outstanding music program, Bishop Carroll provides musical opportunities for students of all levels, from those just beginning their music study, to those preparing to become professional musicians.
Our ensembles include
Bands: Concert Band, Symphonic Band, Wind Ensemble and Jazz Band
Choirs: Cardinal Singers, Treble Choir, Chamber Choir, Vocal Jazz (SATB) Ensemble, Sassy Jazz (Treble) Ensemble, Musical Theatre Program
Strings: Ensemble Eruditio (Beginning Strings); Ensemble Intermezzo, Cantabile Strings, Virtuosi Strings, Bishop Carroll Symphony Orchestra
Additionally, a variety of small ensembles, regular clinics and/or lessons, touring ensembles, and opportunities for students to develop their own personal areas of interest within the wider field of music, are offered. The framework of self-directed learning allows for truly personalized and individualized learning experiences for music students.
Our three amazing music directors, Mrs. Andrea Ciona, Ms. Christina Visy, and Mr. Jeff Waterbury, work collaboratively to create world class opportunities for their students.
50/50 Raffle: One night only! Buy tickets tonight, from our parent volunteers in the lobby both before the concert, and during intermission. Tickets are 1 for $5 OR 5 for $20.
Donate through ATB Cares: Stretch your dollar by donating through ATB cares. https://atb.benevity.org/community/cause/124-124297813RR0001
Music Gala: Friday, February 10, 2023. Get involved as a volunteer, donate items to the Silent Auction, or simply attend this incredible celebration of music and community!
'Skip the Depot': Donate your empty bottles to our program. No drop off required; your recycling gets picked up from your house, with proceeds going to Bishop Carroll music.
https://app.skipthedepot.com/register?org=bcms
All of these initiatives are organized by the Bishop Carroll Music Society. https://bishopcarroll.cssd.ab.ca/music-society
This moving original work paints vivid images of a dark evergreen forest after a winter snowfall. A lyrical main theme in A minor is introduced by the first violins and then transitions to a contrasting staccato middle section before returning to the original melody.
Fum, Fum, Fum is a popular 16th- or 17th-century Christmas carol from Catalonia in northeast Spain. This well-crafted arrangement includes a series of entertaining variations that conclude with an energetic flourish.
"Do You Hear What I Hear?" is a carol composed in October 1962, with lyrics by Noël Regney and music by Gloria Shayne Baker. The pair, married at the time, created this carol as an appeal for peace during the Cuban Missile Crisis. This carol's lyrics recall the birth of Jesus and the events surrounding the traditional Christmas story.
Said the night wind to the little lamb,
do you see what I see
Way up in the sky, little lamb,
do you see what I see
A star, a star, dancing in the night
With a tail as big as a kite
With a tail as big as a kite
Said the little lamb to the shepherd boy,
do you hear what I hear
Ringing through the sky, shepherd boy,
do you hear what I hear
A song, a song, high above the trees
With a voice as big as the sea
With a voice as big as the sea
Said the shepherd boy to the mighty king,
do you know what I know
In your palace warm, mighty king,
do you know what I know
A Child, a Child shivers in the cold
Let us bring Him silver and gold
Let us bring Him silver and gold
Said the king to the people everywhere,
listen to what I say
Pray for peace, people everywhere!
listen to what I say
The Child, the Child, sleeping in the night
He will bring us goodness and light
He will bring us goodness and light
In Western music, the diatonic scale is the foundation for building excellent technique and intonation. The D major scale is the first scale that is learned by the orchestral strings. Enjoy the lovely triadic harmonies as the Beginner Strings perform it in a 3-part round, underscored by lyrical piano accompaniment.
One of the most popular and beloved North American Christmas carols, Jingle Bells was originally published in 1857 with the title, “One Horse Open Sleigh.” Although the history of the song is hotly debated, the townsfolk of Medford Massachusetts claim that it was inspired by the sleigh races that took place there in the 19th century.
The Great Antiphons, or O Antiphons, are sung or chanted before the Magnificat at Vespers in the week before Christmas. Referring to the Old Testament prophecy of Isaiah, this set of Antiphons have been referred to in texts that date as far back as 500 AD, inferring their use in the earliest days of the Christian Church. There is a belief that the Benedictine monks very purposely ordered the antiphons. If one starts with the last title and takes the first letter of each one - Emmanuel, Rex, Oriens, Clavis, Radix, Adonai, Sapientia - the Latin words “Ero Cras” are formed, which translates to “Tomorrow, I will come.” O Sapientia is the Antiphon sung on December 17.
Tadeja Vulc, a young female composer from Slovenia, uses a wide variety of compositional techniques to evoke the breath of wisdom including non-traditional notation and aleatoric sections.
Alto Solo: Julia Jablonska
O Sapientia, quae ex ore Altissimi prodiisti,
O Wisdom, Who didst come out of the mouth of the Most High,
attingens a fine usque ad finem,
reaching from end to end and
fortiter suaviterque disponens omnia:
ordering all things mightily and sweetly:
veni ad docendum nos viam prudentiae.
come and teach us the way of prudence.
This gorgeous original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that burn steadily as long ago even as the world changed below:
I went out at night alone;
The young blood flowing beyond the sea
Seemed to have drenched my spirit’s wings—
I bore my sorrow heavily.
But when I lifted up my head
From shadows shaken on the snow,
I saw Orion in the east
Burn steadily as long ago.
From windows in my father’s house,
Dreaming my dreams on winter nights,
I watched Orion as a girl
Above another city’s lights.
Years go, dreams go, and youth goes too,
The world’s heart breaks beneath its wars,
All things are changed, save in the east
The faithful beauty of the stars.
Yes, this piece does have it all! Combining Up on the Housetop; Jolly Old St. Nicholas, and Pachelbel's Canon, this clever arrangement has something for everyone. Composer Benjamin Hanby (the son of a minister involved with the Underground Railroad) wrote Up on the Housetop, the second oldest secular Christmas carol in 1864. (Jingle Bells was the first.) He was inspired by Clement C. Moore’s ‘Twas the NIght Before Christmas. Though of disputed origin, Jolly Old Saint Nicholas is said to have been first published in 1867. Since then, it has been immortalized on vinyl by Ray Smith, Chet Atkins, The Chipmunks, Andy Williams, Anne Murray and Carole King. The oldest work of the mashed up trio is Pachelbel’s Canon written by German baroque composer Johann Pachelbel sometime between 1680 and 1706. It’s fallen in and out of favour over the centuries: its chord progressions have been used in a variety of pop songs and accompanied many a bride down the aisle. We hope you enjoy our rendition this evening!
Biebl's setting of Ave Maria (Hail Mary) is regarded as one of the most beautiful a cappella sacred works of the 20th century.
Featuring a sextet of soloists, Sopranos: Aleksia Jensen & Selen Nsabiyeze, Altos: Julia Jablonska & Janelle Lecomte, Tenors: Jaye Courage & Quinn Knudsen, supported by full SATB chorus, this work will transport you.
Ave Maria, gratia plena, Dominus tecum.
Hail Mary, full of grace, the Lord is with thee.
Benedicta tu in mulieribus,
Blessed are though amonst women,
et benedictus fructus ventris tui, Iesus.
And blessed is the fruit of thy womb, Jesus.
Sancta Maria, Mater Dei,
Holy Mary, Mother of God,
ora pro nobis peccatoribus,
Pray for us sinners,
nunc et in hora mortis nostrae. Amen.
Now and in the hour of our death. Amen.
Pietr Ilyich Tchaikovsky wrote his Serenade for Strings in 1880 from, in his own words, “an inner compulsion. This is a piece from the heart, and so I venture to say it does not lack artistic worth.” Its composition is said to lie somewhere between that of string quartet and symphony. From the gripping harmonies and chords that form the introduction with its ever-slowing cadence to the equally sweeping and dancing Allegro that follows, this work takes its players and audience on a thrilling journey. The Virtuosi Strings will undertake to learn the entire four movement work this school year.
Clever and light-hearted, here's the essence (nine themes) of the classic Nutcracker ballet - beloved at this time of year - honed down to three minutes (or less!) For added drama, there's an optional accelerando (molto, if need be) in the Trepak finale, to bring it in under the wire and lead you into the intermission with, “visions of sugarplums dancing in your head!”
(program notes written by the composer)
There is something mystical about the zodiac, and there is an uncanny relationship between it and music. Music is divided into twelve notes and organized in a cyclical arrangement. Just think about the ‘Circle of Fifths’ and how much it looks like a chart of the zodiac. In this piece, I have not tried to incorporate anything specific from the zodiac, excepts its mystical, mysterious nature. The piece begins with a haunting flute melody over mysterious open fifths in the lower voices. This harmonic movement is used throughout the rest of the piece. The piece moves into an aggressive allegro section where the main themes is presented and developed. This is followed by a second theme that adds Latin percussion instruments for variety and color before leading back to the main theme. A development section ensures that uses an augmented version of the main theme over a pedal point to build tension before leading to the coda of the pieces that finally resolves in a major key.
-Larry Clark
(program notes written by the composer)
Many often underestimate the extensive colors, harmonies, and emotional range that are often achievable in younger ensembles. It is in this spirit that the musical lines of Rippling Watercolors were born. This was not meant to be a lyrical piece for younger ensembles; rather, it was written as a fully expressive lyrical work that happens to be playable by younger ensembles. I believe there is a significant difference. No phrases were truncated, no ranges were “limited,” and no rhythms were watered down for the sake of playability. This piece just happens to be attainable by younger groups, yet the music exists exactly as it would even if I had written this for a college group.
The title comes from a range of inspiration. I often get asked about my last name. As most can imagine, there are very few of us left in the world. At present, my wife and I are one of only two couples in the United States that can carry on our family name. My cousins Ben and Carrie on the west coast are the other couple, and they now have two beautiful girls. We all share a lot of beliefs – we encourage our children to be creative, spontaneous, and we enjoy watching where their imaginations take them. The idea for this piece came from a simple set of watercolors. When children get hold of these and use their imagination, the most amazing things can happen. Children can see things that adults never see. They open our minds while we help them grow and learn. With a little imagination, these watercolors can become a magnificent sunrise or sunset over the ocean, a gorgeous view from a mountaintop, or an image of a supernova in space. The smallest drop can change the pattern and create something entirely new, either with a brush or entirely within nature. It is my hope that Lily and Charlotte grow up with an infinite palette of watercolors, and that every drop creates a new, fantastic world.
-Brian Balmages
I Want a Hippopotamus for Christmas is a Christmas novelty song written by John Rox and performed by Gayla Peevey (10 years old at the time) in 1953. The song peaked at number 24 on Billboard Magazine's pop chart in December 1953.
A popular legend holds that this 1953 hit had been recorded as a fundraiser to bring the city zoo a hippo; but in a 2007 radio interview with Detroit-based WNIC radio station, Peevey clarified that the song was not originally recorded as a fundraiser. Instead, a local promoter picked up on the popularity of the song and Peevey's local roots, and launched a campaign to present her with an actual hippopotamus on Christmas.
The campaign succeeded, and she was presented with an actual hippopotamus, which she donated to the city zoo. The hippopotamus lived for nearly 50 years.
- Program Notes from Wikipedia
Ruth Elaine Schram creates beautiful textures using treble voices in this traditional Spanish carol using both major and minor modalities. Sung as a lullaby to the newborn babe, the florid piano part incorporates flamenco rhythms underneath the shimmering sustained harmonies in the voices.
Descant Solo: Trinity McCormick
Text:
A la nanita nana, nanita ea, nanita ella.
Dear blessed little baby, so very sleepy
Sparkling stream that is flowing, bubbling so cheerily
Nightingale in the forest, singing so clearly
Hush now my little baby, sleeping so sweetly
A la nanita nana, nanita ea.
The Second Suite consists of four movements, all based on specific English folk songs.
Movement III: Song of the Blacksmith. Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song A Blacksmith Courted Me. The brass section plays in a pointillistic style depicting a later Holst style. There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the brass section has all of their accompaniment on the up-beats of each measure. The upper-woodwinds and horns join on the melody around the body of the piece, and are accompanied with the sound of a blacksmith tempering metal with an anvil called for in the score. The final D major chord has a glorious, heavenly sound, which opens the way to the final movement. This chord works so effectively perhaps because it is unexpected: the entire movement is in F major when the music suddenly moves to the major of the relative minor.
Movement IV: Fantasia on the Dargason. This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with an alto saxophone solo based on the folk tune Dargason, a 16th century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, Greensleeves, is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections. As the movement dies down, a tuba and piccolo duet forms a call back to the beginning of the suite with the competition of low and high registers.
The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time). The dargason tormented the Irish country side. During the Irish uprising of the late 18th Century, the dargason is supposed to have attacked a British camp, killing many soldiers. This tale aside, 'dargason' is more likely derived from an Anglo-Saxon word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.
Holst later rewrote and re-scored this movement for string orchestra, as the final movement of his St Paul's Suite (1912), which he wrote for his music students at St Paul's Girls' School.
- Program Notes by Imogen Holst
(program notes written by the composer)
In May 2021, I was approached by Joe Glass of Salyards Middle School about a new commission, but that the circumstances were somewhat unusual. It is with his permission and the permission of the family involved that I am sharing these details. He told me about Nicole Crandall, a recent graduate from the high school the Joe’s program feeds in his former student. Nicole had been battling Level 4 Glioblastoma, a very aggressive form of brain cancer. She was then 20 years old and had been moved into hospice care. To celebrate her, they have asked that I create a work in her honor. Illness is the thief of time.
In spite of this, Nicole and her family had created a motto that they used to navigate this difficult time. ‘Choose Joy’. I was very moved by this, as I feel too many people waste their time (and their lives) choosing hate, choosing anger, choosing misery. Do those emotions legitimately exit? Absolutely, but I can safely say for myself that there have been moments where I gave energy to them and fed them, instead of shutting them down.
Choose Joy, I like that.
For those of you that may have been touched by cancer (either yourself or a loved one), I am sure you can agree that we never know how much time we are given on this Earth, but life events such as these can put a lot of things in perspective.
About the Work
The piece uses elements of Beethoven’s Ode to Joy along with a five note motive representing the five family members of Nicole’s immediate family. A trio is heard near the beginning, representing Nicole and her siblings; the parts have been written for the instruments they played in band (Flute, Clarinet, Saxophone). The work alternates between a rhythmic and joyful intensity and a more nostalgic and bittersweet lyrical moment in the middle. There are moments of happiness, humor, worry, pain, and determination. I hope this work serves as a lifting tribute to all of those who choose joy in times of darkness.
-Randall D. Standridge
The text of this ancient Hebrew song speaking about the coming of the Messiah translate as "I believe." Even though the ancient text Ani ma’amin is a strong, uplifting declaration of faith, it has also become associated with devastating images of the Holocaust. Various reports surfaced that Jewish prisoners sang these words while being transported to Nazi concentration camps on crowded train cars and even while being led into gas chambers.
In the darkest times, this song offered comfort and still serves as a beacon of hope for the future of humankind.
A-ní ma-’a-mín b’-e-mu-na sh’-lé-ma
I believe with faith full/complete (I believe with complete faith)
b’- ví-‘at ha-ma-shí-ach
in the coming of the Messiah (in the coming of the Messiah,)
v’ - af al pí sh’-yit-ma-mé-‘ah
and even though that he may delay (and even though he may tarry,)
im kol ze a-ní ma-’a-mín
nevertheless I believe (nevertheless, I believe.)
This work was first written in 1963 for brass band under the title Little Suite for Brass. Paynter's arrangement for wind bands includes woodwinds and additional percussion but retains the breezy effervescence of the original work. All three movements are written in short, clear, five-part song forms. The A-B-A-C-A is instantly apparent to the listener while giving the composer's imaginative melodies a natural, almost folklike, settings. The Prelude begins bombastically in a fanfare style but reaches a middle climax and winds down to a quiet return of the opening measures, which fade to silence. The liltingly expressive Siciliano is both slower and more expressive than the other movements, thus allowing solo instruments and smaller choirs of sound to be heard. It also ends quietly. The rollicking five-part Rondo provides a romping finale in which the technical facility of the modern wind band is set forth in boastful brilliance.
- Program Note from Program Notes for Band
To quote the composer, “For centuries, composers have been inspired by the beautiful O Magnum Mysterium text (“O Great Mystery”) depicting the birth of the newborn King amongst the lowly animals and shepherds. This affirmation of God's grace to the meek and the adoration of the Blessed Virgin are celebrated ... through a quiet song of profound inner joy.”
Morton Lauridsen (b. 1943), Professor of Composition at the Thornton School of Music at the University of Southern California, is noted for his many vocal works. O Magnum Mysterium has become one of the world’s most performed and recorded compositions since its premiere in 1994 by the Los Angeles Master Chorale. The symphonic wind band version was arranged by H. Robert Reynolds, Principal Conductor of the Wind Ensemble at the Thornton School of Music and former Director of Bands at the University of Michigan.
This gospel inspired arrangement of both Joy to the World and Go Tell it on the Mountain is full of the joy and energy of the Christmas season. We are excited for the coming of the Lord, and can't wait to share this exciting piece with you!
According to church history, Isaac Watts was one of the most prolific and celebrated creators of hymns. However, his most famous creation, “Joy to the World” was born of coincidence, rather than desire. In 1719, Watts published “The Psalms of David,” a collection of poems where each verse was based on a psalm. But, instead of translating the original texts of the “Old Testament,” he made some subtle adjustments. His poems referred more explicitly towards the works of Jesus, thus seeking inspiration from the New Testament.
The majority of the hymns of “The Psalms of David“ have now fallen into obscurity, except for the second part of “Psalm 98.” Ironically, the poet had no intention of creating a Christmas carol when he composed the verse. However, in 1836, Lowell Mason composed a riveting melody for this second part and combined with its popularity in the church. “Joy to the World” started its journey into the music stratosphere.
Soloists: Selen Nsabiyeze and Janelle Lecomte
Joy to the World , the Lord is come!
Let earth receive her King;
Let every heart prepare Him room,
And Heaven and nature sing,
And Heaven and nature sing,
And Heaven, and Heaven, and nature sing.
Joy to the World, the Savior reigns!
Let men their songs employ;
While fields and floods, rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat, the sounding joy.
Hallelujah! Sing Joy!
He rules the world with truth and grace,
And makes the nations prove
The glories of His righteousness,
And wonders of His love,
And wonders of His love,
And wonders, wonders, of His love.
Hallelujah! SIng Joy!
Go, tell it on the mountain
Over the hills and everywhere
Go, tell it on the mountain
That Jesus Christ is born
Caroling with Carroll! Join our music students in song, as we end our concert with this setting of four Christmas carols.
Joy to the world! The Lord is come
Let earth receive her King!
Let every heart prepare Him room
And heaven and nature sing
And heaven and nature sing
And heaven, and heaven and nature sing
O Come All Ye Faithful
Joyful and triumphant
O come ye, O come ye to Bethlehem
Come and behold Him
Born the King of Angels
O come, let us adore Him
O come, let us adore Him
O come, let us adore Him
Christ the Lord
Hark the herald angels sing
“Glory to the newborn King!
Peace on earth and mercy mild
God and sinners reconciled”
Joyful, all ye nations rise
Join the triumph of the skies
With angelic host proclaim:
“Christ is born in Bethlehem”
Hark! The herald angels sing
“Glory to the newborn King!”
Silent night, holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in heavenly peace
Christ the Saviour is Born!
-From the Bishop Carroll Music Department
Andrea Ciona is a highly regarded conductor, performer, adjudicator, and educator. Having conducted and adjudicated ensembles around the world, Andrea’s highlights include conducting on the Great Wall of China, adjudicating in Jakarta, Indonesia, and leading a massed ensemble of 1,000+ performers at the Royal Nova Scotia Military Tattoo. Director of Choirs at Bishop Carroll High School in Calgary, Alberta, since 2010, her ensembles have received national and international recognition. Andrea is the founding director of the Rocky Mountain Symphony Chorus, and regularly performs with the Symphony. Currently on faculty at Mount Royal University Conservatory of Music, Andrea leads the Advanced Performance Program in Choral Conducting. Previously Andrea has served on faculty at Red Deer College School of Music and worked with Alberta Education on the Provincial Arts Education Curriculum Redesign. In her free time, Andrea loves traveling and exploring the world with her husband and two children.
Andrea holds degrees from the University of British Columbia (B. Mus, Performance & M. Mus, Choral Conducting) and the University of Calgary (B. Ed, Secondary Music).
Canadian music educator Christina Visy is delighted to be in her 13th year as the Director of Strings at Bishop Carroll High School, Canada’s flagship self-directed learning secondary school. She holds violin performance and education degrees from the University of Western Ontario and the University of Toronto and has undertaken post-graduate studies in string pedagogy at Indiana University. Her principal mentors include Elizabeth Ganiatsos, Igor Markstein, Lorand Fenyves, Mimi Zweig and Brenda Brenner. As concertmaster of the California-based Celebrant Singers, Christina has travelled to over 45 countries throughout Eurasia, the Middle East, and North, Central and South Americas.
A passionate string music educator, Christina has taught music from K-12 and served on faculty at Rocky Mountain College as Assistant to the Chair of the Arts and Director of Music, where she taught string pedagogy and directed the college orchestra. At Bishop Carroll, she conducts four award-winning string orchestras and in December 2017, led the Virtuosi Strings in their international debut at The Midwest Clinic in Chicago IL. She has a discography of over 15 CDs, including A cappella, which garnered GMA Canada’s Covenant Award for “Best Choral Album.” Christina is the 2021 recipient of the National Arts Centre Orchestra/MusicFest Douglas Payson Sturdevant Outstanding Orchestra Director Award, and this year was appointed director of Mount Royal University Conservatory’s Preparatory Strings and Junior Sinfonia ensembles.
Jeff Waterbury has taught music in the Calgary Catholic School District since 2011, and during that time he has taught all levels of music from kindergarten through grade 12. He received his Bachelor of Music and Bachelor of Education degrees from the University of Calgary and has been active in the Calgary music scene as a teacher, conductor, performer, and clinician for over 20 years.
Throughout his teaching career, Jeff has served as the music director at Dr. Gordon Higgins School, St. Ambrose School, Our Lady of Grace School, St. Martin de Porres High School, St. Boniface Parish, the Calgary Stampede Showband, and is currently the director of the Calgary Stetson Show Band. During his time as a music educator, he has helped to lead bands on tours to Asia, South America, Europe, the United States, and across Canada.
Jeff is a regular performer with the Alberta Winds wind ensemble, and he is on the executive board for CADME, the Calgary association for the development of music education.