support our program

50/50 Raffle: One night only! Buy tickets tonight, from our parent volunteers in the lobby before the concert, and during intermission.

'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 support Bishop Carroll music.  https://app.skipthedepot.com/register?org=bcms

Spolumbo's (sausage & burger) Fundraiser:  (deadline to order is Saturday May 16th at midnight) 

Order here:
https://forms.gle/hUrksfaSmzPnMooXA

All of these initiatives are organized by the Bishop Carroll Music Society. https://bishopcarroll.cssd.ab.ca/music-society

I Sit Before Flowers by Emile Deedes-Vincke and Shane Koyczan 

Shane Koyczan's text looks to nature to learn about opening up and letting go. Expressive text painting, moments of mixed meter, and gentle divisi textures create a unique soundscape that feels beautiful and deeply moving.  Our combined choirs bring this masterpiece to life this evening.

The Great Rubber Chicken Galop, by Randall D. Standridge

The Great Rubber Chicken Galop is a comedic concert band work designed to blend serious musical craftsmanship with 1920s vaudeville-style humor, featuring live rubber chickens as instruments. The piece combines ragtime rhythms with, as the composer states, "a horde of rubber chickens" to create an unforgettable, high-energy performance 

Rippling Watercolors, by Brian Balmages

Rippling Watercolors is a lyrical work designed to showcase the expressive maturity of younger ensembles without oversimplifying musical elements. Inspired by children's creativity with watercolor painting, the piece creates vivid imagery and emotional depth, often requiring thoughtful, flowing musicality from the performers.

Danse Perpetuo, by Jason K. Nitsch

Danse Perpetuo is an infectious, high-energy work designed to evoke various folk dances through a modern lens. Featuring a prominent, acrobatic woodwind solo, this piece drives forward with a relentless groove and intense rhythmic energy!

Softest Rains by Rob and Stephanie Dietz

Clapping, shouting, and intricate rhythmic singing combine in this exciting concert work. Though written in the contemporary a cappella style, it's also meant for larger concert choirs exploring this style and will be a stunning and challenging addition to our concert program this evening.

From the Underground by Dan Wiebe

Brimming with energy, this rhythmically charged work captures the thrill of the unknown and the pull of inevitable change. Starting with a foreboding feel, dissonant harmonies give way to rhythmic ostinatos that build in dynamic intensity along with a pounding bass drum. This work is full of contrast and excitement!

Kvetchers, by Laura Estes

A colloquial term for "complainers," Kvetchers is a fun and quirky concert march in the style of a musical joke, which features each section of the band in their own unique way.

A New Light, by Tyler S. Grant

The piece is a direct follow-up to one of Tyler S. Grant's previous compositions, At Twilight. While the original work painted the image of the setting sun, A New Light represents the hope of a new dawn, symbolizing the journey through darkness and personal uncertainty towards a brighter, cyclical, and positive future. 

Arabian Dances, by Roland Barrett

After a long day's journey, the nomads set up camp for the evening. As the sun casts its final searing rays on the desert landscape, a campfire roars to life and the celebration begins. As the sky darkens, the festivities grow wilder and wilder until eventually three groups of revelers take turns dancing at the edge of the fire, each trying to outdo the other. Finally, the entire tribe joins, dancing wildly for hours until the campfire dims and morning grows near. 

John and Jim, by Viet Cuong

This piece was written to celebrate the tenth anniversary of the Obergefell v. Hodges Supreme Court decision, and it celebrates the two people at center of the case, Jim Obergefell and John Arthur.Court decided to not overturn its 2015 decision—made the piece especially poignant.  

In this composition, Cuong reframes melodic fragments and harmonic progressions from Pachelbel’s Canon in D, a popular wedding piece that Cuong used to improvise over as a kid. The piece unfolds gradually out of a solitary flute line, before piano doubled by pitched percussion adds a bubbling quality on top. It the gradually layers rhythmic and melodic lines together as it builds towards a powerful and emotional climax. 

Arabesque, by Samuel R. Hazo

This work by Samuel Hazo is a tour de force of Middle Eastern sounds for the contemporary wind band. From delicate and sensual soloistic writing to full-blown ensemble passages with rapid fire tutti rhythms and frenzied percussion. The piece is structured in three parts—taqasim, dabka, and chorale—featuring rapid-fire percussion, technical woodwind runs, and a high-energy sound that is based off of Hazo's reflections of his family's middle-eastern roots.

Congratulations to our 2026 Concerto Competition Winner, Joel Cook, Piano

Concerto in F, II. Adagio - Andante con moto  by George Gershwin

Gershwin's Concerto in F, is thoroughly ensconced in the jazz idiom, and represents a remarkable achievement for Gershwin who was 27 years old at the time of its composition. 

The Paris connection was extremely important for Gershwin. His admiration for French music is certainly made tangible in the Concerto’s Adagio second movement which you will be hearing tonight.  An extended (46-bar) introduction confined almost exclusively to winds and brass (no piano at all) conjures an ambience that goes directly to the heart of Debussy and Ravel. Thematically, the main tune that finally emerges in the piano is hinted at early in the introduction by a muted trumpet. The fascinating manipulations of this theme by piano and orchestra and the figurations and filigree that evolve from it show Gershwin at his most inventive and bracing. The construction of the movement is highly original, with the reappearance of the introduction prefacing a piano cadenza that in turn leads into the “big” tune of the movement—a Gershwin song that is irresistibly Gershwin! The melody is given the grand concerto treatment until it is cut off abruptly for a nostalgic, abbreviated return of the motif from the introduction, this time intriguingly scored for piano and flute.  (Adapted from LA Phil program notes)

A Million Dreams

The power of dreams that motivate hope and optimism for the future while embracing individuality, passion, and creativity is a theme that resonates with singers of all ages. This standout song from the blockbuster movie has become an enduring classic and ends our show this evening.

The Lovat Scouts Quickstep by James Scott Skinner, arr. Ben Clinesmith

James Scott Skinner (1843-1927) was the leading performer and composer of Scottish fiddle music in his day.  He is quoted as saying, "The great work of my life has been composing music for the people of Scotland.  The music that reaches and lives in the hearts of people is the music that they whistle or sing at their daily toil or in their hours of recreation, that the mother croons o'er the cradle, and that accompanies her children - a joyous companion throughout life."  The Lovat Scouts were a company of Scottish marksmen formed in 1899 and served honourably as sharpshooters and gatherers of intelligence through the end of WWII. Skinner's quickstep march was composed in the style of a Scottish reel and could be played effectively by a bagpiper among the troops in parade or in battle.  We hope you enjoy this lively string arrangement of this Scottish tune this evening!

River Song, Keith Sharp

Conducted by student conductor Emmett Wolska-Chaney

River Song is programmatic in design.  It follows a waterway, from gentle meandering beginnings to turbulent white-water adventures and powerful currents.  In its final approach to the sea, the river's broad flowing yet calm demeanour reflects its early ease and form.  Themes are Celtic in style, with textures and lines full of lyrical, intertwining interest.

Cradle Song by Loreta Fin

Composer Loreta Fin dedicated this lullaby to her yet-to-be-born grandchild!  The work starts with the upper strings introducing the main melodic theme in a homophonic rhythm with beautiful harmonies.  Listen for the cellos who take over the melody midway through the piece with the first violins soaring above them, accompanied by a charming pizzicato (plucked) accompaniment.  Sure to lull any baby to sleep!

Rain Festival by Jeremy Woolstenhulme

Rain Festival brings a rainstorm directly to performers and audience.  Through snapping fingers, pizzicato, tambourine, conga drum, and rainstick, these special effects and fun percussion instruments simulate a downpour quickly sweeping through an African village.  Once the storm subsides, it's time to march to the party!  The stomping of feet segues into the village festival celebrating rain and its importance to all living things on our beautiful planet!

You Can't Step Twice (Into the Same River) by Brian Tate

Based on a saying of Heraclitus, this engaging original work conveys the message that everything changes, and nothing is permanent but change. Each part gets its own unique melody, and the altos get to open with an underlying ostinato that frames the a cappella texture. When they all layer together, and with the addition of finger snaps and optional percussion, this piece is engaging and motivating!

Pachelbel Canon in D, Johann Pachelbel, arr. Andrew Balant

Andrew Balant has arranged this well-loved Baroque gem for beginning string orchestra.  It begins with the familiar ground bass line in the cello and bass parts, followed by the lyrical introduction of the main tune in the violins and violas.  Keep an eye out for the bride walking down the aisle.   (Just kidding...!)

Raindrop Serenade, Lauren Bernofsky

Imagine going for a walk when you feel what seems like a raindrop hit your cheek.  After a few more steps, it’s confirmed – it’s beginning to rain!  That’s how this piece begins.  Soon, the raindrops unionize and organize themselves into a quaint, charming tune in 4/4 time. Hope you remembered to bring an umbrella!

Serenade for Strings, Op. 48  by P.I. Tchaikovsky

This Serenade was composed in the summer of 1880 while Tchaikovsky was in Ukraine and considered to be one of his finest compositions.

III. Elegie

The third movement, Elegie, opens with a chorale-like passage, one which incessantly aspires to rise above its mezza-voce tessitura. The tender melodic writing of the first theme is brought to fruition upon its return, elaborated with another, more florid melodic layer; the transparent soaring counterpoint floats above the lightest of accompaniments, arpeggiated pizzicato figures in the low strings. The darker, more desperate voice found in the composer’s last three symphonies dominates much of the mood of this movement.  It concludes with a transparent  harmonic passage throughout the string orchestra. 

I. Pezzo in Forma di Sonatina

The first movement, Pezzo in forma di sonatina, is bookended by an energetic chorale marked Andante non troppo. The sonatina suggested in the title begins at the Allegro moderato, taking the form of a sonata. “The first movement is my homage to Mozart,” Tchaikovsky wrote. “It is intended to be an imitation of his style, and I should be delighted if I thought I had in any way approached my model.”  I think we can all agree:  Mission accomplished!!  

(Program notes adapted from the LA Phil, Hollywood Bowl)

"Gloria" from Coronation Mass by W. A. Mozart

Conducted by student conductor Garrett Bamfield

Mozart's "Gloria" from the Coronation Mass (K. 317), composed in 1779, is a concise, jubilant, and "blistering" movement marked con spirito. It is celebrated for its high-energy, fast-paced choral work, contrast between chorus and soloists, and brilliant orchestral accompaniment that epitomizes the festive Salzburg ceremonial style. The movement features a grand, festive sound, utilizing trumpets, timpani, oboes, horns, and strings, along with trombones doubling the alto, tenor, and bass parts. While the Coronation Mass was likely premiered on Easter Sunday, 1779, in Salzburg, it later became a preferred choice for royal and imperial coronations, hence the moniker.

Will the Circle Be Unbroken? by Charles H. Gabriel/arr. Benjamin Harlan 

This nostalgic bluegrass arrangement for choir celebrates the unity we have through Christ. The song brings alive the promises of faith and the spirit of fellowship. After an epic opening, there is an upbeat verse that will be sure to set hands clapping as people connect with its spirit of joy. We hope you enjoy our concert finale!

BAND DIRECTOR: Jeff Waterbury

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, the Calgary Stetson Show Band, and is currently the director of the Westwinds Music Society's 'Green 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.

CHOIR DIRECTOR: Andrea Ciona

Andrea Ciona is a highly distinguished conductor, performer, adjudicator, and educator. Artistic Director of Calgary's own internationally recognized award winning Spiritus Chamber Choir, Andrea has also been Director of Choirs at Bishop Carroll High School in Calgary, Alberta, since 2010. Her Bishop Carroll Choral Ensembles are regularly recognized for their outstanding artistry and skill, having won national and international awards. 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, mentoring Calgary's up and coming Choral Conductors. Previously Andrea served on faculty at Red Deer College School of Music and worked with Alberta Education on the Provincial Arts Education Curriculum Redesign. 

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). She is currently serving on the national Podium Artistic Advising Committee for Choral Canada, and has served on arts boards locally, provincially and nationally. 

In her free time, Andrea loves traveling and exploring the world with her husband and two children.