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

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

Also Sprach Zarathustra, by Richard Strauss

Also Sprach Zarathustra ("Thus Spoke Zarathustra") is one of Richard Strauss's most iconic and innovative orchestral works. It is a tone poem inspired by Friedrich Nietzsche's philosophical novel of the same name, which explores themes of human evolution, the nature of existence, and the quest for self-overcoming. 

The opening brass fanfare, known worldwide, depicts the primordial moment of creation, echoing the philosophical idea of new beginnings and the triumph of light over darkness. The dramatic rise of the sun symbolizes a new era of human understanding and enlightenment. 

Utopia, by Randall D. Standridge 

The title Utopia references the ideal of a perfect society, a concept that has captivated thinkers, artists, and philosophers for centuries. In Standridge's work, Utopia is not necessarily a literal depiction of an idealized world, but rather a musical exploration of the contrasts and tensions that arise within such a vision. It evokes both the alluring beauty and the underlying complexities of a society that might seem perfect at first glance but is, upon closer examination, filled with its own inherent challenges.

Woodsmoke & Oranges, Ian Tamblyn, arr. Rebecca Campbell 

This Canadian folk song, set for choir by Rebecca Campbell, captures the magic of the north. Listen for the loon calls, as we paddle along lakefronts and forest covered shorelines. Described as the ultimate "Choral Canadiana," Treble Choir has had fun putting together this performance for you, including many classes trying to perfect our loon calls and bird noises.  

Text

By woodsmoke and oranges, path of old canoe,

I would course the inland ocean to be back to you.

No matter where I go to, it’s always home again

To the rugged northern shore and the days of sun and wind.

We nosed her in by Pukaskwa, out for fifteen days,

To put paddle and the spirit at the mercy of the waves.

The wanigans were loaded down and a gift left on the shore,

For it’s best if we surrender to the rugged northern shore.

In the land of the silver birch, cry of the loon,

There’s something in this country that’s a part of me and you.

The waves smashed the smoky cliffs of Old Woman Bay,

Where we fought against the backswell and then were on our way.

I could speak to you of spirit – by the vision pits we saw them

Walk the agate beaches of the mighty Gargantua.

I have turned my back upon these things, tried to deny

The coastline of my dreams, but it turns me by and by.

It tossed the mighty ship around, smashed the lighthouse door,

Sends a shiver up my spine, oh the rugged northern shore.

In the land of the silver birch, cry of the loon

There’s something ’bout this country that’s a part of me and you.

Crystal Moon, by Larry Clark 

Crystal Moon by Larry Clark is an evocative and beautifully crafted work for concert band that explores the serene, mystical beauty of the moon, casting light upon the night sky. Clark, a prolific composer of wind ensemble and band music, brings his characteristic skill in orchestration and emotional depth to this composition, capturing both the quiet mystery and the shining radiance of the moon’s ethereal glow. 

Chorale from 'New World Symphony', by Antonin Dvorak

Antonín Dvořák's Symphony No. 9 in E minor, "From the New World", is one of the most beloved and enduring works in the orchestral canon. Composed during his time in the United States as director of the National Conservatory of Music, the symphony reflects Dvořák’s fascination with the "New World"—particularly the musical traditions of the United States, such as African-American spirituals, Native American music, and the vast American landscape.

Within this symphony, the Chorale section (which appears in the second movement, Largo) is one of the most moving and memorable moments. While the entire Symphony No. 9 is full of a range of emotions, the Chorale stands out for its deep, hymn-like quality, its majestic simplicity, and its connection to Dvořák’s vision of American music.

Whale Warriors, by Brian Balmages

Whale Warriors by Brian Balmages is a dynamic and dramatic work for concert band that brings attention to the plight of whales and the ongoing efforts to protect these magnificent creatures. Through vivid orchestration, stirring melodies, and contrasting moods, Balmages crafts a musical journey that portrays both the majesty of the whales and the tension involved in their protection. The piece is both a celebration of the natural world and a call to awareness about conservation efforts, particularly those aimed at protecting marine life from poaching and environmental harm. 

Conversion of Saul, Z. Randall Stroope  

This piece is a musical description of Saul’s dramatic conversion to Christianity on the road to Damascus. Saul was the chief executioner for the Roman government, intent on prosecuting the apostles following the Crucifixtion. The first half of the work evokes the tumult, pounding, shouting, and angry crowd. This reflects on Saul’s past when he presided over the stoning of innumerable individuals. Then a pedal tone, representing the one true, immovable light from heaven, cuts through the texture and suddenly all stops. 

God speaks, “Why do you persecute me? Bow down, Saul…”

Latin & English Text

Caedite, vexate, ligate vinculis! (Murder, harass, bind into chains!)

Saul! Vinculis, condemnate vexate! (Saul! Chain, prosecute and harass!) 

Why do you persecute me, Saul? 

Fall down on your knees, turn hatred into love. 

Turn darkness into light. 

Bow down, Saul! 

Ubi Caritas, Maurice Duruflé 

Conductor: Garrett Banfield, Grade 11 Student  

“Ubi caritas” is an early Christian antiphon traditionally used in the Maundy Thursday service during the washing of the feet, an act of Jesus from the Last Supper. The antiphon has become closely associated with the Eucharist.  Maurice Duruflé, Professor of Theory and Harmony at the Paris Conservatory for 27 years, was a perfectionist as a composer. He only published 14 compositions between 1926 and 1977. This work was composed in 1960. 

Latin Text and Translation

Ubi caritas et amor, Deus ibi est. (Where charity and love are, there God is)

Congregavit nos in unum Christi amor. (The love of Christ has gathered us into one)

Exsultemus, et in ipso jucundemur. (Let us exult, and in Him be joyful)

Timeamus, et amemus Deum vivum. (Let us fear and let us love the living God)

Et ex corde diligamus nos sincero. (And from a sincere heart let us love each other, and Him) 

Ubi caritas et amor, Deus ibi est. (Where charity and love are, there God is)

Amen

Witness, arr. Jack Halloran  

This traditional African-American spiritual based on "Ain't That A Witness" was originally collected and published in 1909 by Howard Odum. It's roots are not clearly known, however it was sung for generations in the American south. Jack Halloran created this SSAATTBB (eight part) setting in 1986. 

In the text, the Lord instructs Nicodemus on how to be saved while retelling the story of Sampson losing his God-given strength by the cutting of his hair. Sampson’s wife seduces Sampson, asking him, “tell me where your strength lies, if you please”, to which he relents and then agrees to “shave his head”. This banter is played by the soprano, tenor, and bass parts as they fill the roles of the two Biblical characters. The sopranos and altos duet while the tenors and basses sing their own line, creating a wonderful and difficult harmony. In the true fashion of a classic spiritual, each voice part gets to shine in this piece as the choir uses their full range to fill the space with Witness’s full sound. 

Text

Who′ll be a witness for my Lord?

Oh I'll be a witness for my Lord.

There was a man of the Pharisees,

His name was Nicodemus and he didn′t believe.

The same came to Christ by night,

wanted to be taught out of human sight.

Nicodemus was a man who desired to know

how a man can be born when he is old.

Christ told nicodemus as a friend,

"Man, you must be born again"

He said, "Marvel not, If you want to be wise,

repent, believe and be baptized."

Then you'll be a witness for my Lord.

You'll be a witness for my Lord.

You′ll be a witness for my Lord, soul is a witness for my Lord.

You read about Samson, from his birth

he was the strongest man that ever lied on earth.

Way back yonder in the ancient times

he killed ten thousand of the Philistines.

Then old Samson went a wandering about.

Samson′s strength was never found out.

'Till his wife sat up on his knee.

She said, "Tell me where you strength lies, if you please"

Well old Samson′s wife, she talked so fair

Samson said,"cut off a my hair" "Cut it off"

"Shave my head just as clean as your hand,

and my strength will come like a natural man."

Samson was a witness for my Lord (x3), Soul is a witness for my Lord.

There's another witness (x4), for my Lord! My soul is a witness for my Lord!!

Sevens, by Samuel R. Hazo 

Sevens by Samuel R. Hazo is an exciting and rhythmically driven work for concert band that showcases the composer’s ability to blend intricate rhythmic patterns with energetic, vibrant melodies. The title of the piece refers to the use of the number "seven" as a central rhythmic motif, with the music built around irregular time signatures and playful syncopations that challenge both the performers and the audience's sense of rhythmic pulse. 

Spirited Away, by Joe Hisaishi & Yumi Kimura, arranged by Kazuhiro Morita

Spirited Away is a coming-of-age story set in a fantastical bathhouse run by spirits, gods, and various mythical creatures. The protagonist, Chihiro, must navigate this supernatural world to rescue her parents, who have been transformed into pigs. As she travels through this strange world, she encounters many characters, both helpful and sinister, in a narrative that explores themes of greed, transformation, and the importance of self-discovery. 

The score for Spirited Away, composed by Joe Hisaishi, is as enchanting and magical as the film itself. Spirited Away, the Academy Award-winning animated film directed by Hayao Miyazaki, is widely regarded as one of the greatest animated films of all time. The music by Joe Hisaishi, in collaboration with vocalist Yumi Kimura, perfectly complements the fantastical world of the film, capturing its emotional depth, whimsy, and mystery. 

When You Believe (from Prince of Egypt), Stephen Schwartz, arr. Audrey Snyder and John Moss

Soloists: Julia McCorquodale & Jalen Shi 

When You Believe is a signature song from the 1997 DreamWorks animated feature The Prince of Egypt. Written and composed by Hans Zimmer and Stephen Schwartz, this piece is sung when Moses leads his people out of Egypt towards the Red Sea, and eventually to freedom. This SATB setting includes the original Hebrew text of the "Song of the Sea" from Exodus. 

When You Believe

Many nights we've prayed, with no proof anyone could hear.  

In our hearts a hopeful song we barely understood, 

Now we are not afraid although we know there's much to fear 

We were moving mountains long before we knew we could... 

There can be miracles when you believe 

Though hope is frail it's hard to kill 

Who knows what miracles you can achieve 

When you believe, somehow you will, 

You will when you believe.

In this time of fear, when prayer so often proved in vain 

Hope seemed like the summer birds, too swiftly flown away 

Yet now I'm standing here with heart so full I can't explain

Seeking faith and speaking words I never thought I'd say 

There can be miracles when you believe 

Though hope is frail it's hard to kill 

Who knows what miracles you can achieve 

When you believe, somehow you will, 

You will when you believe.

Ashira, l'Adonai, ki gaoh gaah

I will sing to the Lord for He has triumphed gloriously

Michamocha baelim Adonai

Who is like You, oh Lord, among the celestials

Michamocha nedarbakodesh

Who is like You, majestic in holiness

Nachitah v'chasd'cha am zu gaalta 

In Your love, You lead the people You redeemed

Ashira, Ashira, Ashira

We sing in praise

There can be miracles when you believe 

Though hope is frail it's hard to kill 

Who knows what miracles you can achieve 

When you believe, somehow you will, 

Now you will 

You will when you believe... 

You will when you believe.

Askîy Kitotîminaw (commissioned for Central Memorial High School), Sheryl Sewepagaham

This song brings all of us together as relations with each other and the land. Wahkôhtowin is an important Cree word that acknowledges us all as relatives and loosely means "we are related" or "relations" and kiyanaw means "all of us together" or "you and I" strengthening our connection. These words embody connection for everyone, related by blood or not. Cree teachings connect people, the land (rocks, plants, trees, animals) and all living things, which is why we must listen to what the land tells us and teaches us. We notice when the land reacts to activity and destruction such as floods, fires, famine, and other environmental disasters and how these disasters affect the living beings that live and thrive on the land. If we truly believe we are all related as humans in wahkôhtowin, we can work together as relations to take better care of the earth as co-stewards or caretakers, not only for our generation but for future generations to come.

Cree Text & Translation

Askîy kitotîminaw (The land is our relative)

Kitaskînaw kiskinwahamâkanaw (The land teaches us)

Wahkôhtowin, kiyanaw (We are related. All of us)

Brandenburg Concerto No. 3  I. Allegro moderato, J.S. Bach

The third of six Brandenburg Concerti was written by Johann Sebastian Bach and dedicated to Margrave Christian Ludwig of Brandenburg in 1721.   The Brandenburgs are wonderful examples of Baroque concerti.  The third opens with violins, violas and cellos/bass grouped together as sections throughout the movement except for the ritornello parts when the orchestra merges together to state the recurring theme.  Note the baroque bow holds of the players, affording a lighter sound that was characteristic of the more delicate gut strings used during that era.

Introduction and Allegro for Strings, Edvard Elgar

Elgar wrote the Introduction and Allegro for the string section of the newly founded London Symphony Orchestra in 1904.  Three clearly stated themes form the basis of this masterpiece: the opening somewhat choppy but striking chords give way to the pleasant bucolic, folksong-like  theme introduced by the solo string quartet.  Shortly thereafter, the solo viola plaintively emerges with what has become to be known as the “Welsh theme”.  Elgar heard a distant figure singing while on a trip to Wales and this melody is reminiscent of the experience. These three themes adeptly comingle throughout the work, punctuated by an agitato 1/16th note motif that passes between the quartet and orchestra.  Next up, is an intricate fugue, first heard in the 2nd Violins.  The piece concludes with a restatement of the three initial themes followed by a fast-paced Coda ending in an orchestra-wide pizzicato to round out the work. 

Anna's Star, Aaron Perrine

The work opens with the familiar notes to “Twinkle, Twinkle, Little Star” but then the similarity ends.  What follows is a lyrical, somewhat melancholy development of the tune in ternary (ABA) form.  The slurs and string crossings allow young orchestras to develop their legato playing skills while engaging with a beautifully serene and evocative composition. 

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!

Miniature Mambo, Doug Spata

The inspiration for this work was a sunrise from a beach in Playa del Rey, California.  The waking morning sky filled with pink and orange light, slowly erasing the shadows of night. The form of First Light follows this gradual revealing of morning light, beginning with a simple, lyrical melody in the 1st Violins.  A second voice is added above it and the piece continues to build in orchestral density and dynamics throughout, evoking the daily grandeur of a sunrise.  The bridge furthers the emotional momentum, as full and lush as the unfurling morning.  It finishes with the return of the original melody.  A new day has begun. 

First Light, Alan Silva

Pizzicato (plucking) made fun in this Latin dance! Listen for syncopation, and a call & response between sections.  The use of both high and low 2nd fingers in rapid succession in the violin & viola parts affords the players to learn chromaticism in a challenging but fun way! 

Dies Irae, Ryan Main 

The Dies Irae (Day of Wrath) describes the final judgment: the last trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.

Latin Text:

Dies Irae! Dies Illa!

Solvet Saeclum in favilla:

Teste David cum Sibylla!

Quantus tremor est futurus,

Quando judex est venturus,

Cuncta stricte discussurus!

English Translation:

Day of wrath! O Day of mourning!

See fulfilled the prophets’ warning,

Heaven and Earth in ashes burning.

Oh, what fear man’s bosom rendeth,

When from heaven the Judge descendeth,

On whose sentence all dependeth.

Soon We Will Be Done, Kyle Pederson 

To me, spirituals are the most powerful type of music.  Spirituals were birthed and rooted in the experience of chattel slavery in the United States—and arose out of, as Arthur C. Jones asserts, "deeply meaningful, archetypically human experiences, relevant not only to the specific circumstances of slavery but also to women and men struggling with issues of justice, freedom, and spiritual wholeness in all times and places.”                                      

When I sang the spiritual "Soon Ah Will Be Done" growing up, I was struck by both the withering sorrow and expectant hope throughout. The melody and emotion has stuck with me since.  When approaching my own arrangement, I hoped to honor the voice of the original writers and their experience of slavery, and I also sought to extend a voice to people today who are suffering from injustice, racism, and oppression in multiple forms. I hoped an appropriate way to honor the experience of the original writers might be to invite the contemporary listener to envision and commit to a better, more just world today----a world of inclusion, radical kindness, compassion, love, and grace--a world where we have the courage to champion the inherent dignity and value of all people, a world where we will be done with all the ways we deny a person's worth.  A world where "heaven has come to earth.”

In this arrangement, spoken word is incorporated throughout, intended to heighten the intensity of the performance, and meant to give a sense of immediacy to the challenge for the choir and audience to work together for justice, equity, and wholeness. Spoken word has often been used as the language of protest—and I include it intentionally as a way of giving voice to the choir members (and listener)—where all can stand in solidarity against oppression and injustice.

I am writing this program note not long after George Floyd was murdered in Minneapolis, MN on May 25, 2020. As a Minneapolis area resident for the past 25 years, I want and need to take a more active role in working towards justice in my community. All proceeds received from the sale and performance of Soon We Will Be Done will be directed to ISAIAH--a multi-racial, state-wide, nonpartisan coalition of faith communities fighting for racial and economic justice in Minnesota. 

-Kyle Pederson, 2020 (composer)

Text

Done with hatred and done with war

come, lift the lonely, come lift up the poor

Soon we will be done with the troubles of the world

when heaven comes to earth

No more weepin' and wailin'

when heaven comes to earth

Done...

with the racism and sexism and all the isms and prisons that bind us, 

that blind us from the hurt of another 

I want to be done... done with addiction, 

with any affliction that takes a hold and won't let go and speaks in lies and fiction.

I want to be done... done with the things that divide us instead of unite us,

like the walls we build, the hate instilled, as we fill with judgement inside us

I want to be done... done with the violence,

and the silence when facing injustice, but I wonder if you'd trust us if love was our compass.

SOON, when we come together, when 

WE stand up for each other, we 

WILL offer these hands and feet and 

BE love, compassion and grace; come heaven to earth; we will be 

DONE.

Orchid, Yukiki Nishimura

This lyrical piece has a warm and lovely chord progression that brings delicate emotion to the incredibly beautiful melody line.  The composer wrote this work in memory of her beloved composition teacher whose hobby it was to grow orchids in his backyard greenhouse. 

Lion City, Soon Hee Newbold

The city/country/island of Singapore was named “Singa Pura” or “Lion City” by a 13th century Sumatran prince after he saw what he thought to be a lion walking on its shores. Lion City is reflective of the many cultures that make up Singapore. The beginning starts with an ancient rainstorm, introducing Malay and Indian themes. Traditional instruments (like the gamelin) are portrayed by the col legno (when the bow stick hits the strings) and pizzicato (plucking) of the strings. The Con fuoco (“with fire”) section depicts the rapid growth and booming economy that Singapore is known for today.  East meeting West, as Chinese and contemporary melodies play out. 

Congratulations to our 2025 Concerto Competition winner, Yana Zubrytska, Violin.

Violin Concerto No. 1 in G minor by Max Bruch

Max Bruch was already a respected composer as a youth. By age 20, he was teaching in Cologne and had written and produced his first opera. But somehow, Bruch was almost too much of his day, not quirky enough to be remembered and not enough of a revolutionary or bad boy to become notorious. Today, he's known almost exclusively for the Violin Concerto, though his Kol Nidrei, for cello and orchestra, and his Scottish Fantasy, for violin and orchestra, are still performed with some regularity.

Bruch is known for his love of folk music, and this work displays that affinity from the opening moments. The Vorspiel (Prelude) begins as the violin intones a passionate and earthy lament. This sets the stage for an only slightly more robust Allegro moderato, but also prepares us for the longing of the Adagio to come. This all-too-short first movement is compelling, filled with melancholy and impassioned melodies set against a rich orchestral background that only enriches the soloist's mournful utterances. (The first movement is so short in fact, that Bruch himself thought the designation of "concerto" might be misleading.)

In the Hall of the Mountain King, by Edvard Grieg

In the Hall of the Mountain King is one of the most famous and recognizable pieces by Norwegian composer Edvard Grieg. Originally composed as part of the incidental music for Henrik Ibsen's play Peer Gynt (1875), the piece has since become a staple of the orchestral repertoire, often used in a variety of contexts from film to television and popular culture. Its intense rhythm, memorable theme, and sense of dramatic escalation have made it one of Grieg's most enduring works. 

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, 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.

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.