{"id":17608,"date":"2025-10-15T17:09:59","date_gmt":"2025-10-15T21:09:59","guid":{"rendered":"https:\/\/www.bu.edu\/bands\/?page_id=17608"},"modified":"2025-10-16T16:29:44","modified_gmt":"2025-10-16T20:29:44","slug":"symphonic-chorus-concert","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/bands\/symphonic-chorus-concert\/","title":{"rendered":"symphonic chorus concert"},"content":{"rendered":"<p><b>Boston University School of Music presents:<\/b><\/p>\n<h3><b><i>Dreams, Passions, and Words of Fire<\/i><\/b><\/h3>\n<p><span style=\"font-weight: 400;\">Boston University Chamber Choir, Boston University Symphonic Chorus, and University Choruses: Soprano Alto &amp; Tenor Bass Choirs<\/span><\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<table border=\"1\" width=\"843\" height=\"484\" style=\"border-color: #050505; height: 851px;\">\n<tbody>\n<tr>\n<td style=\"text-align: left;\"><em><strong>Leonardo Dreams of His Flying Machine<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Hannah Prince &amp; Yuki Frampton, sopranos<br \/>\nAlex Segreti, Ysobel Leonard, &amp; Olivia Rhein, mezzo-sopranos<br \/>\nDenny Veidelis, baritone<br \/>\nAlex Segreti, percussion<br \/>\nYsobel Leonard, percussion<br \/>\nTravis Benoit, percussion<em><br \/>\n<\/em><\/div>\n<\/td>\n<td><span style=\"font-weight: 400;\"><strong>Eric Whitacre (b.1970)<\/strong><br \/>\n<\/span><\/td>\n<\/tr>\n<tr>\n<td><i><strong>Beatus Vir<\/strong><br \/>\n<\/i><\/p>\n<div style=\"text-align: center;\">O\u2019Mahoney, sopranos<br \/>\nTravis Benoit, Andrew Mak, &amp; Braden Willenbrock, tenors<br \/>\nJerome Boxer, Denny Veidelis, &amp; Cameron Edgar, baritones<br \/>\nMichael Sherman &amp; Thomas Collum, violins<br \/>\nJudah Coffman, viola da gamba<\/div>\n<\/td>\n<td><strong>Claudio Monteverdi (1567-1643)<\/strong><span><\/span><\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><i>Io Piango<\/i><\/strong><\/td>\n<td>\n<p style=\"font-weight: 400;\"><strong>Morten Lauridsen (b.1943)<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td><strong><i>Come to Me, My Love<\/i><\/strong><\/p>\n<div style=\"text-align: center;\">Edith Mora Hernandez, conductor<span><\/span><\/div>\n<\/td>\n<td><strong>Norman Dello Joio (1913-2008)<\/strong><span><\/span><\/td>\n<\/tr>\n<tr>\n<td><i><span><strong>Draw on, sweet night<\/strong><br \/>\n<\/span><\/i><\/p>\n<div style=\"text-align: center;\">Sinead O\u2019Mahoney, conductor<\/div>\n<\/td>\n<td><strong>John Wilbye (1574-1638)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>Lasciatemi morire<br \/>\n<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Travis Benoit, conductor<br \/>\nBoston University Chamber Choir<strong><\/strong><\/div>\n<\/td>\n<td><strong>Claudio Monteverdi (1567-1643)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>Dies Irae<\/strong><\/em><\/td>\n<td><strong>Ryan Main (b.1984)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>Dominic Has A Doll<\/strong><\/em><\/td>\n<td><strong>Vincent Perischetti (1915-1987)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>Nouns to Nouns<br \/>\n<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Jinho Cho, conductor<br \/>\nBoston University Tenor Bass Chorus<strong><\/strong><\/div>\n<\/td>\n<td><strong>Vincent Perischetti (1915-1987)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><em><strong>truth<br \/>\n<\/strong><\/em><\/em><\/p>\n<div style=\"text-align: center;\">Anna Beeken, percussion<strong><br \/>\n<\/strong><\/div>\n<\/td>\n<td><strong>Andrea Ramsey (b.1977)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong><b>The Rose<\/b><\/strong><\/em><\/td>\n<td><strong>Ola Gjeilo (b.1978)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>The Lake Isle of Innisfree<br \/>\n<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Marie Davis, conductor<br \/>\nBoston University Soprano Alto Chorus<strong><\/strong><em><strong><br \/>\n<\/strong><\/em><\/div>\n<\/td>\n<td><strong>Eleanor Daley (b.1955)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>The Eyes of All Wait Upon Thee<br \/>\n<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Jinho Cho, conductor<strong><\/strong><em><strong><\/strong><\/em><\/div>\n<\/td>\n<td><strong>Jean Berger (1909-2002)<\/strong><\/td>\n<\/tr>\n<tr>\n<td><em><strong>Ave Maria<br \/>\n<\/strong><\/em><\/p>\n<div style=\"text-align: center;\">Travis Benoit, tenor<br \/>\nKaren Frank, conductor<br \/>\nCombined University Choruses (Soprano Alto &amp; Tenor Bass)<strong><\/strong><\/div>\n<\/td>\n<td><strong>R. Nathaniel Dett (1882-1943)<\/strong><\/td>\n<\/tr>\n<tr>\n<td colspan=\"2\" style=\"text-align: center;\">&#8212; Intermission &#8212;<\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><strong><i>The Last Words of David<br \/>\n<\/i><span style=\"font-weight: 400;\"><\/span><\/strong><\/strong><\/p>\n<div style=\"text-align: center;\">Lydia Yi, conductor<\/div>\n<\/td>\n<td><strong>Randall Thompson (1899-1984)<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><strong><i>Praise the Lord<br \/>\n<\/i><span style=\"font-weight: 400;\"><\/span><\/strong><\/strong><\/p>\n<div style=\"text-align: center;\">Kevin Lackie, conductor<i><\/i><\/div>\n<\/td>\n<td><strong>Florence Price (1887-1953)<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><strong><i>Missa Brevis<br \/>\n<\/i><\/strong><\/strong><\/p>\n<div style=\"text-align: center;\">Halle HY Song, percussion<br \/>\n<span style=\"font-weight: 400;\">Cody Bowers, countertenor<\/span><strong><strong><i><br \/>\n<\/i><\/strong><\/strong><\/div>\n<\/td>\n<td><strong>Leonard Bernstein (1918-1990)<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><i><b>Ev\u2019ry Time I Feel the Spirit<br \/>\n<\/b><\/i><\/strong><\/p>\n<div style=\"text-align: center;\">Dakota Winslow, baritone<br \/>\nSinead O\u2019Mahoney, conductor<br \/>\nBoston University Symphonic Chorus<strong><b><\/b><\/strong><\/div>\n<\/td>\n<td><strong><b>Traditional spiritual, arr. William Dawson (1899-1990)<\/b><\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: left;\"><strong><i><b>Make Our Garden Grow (from <\/b><b>Candide<\/b><b>)<br \/>\n<\/b><\/i><\/strong><\/p>\n<div style=\"text-align: center;\">Abigail Orr, soprano<br \/>\nRyan Hanger, tenor<br \/>\nJanae Peterson, mezzo-soprano<br \/>\nTravis Benoit, tenor<br \/>\nMatthew Feinberg, baritone<br \/>\nJerome Boxer, baritone<br \/>\nMichael Bradley, conductor<br \/>\nBoston University Symphonic Chorus, Chamber Choir, and University Choruses<strong><b><\/b><i><b><\/b><\/i><\/strong><\/div>\n<\/td>\n<td><strong>Leonard Bernstein (1918-1990)<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3><\/h3>\n<h3><span style=\"color: #cc0000;\">Rosters<\/span><\/h3>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BU Chamber Choir<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\">\n<p><em>Dr. Daniel Parsley, Director of Choral Activities &amp; Director for Graduate Conducting programs<\/em><br \/>\n<em>Edith Mora Hernandez, graduate assistant conductor<\/em><br \/>\n<em>Karen Frank, graduate student manager<\/em><br \/>\n<em>Cheryn Pandora, collaborative pianist<\/em><\/p>\n<p>Abigail Bancroft<br \/>\nTravis Benoit<br \/>\nJerome Boxer<br \/>\nMichael Bradley<br \/>\nJinho Cho<br \/>\nSabrina Dagazai<br \/>\nMarie Davis<br \/>\nCameron Edgar<br \/>\nYuki Frampton<br \/>\nKaren Frank<br \/>\nJoseph Hall<br \/>\nTessa Hayashida<br \/>\nAudrey Hyers<br \/>\nKevin Lackie<br \/>\nYsobel Leonard<br \/>\nBianca Lucas<br \/>\nMorgan Lucero<br \/>\nLauren Mahoney<br \/>\nAndrew Mak<br \/>\nMarco Marchant<br \/>\nIlyena Metzger<br \/>\nEdith Mora Hernandez<br \/>\nLaura Morgan<br \/>\nJustin Moy<br \/>\nSinead O\u2019Mahoney<br \/>\nJanae Peterson<br \/>\nRiver Peterson<br \/>\nHannah Prince<br \/>\nBianca Rahme<br \/>\nOlivia Rhein<br \/>\nMax Romoff<br \/>\nSergio Savala<br \/>\nAlex Segreti<br \/>\nSulaf Al Jabal<br \/>\nAnna Beeken<br \/>\nDelainey Bostley<br \/>\nAlyssa Carlson<br \/>\nOlivia Comerford<br \/>\nNicoleta Cutitaru<br \/>\nMarie Davis<br \/>\nAnna Driscoll<br \/>\nHannah Dubroff<br \/>\nRaquel Figueroa<br \/>\nAshley Ford<br \/>\nKaren Frank<br \/>\nAbigail George<br \/>\nElena Guzman<br \/>\nRiley Haberman<br \/>\nVeronica Kogan<br \/>\nCaureen Lawrence<br \/>\nKat Marsh<br \/>\nAlexa McGarrity<br \/>\nEdith Mora Hernandez<br \/>\nKeira Muselbeck<br \/>\nSherra Ng<br \/>\nCatherine O\u2019Donnell<br \/>\nSinead O\u2019Mahoney<br \/>\nGianna Pasacane-Gallagher<br \/>\nChloe Ploss<br \/>\nReina Radnor<br \/>\nWanda Sullivan<br \/>\nJailyn Thompson<br \/>\nCalina Whitney<br \/>\nSerena Wong<br \/>\nMengyue (Lydia) Yi<br \/>\nAllison Zeoli<br \/>\nXilei (Bella) Zhang<br \/>\nZijun (Claire) Zhu<\/p>\n<p><\/div>\n<\/div>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BU Symphonic Chorus<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><em>Dr. Daniel Parsley, Director of Choral Activities &amp; Director for Graduate Conducting programs<\/em><br \/>\n<em>Kevin Lackie &amp; Michael Bradley, graduate assistant conductors<\/em><br \/>\n<em>Devin Barry &amp; Sinead O\u2019Mahoney, graduate student managers<br \/>\n<\/em><\/p>\n<p>Mariko Henstock<br \/>\nLibby Herrenkohl<br \/>\nEthan Huey<br \/>\nAudrey Hyers<br \/>\nMarshall Joos<br \/>\nMadison Jorgensen<br \/>\nJessica Karasik<br \/>\nGeorge King<br \/>\nDaniel Krewson<br \/>\nGulce Kureli<br \/>\nJohn Kwon<br \/>\nKevin Lackie<br \/>\nJessica Laman<br \/>\nJinny Lee<br \/>\nYsobel Leonard<br \/>\nGrace Lesselroth<br \/>\nSammi Levas<br \/>\nZhifeng (April) Li<br \/>\nCatherine Li<br \/>\nLaura Long<br \/>\nBianca Lucas<br \/>\nCharlotte Ma<br \/>\nLauren Mahoney<br \/>\nAndrew Mak<br \/>\nMarco Marchant<br \/>\nAlexa McGarrity<br \/>\nKaydence Meikle<br \/>\nIlyena Metzger<br \/>\nEdith Mora Hernandez<br \/>\nLaura Morgan<br \/>\nSherra Ng<br \/>\nSinead O\u2019Mahoney<br \/>\nDana Oprisan<br \/>\nAlayna Pabon<br \/>\nDaniella Parkinson<br \/>\nRiver Peterson<br \/>\nReina Radnor<br \/>\nBianca Rahme<br \/>\nSam Rekulak<br \/>\nLucas Rie<br \/>\nNiklas Rietsch<br \/>\nOwen Shultz<br \/>\nRoshan Sivaraman<br \/>\nShawn Smaldon<br \/>\nSamuel Soric<br \/>\nMatthew Sperling<br \/>\nAudrey Tang<br \/>\nDenny Veidelis<br \/>\nBraden Willenbrock<br \/>\nMonica Wu<br \/>\nCindy Yao<br \/>\nMengyue (Lydia) Yi<\/p>\n<p><\/div>\n<\/div>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BU Soprano Alto Chorus<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><em>Dr. Daniel Parsley, Director of Choral Activities &amp; Director for Graduate Conducting programs<\/em><br \/>\n<em>Marie Davis, graduate assistant conductor<\/em><br \/>\n<em>Travis Benoit, graduate student manager<\/em><br \/>\n<em>Annie Chen, collaborative pianist<\/em><br \/>\n<em>Yuewen Wu, collaborative pianist<br \/>\n<\/em><\/p>\n<p>Emmanuel Aguirre Gutierrez<br \/>\nCaroline Ahn<br \/>\nYuqing Bai<br \/>\nAlexandros Balaouras<br \/>\nPeter Balluffi-Fry<br \/>\nAbigail Bancroft<br \/>\nRobert Baron<br \/>\nDevin Barry<br \/>\nAlyssa Bauman<br \/>\nAnna Beeken<br \/>\nTravis Benoit<br \/>\nJessica Bickerton<br \/>\nMichael Blackwell<br \/>\nTyler Borges<br \/>\nDelainey Bostley<br \/>\nJerome Boxer<br \/>\nMichael Bradley<br \/>\nMackenzie Briggs<br \/>\nAlyssa Carlson<br \/>\nRaheem Champion<br \/>\nElizabeth Chavez<br \/>\nAriane Chen<br \/>\nJinho Cho<br \/>\nAmanda Cohen<br \/>\nEmmalynn Craft<br \/>\nBridgette Curran<br \/>\nNicoleta Cutitaru<br \/>\nCorinne Davidson<br \/>\nMarie Davis<br \/>\nHannah Dubroff<br \/>\nSophie Duda<br \/>\nRenee Dvorske<br \/>\nCameron Edgar<br \/>\nAmanda Forde<br \/>\nYuki Frampton<br \/>\nKaren Frank<br \/>\nDavid Fried<br \/>\nJoseph Hall<br \/>\nJaida Hawkins<br \/>\nTessa Hayashida<br \/>\nBethany He<br \/>\nZachary Held<br \/>\nJulia Rojkov<br \/>\nMax Romoff<br \/>\nVeer Sawhney<br \/>\nAlex Segreti<br \/>\nJacqueline Shaw<br \/>\nTheo Sheldon<br \/>\nOwen Shultz<br \/>\nRoshan Sivaraman<br \/>\nJacob Slade<br \/>\nShawn Smaldon<br \/>\nMorgan Snoap<br \/>\nSamuel Soric<br \/>\nDaniella Spencer-Laitt<br \/>\nMatthew Sperling<br \/>\nWanda Sullivan<br \/>\nJoshua Sultanik<br \/>\nAbigail Tadlock<br \/>\nJailyn Thompson<br \/>\nSophia Tigges<br \/>\nKatelyn Tobey<br \/>\nRuby Voge<br \/>\nJunmin Wang<br \/>\nKeller Wegter-McNelly<br \/>\nBraden Willenbrock<br \/>\nDakota Winslow<br \/>\nCindy Yao<br \/>\nMengyue (Lydia) Yi<br \/>\nAllison Zeoli<br \/>\nXilei (Bella) Zhang<br \/>\nXunuo (Nora) Zhang<br \/>\nZijun (Claire) Zhu<\/p>\n<p><\/div>\n<\/div>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">BU Tenor Bass Chorus<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<p><em>Dr. Daniel Parsley, Director of Choral Activities &amp; Director for Graduate Conducting programs<\/em><br \/>\n<em>Jinho Cho, graduate assistant conductor<\/em><br \/>\n<em>Travis Benoit, graduate student manager<\/em><br \/>\n<em>Jason Xue, collaborative pianist<\/em><\/p>\n<p>Travis Benoit<br \/>\nMichael Bradley<br \/>\nJinho Cho<br \/>\nAsher Cohen<br \/>\nSabrina Dagazai<br \/>\nZachary Held<br \/>\nKevin Lackie<br \/>\nMarco Marchant<br \/>\nJustin Moy<br \/>\nDylan Nunez<br \/>\nOliver Oliva<br \/>\nKrishen Patel<br \/>\nZiming Sun<\/p>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div title=\"Page 1\">\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div title=\"Page 1\">\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div title=\"Page 1\">\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div title=\"Page 1\">\n<p><\/div>\n<\/div>\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h3><span style=\"color: #cc0000;\">Program Notes<\/span><\/h3>\n<div style=\"margin: 0; padding: 0; line-height: 1.3;\">\n<style>\n    \/* Remove extra white space between collapsible headings *\/<br \/>    .su-spoiler,<br \/>    .su-spoiler-title,<br \/>    h3.su-spoiler-title,<br \/>    h3.su-spoiler-title + p {<br \/>      margin-top: 0 !important;<br \/>      margin-bottom: 0.2em !important;<br \/>      padding-top: 0.2em !important;<br \/>      padding-bottom: 0.2em !important;<br \/>    }<\/p>\n<p>    \/* Make sure the whole collapsible block is compact *\/<br \/>    .su-spoiler-content {<br \/>      margin-top: 0 !important;<br \/>      margin-bottom: 0.5em !important;<br \/>    }<\/p>\n<p>    \/* Optional: slightly smaller gap between title bars *\/<br \/>    h3 {<br \/>      margin: 0 !important;<br \/>    }<br \/>  <\/style>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\"><i>Leonardo Dreams of His Flying Machine - Eric Whitacre<\/i><\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<style>\nblockquote {<br \/>  border-left: 4px solid #ccc;<br \/>  padding-left: 15px;<br \/>  margin: 20px 0;<br \/>  font-style: italic;<br \/>}<br \/>blockquote .columns {<br \/>  display: flex;<br \/>  flex-wrap: wrap;<br \/>  gap: 20px;<br \/>}<br \/>blockquote .column {<br \/>  flex: 1;<br \/>  min-width: 250px;<br \/>}<br \/>blockquote p {<br \/>  margin-bottom: 1em;<br \/>  line-height: 1.5;<br \/>}<br \/><\/style>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p><strong>I.<\/strong><br \/>\nLeonardo Dreams of his Flying Machine\u2026<br \/>\nTormented by visions of flight and falling,<br \/>\nMore wondrous and terrible each than the last,<br \/>\nMaster Leonardo imagines an engine<br \/>\nTo carry a man up into the sun\u2026<br \/>\nAnd as he\u2019s dreaming the heavens call him,<br \/>\nsoftly whispering their siren-song:<br \/>\n\u201cLeonardo. Leonardo, vieni \u00e1 volare\u201d.<br \/>\nL\u2019uomo colle sua congiegniate e grandi ale,<br \/>\nfacciendo forza contro alla resistente aria.<\/p>\n<p><strong>II.<\/strong><br \/>\nLeonardo Dreams of his Flying Machine\u2026<br \/>\nAs the candles burn low he paces and writes,<br \/>\nReleasing purchased pigeons one by one<br \/>\nInto the golden Tuscan sunrise\u2026<br \/>\nAnd as he dreams, again the calling,<br \/>\nThe very air itself gives voice:<br \/>\n\u201cLeonardo. Leonardo, vieni \u00e1 volare\u201d.<br \/>\nVicina all\u2019elemento del fuoco\u2026<br \/>\nScratching quill on crumpled paper,<br \/>\nRete, canna, filo, carta.<\/p>\n<\/div>\n<div class=\"column\">\n<p>Images of wing and frame and fabric fastened tightly.<br \/>\n\u2026sulla suprema sottile aria.<\/p>\n<p><strong>III.<\/strong><br \/>\nMaster Leonardo Da Vinci Dreams of his Flying Machine\u2026<br \/>\nAs the midnight watchtower tolls,<br \/>\nOver rooftop, street and dome,<br \/>\nThe triumph of a human being ascending<br \/>\nIn the dreaming of a mortal man.<\/p>\n<p>Leonardo steels himself,<br \/>\ntakes one last breath,<br \/>\nand leaps\u2026<\/p>\n<p>\u201cLeonardo, Vieni \u00e1 Volare! Leonardo, Sognare!\u201d<br \/>\n\u201cLeonardo. Leonardo, come fly\u201d.<br \/>\nA man with wings large enough and duly connected<br \/>\nmight learn to overcome the resistance of the air.<br \/>\n\u201cLeonardo. Leonardo, come fly\u201d.<br \/>\nClose to the sphere of elemental fire\u2026<br \/>\nNet, cane, thread, paper.<br \/>\n\u2026in the highest and rarest atmosphere<br \/>\nLeonardo, come fly! Leonardo, Dream!\u201d<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>Leonardo Dreams of His Flying Machine imagines what it would sound like if Leonardo da Vinci were dreaming, capturing his obsession with flight and the drama of solving the riddle of the air. The piece tells the story of Leonardo\u2019s torment and creative genius through a balance of musical elegance and emotional depth.<\/p>\n<p>We approached the piece as a miniature opera, with text and music refined together. Charles Anthony Silvestri supplied the texts, and the collaboration shaped the work into a fusion of ancient style and modern expression. It is the second in Whitacre\u2019s cycle of elemental works (the first being <i>Cloudburst<\/i>) and is dedicated with love and respect to his publisher, Ms. Gunilla Luboff.<\/p>\n<p style=\"text-align: right;\">\u2013 Eric Whitacre, composer<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Beatus Vir \u2013 Claudio Monteverdi<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Beatus vir, qui timet Dominum:<br \/>\nIn mandatis eius rolet nimis.<br \/>\nPotens in terra erit semen eius;<br \/>\nGeneratio rectorum benedicetur.<br \/>\nGloria et divitiae in domo eius;<br \/>\nEt justitia eius manet in saeculum saeculi.<br \/>\nExortum est in tenebris lumen rectis.<br \/>\nMisericors, et miserator et justus.<br \/>\nJucundus homo qui miseretur et commodat.<br \/>\nDisponet sermones suos in judicio:<br \/>\nQuia in aeternum non commovebitur.<br \/>\nIn memoria aeterna erit justus.<br \/>\nAb auditione mala non timebit.<br \/>\nParatum cor eius sperare in Domino;<br \/>\nConfirmatum est, cor eius:<br \/>\nNon commovebitur,<br \/>\nDonec despiciat inimicos suos.<br \/>\nDispersit, dedit pauperibus:<br \/>\nJustitia eius manet in saeculum saeculi,<br \/>\nCornu eius exaltabitur in gloria.<br \/>\nPeccator videbit, et irascetur;<br \/>\nDentibus suis fremet et tabescet.<br \/>\nDesiderium peccatorum peribit.<\/p>\n<\/div>\n<div class=\"column\">\n<p>Blessed is the man who fears the Lord:<br \/>\nHe delights greatly in his commandments.<br \/>\nHis seed will be mighty on earth;<br \/>\nThe generation of the upright will be blessed.<br \/>\nWealth and riches are in his house;<br \/>\nAnd his righteousness endures for ever and ever.<br \/>\nUnto the upright there arises light in the darkness:<br \/>\nHe is gracious, full of compassion, and righteous.<br \/>\nGood is the man who has compassion and lends.<br \/>\nHe will guide his affairs with discretion:<br \/>\nBecause he will not be moved for ever.<br \/>\nThe righteous will be in everlasting remembrance.<br \/>\nHe will not be afraid of evil tidings.<br \/>\nHis heart is fixed, trusting in the Lord;<br \/>\nHis heart is established:<br \/>\nHe will not be moved,<br \/>\nUntil he gazes at his enemies.<br \/>\nHe has dispersed, he has given to the poor:<br \/>\nHis righteousness endures for ever and ever,<br \/>\nHis soul will be exalted with honour.<br \/>\nThe sinner will see it, and will be grieved;<br \/>\nHe will gnash with his teeth,<br \/>\nAnd melt away.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p><i>Claudio Monteverdi\u2019s<\/i> <i>Beatus vir<\/i> comes from his late collection <i>Selva morale e spirituale<\/i> (1641), a compilation of sacred works published near the end of his life. Setting the joyful text of Psalm 112, \u201cBeatus vir qui timet Dominum\u201d (\u201cBlessed is the man who fears the Lord\u201d), Monteverdi blends expressive vocal writing with rhythmic vitality and lyrical grace. The piece reflects his mastery of the <i>stile concertato<\/i>, where contrasting textures and lively dialogue between voices create both intimacy and grandeur. Recurrent refrains of \u201cBeatus vir\u201d give the work a radiant, dance-like energy, while moments of word painting\u2014such as rapid notes for \u201cirascetur\u201d (\u201cis angered\u201d), long sustained tones for \u201caeternum\u201d (\u201ceternity\u201d), and descending figures for \u201cperibit\u201d (\u201cperishes\u201d)\u2014bring the text vividly to life. The result is music that celebrates faith with exuberant spirit and unmistakable human warmth.<\/p>\n<p style=\"text-align: right;\">\u2013 Jinho Cho, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Io Piango \u2013 Morten Lauridsen<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Io piango, ch\u00e8\u2019l dolore<br \/>\nPianger\u2019 mi fa, perch\u2019io<br \/>\nNon trov\u2019altro rimedio a l\u2019ardor mio.<br \/>\nCos\u00ec m\u2019ha concio\u2019 Amore<br \/>\nCh\u2019ognor\u2019viv\u2019in tormento<br \/>\nMa quanto piango pi\u00f9, men doglia sento.<br \/>\nSorte fiera e inaudita<br \/>\nChe\u2019l tacer mi d\u00e0 morte e\u2019l pianger vita!<\/p>\n<\/div>\n<div class=\"column\">\n<p>I weep, for sorrow<br \/>\nmakes me weep, and I<br \/>\nfind no other cure for my ardour.<br \/>\nThus does Love have me ensnared<br \/>\never to live in torment.<br \/>\nYet, the more I weep, the less pain I feel.<br \/>\nStrange and cruel fate,<br \/>\nthat silence brings me death and tears life!<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cThe choral masterpieces of the High Renaissance, especially the sacred works of Josquin and Palestrina, and the secular madrigals of Monteverdi and Gesualdo, provided the inspiration for my own <i>Madrigali<\/i>&#8230; The cycle has its dramatic high point in movement four, <i>Io Piango<\/i>, where the music gradually builds from pianissimo to a fortissimo, seven-part explosion of the \u2018Fire-Chord\u2019 before settling to a quiet return of the opening measures.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013 Morten Lauridsen, composer<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Come to Me, My Love \u2013 Norman Dello Joio<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Come to me in the silence of the night;<br \/>\nCome in the speaking silence of a dream;<br \/>\nCome with soft rounded cheeks and eyes as bright<br \/>\nAs sunlight on a stream;<br \/>\nCome back in tears<br \/>\nO memory, hope, love of finished years<\/p>\n<p>Oh dream how sweet, too sweet, too bitter sweet<br \/>\nWhose wakening should have been in Paradise<br \/>\nWhere souls brimfull of love abide and meet;<br \/>\nWhere thirsting longing eyes<br \/>\nWatch the slow door<br \/>\nThat opening, letting in, lets out no more<\/p>\n<p>Yet come to me in dreams, that I may live<br \/>\nMy very life again though cold in death:<br \/>\nCome back to me in dreams, that I may give<br \/>\nPulse for pulse, breath for breath:<br \/>\nSpeak low, lean low<br \/>\nAs long ago, my love, how long ago!<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cIn this longing and romantic piece for chorus and piano, Dello Joio, former professor and Dean at BU\u2019s College of Fine Arts, sets music to text based on the poem <i>Echo<\/i> by Christina Rossetti (1830\u20131894)&#8230; This song is a testament to the power of memory, and a strong reminder that love is never truly lost.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013 Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Draw on, Sweet Night \u2013 John Wilbye<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Draw on, Sweet Night, friend unto those cares<br \/>\nThat do arise from painful melancholy<br \/>\nMy life so ill through want of comfort fares<br \/>\nThat unto thee I consecrate it wholly<br \/>\nSweet Night, draw on!<\/p>\n<p>My griefs when they be told to shades<br \/>\nAnd darkness find some ease from paining<br \/>\nAnd while thou all in silence dost enfold<br \/>\nI then shall have best time for my complaining<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cJohn Wilbye is a famous English madrigalist of the late 16th to early 17th century&#8230; Wilbye\u2019s most famous madrigals include <i>Weep, o mine eyes<\/i> and <i>Draw on, sweet night<\/i>.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013 Kevin Lackie, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Lasciatemi, Morire \u2013 Claudio Monteverdi<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Lasciatemi morire,<br \/>\nLasciatemi morire;<br \/>\nE che volete voi che mi conforte<br \/>\nIn cos\u00ec dura sorte,<br \/>\nIn cos\u00ec gran martire?<br \/>\nLasciatemi morire.<\/p>\n<\/div>\n<div class=\"column\">\n<p>Let me die,<br \/>\nLet me die;<br \/>\nAnd what could you wish to give me comfort<br \/>\nIn such a cruel fate,<br \/>\nIn such great torment?<br \/>\nLet me die.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201c<i>Lasciatemi morire<\/i> (\u2018Let me die\u2019) is the surviving fragment from Monteverdi\u2019s lost 1608 opera <i>L\u2019Arianna<\/i>&#8230; This performance was carefully prepared under the direction of Travis Benoit, MM student in Choral Conducting at Boston University.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013 Jinho Cho, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Dies Irae \u2013 Ryan Main<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>Dies Irae! Dies Illa!<br \/>\nSolvet Saeclum in favilla:<br \/>\nTeste David cum Sibylla!<br \/>\nQuantus tremor est futurus,<br \/>\nQuando judex est venturus,<br \/>\nCuncta stricte discussurus!<\/p>\n<\/div>\n<div class=\"column\">\n<p>Day of wrath! O Day of mourning!<br \/>\nSee fulfilled the prophets\u2019 warning,<br \/>\nHeaven and Earth in ashes burning.<br \/>\nOh, what fear man\u2019s bosom rendeth,<br \/>\nWhen from heaven the Judge descendeth,<br \/>\nOn whose sentence all dependeth.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cThe <i>Dies Irae<\/i> is a Medieval Latin poem characterized by its accentual stress and rhymed lines&#8230; The text is taken from the Requiem Mass in the Roman Missal.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013 Ryan Main, composer<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Dominic Has a Doll \u2013 Vincent Persichetti<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>dominie has<\/p>\n<p>a doll wired<br \/>\nto the radiator of his<br \/>\nZOOM DOOM<\/p>\n<p>icecoalwood truck a<\/p>\n<p>wistful little<br \/>\nclown<br \/>\nwhom somebody buried<\/p>\n<p>upsidedown in an ashbarrel so<\/p>\n<p>of course dominie<br \/>\ntook him<br \/>\nhome<\/p>\n<p>&amp; mrs dominie washed his sweet<\/p>\n<p>dirty<br \/>\nface &amp; mended<br \/>\nhis bright torn trousers (quite<br \/>\nas if he were really her &amp;<br \/>\nshe but) &amp; so that<\/p>\n<p>&#8216;s how dominie has a doll<\/p>\n<p>&amp; every now &amp; then my<br \/>\nwonderful<br \/>\nfriend dominie depaola<\/p>\n<p>gives me a most tremendous hug<br \/>\nknowing ifeel that<br \/>\nwe &amp; worlds<br \/>\nare less alive than dolls &amp; dream<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cVincent Persichetti\u2019s <i>Four Cummings Choruses<\/i> Op. 98, from which this piece is the first in the set, is a setting of E.E. Cummings poetry. Throughout the cycle, Persichetti explores themes about love, joy, whimsy and youthfulness, nature, and grief. <i>Dominic Has a Doll<\/i> offers a light character that emphasizes the odd nature found within the text. Often, the piano parts and vocal parts juxtapose each other, further highlighting the variety of the Cummings poetry.\u201d<br \/>\n&#8211; Kevin Lackie, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Nouns to Nouns \u2013 Vincent Persichetti<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">\n<p>nouns to nouns<\/p>\n<p>wan<br \/>\nwan<\/p>\n<p>too nons too<\/p>\n<p>and<br \/>\nand<\/p>\n<p>nuns two nuns<\/p>\n<p>w an d<br \/>\nering<\/p>\n<p>in sin<\/p>\n<p>g<br \/>\nular untheknowndulous s<\/p>\n<p>pring<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>Vincent Persichetti (1915\u20131987) was an influential American composer, pianist, and educator whose music bridges traditional tonality and modern innovation. \u201cnouns to nouns,\u201d from his <i>Four Cummings Choruses<\/i>, Op. 98 (1964), sets the playful poetry of E. E. Cummings with Persichetti\u2019s characteristic clarity and rhythmic vitality. The piece captures Cummings\u2019s whimsical use of language through flowing lines, bright textures, and shifting harmonies that evoke the image of \u201cspring water and melting ice flowing smoothly over now-rounded stones.\u201d This performance has been prepared with great care by the Boston University Tenor-Bass Chorus, whose expressive singing brings Persichetti\u2019s wit and warmth to life.<br \/>\n&#8211; Jinho Cho, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Truth \u2013 Andrea Ramsey<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">My roots are earth, muddy river and honeysuckle<br \/>\nSturdy and rigid, like farmhouse planksI shared a sisterhood with the amber grasses<br \/>\nMy dreams climbed endlessly<br \/>\nLike the kudzu in July<br \/>\nI shared a sisterhood with the amber grasses<br \/>\nMy dreams climbed endlessly, no fear in sight<\/p>\n<p>In nature, in na\u00efve youth<br \/>\nAll the forest was possible<br \/>\nAll the pasture was my own<\/p>\n<p>My mother told me I was beautiful<br \/>\nAnd I believed her then<br \/>\nWhy shouldn&#8217;t I?<\/p>\n<p>There is no doubt in a pond<br \/>\nInsecurity does not grow in a meadow<br \/>\nIt will not sprout beneath the Southern pines<br \/>\nIt is planted by the boys on the school bus<br \/>\nTended by the words of small minds<br \/>\nAnd words may wound you<br \/>\nBut are they true?<\/p>\n<p>You are beautiful<br \/>\nYou are enough<br \/>\nYou must believe in that<br \/>\nBelieve the truth<\/p>\n<p>My roots are earth, muddy river and honeysuckle<br \/>\nMy roots are beautiful<br \/>\nMy roots are strong<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201c\u2018You are beautiful. You are enough.\u2019 In this empowering and grounded piece with text by Gardenia Bruce, we explore the reality of a world that preys on the insecurities of young girls. Where can we find confidence? Throughout the piece, written for treble chorus and percussion, images of nature show the strength of girlhood, likening it to the stability of tree roots, the power of kudzu, and the sweetness of honeysuckle.\u201d<br \/>\n&#8211; Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">The Rose \u2013 Ola Gjeilo<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">The lily has a smooth stalk<br \/>\nWill never hurt your hand;<br \/>\nBut the rose upon her brier<br \/>\nIs lady of the landThere&#8217;s sweetness in an apple tree<br \/>\nAnd profit in the corn;<br \/>\nBut lady of all beauty<br \/>\nIs a rose upon a thorn<\/p>\n<p>When with moss and honey<br \/>\nShe tips her bending brier<br \/>\nAnd half unfolds her glowing heart<br \/>\nShe sets the world on fire<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cSet to the text of <i>The Rose<\/i>, by Christina Rossetti (1830\u20131894), this piece is a passionate tribute to female trailblazers. The cascading piano accompaniment gives the unsettling sense of stormy water, and the treble voices provide a steady anchor. The text describes the beautiful and peaceful Lily, compared to the Rose, whose thorns are sharp and dangerous. This song is a reminder of the complexity, strength, and beauty of womanhood, and an apt reminder that \u2018well-behaved women rarely make history.\u2019 (Laurel Thatcher Ulrich)\u201d<br \/>\n&#8211; Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Lake Isle of Innisfree \u2013 Eleanor Daley<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">I will arise and go now, and go to Innisfree.<br \/>\nAnd a small cabin build there, of clay and wattles made;<br \/>\nNine bean-rows will I have there, a hive for the honeybee,<br \/>\nAnd live alone in the bee-loud glade.And I shall have some peace there, for peace comes dropping slow,<br \/>\nDropping from the veils of the morning to where the cricket sings;<br \/>\nThere midnight\u2019s all a glimmer, and noon a purple glow,<br \/>\nAnd evening full of the linnet\u2019s wings.<\/p>\n<p>I will arise and go now, for always night and day<br \/>\nI hear lake water lapping with low sounds by the shore;<br \/>\nWhile I stand on the roadway, or on the pavements grey,<br \/>\nI hear it in the deep heart&#8217;s core.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cThis luscious and dramatic piece for treble voices is rooted in themes of nature and hope. Using the poem <i>The Lake Isle of Innisfree<\/i> by W.B. Yeats (1865\u20131939), Daley uses a strong folk-like melody and rich piano accompaniment to realize Yeats\u2019 daydream. The poem describes a small cabin, a garden, honeybees, and most importantly a place to find some peace. The strong call to \u2018arise and go\u2019 reminds us to take time away from the hustle and bustle of life, and to do so with intention.\u201d<br \/>\n&#8211; Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">The Eyes of All Wait Upon Thee \u2013 Jean Berger<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">The eyes of all wait upon thee,<br \/>\nand thou givest them their meat in due season.<br \/>\nThou openest thine hand,<br \/>\nand satisfiest the desire of every living thing.<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cAccording to the Milken Archive of Jewish Music, Jean Berger\u2014born Arthur Schlossberg in Germany in 1909\u2014earned a Ph.D. in musicology before moving to Paris and later the United States, where he became a citizen and served in the U.S. Army during World War II. Choral music was central to his career, and <i>The Eyes of All Wait Upon Thee<\/i> (1959) remains one of his most beloved works. Setting verses from Psalm 145, Berger creates a richly harmonic, mixed-meter a cappella texture that is both lyrical and expressive. Beginning in E minor and closing in E Major, the piece conveys a sense of radiant faith and quiet assurance that God provides for our needs in His perfect time.\u201d<br \/>\n&#8211; Jinho Cho, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Ave Maria \u2013 R. Nathaniel Dett<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">Ave Maria, gratia plena, Dominus tecum<br \/>\nBenedicta tu in mulieribus,<br \/>\nEt benedictus fructus ventris tui, Jesus.<br \/>\nSancta Maria, mater Dei,<br \/>\nOra pro nobis peccatoribus,<br \/>\nNunc et in hora mortis nostrae.Hail Mary, full of grace, the Lord is with thee<br \/>\nBlessed art thou among women,<br \/>\nAnd blessed is the fruit of thy womb, Jesus,<br \/>\nHoly Mary, mother of God,<br \/>\nPray for us sinners,<br \/>\nNow and at the hour of our death.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cRobert Nathaniel Dett was a Canadian-American composer, conductor, organist, and professor. He was one of the first Black composers to be a part of the American Society of Composers, Authors and Publishers (ASCAP). Dett has performed at Carnegie Hall and Boston Symphony Hall. The <i>Ave Maria<\/i> is a famous text, translating to \u2018Hail Mary,\u2019 that has been set by many composers and often features a smooth musical character.\u201d<br \/>\n&#8211; Kevin Lackie, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Last Words of David \u2013 Randall Thompson<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">He that ruleth over men must be just,<br \/>\nmust be just,<br \/>\nmust be just,<br \/>\nruling in the fear of God,<br \/>\nruling in the fear of God,<br \/>\nthe fear of God.And he shall be as the light of the morning,<br \/>\nwhen the sun riseth,<br \/>\neven a morning without clouds;<br \/>\nas the tender grass springing out of the earth by clear shining after rain,<br \/>\nafter rain,<br \/>\nafter rain.<br \/>\nAlleluia.<br \/>\nAmen.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cCommissioned by the Boston Symphony Orchestra in 1949, this piece is full of drama and beauty, filled with luscious harmonies in the piano and the chorus. Adapted from the Biblical text of 2 Samuel 23:3-4, <i>The Last Words of David<\/i> recounts the reflections of the great, flawed, dying King. Beginning with an intense proclamation, and ending with a light and hopeful \u2018Alleluia\u2019 section, Thompson breathes life into a detailed musical landscape.\u201d<br \/>\n&#8211; Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Praise the Lord \u2013 Florence Price<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">Praise the Lord, all ye nations,<br \/>\nPraise the Lord, all ye people,<br \/>\nFor His merciful kindness is great toward us,<br \/>\nAnd the truth of the Lord endureth forever.<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cFlorence Price was an American composer, pianist and professor. She was educated at the New England Conservatory and is recognized as the first female African-American symphonic composer. <i>Praise the Lord<\/i> is a setting of Psalm 117 from the King James Bible. The piece is written in a simple structure, with a sentimental middle section bookended on both sides by declamatory moments of joy and praise.\u201d<br \/>\n&#8211; Kevin Lackie, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Missa Brevis \u2013 Leonard Bernstein<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">Kyrie<br \/>\nKyrie eleison.<br \/>\nChriste eleison.<br \/>\nKyrie eleison.Lord, have mercy.<br \/>\nChrist, have mercy.<br \/>\nLord, have mercy.<\/p>\n<p>Gloria<br \/>\nGloria in excelsis Deo.<br \/>\nEt in terra pax hominibus bonae voluntatis.<br \/>\nLaudamus te, benedicimus te,<br \/>\nAdoramus te, glorificamus te.<br \/>\nGratias agimus tibi<br \/>\npropter magnam gloriam tuam.<br \/>\nDomine Deus, Rex coelestis,<br \/>\nDeus Pater omnipotens.<br \/>\nDomine Fili unigenite, Jesu Christe.<br \/>\nDomine Deus, Agnus Dei, Filius Patris.<br \/>\nQui tollis peccata mundi,<br \/>\nmiserere nobis.<br \/>\nQui tollis peccata mundi,<br \/>\nsuscipe deprecationem nostram.<br \/>\nQui sedes ad dexteram Patris,<br \/>\nmiserere nobis.<br \/>\nQuoniam tu solus Sanctus, tu solus Dominus,<br \/>\nTu solus Altissimus, Jesu Christe,<br \/>\nCum Sancto Spiritu in gloria Dei Patris.<br \/>\nAmen.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cIn the mid-1950\u2019s Leonard Bernstein composed Latin and French choruses for the play, <i>The Lark<\/i>. This piece told the story of Joan of Arc, thus leading Bernstein to compose in a tone-world evocative of the medieval and renaissance eras. The famed conductor Robert Shaw attended one of the early performances and encouraged Bernstein to elaborate the composition into a <i>Missa Brevis<\/i>. Decades later, upon Shaw\u2019s retirement from the Atlanta Symphony Orchestra, Bernstein composed this <i>Missa Brevis<\/i>. Robert Shaw and the Atlanta Symphony Orchestra recorded an early version of the piece, which is considerably shorter than the completed work. <i>Missa Brevis<\/i> follows the standard application of the Latin Ordinary. However, Bernstein chose to omit the credo, for reasons undocumented. Bernstein adds an additional concluding section of \u2018alleluia\u2019 while the soloist sings \u2018Laudate dominum.\u2019\u201d<br \/>\n&#8211; Kevin Lackie, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Every Time I Feel the Spirit \u2013 William Dawson<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">Every time I feel the Spirit<br \/>\nmoving in my heart I will pray.<br \/>\nYes, every time I feel the Spirit<br \/>\nmoving in my heart I will pray.<br \/>\nUpon the mountain, when my Lord spoke,<br \/>\nout of God\u2019s mouth came fire and smoke.<br \/>\nLooked all around me, it looked so fine,<br \/>\ntill I asked my Lord if all was mine.<br \/>\nJordan River, chilly and cold,<br \/>\nit chills the body but not the soul.<br \/>\nThere is but one train upon this track.<br \/>\nIt runs to heaven and then right back.<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cThis traditional African American Spiritual was arranged by William L. Dawson, who dedicated his life to collecting and arranging Black American folk music which had been passed down through generations of enslavement in America, into emancipation, Jim Crow, and the Civil Rights Movement. This piece is featured in his collection of Spirituals, alongside other well known songs, including <i>Swing Low, Sweet Chariot<\/i> and <i>There is a Balm in Gilead<\/i>. This upbeat piece for chorus and soloist has a full and bright sound, championing joy and hope in the face of hardship.\u201d<br \/>\n&#8211; Anna Beeken, MSM Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\">Make Our Garden Grow \u2013 Leonard Bernstein<\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><\/p>\n<blockquote>\n<div class=\"columns\">\n<div class=\"column\">Candide<br \/>\nYou\u2019ve been a fool<br \/>\nAnd so have I,<br \/>\nBut come and be my wife.<br \/>\nAnd let us try,<br \/>\nBefore we die,<br \/>\nTo make some sense of life.<br \/>\nWe\u2019re neither pure, nor wise, nor good<br \/>\nWe\u2019ll do the best we know.<br \/>\nWe\u2019ll build our house and chop our wood<br \/>\nAnd make our garden grow.Cunegonde<br \/>\nI thought the world<br \/>\nWas sugar cake<br \/>\nFor so our master said.<br \/>\nBut, now I\u2019ll teach<br \/>\nMy hands to bake<br \/>\nOur loaf of daily bread.<\/p>\n<p>Candide and Cunegonde<br \/>\nWe\u2019re neither pure, nor wise, nor good<br \/>\nWe\u2019ll do the best we know.<br \/>\nWe\u2019ll build our house and chop our wood<br \/>\nAnd make our garden grow.<\/p>\n<p>Ensemble<br \/>\nLet dreamers dream<br \/>\nWhat worlds they please<br \/>\nThose Edens can\u2019t be found.<br \/>\nThe sweetest flowers,<br \/>\nThe fairest trees<br \/>\nAre grown in solid ground.<\/p>\n<p>We\u2019re neither pure, nor wise, nor good<br \/>\nWe\u2019ll do the best we know.<br \/>\nWe\u2019ll build our house and chop our wood<br \/>\nAnd make our garden grow!<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<p>\u201cLeonard Bernstein\u2019s <i>Make Our Garden Grow<\/i> forms the radiant finale of his 1956 operetta <i>Candide<\/i>. In this moving conclusion, Candide and Cunegonde come to understand that fulfillment lies not in grand ideals but in simple, honest labor\u2014\u2018to make our garden grow.\u2019 Bernstein\u2019s soaring melodies and rich harmonies build from quiet reflection to a powerful affirmation of hope, embodying his gift for blending theatrical brilliance with deep human warmth. Concluding tonight\u2019s program, this performance is led with passion and artistry by Michael Bradley, MM student in Choral Conducting at Boston University, inviting us all to share in the beauty and resolve of Bernstein\u2019s timeless message.\u201d<br \/>\n&#8211; Jinho Cho, DMA Choral Conducting student<\/p>\n<p><\/div>\n<\/div>\n\n<\/div>\n<h3><span style=\"color: #cc0000;\">Biographies<\/span><\/h3>\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\"><i style='margin-top:0; margin-bottom:0;'>Cody Bowers, countertenor<\/i><\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><br \/>\nWith \u201ca voice of rare beauty\u201d (Seen and Heard International), critically acclaimed countertenor Cody Bowers (IG: @MrMezzo_) is a nationally recognized artist with prize titles from The Sullivan Foundation, The Metropolitan Opera Laffont Competition, The George London Foundation for Singers, and The Rochester International Vocal Competition. In previous seasons, Mr. Bowers has performed with the New York Philharmonic Orchestra, The Atlanta Symphony Orchestra, The Houston Symphony Orchestra, The Metropolitan Opera, St. Petersburg Opera, Merola Opera Program, San Diego Opera, Minnesota Opera, Utah Opera, The Atlanta Opera, Boston Early Music Festival, Opera Neo, Tanglewood Music Center, and Cantos Para Hermanar al Mundo in Torre\u00f3n, Mexico. In the upcoming 25-26 season, Mr. Bowers anticipates Cleveland and Chicago performances with Apollo\u2019s Fire Baroque Orchestra, a Carnegie Hall solo debut with Oratorio Society of New York as alto soloist in Handel\u2019s Messiah, and engagements with Alabama Symphony Orchestra, and St. Luke\u2019s Atlanta.<\/p>\n<p>On the Operatic stage, Mr. Bowers continues to expand a broad and contrasting dramatic repertoire that ranges from a 2026 debut in the title role of Handel\u2019s Giulio Cesare in Egitto; the lost and mysterious Refugee from Jonathan Dove\u2019s Flight; Federico Garc\u00eda Lorca, the celebrated 20th century poet and playwright in Osvaldo Golijov\u2019s Ainadamar, who was martyred during the Spanish Civil War; Leonardo, the ghostly Greta Garbo impersonator who inspires Frida Kahlo to make peace with her troubled life in Gabriela Lena Frank\u2019s new Opera El \u00faltimo sue\u00f1o de Frida y Diego; the stubborn child who, after being disobedient, is scorned by his own furniture as it comes to life in Ravel\u2019s L\u2019Enfant et Les Sortil\u00e8ges; and Orlando, the conquering hero of antiquity who\u2019s desire to love and be loved drives him into the pits of insanity\u2014and the underworld.<\/p>\n<p>Mr. Bowers is an active member of internationally celebrated ensembles like Gramophone Award-winning Blue Heron Renaissance Choir, The Handel &#038; Haydn Society, Apollo\u2019s Fire Baroque Orchestra, The Thirteen, Bach Society Houston, VAE: Cincinnati, Tenet Vocal Artists, and Washington Bach Consort where he has performed numerous concert works by J. S. Bach including St. John Passion, St. Matthew Passion, Magnificat, Christmas Oratorio, and Mass in B minor. Other concert credits include Buxtehude\u2019s Membra Jesu Nostri, Ralph Vaughn William\u2019s Mass in G Minor, Vivaldi\u2019s Gloria, and Mozart\u2019s Mass in D Major.<\/p>\n<p>Permanently based in New Haven, Connecticut, when he isn\u2019t singing, Mr. Bowers enjoys tending to his many houseplants and continuing his life-long quest to discover the perfect roast chicken recipe.<br \/>\n<\/div>\n<\/div>\n\n<div class=\"bu_collapsible_container \" aria-live=\"polite\" data-customize-animation=\"false\"><h3 class=\"bu_collapsible\" aria-expanded=\"false\"tabindex=\"0\" role=\"button\"><i style='margin-top:0; margin-bottom:0;'>Daniel Parsley, Director of Choral Activities<\/i><\/h3><div class=\"bu_collapsible_section\" style=\"display: none;\"><br \/>\nDaniel Parsley enjoys an active career as a conductor, educator, scholar, and professional chorister. Daniel serves as Director of Choral Activities at the historic School of Music at Boston University, the oldest degree-granting music institution in the United States. At BU, Daniel serves as Chair of Graduate Conducting programs where he oversees the comprehensive MM, MSM, and DMA conducting programs, teaches graduate conducting and choral literature, and leads the BU Singers, Symphonic Chorus, and Soprano Alto Chorus. Upcoming highlights for the 2024-2025 academic season includes performances of David Lang Little Match Girl Passion, Bernstein Chichester Psalms, and Bach St. John Passion BWV 245.  In addition to collegiate teaching, he serves as Principal Conductor for the GRAMMY\u00ae Award-winning National Children\u2019s Chorus where he leads the Boston\/New England NCC chapters. Daniel was most recently the Director of Choral Activities at Thomas More University in the Cincinnati region and associate conductor at the Cincinnati Youth Choir, Ensemble-in-Residence at the University of Cincinnati College-Conservatory of Music. <\/p>\n<p>Since 2019, Daniel has served as associate conductor of the SummerMusik-Cincinnati Chamber Orchestra (CCO). At CCO, he leads the We Are One series, special events such as the Walk with Amal project, and assists with an annual mainstage SummerMusik festival. In addition to professional orchestral conducting engagements, Daniel previously served as assistant conductor and choral conducting fellow for the Cincinnati May Festival, where he prepared choruses for the Cincinnati Symphony Orchestra and Cincinnati Pops. <\/p>\n<p>Daniel has enjoyed a wide breadth of diverse professional experiences ranging from roles as a research fellow in Ghana with the Edward Brueggeman Center for Dialogue to conducting engagements with the National Chorus of Korea in Seoul. He has recently guest conducted professional symphonic and choral ensembles including the Portland Symphony Orchestra (ME), Coro Volante (Cincinnati), and the Seraphim Singers (Boston) in concert. Upcoming concert events and conducting residencies include the Hochschule f\u00fcr Musik und Theater M\u00fcnchen (DE), Universit\u00e4t Mozarteum Salzburg (AT), and the Cit\u00e9 de la Musique et de la Danse | Conservatoire de Strasbourg (FR). In September 2025, Daniel began as music director and conductor for ISSEA and led the annual Pan-African choral festival held in Nairobi, Kenya (2025.) He served as faculty for the Kentucky Institute of International Studies (KIIS) Salzburg Program and Cooperative Center for Study Abroad (CCSA) London summer study abroad program from 2013-2023. <\/p>\n<p>Daniel\u2019s passion for choral arts extends beyond conducting: He has performed with many choruses as a professional singer, including the Cleveland Orchestra Chorus, Cincinnati May Festival Chorus and Youth Chorus, Toledo Opera, Tuscia Opera Festival (Viterbo, Italy), and Berkshire Choral Festival. As a conductor of symphonic choral literature, Parsley has most recently prepared choruses for John Morris Russell, Gerhardt Zimmermann, James Meena, and Giordano Bellincampi. He currently serves as Director of Music at First Parish Universalist Unitarian in Arlington, MA and was most recently the Music in Worship Chair for the Ohio Choral Directors Association (OCDA\/ACDA). <\/p>\n<p>A Cincinnati native, Parsley completed a Doctor of Musical Arts (DMA) in Choral Conducting with a cognate in orchestral conducting at the University of Cincinnati-College Conservatory of Music (CCM). Daniel also holds a M.M. in Choral Conducting from Bowling Green State University and a B.M. Voice Performance and B.A. International Studies with concentrations in economics and history from Xavier University. In 2019, Daniel was selected as one of four finalists for the 2019 American Choral Directors\u2019 Association National Graduate Conducting Competition held in Kansas City. Parsley has studied conducting under Robert Porco, Earl Rivers, Brett Scott, AikKhai Pung, Mark Gibson, and Mark Munson.<\/p>\n<p>Parsley\u2019s current research interest focuses on the integration of Body Mapping, a method of instruction typically reserved for the private studio, in conducting pedagogy and the overall choral rehearsal. Recent scholarly publications include a curriculum guide for collegiate educators to apply Body Mapping techniques in ensemble rehearsals. Daniel is currently a Body Mapping Educator Affiliate with Andover Educators.<\/p>\n<p>Daniel was most recently the Music in Worship Chair for the Ohio Choral Director\u2019s Association. He has most recently served as Director of Music at St. Timothy Episcopal Church in Cincinnati and as associate conductor for Cincinnati\u2019s Music Sacra from 2017-19. He currently serves as Director of Music at First Parish Unitarian Universalist of Arlington, MA.  Daniel is an active member of ACDA, ChorusAmerica, AGO and NAfME.<br \/>\n<\/div>\n<\/div>\n\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Boston University School of Music presents: Dreams, Passions, and Words of Fire Boston University Chamber Choir, Boston University Symphonic Chorus, and University Choruses: Soprano Alto &amp; Tenor Bass Choirs &nbsp; Leonardo Dreams of His Flying Machine Hannah Prince &amp; Yuki Frampton, sopranos Alex Segreti, Ysobel Leonard, &amp; Olivia Rhein, mezzo-sopranos Denny Veidelis, baritone Alex Segreti, [&hellip;]<\/p>\n","protected":false},"author":12288,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/pages\/17608"}],"collection":[{"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/users\/12288"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/comments?post=17608"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/pages\/17608\/revisions"}],"predecessor-version":[{"id":17669,"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/pages\/17608\/revisions\/17669"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/bands\/wp-json\/wp\/v2\/media?parent=17608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}