Melissa Heath, Soprano
Christopher Ramos, Piano
UVU Wind Symphony and Choirs
Cherilyn Worthen, Conductor
Christmas and my Mother
Rosemerry Wahtola Trommer
unable to form
the sweet dough in my hands
without hearing the echo
of her hymn as she sings
a thousand miles away
It was November of 2023 when I first began dreaming about this concert: what it could mean, what it might sound like, who might be able join together to create it. It’s turned out much bigger than those first dreams. I am deeply thankful for all my students and colleagues.
One thing has remained constant as I started thinking about the repertoire that could form about 100 minutes of someone’s evening as they prepare for the winter holidays. One day last year I was watching my wife move our old Christmas tree into the front room. It was our first Christmas in Utah, and so she was figuring out the right place to put it in our little rental home. She found the place, she turned on some music, she got the kids, and she set it up. I marveled at this woman I was so lucky to marry, in a new place, making a new home, ornament by ornament.
I thought about my own mothers (I am lucky to have two). I thought about my friends who are mothers. I thought about my friends’ mothers. I thought about people I knew who maybe aren’t traditional mothers, but certainly fulfill that role in others’ lives. I reflected on how many homes I have been through over Christmastime, all set up in their own ways to stoke warmth in the cold season. It filled me with wonder. It also filled me with a strange ache. So many of these people also felt so far away in this new place.
This program is a celebration of all of those figures.
It wasn’t until recently I also realized how much of this music has a relationship with war and conflict. I suppose it makes sense if we believe Walter Benjamin’s adage that war is the apotheosis of art. Maybe because I am getting older, but maybe also because the world seems to be slipping more and more into it, I feel like war colors too much of my current understanding of humanity. I cannot imagine a single mother (or father) who would want such a world for their children. Much of our celebration of mothers and mother figures tonight is also in tension with such an observation. The midwinter holiday is an ancient ritual—a prayer for renewal in the midst of darkness. The sun will rise. The warmth will return. A baby is born. A mother puts another log on the fire. Tonight, we also perform this ritual.
-C.R.
Wintertime
Anyone who has experienced Winter can understand her beauty as well as the harsh cold.
I wrote "Wintertime" to musically illustrate my complicated relationship with her.
-Program note by the composer
Plyve Kacha Po Tysyni
In the winter at the beginning of 2022, the world watched in surprise and shock as
Russian missiles began pulverizing Ukrainian soil ahead of massed infantry and armor
intent on capturing Kyiv. This invasion has resulted in the deadliest European conflict
since World War II. Since then, wars have broken out across the world, and some worry
that we are beginning to forget these conflicts as we become used to them, and they
fade from the nightly news.
In “Plyve Kacha,” the duckling on the river Tisza (“Tysini”) traditionally represents
the soul crossing into the afterlife. A mother and son in the song grapple with the
horror of war, and the grief of separation.
Tonight, we perform this in honor of all the sons and daughters who are spending their
winter holidays on battlefields fighting for their families’ security to celebrate
those holidays back in their homes, refugee camps, and abroad.
-Program note by Christopher Ramos
Гей, плине кача по Тисині,
Плине кача по Тисині.
Мамко ж моя, не лай мені,
Мамко ж моя, не лай мені.
Гей, залаєш ми в злу годину,
Залаєш ми в злу годину.
Сам не знаю де погину,
Сам не знаю де погину.
Гей, погину я в чужім краю,
Погину я в чужім краю.
Хто ж ми буде брати яму?
Хто ж ми буде брати яму?
Гей, виберут ми чужі люди,
Виберут ми чужі люди.
Ци не жаль ти, мамко, буде?
Ци не жаль ти, мамко, буде?
Гей, якби ж мені, синку, не жаль?
Якби ж мені, синку, не жаль?
Ти ж на моїм серцю лежав,
Ти ж на моїм серцю лежав.
Гей, плине кача по Тисині,
Плине кача в по Тисині.
---
Oh, duckling floats on Tisyna
Duckling floats on Tisyna.
My mother, don’t weep for me
My mother, don’t lament for me
Oh, if you will swear me at the darkest hour,
If you will swear me at the darkest hour.
I don’t know where I’ll die,
I don’t know where I’ll die.
Oh, I’ll die in foreign lands
I will die in foreign lands.
Who will prepare a grave for me?
Who will prepare a grave for me?
Oh, strangers will bury me,
Strangers will bury me
Won’t you regret it, mother?
Won’t you regret it, mother?
Oh, my son, how could I not regret?
My son, how could I not regret?
You were laying on my heart,
You were laying on my heart.
Oh, duckling floats on Tisyna
Duckling floats on Tisyna.
Variants on a Mediaeval Tune
The medieval tune is "In Dulci Jubilo," an early 14th century work attributed to Heinrich
Seuse, a German mystic who, according to legend, heard angels singing this tune and
joined them in a dance of worship. Many composers have set this tune over the last
six centuries, and Norman Dello Joio joined their ranks with “Variants” in 1963. This
work has since become one of the cornerstones of wind band literature. After introducing
the theme, Dello Joio transforms it through five highly contrasting metamorphoses,
highlighting the unique timbral capabilities of the wind band at a time when few composers
were writing original works for the medium. Interestingly, every harmony, rhythm,
and melodic transformation of the five variations is derived from the original tune
itself.
-Program note by Christopher Ramos
Sing We Now of Christmas
Craig Courtney’s setting of "Sing We Now of Christmas" fulfills all of the criteria
for a fresh, interesting, up-tempo carol setting that is both challenging and light-hearted,
complete with a few clever musical twists that will inevitably charm both singer and
listener. I make it a point to program at least one piece of music on every concert
that makes the listener smile. "Sing We Now of Christmas" was that piece on our annual
Christmas Festival concert this year. Constantly in search of new and fresh Christmas
literature, I was delighted to program this setting, which creatively employs rhythmic
variation, syncopation, dissonance, and jazz harmonies, all to the playful effect
with a reminiscent nod to the beloved and familiar "Ukrainian Bell Carol." The B section
presents a lovely, lyrical contrast, which should be sung freely and expressively.
The piece concludes with a return to the almost buzzing quality of the bells rung
by the voices appropriately on the word “sing.”
-Program note by Dr. Lynda Hasseler
O Magnum Mysterium
O Magnum Mysterium, commissioned by Marshall Rutter in honor of his wife, Terry Knowles,
has had several thousand performances throughout the world and dozens of recordings
since its 1994 premiere by the Los Angeles Master Chorale. I have also arranged the
work for solo voice and piano or organ (recorded on Northwest Journey by Jane Thorngren
accompanied by the composer), men's chorus and brass ensemble; H. Robert Reynolds's
stunning adaptation for symphonic winds was premiered in Minneapolis by the Thornton
Wind Symphony.
For centuries, composers have been inspired by the beautiful O Magnum Mysterium text
depicting the birth of the new-born King amongst the lowly animals and shepherds.
This affirmation of God's grace to the meek and the adoration of the Blessed Virgin
are celebrated in my setting through a quiet song of profound inner joy.
-Program note by the composer
O magnum mysterium
et admirabile sacramentum
ut animalia viderent Dominum natum,
iacentem in praesepio!
O beata virgo, cuius viscera
meruerunt portare
Dominum Iesum Christum.
Alleluia!
---
O great mystery,
and wonderful sacrament,
that animals should see the newborn Lord,
lying in a manger!
O blessed virgin, whose womb
was worthy to bear
the Lord Jesus Christ.
Alleluia!
The Cherry Tree Carol
This song tells the apocryphal story set in the travel Joseph and the Virgin Mary
made to Bethlehem before the birth of Jesus. The two stop in a cherry orchard, and
Mary asks Joseph to pick some cherries for her. Joseph spitefully tells Mary to let
the child’s father pick the cherries. The infant Jesus from the womb then commands
the cherry tree to lower its branches for her. Joseph then repents his harsh words.
Though the carol is itself very old, at least from the early 15th Century, this particular
tune and set of lyrics come from a collection of American Folk Songs for Christmas
published by Ruth Crawford Seeger. Alan Lomax collected this song in Kentucky in the
late 1930s. It seems particularly salient in an American culture that is often unkind
to women and especially single mothers. Part of the power of song and singing is in
its ability to warm the spirit and encourage strength in the face of oppression. It
seems no accident that this song took root in the harsh realities women experienced
in rural America since the days of colonization.
In this song, not only does Mary quietly resist Joseph’s harsh language, but the very
Messiah intercedes on her behalf as nature itself celebrates the wondrous mystery
of her position as mother to Emmanuel, God with Us. In the Judeo-Christian creation
story, it seems notable that God’s promise for the restoration of man and the creation
is actualized in the work of women. Cursing the Satan, the serpent of deception, the
Creator tells it, “And I will put enmity between you and the woman, and between your
offspring and hers; he will crush your head, and you will strike his heel.”
-Program note by Christopher Ramos
Joseph was an old man, an old man was he,
He married Virgin Mary, the Queen of Galilee
He married Virgin Mary, the Queen of Galilee
Joseph and Mary, walked through an orchard green
There were cherries and berries, as thick as might be seen
There were cherries and berries, as thick as might be seen
Mary said to Joseph, so meek and so mild
“Joseph gather me some cherries, for I am with child.
Joseph gather me some cherries, for I am with child.”
Then Joseph flew in anger, in anger flew he
“Let the father of the baby gather cherries for thee.
Let the father of the baby gather cherries for thee.”
Then upspoke Baby Jesus, from inside his mother’s womb
Said, “Bow low, low cherry tree, bow low down to the ground.”
Said, “Bow low, low cherry tree, bow low down to the ground.”
Then the cherry tree bowed low down, low down to the ground
Then Mary gathered cherries, while Joseph stood around
Then Mary gathered cherries, while Joseph stood around
Then Joseph took Mary upon his right knee
He said, “Tell me pretty baby, when your birthday shall be.”
He said, “Tell me pretty baby, when your birthday shall be.”
“On the sixth day of January, my birthday shall be
When the stars and the elements shall all tremble with glee
When the stars and the elements shall all tremble with glee”
When Joseph was an old man, an old man was he
He married Virgin Mary, the Queen of Galilee
He married Virgin Mary, the Queen of Galilee
O Come, Emmanuel
The chant “Veni, veni, Emmanuel” is one of the oldest melodies that is still popular
in the Western imagination and repertory today. Musicologists know that the hymn has
its origins at least as early as the 8th or 9th Centuries, with the metrical form
familiar to us today composed sometime in the 12th Century. It speaks to the fervent
waiting of the promised Messiah to come and restore the world from its broken state
and into union with the Creator.
-Program note by Christopher Ramos
The Night Before Christmas
This magical piece is the quintessential setting for the Christmas holiday’s most
treasured poem. A tour de force for the concert band, this original score includes
numerous soloists and sparkling orchestration while musically staging the poem from
beginning to end.
-Program note by the publisher
Mu Vaibmu Vadjol Doppe
The hymn "Mitt hjerte alltid vanker" ("My heart always lingers") is one of the most
popular Scandinavian hymns. In this arrangement I include elements from the yoik tradition,
a Northern Sámi translation of the first verse and the last verse in Norwegian language.
The original lyrics were written in Danish by Hans Adolph Brorson in 1732. The yoik
elements include the use of so-called yoik syllables (syllables with no meaning) as
well as a yoik inspired melody in the opening bars. The yoik melody is then reused
in several places.
-Program note by the composer
Mu váibmu vádjol doppe gos Jesus riegádii
mu jurdagat leat dasa buot oktii čoahkanan
Das lea mu aibbašeapmi, das oskku dávvir lea
ja nuvt in vajáldahte dan juovlaija mun
Eai hearráid čikŋás lanjat lean dutnje čiŋahun
dus livččii dušše gohččut, ja livccet ožžon buot
De manne it don čiŋain lean iežat gárvvohan
vai livčče gonagasat du gieđa cummistan
Gal cizážis lea beassi ja liekkus suodji maid
ja beškoš maiddái gávdná su idjamášu ge
ja ledjonis lea biedju gos ráfis oažžu leat
mu Ipmilan son veallá vel earáid stáljas ge
---
My heart always lingers
in the birthplace of Jesus
My thoughts there gather
as their main sum
There is my longing at home
there has my faith its prize
You I never could forget
blessed Christmas night
A sparrow though has its nest
and sacred resting space
A swallow shouldn’t need to ask
for nightly shelter and peace
A lion knows its cave
Where it’ll find its calm
Should then my God have to hide
in others’ stable and straw
Russian Christmas Music
Originally written in November 1944, Russian Christmas Music was first performed in
December that year at a special concert in Denver, Colorado, by a select group of
musicians from five of the leading military service bands stationed in that area.
The concert was intended to celebrate the recent Allied advances in the Second World
War, and especially the Soviet Union’s Operation Bagration that supported from the
Eastern front the Normandy Invasion happening on the Western front. At this concert
there were to be premieres of both American and Soviet works. Sergei Prokofiev was
slated to enjoy the American premiere of his March, Op. 99, but unfortunately the
American bands were unable to acquire the music in time for the concert (there was
a war going on after all!). So, two weeks before the concert, a young Alfred Reed
was assigned to compose something “Russian” to fill that spot on the program. Little
did he know at the time that he was composing what would become one of the most popular
and beloved works in the wind band repertoire.
Regarding the work’s structure, Reed wrote, “An ancient Russian Christmas carol (“Carol
of the Little Russian Children”), together with a good deal of original material and
some motivic elements derived from the liturgical music of the Eastern Orthodox Church,
forms the basis for this musical impression of Old Russia during the jubilant Christmas
season. Although cast in the form of a single, continuous movement, four distinct
sections may be easily recognized, which I originally subtitled ‘Children’s Carol,’
‘Antiphonal Chant,’ ‘Village Song,’ and the closing ‘Cathedral Chorus.’ All of the
resources of the modern, integrated symphonic band are drawn upon to create an almost
overwhelming sound picture of tone color, power, and sonority."
-Program note by Christopher Ramos
Have Yourself a Merry Little Christmas
Martin and Blane wrote this song in 1943 for the film Meet Me in St. Louis. In the scene, a family is distraught upon learning of an impending move from St.
Louis, Missouri to New York City for the father’s job promotion. Esther (played by
Judy Garland) sings this song on Christmas Eve to cheer up her despondent five-year-old
sister, Tootie (played by Margaret O’Brien).
Interestingly, the song went through several revisions before its final publication
as it was originally criticized as too depressing (“It may be your last / Next year
we may all be living in the past” became “Let your heart be light / Next year all
our troubles will be out of sight.”). Apparently, the revision was the right move
as it became a favorite among US troops serving in World War II. Legend has it that
Garland’s performance to the troops at the Hollywood Canteen brought many soldiers
to tears.
-Program note by Christopher Ramos
A Christmas Festival
A Christmas Festival, composed in 1950, is a concert overture built upon traditional
Christmas songs. Originally recorded by the Boston Pops, it is the Christmas medley
that sets the standard for all others. Anderson has encompassed the joy, celebration,
and solemnity of Christmas in his arrangements of Joy To The World • Deck the Halls
• God Rest Ye Merry Gentlemen • Good King Wenceslas • Hark! The Herald Angels Sing
• The First Noel • Silent Night • Jingle Bells and O Come, All Ye Faithful.
- Program Note from Walnut Creek (Calif.) Concert Band concert program, 1 December
2015
Dr. Christopher Ramos
Conductor
Flute Clarinet Bass Clarinet Oboe Bassoon Saxophone Trumpet
|
Horn
|
Cathy Jolley
Conductor
Heidi Rodebaugh, Pianist
Soprano I Soprano II Alto I Alto II |
Tenor I Tenor II Baritone Bass
|
|
* denotes section principal |
Dr. Cherilyn Worthen
Conductor
Ashley Vasquez, Pianist
Soprano 1 Soprano 2 |
Alto 1 Alto 2
|
|
* denotes section leader |
Leslie Walker
Conductor
Heidi Rodeback, Pianist
Tenor 1 Tenor 2 Baritone Bass |
|
Cathy Jolley is filling the role as conductor of the Chamber Choir this school year as Dr. Reed Criddle is on sabbatical. She has been a choral teacher in the Alpine School District for 34 years, the last three as the Performing Arts Specialist (mentoring and instructing all teachers in each discipline). Preparing and facilitating professional development was a large part of the assignment. Immediately following Covid, she co-wrote a curriculum for the district: “Post-Traumatic Growth: Inspiring Teachers to Thrive” that assisted teachers in returning to the classroom, addressing the challenges resulting from the Pandemic and asynchronous teaching. She is active as an adjudicator and choral clinician/conductor in Utah and Wyoming, conducting the Utah State Honor Choir in 2024 and various Honor Choirs in districts throughout the state. She has been recognized in as runner-up Teacher of the Year and Teacher of the Year for Alpine School District. She was also awarded 1st runner-up Teacher of the Year for the state of Utah. Other recognitions include the Superior Accomplishment Award and Outstanding Jr. High/Middle School Educator from Utah Music Educators Association, the Award of Excellence from the American Choral Directors Association, and Outstanding Arts Educator by the Sorensen Legacy Foundation. She is an active (retired) member of UMEA, ACDA, and NAFME.
Leslie Walker is the interim director of Deep Green at Utah Valley University in Orem, Utah. She received her Master of music in performance and pedagogy from Brigham Young University in 2004, and her bachelor's equivalency in choral education in 2001. She graduated with her first bachelor's degree in elementary education in 1980. In college, she sang with the BYU A Capella and Oratorio choirs in the late 70’s, and with BYU Singers and Concert Choir in the late 90’s. Leslie's teaching career has spanned over 40 years. She taught Jr. High choir and High School for 11 years each, totaling 22 years in the public schools. She retired from her position as Director of Choral Activities at Springville High School in 2023. An active member of ACDA, she is currently serving as the chair of children's choirs for the ACDA Western Division. She is the director of Hobble Creek Singers and Intermountain Young Artists children's choirs. Leslie sang with the Tabernacle Choir at Temple Square for 16 years. Since retiring from the choir she has sung with the Cantorum Chamber Choir, Utah Baroque Ensemble and Intermountain Choral Artists. She recently directed a 380 voice children's choir for the general conference of the Church of Jesus Christ of Latter Day Saints. She and her husband Mark have five children and 13 grandchildren. They reside in Springville.
Soprano Melissa Heath enjoys a varied career of opera, concert and recital work. Hailed as a “soaring, sparkling soprano” with “vivacious stage presence,” recent opera roles include Musetta in Puccini’s La Bohème, Countess in Mozart’s Le Nozze di Figaro and Micaëla in Bizet’s Carmen. Recent concert work includes Vaughan Williams’ Dona Nobis Pacem and both Mozart’s Requiem and Mass in c minor with the Temple Square Chorale and Orchestra at Temple Square, Handel’s Messiah with the Mormon Tabernacle Choir, and both Mozart’s Exsultate, jubilate and Barber’s Knoxville, Summer of 1915 with Sinfonia Salt Lake. With the Utah Symphony, Ms. Heath has performed both Nielsen’s Symphony no. 3 and Handel’s Messiah. In 2017 she was the soprano soloist with Ballet West in choreographer Nicolo Fonte’s world premiere of Carl Orff’s Carmina Burana. She reprised this role with both Ballet West (2022) and Nevada Ballet Theater (2022 and 2023). Ms. Heath is a frequent soloist on Salt Lake City’s NOVA Chamber Music Series and has performed on the Gina Bachauer International Piano Festival. In 2019 she sang the role of The Water in Utah Opera's Production of The Little Prince, Mahler’s Symphony no. 2 with Salt Lake Symphony, and soloed with Utah Symphony in their Deer Valley Concert Series. In 2023, she appeared again with Ballet West in Stravinsky’s Les Noces and with Utopia, Utah’s premiere early music ensemble. In 2024, she performed with Salt Lake Symphony for the world premiere of John Costa’s The Statuette EP, and with the American Festival Chorus & Orchestra in Merrill Bradshaw’s The Restoration. Ms. Heath was a district winner in the Metropolitan Opera’s National Council Auditions, and was a two-time regional finalist in the National Association of Teachers of Singing’s biennial art song competition.
Ms. Heath is an Associate Professor of music and the Voice Area Coordinator in the Department of Music at Utah Valley University. She holds a Bachelor’s Degree in voice from Brigham Young University and her Master of Music and Doctorate of Musical Arts degrees in voice from the University of Utah.
A native of Chicago, Illinois, Cherilyn Worthen is an associate professor of Choral Music Education at Utah Valley University where she directs the Emerald Singers and is the Music Education Coordinator. She holds degrees in Music Education and Choral Conducting from Brigham Young University as well as a PhD in Music Education from the University of Utah. Since 2006, she has served as the director of the Choir School for The Tabernacle Choir at Temple Square where she designs and directs performance training programs for newly admitted singers, current choir members, and the global participants.
Dr. Worthen was the inaugural recipient of the Dr. Bonnie Ballif-Spanvill Endowed Fellowship from the Research Institute at the Women’s Success Center at UVU. She is currently serving as a member of the Hymnbook and Music Member Experience Committees for The Church of Jesus Christ of Latter-Day Saints. She has served on the UMEA Choral Committee and the UMEA Executive Board as the Higher Education VP and is currently the Past-President of ACDA Utah. Under her direction, the UVU Women's Choir has performed by invitation at UMEA, ACDA Utah, and ACDA Western Division Conferences.
Melody Reid is a Commercial Music major with many years of songwriting and performing experience in and out of school. Her music can be found on all streaming platforms.
Caryl Klemann is a student at Utah Valley University from Keller, Texas, currently pursuing her bachelor’s degree in Music Education and Flute Performance. She is principal flute of the UVU Wind Symphony and Symphony Orchestra. Along with participating in local ensembles, she also enjoys teaching flute students in the area and working on staff for high school marching bands. She will be graduating next spring.
Christopher Ramos is currently serving as Director of Bands at Utah Valley University in Orem, Utah. He conducts the UVU Wind Symphony and directs instrumental studies within the music education area. Prior to academia, Chris served as a middle school and high school band director at Dalat International School in Penang, Malaysia. He is also an active scholar working at the intersection of wind band studies, disability theory, and music education. He holds degrees from The Hartt School where he studied with Glen Adsit and Edward Cumming, the University of New Mexico where he studied with Eric Rombach-Kendall, and from East Texas A&M University (formerly Texas A&M University-Commerce) where he studied with Phillip Clements, Luis Sanchez, and Mike Morrow. An avid supporter of new music, he has been part of several commissioning projects and has recorded with both the Naxos and Summit record labels. He is an active member in the College Band Directors National Association, Utah Music Educators Association, Utah Bandmasters Association, American Musicological Society, and National Association for Music Education, and is an honorary member of the Phi Mu Alpha Sinfonia National Music Fraternity.
The arts possess the sublime power to inspire, engage, and transform. Just as a solitary note holds the ability to captivate, a single voice, gesture, or melody possesses the ineffable power to carry us away.
We invite you to embark upon a new journey with us this season at The Noorda Center—home to inspiring events and an exciting hub for the arts in Utah County. Our mission is to produce and present artistic excellence, which would not be possible without the generous support of our donors and sponsors. We thank them and express our deep gratitude to all patrons, supporters, and friends of The Noorda Center.
Thank you for journeying with us this season to experience the profound and transformative power of the arts!
Courtney R. Davis, J.D., M.A.
Dean, School of the Arts
Department Chair
JEFFREY O'FLYNN
Associate Chair
MELISSA HEATH
Administrative Assistant
CHRIS GINES
Choirs
REED CRIDDLE
CHERILYN WORTHEN
Orchestra/Cello
CHEUNG CHAU
Violin
DONNA FAIRBANKS
Clarinet
JEFFREY O’FLYNN
Trumpet/Music Theory
RYAN NIELSEN
Percussion
SHANE JONES
Piano
HILARY DEMSKE
Jazz/Commercial
DAVID BAKER
Voice
MELISSA HEATH
ISAAC HURTADO
Commercial Music
CHARLIE HAN
TODD SORENSEN
Theory
BRYCE RYTTING
Musicology
ROSS HAGEN
Director of Bands
CHRIS RAMOS