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Roland Carter is a retired Distinguished Professor of Music at the University of Tennessee Chattanooga. His gift for capturing authenticity of the spiritual is shown here in the tender four-part harmony and charging tonal shifts. Carter's arrangement of the beloved spiritual added the portion of scripture from John’s Gospel that is the scriptural foundation for this spiritual. It is set as a quasi-recitative or chant. In classical music it might be referred to as choral sprechstimme, or “sung speech.” The sopranos hold the last word of the sung refrain on a single pitch while the rest of the choir intones (chants) the scriptural text. It is a heavenly moment in Carter’s arrangement that is nothing short of transcendent. Whether one is treated to Carter’s arrangement of this spiritual or some other version, the sentiment is clear – denied proper housing in life, the enslaved held onto the promise of divine and embodied freedom.


In bright mansions above, in bright mansions above Lord, I want to live up yonder in bright mansions above.

My mother’s gone to glory,
I want to live there, too.
Lord, I want to live up yonder in bright mansions above.

In my Father’s house, there are many mansions.
If it were not so, I would have told you.

Mia Makaroff is a Finnish music educator, choral conductor and composer. Her speciality is well-wrought choral music that finds its inspiration in rhythmic music (mostly ethno/pop). Makaroff’s music has been made famous by the Finnish a cappella group Rajaton and the two last works on our programme are both originally written for Rajaton’s six singers. Butterfly is an achingly beautiful song about love and the transience of life written with the lightest of touches.

James Mulholland (b. March 7, 1935) was born in Laurel, Mississippi and received his BM in voice and composition and MM in voice and choral conducting from Louisiana State University in 1957 and 1959, respectively. He attended Indiana University, receiving a full scholarship in the opera department, where he completed all but the dissertation toward a DMA in performance and literature. Mulholland is a professor of music at Butler University in Indianapolis, Indiana where he has taught since 1964.

Mullholland has had over two hundred pieces published in his lifetime, most of which are for choir with keyboard accompaniment. On occasion, he has written for a cappella choir, as well as brass ensemble, full orchestra, and solo instrument accompaniment. 

Kéramos, from the Greek, is translated “the potter’s clay.” It’s lengthy set of stanzas are set to music in the rather unassuming key area combinations of B major and G major, likely denoting humanity’s difference with the urgently connective thought of humankind being formed of the same clay. The recurring word “turn” is motivically expressed in rapidly moving triplet melodies in each vocal line in the piece’s B-section as if to promote the image of a turning wheel. 

Hagenberg’s setting of a traditional Gaelic prayer lifts up the singer as much as the listener. The poet speaks to the need to reach outside of oneself for aid, and the idea that without each other, we are limited by our own perspective. 

“As the rain hides the stars, as the autumn mist hides the hills, as the clouds veil the blue of the sky, so the dark happenings of my lot hide your shining face from me. Yet, if I may hold your hand in the darkness, II is enough, though I may stumble in my going, you do not fall.”

- Traditional Gaelic Prayer

Moses Hogan was an ascendant choral conductor and composer when his life and career were cut short at age 45 by a brain tumor. His concert settings of spirituals changed the landscape of choral music in the 1990s, and his Moses Hogan Singers toured the world to great acclaim, singing his music and music of the African American tradition. He was raised in the music traditions of New Orleans before he studied at Oberlin and Juilliard, and in Vienna. 

Zanaida Robles writes of her piece, She Lingers On, “Touching on the subject of depression and mental health in an artful and meaningful way, this piece uses musical devices to represent feelings. Using only a few words, the notes swim through the deep waters of depression: first feeling the sensation of drowning, then remembering to swim to the surface to take a breath.” 

A Child of Our Time is a secular oratorio by the British composer Michael Tippett, who also wrote the libretto. Composed between 1939 and 1941, it was first performed at the Adelphi Theatre, London, on 19 March 1944. One of Tippett's earliest acknowledged works, is one of his most popular. The music tells the true story of a child who, terrified and enraged at the treatment of his mother by law enforcement, channels his therapeutic tools to write a work according to themes of shadow and light. Tippett adopts the structure of Bach's Passions, in which arias alternate with choruses and Lutheran hymns (chorales), although in place of the chorales Tippett substitutes magnificently moving Negro spirituals. "A Child of our Time" offers music of rage, poignancy, and deep compassion. As the title itself implies, it is both specific to a certain time and place, and simultaneously universal.

Morten Lauridsen has achieved a remarkable position in the choral world; it can be summed up by the fact that he has now overtaken Randall Thompson as America’s most frequently performed choral composer. Several of his individual works are the all-time best selling choral octavos published by Theodore Presser. His music is recorded on more than 100 compact discs, and sung all over the world. Lament for Pasiphaë is the first of the five Mid-Winter Songs by Lauridsen on texts by Robert Graves. The work was commissioned by the University of Southern California and was premiered by Rodney Eichenberger and the USC Chamber Singers. The work was awarded the 1984 Phi Kappa Phi Creative Writing Prize. Lament for Pasiphaë refers to the daughter of Helios, the sun Titan, who committed adultery with a bull. The poet, however, pleads for her as ‘beyond good and evil’ – a natural force. The music begins with bright stabs from the accompaniment to the words ‘Dying sun, shine warm a little longer.’

Dying sun, shine warm a little longer!
My eye, dazzled with tears, shall dazzle yours,
Conjuring you to shine and not to move.
You, sun, and I all afternoon have laboured
Beneath a dewless and oppressive cloud--
a fleece now gilded with our commen grief
That this must be a night without a moon.
Dying sun, shine warm a little longer!

Faithless she was not: she was very woman,
Smiling with dire impartiality,
Sovereign, with heart unmatched, adored of men,
Until Spring's cuckoo with bedraggled plumes
Tempted her pity and her truth betrayed.
Then she who shone for all resigned her being,
And this must be a night without a moon.
Dying sun, shine warm a little longer!

Better was famously recorded in 2016 by Bishop Hezekiah Walker of Brooklyn, NY, instantly becoming an inspirational anthem in the Gospel music sector and across many African-American house of worship. Originally written by singer-songwriter, Jason Clayborn, it’s accessibility to various choir types and uplifting lyrics makes this piece an ideal program closer. Audiences can typically expect to experience the gospel-infused energy complete with expanded instrumentation, vamping, hand-clapping, and heartening modulations. From its spirited opening to its dynamic conclusion, this SATB arrangement inspires performers and audiences alike with its driving rhythm and hopeful message. The song’s theme of perseverance and positivity is immediately clear, making it a meaningful addition to any concert or worship setting.

People come. People go.
Your life has been out of control.
You're confused; don't worry your soul.

It will get better! God is in control.

Find a praise within your heart.
Hold it close; don't ever depart.
It gets cold in the night, but you'll be alright.

It will get better! God is in control.

Whatever state I find myself in, I've learned how to be secure.
Knowing that God will supply all my needs and he'll work things out for my good.

It will get better! God is in control.

Julian Bingham
Brendan Blazier
Ashley Brokaw
Caleb Cackowski
Kaitlyn Campbell
Hope Carey
Jack Cecere
Bean Cesari
Jaewon Chae
Cody Chelune
Cian Connolly
Lorelei Cramer
Kerry Cullen
Darren De Leon
Hunter De Young
Jack Delman
Heidi Engelhert
Jack Foley

Raegan Fritts
Abinaya Ganesh
Kathleen Gang
Sarah Griffin
Isabell Grimaldi
Scarlet Hickman
Julia Huff
Daquan Jarrett
Emmanuel Jeffreys
Janelle Jusino
Grant King
Ana Kirsch
Jonathan Kuster
Morgan Linn
David Miller
Joe Mukamal
Alanna Ramos
Lauren Ravas

Jayar Rhoades
William Rock
Victoria Schecter
Kendra Seidel
Charlie Shanton
Caden Sitts
Grace Tomasula
Vincent Velazquez
Will Vetter
Mireida Villaronga
Toby Wells
Genesis Williams
Maia Wong
Ryan Yuu

Kaeleigh Banda
Sofia Beaulieu
Emma Cardamone
Sybella Chaine
Chloe Cramer
Isabella Cruz
Mo de Poortere
Amara Evans
Chloe Farkouh
Kirsty Ferguson
Jasmine Foster
Kathleen Gang
Cordelia Gilbert
Taylor Hagquist
Lusi Halaifonua

Lucy Montgomery
Sabeena Mori
Ella Padilla
Regina Ramirez-Sastre
Grace Rankel
Elena Rodenborn
Kelly Rogers
Lindsay Rusakow
Margot Saganich
Katherine Sochor
Rachel Somers
Mackenzie Sturm
Lily Suchomel
Sammie Tesoriero

Soprano
Anushka Sharma, S1
Lydia Smith, S1
Molly Dubner, S1
Alexandra Ives, S1
Allison Lewis, S1
Ellie Babbitt, S1
Leah Monteleone, S1
Paige Socol, S2
Faith Tomasula, S2
Rachel Somers, S2
Amelia Ostamendy,
 S2
Kirsten Ferguson, S2
Sarah Smith, S2

Alto
Caroline Buell, A1
Grace Commisso, A1
Sofia Santoro, A1
Katie Hayes, A1
Roli Zibuck, A1
Nikki Sutera, A1
Jaya Badhe, A2
Anastasia Inglima, A2
Bria Petrella, A2
Jayna Simeon, A2
Andrew Kadar, A2
Hayley Rayfield, A2

Tenor
Jack Lewis T1
Sam Wurdemann T1
Joe Kaffen T2
Trevor Griffiths T2

Bass
Matthew Amori, B1
Henry Denton B1
Owen Umiker, B1
Paul Narkewich, B1
Jack Patterson, B2
Matthew Scott, B2
Aidan Zajkowski, B2

Frances Fonza serves as the Director of Choral Activities at Southeastern Louisiana University, where she imparts her passion for music education and conducting to both undergraduate and graduate students and directs the Concert Choir, Bella Voce (Treble Ensemble), and Gospel Choir.

Dr. Fonza has a rich background in choral music education, having taught at the middle and high school levels in Kentucky and served as the choir director and sight-singing teacher at the Duke Ellington School of the Arts in Washington, D.C. She earned a bachelor’s degree in music education from the University of Missouri-Columbia and master’s and doctoral degrees in choral music education and conducting from Florida State University.

Prior to her role at Southeastern, Dr. Fonza was Assistant Professor of Music Education and Director of Choral Activities at Wittenberg University in Springfield, Ohio. She has also been a faculty member at Stephen F. Austin State University and the University of Central Arkansas. Choirs under her direction have performed at state, regional, and national music festivals.

Dr. Fonza is an active singer, clinician, and adjudicator, frequently engaged for guest conducting opportunities both nationally and internationally. She has conducted all-state, honor, public school, community, and church choirs, and had the honor of leading the All-National Honor Choir in 2020 and 2023. Her research interests include community partnerships, healthy singing in Gospel music, the versatile voice, and innovative tone-building strategies for the choral classroom. She is an active member of the National Association for Music Educators and the American Choral Directors Association.

Khyle B. Wooten (he/they), a native of Philadelphia, PA, is Assistant Professor of Music Performance and Director of Choral Activities at Ithaca College. He maintains professional activities as a conductor, educator, clinician, researcher, and composer. Previously, Wooten served as Associate Director of Choral Activities at the University of Tennessee, Knoxville and has fulfilled prior K-12 teaching posts with charter schools in the cities of Philadelphia, Pennsylvania and Atlanta, Georgia.

At present, Wooten leads ongoing research on the life and music of Lena McLin and extended choral works of Black women composers, presenting regularly at regional and national conferences. They are an inaugural fellow of the Future of Music Faculty Fellowship with the Cleveland Institute of Music. Additionally, Wooten completed commissioned pieces for the Portland Gay Men’s Chorus, The 2024 ACDA Eastern Region Student & Community Honor Choir, Cincinnati Song Initiative, and the Tallahassee Symphony Orchestra MINA String Quartet. His choral recent works include Sancta Maria (TTBB), Life and Death (TTBB) and The Dream Keeper (SA). Wooten is the co-founder and conductor of the Sankofa Vocal Collective in Atlanta, Georgia and Director of Music of EmpoweringWord Ministries in Philadelphia, PA.

Wooten holds degrees in music education and choral conducting from Lincoln University of PA (BS), Georgia State University (MM), and Florida State University (PhD).


Dr. Sean Linfors is an Associate Professor of Music Education at Ithaca College, where he directs ensembles and has taught choral conducting, choral literature, and choral methods. As an honor choir clinician and guest conductor, he features music of many under-represented composers. Linfors enjoys collaborating with his many colleagues and local artists in creating meaningful music.

He received his undergraduate degree in trumpet performance from University of Richmond and graduate degrees in choral conducting and choral music education from Florida State University, studying with André Thomas. Prior to graduate study, Dr. Linfors taught public school in Florida and Virginia. In 2013, he was the Guest Conductor and Clinician for the East African Choral Festival in Nairobi, Kenya. In 2016 he was a semi-finalist for The American Prize, as a conductor and as director of the Tallahassee Community Chorus.

In 2019, Dr. Linfors was named the Artistic Director of the Syracuse Chorale in Syracuse, New York, and in 2020, he was named to the same position by the Cayuga Vocal Ensemble in Ithaca. These two groups have a combined 100 years of community choral singing. Ensembles under Linfors’ direction have toured Canada, Italy, and the United States. They’ve been featured at National ACDA Conference and regional conferences. In 2023, the Ithaca College Choir was named a semi-finalist for The American Prize in Choral Singing (large collegiate programs). Dr. Linfors is an active commissioner of new choral works for college and community ensembles.

Recent performances have included Reena Esmail’s This Love Between Us, Margaret Bonds’ Credo and The Ballad of the Brown King, and Carol Barnett’s Bluegrass Mass: The World Beloved.