- Good evening.
My name is Teresa Schroepfer,
and I'm a retired choir director
from Ashwaubenon High School in Green Bay.
As chair of the Wisconsin School Music Association
High School State Honors Music Project,
it is my honor to welcome you
to this first-ever virtual performance
of the 52nd WSMA High School State Honors Ensembles.
Tonight, we will feature all five
High School State Honors Ensembles
in virtual performance.
Each group will present a select piece or pieces
from their programmed honors repertoire.
The recordings of the virtual performances
and tonight's compilation video will be posted on both the WSMA
and PBS Wisconsin websites next week.
And now, it is my pleasure to introduce Laurie Fellenz,
executive director of WSMA
to welcome you on behalf of the association.
- Good evening.
My name is Laurie Fellenz, and as the executive director
of the Wisconsin School Music Association
and Wisconsin Foundation for School Music,
I'd like to welcome you to the first-ever virtual performance
of the 52nd WSMA High School State Honors Ensembles.
The year 2020 has been like no other
in the history of our association, our state,
our country, or our world.
Since March, we've experienced rapid changes
in Wisconsin's educational landscape
and in our service to schools and students.
We've also worked hard to adjust to these changes
through responsive action.
Ever since the beginning of the pandemic,
our beacon has been our youth.
Although where they experience learning
may currently look vastly different than usual,
the fundamental need for a quality music education
as part of a well-rounded school experience has never changed.
WSMA has found a way through this all
to still offer a virtual solo festival in spring 2020
that included support for students
who had not yet completed their own district festival experience
and a state solo festival,
which collectively served over 5,000 students.
As we considered the scenarios
for the WSMA High School State Honors Music Project,
canceling was not an option.
Rather, we've continually asked the question,
"What is still possible and what would be of value
for our students?"
As you will see tonight,
the High School State Honors Project team,
led by Victoria Donahue, WSMA Program Director,
Teresa Schroepfer, High School Honors Project Chair,
their incredible administrative team,
and our exceptional honors coaches and conductors.
There was so much that was still possible,
and there were new experiences unique to this year's format
that provided students with a rich opportunity
to learn, connect, and achieve.
Their creativity and focus was unparalleled,
and on behalf of myself and our board of directors,
I extend the deepest gratitude to the entire staff
of the High School State Honors Music Project.
There's another group of people I'd also like to thank,
and that's our WSMA staff,
who've worked tirelessly since March
to ensure our programs are still viable.
We've had to invent new systems and structures
to support these programs as well as others,
and their dedication to the work of WSMA has been monumental.
Finally, I'd like to share with you a message
about the unsung heroes connected to our association.
The Wisconsin Foundation for School Music, its donors,
and their work on the WSMA State Honors Music Project endowment.
This endowment has helped keep tuition as low as possible
despite rising costs to WSMA.
Thank you to all the donors
who've contributed toward the Honors endowment
and helped sustain and perpetuate
the State Honors Music Project.
Tonight, we invite everyone who is able to consider a donation
to the endowment.
For more information on this effort,
please visit your program.
Thank you for joining us for this unprecedented event
and enjoy the performances.
- Thank you, Laurie.
The purpose of the High School State Honors Music Project
is to acknowledge and bring together
some of Wisconsin's finest high school musicians
for an incredible musical experience
working with accomplished peers, outstanding coaches,
and distinguished conductors.
For more information, please refer to the digital program.
A link is provided in the comment section of this video
and on our website.
The High School State Honors virtual camps this past summer
were certainly unique, and we believe successful
due to advanced planning, a high degree of cooperation,
and a coordinated effort by all.
This evening, you will hear the results of the effort put forth
by the students, coaches, and conductors.
However, we all know that there are many more stakeholders
in this project.
First, we would like to thank the parents and guardians
of the Honors Ensemble members
for supporting their children in all of their musical endeavors
and for supporting the music program
in their school district.
Due to the pandemic this year,
this support has required an especially heroic effort
on the part of families that has not gone unnoted.
This concert is your accomplishment as well.
Please accept our acknowledgement.
We would also like to acknowledge
the past and present music teachers
of our State Honors students.
Thank you for your inspiration, patience, guidance,
and expertise in molding these fine student musicians,
even under extraordinary circumstances.
This concert is your accomplishment as well.
The performances you are about to experience
are the product of three years and hundreds of hours of work.
The driving force behind this project
is the administrative team.
This team is responsible for the organizational work
behind all five High School State Honors ensembles.
Joining me on the administrative team are the chair-elect
of the Honors Project, Sarah Hafenstein,
orchestra director at Watertown High School.
Operations Director Tim Kozlovsky,
band director at Pulaski Community Middle School.
And head of the administrative team, Victoria Donahue,
WSMA Program Director
and High School Honors Music Project Coordinator.
The ensemble coordinators, section coaches,
and accompanists have played a vital role
in the success of tonight's virtual concert.
These 29 music educators were selected
for the State Honors Music Project
based on their reputation for excellence in music education.
They generously volunteer their time and talents
to this project so that these young musicians
will have the best experience possible.
A listing of Honors staff
can be found in the program on page 34.
We thank and commend them for their flexibility,
creativity, and determination.
Finally, it is my distinct privilege to introduce
the 2020 WSMA High School State Honors conductors
for tonight's program.
In performance order, they are: Thomas Dickey, Axel Theimer,
Michael Dease, Lauren Fowler-Calisto,
and Pamela Bustos.
To learn more about the 2020 State Honors conductors,
please refer to pages 6 and 7 in the program.
And now, the premiere of the 2020
State High School Honors Music Project virtual performances.
- Thomas Dickey: So Emma Lou Diemer's "Festival Overture"
was actually written nearly 60 years ago
for an all-state orchestra, essentially, in Virginia.
And it was really quite popular, well-received at the time,
but then it really quickly fell out of favor
amongst in orchestras, and consequently,
it was never recorded.
And so this is essentially the first recording project
of Emma Lou Diemer's "Festival Overture."
She's a living woman composer.
This piece was written 60 years ago.
And we are giving the first recorded performance.
["Festival Overture" by Emma Lou Diemer]
[sprightly string and woodwind music]
**
["Festival Overture" by Emma Lou Diemer]
**
[gentle flute solo]
**
["Festival Overture" by Emma Lou Diemer]
**
[rousing ending]
- Axel Theimer: Well, if you would have had the opportunity
to be part of the Zoom meetings that we had with the composers,
it was phenomenal
the way they acted and reacted
with the students, and also the engagement of the students
with their own questions and their own comments,
especially the opportunity with Jim Papoulis,
who engaged all of us in writing a composition together.
And asking them about their feelings, about their ideas
about the key, about the mood and so on, I think,
and as different as the three composers were,
it was also amazing to see their similarities,
how they approach composing,
and how they are affected by the text
and by their own emotional response
to the meaning of the words.
["Justice" by WSMA High School State Honors Treble Choir with Jim Papoulis]
[dramatic piano music]
* History is calling us
* Loneliness is finding us
* I will not be silent
* As we hear the cries
* When I hear hands up
* When I hear I can't breathe
* I will not be silent anymore
* I will rise, I will stand
* I will lift my voice
* For justice is calling me
* Freedom will lead us to unity *
* We won't stop 'til we all find *
* Justice is calling me
* Freedom will lead us to unity *
* We won't stop 'til we all find justice *
["I Arise Today" by Matthew Emery]
[gentle piano music]
* I arise today
* Through the strength of heaven *
* The light of the sun
* The radiance of the moon
[violin solo]
* The splendor of fire
* The speed of lightning
* The swiftness of the wind
[gentle violin and piano music]
* I arise today * I arise today
* Through the strength of heaven (I arise today) *
* The light of the sun (I arise today) *
* The radiance of the moon
[gentle violin and piano music]
* I arise today
* The depth of the sea
* The stability of the earth
* The firmness of the rock
* I arise today
* Through the strength of heaven (I arise today) *
* The light of the sun (I arise today) *
* The radiance of the moon (The radiance) *
* (I arise) Through the strength of heaven *
* I arise today (The light of the sun) *
* I arise today (The splendor of fire) *
* The speed of lightning (The light of the sun) *
* The radiance of the moon
* I arise today
(I arise) *
* Today
* In every heart there is a place *
* A place that shows us who we are *
* In every heart there is a place *
* That finally I can see
* In every heart there is a place *
* A place that shows us who we are *
* In every heart there is a place *
* That finally I can see
* If I hear my heart
* I will know it's true
* If I listen when it calls
* In every heart there is a place *
* That finally I can see
* Look around and you will see it *
* You will see that you will find it *
* (Look around) The time has come for you to see *
* We are the voices and we will be heard *
* Finding a voice that will free us *
* We are the voices and we will be heard *
* As we finally see
* Who we are (Who we are) (Who we are) *
* Only what we feel
* What we feel
* There is only one way we can be *
* And that is standing up
* For who we are inside
* We stand up tall
* So we can feel the unity of who we are inside (Of who we are inside) *
* We stand up tall
* So we can feel the unity of who we are inside (Of who we are inside) *
* There is only one way we can be *
* And that is standing up for who we are inside *
* I know who I am
* I am breathing the fire of my soul (Who we are) *
* I am breathing who I am inside *
* (I know who I am) I am breathing the fire of my soul *
* I can feel the fire in my soul *
* I can feel the fire
* Look around and you will see it (You will see) *
* Look around and you will find it (Look around) *
* The time has come for you to see *
* We are the voices and we will be heard *
* Finding a voice that will free us *
* We are the voices and we will be heard *
* As we finally see now
* We are the voices who will be heard finally *
* We are now the voices * We are now the voices
* We are voices finding out
* That we have what we need right in our hearts *
* Now is the time to believe (Hearts) *
* We are heard
- Michael Dease: So in virtual learning,
through online platforms,
we often think about the challenges.
There's not the in-person vibe and ambience.
You don't get to hear a natural, authentic-type sound,
but there's a lot of benefits too.
We don't talk about those as much, and I think we should.
One of them is that the online platforms
let us share content immediately.
So you can hear what's on the computer;
you don't have to wait.
If a playlist is made,
everything is coming right at the student right away
and you're immediately immersed in the art.
And that's something that, as we did our master classes,
we could play, we could share video, we could share audio,
we could write comments,
everybody's notes were immediately transferred
to each other, so in those ways,
the information is starting to be
at your fingertips, literally.
Whenever you want, however you want, you can replay it,
you can record your classes,
and in this way I think online learning is special
and unique in a way that is very beneficial to us all.
["Three Blind Mice" by Sara Jacovino]
[lively jazz music]
*
[trumpet solo]
["Three Blind Mice" by Sara Jacovino]
[trombone solo]
*
["Three Blind Mice" by Sara Jacovino]
[blaring ending]
["Groove's Grove" by Steve Davis]
[swanky jazz music]
*
[saxophone solo]
[trombone solo]
[saxophone solo]
[trombone solo]
[saxophone solo]
[trumpet solo]
[bass solo]
*
["Groove's Grove" by Steve Davis]
[ending note]
- Lauren Fowler-Calisto: I think what surprised me the most
is that we were able to find this really common, strong bond.
We had been so hungry for creating choral music
in an ensemble environment ever since the COVID shutdown
that we didn't realize how much we needed each other
as musicians and as human beings.
And I think for that reason
it really created an extraordinarily strong bond
between us: the staff, the students, and myself.
I think that even I was surprised
by how closely we all related
and how much we were able to find each other
in this really beautiful space,
and I'm not quite sure how that happened.
I think it was a combination
of working with three very different composers
and having them talk with us
so that we were able to dive so much deeper into the text
than we would in a normal choral environment.
And I think it was also the fact that Jake Runestad,
the composer of "We Can Mend the Sky"
was able to work with us and find this beautiful space
where we were talking about the reason
that he created this particular composition
and talking about the plight of refugees in America
and the words, and through this diving deep into the text,
we all were able to find a way to connect
that I didn't think any of us were aware of
and that we had really been missing
while we were in lockdown.
And frankly, by the time that we were done
with the last run-through of "We Can Mend the Sky,"
we could actually hear each other sing
even though none of us could hear each other sing.
It was so beautiful,
and I don't think I'll ever forget, at the very end
when we finished "We Can Mend the Sky,"
and everybody in the choir just lifted up their hands
and did a beautiful heart.
And I had to turn off my camera for a minute
because it just made me so emotional.
As I'm getting right now, so it was pretty amazing.
["Dúlamán" by David Mooney]
[percussion]
* O dülamán na binne bui, dülamán a' tsleibhe (O thulamawn na binya bwee, thulamawn a tlayve) *
* Dülamán farraige, dülamán farraige (Thulamawn farrige, thulamawn farrige) *
* Dülamán, dulamán, dülamán, dulamán (Thulamawn, thulamawn, thulamawn, thulamawn) *
* O dülamán na farraige is dülamán a' déidigh (thulamawn na farrige iss thulamawn a jethy) *
* dülamán farraige dülamán farraige dülamán dulamán dülamán dulamán *
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* O chuir mé scéala chuici go gceanóinn cíor dí (O kur may shkayla hicky go gyanowínn keer thee) *
* 'S é'n scéal a chuir chugham go raibh a ceann cíortha (Shane Skayle a kur she hugum go row a kyaun keer ha) *
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee, thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* La la la la la (Ah) *
* 0 chuir mé scéala chuici go gceanóinn bád dí (O kur may shkayla hicky go gyan owinn keer thee) *
* 'S é'n scéal a chuir sí chugham nach suífeadh sí 'gceann rámha (Shane skayle a kur she hug um go row a kyaun keer ha) *
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee, thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* Ah
[descending] * Ah
* 0 chuir mé scéala chuici go gceanóinn long dí (O kur may shkayla hicky go gyanowinn lung thee) *
*'S é'n scéal a chuir sí chugham nach rachadh sí i gcontúirt (Shane shkale a kur she hugum knock rocka she i gunthoorch) *
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee, thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* Ta ceann buí óir ar a' dúiamán Gaelach (Thaw keown bwee ore err a thulamawn Gayluck) *
Tá dhá chluais mhaol' ar a' dúlamán Maorach (Thaw gaw kloosh wail err a thulamawn Mwayrock)
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee, thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* La la la la (Ah la la la la la) *
* Ta bróga breátha dubha ar a' dúlaman Gaelach (Thaw brogabraha thooha err a thulamawn Gayluck) *
* Ta bairéad agus triús ar a' dúlamán Gaelach (Thaw baraytheawgus throosh err a thulamawn Gayluck) *
* O dülamán na binne bui, dülamán Gaelach (Thulamawn na binya bwee, thulamawn Gayluck) *
* Dülamán farraige, bhfearr a bhi in Eirinn! (Thulamawn farrige, bar a vee in Airinn!) *
* Aw
[descending] * aw
* La la la la la la la la la la la *
* La la la la la la la la la la la la la la *
* La la la la la (Ah) *
* La la la la la la la la la la la *
["Ego sum panis vivus" by Blaz Strmole]
* Ego sum panis vivus
* qui de caelo di descendi (qui de caelo di descendi) *
* descendi (descendi) *
* descendi (descendi)
* descendi (descendi) *
* Si quis mandu caverit
* si quis mandu caverit *
* si quis mandu caverit
* ex hoc pane
* Vivet vivet
* vivet vivet *
* vivet vivet
* vivet vivet *
* vivet vivet
* vivet
* Ego sum panis vivus
* vivus (Ego sum panis vivus) *
* vivet vivet (Ego sum panis vivus) *
* vivet vivet (vivus) *
* vivet vivet
* in aeternum (in aeternum) *
* vivet vivet
(vivet vivet) *
* vivet vivet (vivet vivet)
* vivet (in aeternum) *
* in aeternum (in aeternum) *
* Amen (amen) *
* Amen (amen)
[silence]
["Mend the Sky" by Jake Runestad]
* In my dream I saw
* A world free of
* Violence hunger suffering
* A world filled with love
* Now awake this world
* I beg, let my dream come true *
[guttural chanting in Somali] Soo baxa (Let's go)
Naftu orod bay kugu aamintaa (To save your life, run with all your might)
* If we come together
* We can mend a crack in the sky *
* If we come together
* We can mend a crack in the sky *
* Oo Oo
* If we come together
* We can mend a crack in the sky *
* Oo
* If we come together
* Come together
* Oo
* We can mend
* Oo
* A crack in the sky
* Oo
* If we come together
* We can mend a crack in the sky *
* Oo
* If we come together
* Come together
[percussion] * We can mend
[tempo and volume accelerating] * If we come together
* We can mend
* A crack in the sky (If we come together) *
* We can mend a crack in the sky *
* If we come together
* We can mend
* A crack in the sky
* If we come together
* We can mend a crack in the sky (improvised groove) *
[vocalizing]
* If we come together
* Come together
* If we come together
* A crack in the sky (If we come together) *
* If we come together
* We can mend a crack in the sky *
* If we come together
* We can mend
* A crack in the sky
* If we come together
* O
* We can mend
* O
* A crack in the...
* Sky
- Pamela Bustos: One of the things that I've done
as a music educator
from my beginnings of middle school band director,
I always commissioned a lot of pieces.
This piece wasn't commissioned by us
but I've worked with this composer.
But I also realized that my students
needed to see the world beyond their communities
and this piece allows them to engage
with folk songs of another country
and what those mean to that culture
that they can take back to their own communities
and begin to maybe think about
the opportunities that lie for them
to learn so much about humanity
through music in from countries
that they've never maybe even heard of.
["Suite No. 2 for Band Mvts 3 & 4" Victoriano Valencia Rincon]
*
* [finale notes]
- Thank you for allowing your child to be part
of this experience.
Even though, again,
we did not have the opportunity
to have the shared room experience
but it really shows again
the importance of music in our lives
and having the opportunity
to experience music together,
explore music together,
and explore different ways
how we can respond to it
and allow ourselves to respond to it
and therefore, be forever changed
because we had the experiences.
So, thank you.
- I would share my most sincere and heartfelt thanks.
It was-- not to be cliche, but--
a wonderfully special opportunity.
The connections that--
Even though we were miles apart,
we made some really genuine connections.
We laughed.
I almost cried several times.
And we got to make great music--
all in just a couple of days.
I know it's an experience that I'm going to take with me
throughout my career for the rest of my days,
and I hope that the parents will, as well.
- I hope that the parents are aware
of how music plays into their children's development
an appreciation
and that they have these opportunities
to grow beyond their school music programs
and to see where they are amongst their colleagues.
- Parents are so important to students' lives,
and not just in music,
but I'm going to talk about music right now
because music is so important to all of us.
I know for a fact that
all of our ensemble directors and coaches and staff
feel the same way.
And it really begins at home.
Students need help.
They need guidance.
They need support.
They need financial support.
They need mentorship and guidance.
They need private lessons.
They need good instruments.
They need to go to band trips.
They need to make recordings.
They need to read music.
They need to have a practice space.
And they can't have any of that
without support, mentorship, and guidance at home.
That's where the parents come in.
So, parents, we love you, we thank you.
We're grateful for you on behalf of our students,
and our students and your children are, too.
- I think the most important thought
that I want to impart to our students,
their incredible parents, and our staff,
is thank you.
I'm just not sure
any of us envisioned even a year ago
that we would be in this kind of space
where we would not be able to make music
as a composite whole
but instead using technology
from all of our different individual spaces.
I'm not quite sure if anybody understood
how difficult a process this would be.
But through that difficulty,
we would come together in such a beautiful and amazing way.
And so, we have all grown incredibly
throughout this progress,
but the process itself
would not have happened without the support
of those parents and students and staff
who worked from their homes diligently.
Many of them while still on summer vacation,
out on campsites
to make this work for all of us.
And I think you'll be just as pleased as I am
with the final product.
But what's most important
is that we came together in passion and love
to create beautiful music.
Even though we were still separate,
we were still one.