Glories of Nature with Humboldt Chorale and University Singers 

 Humboldt Chorale revives a favorite in John Rutter's "Gloria" and the University Singers celebrate the blessings of nature in the music of seven cultures, on Sunday May 8 in Fulkerson Recital Hall. 

 As a community choir, Humboldt Chorale has singers who remember performing Rutter’s “Gloria” in 1990 with director Ken Hannaford.

 “It’s nice to bring back a perennial favorite,” said current Chorale director Elisabeth Harrington, “and it is exhilarating to conduct and sing this very energetic and moving work.” This performance will include accompaniment by a brass ensemble conducted by Gil Cline.

 “We’ll round out our half of the program with the gentle and soothing ‘Seal Lullaby’ by the popular Eric Whitacre, and finish with the upbeat African chant, ‘I Live and Move,’” Harrington said. 

 Directed by Rachel Samet, the University Singers begin with incantations from a Celtic Mass, and end with the Kyrie from “St. Francis in the Americas: A Caribbean Mass” by Glenn McClure, with percussion accompaniment. 

 In between, selections include an African-American spiritual, a psalm from the Italian Renaissance, and a Visayan folk song from the Phillipines featuring soprano Jessie Rawson. 

 “The Moon is Distant from the Sea” is a setting by David N. Childs of a poem by Emily Dickinson. Eric Whitacre wrote the music for “Water Night” to a poem by Nobel Prize laureate Octavio Paz. 

 The two choirs combine to end the concert with a gospel song, “The Storm is Passing Over.” John Chernoff accompanies University Singers on piano, and Larry Pitts plays organ for Humboldt Chorale. 

 University Singers and Humboldt Chorale perform a shared concert on Sunday May 8 at 8 p.m. in Fulkerson Recital Hall on the HSU campus. Tickets are $8, $5 seniors and children, free to HSU students with ID, from HSU Box Office (826-3928) or at the door.  Produced by HSU Music department.

Media: Times-Standard Urge Magazine, North Coast Journal The Set List, Mad River Union, Humboldt State Now.

Humboldt Chorale & University Singers Program

Humboldt Chorale
Conducted by Elisabeth Harrington

John Rutter

"Gloria" by John Rutter

"The Seal Lullaby" by  Eric Whitacre

"I Live and Move"

University Singers
Conducted by Rachel Samet
John Chernoff, pianist

Michael McGlynn

Incantations from Celtic Mass by Michael McGlynn

 My Lord, what a mornin’ African-American spiritual arr. Harry T. Burleigh

 Sicut cervus (Psalm 42:1) by  Giovanni Pierluigi da Palestrina 
 Catherine Rippetoe, Rosemary Torres, Kyle McInnis, Alberto Rodriguez, Jordan Kramlich, Justine Bivans, Craig Hull, Allie Merten, soloists. MJ Fabian, percussion

 The Moon is Distant from the Sea :music by David N. Childs, poetry by Emily Dickinson

 Rosas Pandan: a  Visayan folksong arr. by George G. Hernandez
 Jessie Rawson, soloist.

 Water Night: music by Eric Whitacre, poetry by Octavio Paz, English translation by Muriel Rukeyser

 Kyrie from St. Francis in the Americas: A Caribbean Mass by Glenn McClure 
Michael Donovan, steel drums; MJ Fabian, drumset; Wes Singleton, percussion.

 University Singers and Humboldt Chorale 
The Storm is Passing Over by Charles Albert Tindley arr. Barbara W. Baker

2016 University Singers
Justine Bivans, Lisa Ko, Jordan Kramlich, Emily Nelson, Marykate Olson, Gabriela Pelayo, Antonia Picardi ,Stephanie Price, Jessie Rawson, Hope Botelho, Debi Cooper, Sara Dobson, Jenna Donahue, Jessica Golden, Erin Henry,  Kylie Jenkins,  Cecilia Kane, Allie Merten, Joelle Montes,  Linda Portillo, Catherine Rippetoe, Rosemary Torres, Ken Bridges, Victor Guerrero, Andrew Heavelin, Craig Hull ,Luis Landon, Richela Maeda, Kyle McInnis, David Vaughan, Raul Yepez,  Josh Abrams, Mark Berman, Kevin Blake, Michael Donovan ,John Pettlon, Alberto Rodriguez, Dan Szylewicz, Corey Tamondong, Julio Torres.

How Can They Keep From Singing? University Singers and Humboldt Chorale’s Holiday Concert 

With a seasonal flavor and a diverse menu of songs, the University Singers and Humboldt Chorale present their shared winter concert on Sunday December 13 at Fulkerson Recital Hall.

 University Singers (pictured above) perform “a very jubilant setting of the hymn ‘How Can I Keep From Singing?’” said director Rachel Samet, “and a beautiful setting” of a Kentucky folk tune associated with Christmas, “Bright Morning Stars.”

 Their program also includes a Hebrew love song and a hymn by Baroque composer Georg Phillip Telemann based on Psalm 117, with string accompaniment. 

 Samet describes “Famine Song,” as “really powerful and expressive.” Composed by a quartet from Bloomington, Indiana called Vida, it was inspired by Sudanese basket weavers who endured famine.

 In keeping with the season, the Humboldt Chorale performs “December’s Keep” (Greg Gilpin’s arrangement of a Chopin prelude), “Ose Shalom,” the spiritual “Go Where I Send Thee” and Handel’s “Awake the Trumpet’s Lofty Sound.”

 The Chorale also performs the haunting “Ashokan Farewell,” best known from the Ken Burns PBS series The Civil War.

 “Our signature piece this concert is Randall Thompson’s well-known ‘Alleluia,” said Chorale director Elisabeth Harrington. “I wanted to challenge the group to the fullest with this a cappella piece.” 

The University Singers (an HSU group) and the Humboldt Chorale (students and community members) combine to sing "Tshotsholoza," often called the “second national anthem” of South Africa.

Humboldt Chorale and University Singers perform on Sunday December 13 at 8 p.m. in Fulkerson Recital Hall on the HSU campus. Tickets are $8, $5 seniors and children, free to HSU students with ID, from HSU Box Office (826-3928) or at the door.  Produced by HSU Music department.

University Singers & Humboldt Chorale: Program and Notes

University Singers:

VIDA, authors of The Famine Song

My soul is awakened -- music by Brad Burrill, poetry by Ann Brontë
Bright morning star -- Kentucky Appalachian tune, arr. Fred Squatrito
 Erev Shel Shoshanim -- music by Josef Hadar, lyrics by Moshe Dor, arr. Jack Klebanow
 Laudate Jehovam, omnes gentes (Psalm 117) -- Georg Phillip Telemann
Famine Song -- words and music by VIDA, arr. Matthew Culloton
How Can I Keep from Singing? -- arr. Gwyneth Walker (b. 1947)

University Singers are: (Soprano) Justine Bivans, Hope Botelho, Olivia Bright, Ana Ceja,  Ana Cruz, Lisa Ko, Jordan Kramlich, Michelle Latner, Gabriela Pelayo, Stephanie Price ,Cora Rickert, Kellie Ventura, (Alto) Berenice Ceja, Kaitlynn Deville, Jessica Golden,  Michelle Hy, Kylie Jenkins, Bree Marroquin, Ashlyn Mather, Allie Merten, Catherine Rippetoe, Taylor Shughart, Kira Weiss, (Tenor)  Ken Bridges, David Cadena, Will English ,Nick Hart ,Andrew Heavelin, Rich Macey, Victor Guerrero ,Angel Phommasouk, Raul Yepez ,(Bass) Devin Alcantara, Ethan Frank, Matthew Nelson, John Pettlon, Alberto Rodriguez, Luke Smetana, Daniel Szylewicz.

Humboldt Chorale:

“Awake the Trumpet’s Lofty Sound” from Samson by Georg Frederic Handel
 Alleluia by Randall Thompson
 “Ose Shalom” Traditional Hebrew text; music by Jeff Klepper, arranged by Joshua Jacobson
 “December’s Keep” based on the Prelude in C minor, Opus 28, No. 20 by Frederic Chopin; words and arrangement by Greg Gilpin
 “Ashokan Farewell” from the Soundtrack of the PBS Series “The Civil War,” a film by Ken Burns; words by Grian McGregor, music by Jay Ungar, arranged by Carole Stephens
 “Go Where I Send Thee” Spiritual, paraphrased by Maurice Gardner & Walter Matthews

University Singers and Humboldt Chorale:

Tshotsholoza -- traditional South African freedom song, arr. Jeffery L. Ames

Notes

"Bright Morning Stars"  "appears in Ruth Crawford Seeger's "American Folk Songs for Christmas" (Doubleday, 1953), where she credits it to "AAFS 1379 A1." In other words, she got the song from the Archive of American Folksong at the Library of Congress...The source is identified as "Kentucky." The song also appears on the Folkways LP of the same title (American Folk Songs for Christmas, FC 7553)...,

 In 1968, Robin Christenson rediscovered the song in the Seeger book and arranged it for four voices. [Her group]sang it at the 1968 Fox Hollow Festival, where it was picked up by many other singers. It rapidly entered the common repertoire... Meantime, it had also been widely sung in Kentucky."
Source: mudcat.org

“How Can I Keep From Singing?” appears in several contemporary Quaker songbooks, but its origins appear to be in a hymn written by Rev. Robert W. Lowry, an American Baptist minister in the 19th century. It was modified by, among others, folksinger Pete Seeger, whose source identified it as a Quaker hymn. In this form it became a hit song of sorts when recorded by Irish singer Enya in 1991. The notes to that album (Shepherd’s Moons) compounded the mistake by identifying it as a Shaker hymn. Ironically, it was the Seeger version that the Quakers adopted for their songbooks. However, versions of it appear in hymnals of several denominations. See Robert Lee Hall at American Music Preservation.com for a detailed history.

Alleluia:"To many music lovers, the name Randall Thompson brings first to mind the lofty sounds of his most famous anthem, based on the single word "alleluia"--whether heard in church service, choral concert, or academic ceremony such as Harvard Commencement.

The work was commissioned by Serge Koussevitsky and the trustees of the Boston Symphony Orchestra in the spring of 1940 for the opening exercises of the new Berkshire Music Center at Tanglewood... The date for the opening was July 8. Thompson had been preoccupied with another commission, but from July 1 to July 5 he was able to turn to Koussevitsky's request. [Director]Woody had his large chorus ready to rehearse, but opening day approached and no music arrived. On July 8, with 45 minutes to go, it appeared. Woody got his first look at the score and reassured his charges, "Well, text at least is one thing we won't have to worry about."

 Thompson's other works include three symphonies, two string quartets, and a scattering of instrumental pieces. But his writing for voice spans his whole life, from The Five Odes of Horace,written in 1924, to Twelve Canticles, written a year before his death. The Harvard undergraduate who, in trying out for the Glee Club, was unaccountably turned down by Archibald T. "Doc" Davison concluded: "My life has been an attempt to strike back."
---Harvard Magazine

"Ashokan Farewell"

"It’s haunting and mournful and hopeful and beautiful. It’s called “Ashokan Farewell,” and it’s the de facto theme song for the Ken Burns miniseries The Civil War, which premiered 25 years ago this week [of Sept. 25, 2015].

 “Ashokan Farewell” was not, as both its tune and the miniseries that made it famous would seem to suggest, written in the 19th century. It was written instead at the tail end of the 20th. And it wasn’t a Southern waltz; it was created in the style of a Scottish lament—and in celebration of a town, and a reservoir, in upstate New York. By a guy from the Bronx.

In the early 1980s, Jay Ungar and his wife and fellow musician, Molly Mason, were running the Ashokan Camp, a summer arts school specializing in fiddle and dancing, at the Ashokan Field Campus of SUNY New Paltz. Ungar composed the tune—Mason would later give it its resonant name—to commemorate the conclusion of the 1982 session of the camp.

Ungar had traveled through Scotland earlier in the summer, he told me, and he wanted to compose a tune in the style of a Scottish lament—something that would capture the sense of sadness that the camp, and all the camaraderie and community and joy it represented to him, would be ending. The song, Ungar remembers, “sort of wrote itself...”

“In writing it,” he says, “I was in tears, but I didn’t know why, or what was happening.” There was a kind of “tingling feeling,” he remembers, as the song took shape in his mind and on his fiddle. But when the song was written down—when Ungar was satisfied that he had made the tune what he wanted it to be—he kept it to himself. He wasn’t sure how others would react to it

. But when he was finally ready to share the tune, he was pleasantly surprised: It seemed to affect others as deeply as it had affected him. And so Ungar and Mason—and their group, Fiddle Fever—recorded the song, including it as part of their 1983 album Waltz of the Wind. The inclusion meant that the song would need a name. Mason suggested “Ashokan Farewell.” Ungar liked that. It was simple, but elegantly evocative.
--Atlantic September 25, 2015


Tshotsholoza
" A South African song sung in a variety of settings and for a variety of reasons. The song began as an old miner's song, sung by those who toiled in the diamond and gold mines of South Africa. As with many types of a folk music, there are many different versions and variations of the song that have developed over time so it is impossible to say exactly what the meaning of the song is, however, the general idea is of freedom (perhaps at the end of the work day or from the hard labor entirely) and speaks about a train coming and taking them away.

 The version of the song presented in this arrangement draws text from both Zulu and Ndebele dialects and is translated as: "Go forward, go forward on those mountains; the train is coming from South Africa. You are running away on those mountains; the train is coming from South Africa."

 The song became a rallying cry for freedom as the apartheid system of government was brought to an end and Nelson Mandela was released from prison. Since then it has seen even more widespread use in popular culture and has served as musical "battle cry" for South African sports teams from rugby to soccer. The song received particular notoriety in 2010 when it was prominently featured in the World Cup games hosted in South Africa."
Diversity website

Alums of Four Decades Sing for Harley

How to honor retiring professor Harley Muilenburg after 32 years of teaching Humboldt State students to sing? More than 20 of his former students who were members of his Mad River Transit jazz singers from the 1980s through 2015 will return to Fulkerson Recital Hall from all over California. They join HSU Music department faculty performers including pianist Daniela Mineva and violinist Cindy Moyer in a celebratory retirement concert on Saturday June 27 at 7 p.m.  Everyone is invited and admission is free. Program information is the post below.

 Born in North Dakota and a graduate of North Dakota State, Harley Muilenburg taught first at the high school level and then at couple of junior colleges. He was looking for a position at a four-year institution when choral music professor Lee Barlow was retiring from HSU. “The stars lined up,” he says now. He was hired to begin teaching at Humboldt State in 1983.

 As he prepared to head to the North Coast that summer he spoke with Barlow on the phone and asked about the Arcata weather. “Lee chuckled a little and said it’s really nice in the summer, although just about every evening you’re probably going to need a sweater if you’re outside,” he recalled. Muilenburg was still at his current teaching job in Loredo, Texas, where it was so hot and humid it was hard to breathe. “I didn’t really believe him until I got here.” 

 Over the years Muilenburg transformed the small HSU chamber choir into the large concert choir now called the University Singers. He started Mad River Transit as a smaller adjunct to the existing jazz ensemble, eventually combining the two in today’s slightly larger MRT. 

 HSU is one of only a few universities to have a Madrigal choir specializing in Renaissance music. But another was North Dakota State, and as an undergraduate Muilenburg had sung in its madrigal group. “Lee Barlow started the Madrigal Singers here in the 50s,” he said. “I added the Madrigal Dinner every December, based on the Elizabethan tradition of singing and feasting at Christmastime.” 

 In his 32 years, Muilenburg saw the Music department faculty grow and shrink back. “It’s kind of a bell curve in terms of numbers. But the number of majors has remained the same. The quality, the expertise, the care and concern, the excellence of the faculty have helped make this a great place to teach. In a lot of ways, the Music department at HSU has been a well-kept secret. Students find out about it when they come here, or when one of our groups tours in their community. But I’ve had distinguished, top-notch colleagues in the department here.” 

 Though he has been honored with teaching awards and published scholarly articles and vocal arrangements, Muilenburg talks less about his own accomplishments than those of his HSU Music faculty colleagues, and especially his students. He mentions such distinguished alums as internationally known blues singer Earl Thomas (whose entry in the Blues Encyclopedia notes his “powerful classically trained voice”) and jazz singer Juanita Harris, a mainstay in Mad River Transit during her years at HSU. She went on to Boston’s prestigious Berklee College of Music and a professional career based in the Bay Area. 

But he is equally pleased by his many alums who became music teachers, or who participate in community ensembles where they live. (They’ve kept in touch, he notes, even before the advent of email and social media.) “They carry on the legacy of music and keep it alive,” he said. “I’m really proud of that.” 

 One of those alums was Grant McKee, now a retail store manager in Santa Barbara. “He was my student in the 90s,” Muilenburg recalled. “He loved Humboldt, loved the Music department and he loved singing. He decided at least five or six years ago that when I retire, there’s going to be a concert for me. I smiled and thought it’s a great idea but it’s not going to happen.” 

But after Muilenburg’s retirement was announced, McKee got on Facebook to contact other MRT alums. Music department chair Cindy Moyer got involved, and the concert was scheduled. “There are probably 22 students who are going to trek from all parts of California, and this alumni group of jazz singers from the 80s right up until the past year. They’ll perform the second half of the concert,” Muilenburg said. “I couldn’t feel more excited and happy and blessed and proud.”

Among those making the trip to HSU to sing for Harley is Juanita Harris.

 Muilenburg’s retirement has been in the works for awhile. “Five years ago I had a student whose parents had been my students in the 80s. So I felt it was definitely time for me to retire.” 

He is currently busy preparing to move in July, to be near family in southern California. “I know I’m going to miss the students,” he admits. “August is going to come and I won’t have a choir. I’ll miss the rehearsal process, contact with students and my academic colleagues. I’ll probably sneak back here and drop in sometime, and see how things are going.” 

Pianist Daniela Mineva, violinist Cindy Moyer and other HSU faculty will open the Harley Muilenburg retirement concert on Saturday June 27 at 7 p.m. in Fulkerson Recital Hall at HSU. Admission is free. Concert is produced by HSU Music department. 

Media: Times-Standard Urge Magazine, Mad River Union, North Coast Journal Setlist, Humboldt State Now.

University Singers soloists include Raul Yepez, Olivia Bright, Mark Berman, Lorena Tamayo, Catherine Rippetoe, Chris Parreira and Jessie Rawson.
Carmina Burana and Into the Woods with University Singers & Humboldt Chorale

 Humboldt State University Singers perform selections from the popular cantata Carmina Burana, and the Humboldt Chorale sings music by Purcell, Mozart and Sondheim in their joint concert on Sunday evening May 10 in Fulkerson Recital Hall. 

 Carmina Burana, an audience favorite that has influenced popular music from Star Wars to hip hop, is a cantata by 20th century German composer and educator Carl Orff. Recorded more often than Beethoven’s Fifth Symphony, it is based on a set of irreverent songs and poems by medieval minstrels and monks. The New York Times described it as “accessible and fun.” 

 Directed by Harley Muilenburg, the University Singers perform selections from Carmina Burana featuring soloists Mark Berman, Matthew Nelson, Meagan Blachly, Raul Yepez, Olivia Bright, Chris Parreria, Catherine Rippetoe and Jessie Rawson. The group also sings “City Called Heaven” a traditional song arranged by contemporary educator Josephine Poelinitz, featuring soloist Lorena Tamayo.

 Humboldt Chorale, a community choral group directed by Elisabeth Harrington, performs sacred music by 17th century Baroque composer Henry Purcell, and Mozart’s sunny Regina Coeli. “She’s Like the Swallow” is a Newfoundland folk song about love, adapted by contemporary American composer Luigi Zaninelli.

 The Chorale also performs two songs by Stephen Sondheim from the musical Into the Woods: “No One is Alone” and “Children Will Listen.”

 The Humboldt Chorale and University Singers perform on Sunday May 10 at 8 p.m. in Fulkerson Recital Hall. Tickets from HSU Ticket Office (826-3928) or at the door: $8 general, $5 seniors and children, HSU students with ID admitted free.  Produced by HSU Music department.

Media: Times-Standard Urge Magazine, Mad River Union, Humboldt State Now, Lumberjack.

University Singers: Program and Notes

2015 University Singers: (not in order pictured; click photo to enlarge) Brynn Allen, McKinlee Burkhardt, Meagan Blachly,  Berenice Ceja, Olivia Bright,    Michelle Hy,  Ana Ceja, Emily Hilkere, Ana Cruz, Hannah Kelly, Stevy Marquez,  Joselyne Loaiza,Jessie Rawson, Nawlah Madu-Powell, Cora Rickert, Allie Merten, Julia Gotico, Krishel Moura, Katherine Nunes-Siciliani, Catherine Rippetoe, Lorena Tamayo, Kenneth Bridges, Alex Albin, Fidel Cortez, Mark Berman,Victor Guerrero, Carey Dakin,Bryant Kellison , Stefan Flores, Luis Landin, Michael Levan, David Paden, Carter Long, Joseph Mayer, Matthew Nelson, Raul Yepez, John Pettlon, Christopher Parreira, Ryan Woempner.

Program
Carmina Burana by Carl Orff
 Fortuna Imperatrix Mundi (Fortune, Empress of the World)
 1. O Fortuna
 Mark Berman, Speaker
 2. Fortune plango vulnera
 Mark Berman, Speaker
 I. Primo vere (In Springtime)
 3. Veris leta facies
 Mark Berman, Speaker
 4. Omnia sol temperat
 Mark Berman, Speaker; Matthew Nelson, Baritone
 5. Ecce gratum
 Mark Berman, Speaker
 Uf dem anger (On the Lawn)
 10. Were diu werlt alle min 
 Mark Berman, Speaker
 15. Amor volat undique
 Mark Berman, Speaker; Meagan Blachly, Soprano
 16. Dies, nox et omina
Mark Berman, Speaker; Raul Yepez, Tenor
 17. Stetit puella
 Mark Berman, Speaker; Olivia Bright, Soprano
 18. Circa mea pectora 
Mark Berman, Speaker; Matthew Nelson, Baritone
 20. Veni, veni, venias
Mark Berman, Speaker
 21. In truitina
 Mark Berman, Speaker; Catherine Rippetoe, Alto
 22. Tempus est iocundum
 Mark Berman, Speaker; Christopher Parreira, Bass
 Jessie Rawson, Soprano
 23. Dulcissime 
 Jessie Rawson, Soprano
 24. Ave formosissima 
 25. O Fortuna (Fortune, Empress of the World)

City Called Heaven by Josephine Poelintz
 Lorena Tamayo, Mezzo-Soprano

Notes
Carmina Burana by Carl Orff

"Carmina Burana provides music that Carl Orff  hoped would cut across social, educational, and temporal boundaries to engage audiences in a powerful expression of music. For his text, Orff turned to a collection of irreverent medieval songs and poems discovered in 1803 at the Bavarian monastery of Benediktbeuren. Hence, Carmina Burana, or "Songs of Beuren." In these profane lyrics of minstrels and monks long dead, Orff heard clearly the voice of the human condition, with its indestructible hunger for the sensual pleasures of the world persisting through the capricious turns of Fortune's wheel. Setting this text to music of primitive force rivaled in our time only by Stravinsky's Rite of Spring, Orff combined the medieval and the modern in a timeless vision of humanity's vitality and endurance.

Carl Orff (1895-1982) was a German composer and educator. After studying at the Academy of Music at Munich, he helped to found the Günter School there in 1924. As a composer Orff wished to simplify music, to return to its primitive components. He attempted to adapt old monodic forms to modern tastes, employing dissonant counterpoint and vigorous rhythms. In 1960 he became head of the Orff School for Music in Munich. His work in music education has attracted a considerable following in the United States."
--from Harley Muilenburg

"Carl Orff is among the most misunderstood and thereby underestimated composers of the last century – which is odd when you consider that one work, Carmina Burana, is among the most popular pieces of music ever written. There is at least one performance of it somewhere in the world every single day of the year, and that has been going on for the last 30 years. And with over 300 different recordings extant in the catalogue today, it easily outranks even Beethoven’s Fifth Symphony."
--Tony Palmer classical music.com

"One of music's most resilient creatures is on the loose again, making tracks across the landscape of mainstream entertainment. It leaves traces on the vaguely medieval choruses of John Williams's score to ''Star Wars: Episode I -- The Phantom Menace,'' and a heavier imprint on ''Hate Me Now,'' the creepingly catchy hip-hop hit by Nas. Its rhythmic echoes even resound behind a recent promotion for the ''South Park'' film.

What is that blasted music, ever present on soundtracks and in television commercials, surfacing everywhere from the video arcade to the ice skating rink? It is ''Carmina Burana,'' a cantata composed in the 1930's by the German music educator Carl Orff around a group of 13th-century ballads by wandering monks.

As the most likely musical background for jousting nobles or scary monsters, used in films from ''Excalibur'' to ''Natural Born Killers,'' Orff''s work defines the sound of the pop Gothic... Charlotte Church, the 13-year-old Welsh soprano sensation, sings from it on her album, ''Voice of an Angel,'' as did Barbra Streisand before her. Nancy Kerrigan and Torvil and Dean have skated to it, video game players annihilate enemies to it, and the German industrial rock group Einsturzende Neubauten and the teen-pop heartthrobs 98 Degrees have used it to herald the opening of their shows.

The piece's ubiquity is more pronounced in the classical world, where it is a staple for choruses, orchestras, opera companies and ballet corps. ''The audience turns out for it,'' said Julie Rushbrook, the outgoing president of the Grace Choral Society of Brooklyn. ''That's the bottom line for a community choral society. It really helps pay the bills.''

...It may not make for a sound legal argument, but the idea that ''Carmina Burana'' somehow belongs to everyone instinctively rings true. Its tenacious hold on the public imagination suggests a power that transcends most critics' dismissals of the piece as naive and overwrought. ''Carmina Burana'' exists between the high and the low, the modern and the traditional, reminding listeners just how seductive such border crossings can be..... Even its defenders value ''Carmina Burana'' particularly because it is accessible and fun...

 "The shadow of Nazism stains Orff's legacy. It is the main reason the cantata was not performed in the United States until 20 years after its debut... Orff never joined the Nazi Party, although he cooperated with it to survive."
--Ann Powers in New York Times June 14, 1999

City Called Heaven by Josephine Poelintz

"Poelinitz’s City Called Heaven expresses the deep longing a person feels during their pilgrimage through life. While the choir “trudges” toward the goal, the pleading, improvisatory-like solo lines evoke yearning for the heavenly home."
-- from Harley Muilenburg

"Josephine Poelinitz is an Elementary Music Specialist in the Chicago Public Schools. Her arrangement of City Called Heaven, a “sorrow song” performed in the style of “surge-singing,” has become a favorite of choirs of all ages."
--Dordt College 

Ensembles Combine for Holiday Concert

 Schubert’s Magnificat, Corelli’s Christmas Concerto and sacred music of the season highlight a combined holiday concert by the Humboldt Symphony, University Singers and Humboldt Chorale on Friday December 12 and Sunday December 14 in Fulkerson Recital Hall.

 The concert’s climax is Franz Schubert’s “Magnificat,” performed by all three ensembles. Also known as the song of Mary and taken from the Gospel of Luke, the Magnificat has been set to music by many composers, from Bach and Vivaldi to Rachmaninoff and John Rutter.  One version or another is often performed in the Christmas season.

 “The string section carries the orchestral part,” said Humboldt Symphony conductor Paul Cummings. “The piece is almost all full ensemble choral singing, though there’s a lovely passage for solo voices that’s very melodic, typical of Schubert.”

 On its own the Symphony performs the Christmas Concerto by Baroque composer Arcangelo Corelli. It is Corelli’s best-known work for strings, which he requested be played on Christmas Eve. “Parts of the melody may be familiar,” Cummings said, “since it is heard at this time of year. Besides strings, it is scored for harpsichord, and we’re using a real one, not a synthesizer.”

 The orchestra also performs the fast-changing “Four Little Pieces” by contemporary composer Karel Husa, and the melodic Holberg Suite by Edvard Grieg.

 The Humboldt Chorale begins the concert with sacred music by 20th century French composer Gabriel Faure and contemporary American composer James Kantor, as well as a traditional American Christmas spiritual. The Chorale is a community group directed for the first time by Elisabeth Harrington.

 The University Singers, directed by Harley Muilenburg, perform contemporary British composer John Rutter’s “Gloria,” a celebratory section of the Mass based on Gregorian chant.

 The three ensembles also collaborate on two carols to end the concert: “How far is it to Bethlehem?” and “Still, still, still,” both originally arranged for the Mormon Tabernacle Choir.

The combined holiday concert by Humboldt Symphony, University Singers and Humboldt Chorale is performed on Friday December 12 and Sunday December 14 at 8 p.m. in the Fulkerson Recital Hall at HSU in Arcata. Tickets are $8 general, $5 seniors and children, and free to HSU students, from the HSU Box Office (826-3928) or at the door.  Concert produced by HSU Music Department.

Media: Mad River Union, Humboldt State Now

Holiday Concert Notes

Humboldt Chorale director Elisabeth Harrington:

James Kantor

Beati in domo Domini" by James G. Kantor, arranged for 3-part choir (SAB) and flute, and also featuring percussive sounds from the singers.

 "Sanctus" from Requiem in D minor by Gabriel Faure, arranged for 3-part choir (SAB) by Jill Gallina.

 "Rise Up , Shepherd, and Follow," a traditional American Negro Spiritual Christmas Carol, arranged for 4-part choir and tenor and soprano soloists by Nathaniel Berle Garris.

The Humboldt Chorale will be collaborating with the University Singers and the Humboldt Symphony to perform the Schubert Magnificat and two additional holiday carols arranged by Mack Wilberg: "Still, still, still" (traditional Austrian; sung in English) "How far is it to Bethlehem?" (English carol) Both of these carols were composed for the Mormon Tabernacle Choir.


University Singers director Harley Muilenburg:

John Rutter

John Rutter's “Gloria” was commissioned by the Voices of Mel Olson, Omaha, Nebraska. The [British] composer directed the first performance on the occasion of his first visit to the United States in May, 1974. Rutter writes that “Gloria” is “based mainly on one of the Gregorian chants associated with the text.” The music is festive and celebratory.

The practice of subdividing sections of the mass, such as the Gloria and the Credo, into separate movements as stand-alone compositions dates from the time of JS Bach. John Rutter based his setting of the “Gloria” on one of many Gregorian chants which utilized the Gloria text. Rutter says, "The accompaniment makes quite a joyful noise unto the Lord.” Rutter’s “Gloria” has become a favorite for its “freshness, dramatic impact, and its sheer beauty.”

Humboldt Symphony conductor Paul Cummings:

Franz Schubert

This is our traditional every-other-year concert with combined orchestra and choruses.  Our combined piece at the end of the concert is Schubert's Magnificat for orchestra, choir and four soloists.

In terms of the orchestra part, most of the heavy lifting is done by the strings.  The piece has the typical fast-slow-fast series of movements: the first movement is allegro Maestoso, the second is andante, the third is allegro vivace. There's very little counterpoint, especially for a German composer.

 For the voices, the piece is almost all ensemble choral singing, though in the second movement there's a lovely passage for soloists--a typical Schubert passage that's very melodic.  We have four wonderful students who auditioned for those parts--soprano, alto, tenor, bass--and they're doing a great job.

Schubert wrote this in 1816, a fairly early work.  It tells the Magnificat story as derived from the Gospel of Luke.  It's in Latin, as is most sacred music of this period.

Arcangelo Corelli

The orchestra on its own performs three works.  We did parts of these three in our last concert.  For this concert we perform the complete work.

Corelli's Christmas Concerto, the Concerto Grosso #8, is probably his best-known work for strings.  Parts of it are familiar from the holiday season.  Corelli was one of the great mid-Baroque composers at the end of the 17th century, active mostly in Rome.  He wrote quite a few pieces in this form of the concerto grosso, which features two main groups: the concertino group, which is a group of soloists, and the ripeno, which is everybody else.  We have three student soloists as part of the concertino group--there will be three different soloists each night.  There's also a nice harpsichord part, which we perform on a real harpsichord, not a synthesizer.

Karel Husa: Four Little Pieces (Vier kleine Stucke) 1955

Karel Husa

This is a very nice contemporary piece, atonal  but rather accessible.  It has a lot of material that's repeated and a lot of variety.  In some parts you can hear a melody, while other parts have no melodic material whatsoever.  We did the outer two of the four movements last time.  This time we perform the inner two movements as well.

 Karel Husa was born in 1921 in Czechoslovakia. He emigrated to the United States and began teaching at Cornell University in 1954. He published this work the next year.

Edvard Grieg

Edvard Grieg: From Holberg’s Time, Suite for Strings op. 40 #168

This is one of the classic pieces for string orchestra, so it's always nice to have our students doing core repertoire.  We did the first three movements last time--now we're doing all five.

 In the same vein as Franz Schubert, melody really drives Grieg's music. That’s very apparent in this piece, where there’s always melodic material that’s the basis of the development of the music.

 Grieg is considered Norway’s greatest composer. He wrote this in 1884 to honor Ludvig Holberg, a writer of the early 18th century who is considered the founder of modern Norwegian and Danish literature. He was called “the Moliere of Scandanavia.” So Grieg is capturing the spirit embodied in his literature and that earlier time.

Happy Trails! Humboldt Chorale & U Singers in Last Concert of the School Year 

 The Humboldt Chorale ends the final concert of this school year by singing cowboy songs, most with a Humboldt County connection, in their shared concert with HSU University Singers beginning at 8 p.m. on Sunday May 11.

 “We’re starting with ‘Home on the Range’ and ending with ‘Happy Trails,’” said Chorale director Carol Ryder. For her, it’s “happy trails” in more ways than one. “Since it is my last semester at HSU, I thought it would be a great time to celebrate Humboldt County and my own roots in music.”

 "Happy Trails" is of course the tune by Dale Evans Rogers that she sang with cowboy singer, movie and TV star Roy Rogers. But most of the Chorale’s set features cowboy songs with music composed by HSU professor emeritus Jim Standard and current staff pianist John Chernoff. The lyrics are by Gwen Peterson, rancher and cowboy poet. “Gwen is a friend of Jim’s in Montana,” said Ryder,” and a pretty funny woman.”

 In addition to the songs, Humboldt County rancher, designer and HSU professor emeritus Gerald Beck reads from his autobiographical book, To Be A Horseman.

 In their half of the concert, the HSU University Singers perform Gabriel Faure’s complete Requiem. “The singers would like to dedicate the performance of the Requiem to the memory of the young people who tragically lost their lives in a traffic accident in April,” said director Harley Muilenburg.

 The University Singers will also perform 20th century American composer Randall Thompson’s setting of a Robert Frost poem, “Choose Something Like A Star.” Muilenburg dedicates the performance to Carol Ryder, in recognition of her retirement from HSU.

 The University Singers and Humboldt Chorale perform on Sunday May 11 at 8 p.m. in the Fulkerson Recital Hall at HSU. Tickets are $8/$5, free to HSU students with ID, from HSU Ticket Office (826-3928) or at the door.  Produced by HSU Music Department.

2014 University Singers: (not in order pictured; click image to enlarge) Ana Ceja, Berenice Ceja, Hope Botelho, Cat Clark, Emily Cornelus, Kinara Erickson, Alia Fix, Linnea Hillo, Katie Jumper, Stevy Marquez, Danielle Murray, Gabriela Pelayo, Jessie Rawson, Kallie Sorenson, Jessica Golden, Greata Goshorn, Michelle Green, Erica Luna, Katherine McCall, Skyler McCormick, Eve Ellen Mejla, Andrea Ortiz, Eiko Ujifusa, Steven Flores, Nicholas Hart, Victor Guerrero, Bryant Kellison, Kyle McInnis, David Paden, John Pettlon, Leonardo Simmons, Raul Yepez, Alex Albin, Neil Bost, Cliff Bruhn, Braxton Corbin, Charles Hollowell, Kristofer Lang, Joseph Mayer, Alberto Rodriguez, Justin Santos, Eric Taite, Chris Werner, Clayton Willis.

Ceremonies and Carols with University Singers & Humboldt Chorale

 HSU University Singers capture the holiday spirit with Benjamin Britten’s Ceremony of Carols and the Humboldt Chorale sings a liturgical work in their shared concert on Sunday December 15 at 8 p.m. in Fulkerson Recital Hall. 

 Besides being appropriate for the holidays, performing the seven movements of Ceremony of Carols has two other occasions. “Britten was born in 1913, the same year that HSU was founded,” director Harley Muilenberg points out. “We perform it to celebrate HSU’s 100 years.” 

 That also means that this is Britten’s centennial, so “choirs all over the world are performing Britten’s choral works,” Muilenberg noted. 

 The University Singers also perform two movements from Randall Thompson’s The Testament of Freedom, which was written for another university-related birthday: Thomas Jefferson’s bicentennial in 1943.

 Thompson was teaching at the University of Virginia, founded by Thomas Jefferson, so the text was taken from Jefferson’s writings. The piece proved so popular that it was transmitted over short wave radio to Allied soldiers in Europe during World War II. It premiered at Carnegie Hall in 1945 on a memorial program for the recently deceased President Franklin D. Roosevelt. 

 

Fiona Ryder

The concert also features the Humboldt Chorale, a community choir directed by Carol Ryder. The Chorale performs Magnficat by contemporary composer Imant Raminsh, who was born in Latvia and resides in Canada. This piece won the 1990 Canadian National Choral Award for outstanding choral work.

 The Magnificat or “Song of Mary” is a canticle sung in several Christian church services, related to the Virgin Mary. Various composers have written music to accompany the text, including Monteverdi, Bach and modern composers such as Ralph Vaughn Williams, Arvo Parte as well as Raminsh.

James Gadd

 Soloists for the Humboldt Chorale performance are Fiona Ryder and James Gadd.

 Humboldt State University Singers and Humboldt Chorale perform on Sunday December 15 at 8 p.m. in Fulkerson Recital Hall at HSU. Tickets from HSU Ticket Office (826-3928) or at the door. $8/$5 seniors and children. HSU students with ID admitted free. Produced by HSU Music Department.

                          December 2013 University Singers (click photo to enlarge)

                          Soprano Katharine Gunnick, soloist for Humboldt Chorale

 Sacred Music and a Children’s Choir in Mother's Day Concert

 The HSU University Singers and the Humboldt Chorale perform an evening of sacred music, including the Mass of the Children, on Sunday May 12.

 The Humboldt Chorale features a children’s choir along with the main choir and two soloists performing the Mass of the Children by contemporary British composer John Rutter. The soloists are soprano Katharine Gunnick and baritone Carl McGahan.

 HSU University Singers perform Vivaldi’s Beatus Vir, a Baroque masterpiece for double choir, with soprano soloist Ana Margarida Cruz.  Excerpts from American composer Leonard Bernstein’s Mass include “Sing God a New Song” sung by soprano Ana Duchi.

 The Humboldt Chorale is a community group directed by Carol Ryder. The children’s choir is prepared by James Gadd, and Larry Pitts is piano accompanist. The HSU University Singers are directed by Harley Muilenburg. John Chernoff accompanies on piano.

 University Singers and Humboldt Chorale perform on Sunday May 12 at 8 p.m. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7/3, free to HSU students from the HSU Box Office (826-3928) or at the door. Produced by the HSU Music Department.

Media: Humboldt State Now, Arcata Eye

University Singers: Additional Notes by Director Harley Muilenburg 

The University Singers will present choral music from the 1700’s to the 1900’s. Vivaldi’s Beatus Vir is a sacred Baroque masterpiece written for double choir and vocal soloist. Its style and form are based on that of the instrumental concerto from the same time period.

 The second work performed tonight will be two excerpts from Leonard Bernstein’s “Mass”. The first excerpt is the solo, “Sing God a New Song” sung by soprano, Ana Duchi. The second excerpt is the Alleluia, often referred to as the jazz movement, “Du bing du bang du bong”.

 The final piece for tonight’s concert is “Alleluia” from “Fanfares” by Daniel Pinkham. “Alleluia” is a rhythmically energized composition with tympani included to provide a 20th century ostinato accompaniment.

 Tonight we have our accompanist, John Chernoff playing piano, substituting piano for brass and organ that occur in the original composition.

vocal soloists  Dylan Kinser, Katherine Johnson and James Gadd. 

Sing the Hallelujah Chorus with the Humboldt Symphony and Choirs

The Humboldt Symphony and a chorus comprised of the Humboldt Chorale and University Singers perform the ultimate big finish to their holiday concert: the Hallelujah Chorus from Handel’s Messiah, and the audience is invited to join in.

Plus, Hallelujah enthusiasts have two opportunities: on Friday evening, December 7 and Sunday December 9 in Fulkerson Recital Hall.

  The Symphony itself performs contrasting works by Hector Berlioz (big and bold) and Claude Debussy (short and delicate) before priming the holiday spirit with Leroy Anderson’s “Sleigh Ride” in its original but seldom heard full orchestral version.

Then the community singers of Humboldt Chorale and the HSU University Singers join the Symphony for Franz Schubert’s Mass in G, featuring three vocal soloists: Dylan Kinser, Katherine Johnson and James Gadd. “Schubert looks back to his famous predecessors, J.S. Bach and Mozart in this work,” said Symphony conductor Paul Cummings. “Parts of this Mass are considered to be among Schubert’s best writing—and he was only 18 when he wrote it.”

Then the Symphony performs the overture to The Messiah by George Frideric Handel, and the choir joins in for two choruses: “Glory to God in the Highest” and “Hallelujah,” with the original orchestral instrumentation as Handel wrote it. “We’re excited to invite the audience to join us in the singing of the Hallelujah chorus at the end of the program,” Cummings said. “We hope to see everybody on their feet for what has become a great holiday tradition around the world.”

This holiday concert is performed on Friday December 7 and Sunday December 9 at 8 p.m. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. Free to HSU students with ID. Humboldt Symphony is conducted by Paul Cummings, Humboldt Chorale is directed by Carol Ryder and University Singers are directed by Harley Muilenburg. Produced by HSU Music Department.

Media: Tri-City Weekly, Humboldt State Now, Arcata Eye

Concert Notes by Paul Cummings, Humboldt Symphony Conductor

We’re doing a program every other year now in which the orchestra combines with the University Singers and the Humboldt Chorale.   As in the past, we’re doing the orchestral portion of the program first, then the orchestra combines with the two choirs after intermission.

The orchestra will perform 3 pieces in the first half:

“March to the Scafford” by Hector Berlioz, the fourth movement from his Symphonie fantastique, one of his most famous compositions. It’s about an artist who in this movement has a vision about being marched to his own execution, because of his reckless behavior while in love. Berlioz is known primarily as one of the greatest orchestrators ever, and his use of the instruments in a wide variety of combination is really remarkable. It really comes through in every measure of this short piece.

   Petite Suite by Claude Debussy: This is 180 degrees from the previous piece. Berlioz is extraverted and even bombastic—as a composer he liked to have 200 musicians on stage. Debussy wrote in a much more intimate style. As the title suggests, this is four short movements, miniatures really, originally written for piano four hands. It has gained popularity in this orchestral form, even though it is still done for piano four hand as much or perhaps more. We’re hoping to bring on two pianists to play just the first movement, to give the audience a sense of how a piece can be transcribed from piano to orchestra and still be effective.

  Debussy is very economical in his writing, and yet there’s incredible variety in this suite, with its movements of two or three minutes each. Debussy doesn’t repeat ideas—he writes one and moves on to the next, which is really a challenge to play because it keeps the musicians on their toes.

Sleigh Ride by Leroy Anderson:  This is a lighter, fun piece that everybody knows, but maybe not in its original orchestral form. It’s usually heard in all sorts of later arrangements and transcriptions, but this is the form in which Anderson originally wrote this piece.

Then the orchestra combines with the choirs for works by two major composers:

Mass in G by Franz Schubert. In this composition, Schubert is looking back to his German predecessors J.S. Bach and Mozart, who also wrote settings for the Ordinary of the Mass. Schubert uses the same musical structures such as fugue and chorale and a traditional or common practice counterpoint.

The Credo in particular represents some of Schubert’s best writing—it’s a very haunting portion of the Mass, with some very profound, almost hypnotic music. It’s generally considered the greatest moments in this Mass.I find it especially amazing that Schubert wrote this profound music when he was only 18 years old, all in a five-day period in 1815.

We have three vocal soloists: Dylan Kinser, Katherine Johnson and James Gadd. Katherine in particular has a very demanding solo part and she does a terrific job. The orchestra uses only strings—no winds or percussion.

Finally, we perform three movements from Handel’s Messiah. The orchestra alone performs the Overture, and with the choirs we perform two choruses, “Glory to God in the Highest” and “Hallelujah.”

These are very well known excerpts from the Messiah. They involve a lot of Baroque counterpoint, but Handel’s music can be distinguished from that of his contemporary J.S. Bach by its more extraverted style. You hear fanfares and flourishes, and there’s less dense texture in the music of Handel as compared to Bach. That comes out really clearly in these two choruses. I’ve often thought that Bach could never have written the Hallelujah chorus in particular. It’s almost as if Handel wrote music for the outdoors, whereas Bach’s music seems much more formal and based indoors, inside the Cathedral.

We’re attempting to be faithful to Handel’s original score, including four bassons, two oboes, two trumpets, tympani and string orchestra. And we’re especially excited to invite the audience to join us in the singing of the Hallelujah chorus. We’ll provide the words, and we hope to see everybody on their feet joining us.

From the Sublime to the Ridiculous with University Singers and Humboldt Chorale

Humboldt State University Singers and the Humboldt Chorale go from the sublime to the ridiculous with a few stops in between, on Sunday evening May 6 at Fulkerson Recital Hall.

The University Singers, directed by Harley Muilenburg, perform the “Ave Maria” of famed 16th century composer Tomas L. de Victoria, and the gospel song, “Lord I Know I Been Changed.” They turn to contemporary tunes including “Requiem for the Masses” by popular music composer Terry Kirkman, and “Song of Songs” by contemporary English composer Patrick Hawes.

   The ridiculous resonates with “Jabberwocky,” a choral interpretation of the Lewis Carroll poem by Sam Pottle, composer of the Muppets theme song. In between the Singers reprise the Chen Yi composition “Capriccio” from the recent New Horizons Festival. “The musical material and imagery was inspired by a folk tune that I heard on a bagpipe from the lawn outside the Nelson Gallery in Kansas City,” Chen Yi said, “ and by the wild singing sounds of Asian folk choral music.”

The Humboldt Chorale, comprised of community singers and directed by Carol Ryder, performs American Mass by Ron Kean that combines traditional American hymns and spirituals with traditional choral liturgy. The Chorale also visits the ridiculous with “Animal Crackers” by Eric Whitacre, based on the whimsical poetry of Ogden Nash.

The Humboldt State University Singers and Humboldt Chorale perform on Sunday May 6 at 8 p.m. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7/3, free to HSU students from the HSU Box Office (826-3928) or at the door. The Singers are directed by Harley Muilenburg, the Chorale by Carol Ryder. Produced by the HSU Music Department.

Media: Arcata Eye, Humboldt State Now.

University Singers 2012

Haley Cress as Little Eir and James Gadd as Oolarana the village leader in “A King Island Christmas” presented by the Humboldt Chorale.

Celebrate the Holidays with Humboldt Chorale and University Singers

 The holiday program sung by the Humboldt Chorale and the University Singers of Humboldt State on December 11 reflects two aspects of the season.

The University Singers perform the sacred music of Antonio Vivaldi’s “Gloria,” a choral work in twelve cantata-like sections from the Latin Mass. Its twelve movements have been described as theatrical and rich in contrast: energetic, profound, buoyant, elegant, majestic, heart-rending and joyful.

Participating in this University Singers concert are 67 HSU students. Soloists include soprano Brandy Rose, soprano Elena Tessler, alto Tina Toomata and alto Claire Bent.

The Humboldt Chorale then celebrates family and community in “King Island Christmas” by David Friedman and Deborah Brevoort. Based on true events, it’s the inspiring story of Alaskan villagers who together devise and carry out an audacious plan to rescue a special passenger marooned on a freighter in the stormy sea, and by doing so rescue the island’s Christmas.

The lead characters are played by James Gadd, Cindy Cress, Haley Cress, Rachel Post, Irv Tessler and Bill Ryder. The oratorio provides for more than 50 soloists. The Humboldt Chorale is a choir of 90 singers from the community and the university.

The University Singers

The University Singers and Humboldt Chorale holiday concert is on Sunday December 11 at 8 p.m. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. Free to HSU students with ID. University Singers directed by Harley Muilenburg, Humboldt Chorale by Carol Ryder, produced by HSU Music Department.

Media: Humboldt State Now, Arcata Eye

December Preview

Symphonic Band plays Pulitzer Prize winner Howard Hanson on Friday December 2 at 8 p.m. in Fulkerson.


Calypso Band premieres "Pan Army" and Percussion Ensemble plays on Saturday December 3 at 8 p.m. in the Van Duzer Theatre.


Madrigal Singers perform Renaissance songs of the season and MRT sings jazz and blues on Sunday December 4 at 8 p.m. in Fulkerson.


 AM Jazz Band performs on Thursday December 8 at 8 p.m. in Fulkerson.


Humboldt Symphony plays Gershwin's An American in Paris on Friday December 9 at 8 p.m. and Sunday December 11 at 3 p.m. in Fulkerson.


Jazz Orchestra plays on Saturday December 10 at 8 p.m. in Fulkerson.


Humboldt Chorale presents King Island Christmas and the University Singers perform Vivaldi's Gloria on Sunday December 11 at 8 p.m. in Fulkerson.