L AW R E NC E AC A DE M Y OF MU S IC P R E S E N T S
YuletideCarols
Girl Choir ConcertS AT U R DAY, DEC E M BE R 10, 2016
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Established as a not-for-profit community school, the Lawrence
Academy of Music became a certified member of the National Guild
of Community Schools of the Arts in 1983. Today it serves more
than 1,600 families throughout northeast Wisconsin through music
lessons and classes, the Early Childhood Music program, youth
ensembles, adult music programs, summer music camps and the
Girl Choir program.
Learn more at go.lawrence.edu/academy
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ADMINISTRATION
Brian Pertl, dean of the Conservatory of Music
Karen Bruno, director of the Academy of Music
Cheryl Boyle, registrar
Theresa Shifflett, program and marketing assistant
LAWRENCE ACADEMY OF MUSIC
Street address:
100 W. Water St.
Appleton, WI 54911
Mailing address:
711 E. Boldt Way
Appleton, WI 54911-5699
920-832-6632
go.lawrence.edu/academy
go.lawrence.edu/academy-girlchoir
facebook.com/lawrenceacademy
ACKNOWLEDGEMENTS
David Been
First English Lutheran Church
Fox Valley Unitarian Universalist Fellowship
Gordon Lind
Mark Merrifield
Jon Meyer
Michelle Northey, Flower Girl Design Studio
Mark Scheffler
Jason Weijola
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Please, as a courtesy to the singers and other audience members, silence all cellphones and refrain
from whispering or rustling paper. Turn off all electronic devices with a screen while the concert is in
progress and refrain from flash photography. Thank you.
GIRL CHOIR HISTORY
January 1991: The Lawrence Academy Girl Choir was founded for girls in fourth through sixth grades.
September 1991: A training choir for fourth grade girls was added, creating a sequential Girl Choir
program. The original choir expanded to include girls in fifth through seventh grades.
September 1997: Due to the large number of girls who wished to participate, the program expanded
in both directions with the addition of Primo (then grades three and four) and Cantabile (then grades
seven through nine).
September 1999: The eldest Cantabile singers couldn’t bear to leave the program after ninth grade
and thus became the founding members of Bel Canto, a choir for high school girls.
September 2007: After waiting several years to fulfill the dream of offering a nonauditioned choir, the
program was able to secure additional rehearsal space. Ragazze, a nonauditioned training choir, was
born.
March 2011: The Girl Choir program celebrated its 20th anniversary and featured alumnae in the
combined choirs’ finale.
September 2013: After attempting a variety of rehearsal structures to accommodate Intermezzo, the
largest choir (70–80 singers), an additional choir was added. Intermezzo was eliminated and replaced
with two choirs, Capriccio and Arioso.
March 19, 2016: The Girl Choir program celebrated its 25th birthday with more than 100 alumnae from
around the United States in attendance. The Girl Choir Empowerment Fund was established to help
support student scholarships for singers of limited financial means. Visit go.lawrence.edu/academy-
giving to donate.
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MISSION STATEMENT
The Lawrence Academy of Music Girl Choir program is the only nonprofit girl choir in the Fox Valley. Through
the study and performance of the highest quality music, the girls develop vocal technique, musical skills,
creativity, expressive artistry and an awareness of various cultures. The Girl Choir program creates an
atmosphere that encourages girls to respect the uniqueness of others, to take risks that foster individual
growth and to continue their development into self-assured young women.
THE CHOIRS
Ragazze: Unauditioned for choir for girls in third
through fifth grades. Focuses on healthy vocal
production using folk songs and singing games.
Performs at winter and spring concerts.
Primo: Auditioned choir for girls in third through
fifth grades. Performs at winter and spring concerts.
Allegretto: Auditioned choir for girls in fourth
through sixth grades. One additional community
performance annually.
Capriccio: Auditioned choir for girls in fifth through
seventh grades. One additional community
performance annually.
Arioso: Auditioned choir for girls in sixth through
eighth grades. One additional community
performance annually. One-day tour available
(optional).
Cantabile: Auditioned choir for girls in eighth
through 10th grades. National tour offered
biannually (optional). Additional community
performances as opportunities arise.
Bel Canto: Auditioned choir for girls in 10th
through 12th grades. Local tours and additional
performances as opportunities arise, generally
several times per year.
ARTISTIC PERSONNEL
Ragazze
Patricia Merrifield, teacher
Tess Vogel ’15, pianist and manager
Primo
Karrie Been, teacher
Nell Buchman, pianist and manager
Allegretto
Cheryl Meyer, teacher
Janet Erbach, pianist
Karen Bultman, manager
Capriccio
Toni Weijola ’99, teacher
Kristin Heiges ’11, pianist
Chelsey Burke, manager
Arioso
Jaclyn Kottman ’12, teacher
Kristin Heiges ’11, pianist
Lauren Vanderlinden ’17, manager
Cantabile
Debbie Lind, teacher
Janet Erbach, pianist
Allie Horton ’19, manager
Bel Canto
Karen Bruno, teacher
Nell Buchman, pianist and manager
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ARTISTIC PERSONNEL
Ragazze
Patricia Merrifield, teacher
Tess Vogel ’15, pianist and manager
Primo
Karrie Been, teacher
Nell Buchman, pianist and manager
Allegretto
Cheryl Meyer, teacher
Janet Erbach, pianist
Karen Bultman, manager
Capriccio
Toni Weijola ’99, teacher
Kristin Heiges ’11, pianist
Chelsey Burke, manager
Arioso
Jaclyn Kottman ’12, teacher
Kristin Heiges ’11, pianist
Lauren Vanderlinden ’17, manager
Cantabile
Debbie Lind, teacher
Janet Erbach, pianist
Allie Horton ’19, manager
Bel Canto
Karen Bruno, teacher
Nell Buchman, pianist and manager
Lawrence Academy Girl Choir
YULETIDE CAROLSDecember 10, 2016
A New Year Carol Benjamin Britten (1913–1976)
text: Anon, collected Walter de la Mare
“Trefor Owen [Welsh Folk Customs, St. Fagas, 1974] describes the context for this song in Wales. Very early
on New Year’s Day about 3 or 4 o’clock in the morning, groups of boys came round to the houses in the
neighborhood, carrying a vessel of cold spring water, freshly drawn and twigs of box, holly, myrtle, rosemary or
other evergreens. They sprinkled the hands and face of anyone they met for a copper or two. In every house,
each room was sprinkled with New Year’s water and the inmates, who were often still in bed, wished a happy
New Year... In certain parts of Wales this custom is called dwr newy (literally, new water). The exact meaning
of the phrase levy dew is unknown, although there have been attempts to trace it to llef I Dduw (Welsh for Cry
of God). This seems to be an imposition of a Christian interpretation on a much older custom. Although the fair
maid is now equated with the Virgin, Owen thinks it likely that this custom derives from ‘an early well-cult made
acceptable to medieval Christianity by its association with the Virgin and perpetuated both by the desire to wish
one’s neighbor well at the beginning of a new year and by the small monetary payment involved.’”
School of Seasons: New Year’s Carols by Waverly Fitzgerald
We began our study of this piece by closing our eyes and listening and swaying to the subtle pull of the half
note-quarter note pattern in the piano. We examined Britten’s use of dynamics as he builds interest in the
telling of this song by employing the slightest increase of volume at exactly the right time and experimented,
with breath, the difference between singing pianissimo and piano. We identified and shared with each other the
customs and traditions our own families hold dear.
Then we looked at the rich text of the song and the lilting melody that carries it. We imagined we were still abed
when a neighbor came in and sprinkled us with cold well water and wished us a happy new year. We thought about
the way language lasts, even when its source or meaning is unclear. We talked about how scraps of language, like
pieces in a crazy quilt, when embroidered with melody, evoke a whole more beautiful than its parts.
RAGAZZE
Bring a Torch, Jeanette, Isabella Traditional French Carol
Translation E.C. Nunn
The tune of this song was originally a 14th-century lively court dance. In the mid-1500s, the tune was published
in a book of Christmas carols and has since been associated with the holiday. It tells of two young maidens
who go to the stable to milk cows and find the baby Jesus. They go back out to the town to announce what they
have found.
RAGAZZE AND PRIMO
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Dormi, Dormi Italian Carol
arr. Mary Goetze
Sleep, oh sleep, my lovely child, King divine.Close your eyes and sweetly slumber.
O my treasure, do not weep. Sweetly sleep.Close your eyes, my Son, my dear one.
Although the steady beat remains the same, the meter of this lullaby changes from simple (two divisions
of the large beat) to compound (three divisions of the large beat). In rehearsal, the girls were able to feel that
pulse, one to which we could rock an infant. We discussed how the “fa-la-la” section is similar to the song
Deck the Hall in word, yet so different in emotion and explored the reasons for this difference.
The Carol of the Cuckoo Carolyn Jennings (b. 1936)
Syndey Pittner, flute
This piece retells the story of the birth of Jesus from the perspective of a cuckoo bird. In rehearsal, we
imagined other animals that could be personified to spread news and how the music might change to reflect the
different animals. We also thought about other animals that might be found in unusual settings, like a zebra on
a Wisconsin dairy farm, and what stories they might have to tell.
PRIMO
Audience carol: Jingle Bells
Dashing through the snow, In a one horse open sleighO’er the fields we go, Laughing all the way!Bells on bobtail ring, Making spirits bright,
What fun it is to ride and sing a sleighing song tonight!
Oh, jingle bells, jingle bells, jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!
Jingle bells, jingle bells, jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!
A day or two ago, I thought I’d take a ride,And soon Miss Fanny Bright was seated by my side.
The horse was lean and lank, Misfortune seemed his lot:We got into a drifted bank and then we got upsot!
Oh, jingle bells, jingle bells, jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!
Jingle bells, jingle bells, jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!
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Il est né le Divin Enfant French Carol
arr. Betty Bertaux
Sydney Pittner, flute
Jon Meyer, clarinet
Janet Erbach, drum
He is born, the Divine Christ Child, Play on the drum, play the flute and violin.
He is born, the Divine Christ Child, Christ our Savior, meek and mild.
We have waited four thousand years, As the prophet’s song foretold it;
We have waited four thousand years, Sing with joy for the Infant dear.
He is lovely, He has such charm! Ah, so perfect is His grace.
He is lovely, He has such charm! Sweetness glows from His holy face.
Published for the first time in 1862, this well-known French Christmas carol has since been arranged for various
choir voicing, organ and instrumental groups. Bertaux’s arrangement shows her knowledge of young singers,
setting it for unison voices in a key appropriate for their vocal range. Choosing to score the instruments instead
of piano accompaniment provides a quartet of timbres, much like a chamber music performance. Allegretto
enjoyed the challenge of learning and singing the French text, shaping the phrases with dynamics and the
happy, dancelike quality of the melody.
On Christmas Morn David Brunner (b. 1953)
Ruth Sawyer wrote the text of this piece, adapting a portion of a Spanish carol that lists what gifts children
would bring for the newborn baby: a fish, a bee, a lamb, an ox, a bull, a goatling, a bird. Framing these gifts is
Sawyer’s original text describing the nativity scene. Setting these stanzas for unison voices and piano in 1996,
David Brunner composed three distinct sections that use different melodic and rhythmic motives. Initially put
off by the large leaps in the “unusual” melody and the often spare, independent piano accompaniment, the
singers gained vocal agility, speculated on the purpose of the extended piano introduction, interlude and coda,
and express in their singing the wonder, excitement, joy and awe of children at the manger.
ALLEGRETTO
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Hallelu! (Christmas) Stephen Paulus (1949–2014)
When introduced to this piece, singers were asked to listen to the piano part alone and write a story based on what
they heard. They were given the title and the Christmas context. Some of their stories involved mystery, adventure
and unanswered questions. Others rendered images of forests, fairies and woodland creatures. Many singers
wrestled with connecting the title of the piece with the content of their stories. The title Hallelu! in a Christmas
context suggests a cheerful, celebratory announcement of the birth of Jesus. American composer Stephen Paulus
chose to portray the birth scene more reflectively using reverent expressions of wonder without pomp or fanfare.
Smooth, undulating motions in the piano partner with slow, two-measure phrases in the voice parts. What starts as
a hushed conversation between singers and piano crescendos to a climax in verse three with the revelation of Jesus’
name. As emotions settle, the scene returns to a state of peacefulness and quiet reflection.
Niño Lindo Traditional Christmas Song from Caracas, Venezuela
arr. Ruth Boshkoff
Lovely baby, I bow before you;Lovely baby, you are my God.
Goodbye, tender infant,Goodbye, sweet love,
Goodbye, baby boy, farewell.
In this tender lullaby, Mary is singing to the newborn Jesus. The piece is written in duple meter and juxtaposes
triplets and straight eighth notes, reminiscent of a mother rocking her child to sleep. First presented in unison,
the lullaby begins again with a second voice part blossoming out of the first. Singers also explored the role of
the glockenspiel and imagined what character its “voice” represented in this nativity scene, sharing ideas such
as twinkling stars, murmuring animals and an angelic choir.
Catalonian Carol Traditional
arr. Jon Meyer
The arrangement of this traditional carol pairs the cheerful melody with a dancelike piano accompaniment.
Additionally, finger cymbals and castanets join this celebration of hope and new growth. The singers noticed
that certain nouns were capitalized, such as Rose, Tree and Lily, which led them to explore the symbolic
references of the birth of Christ in the poem. To dive even deeper into the piece, we invited the arranger,
Academy teacher Jon Meyer, to a rehearsal to share how he crafted the arrangement and why he made some of
his musical decisions. We hope that our performance conveys his intentions well.
CAPRICCIO
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Audience carol: Joy to the World
Joy to the world! The Lord is come;
Let earth receive her King.
Let ev’ry heart prepare Him room,
And heav’n and nature sing.
Joy to the world! The Savior reigns
Let all their songs employ,
While fields and floods, rocks hills and plains
Repeat the sounding joy.
He rules the world with truth and grace
And makes the nations prove
The glories of His righteousness
And wonders of His love.
In dulci jubilo Michael Praetorius (1571–1621)
With sweet rejoicing
Now sing and be glad
Our hearts’ joy
Lies in the manger
And it shines like the sun
In the mother’s lap
You are the Alpha and Omega
In 1328 Heinrich Seuse, a German mystic monk, reportedly awoke from a dream in which an angel presented
him with this text. Since then, In dulci jubilo has been arranged and rearranged over 600 times, perhaps most
recognizably as the Christmas song Good Christian Men, Rejoice, and including our version penned by Praetorius
in 1607. Particularly unique for its macaronic (multilingual) text that alternates between German and Latin,
the original chantlike melody weaves between the soprano and alto voices while melismatic and arpeggiated
fragments punctuate the text, creating a sense of continual rebirth and renewal until arriving at the final unison
note.
Coventry Carol Traditional English
This contemplative English hymn dates back to the 16th century. It offers a different take on the Christmas
story: its minor melody and stark, open chords illustrate the dark text that references King Herod’s order to
slay all of the male infants in Bethlehem. Using the musical elements of dynamics, phrasing and diction, Arioso
explored the ways that one melody can paint many pictures, depending on the text with which it is paired and
the expressive choices of the performers.
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The Holly and the Ivy English Carol
arr. Nick Page
Jon Meyer, recorder
Page’s arrangement of this cheery carol, known for its distinctively soaring melody, celebrates the Christmas
spirit with voices and instrumental parts that seem to dance together. The two voices move in duet until their
eventual resolution, as the piano and recorder provide a buoyant accompaniment. Arioso worked diligently to
achieve balance in this piece, developing a blended sound and practicing “sending” the melody back and forth
across the sections of the choir, with the goal of creating an even tone—and spirit—throughout the piece.
ARIOSO
Audience carol: Deck the Hall
Deck the hall with boughs of holly, Fa-la-la-la-la, la-la-la-la!
‘Tis the season to be jolly, Fa-la-la-la-la, la-la-la-la!
Don we now our gay apparel, Fa-la-la, la-la-la, la-la-la!
Troll the ancient yuletide carol, Fa-la-la-la-la, la-la-la-la!
See the blazing yule before us (Fa-la, etc.)
Strike the harp and join the chorus
Follow me in merry measure
While I tell of yuletide treasure.
Fast away the old year passes
Hail the new, ye lads and lasses
Sing we joyous, all together
Heedless of the wind and weather.
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El Cant dels Ocels (Carol of the Birds) Catalan Folk Song
arr. Valerie Shields
Emily Hauer, violin; Andrew Lind, viola; Daria Van De Loo, cello
In seeing emerge the greatest light, during the most celebrated of nights, the little birds sing.
They go to celebrate Him with their delicate voices.
This traditional Catalan carol tells of nature’s joy at learning of the birth of a baby born in Bethlehem. The
original carol lists 15 verses with 32 birds in attendance near the lowly stable. The song gained international
fame with the great Pablo Casals’ solo cello version. Following his exile in 1939 from then fascist Catalonia,
and upon his return to Spain, Casals began each of his concerts by playing this song, in memory of all victims
of war. For this reason, this song is considered a symbol of Catalonia.
While Catalonia is a province of Spain, its location lies in the Pyrenees Mountains, along the borders of Spain,
France and the Mediterranean Sea. Over the centuries this lush region has been occupied by the ancient
Romans and Iberians, the Muslims of the Middle East and Africa, the Goths of Germany and the Celts from all
over Europe, which has given rise to its unique culture, its mysterious language and its haunting music with
Middle Eastern harmonies. The challenging melody in this song, with its harmonic minor mode with augmented
second intervals hints of music of a long time ago. And while it is preferred to sing a song in its original
language, Cantabile will sing verse one in Catalan and the subsequent two verses in English, so the listener,
too, can hear about the birds attending the event.
Mid-winter Bob Chilcott (b. 1955)
poetry Christina Rossetti (1830–94)
Emily Hauer, violin; Andrew Lind, viola; Daria Van De Loo, cello
The original and much-beloved carol In the Bleak Midwinter belongs to Gustav Holst. Bob Chilcott, contemporary
British composer and former King’s Singers member, has set his version to British poet Christina Rossetti’s
lovely poem. A common theme used in Biblical writing contrasts the weak and the lowly with the strong and
mighty, with the weak ultimately conquering the strong; the ordinary becoming the miraculous. The music
and text of Mid-winter feed this rich literary theme: thick harmonies become simple, unison melodies; heavy
syncopated rhythms become easy flowing lines; huge con forza dynamics suddenly reduce to dolce, almost
whispered phrases; all of heaven’s nine choirs of angels, three powerful kings and even reference to the ends
of time are supplanted by a maiden’s gentle kiss upon her beloved child’s brow.
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Shepherd’s Pipe Carol John Rutter (b. 1945)
British composer, John Rutter, founder of the men and boys’ choir Cambridge Singers has written and arranged
dozens of some of the most stunningly beautiful, well-known and newer Christmas carols. Shepherd’s Pipe Carol
is a conversation between a narrator and a tune-piping shepherd boy on his way to Bethlehem. The listener
can picture him dancing and skipping across the hills, thanks to several mixed meters, including the 3/8 meter,
actually known as the “skipping meter.” Again through the music we hear contrast between the powerful dare of
the narrator and the soft, sweet response of the shepherd boy. Cantabile loves that this song really moves and
that it is just so HAPPY! We hope you can keep up with us and that it will make you HAPPY, too!
CANTABILE
Christmas Time is Here Vince Guaraldi (1928–1976)
arr. Robert Sterling
text Lee Mendelson
In the early 1960s, Lee Mendelson produced a television documentary about the internationally popular
Peanuts comic strip. A fan of jazz, he hired Vince Guaraldi to write a tune (Linus and Lucy) for the production. In
1965, Coca Cola commissioned A Charlie Brown Christmas and hired Guaraldi to write all of the music for the
half-hour special, which included Christmas Time is Here. A children’s church choir from San Rafael, Calif., was
hired to record this tune, Hark! The Herald Angels Sing, and some of the spoken text used in the special. (Each
singer reportedly earned $5 and an ice cream cone as compensation for many late nights of rehearsal and
recording.) The text to this popular favorite (the album A Charlie Brown Christmas has sold over 3 million copies
to date) reminds us that creating memories of beauty with family and friends is possible throughout the year, if
we but look for opportunities to do so.
Jul, Jul, Strålande Jul Gustaf Nordqvist (1886–1949)
Christmas, radiant Christmas, shine through the white woods.
Crown the heavens with glistening light, glimmer in every house of God.
Psalm that is sung from time until time, eternally longing for light and peace!
Come, come, blessed Christmas, descend on your white wings
Over the battle’s blood and noise, over the signs of all humanity,
Over the weary who go to their rest, over the young coming into the world!
This popular Swedish Christmas song evokes the peaceful nature of the cold, snowy winter and reminds us of
the promise of the return of light and hope for peace in the world. We are grateful to Mia Ljung for guiding our
Swedish pronunciation.
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Hanget Soi Heikki Sarmanto (b. 1939)
Singing snow, singing snow, the wind whistles over the snow fields.
Even now, under the snow, we know there is something stirring.
Singing snow, singing snow, the power of winter is broken.
Hearts beat high and pulses pound as we feel spring returning.
Singing snow, singing snow, we welcome spring to Finland.
Joy in the air, hope is renewed,
All gloom and grayness is gone now.
Singing snow, singing snow, it sounds of the springtime:
Courting, joyful larks that fly and sing, already practicing love songs.
Singing snow, singing snow, too long has my heart been frozen.
Heart beating high, pulse now pounding as spring sweeps over the snow fields.
In northern Finland, snow begins in earnest in September and lasts well into May. Parts of the country are
above the Arctic Circle, so the sun does not rise for one to two months during the winter (kaamos is the word
for this polar night). A few hours of twilight take place around noon. We can, therefore, imagine how joyful the
first sounds and glimmers of spring must feel for those who live in this region.
Listen to the right hand of the piano, which evokes both the singing, swirling snow and the pounding pulse
described in the text. Bel Canto members speculated about the slower sections, imagining a variety of images
to accompany the music (a sunbeam breaking through the clouds, throwing open the window in anticipation of
spring, the sudden realization that the wind and snow have stopped). Although our own winter is far from over
and spring feels distant, the solstice is coming soon. “Even now, under the snow, we know there is something
stirring” is a wonderful reminder of hope and renewal during this busy time of year.
BEL CANTO
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Audience carol: Hark! The Herald-Angels Sing
Hark! the herald angels sing, Glory to the newborn King;
Peace on earth and mercy mild, God and sinners reconciled:
Joyful all ye nations rise, Join the triumph of the skies,
With th’angelic host proclaim, Christ is born in Bethlehem.
Hark! the herald angels sing, Glory to the newborn King.
Christ, by highest heav’n adored, Christ the everlasting Lord,
Late in time behold him come, Offspring of a virgin’s womb.
Veiled in flesh the Godhead see, Hail th’incarnate Deity!
Pleased as man with man to dwell, Jesus, our Emmanuel.
Hark! the herald angels sing, Glory to the newborn King.
Mild He lays his glory by, Born that man no more may die.
Born to raise the sons of earth, Born to give them second birth.
Ris’n with healing in His wings, Light and life to all He brings,
Hail, the Son of righteousness, Hail, the heav’n-born Prince of Peace!
Hark! the herald-angels sing, Glory to the newborn King.
Angels We Have Heard on High Traditional choral introduction by Cheryl Meyer
descant by Frank Rippl
We end with a traditional carol that features an introduction meant to sound like the gathering of the angels
and a descant that will soar above as you join us in the final verse:
See Him in a manger laid,
Whom the angels praise above;
Mary, Joseph, lend your aid,
While we raise our hearts in love.
Gloria in excelsis Deo!
Gloria in excelsis Deo!
COMBINED CHOIRS
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THE CHOIRS
RAGAZZE
Lydia BarryJosephine BrozekMadeline CareyMadelynn DavisChloe DearingGrace EbertSilhouette Heffernan
Valerie KallioAdela KellanDyonna KellyHailyn KollerKrista KucharskiIsabella LaChapelleAnnika Larsen
Ryan MiddletonGabriella MillerSophia OverholtAva PohlkotteEllason PoppNora PoppOlivia Robles
Hannah SippelElla TrampeKate VanderloopMegan Wepfer
PRIMO
Elise AchtnerKaia AmaralCaitlin BoonGrace BrittenElianna CoussonsLauren EricksonSabine FreyElizabeth GentzLaurel Golson
Nora HartzheimGianna HeidAliisa HelminenChloe HermsenAbigail KarthKaylynne KaufmanJacquelyn MalmMadeline MarsdenSophia Martin
Emily McCarthySkylin McFaddenElla NadboralskiElise OehlerIsabel Pagan-VegaGrace PetersChloe PfefferleEmma RaleighGretchen Shober
Layla SniderGabrielle SternMya WallaceElizabeth WeinfurterCassidi WingAubrey WoodrowSienna Zheng
ALLEGRETTO
Esther AnderleElla BaumanGianna BayClaire BenzJulia BockRowan CruzMadelyn DillenburgLucy DollevoetAshlyn DoranJenna DugalJulia GurholtHayley Hagens
Hailie HerronJenna HooymanCaroline JiaElana LaceyEmily LangeLola LevinNora Lindsay-ReillyAnna LindsayGreta MelzlAlexia NelsonGreta NolteAmelia O’Leary
Elizabeth OsorioMihret PattersonShayla RademakerTalia RoselaarNevaeh Roug-SchmitzBreanna SchillingEva SchmidtBrianna SkorrAnna SlocumAurora SmithKaren SomersLydia Sorem
Molly StonelakeElsa ThielGracie TuckerChristiana Van GrinsvenFiona VelpelAbigail WintersHannah WynenLily YaunRachel Zhu
CAPRICCIO
Morgan AldanaNora AustinSophia BaumanHailey BayBailey BidwellReese BrunetteHaili CaseyGrace DollevoetEliza DuimstraEllie Gregersen
Ella HeiksKatherine HellerLola HuntTrinity InmanCaroline KiesnowskiKeira KnuppelTéa KoehlerZoe KrausMichaela KrisherCambria Maynard
Leah McElhaneyElise NolteLinnea OlsonEmma RademakerGrace RaleighMadison RechnerOlivia RechnerAnya RiabovElla RyanEmily Schaefer
Mara SchellEva SchneiderDanika TrzebiatowskiKaylee TrzebiatowskiSophie Van StippenShanice WarigiSusan Yao
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ARIOSO
Renna AmaralAshley AuthementMaria BenzAbbey BernardKate BerneckerIsabelle BestulCarly BomierHannah BrownCharlotte BuchmanMadelyn CareyWilla K. CarmanBree CaseyMaya Corcoran
Sophie FellingerColette Ferguson-RougSolara GomezElizabeth HartmanEmily HodsonAbriel HooymanEmma HuntleyClaire HydeMadison IrwinAlisha L. JahnkeLydia JohnsonRuby March-TormeNola McDonald
Abby MoardKarina MoseEmily OrnelasLindsey PlassDrew PollardChelsea PoppletonMaya RuffoloJenna SabrowskyKellin ScheelTessa SchreiterIsabella SierraColleen TeboGillian Ulrich
Annika UrnessAlyssa Van DomelenEmmaline Van DykeAbigail Van ElzenEleanor Van NulandClara VandeHeyRachel VogelKatherine WarnerMeredith WestonSamantha Jo WhiteClaire WileyRose Williams
CANTABILE
Pippa AustinIrysa BauerBryelle BernardEllie BernierKayla BooksMollie BrackettJane BrinkmannKhloe CaseyGeena CoffeyLauren DoneyAshley Evans
Emma FrederickAbigail GentzElizabeth GeoffreyEmilie GilliganOlivia GroenewoldBrianna HauserAlyssa KellerHolly KrabbeMakenna KrausSigrid LokensgardEmmalee Mindock
Claire MotenEmma NolteClaire OlsonMadison PriceSophie Quick-LaughlinJenna QuinnAdithi ReddyAnna RettlerChloe SawallCaitlin ScheelMaria Serna
Kate SlesarAudrey SobergBethany SteenbockMaKayla StrohmeyerEmily TeschMayLynn VangKelsey WadleighMoriah WebsterSamantha WellsChloe Zering
BEL CANTO
Elena AnderlaEmily BeenLily BirschbachIsabelle BlankClaire BoldtHannah BorchertZoe BossertGrace BrinkmannChloe CelsorAlana ChristenHaley CorcoranCorrina CzarnikAbby DollevoetEleanor Erbach
Phoebe FrantzGrace GollnickClaire GorgesEmma HagerAlyssa JansenJenna KellerKatharina KellerValerie LambertMeg LehmanCamryn MaesAshley MarcusenGabrielle MitchellElizabeth MoranAnna Olson
Jacy OlszewskiJulia PengraziChloe PetersonSydney PittnerClaire SawallElizabeth SchulzMcKenna SeegersSteph SerratoEmma SimonLena SimonRachel SinaClaire SlocumAshley SmithJulia Soma
Kathryn StonesmythJordyn UlmanAlaina VerstegenAlayna WernerRachel WestraCarrie WillsonHannah WolfrathBethany Zoch
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TEACHER BIOGRAPHIES
Patricia Merrifield, who teaches Ragazze singers, teaches elementary general music in the
Appleton Area School District and serves Lawrence University’s Conservatory frequently as a
cooperating teacher. She is currently co-teaching a Lawrence class in recorder and guitar
methods for music education majors. Merrifield holds a Bachelor of Music degree from Michigan
State University and a teaching certification and a Master of Music degree in music education
with a Kodály emphasis from Silver Lake College. Before entering the field of teaching, she
worked in orchestra management for the Phoenix and Fairfax (Va.) Symphony Orchestras. Merrifield is a past
board member of the Association of Wisconsin Area Kodaly Educators (AWAKE), has co-chaired the AWAKE
Singing Games Festival and is a member of the Wisconsin School Music Association and Music Educator’s
National Conference.
Karrie Been, who teaches Primo singers, graduated from Carroll University with a Bachelor of
Science degree in music education and earned her Master of Music degree in music education
with a Kodály emphasis from Silver Lake College. She is currently the general and vocal music
instructor at Woodland and Mapleview Intermediate Schools in Kimberly, where she also
serves as curriculum coordinator for the district’s general and choral music staff. Previously,
Been taught in Franklin, Wis., where she taught elementary music, middle and high school
choirs, and worked as the orchestra conductor for the high school’s musical theatre productions. She was the
founding chair of the AWAKE Children’s Choir Festival and served on the Wisconsin Choral Directors Association
Choir Festival Committee. She is a member of the Wisconsin School Music Association, American Choral
Director’s Association and Music Educator’s National Conference. She has served Lawrence University’s
Conservatory of Music and St. Norbert College, working as cooperating teacher and practicum adviser.
Cheryl Meyer, who teaches Allegretto singers, received her Bachelor of Music degree from
UW–Madison. She joined the Academy as a conductor in the Girl Choir program in 1992, the
first full year of the program. A vocal music specialist with the Appleton Area School District,
Meyer is an advocate for the Comprehensive Musicianship through Performance (CMP) model
of teaching. She is a frequent cooperating and practicum teacher for Conservatory students
and is currently co-teaching a class in recorder and guitar methods for music education majors.
As a member of the Wisconsin Choral Directors Association (WCDA), Meyer has conducted Singing in Wisconsin
youth choirs, presented sessions and choirs at state conventions and served as Children’s Choir Repertoire
and Standards Chair. She is also a member of the Wisconsin Music Educators Conference (WMEA) and the
Organization of Kodály Educators, serving as a past conductor of the AWAKE Youth Honor Choir. Currently
an adjudicator for the Wisconsin School Music Association, Meyer also conducts the Camp Choir during the
Academy of Music’s residential summer band camp.
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Toni K. Weijola ’99, who teaches the Capriccio singers, is an alumna of Lawrence University
with a Bachelor of Music degree in choral and general music education and vocal performance.
She also holds a Master of Music degree in music education with a Kodály emphasis from
Silver Lake College. Weijola is an elementary music teacher with the Appleton Area School
District and collaborates regularly with Lawrence as a cooperating teacher for future music
educators. A member of Wisconsin Music Educators Association (WMEA), Wisconsin Choral
Directors Association (WCDA) and AWAKE, she is also an advocate for the Comprehensive Musicianship through
Performance (CMP) model of teaching. As an active musician and educator in the Fox Valley, she has previously
served as conducting intern with the Girl Choir program, taught with the conducting staff of the Appleton
Boychoir, conducted private studio instruction in voice and served as soprano section leader with the
newVoices choir. Weijola continues to sing with newVoices and, with her husband, she currently co-leads the
music and worship ministry at their church.
Jaclyn Kottman ’12, who teaches Arioso singers, previously served as a manager and
conducting intern with all three middle and high school Academy Girl Choirs. Kottman
graduated from Lawrence University with a Bachelor of Music degree in choral and general
music education and a minor in religious studies. She has taught in New Zealand, Costa Rica,
Appleton and Boston. She is currently teaching choral music in the Appleton Area School
District at Einstein Middle School, Classical School and North High School and teaches voice
through the Lawrence Academy of Music. Kottman is a member of the Wisconsin Music Educators Association
(WMEA), the American Choral Directors Association (ACDA), the Sigma Alpha Iota music fraternity and is the
recipient of Lawrence University’s Pi Kappa Lambda Award for Excellence in music education.
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Karen Bruno, who teaches Bel Canto singers, is the artistic director of the Girl Choir program.
She received a Bachelor of Arts degree from Smith College, a teaching certificate from
Lawrence University’s Conservatory of Music and a Master of Music degree from Boston
University. She has taught choral music in the Appleton and Oshkosh school districts and at
an international school in Senegal. Bruno has been a guest speaker and adjunct faculty
member for Conservatory music education classes and has served as both cooperating and
practicum teacher for students from Lawrence and St. Norbert College. She is currently the director of the
Lawrence Academy of Music.
Bruno has conducted the South Dakota All-State Children’s Choir, numerous regional honor choirs and is a
past staff member of the Wisconsin School Music Association’s Treble Honor Choir. She served for six years
as the repertoire and standards chair for Children and Community Youth Choirs in the North Central Division of
the American Choral Directors Association (ACDA), is a member of the VoiceCare Network and serves on the
committee advocating the Comprehensive Musicianship through Performance (CMP) instructional model. Bruno
is a two-time recipient of WCDA’s Five-Star Award, a recipient of Lawrence University’s Pi Kappa Lambda Award
for Excellence in music education, a Rotary Scholarship Award winner and was recognized by the Danbury Music
Centre for providing outstanding musical opportunities for youth in the United States. Under her tutelage, Bel
Canto was awarded second place in the national American Prize competition and has performed, by audition, at
state and divisional conventions of choral conductors.
Debbie Lind, who teaches Cantabile singers, is a graduate of the University of Nebraska,
Lincoln, with a Bachelor of Music Education degree, vocal and instrumental. In June 2011, she
retired from 25 years of teaching vocal and choral music in the Appleton Area School District,
having served most recently as choral music director at Appleton East High School. She taught
in Omaha, Neb., and Schofield, Wis., before coming to Appleton.
Lind has been a clinician for the Wisconsin School Music Association and a guest conductor for WCDA’s
Singing in Wisconsin festival. She has been actively involved in church music as a choral director, accompanist
and singer throughout her career. She is a member of the VoiceCare Network, Wisconsin Music Educators
Association (WMEA) and the Wisconsin Choral Directors Association (WCDA). Lind has worked and continues to
work with future and new music educators as a cooperating teacher, a practicum advisor and a mentor for the
Appleton Area School District new teacher mentoring program.
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GIRL CHOIR CALENDAR OF EVENTS
Allegretto sings at First English Lutheran ChurchSunday, Nov. 13, 201610:30 a.m. service
Bel Canto performs as guest artists with Fox Valleyaires Barbershop ChorusTuesday, Dec. 6, 20167 p.m.James W. Perry Hall, UW–Fox Valley
Cantabile sings at First English Lutheran ChurchSunday, Jan. 8, 201710:30 a.m. service
Arioso Tour to Green Bay: Exchange with Green Bay Girl ChoirSunday, Jan. 8, 2017Noon–3:45 p.m.
Tutti Raffle to support Academy Tutti Fund for Tuition AssistanceTickets distributed February 2017Drawing March 25, 2017, at conclusion of Girl Choir concert
Capriccio sings at Fox Valley Unitarian Universalist FellowshipSunday, March 5, 201710:45 a.m. service
Bel Canto exchange with Cantori Choir (Plymouth, Minn.)Sunday, March 5, 2017; details TBD
Girl Choir Concert: Now I Become MyselfSaturday, March 25, 20172 and 7 p.m.Lawrence Memorial Chapel
Bel Canto and Young Men’s Chorus ConcertSaturday, April 8, 20177 p.m.Lawrence Memorial Chapel
Auditions for 2017–18Primo, Allegretto auditions: April 3 and 4, 2017Capriccio, Arioso auditions: April 9 and 10, 2017Cantabile auditions: April 23 and 24, 2017Bel Canto auditions: April 23 and 25, 2017
Note: A current calendar for each choir is available for download from each choir’s web page. Visit go.lawrence.edu/academy-girlchoir for links.