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Girl Choir Anniversary Concert

SATURDAY, MARCH 19, 2016

H LAWRENCE ACADEMY OF MUSIC PRESENTS H

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ADMINISTRATION

Brian Pertl, dean, Lawrence University Conservatory of Music

Karen Bruno, director, Lawrence Academy of Music

Anne Powling, youth ensembles coordinator

Cheryl Boyle, registrar

Theresa Shifflett, program and marketing assistant

LAWRENCE ACADEMY OF MUSIC

Street address:

100 West Water Street

Appleton, WI 54911

Mailing address:

711 East Boldt Way

Appleton, WI 54911-5699

920-832-6632

acad_music@lawrence.edu

go.lawrence.edu/academy

go.lawrence.edu/academy-girlchoir

www.facebook.com/lawrenceacademy

ACKNOWLEDGEMENTS

Appleton East High School Choirs

David Been

The Crafty Penguin

First English Lutheran Church

Fox Valley Unitarian Universalist Fellowship

Gordon Lind

Mark Merrifield

Jon Meyer

Michelle Northey, Flower Girl Design Studio

David Powling

Mark Scheffler

Jason Weijola

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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 private

music lessons, early childhood music classes, youth ensembles,

adult music programs, summer music camps, piano festival,

chamber music, Balinese gamelan, Young Men’s Chorus and the

Girl Choir Program.

Learn more at go.lawrence.edu/academy

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Please—as a courtesy to the singers and other audience members, silence all cell phones 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.

CALENDAR OF EVENTS

March 21 / 4–7 p.m.

Girl Choir Uniform Return

Shattuck Hall 156, Lawrence University Conservatory

April 1–4

Cantabile Tour to New York

Carnegie Hall performance under the direction of Dr. Edie Copley

April

Girl Choir auditions for 2016–17

Register online at go.lawrence.edu/academy-GCauditions

April 17

Young Men’s Chorus auditions for 2016–17

(auditions for new members only)

Register online at go.lawrence.edu/academy-menschorus

December 10 / 2 p.m. and 7 p.m.

Girl Choir Concerts

Lawrence Memorial Chapel

March 25, 2017 / 2 p.m. and 7 p.m.

Girl Choir Concerts

Lawrence Memorial Chapel

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MISSION STATEMENT

The Lawrence Academy of Music Girl Choir Program is the only nonprofit girls 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: Non-auditioned choir for girls in grades 3-5.

Focuses on healthy vocal production using folk songs

and singing games. Performs on spring concert only.

Primo: Auditioned choir for girls in grades 3-5. Performs

on winter and spring concerts.

Allegretto: Auditioned choir for girls in grades 4-6. One

additional community performance annually.

Capriccio: Auditioned choir for girls in grades 5-7. One

additional community performance annually.

Arioso: Auditioned choir for girls in grades 6-8. One

additional community performance annually. One day

tour available (optional).

Cantabile: Auditioned choir for girls in grades 8-10.

National tour offered biannually (optional). Additional

community performances as opportunities arise.

Bel Canto: Auditioned choir for girls in grades 10-

12. Local tours and additional performances as

opportunities arise, generally several times per year.

CHOIR 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 ’01, teacher

Kristin Heiges ’11, pianist

Heather Urness, manager

Arioso

Jaclyn Kottman ’12, teacher

Kristin Heiges ’11, pianist

Lauren Vanderlinden ’17, manager

Cantabile

Debbie Lind, teacher

Janet Erbach, pianist

Cayla Morton ’15, manager

Bel Canto

Karen Bruno, teacher

Nell Buchman, pianist and manager

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Lawrence Academy Girl Choir

25TH ANNIVERSARY CONCERT

Getting to Know You music Richard Rodgers (1902–1979)

lyrics Oscar Hammerstein II (1895–1960)

This graceful melody from The King and I, built with energetic ascending triplets and languid half notes, creates

a picture of elegance while conveying, with repeated emphasis on “know you,” what is eagerly desired by the

singer. Ragazze members used floaty scarves to create lyrical movements to inform our singing. We closely

examined the notation and discovered, for example, what a difference one small eighth rest can make when

it comes just before “My cup of tea!” Throughout our rehearsals, this piece helped us recognize and develop

friendships with each other.

Bee! I’m Expecting You! Emma Lou Diemer (b. 1927)

poetry Emily Dickinson (1830–1886)

Imagine the flight path of a fly—now, turn that vision into sound. Compose a letter to a friend, using language

that will not just convince, but will fervently compel them to comply. Name things that might tempt Bee to

visit. Describe the effect a crescendo can have on creating a sense of desire and urgency. These activities are

some of the ways in which we have endeavored to understand Fly’s intention in this piece. The vision of insect

friendship examined in this work ties into the theme of making new friends, which is central to the Ragazze

experience. The piano accompaniment has an equal voice with the chorus; repetitions of Dickinson’s text drive

the piece toward its conclusion.

RAGAZZE

O Music Lowell Mason (1792–1872)

This round was written by the “father of singing among the children” in the United States. Lowell Mason was

one of the central figures in the process of bringing about the adoption of music as a public school subject.

This song is part of the Girl Choir standard repertoire for our youngest singers and presents a bit of a challenge

by stretching their range while singing in a two-part round. The lyrics also spark the imagination when we

contemplate a time without the technologies and activities that can complicate our lives. In this piece, we sing

the praises of our art and celebrate a less busy state of mind.

RAGAZZE AND PRIMO

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A Jubilant Song Mary Lynn Lightfoot (b. 1952)

text from Psalm 96

Sing to the Lord a new song, all the earth.

This song has a brief modulation from the major tonality to the minor, and returns to major, an exciting

compositional device that adds interest to this song. This piece was the Primo girls’ first venture into singing

Latin and reading a score with two vocal lines, both of which are important choral skills.

Bist du bei mir attributed Johann Sebastian Bach (1685–1750)

accompaniment by S. Calvert

If thou art nigh, then am I joyful.

Though death await, I trust in thee.

Ah, blessed delight, if at my dying,

Thy gentle touch, thy tender hand,

Might my faithful eyelids softly close.

Translation by Joan Evans

This song is included in a compilation titled Notebook for Anna Magdalena Bach (1725). It has been suggested

by scholars that this piece was composed by Gottfried Heinrich Stölzel rather than J. S. Bach.

As we discussed the text and music, we wondered why the composer would end many of the phrases on a note

other than the tonic, or resting tone. The girls had wonderful suggestions. Some thought that ending a phrase

on a note other than the tonic gives us the feeling of being unsettled, or that the singer has more to tell. As the

song concludes on the tonic, we have the perception that the singer has accepted death and is at peace.

PRIMO

I Had a Little Nut Tree English folk song

arr. Betty Bertaux

This song is based on the visit of the Royal House of Spain to King Henry VIII’s English court in 1506. The “King

of Spain’s daughter” refers to the daughter of King Ferdinand and Queen Isabella of Spain. She became the

King’s first of six wives and was much loved by the British people. Enjoy the harmony and the rhythmic surprise

Bertaux created in this arrangement.

When asked about favorite Girl Choir pieces, alumnae who were invited to the 20th and 25th anniversary

concerts frequently mentioned this composition. Even as adults, our singers have fond memories of the melody,

surprise rhythm and accompaniment.

PRIMO AND ALLEGRETTO

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Glory to God Giovanni Pergolesi (1710–1736)

arr. and ed. Michael Burkhardt

Margie Norby and Katie Weers, violins

Originally “Inflammatus et accensus” from Pergolesi’s Stabat Mater, Burkhardt uses a familiar verse from

the Gospel of Luke as the text in this setting of the music. While learning the piece, the singers discovered

characteristics of Baroque compositional style: repetition of a phrase with contrasting dynamic levels, the

nearly continuous subdivision of beat in the bass note accompaniment, an extended introduction with melodic

motives used in the vocal parts, clear cadences at the end of the two sections of music and the relationship

between the tonic and dominant tonal centers in the piece.

Bel Canto sang the entire Stabat Mater with the Fox Valley Youth Orchestra twice, once in 2003 and again

in 2010. Today’s violinists add some of the orchestral color that the older singers enjoyed during their

performances.

Little One, Little Chickadee Barbara Wolfman

While Barbara Wolfman served as an accompanist for the Girl Choirs (see the Girl Choir History pages that

appear later in this program), she composed several pieces for them, including this one. In the opening section

of the piece, we are observers of the little chickadee with the text and melody. The rhythmic and melodious call

of the chickadee is then coupled with the observer melody in the next section. Lastly, we hear three chickadees

communicating during their flight from the nest in the two vocal lines and piano accompaniment. Our singers

enjoyed the challenge and delight of singing this composition.

ALLEGRETTO

Bashana Haba-a Nurit Hirsch (b. 1942)

Ms. Hirsch is a prolific composer, arranger and conductor in Israel. First performed in 1969, this is a song of

hope. You will first hear the text sung in English by Allegretto and then in Hebrew and harmony by Capriccio.

ALLEGRETTO AND CAPRICCIO

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From Midge of Gold Elam Sprenkle (b. 1948)

October’s Party poetry George Cooper (1840–1947)

A fanfare from the piano sets the scene for the most regal and vibrant of festive occasions: October’s Party!

Trees attended the ball, dressed in their finest and deepest colors, while the sunshine poured forth its warmth

like a carpet, setting the backdrop for graceful dancing and contagious merriment. Listen for dotted rhythms

and octave leaps in the piano, as well as a single, surging triplet figure before the cadence of each section,

each of which contribute to the pageantry of the piece. In the midst of a cold and dark, gray winter, Capriccio

singers were grateful to bask in the vibrant colors of autumn in this tribute to the season.

Cantate Domino Nancy Hill Cobb (b. 1951)

text from Psalm 95

Sing to the Lord a new song, sing to the Lord all the earth. Alleluia!

Sing to the Lord, bless his name.

Declare his glory among the nations, his wonders among all people.

For the Lord is great and greatly to be praised.

The Latin text for Psalm 95 has been set in a myriad of ways by a great number of composers. Cobb’s version

combines an exuberant melody, an effervescent piano part and a rhythmic exchange between 6/8 and 3/4

meter. In the first section, the theme is stated in unison, then partnered with a descant in the second section.

With a calmer sense in the piano, whose triads move stepwise up and down on longer notes, the middle

section begins with a feeling of introspection. But when the singers proclaim that “the Lord is great and greatly

to be praised,” the music intensifies. In the final section, the melody and descant return, capped off in the

Coda with trumpet-like repetitions of “Allelu, alleluia!”

CAPRICCIO

Kalinka Russian folk song

arr. Joan Gregoryk

This song has offered fun and unique challenges to the Girl Choirs over the years, including singing in Russian,

alternating between two- and three-part harmony, and bringing expressive elements into the performance with

dramatic shifts in tempo and dynamics. The arranger writes, “Kalinka is about a young man sitting under a red

berry bush (Kalinka), singing of his feelings for his sweetheart. The expressiveness of the song is achieved

through the contrast between a lively and rhythmic chorus and the more legato and subdued verses.”

CAPRICCIO AND ARIOSO

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Ca’ the Yowes Mary Goetze (b. 1943)

poetry Robert Burns (1759–1796)

Jon Meyer, recorder

This lyrical setting of the traditional Scottish folksong is an invitation for the narrator’s “bonnie dearie”

(sweetheart) to join in calling the ewes (sheep) into the lush hillside. This song has become a Girl Choir

favorite over the years due to its sweeping lines and vivid text. While a goal of the Arioso curriculum is to gain

independence and confidence with singing in multiple voice parts throughout the voice change, this mostly

unison melody challenged the Arioso singers to listen deeply from within the choir, and to breathe and sing as

one.

Jabberwocky Carolyn Jennings (b. 1936)

text Lewis Carroll (1832–1898)

“There was a book lying near Alice on the table, and ... she turned over the leaves, to find some part that she could

read, ‘for it’s all in some language I don’t know,’ she said to herself.

“It was like this.

“She puzzled over this for some time, but at last a bright thought struck her. ‘Why, it’s a Looking-glass book, of

course! And if I hold it up to a glass, the words will all go the right way again.’ This was the poem that Alice read.”

So begins Lewis Carroll’s introduction to his famous poem, which serves as the foundation of this piece. We

first encountered this beloved Girl Choir classic the same way Alice did—through the looking glass. Arioso

singers began their study of this piece by looking at it in the mirror, then taking apart its unmistakable text.

The poem is full of nonsense words created by Lewis Carroll, including a variety of portmanteaux (new words

created by combining existing words—for example, “slithy,” which is a combination of “slimy” and “lithe”), and

is masterfully set in our choral arrangement, where the accompaniment and singers take turns telling the

fantastical tale. Arioso studied several illustrated storybook settings of the poem to gain inspiration for our own

sonic illustration and fell in love with this captivating story of bravery, adventure and jubilation!

ARIOSO

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La Lluvia Stephen Hatfield (b. 1956)

La Lluvia (“The Rain”) is based upon a folk melody from Ecuador traditionally played on the siku—the double row

of panpipes that have been used in the high Andes for over a thousand years. When the singers imagine they

are blowing across the openings of panpipes, they achieve an appropriate timbre. Composer Stephen Hatfield

indicates that singers should use “a very focused air stream launched as if blowing rapid fire spitballs.” Hatfield’s

characteristically vivid program notes capture the effervescent spirit of this piece for choir and percussion, which

has become treasured repertoire for women’s choirs all over the world—including our Girl Choirs.

ARIOSO AND CANTABILE

Beau Soir Claude Debussy (1862–1918)

arr. Linda Spevacek

When the rivers are rosy in the setting sun,

And a warm shiver runs over the wheat fields,

Advice to be happy seems to rise up from things

And climb toward the troubled heart.

Advice to taste the charm of being in the world

While one is young and the evening is beautiful,

For we are going away, as this stream goes away:

The stream to the sea, we to the grave.

Debussy wrote Beau Soir when he was 15 years old. Originally written as a French art song for soprano soloist,

it has been arranged for violin, cello and other instruments, as well as for treble choir because of its seductive

beauty. The music is classic Parisian Impressionism, where the music focuses on atmosphere, on conveying a

mood or an emotion, or capturing a moment in nature. Cantabile explored the song’s unexpected, exotic scales

and harmonies. We described the music as “blurry,” having no focal point, as with Impressionistic art, and as

having no resolution until the very last chord. The soloistic accompaniment, completely arpeggiated against the

singers’ straightforward chordal singing, enhances its exotic charm.

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Hoj, Hura, Hoj (O Mountain, O) Otmar Macha (1922–2006)

Claire Boldt, Emma Nolte and Kathryn Stonesmyth, soloists

O, Mountain, O! Mountain, O!

The shepherds are bringing the cows out to the pasture, and from the meadow are yelling:

O, Mountain, O!

My cows, graze yourselves.

You in the circle [i.e. dancing girls], when the evening bells peal, I’ll go to you:

I’ll go beyond the hills,

Sheep, graze yourselves.

I’ll go to see Marushka [nickname for Mary], my girlfriend.

O, Mountain, O!

This Moravian Czech mountain song uses a dialect from the Beskyde Mountains and the Vlassko region, which

create a natural border between Moravia and Slovakia. Here, shepherding cattle and sheep is the normal

occupation for young men and women. In this song, the young men enjoy the sensation of calling out across

the mountains to their girlfriends, in anticipation of being with them when their work is done. The composer

artfully uses just two notes traded back and forth between two parts to create the echo effect of singing across

the mountains. Being in the middle of these notes causes a dynamic, pulsating feeling for the singers that goes

to the bone.

Cantabile singers first experienced this piece in 2005 on the Carnegie Hall stage in New York. In two weeks,

Cantabile members will once again sing on that historic stage. This will make the fourth time the ensemble has

successfully auditioned into the selective Carnegie program.

CANTABILE

Mouth Music Traditional Celtic/Gaelic

arr. Dolores Keane and John Faulkner

Philip Buchman, percussionist

This tune originated in the Hebrides, a chain of islands off the west coast of Scotland. Although the region also

has Norse heritage, it descends from the islands’ Celtic and Gaelic history. These puirt a beul (“tunes from the

mouth” in Scots-Gaelic) provide music to dance or work to. In some cases, the vocables were meant to imitate

and replace instruments; in others, augment the sparse instrumentation available. Emigrants from Ireland and

Scotland brought their music to North America, where we hear its influence in folk songs from Nova Scotia

(“New Scotland”) south through the Appalachian region.

CANTABILE AND BEL CANTO

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Mainacht Johannes Brahms (1833–1897)

arr. Z. Randall Stroope

When the silver moon beams through the shrubs,

And its slumbering light spreads on the grass,

And the nightingale sings,

I wander sadly from bush to bush.

Shrouded by foliage, a pair of doves coo to me their ecstasy;

But I turn away, seeking darker shadows,

And a single tear flows down my cheek.

When your smiling image

Radiates through my soul like the dawn,

Will I find you on the earth?

And the single tear trembles, hot, on my cheek.

This Romantic era composition showcases some of the compositional characteristics of the time, including

chromaticism, expansive harmonies, and frequent tonal modulations. Using these techniques, Brahms

beautifully illuminates this emotional text, making the piece tricky to learn but immensely satisfying to sing.

Aglepta Arne Mellnäs (b. 1933)

Sung the second year of Bel Canto’s existence, the younger girls dubbed this “The Scary Monster Song” after

hearing it in dress rehearsal. The piece has its roots in the 19th century Swedish Trollproverbs collected by

Swedish ethnologist and folklorist Bengt af Klintberg.

This text, from the region of Småland, is an incantation to frighten away one’s enemies. The five words of the

spell are divided into phonetic fragments that are declaimed in very different ways: sung, spoken, whispered, or

a combination thereof. The score gives singers the freedom to explore different pitches and timbres to create

an atmosphere that appropriately declaims the text.

BEL CANTO

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Ave Maria Vladimir Fyodorovich Vavilov (1925–1973)

misattributed to Giulio Romano Caccini

In 1970, Vavilov composed and recorded this piece under the Melodia label in Russia. The album was entitled

Lute Music of the XVI-XVII Centuries, the composer listed as “Anonymous.” At the time, Vavilov could not imagine

that a major Russian label would record and distribute the compositions of an unknown Soviet composer. He

wanted his music to reach the world, so decided he would rather have people hear and enjoy his composition

than know his name.

In 1987, this setting of Ave Maria was recorded by Russian opera singer, Irina Arkchipova, who attributed the

composition to Caccini. The recording was wildly successful and led to subsequent recordings by Charlotte Church,

Andrea Bocelli, and others, all with the same misattribution. Only during recent years were the piece’s actual

origins brought to light. In fact, when our Girl Choirs first sang this composition, its actual origin was still unknown.

Bel Canto singers explored the composition and realized the melody is sung once, then repeated with

ornamentation. They noted the accompaniment is simple and chordal. Since Caccini is known for his

compositions of solo songs accompanied by a chordal instrument, such as lute or harp, they understood how

the misattribution came to be.

BEL CANTO AND ALUMNAE CHOIR

Duet from Cantata No. 15 J.S. Bach

ed. Doreen Rao

Allison Shinnick, piano

I’m laughing and shouting for joy!

Away now with sorrow and crying, for evil is gone!

The power of evil is vanished away.

Forever rejoicing with thanks we pray.

In 1991, the Academy Girl Choir (there was only one!) sang this duet. We sing it now as a tribute to that first

ensemble of singers, some of whom are with us today as alumnae. Listen for the staccato “laughing” motive

as well as the descending, chromatic “sorrowful” motive in the vocal lines. We welcome girl choir alumna and

former collaborative pianist Allison Shinnick back to the piano for this set.

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Niška Banja Romani Dance

arr. Nick Page

Jon Meyer, clarinet

Allison Shinnick and Karen Bruno, piano

Niška Banja is a dance whose 2+2+2+3 meter is as common in Central Europe as 4/4 meter is in Western

music. The piece is well known to most cultures in the region and exists in many dialects. Nick Page tells the

story of learning the melody from a cab driver in Serbia, then coming home and arranging it for the Chicago

Children’s Choir, where he conducted at the time. This arrangement has become a standard for youth choirs

across the country and around the globe, and has been a favorite within our Girl Choir program.

ALUMNAE CHOIR

I’m Goin’ Up A Yonder Walter Hawkins (1949–2010)

arr. Martin Sirvatka

Somehow, over the years, this piece became “The Girl Choir Song.” More than a decade ago, just before our

Bel Canto warmup for the final concert, one of the singers wandered over to the piano and, by ear, began to

play the opening bars of the piece. The seniors in that group surrounded her and began to sing the opening

melody. By the time the piece ended, the underclass singers decided to sing the “response” to the seniors’

“call,” and a new graduation routine was born. Each year, before the final spring concert, Bel Canto seniors are

“sung out” of the girl choir program with this piece. (Tissues play an important role in this rite of passage.)

We close today with the knowledge that connection to one another remains, strengthened by the memories

of our shared musical experience. On behalf of our singers, teachers, pianists, and managers, thank you for

celebrating our silver anniversary with us. We hope to see you in the audience again soon.

COMBINED CHOIRS

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RAGAZZE

Esther AnderleCaitlin BoonGrace BrittenSabine FreyLaurel GolsonJacquelyn GranatellaNora Hartzheim

Gianna HeidChloe HermsenEmily LangeNora Lindsay-ReillyJacquelyn Angela MalmMadeline MarsdenSophia Martin

Skylin McFaddenElla NadboralskiGrace PetersKyrie PiaskowskiBrianna SkorrAnna SlocumLayla Snider

Gabrielle SternChristiana Van GrinsvenFiona VelpelCassidi WingHannah Wynen

PRIMO

Ella BaumanGianna BayClaire BenzElianna CoussonsRowan CruzTaylor DavisMadelyn DillenburgLucy DollevoetAshlyn DoranJenna DugalJulia Gurholt

Hailie HerronVivienne HoltienJenna HooymanKeira JahnerCaroline JiaAbigail KallioElana LaceyLola LevinAnna LindsayVictoria LopezGreta Melzl

Alexia NelsonGreta NolteAmelia O’LearyElizabeth OsorioElena OwensMihret PattersonGrace PetersHannah RadtkeTalia RoselaarNevaeh Roug-SchmitzBreanna Schilling

Eva SchmidtAurora SmithKaren SomersLydia SoremMolly StonelakeElsa ThielGracie TuckerAbigail WintersLily Yaun

ALLEGRETTO

Morgan AldanaRenna AmaralSophia BaumanHailey BayIsabelle BestulMadison ChangAlanna DehnGrace DollevoetEliza DuimstraKatherine Heller

Abriel HooymanTrinity InmanLydia JohnsonCaroline KiesnowskiKeira KnuppelZoe KrausMichaela KrisherPaige MarcoeLeah McElhaneyLinnea Olson

Elisabeth OwensElaina PlankeyEmma RademakerMadison RechnerOlivia RechnerAnya RiabovElla RyanMara SchellEva SchneiderLauren Schneider

Kaylee TrzebiatowskiSophie Van StippenAudrey VogelShanice WarigiKatherine WarnerMeredith WestonSusan Yao

CAPRICCIO

Nora AustinMaria BenzAbbey BernardBailey BidwellCarly BomierHannah BrownReese BrunetteWilla CarmanHaili CaseyRosie CobbJessica CuffEleanora DaneColette Ferguson-Roug

Solara GomezEllie GregersenElizabeth HartmanElla HeiksEmily HodsonLola HuntEmma HuntleyClaire HydeMadison KneislerTéa KoehlerSarah LongMadeleine McDermottNola McDonald

Tatum ModersonKarina MoseKatie PheeHannah PitterleDrew PollardChelsea PoppletonEmma ReisMaya RuffoloJenna SabrowskyKellin ScheelLauren SteflColleen TeboDanika Trzebiatowski

Gillian UlrichAnnika UrnessAbigail Van ElzenEleanor Van NulandClara VandeHeyAnna VechartEleanor VogelSamantha Jo WhiteClaire WileyRose Williams

THE CHOIRS

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ARIOSO

Pippa AustinAshley AuthementIrysa BauerKate BerneckerKayla BooksMollie BrackettJane BrinkmannKaitlyn BubolzCharlotte BuchmanMadelyn CareyBree Casey

Maya CorcoranLauren DoneyLaura EsselmanSophie FellingerAbigail GentzElsa HarveyBrianna HauserAlisha JahnkeSigrid LokensgardRuby March-TormeAbby Moard

Claire MotenClaire OlsonMadison PriceSophie Quick-LaughlinJenna QuinnCaitlin ScheelTessa SchreiterIsabella SierraKate SlesarClaudia SmithBethany Steenbock

MaKayla StrohmeyerMadison Irwin TetzlaffAlyssa Van DomelenEmmaline Van DykeMayLynn VangRachel VogelKelsey WadleighMoriah WebsterChloe Zering

CANTABILE

Ellie Grace BernierLily BirschbachClaire BoldtGrace BrinkmannClara BrownKhloe CaseyAlana ChristenGeena CoffeyHaley CorcoranAshley Evans

Emma FrederickEmilie GilliganGrace GollnickOlivia GroenewoldAlyssa KellerHolly KrabbeMakenna KrausCamryn MaesEmmalee MindockGabrielle Mitchell

Lucy MorrisEmma NolteClare NortheyJacy OlszewskiJulia PengraziChloe PetersonSydney PittnerAnna RettlerClaire SawallElizabeth Schulz

Maria SernaSteph SerratoClaire SlocumKathryn StonesmythEmily TeschSamantha WellsAlayna WernerCarrie Willson

BEL CANTO

Elena AnderlaRachel BascueEmily BeenJulia BennerIsabelle BlankHannah BorchertZoe BossertChloe CelsorCorrina CzarnikAbby DollevoetEleanor Erbach

Phoebe FrantzHaley GablerImogen GillardPaige GleasonClaire GorgesEmma HagerEmalie HartleyMadeline HassTess HurleyAlyssa JansenJenna Keller

Katharina KellerLaura KelleyValerie LambertMeg LehmanAshley MarcusenElizabeth MoranAnna OlsonGillian PayneColette PollardMcKenna SeegersEmma Simon

Lena SimonRachel SinaAime SkroberAshley SmithJulia SomaJordyn UlmanAlaina VerstegenFiona VillacaRachel WestraHannah WolfrathBethany Zoch

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ALUMNAE CHOIR

McKenna AdlerElizabeth Albrecht-HeiksCatherine BackerMarit BakkenAnna BenzKarly BoettcherLyz BoverouxBailey BoyleAlyssa BraunDanielle BraunKatie BultmanMeri CarrMo CarrMichelle CheslockMeghan Cieslik VisserBritney ClarkCasey Coonen CroweMadeline CoussonsSarah Dodge JerdeMegan EichstaedtSarah Evensen FelhoferJennifer Everson BrownElizabeth EversonAmber Evey SchmidtElena FarinSamantha Fisher

Courtney Fuller WallaceAnna GageJessica GoodmanJordan GundersonKaylyn HaberlandHeidi HablewitzMegan HartmanGabrielle HassLiz HiddeLindsey HuntKerry HuthAryanna JahnkeJulie JandacekJoanna KampsZabet KempfertLeah KlisterEmma KnickCheryl Kobs RiedlingerMarcy KohlbeckAnna Koll PeckAlyson KrokoskySamantha KurutzKylie LackoreJenny LindMaggy LynchEllen Magnin

Leah May McSorleyTakarah MeyerPhoebe MilnerCayla MortonSamantha NielandMargie NorbyMakiah NuutinenSarah OakleyChristina OlsonMari Panzer CardBrielle PetitClaire PowlingVera RabeHillary ReynoldsAnna Rew-Gottfried AndersonChelsey Rockey BurkeRachel RockmanJessica RogersEsther RoselaarKaity SaganJo SaindonClaire SandbergClaire SchmidtKatie SchmidtSarah Schultz VanCleveAllison Shinnick

Kadie SmithRachel Smith RuzicMaddie Spencer BlanchardAshley SprangersErin Stangel SpencerKirstin StangelEleanor StrandKathie Stratton-HansenKari SwansonColleen Sylvester DetloffMolly UvaasMarie VandeHeyLauren VanderlindenBrianna VanStratenAllison Van RooyMolly VechartJessica VogtKati Volkman StacyMaggie Wallace ForemanLaura Wenzel VorwerkKatie WilsonSteffanie WisnerClaire Young-Moxon

THE CHOIRS

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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 also teaches a Lawrence class in recorder and guitar methods for

music education majors. Merrifield holds a Bachelor of Music degree from Michigan State

University and teaching certification and master’s 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 Kodály 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 College (now 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 Association of Wisconsin Area Kodály Educators

(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 Directors

Association and Music Educators 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 Academy Girl Choir program. A vocal music specialist with the Appleton

Area School District, Meyer is an advocate for the Comprehensive Musicianship through

Performance (CMP) method of teaching. She is a frequent cooperating teacher and practicum

teacher for Lawrence Conservatory students and teaches a Lawrence 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 ’01, 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 the Association of Wisconsin Area Kodály Educators (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 and Classical 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.

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 AASD

new-teacher mentoring program.

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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 from Smith College, a teaching certificate from Lawrence

University’s Conservatory of Music and a Master of Music from Boston University. She has

taught choral music in the Appleton and Oshkosh school districts, and at an international

school in Senegal, West Africa. Bruno has been a guest speaker and adjunct faculty member

for Lawrence 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) method of teaching. 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, is a Rotary Scholarship Award

winner, and was recognized by the Danbury (Conn.) 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, on state and divisional conventions of

choral conductors.

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GIRL CHOIR HISTORY

Lawrence Academy Girl Choir: Where Girls Find Their Voice

January 1991: The Lawrence Academy Girl Choir was founded for girls in grades 4-6.

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 grades 5-7.

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 3-4) and Cantabile (then grades 7-9).

September 1999: The eldest Cantabile singers couldn’t bear to leave the program after ninth grade, 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 non-auditioned choir, the program

was able to secure additional rehearsal space. Ragazze, a non-auditioned 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: Today we celebrate 25 years of Girl Choir with our seven choirs and alumnae from all over

the world.

PERFORMANCE HISTORY

In addition to twice-yearly concert cycles, school performance tours and sharing music at local worship services,

the Academy Girl Choirs were invited to participate in the following performances:

October 1991: Wisconsin Music Educators’ Conference

October 1995: Wisconsin Music Educators’ Conference

December 1995: White Heron Chorale “An All-American Christmas”

April 1997: Exchange with Madison Youth Choir

January 1999: Wisconsin Choral Directors Association State Convention

November 1999: Governor’s Cultural Congress

June 2000: Colorado Chautauqua Association, Exchange with Denver Children’s Choir

April 2001: Carnegie Hall, Stern Auditorium (Henry Leck, conductor, with Malcolm Dalglish)

January 2002: Wisconsin Choral Directors Association State Convention

June 2002: Exchange with Nebraska Children’s Choir

November 2002: Opening Performance of the Fox Cities Performing Arts Center (Brian Groner, conductor)

November 2003: Fox Valley Youth Orchestras Fall Concert (Gary Wolfman, conductor)

June 2004: Lawrence University Choirs, Symphony Orchestra and White Heron Chorale performance

(Rick Bjella, conductor)

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January 2005: Appleton Women’s Choir Festival

March 2005: Wisconsin Band Convention Concert

April 2005: Carnegie Hall, Stern Auditorium (Henry Leck, conductor)

April 2005: Lawrence University Choir Concert

January 2006: Wisconsin Choral Directors Association Convention, Featured Performers

April 2006: Monteverdi Master Chorale Concert

February 2007: Lawrence University and Iowa State University Choir Concert

May 2007: Jamestown Colony 400th Anniversary Celebration, Wisconsin Representative (JoAnn Falletta and

Robert Spano, conductors)

May 2008: Carmina Burana with White Heron Chorale and Lawrence University Orchestra and Choirs

(Rick Bjella, conductor)

May 2009: Exchange with Chicago Children’s Choirs

July 2009: Voices Without Borders International Children’s Choir Festival (Julian Ackerley, conductor)

November 2010: Fox Valley Youth Orchestras Fall Concert (Gary Wolfman, conductor)

January 2011: Singing Workshop with Dr. Ysaye Barnwell from Sweet Honey in the Rock

November 2011: St. Marys (Ontario) Children’s Choir Festival (Roger Treece, conductor)

February 2012: North Central Division convention of the American Choral Directors Association

April 2012: Carnegie Hall, Stern Auditorium (Henry Leck, conductor)

February 2013: Spirited Songs, Fox Cities Performing Arts Center, televised by Wisconsin Public Television (with

White Heron Chorale, Appleton Boychoir and Tim Sharp, conductor)

February 2013: Viking Women’s Choral Festival

May 2013: Bella Voce Women’s Choir Festival (Phillip Swan, conductor)

October 2013: Chamber of Commerce “The Event” at Fox Cities Performing Arts Center

December 2013: newVoices “Christmas at the Chapel”

May 2014: Carmina Burana with Fox Valley Symphony and newVoices (Brian Groner, conductor)

May 2014: PIPFest (Stephen Hatfield, conductor)

May 2014: Fort Worden International Children’s Choir Festival (Robyn Lana, conductor)

December 2014: Nutcracker with Fox Valley Symphony and Makaroff Youth Ballet (Brian Groner, conductor)

August 2014: Mile of Music Sing-Along

February 2015: Exchange with Madison Youth Choir

April 2015: Cantus (Norway) Performance (Tove Ramlo-Ystad, conductor)

August 2015: Mile of Music Sing-Along

October 2015: Master Class at University School of Milwaukee (Miriam Altman, conductor)

April 2016: Carnegie Hall, Stern Auditorium (Edie Copley, conductor)

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STAFF, 1991–2016

Teacher-ConductorsJeanne Julseth–Heinrich, 1991–93

Girl Choir

Cheryl Meyer, 1992–present Choristers, Girl Choir, Concert Choir, Allegretto, Primo, Intermezzo, Ragazze

Rosemary Allen, 1993–95 Choristers

Megan Marshall ’96, 1995–97 Choristers

Laurie Corning ’92, 1997–2000 Academy Choirs

Peter Leschke ’91, 1997–99 Chamber Singers

Karen Bruno, 1997–present Choristers, Chamber Singers, Cantabile, Bel Canto, Allegretto, Ragazze

Toni Kuo (Weijola) ’01, 2000–01 Allegretto

Molly Tomashek, 2001–06 Primo, Intermezzo

Karrie Been, 2006–present Primo

Dan Van Sickle ’03, 2006–07 Intermezzo

Amber Evey Schmidt ’06, 2007–15 Intermezzo, Arioso

Patty Merrifield, 2009–present Ragazze

Debbie Lind, 2011–present Cantabile

Jaclyn Kottman ’12, 2013–present Capriccio, Arioso

Toni Weijola ’01, 2015–present Capriccio

Voice SpecialistJoanne Bozeman, 1997–2002

PianistsGerald Gabbard ’92, 1991–92Kari Walton ’92, 1992–93Andrew Johnson ’92, 1992–93Kristina Towey ’96, 1993–94Margaret Schultz, 1993–94Jennifer Horvath ’95, 1994–95Janelle Joyce, 1994–95Jeremy Hanson ’96, 1995–96Barbara Wolfman, 1995–97Paul Speiser ’98, 1997–98

Stephanie Orvik ’98, 1997Melissa Kelly ’00, 1997–2000Julia Steinbach, 1997–2009Virginia Russler, 1998Sunny Link, 1998–99Phyllis Wallis, 1999Elena Derzhavina, 1999Michelle Ansay ’02, 1999–2000Kristin Santele ’03, 2000–03Muriel Merbach, 2000–07Molly Tomashek, 2000–01Kelly Fowler ’02, 2001–02Abby Birling ’05, 2003–05, 2007–08Miriam Chaudoir ’07, 2005–07Kristin Rezin Heiges ’11, 2007–presentSarah Dahm, 2008–09Linda Calhan, 2008–09Amanda Engle ’09, 2008–10Sammi Smith ’11, 2009–11Janet Erbach, 2009–presentKatie Schuld ’10, 2009–11Allison Shinnick ’12, 2011–14Rebecca Schmidt, 2011–12, 2013–14Ann Boeckman, 2012–presentNell Buchman, 2014–presentTess Vogel ’15, 2016

Girl Choir Ensembles ManagersMary Lee Lehr, 1997–99Sara Rezin, 1999Nancy Capizzi, 1999–2000Sarah Meyer, 2000Susan Hahn, 2001–2013Anne Powling, 2013–present

Choir ManagersShad Wenzlaff ’94, 1991–93Jenee Hillbrick ’94, 1992Julia Pearson ’93, 1992–93Megan Marshall ’96, 1993–95Catherine Statz ’96, 1993–95Sarah Markovits ’98, 1995Darcy Mueller ’97, 1995–96Ingrid Haugen ’99, 1996–97Lauren Frownfelter ’98, 1997Karen Canty ’97, 1997–98Mary Lee Lehr, 1997–2000Tom Gilmore ’02, 1998–2001Allison Jordan, 1998–99Deborah Stoehr, 1998–2000

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Karen Gerhardt, 2000–01Katie Shadick, 2000–01Monica Blacconeri ’02, 2000Angela Sours, 2000–04Sarah Morris ’01, 2000–01Maggie Thomas ’02, 2000–02Julie Bannerman ’01, 2001Margaret Fuller, 2001–02Marie Lackore, 2001–02, 2004–05Amber Evey ’05, 2001–06Charlotte VanVreede, 2002–03Veronica Morton, 2002–04Maureen Weber, 2003–04Molly Day ’04, 2003–04Emily Fink ’08, 2005–06Jess Vogt ’09, 2005–09Sarah Botsford ’07, 2006–07Schuyler Gardner ’08, 2006–11Emily Dalton ’09, 2007Gabriela Johnson ’10, 2007–10Rachel Marschke ’10, 2008–10Laura Wenzel, 2008–09Zachary Prior ’13, 2009Elizabeth Shinnick, 2010–11Eleanor Miller, 2011–12Emily Willson, 2011–12Karen Bultman, 2011–presentEmily Crowe ’14, 2011–14Jaclyn Kottman ’12, 2011–12Karly Boettcher, 2012–13Kerry Huth, 2012–13Lauren Vanderlinden ’17, 2012–presentRebecca Schmidt, 2013–14Hannah Thiry, 2013–14Bailey Boyle, 2014–15Kirstin Stangel, 2014–15Cayla Morton ’15, 2014–16Gillian Payne, 2015Heather Urness, 2015–presentTess Vogel ’15, 2016

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