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Consonare Community Choir & Willimantic Orchestra


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Consonare Youth Choir

Wau Bulan

arr. Tracy Wong



Eh wau buleh, eh wau buleh, eh wau buleh teraju tigo,

Ala eh wau, eh wau buleh, eh wau buleh – Ha! teraju tigo.


Malay to English translation:

“Kite moon, kite moon, kite moon with your three points.”


Composed by Audrey Snyder 


Here’s one clear voice just singin’ a song. 

Add another voice to sing along.

Three together, we’ve got something to say, hey; gotta make some changes in the world today. 

There’s trouble in the world, there is no denyin’. 

You know that too many people are dyin’.

People ev’rywhere come answer the call. 

It really doesn’t help when we do nothing at all. 

Be the people who will lead the way, hey, hey. 

Raise your voices. Start today. 

There’s trouble in the world, there is no denyin’. 

You know that too many people are dyin’.

Gotta change the world, gotta change the world. 

Come on, people get together, hey, hey, hey.

There’s trouble in the world, there is no denyin’. 

Too many people are cryin’, dyin’.

Gotta make some changes, gotta make some changes, gotta make some changes in the world, changes in the world today.  

Bring me a little water, Silvy

Composed by Huddie Ledbetter (Lead Belly)

Arranged by Moira Smiley 


Bring me little water, Sylvie 
Bring me little water now 
Bring me little water, Sylvie 
Every little once in a while 

Bring it in a bucket, Sylvie 
Bring it in a bucket now 
Bring it in a bucket, Sylvie 
Every little once in a while 


Sylvie come a-runnin' 
Bucket in my hand 
I will bring a little water 
Fast as I can 

Bring me little water, Sylvie 
Bring me little water now 
Bring me little water, Sylvie 
Every little once in a while 

Can't you see me coming? 
Can't you see me now? 
I will bring a little water 
Every little once in a while 

Consonare Community Choir
& Willimantic Orchestra


Elaine Hagenberg

I. Splendor


Splendor paternae gloriae, 

de luce lucem proferens,

lux lucis et fons luminis, 

diem dies illuminans.​


Splendor of God's glory,
brings forth light from light,
light of light, 

light's living spring, 

Day, all days illuminates.

II. Caritas


Caritas abundat in omnia

de imis excellentissima

super sidera

acque amatissima in omnia.

Quia summo regi

osculum pacis dedit


Love abounds in all,

from the depths most excellent

to beyond the stars,

and loving toward all

she has given the highest king

the kiss of peace.

III. Nox


Kyrie eleison.

Christe eleison.

Nox et tenebrae et nubila, confusa mundi et turbida

Caligo terrae scinditur percussa solis spiculo


Lord have mercy. 

Christ have mercy.

Night and darkness and fog, confused world and turmoil dark gloom tears the earth beats and stabs the sun

IV. Munera Pacis


Ecce jam noctis tenuatur umbra, 

Lux et auroræ rutilans coruscat: Supplices rerum Dominum canora Voce precemur:

Ut reos culpæ miseratus, omnem Pellat angorem, tribuat salutem, 

Donet et nobis bona sempiternae Munera pacis.


Peace I leave with you, my peace I give unto you: not as the world giveth, give I unto you. Let not your heart be troubled, neither let it be afraid.


Behold, already night and shadows taper off 

Light and dawn sparkle and quiver
We humbly beg the Lord through song
Our voices pray:

Though we are guilty, view us with compassion Banish anguish, bestow health
Grant us everlasting goodness
Give us peace.​

V. Illuminare his


Illuminare his qui in tenebris

et in umbra mortis sedent:

ad dirigendos pedes nostros in viam pacis.


Illuminate those in darkness

and in the shadow of death sit

direct our footpath in the way of peace.

Carmina Burana

Carl Orff


2. Fortune plango vulnera

In the first verse, the goddess Fortuna is depicted with hair on the front of her head but none on the back, signifying that you can grasp an opportunity if you see it coming, but not once it has passed. Hecuba, whose name is written below the hub of the wheel, is an object lesson in the capriciousness of fate. She was the wife of King Priam of Troy, and during the long Trojan War she saw her husband slain, her family destroyed, and the city razed. She herself was given as spoils to Odysseus. Thinking to save at least one member of the family, she sent her youngest son to the king of Thrace along with a large sum of money. The king basely slew the boy and stole the money. Hecuba exacted her revenge by blinding the king and killing his two sons. As the king's men pursued her, the gods finally pitied Hecuba and turned her into a dog, allowing her to escape. She threw herself into the sea and was drowned.


Fortune plango vulnera stillantibus ocellis,
quod sua michi minera subtrahit rebellis. Verum est, quod legitur, fronte capillata,

sed plerumque sequitur Occasio calvata.

In Fortune solio sederam elatus, prosperitas vario flore coronatus; quicquid enim florui felix et beatus,
nunc a summo corrui gloria privatus.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus

rex sedet in vertice caveat ruinam:
nam sub axe legimus Hecubam reginam.


I bemoan Fortune's wounds
with weeping eyes,
for the gifts she gave me
she perversely takes away.
It is true, what is written, Opportunity has hair on her brow, but from behind

she is bald.

On fortune's throne
I once sat, raised up
and crowned
with the blossoms of prosperity; though I once flourished,
happy and blessed,
now I fall from the peak, deprived of glory.

The wheel of fortune turns and I descend, debased; another rises in turn; raised too high

the king sits at the top,
let him fear ruin:
for below the axle we read Queen Hecuba.

5. Ecce gratum

A vocal fanfare heralds spring’s arrival in earnest. Paris in the last line was the son of Priam and Hecuba. In return for judging Venus the fairest of the goddesses (as if there were any contest!) he was granted the love of the most beautiful woman in the world. Unfortunately for him, that turned out to be Helen, wife of King Menelaus of Sparta. Paris abducted the willing Helen, the event which precipitated the Trojan War.



Ecce gratum et optatum

ver reducit gaudia, purpuratum floret pratum,

sol serenat omnia. Iam iam cedant tristia! Estas redit,

nunc recedit Hyemis servitia.

Iam liquescit et decrescit grando, nix et cetera;

Bruma fugit, et iam sugit

Ver Estatis ubera;

illi mens est misera qui nec vivit,

nec lascivitsub Estatis dextera.

Gloriantur et letantur

in melle dulcedinis, qui conanturut utantur

premio Cupidinis: simus jussi Cypridis gloriantes

et letantes pares esse Paridis.


Behold the pleasant and long-sought Spring brings back joy, purple flowers fill the meadows,

and the sun brightens everything. Sadness is now at an end! Summer returns and the harshness of winter now recedes.

Now melting and disappearing

is snow, ice and the rest, Winter flees,

and Spring sucks at Summer's breast;

it is a wretched soul who neither lives

nor loves under Summer's rule.

They glory and rejoice

in the honeyed sweetness who strive

to enjoy Cupid's reward:

at Venus' command

let us gloryand rejoice

in being the equals of Paris

6. Tanz

An instrumental number, this is a vigorous dance propelled forward by alternating duple and triple meters.

10. Were diu werlt alle min

The queen in question was Eleanor of Aquitaine, the richest, most beautiful, most ambitious and certainly the most notorious woman of the 12th century. She inherited vast wealth at the age of fif- teen. Her court was a magnet for the budding troubadour movement, and the rules of medieval chivalry were developed there. She first married the prim Louis VII of France. When he went on crusade, she joined him, leading a company of women bearing armor and wearing clothes cut after a manly fashion. It was not only a great scandal but a great fiasco, prompting the pope to write a bull forbidding women to ever accompany a crusade again. When she returned to France she promptly had her marriage to Louis an- nulled (another scandal) and just as promptly married the much younger Henry of Anjou (an even bigger scandal), who became Henry II of England two years later. And with another turn of the Wheel of Fortune, her marriage to Henry set into motion events which directly led to the Magna Carta and the Hundred Years’ War.



Were diu werlt alle min
von dem mere unze an den Rin, des wolt ih mih darben,
daz diu chünegin von Engellant lege an minen armen.


Were all the world mine
from the sea to the Rhine,
I would give it all up
to have the queen of England lie in my arms.

24. Ave formosissima

This grandiose song is a parody of the Ave Maria, using similar titles to honour his beloved rather than the Virgin Mary. The final lines compare her to Blanchefleur (the heroine of a popular 12th century romance), Helen of Troy, and even Venus herself.



Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa,

ave mundi luminar, ave mundi rosa, Blanzifor et Helena, Venus generosa!


Hail, most beautiful one, precious jewel,
hail, pride among virgins, most glorious virgin,

hail, light of the world, hail, rose of the world, Blanchefleur, Helen, noble Venus!

25. O Fortuna

This is the most recognisable music from Carmina Burana and has been used in many other contexts to denote events of an epic or foreboding nature. Orff uses an endlessly repeating orchestral accompaniment to suggest the relentless turning of the Wheel of Fortune.



O Fortuna, velut luna, statu variabilis, semper crescis, aut decrescis; vita detestabilis nunc obdurat

et tunc curat ludo mentis aciem, egestatem, potestatem, dissolvit ut glaciem.

Sors immanis et inanis,
rota tu volubilis, status malus,
vana salus semper dissolubilis, obumbrata

et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Sors salutis et virtutis
michi nunc contraria, est affectus et defectus
semper in angaria.
Hac in hora sine mora
corde pulsum tangite; sternit fortem,
mecum omnes plangite!


O Fortune, like the moon
you are changeable, ever waxing and waning;
hateful life first oppresses
and then soothes
as fancy takes it; poverty
and power, it melts them like ice.

Fate, monstrous and empty,
you turning wheel, you are malevolent, your favor is idle and always fades, shadowed, veiled,
you plague me too. I bare my back
for the sport of your wickedness.

In prosperity or in virtue fate is against me,
Both in passion and in weakness
fate always enslaves us.
So at this hour pluck the vibrating strings; because fate
brings down even the strong, everyone weep with me.



Elaine Hagenberg

"Illuminare" is an extended work, consisting of five movements for mixed choir (SATB chorus) and chamber orchestra. Using lesser-known sacred Latin, Greek, and English texts, the piece takes us through a season of beauty and goodness that has been disrupted by darkness and confusion. But as Light gradually returns, hope is restored, illuminating our future and guiding us in peace.

Elaine Hagenberg’s music “soars with eloquence and ingenuity” (ACDA Choral Journal). Her award-winning compositions are performed worldwide and frequently featured at American Choral Directors Association conferences, All-State festivals, Carnegie Hall, and other distinguished international concert halls from Australia to South America and throughout Europe. With over fifty commissioned works, she has composed new music for the American Choral Directors Association, professional choirs, colleges and universities, community choirs, high schools, and churches. “I Am the Wind” was named the winner of the 2020 ACDA Brock Competition for Professional Composers.

The Awakening

Todd Goodman

“The Awakening” by Todd Goodman (1977- ) for orchestra Hailing from Pennsylvania, Dr. Goodman has three music degrees in composition, and many awards, honors, and nominations under his belt. Some of his composition teachers have included Pulitzer Prize-winning composer George Tsontakis; also David Stock, Frank Wiley, and Richard Toensing. He has served as composer-in-residence at several Pennsylvania symphony orchestras. The Awakening is a tone poem that was originally commissioned for the Pennsylvania Music Educators' Association Western Regional Orchestra in 2019. In addition to orchestral music, Dr. Goodman has written concertos for brass, bass clarinet, alto saxophone, and piccolo; chamber music, an opera, and music to accompany short films. He publishes his music and that of other composers through his Wrong Note Media company.

Carmina Burana

Carl Orff

Carl Orff was born in Munich, Germany, on July 10, 1895, and died there on March 29, 1982. The first performance of Carmina burana took place in Frankfurt, Germany, on June 8, 1937 with Bertil Wetzelsberger conducting the Frankfurt Opera. Approximate performance time is sixty-five minutes.

The 20th-century German composer Carl Orff was born into a family of army officers who demonstrated a keen interest in science, history, and music. Orff began his own music studies (piano, organ, and cello) at the age of five. While pursuing further studies in Munich, Orff became interested in the music of French Impressionist composer Claude Debussy and the Austrian composer Arnold Schoenberg, a pioneer in atonal music expression.

Orff was drafted into the army in 1917. After being wounded at the front, he was discharged from service. Upon his return to Munich in 1919, Orff began an intensive study of music from the 16th and 17th centuries, and in particular, the works of the great Italian Baroque composer, Claudio Monteverdi. Orff also co-founded the Güntherschule, an educational center that explored the synthesis body movement, poetry, and music.

On June 8, 1937, Carl Orff’s “scenic cantata,” Carmina burana, premiered in Frankfurt. Carmina burana (Songs of Benediktbeuern) is Orff’s setting of texts discovered in the monastery of Benediktbeuern, located south of Munich. The texts are taken from the songs of the goliards—medieval students, monks, and seminarians who seem to have spent as much time carousing as they did studying. The songs of the goliards celebrate (sometimes in the most explicit terms) the pleasures of food, wine, and lovemaking.

Orff scored Carmina burana for soprano, tenor, and baritone soloists, as well as huge choral (large chorus, small chorus, and boy chorus) and orchestral forces. Orff also envisioned dance as an integral part of his “scenic cantata.”

In the early 20th century, many composers attempted to stretch the traditional concepts of tonality as far as possible. Some 20th-century composers, such as Schoenberg, even abandoned conventional tonality altogether. Their atonal compositions inspired heated reactions, both by critics and audiences. To this day, the subject of atonality is guaranteed to inspire lively exchanges among music lovers.

In that context, Carl Orff’s Carmina burana represents a stunning departure from the course of much of the concert music of the time. From the opening chorus, “O Fortuna”—a hymn to the inexorable power of Fate—it is clear that Orff’s Carmina burana marks an emphatic return to the forces of melody and rhythm in their most elemental form. 20th–century atonality is nowhere to be found. Instead, Orff’s infectious and decidedly tonal melodies are repeated over and over, with variety supplied by contrasts in dynamics, and vocal and instrumental colors. Throughout, Carmina burana’s raucous celebration of the philosophy of carpe diem creates an irresistible force of energy guaranteed to leave the audience breathless at the conclusion.

To this day, Orff’s Carmina burana remains one of the most popular of all classical works, a constant presence in the concert hall and on recordings. Carmina burana may also be heard in numerous movies, television shows, and advertisements. More than eighty years after its premiere, Orff’s Carmina burana remains as irresistible as ever.

(from the Erie Philharmonic)

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