Westminster Chapel Choir: Seek Ye First Program by Rider University

Seek Ye First Westminster Chapel Choir

Tyrone Clinton, Jr., conductor

Akiko Hosaki, collaborative keyboardist

Tyler Miller, graduate assistant

Ricky Sazon Salazar graduate assistant

Friday, April 24th at 7:30 p.m.

Gill Memorial Chapel

Rider University

2083 Lawrenceville Road

Lawrenceville, N.J.

Please note the unauthorized use of any recording device, either audio or video is prohibited by law. Out of courtesy to the performers and everyone in the audience, please refrain from using cell phones and electronic devices.

Rider University gratefully acknowledges the generous support of: Michael T. '89 and Susana Santaguida '89 Gummel and Kasey & Billy Ziff for their support of our Rider Friend of the Arts patron program.

Program

Ubi Caritas Et Amor Ēriks Ešenvalds (b 1977)

Miserere Eva Ugalde (b.1973) Tyler Miller, conductor

I Thank You God Gwyneth Walker (b. 1947)

Abendlied Josef Rheinberger (1839-1901) arr. Nadezhda Averina

Choral Hymns from the Rig Veda, Op. 26 Gustav Holst (1874-1934) Hymn to the Dawn Hymn to the Waters Hymn to Vena Hymn to the Travellers

Seek Ye First the Kingdom of God Kerensa Briggs (b.1991)

Hold On Stacey V. Gibbs (b. 1962)

Program Notes, Text & Translations

Ubi Caritas Et Amor Ēriks Ešenvalds Latvian composer Ēriks Ešenvalds (b. 1977) one of the most distinctive voices of the contemporary Baltic tradition, writes with a deeply intuitive sense of harmony, seeking, in his own words, “sounds that I truly feel” rather than formulas to be repeated. His Ubi Caritas (2008), commissioned and premiered by the Latvian female ensemble Anima Sola, sets the ancient Maundy Thursday antiphon that proclaims God’s presence wherever charity and love are found. Scored for SSSAAA a cappella, the work unfolds in a simple, luminous strophic design, allowing the text’s call to unity, reconciliation, and sincere love to shine with clarity. Ešenvalds’ characteristic harmonic warmth shapes the music’s gentle exhortation to live Christ’s love in community, culminating in a quietly radiant Amen. The piece was published in 2009 by Musica Baltica.

Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. Exsultemus, et in ipso jucundemur. Timeamus, et amemus Deum vivum. Et ex corde diligamus nos sincero.

Ubi caritas et amor, Deus ibi est. Simul ergo cum in unum congregamur: Ne nos mente dividamur, caveamus. Cessent iurgia meligna, cessent lites. Et in medio nostri sit Christus Deus.

Where charity and love are, there God is. The love of Christ has gathered us into one. Let us exult, and in Him be joyful. Let us fear and let us love the living God. And from a sincere heart let us love each other (and Him).

Where charity and love are, there God is. Therefore, whensoever we are gathered as one: Lest we in mind be divided, let us beware. Let cease malicious quarrels, let strife give way. And in the midst of us be Christ our God.

Ubi caritas et amor, Deus ibi est. Simul quoque cum beatis videamus, Glorianter vultum tuum, Christe Deus: Gaudium quod est immensum, atque probum, Saecula per infinita saeculorum. Amen.

Miserere

Where charity and love are, there God is. Together also with the blessed may we see, Gloriously, Thy countenance, O Christ our God: A joy which is immense, and also approved: Through infinite ages of ages. Amen.

Eva Ugalde Psalm 51

Basque composer Eva Ugalde is closely connected to the choir world as a chorister, composer, and conductor. For many years a singer in Javier Busto’s Kanta Cantemus Korua, a groundbreaking women’s choir in her homeland, in 2023 she took on the role as director of the choir under its new name, Aquam Lauda. Among Eva’s published choral works is this dark and expressive Miserere for SSA choir a capella. She dedicated it “to the victims of war.”

Miserere mihi Domine, quoniam ad te clamavi tota die: quia tu Domine Suavis ac mitis es, et copiosus in misericordia onibus invocantibus te.

Inclina, Domine, aurem tuam, et exaudi me: quoniam inops, et pauper sum ego.

I Thank You God

Have mercy on me, o Lord, for to you I will pray all the day long. For you are forgiving and mild, and abundant in mercy to all who call upon you.

Incline your ear, o Lord, and answer me for I am helpless and infirm

Gwyneth Walker

The text is adapted from the E. E. Cummings poem “i thank you God for most this amazing day.” This is a song of praise. A piano introduction marked “slowly unfolding, with wonderment,” spans the broad range of the keyboard, as if expressing the breadth of space and life. The chorus enters, offering thanks to God for “the leaping, greenly spirit of trees,” “a blue true dream of sky” and “everything which is infinite.” A central phrase of “I who have died am alive again today” returns frequently. This is an expression of the rebirth of the soul with each “amazing day.”

– Notes by the composer

i thank You God for most this amazing Day: for the leaping greenly spirits of trees and a blue true dream of sky; and for everything which is natural which is infinite which is yes

(i who have died am alive again today, And this is the sun’s birthday; this is the birth Day of life and of love and wings: and of the gay Great happening illimitably earth)

how should tasting touching hearing seeing Breathing any-lifted from the no Of all nothing-human merely being doubt unimaginable You?

(now the ears of my ears awake and Now the eyes of my eyes are opened)

Abendlied

Josef Rheinberger

Arr. Nadezhda Averina

Text from Luke 24:29

Born in Liechtenstein, Josef Rheinberger was a composer, pianist and teacher in Germany in the 19th Century. He became the organist for his local church at the age of seven and composed his first work the following year. Abendlied is a sacred motet composed in 1855 when Rheinberger was only 15 years of age.

Bleib’ bei uns, denn es will Abend werden, Und der Tag hat sich geneiget, sich geneiget, O bleib’ bei uns, denn es will Abend werden.

Bide with us, for evening shadows darken, And the day will soon be over, soon be over, O bide with us, for evening shadows darken

Choral Hymns from the Rig Veda, Op. 26 Gustav Holst Gustav von Holst’s Choral Hymns from the Rig Veda Op. 26 draw on his own Sanskrit translations of the ancient Hindu text, resulting in four groups of works for women’s chorus and harp that explore themes of nature and spirituality. Among the most performed are the hymns to Dawn, Waters, Vena, and the Travellers, poems invoking divine forces such as the dawn goddess Ushas, the purifying waters of Varuna, the mystical rising sun, and prayers for safe passage. Holst’s music mirrors the imagery with luminous harmonies, flowing textures, and a ritualistic sense of stillness and reverence.

Hymn to the Dawn

Hear our hymn, O Goddess, Rich in wealth and wisdom, Ever young yet ancient, True to Law Eternal.

Wak’ner of the songbirds, Ensign of the Eternal, Draw thou near, O Fair One In thy radiant Chariot.

Bring to her your off’ring; Humbly bow before her: Raise your songs of welcome As she comes in splendour.

Hymn to the Waters

Flowing from the firmament forth to the ocean, Healing all in earth and air, never halting. Indra, Lord of Heav’n formed their courses, Indra’s mighty laws can never be broken. Cleansing waters flow ye on, hasten and help us.

Lo, in the waters, dwelleth One, Knower of all on earth and sea, Whose dread command no man may shun, Varuna, sovran Lord is He.

Onward, ye waters, onward hie, Dance in the bright beams of the sun, Obey the ruler of the sky Who dug the path for you to run.

Flowing from the firmament…

Hymn to Vena (Sun rising through the mist)

Vena comes, born of light; He drives the many-colour’d clouds onward. Here, where the sunlight and the waters mingle, Our songs float up and caress the new-born infant.

The child of cloud and mist appeareth on the ridge of the sky. He shines on the summit of creation.

The hosts proclaim the glory of our common Father.

He hath come to the bosom of his beloved.

Smiling on him

She beareth him to highest heav’n.

With yearning heart

On thee we gaze, O gold-wing’d messenger of mighty gids.

Wise men see him in their libations

As the sacrifice mounts to the eternal heights, mingling with our solemn chant;

He stands erect in the highest heav’n.

Clad in noble raiment, arm’d with shining weapons, Hurling light to the farthest region, Rejoicing in his radiant splendour.

Hymn of the Travellers

Go thou on before us, Guide us on our way, Mighty One.

Make our journey pleasant, Never let us stray.

Wonder-worker, hearken.

Come in thy splendour; come in thy mighty pow’r.

Trample on the wicked, All who would oppose, Mighty One.

Drive away the robber; Drive away our foes.

Wonder-worker, Hearken.

Come in thy splendour; come in thy mighty pow’r

As we journey onward, Songs to thee we raise, Mighty One.

Thou didst aid our fathers. Guard us all our days.

Wonder-worker, Hearken.

Come in thy splendour; come in thy mighty pow’r

Feed us and inspire us; Keep us in thy care,

Mighty One.

Lead us past pursuers

Unto meadows fair.

Wonder-worker, Hearken. Come in thy splendour; come in thy mighty pow’r

Seek Ye First the Kingdom of God Kerensa Briggs Kerensa Briggs (b. 1991) is an award-winning British composer known for her expressive, finely crafted choral music, performed internationally and featured widely on major broadcasters. A former choral scholar at King’s College London, she draws deeply on her background as a singer, and her works including her acclaimed 2023 portrait album Requiem, have been praised for their clarity, emotional resonance, and spiritual depth. Seek ye first the kingdom of God, written in 2019 during her residency at Godolphin & Latymer School, sets verses from Matthew 6:33–34 in a gentle, contemplative style that reflects the text’s message of trust, groundedness, and freedom from anxiety.

Seek ye, seek ye first the kingdom of God. Seek ye, and his righteousness; and all these things shall be added unto you.

Take therefore no thought for the morrow: For the morrow shall take thought for the things of itself.

Hold On

Stacey V. Gibbs

Stacey V. Gibbs (b. 1962), one of today’s most sought-after arrangers of spirituals, is known for bringing new life to this tradition with vibrant rhythms, rich harmonies, and an unfailing respect for authenticity. His setting of Hold On embodies that gift, building from energetic choral writing to a rousing, uplifting finish. At the heart of the piece is the spiritual’s powerful refrain (keep your hand on the plow, hold on), a metaphor for perseverance, faith, and steadfastness in the face of hardship. Through images of steady labor, climbing higher, and refusing to look back, the text urges listeners to stay focused on the path toward freedom and hope. Gibbs’ arrangement amplifies this message, transforming the spiritual into a compelling call to resilience for the concert stage.

Oh yes, keep yo’ han’ on de plow an’ hold on, jus’ hold on.

Nora, Nora, let me come in, de doors all fastened an’ de winders pinned.