Concert Programs

USC Thornton Chamber Singers & Concert Choir concert program

October 25, 2024
8:00 p.m.

The USC Thornton Chamber Singers and USC Thornton Concert Choir share the bill with a choral program.
 
The USC Thornton Chamber Singers, USC Thornton’s longstanding choral ensemble, is led by chair of the Choral & Sacred Music department, Tram Sparks. The Chamber Singers have performed works by Meredith Monk, William Byrd, Ko Matsushita, Joel Thompson, Johannes Brahms, Michel Richard de Lalande and Benjamin Britten.
 
The USC Thornton Concert Choir, under the leadership of faculty member Cristian Grases, explores the music and traditions of countries from around the world with an emphasis on the music of Latin America.
 
The USC Thornton Chamber Singers features associate conductors Ann Chen and Michael Raleigh with collaborative pianist Elaine Lin. The USC Thornton Concert Choir features associate conductor Marisa Rawlins-Bradfield and collaborative pianist Cathy Yang.

Program

USC THORNTON CHAMBER SINGERS

Song for Athene
Ann Chen, conductor

Sir John Tavener
(1944-2013)

“Kyrie” from Messe pour double Chœr a cappella
Michael Raleigh, conductor

Frank Martin
(1890-1974)

“Angele Dei” from Carmina mei cordis
Ann Chen, soloist

Abbie Betinis
(b. 1980)

O Schöne Nacht, op. 92, no. 1
Michael Raleigh, conductor

Johannes Brahms
(1833-1897)

In the Middle
Ann Chen, conductor

Dale Trumbore
(b. 1987)

Abide With Me
Michael Raleigh, conductor

Moses Hogan
(1957-2003)

World O World

Jacob Collier
(b. 1994)

USC THORNTON CONCERT CHOIR

Mid-Winter Songs
1. “Lament for Pasiphaë”
2. “Like Snow”
5. “Intercession in Late October”

Morten Lauridsen
(b. 1943)

Pater Noster

Alberto Grau
(b. 1937)

“Gloria” from Mass in C Major, K. 317, “Coronation”
Ryann Anderson, conductor
Karah Rhoades, soprano
Kayla Campbell, alto
Leverett Wilson, tenor
Colin Cunningham, bass

Wolfgang Amadeus Mozart
(1756-1791)

I Si Lan E Bo Bwe (She Is Our Darling)
Marisa Bradfield, conductor
Ayanda Fuzane, soloist

Chen Ming-Chang
(b. 1956)
arr. Yu-Shan Tsai

One Voice
Marisa Bradfield, conductor
Sophie O’Shea, Vishaala Wilkinson, Penelope Cotter, soloists

Ruth Moody
(b. 1997)
arr. Carl Crossin

Alma Llanera (Soul of the Plains)

Pedro Elias Gutierrez
(1870-1954)
arr. Angel Sauce

Swilo Yini
Ayanda Fuzane, Cheyenne Simon, Kayla Campbell, soloists

trad. Tsonga
arr. Michael Barrett
(b. 1983)

Composer Notes

Sir John Tavener
 
Sir John Tavener (1944–2013) was a knighted British composer who was strongly influenced by sacred music and spirituality. His music drew from Russian, Byzantine, and Greek influences and became more inwardly focused after he joined the Russian Orthodox church in 1977. Following a series of health issues, Tavener strengthened his commitment to his faith and to expressing it through music.
 
Tavener wrote Song for Athene in memory of Athene Hariades, a young half-Greek actress who was a family friend killed in a cycling accident. Tavener wrote, “…her beauty, both outward and inner, was reflected in her love of acting, poetry, music and of the Orthodox Church.” As he had heard Athene reading Shakespeare in Westminster Abbey, Tavener decided to use text taken from both the funeral service of the Eastern Orthodox Church and from Shakespeare’s Hamlet, with the Hebrew word alleluia sung monophonically while the piece unfolds over an endless drone.
 
Ann Chen
 
 
Frank Martin
 
Frank Martin (1890-1974) was a Swiss composer who studied with Joseph Laubner, taught at the Institut Jaques-Dalcroze, and was the president of the Swiss Musicians’ Union. As a composer, Martin used constraints as the basis of his instrumental compositions (i.e., limiting the specific instruments). The tone color of the instruments and their particularities contributed to his creativity. In his vocal music, the text forms the basis of the work’s musical structure. Important large works by Martin include the operas Der Sturm and Monsieur de Pourceaugnac and the oratorios Le mystère de la Nativité and Pilate.
 
Michael Raleigh
 
 
Abbie Betinis
 
Composer Abbie Betinis (b. 1980) writes music called “inventive, richly melodic” (The New York Times) and “joyful… shattering, incandescent” (Boston Globe). A two-time McKnight Artist Fellow, and listed in NPR Music’s “100 Composers Under Forty,” she was recently named Musical America’s Artist of the Month, with a feature article lauding her “contrapuntal vitality” and “her ability to use her talents to effect social change.” She has written over 80 commissioned pieces for world-class organizations, including the American Choral Directors Association, Cantus, Chorus Pro Musica, Dale Warland Singers, The Schubert Club, St. Olaf Choir, and Zeitgeist. She lives in Minnesota, where she is adjunct professor of composition at Concordia University-St Paul and co-founding executive director of Justice Choir.
 
Abbie Betinis
 
 
Johannes Brahms
 
Johannes Brahms (1833-1897) was a German composer and pianist of the Romantic period who wrote symphonies, concerti, chamber music, piano works, choral compositions, and more than 200 songs. Brahms was the great master of symphonic and sonata style in the second half of the 19th century. He can be viewed as the protagonist of the Classical tradition of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven in a period when the standards of this tradition were being questioned or overturned by the Romantics.
 
Michael Raleigh
 
 
Dale Trumbore
 
Dale Trumbore (b. 1987) is an award winning Los Angeles-based composer and writer. Her compositions have been performed widely in the U.S. and internationally by many well-known ensembles. Trumbore’s book Staying Composed: Overcoming Anxiety and Self-Doubt Within a Creative Life was hailed as a “treasure trove of practical strategies for moving your artistic career forward” (Angela Myles Beeching, author of Beyond Talent). She has written extensively about working through creative blocks and establishing a career in music in essays. Trumbore holds degrees in Music Composition and English Language and Literature from the University of Maryland, as well as a Master of Music degree in Music Composition from the University of Southern California.
 
Ann Chen
 
 
Moses Hogan
 
Moses George Hogan (1957-2003) was an American composer and arranger of choral music. He was best known for his settings of spirituals. Hogan was a pianist, conductor, and arranger of international renown. His works are celebrated and performed by high school, college, church, community, and professional choirs today. Over his lifetime, he published 88 arrangements for voice, eight of which were solo pieces.
 
Michael Raleigh
 
 
Jacob Collier
 
Jacob Collier (b. 1994) is a multi-instrumentalist, singer, arranger, composer, and producer based in England. Collier is mostly self-taught and has been creating music all his life. In 2012, he began to share some of these creations with the world via YouTube. These self-produced, multi-layered, and multi-tracked audio-visual creations began to attract attention from all over the world, racking up tens of millions of views. One day in 2013, Collier’s sounds reached Quincy Jones’s ears. Jones signed Collier to his management label to help bring some of Collier’s ideas to life. In 2016, Collier’s debut album In My Room was released. It was entirely self-recorded, arranged, performed, and produced in his home in London. Collier won two Grammy awards for his debut album, took his music on world tour, and harmonized hundreds of fans’ melodies to crowdfund his musical adventures. He also teaches masterclasses and confounding music theorists around the globe with chords and rhythms.
 
Ann Chen
 
 
Morten Lauridsen
 
The music of Morten Lauridsen (b. 1943) occupies a permanent place in the standard vocal repertoire of the twenty-first century. His eight vocal cycles, instrumental works, art songs and series of motets (including O Magnum Mysterium) are performed throughout the world and have been recorded on over two-hundred CD’s, including several that received Grammy nominations.
 
Mr. Lauridsen served as Composer-in Residence of the Los Angeles Master Chorale from 1995-2001 and has served as Distinguished Professor of Composition at the University of Southern California Thornton School of Music.
 
 
Alberto Grau
 
The importance of composer and conductor Alberto Grau (b.1937) in the development of choral music in Venezuela cannot be overstated. In 1967, he founded the Scola Cantorum de Caracas, now Schola Cantorum de Venezuela, whose international honors include winning the Guido d’Arezzo Prize in polyphonic singing in 1974. More recently, the ensemble premiered Oceana, by Osvaldo Golijov, at the Oregon Bach Festival and made the premiere recording of La Pasión según San Marcos (St. Mark Passion). Together with his wife, María Guinand, Grau has developed choral organizations such as Fundación Schola Cantorum de Venezuela and the Movimento Coral “Cantemos.” These organizations have fostered a thriving choral movement in Venezuela, ranging from children’s choirs and amateur choirs in the workplace to professional choirs. An active professor of choral music, Grau is in demand as a guest conductor and adjudicator throughout Western Europe and America. His book Choral Conducting: The Forging of the Conductor was published in 2010.
 
Grau has won numerous awards in major choral composition competitions. Most of his compositions exhibit distinct musical traits found in Venezuelan traditional music, and texts are often associated with social and environmental concerns around the world. His sacred output ranges in difficulty and tends to use contemporary harmonic resources and extended compositional techniques. Grau’s compositional process usually starts with the natural accentuation of the text and the rhythmic structures that can be derived from it. As a result, his music tends to be rhythmically complex and free from metric constraints. Pater Noster is a good example of this. A setting of the Catholic “Our Father” text in Latin, this composition illustrates Grau’s emotional depth and timbral imagination. Starting with unison plainchant, the composition spins out layers of increasing complexity and anguish, sometimes interwoven with spoken words. Pater Noster was composed in 1986 for the Orfeón Universitario Simón Bolívar and was awarded first place in the “José Ángel Montero” National Music Prize the same year.
 
 
Wolfgang Amadeus Mozart
 
Wolfgang Amadeus Mozart (1756-1791) is remembered today as one of the most prominent composers of the classical era. Mozart’s catalog of works exceeds 800 works, containing works written in many genres and styles of the time such as symphonies, concertos, operas, chamber works, choral-symphonic works, and compositions for diverse solo instruments. Born in Salzburg, Mozart was a musical prodigy who showed competency as a keyboard and violin player at an early age and composed his first works at around age five. He toured Europe extensively, and the great majority of his time working as a stable professional musician was spent in Salzburg and Vienna, where he wrote the majority of his works. Mozart died at age 35 under unclear circumstances.
 
 
Chen Ming-Chang
 
Chen Ming-Chang (b. 1956) is a Taiwanese folk singer, composer, and Taiwanese yueqin player born in Beitou. He has scored music for films, commercials, and choral works. Known for singing primarily in Taiwanese Hokkien, he incorporates traditional styles and instrumentation in his compositions and performance practice. Chen Ming-Chang’s music was deeply influenced by Chen Da, a Taiwanese folk singer, who eventually inspired him to sing in Taiwanese Hokkien, his native language. He has also mentioned influences from traditional Taiwanese operas, a pastime from his childhood and time spent with his father. Chen has been credited with inventing a style of guitar playing that mimics the sounds of the beiguan, nanguan, and Taiwanese yueqin sounds. Chen Ming-Chang’s beloved tune I Si Lan Bo Bwe was arranged by Tsai Yu-Shan, one of Taiwan’s most prolific arrangers. Tsai earned an MM in piano performance from Peabody Institute of Music in the United States and has earned multiple national and international awards in piano and chamber competitions. Since her return to Taiwan in 1995, Tsai has performed with famous local musicians and has been the permanent piano accompanist of the Formosa Singers since 1999. She currently teaches music at several high schools, including Taipei Municipal Chung-Cheng Senior High School and Tamkang Senior High School.
 
 
Pedro Elias Gutierrez
 
Pedro Elias Gutiérrez (1870-1954) was a prolific Venezuelan composer known for his waltzes, zarzuelas, and other compositions based on multiple Venezuelan folk and popular genres. He led the Orquesta Caraqueña, and was the conductor of the iconic Banda Marcial Caracas (Caracas Martial Band) for over forty years, for whom he wrote many arrangements and original works. Gutiérrez was well known for his catchy tunes, especially when he wrote zarzuelas. Among his well-known zarzuelas are Percance en Macuto and Un Gallero como Pocos. However, he is best known for his song “Alma Llanera,” a traditional Joropo that was part of his zarzuela also entitled Alma Llanera. This song was inspired by existing waltzes by composers Sebastián Díaz Peña (1844-1926) and Jan Gerard Palm (1831-1906).
 
 
Michael Barrett
 
Michael Joseph Barrett is the Director of Choral Activities at the University of Pretoria in South Africa and serves as the conductor of the well-known Tuks Camerata ensemble. In addition to his conducting roles, Michael is an accomplished composer and arranger, with his traditional South African arrangements being performed globally. Since 2013, The University of Pretoria (Tuks) Camerata has been recognized as one of South Africa’s top choral ensembles, earning numerous awards and accolades at choral competitions and festivals internationally. Michael Joseph Barrett frequently serves as an adjudicator and conducts workshops and clinics on South African Music.

Program Notes

Song for Athene
Sir John Tavener
 
Song for Athene came to me at the funeral of a young girl, Athene Hariades. In the graveyard after the funeral I heard the repeated Alleluias and then I heard a melody for the verses. I wrote the whole piece down when I got home. Later at the instigation of Martin Neary it was sung at the funeral of Diana, Princess of Wales and was heard around the world. I am glad that I was able to share this parting gift from Athene with so many people.
 
Sir John Tavener
 
 
“Kyrie” from Mass for Double Choir a cappella
Frank Martin
 
Martin’s Mass for Double Choir a cappella is a 20th century a cappella choral masterwork for SATB/SATB double choir with minimal divisi. The Mass was completed in 1926, but performed for the first time in 1962. The delay can be explained by Martin’s personal relationship with the composition: Martin said that he “was afraid that [the Mass] would be judged from an entirely aesthetic standpoint. The Mass was, at the time, a matter entirely between God and myself” (from the forward in the Bärenreiter edition). The “Kyrie” movement consists of distinct sections: a first “Kyrie” section that imitates melismatic plainsong; another “Kyrie” section consisting of homophonic, rhythmic, mostly syllabic statements; a “Christe” section made up of lyrical octave doubling; and a final “Kyrie” section that cascades out of the preceding “Christe.”
 
Michael Raleigh
 
 
“Angele Dei” from Carmina mei cordis
Abbie Betinis
 
“Angele Dei” is a prayer adapted from text by Reginald of Canterbury in the early 12th century (falsely attributed to St. Anselm in the past). The rhyming Latin text translates to: “Angel of God, my guardian dear, to whom God’s love commits me here, ever this night (or day) be at my side, to light and guard, to rule and guide. Amen.” Betinis’ composition begins with a chant-like soprano solo, joined by an almost murmuring choir, reminiscent of elderly ladies praying the rosary before the start of weekday Mass. The majority of the text is heard only once, but the “Angele Dei” text returns throughout the work, as if it were a mantra. The work concludes with a forte major chord that crescendos as if it could part the heavens.
 
Michael Raleigh
 
 
O Schöne Nacht, op. 92, no. 1
Johannes Brahms
 
O Schöne Nacht comes from a set of quartets by Johannes Brahms. In Brahms’s vocal oeuvre, the quartet was meant to be sung as chamber music by one-on-a-part solo voices and accompanied by piano. The work is commonly adapted for performance by choral ensembles. The poetry of this song describes a beautiful night: in the sky, a fairytale-like moon with the stars as his companions; on the earth, the shimmering dew on the grass, and the boy who sneaks to his lover. Every voice part shines in a brief solo before the pianist shifts the tonality down a major third. A forte diminished chord propels the tonality back to the original key, and all voices conclude this beautiful night with layered hemiolas that settle into each voice part’s lower register.
 
Michael Raleigh
 
 
In the Middle
Dale Trumbore
 
Barbara Crooker’s poem In the Middle describes our need to connect in the rush of ordinary life. In this setting, the piano serves as an unreliable time-keeper, ebbing and flowing as our perception of time does. The word ‘time’ itself occurs over and over within the piece, serving as a sort of refrain, a reminder to slow down. It is so easy to forget, in the context of everyday life, that time will ultimately catch up with all of us. There’s no antidote, but in the meantime, we should “take off our watches” more often, finding ourselves “tangled up in love” with another or just with this life, and granting time permission, if not to stop, then to slow.
 
Dale Trumbore
 
 
Abide With Me
Moses Hogan
 
Abide With Me is an adventurous arrangement of William H. Monk’s hymn of the same name. The work is voiced for SATB choir with divisi in every part. The melody is unaltered from the original hymn, and the work is entirely tonal; however, over the course of about three minutes, Hogan uses all twelve pitches of the chromatic scale (and three enharmonic equivalents). Hogan marks the tempo “Freely, with feeling” and uses breath marks and forte-pianos, which provide opportunities for musical expression. The work ends with an “amen” that begins on the chromatic submediant (D-flat major) and works its way back to the home key.
 
Michael Raleigh
 
 
World O World
Jacob Collier
 
World O World is the final track of Jacob Collier’s fourth album Djesse collection. This setting begins in four parts and builds over the course of six minutes to sixteen parts with luscious, expressive harmonics and filled with surprising progressions. This song is a reflective and poignant exploration of parting, change, and the enduring nature of love and home. It weaves a narrative of farewell, acknowledging the constant shifts in life and the solace found in love’s unchanging presence. The lyrics navigate through the bittersweet acceptance of moving on, while holding onto the hope of reunion.
 
Ann Chen
 
 
Mid-Winter Songs
Morten Lauridsen
 
The choral cycle Mid-Winter Songs sets five contrasting poems by twentieth-century poet Robert Graves, all connected to the many symbolic themes relating to winter and to Graves’ own personal history of losing and regaining love in his relationships with Laura Riding and Beryl Hodges.
 
Morten Lauridsen
 
 
“Gloria” from Mass in C Major, K. 317, “Coronation”
Wolfgang Amadeus Mozart
 
Written in Salzburg, Mozart’s Mass in C Major K. 317 is one of his fifteen Mass settings and was completed on March 23, 1779, under the appointment of chief arts patron Archbishop of Salzburg, Count of Colloredo (1772-1803). The archbishop sought to modernize the archdiocese, reducing the length of the mass, and placing restrictions on the performance of instrumental and accompanied sacred vocal music. Due to its sizeable instrumentation for orchestra, choir, and four soloists, it is considered Mozart’s shortest Missa longa. Some could also consider it a Missa brevis rather than a fuller Missa solemnis. The nickname “Coronation Mass” or “Krönungsmesse” has a rich history and is noted in the first edition of the Köchel catalog. However, it did not originate from the premiere, which took place on Easter Sunday on April 4, 1779, in Salzburg Cathedral. The work was said to have been performed for the coronation ceremonies of Leopold II, King of Bohemia in 1791, and Franz II of Bohemia in 1792. “Gloria” is the second movement of this work, and its joyful and exultant music is written for alternating choir and solo quartet.
 
 
I Si Lan Bo Bwe
Chen Ming-Chang
arr. Yu-Shan Tsai
 
I Si Lan Bo Bwe presents a text that illustrates the intimate connection between parents and daughters. Using a lyric melodic style, Chen’s song follows a simple ABA structure. Tsai’s arrangement enhances the melody by assigning it to different sections of the choir, thus always presenting it with slightly different tonal color as well as using some small canonic imitation. The piano accompaniment is rich in arpeggiated motives and complements the beauty of the original melody. Tsai also calls for a high soprano soloist towards the end of the song as a possible representation of the daughter singing back to her parents.
 
 
One Voice
Ruth Moody
arr. Carl Crossin
 
The Wailin’ Jennys brought the song “One Voice” to a wide audience on their 2004 album, 40 days. It serves, in its simple but earnest way, as a testament to music’s ability to cultivate love, empathy, and community. Soprano and founding member Ruth Moody composed this piece in response to her overwhelming inspiration after their performance at folk music festival. In an interview with Kira Grunenberg for American Songwriter, Moody describes her writing process as if she “received this song.” This acoustic, hymn-like anthem describes love and unity through the unified power of music. In one voice…
 
Australian composer and educator Carl Crossin takes Moody’s composition and creates a setting for mixed choir. Much of the hymn-like quality of the piece has been preserved, thanks to Crossin’s faithful treatment of the music. A percussive backdrop under one of the repeated phrases gives new life to the dynamic interplay between the voices sung by one voice… voices two… voices three… and all of us.
 
 
Alma Llanera (Soul of the Plains)
Pedro Elias Gutierrez
arr. Angel Sauce
 
Venezuela’s traditional genre of Joropo is considered the most authentic and representative genre in the country. Better known as Música Llanera (music from the plains), Venezuelan Joropo is rooted in the Spanish Fandango and it originated in the plains of Venezuela and Colombia. There are a number of variants of Joropos, but they all share the characteristic juxtaposition of 3/4 and 6/8 meters, up-tempo beat, joyful lyrics, and intricate rhythmic complexities. Alma Llanera is the best known Joropo tune in Venezuela, and Ángel Sauce’s (1911-1995) arrangement is the one most often performed by choirs throughout the nation. In it, Sauce sets the melody generally in the soprano line with rhythmic accompaniments in the other voices imitating the traditional instrumental ensemble of the Venezuelan plains constituted by a diatonic harp (arpa llanera), cuatro (a four-stringed small strummed guitar), and maracas. Sauce’s arrangement captures the playfulness and joy of these traditional Venezuelan instruments and the common rhythmic nuances of the genre, and has become Venezuela’s second national anthem.
 
 
Swilo Yini
trad. Tsonga
arr. Michael Barrett
 
Swilo Yini is a traditional Tsonga song from South Africa. Its lyrics recount the experience of the sinking steamship carrying Black South African troops in their fight against the Germans during World War I. The text speaks of furious passengers on board…condemning the boat keeper for the poor condition of the ship. The rich harmonies and rhythmic foundation provided by the drums, accompanied by the choir’s large movement, provide the communal heartbeat.

Ensemble

USC THORNTON CHAMBER SINGERS
 
Soprano
Elizabeth (Lily) Lochhead, BA Psychology – Palo Alto, CA
Ashleigh Conner, BM Vocal Arts – Bronx, NY
Sophia Thompson, BM Choral Music – Pasadena, CA
Victoria Lowe, BM Composition – Inglewood, CA
Phoebe Rosquist, DMA Choral Music – Cleveland, OH
Kayla (Jong Sook) Kim, MM Choral Music – Seoul, Korea
Julia Ruddy, BM Vocal Arts – Lawrence, KS
 
Alto
Ann Chen, DMA Choral Music – Taichung, Taiwan
Leah Taylor, BM Choral Music – Arcadia, CA
Olivia Knowles, BM Choral Music – Newport Beach, CA
Lalaina Rabetsimba, BM Vocal Arts & Opera // BS Psychology – Clovis, CA
Nnenna Onwe, BS Business Administration – Columbus, OH
Han-Ah Park, DMA Choral Music – Surrey, BC Canada
Ali Sandweiss Hodges, DMA Choral Music – Ferndale, MI
 
Tenor
Evan Fox, BM Music Industry – Phoenix, AZ
Andrew Powell, BA Music // BA Economics – Billings, MT
Josh Feldman, BM Choral Music – Denver, CO
Benjamin Thai, BA Philosophy, Politics & Law – Santa Ana, CA
Christopher Renfro, BM Vocal Arts – Houston, TX
 
Bass
Brandon DiNoto, DMA Choral Music – San Diego, CA
Michael Raleigh, DMA Choral Music – Boston, MA
Ryan Liddy, BM Vocal Arts – Pasadena, CA
Jason Yang, BM Choral Music – Palo Alto, CA
Jason Torres, BM Vocal Arts – Allen, TX
Ryan (Wai Hei) Cheung, MM Choral Music – Hong Kong

USC THORNTON CONCERT CHOIR
 
Soprano
Chelsea Ackman, BS Accounting – Denver, CO
Lauren Bondurant, BM Vocal Performance – Glendale, CA
Natalie Bradley, BM Choral Music – San Diego, CA
Kayla Campbell, BA Dramatic Arts – Cartersville, GA
Ayanda Fuzane, BM Vocal Arts – Beaumont, CA
Lindsay LaFollette, BM Vocal Arts – Houston, TX
Brook Lebron, BM Vocal Arts – Simi Valley, CA
Sophie O’Shea, BM Choral Music – Palos Verdes, CA
Julianna Othmer, BM Choral Music – West Covina, CA
Karah Rhoades, BM Vocal Arts – West Linn, OR
Cass Sobota, BM Choral Music – Madison, WI
Kristine Thompson, BA Dramatic Arts – Perris, CA
Mykaila Valdez-Hebert, BM Vocal Arts – Houston, TX
Vishaala Wilkinson, BA Cognitive Science
 
Alto
Ryann Anderson, MM Choral Music – Noblesville, IN
Jade Bacon, BM Jazz Studies – Atlanta, GA
Brianna Birkel, Ph.D Earth Sciences – Seattle, WA
Marisa Bradfield, DMA Choral Music – Montebello, CA
Abi Bridgeman, BS Human Biology – Columbia, MO
Madison Burkhart, BS Music Industry – Danville, CA
Aileen Conner, BM Vocal Arts – Lexington, KY
Shreeya Chand, BS Computer Science
Charlotte Richey, BM Jazz Studies – Santa Clarita, CA
Camila Ruiz, BM Vocal Arts – Tijuana, Mexico
Cheyenne Simon, BA Psychology – Houston, TX
Gianna Vignale, BA Psychology – Sherman Oaks, CA
Abby Wood, BS Chemical Engineering – Charlotte, NC
 
Tenor
Penelope Cotter, BS Economics – Austin, TX
Diego Delgado, BM Vocal Arts
Dylan Dempsey, BM Composition – Napa, CA
Julian Gajewski, BS Legal Studies
Phineas Kelly, BS Astronautical Engineering
Jiwoo Kim, BA Psychology – Horseheads, NY
Ivy Liu, BFA Design – Beijing, China
Blaise Moynihan, BS Natural Sciences // BS Mathematics – Saint Robert, MO
Leverett Wilson, BM Vocal Arts – Wenham, MA
 
Bass
David Cerna, BM Piano Performance – Anaheim, CA
Colin Cunningham, BM Vocal Arts – Pawleys Island, SC
Caleb Dehn, BS Neuroscience // BA Music – Orange, CA
Luc Eldridge, BM Composition – Eastvale, CA
Geneho Hong, BA Communication – San Diego, CA
Tyler Milliren, BS Industrial & Systems Engineering – Tacoma, WA
Lucca Salazar, BS Neuroscience – Sylmar, CA
Christian Thomas, DMA French Horn Performance – Cartagena, Spain
Violet Wang, BS Computer Science Games – Temple City, CA