All-Night Vigil
Sergei Rachmaninoff
 
Sergei Rachmaninoff was a celebrated Russian composer, pianist, and conductor whose style reflected many of the hallmarks of late Russian Romanticism, though he lived well into the 20th century. Like many other composers during his lifetime, Rachmaninoff was deeply motivated by a desire to discover and express an authentic national style through music. He was influenced by older Russian composers, like Pyotr Ilyich Tchaikovsky (1940-1893) and Nikolai Rimsky-Korsakov (1844-1908), who turned to znamenny chant as a wellspring of inspiration for a new style of Russian sacred music grounded in ancient Eastern Orthodox traditions. The All-Night Vigil is widely considered one of Rachmaninoff’s finest works and a masterpiece of a cappella Russian sacred music, exemplifying many of the hallmarks of this new style: the pervasive use of chant, heavy doubling of parallel melodic and harmonic lines, a free approach to meter, a rich harmonic palette, and a technique dubbed “homorhythmic polyphony” that ensured the prominence and intelligibility of the chanted text.
 
Composed in the winter of 1915, the All-Night Vigil sets the text of the Vespers, Matins, and First Hour in Church Slavonic. The entire work has fifteen movements, some of which are based on original Eastern Orthodox chant melodies, and some of which are wholly original compositions that imitate the style of znamenny chant. Tonight’s performance includes movements 1, 2, 3, and 6, the last of which is Rachmaninoff’s frequently-excerpted setting of “Bogoroditse Devo,” or the Eastern Orthodox version of “Hail Mary.”
 
 
“There is an old belief”
Charles Hubert Hastings Parry
 
Charles Hubert Hastings Parry was a turn-of-the-century English composer and musicologist who contributed to the revitalization of English music at a time when England was fixated on developing and promoting an authentic national style after a long period of perceived stagnation. Alongside formidable contemporaries including Charles Villiers Stanford (1852-1924), Arthur Seymour Sullivan (1842-1900), Edward Elgar (1857-1934), Frederick Delius (1862-1934), and Samuel Coleridge-Taylor (1875-1912), Parry contributed a significant body of sacred and secular works that lifted the reputation of Anglican church music and the English provincial music festivals. Parry’s best-known choral work is “I was glad,” an anthem for King Edward VII’s 1902 coronation that continues to be a favorite at English coronations, royal weddings, and other significant civic events.
 
“There is an old belief” is the fourth song in Parry’s choral song cycle, Songs of Farewell, a poignant valediction that Parry wrote at the end of his life. As a set, the Songs of Farewell are masterpieces of English a cappella choral writing, ranging from the relatively simple four-voice opener, “My soul, there is a country,” to the treacherously difficult final two songs, “At the round earth’s imagined corners” and “Lord, let me know mine end,” scored for seven and eight parts respectively. “There is an old belief” is written for SSATBB choir and sets poetry by John Gibson Lockhart (1794-1854). The work begins and ends in G major but travels through far-flung territory in between. The ever-shifting harmony and the lack of rootedness in any key brings extra poignancy to the text, which describes a deep longing for a “serene” and “changeless” eternity that stretches beyond the solemn shore of grief. In a nod to his Anglican roots, Parry quotes from the “Credo in unum Deum” chant at the climax of the piece, on the words, “That creed I fain would keep / That hope I’ll ne’er forgo,” before gently bringing the work to its heartbreaking conclusion: “Eternal be the sleep / If not to waken so.”
 
 
“Dalubaling 鬼湖之戀 (The Love of Ghost Lake) + Nature Boy”
盧正君 Jeng-Jyun Lu and Eden Ahbez
arr. David Maddux for the O-Kai Singers
 
“Dalubaling + Nature Boy” is a vocal jazz fusion of a Taiwanese aboriginal folk song and “Nature Boy,” a tune written by the American songwriter Eden Ahbez (1908-1995) for American popular singer and jazz pianist Nat King Cole (1919-1965). “Dalubaling + Nature Boy” was arranged by the American film composer David Maddux and recorded by the O-Kai Singers, a Taiwanese vocal jazz group, on their 2018 album, Southern Soul (Nánfāng línghún / 南方靈魂).
 
“Dalubaling + Nature Boy” combines two distinct and very different songs to tell one age-old story about love, heartbreak, and the great sacrifices that lovers are willing to make “just to love and be loved in return.” The song opens with the first few lines of “Nature Boy,” which are set with tight harmonies, free rhythm, and parallel-motion extended jazz chords reminiscent of the sound of the Manhattan Transfer. In the middle section, the timbre and harmony shift to brighter, simpler, and more open chords harmonizing the melody of “Dalubaling.” The text of “Dalubaling” comes from a legend of the Rukai tribe, one of the sixteen officially recognized indigenous groups of Taiwan. “Dalubaling” tells the story of a princess from the tribe who falls in love with the snake prince of Ghost Lake, one of two lakes of sacred importance to the Rukai. In order to marry the snake prince, the princess must leave her tribe and her family forever. In the first verse, set in C pentatonic, she bids farewell to her family and her people, telling them that her spirit will be with them forever. In the second verse, set in Eb pentatonic, her parents bid farewell to her, telling her to remember her people always. The work closes with the final lines of “Nature Boy,” returning to the close jazz harmonies of the opening.
 
 
“Wedding Qawwali”
A.R. Rahman
arr. Ethan Sperry
 
Arranger’s notes from the score:
 
Often referred to as “The Indian Mozart,” A.R. Rahman writes at least as fast, having completed over 100 film scores since 1992. His soundtracks have sold more than 300 million copies worldwide, making him one of the best-selling recording artists of all time. He has won fourteen of India’s Filmfare awards (the equivalent of the American Oscar) for his music and two Academy Awards and Grammy Awards in 2008 for the music for the British movie Slumdog Millionaire which includes the song “Jai Ho.”
 
“Wedding Qawwali” is from Rahman’s first foray onto the Western stage and was written for Bombay Dreams, a musical produced by Andrew Lloyd Webber, which opened in London in 2002 and on Broadway in 2004. Rahman takes the style of this piece from a style of Sufi celebratory singing called Qawwali, which is popular in the Punjab province of Pakistan and many Northern provinces in India. Qawwali singing is normally heterophonic, performed by a party of two male lead singers backed by up to a dozen other male vocalists who improvise simultaneously and with complete abandon over a simple melody. The singers are usually accompanied by harmonium and percussion; guitar and sarangi (a bowed string instrument) are often added as well.
 
Rahman’s Qawwali uses just two lead vocalists, no back-up vocal, and the traditional instrumentation augmented by synthesizers. He adds modern harmonies to a very authentic-sounding melody. This choral version asks each section of the choir to act at times as a solo vocalist (when they have the lyrics below) and at other times to function as part of the instrumental ensemble. The percussion parts can be played by a tambourine and two djembes or similar drums. The players should feel free to improvise over the basic patterns in the score. I have suggested a guitar part which can add an additional rhythmic texture if desired.
 
 
“Auass”
Alex Vollant
 
Composer’s notes from the score:
 
“Auass” means “Child” in the Innu language. In this piece that I have offered to Carrie Tennant and the Vancouver Youth Choir as a gift, I want to explore issues of the history of Canada that are usually difficult to approach, such as Residential Schools, which were designed and founded by the government to “kill the Indian in the child.” They are the main symbol of colonialism and the racist history of our country. Today, there is still a generation of elders that survived those terrible institutions, and I composed this piece to honour their courage, resilience and healing.
 
At the very beginning of the composition process, I envisioned a survivor elder at the end of their life, during which they had gone through an incredible journey of healing. They would go inside their own self, to visit their inner child, asking it: What happened to you? What can I do to help? However sad this all may be, the most important portion of this piece is the ending, which is filled with hope and anticipation for a brighter future. At the end, the elder says to the inner child: “Tomorrow will be brighter.” This is I think a beautiful part of the Truth and Reconciliation process in Canada, the one that is focused on hope and directed forward. That is what I wanted to give the spotlight to in this piece.
 
Baritone Alex Vollant is from the Innu First Nation in Québec. They moved to Vancouver in 2020 where they are currently completing a degree in Piano and Voice Performance at the UBC School of Music. Alex previously sang in Chor Leoni Men’s Choir under the direction of Erick Lichte. Following this experience, Alex discovered a passion for choral singing and community building. They have since joined the ranks of Vancouver Youth Choir and have sung with the Christ Church Cathedral Choir.
 
 
“True Colors”
arr. Saunder Choi
 
Notes by Marisa Rawlins-Bradfield
 
Saunder Choi (b.1988) is a celebrated Filipino composer and choral artist living in the greater Los Angeles community. His works have been performed by celebrated choral ensembles including the Philippine Madrigal Singers, Santa Fe Desert Chorale, Los Angeles Master Chorale, Pacific Chorale, World Youth Choir, Conspirare, Sacra Profana, and Tonality. As a seasoned choral artist, he has been a member with Pacific Chorale, L.A. Choral Lab, HEX Vocal Ensemble, Tonality, and the Horizon Chamber Choir.
 
Saunder Choi’s arrangement of “True Colors” reimagines the iconic song originally popularized by Cyndi Lauper through a dynamic interplay of vocal and rhythmic textures. The arrangement delves into the song’s core themes of emotional expression, vulnerability, and self-acceptance. Both Choi and Lauper are known for their strong advocacy for the LGBTQIA+ community and their commitment to amplifying the voices of diverse and underrepresented groups.
 
 
“Nyon, Nyon”
Jake Runestad
 
Notes by Marisa Rawlins-Bradfield
 
Jake Runestad (b.1986) is an EMMY®-winning and GRAMMY®-nominated American composer and conductor. “Steeped in a belief that music has the power to initiate positive change, Jake creates musical works that are socially conscious and explore authentic human emotions and experiences. Conductors, performers, and audiences continue to praise his music for its ability to connect with the head and the heart.” (JakeRunestad.com). His music has been performed and commissioned by leading ensembles and organizations such as VOCES8, Washington National Opera, the Los Angeles Master Chorale, the Munich Radio Orchestra, the Dallas Symphony Orchestra & Chorus, the Pacific Symphony & Chorale, True Concord Voices & Orchestra, the National Chorus of Korea, the Bavarian Radio Choir, the Netherlands Radio Choir, the Philippine Madrigal Singers, Seraphic Fire, the Santa Fe Desert Chorale, and many more. Along with Jake’s commissions and residencies, he leads workshops and conducting masterclasses nationally and internationally. Runestad earned his master’s degree in composition from the Peabody Conservatory of Johns Hopkins University, where he studied with Pulitzer Prize-winning composer Kevin Puts. In addition to these achievements, Jake Runestad is one of the youngest composers ever awarded the prestigious Raymond C. Brock commission by the American Choral Directors Association.
 
Jake Runestad’s “Nyon, Nyon” is a lively exploration of the sounds that one can produce with the human voice. The composer created original words to achieve a variety of colors and mixed-and-matched them within the ensemble to produce a diverse sonic landscape. Incorporating effects similar to a flanger, wah-wah pedal, synthesizers, and drum and bass turns the choir into a full-fledged vocal orchestra! (Notes from the score.)
 
 
“Evergreen”
YEBBA
arr. by Erin Bentlage for säje
adapted by Tehillah Alphonso
 
“Evergreen” is a treble choir adaptation of the eponymous song by the American gospel and R&B singer-songwriter Abbey Elizabeth Smith (b.1995), known professionally as Yebba. Originally released in 2017, “Evergreen” is a tribute to Yebba’s mother, whom Yebba lost to mental illness in 2016. The song is an R&B ballad featuring the full range of Yebba’s expressive, acrobatic vocals with an ethereal backup chorus. Singer-songwriter Erin Bentlage arranged “Evergreen” for the GRAMMY Award-winning vocal quartet säje, which performed the song on their 2023 debut album, säje. This adaptation by Tehillah Alphonso is scored for SSAA choir and jazz combo with an optional treble solo and is part of säje’s sheet music series for student ensembles.
 
 
“Se me hizo fácil”
Agustín Lara
arr. Concha Buika & Chucho Valdes
 
Agustín Lara (1897-1970) was a prolific Mexican songwriter whose style and compositions had widespread influence across Latin America and Spain. Musicologists estimate he wrote about 700 songs, of which only 420 survive. His style was eclectic, adapting diverse forms including the habanera, tango, foxtrot, trova yucateca, bolero, and more. “Se me hizo fácil” is one of his most well-known ranchera songs. This version of “Se me hizo fácil” was arranged by Spanish singer Concha Buika (b.1972) with the collaboration of the legendary Cuban pianist and bandleader Chucho Valdes (b.1941) and released on their 2009 album, El ultimo trago (“The Last Drink”). (Grove Music Online, “Lara (Aguirre del Pino), Agustín”)
 
Buika and Valdes’s version of “Se me hizo fácil” switches between bolero and cha-cha, featuring Buika’s throaty vocals, an extended piano introduction and interlude by Valdes, bass and rhythm section, and a backup chorus vamp at the end of the song. The lyrics, though full of pain and longing, describe a once-adored lover whom the singer claims is easily forgotten “more and more each day.”

All-Night Vigil
 
I. “Come, let us worship”
 
Amíñ.
Pr̃iidíte, pokloñíms̃ia Tsar̃évi náshemu Bógu.
Pr̃iidíte, pokloñíms̃ia i pr̃ipadém
Hr̃istú Tsar̃évi náshemu Bógu.
Pr̃iidíte, pokloñíms̃ia i pr̃ipadém
sámomu Hr̃istú Tsar̃évi i Bógu náshemu.
Pr̃iidíte, pokloñíms̃ia i pr̃ipadém Yemú.
 
-English translation-
 
Amen.
Come, let us worship God, our King.
Come, let us worship and fall down
before Christ, our King and our God.
Come, let us worship and fall down
before the very Christ, our King and our God.
Come, let us worship and fall down before him.
 
II. “Bless the Lord, O my soul”
 
Blagosloṽí, dushé moyá, Ghóspoda,
blagosloṽén yes̃í, Ghóspodi.
Ghóspodi Bózhe moy, vozṽelíchils̃ia yes̃í zeló.
Blagosloṽén yes̃í, Ghóspodi.
Vo ispoṽédañiye i ṽelelépotu oblékls̃ia yes̃í.
Blagosloṽén yes̃í, Ghóspodi.
Na goráh stánut vódï.
Dívna delá Tvoyá, Ghóspodi.
Posr̃edé gor próydut vódï.
Dívna delá Tvoyá, Ghóspodi.
Fs̃ía pr̃emúdrostiyu sotvor̃íl yes̃í.
Sláva Ti, Ghóspodi, sotvor̃ívshemu fs̃ia.
 
-English translation-
 
Bless the Lord, O my soul,
blessed art Thou, O Lord.
O Lord my God, Thou art very great.
Blessed art Thou, O Lord.
Thou art clothed with honor and majesty.
Blessed art Thou, O Lord.
The waters stand upon the mountains.
Marvelous are Thy works, O Lord.
The waters flow between the hills.
Marvelous are Thy works, O Lord.
In wisdom hast Thou made all things.
Glory to Thee, O Lord, who hast created all!
 
III. “Blessed is the man”
 
Blazhén muzh,ízhe ñe íde na soṽét ñechestívïh.
Allilúya, allilúya, allilúya.
Yáko ṽest Ghospód put práṽednïh,
i put ñechestívïh pogíbñet.
Allilúya…
Rabótayte Ghóspodeṽi so stráhom,
i ráduytes̃ia Yemú s tr̃épetom.
Allilúya…
Blazhéñi fs̃i nadéyushchiis̃ía nañ.
Allilúya…
Voskr̃esñí, Ghóspodi, spas̃í mia, Bózhe moy.
Allilúya…
Ghóspodñe yest spas̃éñiye,
i na liúdeh Tvoíh blagosloṽéñiye Tvoyé.
Allilúya…
Sláva Ottsú, i Sïnu, i Sṽiatómu Dúhu,
i nïñe i pr̃ísno i vo ṽéki ṽekóv. Amíñ.
Allilúya, allilúya, allilúya, sláva Tebé, Bózhe.
Allilúya, allilúya, allilúya, sláva Tebé, Bózhe.
Allilúya, allilúya, allilúya, sláva Tebé, Bózhe.
 
-English translation-
 
Blessed is the man, who walks not in the counsel of the wicked.
Alleluia, alleluia, alleluia.
For the Lord knows the way of the righteous,
but the way of the wicked will perish.
Alleluia…
Serve the Lord with fear
and rejoice in Him with trembling.
Alleluia…
Blessed are all who take refuge in Him.
Alleluia…
Arise, O Lord! Save me, O my God!
Alleluia…
Salvation is of the Lord;
and Thy blessing is upon Thy people.
Alleluia…
Glory to the Father, and to the Son, and to the Holy Spirit,
both now and ever and unto ages of ages. Amen.
Alleluia, alleluia, alleluia, glory to Thee, O God!
Alleluia, alleluia, alleluia, glory to Thee, O God!
Alleluia, alleluia, alleluia, glory to Thee, O God!
 
VI. “Rejoice, O Virgin”
 
Bogoród̃itse D̃évo, ráduys̃ia,
Blagodátnaya Mar̃íye, Ghospód s Tobóyu.
Blagosloṽénna Tï v zhenáẖ,
i blagosloṽén Plod chr̃éva Tvoyegó,
yáko Spása rod̃ilá yes̃í dush náshïẖ
 
-English translation-
 
Rejoice, O Virgin Mother of God,
Mary full of grace, the Lord is with thee.
Blessed art thou among women,
And blessed is the fruit of thy womb,
For thou hast borne the savior of our souls.
 
 
“There is an old belief”
 
There is an old belief,
That on some solemn shore,
Beyond the sphere of grief
Dear friends shall meet once more.
 
Beyond the sphere of Time
And Sin and Fate’s control,
Serene in changeless prime
Of body and of soul.
 
That creed I fain would keep
That hope I’ll ne’er forgo,
Eternal be the sleep,
If not to waken so.
 
 
“Dalubaling 鬼湖之戀 (The Love of Ghost Lake) + Nature Boy”
 
There was a boy.
A very strange, enchanted boy.
They say he wandered very far,
Very far, over land and sea.
A little shy and sad of eye
But very wise was he.
 
My dear father, mother, and people of our tribe,
I’m off to be joined with the Ghost Lake.
When you see my headdress slowly sinking into the whirlpool,
That means I’m already at the bottom of the lake.
But my memory will be with you always.
 
My dear Balhenge, you’re getting married.
You are leaving us, leaving the mountains, the waters, and the tribe.
You must remember the people, the ways and traditions of the tribe.
Never forget.
 
The greatest thing you’ll ever learn
Is just to love and be loved in return.
 
 
“Wedding Qawwali”
 
Mubaraqa!
 
Sohna mera sohna, maahi sohna
 
Mera rang de lalaariya
Rang de dupatta mera, rang de lalaariya
Mere hathon me laga de rang mehendi lalaariya
 
Mil gaya, mujhe mil gaya
Rahmaton ka rang khil gaya
Sab gale mile shagun manye e
Sajna ke geet sunaye e
Paraji Pera Liya
 
-English translation-
 
Congratulations!
 
My darling is like gold
 
Color me red
Color my veil in red
Apply red henna to my palms
 
I have found
All my prayers are blooming in color
Let’s all embrace and follow the rituals
Let’s sing songs for my beloved
With our scarves flowing under our legs
 
 
“Auass”
 
Auass
Astem ute
Tshe uitemuin
Ka tutakuin
Eka shetshe
Apu tsheku akuitan
Uapel tsheka meletshishekau.
 
-English translation-
 
Child
Come here
And tell me
What they did to you
Don’t be scared
I will never hurt you
Tomorrow will be brighter.
 
 
“Evergreen”
 
I kissed my penny and I threw it in
I prayed I’d keep my soul
Went down to the river where the water bends
The only place I know
 
Oh, I can’t see
The forest, for the trees
So, will you wait for me?
Will you wait for me?
My evergreen
 
Standin’ at the water’s edge
The Mississippi’s overflowin’
Hold your current in my hands
You bring the meanin’ to my moments
 
Oh, I can’t see
The forest for the trees
So, will you wait for me?
Will you wait for me?
My evergreen
 
Oh, I can’t see
The forest, for the trees
Oh, I feel so hopeless against the stream
So, will you wait for me?
My evergreen
I know it’s just as hard in Heaven
So, will you wait for me?
My evergreen
I know it’s just as hard
My evergreen
 
 
“Se me hizo fácil”
 
Se me hizo fácil borrar de mi memoria
A esa mujer a quien yo amaba tanto
Se me hizo fácil borrar de mí este llanto
A esta la olvido cada día más y más
 
La abandoné porque me fue preciso
Así abandono a la mujer que a mí me ofenda
Voy a buscar otro amor que me comprenda
Yo a esta la olvido cada día más y más
 
-English translation-
 
I found it easy to erase from my memory
the woman that I loved so much
I found it easy to wipe away my tears
now I forget her more & more each day
 
I left her because I had to
That’s how I leave the woman that hurts me
I’m going to look for another love who understands me
I forget this one more and more each day

FLORA L. THORNTON ADMINISTRATION
 
Jason King, Dean
Susan M. Lopez, Associate Dean for Administration & Finance
Jeffrey de Caen, Associate Dean for Operations
Joanna Demers, Associate Dean for Faculty Affairs
Brian Head, Associate Dean of Academic Affairs
Phillip Placenti, Associate Dean for Admission & Student Affairs
Ronald C. McCurdy, Associate Dean for Culture, Community, & Impact
Rotem Gilbert, Vice Dean, Division of Research & Scholarly Studies
William Kanengiser, Interim Vice Dean, Division of Classical Performance & Composition
Sean Holt, Vice Dean, Division of Contemporary Music
Job Springer, Doctoral Advisor, Thornton Student Affairs
Viet Bui, Director of Student Affairs
Heather Pio Roda, Head of Production & Events
Tori Nagle, Senior Production Coordinator
Woody Gatewood, Choral & Sacred Music Administrative Coordinator
 
DEPARTMENT OF CHORAL & SACRED MUSIC FACULTY
 
Tram Sparks, Chair & Professor of Practice
Cristian Grases, Professor
Emily Sung, Assistant Professor of Practice
Jennifer Kampani, Adjunct Instructor in Early Music
Troy Quinn, Part-Time Lecturer in Conducting
 
DEPARTMENT OF CHORAL & SACRED MUSIC DONORS
 
We are grateful to the following individuals who have made contributions to the USC Thornton Department of Choral & Sacred Music since July 1, 2018.
 
Anonymous, Charles Albers, Victor Apanovitch, Elizabeth Armour & Jonathan Lewis, Kristin & Larry Ball, Andrea Barrocak, Jane & Robin Blomquist, John Michael Boyle, Jennifer & Donald Brinegar, Ellen Brock and Lawrence Kaptein, Robert E. Brooks, Kellie & Aaron Custino, Dr. Harold A. Daugherty Jr., Sean Daughtery, Elizabeth Molly Flier, Joanne & Nathaniel Fryml, Ada Gates, Carol & Ilan Glasman, Lisa Hane & Hugh Rienhoff, Lisa H. Harrington, Kathleen Hartley, Tamara & Mark Hatwan, Dr. Carl W. Haywood, Dr. Stephanie Henry, Margaret P. & Guilbert C. Hentschke, Barbara A. & Wayne Hirabayashi, Nancy & James Holland, Alvin Hughes, Debora Lee Huffman, Dr. Buddy Oscar James, Young Lee-Ko & Seungseop Ko, Dr. Yewon Lee & Daniel Lee, L’Etoile Apparel, Dr. Iris Sue Levine & Lesili Beard, Hazel & James Lord, Dr. Marguerite Marsh, Joan Mattei, Dr. Stanley R. McDaniel, Patricia & John McIntyre, Dr. Donald B. & Mary C. Miller, ​​Ann F. Mohrbacher, Shirley & John G. Morgan, Kimberley & Douglas Nason, Mr. David Noble, Christine Marie Ofiesh, Peter & Masha Plotkin Memorial Foundation, Anthony H. Pasqua, Thomas B. Ringland, Kenneth D. Sanson Jr. Estate, Rose F. Sapia, Margaret & Christopher Saranec, Virginia Sato & Raymond Bates, Mary & Jo-Michael Scheibe, Nicole D. Singer, Virginia & Thomas Somerville, Christian D. Stendel, Toni & Nick Strimple, The Donald & Alice Noble Foundation, Town & Gown of USC, Carla Tardio and Patrick O’Grady, Raymond Thompson, Leslie J. & Jeffrey B. Unger, Barbara & James Harold Vail, Emily Kuo Vong, Ken White & Allison White, Gregory Wait, John P. Wiscombe, Pamela & Donald (“Jeff”) Wright, Janice Lynn Wyma, Zena & Steve Yamamoto, Xu & Young Foundation
 
Please contact the USC Thornton Office of Advancement at music.advancement@usc.edu or (213) 740-6474 if you would like more information on how to contribute to the USC Thornton Department of Choral & Sacred Music.