“In my dream… I saw a world filled with love. A Place to Belong and Where We Belong.”
THE DREAM AWAKENS
“Ein kleiner, hübscher Vogel” from Liebeslieder-Walzer Op. 52 by Johannes Brahms (1833-1897)
Born in Hamburg, Germany, Johannes Brahms (1833-1897) was a giant of the Romantic period. As a prolific composer, virtuoso pianist, and conductor of his time, Brahms composed a large output of well-known compositions that are still popular to this day, including his four symphonies, two piano concertos, one violin concerto, one double concerto in A minor for violin, cello, and orchestra, and many chamber works, keyboard works, and vocal and choral works. Brahms resided in many different cities, including Leipzig, where he met Robert and Clara Schumann and eventually became the support of the household. In his final years, he resided in Vienna and produced some of his most well-known works, including his four symphonies.
Brahms’s Liebeslieder Waltzes (Liebeslieder-Walzer) is a collection of love songs in song style for four voices and four-hand piano. In the collection Liebeslider Waltzes, Brahms uses the text of Georg Friedrich Daumer’s Polydora, a collection of folk songs and love poems, as lyrics for the work. Marked grazioso in tempo, “Ein kleiner, hübscher Vogel” (A pretty little bird) is in A major rondo form. The piano sets a playful and lighthearted mood in the beginning, and the melody is first introduced by the tenors. The text describes a person observing a bird in its natural habitat and wondering what it’s like to be the bird. Listen for the repeated chirping call and the laments of hesitation throughout the song.
–Connie Tu
Ubi caritas by Maurice Duruflé (1902-1986)
Maurice Duruflé was a French composer and organist renowned for his ability to seamlessly blend Gregorian chant with modern harmonies. Born in Louviers, France, in 1902, he studied at the Paris Conservatoire under Paul Dukas and Charles-Marie Widor, where he developed his meticulous approach to composition. A perfectionist, Duruflé continually revised his works, ensuring that every note served a purpose. His relatively small output—including the Requiem, Quatre Motets sur des thèmes grégoriens, and Messe Cum Jubilo—is revered for its refinement, clarity, and emotional depth.
Ubi caritas, the first of the Quatre Motets sur des thèmes grégoriens, is based on an ancient Gregorian chant associated with the liturgy of Holy Thursday. Duruflé preserves the chant’s original structure while enveloping it in warm, fluid harmonies that enhance its sense of timeless devotion. The voices weave together in a way that feels both meditative and expressive, creating a natural ebb and flow that reflects the meaning of the text: love, unity, and the presence of God.
The simplicity of Ubi caritas is part of its beauty. Rather than imposing a complex arrangement, Duruflé allows the chant to unfold organically, enriched by gentle harmonic shifts that add depth and warmth. The result is a piece that feels both ancient and modern, inviting performers and listeners alike into a moment of quiet reflection. With its balance of clarity and richness, Ubi caritas remains a cornerstone of the choral repertoire, embodying the sincerity and grace of its sacred text.
–Kayla Kim
Requiem arranged by Craig Hella Johnson (b. 1962)
Composer and conductor Craig Hella Johnson (b. 1962) is renowned for his visionary approach to choral music, blending classical, folk, and popular influences into deeply expressive works. As the founder and artistic director of the Grammy-winning ensemble Conspirare, he has shaped contemporary choral artistry with innovative programming and emotionally profound performances. His compositions and arrangements often explore themes of love, loss, and spiritual reflection, most notably in his oratorio Considering Matthew Shepard.
Requiem, arranged by Johnson, is based on a song by singer-songwriter Eliza Gilkyson, written in response to the devastating 2004 Indian Ocean tsunami. Gilkyson’s haunting melody, paired with Johnson’s sensitive choral setting, transforms the piece into a meditative lament for those who have experienced loss. The text, an invocation to the “Mother of all,” serves as a universal plea for solace, transcending religious and cultural boundaries. Johnson’s arrangement deepens the song’s emotional impact through rich harmonies, fluid phrasing, and an ethereal choral texture, creating an atmosphere of sorrow, hope, and quiet resilience. The work has been widely performed and recorded, including a notable rendition by Conspirare, featured on their Grammy-nominated 2006 album Requiem. Through its poignant simplicity and profound emotional resonance, Requiem continues to offer comfort and reflection in times of grief and remembrance.
–Han-Ah Park
THE HEART OF THE DREAM
Don’t BE Afraid arranged by Jennifer McMillan
Composer and arranger Jennifer McMillan is known for her ability to create choral settings that blend emotional depth with accessibility. Her arrangement of Don’t BE Afraid, based on a song by Saskatchewan singer-songwriter Allyson Reigh, transforms the original melody into a moving choral work that resonates with themes of courage, resilience, and hope.
Commissioned in March 2014 by Òran, under the direction of Kathleen Skinner, Don’t Be Afraid was created for Podium 2014 in support of the Don’t BE Afraid Campaign, an initiative that used music to foster strength and solidarity.
McMillan’s arrangement preserves the song’s intimate nature while expanding its impact through rich harmonies and expressive choral textures. Featuring a soloist, the piece unfolds with a simple yet powerful pop-style melody, supported by warm, resonant harmonies that elevate its message. In the context of Belonging and Rebuilding, Don’t Be Afraid reflects the moment when communities come together after loss, offering reassurance and strength as they begin to heal. It reminds us that rebuilding is not only about physical spaces but also about restoring hope and fostering connection. Through its heartfelt lyrics and soaring harmonies, Don’t Be Afraid encourages us to stand with one another, reaffirming that no one rebuilds alone.
–Han-Ah Park
Jubilate Deo by Peter Anglea (b. 1988)
Peter Anglea (b. 1988) is a graduate of Bob Jones University in Greenville, SC. He received a master’s degree in composition in 2011, studying with and being mentored by faculty such as Dan Forrest, Dwight Gustafson, Joan Pinkston, Warren Cook, and others. An emerging young composer, Peter’s works have been featured at Piccolo Spoleto, Regional and National ACDA events, as well as numerous collegiate concerts and recitals worldwide. He has published works with Hinshaw Music, Beckenhorst Press, and The Lorenz Corporation. He is a former member of the Rivertree Singers of Greenville and previously served as the music director at Community Baptist Church of Greer, SC. Peter and his wife, Rebekah, reside in Middleborough, MA. (https://peteranglea.com/bio/)
Jubilate Deo, which translates to “sing joyfully to God,” is the Latin text of Psalm 100. Anglea has given this historical text fresh and jubilant melodic lines. According to Anglea, the composer decided upon an asymmetrical meter (10/8) for this piece because it brings energy and exuberance to the music and because it fits the declamation of the text perfectly. The form is a modified rondo in which the recurring theme is the one set in 10/8. The rest of the piece bounces between differing meters – 6/8, 3/4, 4/4, and even 8/8. The layering of different rhythms helps build momentum and excitement throughout. Through different changing meters, the memorable melodic line creates a dance-like, buoyant rhythmic feel throughout the piece.
–Connie Tu
Spes (Hope) by Mia Makaroff
Mia Makaroff (b. 1970) is a Finnish composer, arranger, and music educator known for her innovative and expressive choral compositions. Her works often explore themes of identity, culture, and human connection, blending contemporary choral techniques with influences from folk traditions. Makaroff gained international recognition as a composer for the Finnish a cappella group Rajaton, and her compositions are widely performed by choirs across the world. She is particularly noted for her ability to create intricate yet accessible choral textures that engage both performers and audiences.
Spes (Latin for “Hope”) is a unique and uplifting choral work composed in 2020 for advanced treble choirs. The piece intertwines Latin text from Ecclesiastes 8:1, 8 with Sámi poetry by Finnish Sámi writer Nils-Aslak Valkeapää. Makaroff’s composition reflects on historical tensions between Christianity and Sámi indigenous spirituality, seeking to bridge these cultural and religious narratives through music. She received permission from the Lásságámmi Foundation to use Valkeapää’s poetry and worked closely with Sámi language experts to ensure accurate pronunciation and respectful representation. The work’s dual-text setting symbolizes the coexistence of different worldviews, with the Latin verses providing a classical, structured element while the Sámi text introduces a lyrical, nature-inspired perspective.
Spes is vibrant and energetic, featuring rhythmic interplay, soaring melodic lines, and rich harmonies that create an atmosphere of optimism and unity. The piece challenges singers with its dynamic shifts and layered textures, making it a compelling choice for honor choirs, festivals, and concert programs. Makaroff’s expert craftsmanship ensures that the work remains both challenging and rewarding, offering performers a powerful expression of hope and reconciliation through choral music.
–Han-Ah Park
WHERE WE BELONG
Belong by Jocelyn Hagen
Jocelyn Hagen is a Minnesota-based composer recognized for her innovative approach to choral and vocal music. Her work spans choral, orchestral, electro-acoustic, and multimedia compositions, seamlessly blending lyrical melodies with rich harmonic textures to create deeply expressive and evocative works. In addition to her compositional achievements, Hagen is a co-founder of Graphite Publishing, a digital platform supporting contemporary composers. Belong was commissioned by the Youth Chorale of Central Minnesota and features an original text by poet Marisha Chamberlain. It poses a poignant question: What can “you” or “I” do to create a sense of community, especially when home is no longer home? The piece explores themes of connection, unity, and the deep human need for belonging, making it especially resonant in times of loss and rebuilding.
Hagen’s setting employs the Lydian mode in two different keys for the refrains, symbolizing distinct perspectives. In the final section, these contrasting keys merge, creating a lush and harmonious convergence. This musical device mirrors the necessity of compromise and collaboration, reminding us that even in the face of adversity, diverse voices can come together to build something beautiful and meaningful.
–Han-Ah Park
Rise Up arranged by Mac Huff
Andra Day’s Rise Up is a modern anthem of perseverance and hope, originally released in 2015 on her debut album Cheers to the Fall. Co-written by Day and Jennifer Decilveo, the song gained widespread recognition for its heartfelt lyrics and soaring melody, quickly becoming a symbol of resilience in the face of adversity. With its gospel-inspired harmonies and deeply emotional delivery, Rise Up has been embraced as an uplifting anthem for social justice movements, personal struggles, and moments of collective strength. The song has been performed at numerous high-profile events and has been used as an inspirational rallying cry for those facing hardship.
Mac Huff, a prolific choral arranger of contemporary music, has transformed Rise Up into a powerful choral work. Known for his accessible yet dynamic arrangements, Huff maintains the song’s rich emotional depth while adapting it for ensemble singing. His arrangement emphasizes expressive phrasing, lush harmonies, and the song’s gradual build from quiet reflection to anthemic power. Whether performed by a large choir or a small vocal ensemble, Huff’s setting of Rise Up captures the essence of its message—encouraging unity, strength, and an unwavering belief in hope. This arrangement is a compelling choice for choirs looking to inspire and connect with audiences through music that carries both a contemporary sound and a timeless message of resilience.
–Han-Ah Park
Let the River Run arranged by Craig Hella Johnson (b. 1962)
Craig Hella Johnson (b. 1962) is an American composer, conductor, and choral innovator best known as the founder and artistic director of Conspirare, a Grammy-winning professional choral ensemble. Johnson is widely recognized for his transformative choral leadership, bringing a unique artistic vision that blends classical precision with contemporary expression. His arrangements and compositions often explore themes of love, social justice, and human connection, reflecting his deep belief in music as a force for unity and healing. In addition to his work with Conspirare, Johnson has held prestigious conducting positions with the Victoria Bach Festival, Cincinnati Vocal Arts Ensemble, and the Texas State University choral program.
Let the River Run was originally composed by Carly Simon for the 1988 film Working Girl and won the Academy Award for Best Original Song. The song’s lyrics and soaring melody capture the spirit of ambition, freedom, and determination, making it an anthem for dreamers and change-makers. Johnson’s choral arrangement transforms the piece into a rich, multi-voiced tapestry, elevating its energy and message through dynamic choral harmonies and rhythmic vitality. His adaptation maintains the song’s cinematic grandeur while enhancing its emotional impact with layered vocal textures and an expressive piano accompaniment.
–Han-Ah Park
“Ein kleiner, hübscher Vogel” from Liebeslieder-Walzer Op. 52
Ein kleiner, hübscher Vogel nahm den Flug
Zum Garten hin, da gab es Obst genug.
Wenn ich ein hübscher, kleiner Vogel wär,
Ich säumte nicht, ich täte so wie der.
Leimruten-Arglist lauert an dem Ort;
Der arme Vogel konnte nicht mehr fort.
Wenn ich ein hübscher, kleiner Vogel wär,
Ich säumte doch, ich täte nicht wie der.
Der Vogel kam in eine schöne Hand,
Da tat es ihm, dem Glücklichen, nicht and.
Wenn ich ein hübscher, kleiner Vogel wär,
Ich säumte nicht, ich täte doch wie der.
–English translation–
A pretty little bird flew off
into a garden full of fruit.
Were I a pretty little bird,
I’d not hesitate, I’d do the same.
But treacherous lime-twigs lay in wait;
the poor bird could not fly away.
Were I a pretty little bird,
I’d hesitate, not do the same.
The bird alighted on a fair hand,
the lucky thing wanted nothing more.
Were I pretty little bird,
I’d not hesitate, I’d do the same.
Ubi caritas
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.
–English translation–
Where charity and love are, God is there.
The love of Christ has gathered us as one.
Let us rejoice and be glad in Him.
Let us fear and love the living God.
And with sincere hearts, let us love one another.
Leon on Me
[Verse 1]
Sometimes in our lives
we all have pain, we all have sorrow
But if we are wise, we know that there’s
always tomorrow
[Chorus]
Lean on me, when you’re not strong
And I’ll be your friend
I’ll help you carry on
For it won’t be long
‘Til I’m gonna need
Somebody to lean on
[Verse 2]
If there is a load
You have to bear that you can’t carry
I’m right up the road. I’ll share your load
if you just call me.
[Bridge]
You just call on me, brother, when you need a hand
We all need somebody to lean on
I just might have a problem that you’ll understand
We all need somebody to lean on
Jubilate Deo
Jubilate Deo, omnis terra; servite Domino in laetitia
Introite in conspectu ejus in exsultatione
Scitote quoniam Dominus ipse est Deus; ipse fecit nos, et non ipsi nos
Introite portas ejus in confessione; atria ejus in hymnis: confitemini illi
Laudate nomen ejus, quoniam suavis est Dominus
–English translation–
O be joyful in the Lord, all ye lands: serve the Lord with gladness,
and come before his presence with a song.
Be ye sure that the Lord he is God; it is he that hath made us, and not we ourselves;
we are his people, and the sheep of his pasture.
O go your way into his gates with thanksgiving, and into his courts with praise;
be thankful unto him, and speak good of his name.
For the Lord is gracious, his mercy is everlasting; and his truth endureth from generation to generation.
(Psalm 100, Latin Vulgate)
Spes (Hope)
Ecclesiastes
Quis talis, ut sapiens est?
Et quis cognovit solutionem rerum?
Sami poetry
Biekka oapmi lean
muhto liikká ealán
ja dat lea vissa eallima dárkkuhus.
Ealán odne dál ja dás
ja just dat lea madoheapme
de in eali sat ihttin.
Nu ja máid dasto.
Ecclesiastes
Non est in hominis potestate
dominari super spiritum
nec cohibere spiritum
nec habet potestatem supra diem mortis.
–English translation–
Who is like the wise?
Who knows the explanation of things?
I belong to the wind,
but I live;
maybe that is the meaning of life.
I live today, now, and here;
and if that is too much,
I won’t be alive tomorrow.
That is the way—and so what.
As no one has power
over the wind to contain it,
so no one has power
over the time of their death.
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.
