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[APPLAUSE] [VOCALIZING]
[APPLAUSE]
JOE LERANGIS: Thanks. Good evening and welcome to the 2022 Glee Club and Chorus Homecoming Concert.
[APPLAUSE]
My name is Joe Lerangis, and I have the immense privilege of working with the driven, dedicated, and insanely talented students that you're going to see behind me tonight. In just under one month, about three and a half weeks to be exact, we've put this performance together for you all. The performance takes us from death into rebirth, from darkness into light. While the Glee Club features more somber reflections, the chorus will shift the lens to talk about light. Not only the shadows and the silhouettes that light can cast, but also the light that people around us can bring into our lives.
As multitudes descend on this hill this weekend, I urge you to think about who in your life brings that light, and to cherish the moments past, present, and future, with those people. So please, sit back, relax, and enjoy the show. Thank you.
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[VOCALIZING]
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The next piece that you're about to hear takes a slightly more somber turn. We go into the world of Lamentations, the Lamentations of Jeremiah, which is Jerusalem after its destruction by the Babylonians. Though written thousands of years ago, this message, I think, still holds true today. It's a message of injustice. Not necessarily the injustice of war or of violence or of destruction, but the injustice of the passerby who sees suffering and does nothing. The piece starts with a slow murmur and then about halfway through, you're going to hear the speaker sort of cry out and say, listen, listen. Should there be any sorrow like my sorrow in this world? So please enjoy O Vos Omnes by Pablo Casals.
[VOCALIZING]
[APPLAUSE]
And now please give it up for the Cornell Hangovers.
[APPLAUSE]
SPEAKER 1: Hello, everyone. We are the Hangovers, the official a cappella subset of the Glee Club. We are so excited to be able to sing with the Glee Club every time we perform. So we hope you enjoy the song that we have for you.
SPEAKER 2: One, two, three.
[VOCALIZING]
(SINGING) I've been breaking hearts a long time and toying with them older guys just playthings for me to use. Something happened for the first time in the darkest little paradise, shaking, pacing, I just need you. And for you I would cross the line, I would waste my time, I would lose my mind. They say, "she's gone too far this time." Don't blame me, love made me crazy, if it doesn't you ain't doing it right. Oh lord, save me, my drug is my baby, I'll be usin' for the rest of my life.
(SINGING) My name is whatever you decide. I'm just going to call you mine. I'm insane but I'm your baby. Echoes of your name inside my mind. Halo, hiding my obsession. I once was poison ivy, but now I'm your daisy. And for you I would fall from grace just to touch your face. If you walked away. I beg you on my knees to stay. Don't blame me, your love made me crazy, if it doesn't you ain't doing it right. Oh, lord save me, my drug is my baby, I'll be using for the rest of my life. Oh, every time you're-- every time you're loving me. I get so high. Oh, every time you're-- every time you're touching me.
(SINGING) Every time, every time you're loving me. Oh, lord save me, my drug is my baby, I'll be using for the rest of my life. Using for the rest of my life. Don't blame me, your love made me crazy, if it doesn't you ain't doing it right. Oh, lord save me, my drug is my baby, I'll be using for the rest of my life. Don't blame me, your love made me crazy, if it doesn't you ain't doing it right. Oh, lord save me, my drug is my baby, I'll be using for the rest of my life.
[APPLAUSE]
JOE LERANGIS: Another round of applause for the Hangover's, folks.
[APPLAUSE]
(ALL SINGING) Oh, Shenandoah, I long to see you. Away, your rolling river. Oh, Shenandoah, I long to see you. Way, we're bound away. Across the wide Missouri. I long to see your smiling valley. And hear your rolling river. I long to see your smiling valley. Away, we're bound away. Across the wide Missouri. 'Tis seven years since last I've seen you And hear your rolling river. 'Tis seven yeas since last I've seen you, Away, we're bound away across the wide Missouri. When first I took a rambling nothing, to hear your rolling river. To saily across the briney ocean. Away, we're bound away. Across the [INAUDIBLE].
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SPEAKER 2: Venezuelan composer Modesta Bor did not begin her career as a composer. She actually trained as a concert pianist in Venezuela and then moved to the USSR to pursue training, where she developed focal dystonia. Focal dystonia is a nerve disorder that affects some musicians, where essentially, your muscles begin to do the opposite of what you tell them to do.
And through overwork or through overuse, she was no longer able to play the piano. She pivoted quite successfully to composition and conducting, and quickly became one of the most prolific composers in Venezuela. So while Melissa Dunphy is Shadows Over a Cradle paints a picture of the shadows that can exist over even the tiniest of lives in an unjust society, Modesta Bor's picture of shadows is a little bit different, a little bit more bucolic. She has us sitting on a dock in Venezuela, listening to the birds as they sort of lower their chatter, and watching the shadows ebb and flow on the bay. And kind of feeling our thoughts drifting out into the moonlight, over the sea. Please enjoy "Luna de Malecón" by Modesta Bor.
[NON-ENGLISH SINGING]
[APPLAUSE]
And now, please give it up for After Eight.
SPEAKER 3: Hey, everyone. We're After Eight, a subset acapella group of the chorus. If you want to hear more of us, come to our concert Friday, November 11th, 8 PM, Barnes Hall.
(SINGING) I've been dreaming about the West Coast. Found some faces that I don't know. Give me the sun for just a year. I'll kiss the sky and disappear. I've been staring up at the greyest skies. Trying to find myself some luck, but it's running dry. It's like the weather makes the worst of my cloudy mind. I could really use a dose of some paradise. Sometimes you've gotta run from a broken heart. Before I turn into a ghost, need a brand new start. Get myself headed to the coast, man, it ain't that far. Yeah, they've got sun in LA and some shining stars. I've been dreaming about the West Coast. Found some faces that I don't know.
I'm seeing signs for California trade the shade for something warmer. I've been dreaming about the West Coast. Where the people take it real slow. I need the sun for just a year. I'll kiss the sky and disappear. Ain't felt a droop now for 40 days. But still they're washing cars and they don't show any age. Ain't nothing that you want'll cost you more than time. If you're trying to find yourself better get in line. I'm counting up my money and spending to get it right. Got the future in my pocket, I'm spending it all tonight. Like a prophet with the vision, I finally see the light. And you know. I've been dreaming about the West Coast. Found some faces that I don't know. I'm seeing signs for California. Trade the shade for something warmer. I've been dreaming about the West Coast. Where the people take it real slow. I need the sun for just a year. I'll kiss the sky and disappear. Glitter nights under starry skies. All I wanna do is fly. Take me where the sun shines brighter.
West Coast. Time to find myself a new glow. I need the sun for just a year. I'll kiss the sky and disappear.
I've been dreaming about the West Coast. Found some faces that I don't know. I'm seeing signs for California. Trade the shade for something warmer. I've been dreaming about the West Coast. Where the people take it real slow. I need the sun for just year. I'll kiss the sky and disappear. I'm dreaming. I'm dreaming about it The West Coast. The West Coast. I've been dreaming about the West Coast.
[APPLAUSE]
One big cheer for After Eight, folks.
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So we have one more song for you this half and then we'll take a 10-minute intermission. And then afterwards, you will hear the combined forces of the Glee Club and the chorus. Thanks again for coming out.
[VOCALIZING]
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[CHATTER]
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JOE LERANGIS: The next piece you're about to hear is by Indian-American composer Reena Esmail. She writes "Tuttarana," which is actually a compound word between tutti, which is Italian or music speak for all together or all at once and tarana, which is the virtuosic vocalese that occurs at the end of a Hindustani musical performance. The singer starts very slowly, singing syllables not unlike scatting in jazz, sort of nonsense syllables that are meant to imitate a kind of instrument or multiple instruments. And then the singer goes faster and faster and faster. So it's this show of virtuosity.
She uses raag jog, which is a type of raag or a Hindustani kind of collection of pitches. To the Western ear, its going to sound like it sort of has both minor and major thirds. So watch out for that and please enjoy the virtuosic vocalese "Tuttarana."
[VOCALIZING]
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The next piece you're about to hear is the setting of Maya Angelou's, The Caged Bird, from Shaker, Why Don't You Sing. In this setting, Joel Thompson does a number of interesting things. But one is that he changes the genders of the birds. He changes their pronouns. In the Maya Angelou poem, both birds are male, both the free bird and the caged bird. So the free bird is sort of mocking the caged bird that they can't fly.
But Joel switches it, Thompson switches it, and the caged bird is now taking on the feminine voice. He dedicates this piece to the women of the Civil Rights movement of 1960, whose contributions were immense, but whose heroism was often overlooked. In particular, Septima Clark, Ella Baker, Diane Nash, and Fannie Lou Hamer. So please enjoy The Caged Bird Sings for Freedom, by Joel Thompson.
[PIANO PLAYING]
[VOCALIZING]
[FLUTE PLAYING]
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[APPLAUSE]
[APPLAUSE]
We have one more before we do our annual tradition of the Cornell songs. But once again, I want to just extend a heartfelt thank you to everyone who came out tonight, who supported in this new year and this very, very old tradition. So thanks again for coming out and stay tuned.
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[VOCALIZING]
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The chorus and the Glee Club would not be what they are without powerful and wonderful and committed student leadership. So at this time, I would like to invite up to the stage the President of the Chorus, Karina Melgar, and the President of the Glee Club, Jason Ling.
[APPLAUSE]
KARINA MELGAR: Hello, everyone. My name is Karina Melgar, I'm the president of the chorus.
JASON LING: Hi, my name is Jason Ling. It's my honor to serve as the president of the Glee Club.
KARINA MELGAR: We first want to take a couple of moments to thank some wonderful people who helped make this concert happen. First, to our amazing accompanists, Richard and Johnny. If they're--
[APPLAUSE]
We also want to thank the music department for all their support throughout the semester. We also want to thank our TA, Maria, and, of course, Professor Lerangis.
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JASON LING: Professor Lerangis has been a phenomenal leader, and we congratulate you on your first concert here in Bailey and with the entire chorus. So thank you so much.
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Now while we have your attention, we just want to remind you that we are selling merch outside. So after the concert, after all Cornell songs, if you are interested in supporting the organizations, we would really, really appreciate it. And we have a couple of exciting things that we want to bring up so, Karina?
KARINA MELGAR: Some important dates to keep in mind if you want to hear more of our performances. The chorus will have our Twilight Concert on October 22 here in Bailey Hall.
JASON LING: As well, the Glee Club will have our fall concert here as well November 19.
KARINA MELGAR: And we will have the Lessons and Carols concerts in Sage Chapel, December fourth and fifth and next semester we will have--
JASON LING: The Glee Club tour over spring break from March 30th through April 10 days later. I forget.
KARINA MELGAR: Where are you going?
JASON LING: Oh, yes, of course. Where we will be touring the Southwest. It'll be our first time returning in over six years.
KARINA MELGAR: And in June, the chorus will be touring California from May 29 to June 7.
JASON LING: Awesome. So with those in mind, we also do want to recognize a couple of people in this audience. So we know it's homecoming. Happy homecoming, everybody. Can we get any alumni of Cornell University, please stand. And round of applause.
[APPLAUSE]
Welcome home, welcome home. And can you please remain standing if you are an alumni of the Cornell University Glee Club and chorus?
[APPLAUSE]
Wonderful. Thank you. And at this time-- oh. Quickly before I do this. We also do have a reception at the end of the concert. It'll be in Lincoln B20 at the conclusion of our Cornell songs. But with our alumni standing, if you would like, we would love to have you on the stage for these Cornell songs.
[APPLAUSE]
[CHATTER]
[PIANO MUSIC PLAYING]
[VOCALIZING]
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(SINGING) I am the freshman, they put me up here. I was nursed by my mommy, but now I drink beer. I miss my old bottle. It's sad for to tell. But soon I'll be busting right out of Cornell.
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(SINGING) Oh, I am the sophomore with charm grace and looks. The things I can teach you, you won't learn in class. I joined a fraternity, the parties are lit. But I fear my grades are going--
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(SINGING) Oh, I am the senior-- the junior. I go to my classes whenever I please. I studied abroad, and boy, she was swell. I've been a wasting my time at Cornell.
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(SINGING) Oh, I am the senior, tormented with doubt. My time at Cornell has almost run out. The cruel situation has me quite annoyed. You see, I'm Magna cum laude but still uninformed.
[VOCALIZING]
[APPLAUSE]
[PIANO MUSIC PLAYING]
[VOCALIZING]
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JOE LERANGIS: Another round of applause for our pianists, Karina Melgar, Grant Wittman, [? Yuja ?] [? Hong ?] and Ray [? Leo. ?]
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As the president's mentioned, we're going to have a reception after this in Lincoln B20. But now, I'd like you all to rise for the evening song and the Alma mater. Sing along.
[CHATTER]
[VOCALIZING]
[APPLAUSE]
Celebrate Homecoming 2022 with the Cornell University Chorus and Glee Club. Featuring Cornell Songs and repertoire from around the world. Go Big Red!
