WITNESS: Symphony of Spirituals Digital Concert Program
Welcome
In collaboration with our colleagues at Northrop, led by Executive Director, Kari Schloner, it is a pleasure to welcome you to today’s performance. VocalEssence and Northrop are about creating community and continuing to expand our messages through music and dance to a greater Twin Cities populace. We are delighted to continue our partnership with VocalEssence WITNESS: Symphony of Spirituals.
In 1991, when Artistic Director and Founder Philip Brunelle decided to honor Black History month with a concert dedicated to bringing greater visibility and awareness to the music of composers from the African diaspora, not even he could have predicted the profound and lasting impact that decision would have. VocalEssence WITNESS celebrates many outstanding contributions the Black community makes to our shared cultural heritage through concerts, conversations, recitals, workshops, and programming in churches, community centers, and schools throughout the metropolitan region. Each year, with the help of our phenomenal roster of VocalEssence Teaching Artists, thousands of students participate in interactive workshops based on a curated theme which highlights Black brilliance, past and present, and illuminates our role in making today’s society more equitable for all.
Long before our beloved community began to endure the hardships of our present circumstances, I knew that it would be important for us to return to the foundational soul of American music—the Negro spiritual. These songs, created by our enslaved African siblings and passed down by aural tradition, were born out of unimaginable hardships. They remain the most beautiful expressions of human experience still speaking to us. Today, these spirituals are paired alongside iconic freedom songs that served as catalytic fuel for the Civil Rights movement and they invite us all to be part of the resistance movement that is continuing the march towards freedom, justice, and racial reconciliation.
It’s such an honor to share the world premiere of a A Spiritual Suite, commissioned by VocalEssence for this occasion. B.E. Boykin is a rising star. Her opera, My Name is Florence, was just premiered by Minnesota Opera. I count it as a joy to consider her as a friend and can’t wait for you to hear how she uses the voices and orchestra to draw us into deeper meaning and understanding.
I encourage you to read the program notes below that share more context about the vision for this program, the origins of the songs, and the intentions of the composers and arrangers.
Now settle in, sit back, and get ready to lift your voice and sing in pursuit of justice. Prepare to consider your role in creating a world that is wide enough for all to thrive into being. It is my sincere hope that as you leave Northrop, you will embrace our invitation to live your life in a way that brings more love, more peace, more cooperation, and more joy into our world!
—G. Phillip Shoultz, III, Associate Artistic Director, VocalEssence
PROGRAM
WALK TOGETHER, CHILDREN
Negro Spiritual, arr. William Henry Smith (1937)
THE JUSTICE SYMPHONY
Damien Geter (2021)
Chloe Johnson, soloist
I. Keep Your Eyes on the Prize
II. Precious Lord, Take My Hand
III. Ego Trippin’
PRESENTATION OF THE REATHA CLARK KING AWARD
A SUITE OF SPIRITUALS
Negro Spirituals, arr. B.E. Boykin (2014/2026)
I. Go Down, Moses
II. Mary Was the Queen of Galilee*
III. Steal Away*
IV. Joshua Fit the Battle of Jericho*
INTERMISSION
KHUMBAYA (COME BY HERE)
Traditional Spiritual, arr. Lucas Bok (2010)
BOUND FOR GLORY
Traditional Spirituals, arr. Rollo Dilworth (2019)
I. This Train is Bound for Glory
II. City Called Heaven
III. Goin’ Home, Audrey Lane-Getaz, soloist
IV. Amazing Grace
V. No Ways Tired
GLORY
from Selma
John Stephens, Lonnie Lynn, and Che Smith, arr. Mark Brymer (2014)
Traiveon Dunlap, soloist
Brianna Hill, spoken word
AUDIENCE SING: LIFT EVERY VOICE AND SING
Rosamond J. Johnson, arr. Roland Carter (1978)
(Audience invited to stand and sing as directed)
*WORLD PREMIERE
Texts
WALK TOGETHER, CHILDREN, arr. William Henry Smith
Oh, walk together, children, don’t you get weary,
There’s a great camp meetin’ in the Promised Land.
Walk and never tire,
There’s a great camp meetin’ in the Promised Land.
Sing and never tire,
There’s a great camp meetin’ in the Promised Land.
Shout and never tire,
There’s a great camp meetin’ in the Promised Land.
Oh, walk together, children, don’t you get weary,
There’s a great camp meetin’ in the Promised Land.
Oh, walk together, children, don’t you get weary,
Sing together, children, don’t you get weary,
Shout together, children, don’t you get weary,
There’s a great camp meetin’ in the Promised Land.
—Negro Spiritual
THE JUSTICE SYMPHONY, Damien Geter
I. Keep Your Eyes on the Prize
Paul and Silas bound in jail,
Had no money for to go their bail.
Keep your eyes on the prize, hold on.
Paul and Silas began to shout.
Doors popped open and they walked out.
Keep your eyes on the prize, hold on.
Freedom’s name is mighty sweet,
And soon we’re gonna meet.
Keep your eyes on the prize, hold on.
Got my hand on the gospel plow,
Won’t take nothing for my journey now.
Keep your eyes on the prize, hold on.
—Traditional Freedom Song and Spiritual
II. Precious Lord, Take My Hand
…and lead me home.
When the darkness appears,
And the night draws near,
And the day is past and gone.
At the river I stand.
Guide my feet, hold my hand.
Take my hand precious Lord and lead me home.
Hear my cry, hear my call.
Hold my hand lest I fall.
Take my hand, precious Lord and lead me home.
Precious Lord, take my hand.
Lead me on, let me stand.
I am tired. I am weak. I am worn.
Through the storm, through the night,
Lead me on to the light.
Take my hand precious Lord and lead me home.
—Rev. Thomas A. Dorsey
III. Ego Trippin’
Oh, freedom!
Oh, freedom over me.
Free!
We shall overcome.
Right now.
We shall not be moved.
Like a tree that’s standing by the water;
We shall not be moved.
On the road to justice,
We shall not be moved.
Just like a tree that standing by the water;
We shall not be moved.
No justice; no peace!
Lift every voice and sing,
‘Til earth and Heaven ring.
Ring with the harmonies of liberty.
Let our rejoicing rise,
High as the listening skies.
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us.
Sing a song full of the hope that the present has brought us.
Facing the rising sun,
Of our new day begun.
Let us march on ‘til victory is won.
—Songs from the Civil Rights era, Oh, Freedom, We Shall Overcome, We Shall Not Be Moved, and James Weldon Johnson’s Lift Every Voice and Sing.
A SUITE OF SPIRITUALS, Traditional Spiritual, arr. B.E. Boykin
*asterisk denotes world premiere
I. Go Down, Moses
Go down Moses way down,
Tell ol’ Pharoah,
Let my people go!
When Israel was in Egypt’s land,
Let my people go!
Oppressed so hard they could not stand,
Let my people go!
Go down Moses way down,
Tell ol’ Pharoah,
Let my people go!
The Lord told Moses what to do.
Let my people go!
To lead the children of Israel through.
Let my people go!
Go down Moses.
Way down in Egypt’s land.
Tell ol’ Pharoah
To let my people go!
O’ let us all from bondage flee.
Let my people go!
And let us all in Christ be free.
Let my people,
Go down.
—Negro Spiritual
II. Mary Was the Queen of Galilee*
Who was Mary?
Mary was the Queen of Galilee.
Mary rode to Bethlehem.
There she brought the Holy Lamb.
Mary saw Him crucified.
When her Lord cried out an’ died.
Oh, she wept an’ Martha moaned.
Sky turned purple all aroun’.
Now after Sunday down at the tomb,
When the stone was rolled away,
She didn’t find her Lord, an angel came unto her
Telling the good news that Jesus Christ is risen
And will appear again.
Queen of Galilee,
Oh, Mary was the Queen of Galilee.
—Negro Spiritual
III. Steal Away*
Refrain: Away, steal away.
Steal away to Jesus.
Steal away, steal away home.
I ain’t got long to stay here.
Away, steal away.
My Lord, He calls me.
He calls me by the thunder.
The trumpet sounds within’ my soul.
I ain’t got long to stay here. Refrain:
—Negro Spiritual
IV. Joshua Fit the Battle of Jericho*
Joshua fit the battle of Jericho
And the walls came tumblin’ down.
You may talk about the kings of Gideon,
You may talk about the men of Saul.
But there’s none like good old Joshua
At the battle of Jericho.
Right up to the walls of Jericho
He marched with spear in hand.
Go, blow that ram’s horn, Joshua cried,
‘Cause the battle is in my hand.
Then the lamb ram sheep horns began to blow
And the trumpets began to sound.
And Joshua commanded the children to shout,
And the walls came tumblin’ down, because
The battle, yes the battle, the battle is the Lord’s.
Joshua fit the battle of Jericho.
—Negro Spiritual
KHUMBAYA (COME BY HERE), arr. Lucas Bok, as performed by the Soweto Gospel Choir
Somebody’s cryin’ Lord.
Khumbaya.
Somebody’s prayin’ Lord.
Khumbaya.
Oh Lord! Hear my prayer!
As I lift my voice and say,
I need your love today.
I need you right away.
Somebody’s in despair!
Somebody feels like no one cares!
I know you’ll make a way, Yes, God will make a way.
Oh! Khumbaya.
Oh, Lord, Khumbaya!
—Negro Spiritual
BOUND FOR GLORY, Rollo Dilworth
I. This Train is Bound for Glory
Refrain: This train is bound for glory, this train.
This train is bound for glory,
Don’t carry nothin’ but the righteous and the holy.
This train is bound for glory, this train.
This train is built for speed, now, this train.
This train is built for speed, now,
Fastest train you ever did see.
This train is built for speed, now, this train.
There is joy in that land where I’m bound. Refrain:
—Negro Spiritual
II. City Called Heaven
Lord, I am a poor pilgrim of sorrow.
I’m tossed in this wide world alone.
No hope have I for tomorrow.
I’ve started to make Heaven my home.
Refrain: Sometimes I am tossed and I’m driven, Lord.
Sometimes I don’t know where to roam.
I heard of a city called Heaven,
I’ve started to make it my home.
Lord, my mother has reached pure Glory Land.
My father’s still walking in sin.
My brothers and sisters won’t own me,
Because I am tryin’ to get in. Refrain:
—Negro Spiritual
III. Goin’ Home
Deep river, my home is over Jordan.
Deep river, Lord.
I want to cross over into campground.
Going home, going home, I’m a-going home;
Quiet like, some still day, I’m just going home.
It’s not far, just close by, through an open door;
Work all done, care laid by, going to fear no more.
Mother’s there expecting me, Father’s waiting too;
Lots of folk gathered there, all the friends I knew.
Home, home, I’m going home!
Morning star light the way, restless dream all done;
Shadows gone, break of day, real life just begun.
There’s no break, there’s no end, just a-living on;
Wide awake, with a smile, going on and on.
Going home, going home, I’m a-going home;
It’s not far, just close by, through an open door.
Going up yonder, Lord.
I’m just going home.
Trials are over, Lord.
I’m just going home.
I want to cross over into campground.
Home, home, I’m going home!
—Negro Spiritual
IV. Amazing Grace
Amazing grace, how sweet the sound,
That saved a child like me!
I once was lost but now I’m found,
Was blind but now I see.
Through many dangers, toils and snares,
I have already come;
‘Twas grace that brought me safe thus far,
And grace will lead me home.
Hallelujah! Bound for Glory Land.
When we’ve been there ten thousand years,
Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we’d first begun.
—Negro Spiritual
V. No Ways Tried
I am seeking for a city, hallelujah!
For a city into the Kingdom, hallelujah!
Hallelu! O Lord, I don’t feel no ways tired.
Children, oh, glory, hallelujah!
For I hope to shout, “Glory,” when this world is on fire.
Children, oh, glory, hallelu.
There’s a better day a-comin’, hallelujah!
When I leave this world of sorrow, hallelujah!
I am no ways tired.
Seeking for a city.
Hallelu, hallelujah!
—Negro Spiritual
GLORY, John Stephens, Lonnie Lynn, and Che Smith, arr. Mark Brymer (2014)
from Selma
Refrain: One day, when the glory comes,
It will be ours, it will be ours.
Oh, one day, when the war is won,
We will be sure, we will be here sure.
Oh, glory.
Spoken word
Hands to the Heavens, no man, no weapon
Formed against; yes, glory is destined.
Every day women and men become legends.
Sins that go against our skin become blessings.
The movement is a rhythm to us.
Freedom is like religion to us.
Justice is juxtaposition in us.
Justice for all just ain’t specific enough.
One son died, his spirit is revisitin’ us.
True and livin’ livin’ in us; resistance is us.
That’s why Rosa sat on the bus,
That’s why we walk through Ferguson with our hands up.
When it go down, we womaned and manned up,
They say, “Stay down” and we stand up.
Shots, we on the ground, the camera panned up,
King pointed to the mountain top and we ran up. Refrain:
Now the war is not over; victory isn’t won.
But we’ll fight on to the finish, and then when it’s all done,
We’ll cry glory, oh glory. Refrain:
Spoken word
Selma’s now for every man, woman and child,
Even Jesus got his crown in front of a crowd.
They marched with the torch, we gon’ run with it now,
Never look back, we done gone hundreds of miles.
From dark roads he rose to become a hero;
Facing the league of justice, his power was the people.
Enemy is lethal, a king became regal,
Saw the face of Jim Crow under a bald eagle.
The biggest weapon is to stay peaceful.
We sing. Our music is the cuts that we bleed through.
Somewhere in the dream we had an epiphany,
Now we right the wrongs in history.
No one can win the war individually.
It takes the wisdom of the elders, the young people’s energy.
Welcome to the story we call victory,
The coming of the Lord, my eyes have seen the glory. Refrain:
—Words and music by John Stephens, Lonnie Lynn, &
Che Smith
AUDIENCE SING: LIFT EVERY VOICE AND SING, Rosamond J. Johnson, arr. Roland Carter
(Please stand and sing when directed.)
Lift every voice and sing, ’til earth and heaven ring,
Ring with the harmonies of liberty,
Let our rejoicing rise, high as the list’ning skies.
Let it resound, loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us.
Facing the rising sun of our new day begun.
Let us march on, ’til victory is won.
Stony the road we trod, bitter the chast’ning rod,
Felt in the days when hope unborn has died.
Yet with a steady beat have not our weary feet,
Come to the place for which our fathers sighed.
We have come, Oh we have come
Over a way that with tears has been water’d.
O, we have come, treading our path thro’ the blood of the slaughter’d.
Out of the gloomy past, ’til now we stand at last
Where the white gleam of our bright star is cast.
Please be seated.
God of our weary years, God of our silent tears,
Thou who has brought us thus far on the way.
Thou who hast by Thy might led us into the light,
Keep us forever in the path we pray.
Lest our feet stray from the places our God where we met Thee.
Lest our hearts drunk with the wine of the world we forget thee
Shadow’d beneath Thy hand, May we forever stand
True to our God, true to our native land. Amen.
—Words by James Weldon Johnson
Program Notes
The Negro spiritual occupies a distinguished place as the foundational “soul” of American music. The American musical traditions that we enjoy—country, blues, rock, hip-hop, gospel, jazz, funk, soul, and more have elements of the spiritual in their evolution.
Negro spirituals represent the rhythmic cry of enslaved people who saw God as their champion and liberator. Out of unimaginable hardships, they created beautiful expressions of human experience that still speak to us today.
There’s a special power that binds songs in the Negro spiritual tradition together.
For what was heard by the enslavers as purely a bible story, was seen as inspiration for liberation and freedom. In it, the powerless and oppressed achieve victory over an adversary. The ‘hidden’ (or not so hidden) message was that while you may have our bodies in chains, you can never capture our minds—our minds have always been and will always remain free. Hence the reason why we now refer to these persons as “enslaved” rather than “slaves.”
VocalEssence WITNESS: Symphony of Spirituals gives us an opportunity to hear these melodies anew. These memorable melodies, when surrounded by the interplay of rhythm and melodic variation heard primarily in symphonic works leave an even deeper and more profound imprint on our hearts and minds. Listen as familiar melodies are reconstructed, layered, and augmented to draw us closer to the heartache and hope felt by our enslaved siblings. Most importantly, we have the opportunity to examine our own relationship to these songs, realizing that as Americans, they are part of our heritage. It’s up to each of us speak honestly about history and commit to create a world where no one experiences injustice again.
The Justice Symphony was composed in 2019-20 as a commission from The University of Michigan and The Washington Chorus. The primary thematic material is attributed to music from the Civil Rights era, which was the vehicle that helped shepherd many protests toward the cause of equal rights for Black Americans. The first movement is a fantasia on Keep Your Eyes on the Prize, which is derived from the gospel hymn Keep Your Hand on the Plow. The mixed meters and extended phrases give the listener the sense of being on a ride in which they must grab on to something to stay in place. The second movement, Precious Lord, Take My Hand, is a tribute to Dr. Martin Luther King, Jr. It was his favorite hymn and was sung at his funeral by gospel singer Mahlia Jackson. The last movement, Ego Trippin’, speaks to the power of believing in one’s self. Songs from the Civil Rights era that are included in this movement are, Oh Freedom, We Shall Overcome (with slightly altered, updated text), We Shall Not Be Moved, and culminates in James Weldon Johnson’s Lift Every Voice and Sing just after the choir shouts, “No Justice, No Peace!”
A Suite of Spirituals was conceived in a conversation between composer B.E. Boykin and Associate Artistic Director G. Phillip Shoultz, III, where the two realized that not only do they share a passion for the Negro spiritual, they both have a vision to bring more choral-orchestral settings of the art form to the concert hall. The first piece, Go Down Moses was composed in 2014 as an assignment for a choral arranging class. The three remaining pieces were commissioned by VocalEssence in 2025 to receive their world premiere at today’s performance.
Go Down Moses describes the Hebrew Exodus, in which God commands Moses to demand the release of the Israelites from bondage in Egypt. “And the LORD spoke unto Moses, Go unto Pharaoh, and say unto him, Thus saith the LORD, Let my people go, that they may serve me”.
As is common in spirituals, the song refers to freedom, both the freedom of the Israelites, and that of enslaved people. Go Down Moses clearly has a hidden message as it was one of two code songs used by Harriet Tubman and enslaved persons to communicate when fleeing Maryland as they traversed on the Underground Railroad.
Mary was the Queen of Galilee is a lesser-known spiritual that tells the story of Mary accompanying Jesus through his birth, death, and resurrection. Historically, Mary was from Nazareth in Galilee and she is often referred to as the Queen of Heaven. The Cherry Tree Carol is an American carol that shares some similarities in story.
Steal Away like many other spirituals was made popular by the Jubilee Singers of Fisk University in Nashville, Tennessee. Not only did the words of Steal Away reflect their faith and that they would one day “steal away to Jesus” but they also acted as code to their fellow workers that they were going to seek to escape their slave-owners, that they would “steal away” via the Underground Railroad to reach the northern U.S. states or Canada where they would be free.
We know that water played an important role as a navigational tool and also as suggested by the line “He calls me by the thunder”, stealing away during a storm was safer because the rains washed away clues that might lead the trackers and their dogs to find the enslaved persons.
Joshua Fit the Battle of Jericho is one of the many spirituals that emerged from enslaved Africans in the first part of the 18th century. Like other spirituals, Joshua Fit the Battle of Jericho had many variations, as it was passed along from singer to singer in the oral/aural tradition—without being written down.
There are many categories of spirituals, and Joshua Fit (or ‘fought’) the Battle of Jericho is considered a jubilee song—one that expresses joy, conveys hope, and celebrates freedom.
On the surface, the song is based on the book of Joshua in the Old Testament, where after Moses died, God called Joshua to lead the Israelites. The Israelites had been wandering in the desert for 40 years and came to the city of Jericho, where the gates were shut, so God instructed Joshua to march his warriors once around the walls of the city for six days. On the seventh day, they marched around the city seven times, blowing horns and shouting and the ‘walls came tumblin’ down’.
Bound for Glory is a five-movement work that celebrates the influences of African musical traditions on American folk tunes, European melodies, and the Negro spiritual. These genres of music, though inspired and developed from both similar and disparate circumstances, can often communicate the common themes of faith, hope, and perseverance. These timeless and familiar melodies that have permeated the American musical landscape seem to speak of present day tests and trials associated with earthly existence, while at the same time pointing towards an anticipation of the afterlife to come. The people who created these songs—both slave and free—were undoubtedly passionate about using both oral and vocal traditions to express their values, their faith, and their culture.
The first movement, This Train is Bound for Glory, is an American folk melody that takes its imagery of a train from the Negro spiritual. In the metaphoric sense, the “train” refers to the Underground Railroad (a route to freedom for enslaved persons) and “Glory” refers to Heaven. The arrangement is replete with chord clusters reminiscent of the sound of a train whistle. The middle section of the movement features the spiritual There is Joy in that Land. The movement closes with a partnering of the two melodies.
City Called Heaven is a Negro spiritual that expresses the sorrow and loneliness of the slave, and the reliance upon one’s faith for emotional strength and support. The vocal lines, supported by a sparse accompaniment texture, are interrupted by frequent pauses, symbolizing the weariness that can result from the woes of the world:
I am a poor pilgrim of sorrow,
I’m tossed in this wide world alone.
No hope have I for tomorrow,
I’ve started to make Heaven my home.
The third and middle movement is an adaptation of Goin’ Home, which is based on a melody that Czech composer Antonín Dvorák (1841-1904) developed for the Largo movement of his Symphony No. 9 in E minor (From the New World). This melody, written in the style of a spiritual, was said to be inspired by Harry Thacker Burleigh (1866-1949), a student of Dvorák who often shared Negro spirituals with him. It was William Arms Fisher (1861-1948) who adapted the melodic material from Dvorák’s symphony and added words. This particular setting, unlike the original, opens with a quote from the spiritual Deep River, and is in 6/8 meter. Reminiscent of the African American gospel tradition, it features lilting rhythms, contemporary harmonies, and a dramatic layering of vocal lines.
Amazing Grace is perhaps one of the most recognized melodies across the world. Written by John Newton (1725-1807), the penitent British captain of an African slave ship, this arrangement opens with unison voices on the melodic line, which is supported by syncopated and extended chord harmonies. In the second verse, the melody is presented in the lower voice while the upper voice provides call and response style vocals. Prior to a modulation into the last verse, the interpolated words “Hallelujah! Bound for Glory, bound for Glory Land” appear. These words are meant to represent the voices African slaves, whose pentatonic-based musical traditions may have influenced the melody of this well-known song.
No Ways Tired is arranged in a gospel style and features a series of call-and-response patterns between vocal parts. The middle section of the movement functions as a “bridge” section that paints the text “I am no ways tired” in a quasi-classical circle of fifths fashion. The final section is a climactic “special chorus” that is typical of the African American gospel tradition. In many ways the text for this particular spiritual typifies the themes of the entire five-movement work:
I am seeking for a city, Hallelujah!
I am seeking for a city, Hallelujah!
For a city into the Kingdom, Hallelujah!
For a city into the Kingdom, Hallelujah!
Oh, Lord, I don’t feel no ways tired, children.
Oh, Glory, Hallelujah!
For I hope to shout “Glory” when this world is on fire, children.
Oh, Glory, Hallelujah!
—compiled and written by G. Phillip Shoultz, III with Damien Geter and Rollo Dilworth providing the notes for their compositions.
Lead with Love Pledge
We were created for community and need one another to truly survive. To Lead with Love is to acknowledge that everyone deserves the right to live in a world that allows them to be fully alive and thrive. Leading with love is not just a choice that we make or a mindset that we adopt, it is cultivating the practice of belovedness and hospitality each and every day.
The Lead with Love pledge, developed in 2024 for the WITNESS: Lead with Love concert, is comprised of twelve statements that invite us to nurture habits of caring and connection.
I will LISTEN.
I will ENCOURAGE others to be the best versions of themselves.
I will ASK questions so I can better understand the perspectives of those around me.
I will DEEPEN my awareness of the needs that exist in our communities.
I will WORK with others to strengthen our communities.
I will INVEST my time, talents, and resources to help improve the lives of those around me.
I will TAKE TIME for reflection and TAKE ACTION when the situation calls for it.
I will HOLD OTHERS UP when they experience difficulties and disappointments.
I will LET MY VOICE BE HEARD and speak up in the face of injustice.
I will OPEN DOORS through conversation and compromise.
I will VALIDATE the differences that make us unique.
I will EMBRACE changes that allow us to better live in community with one another.
Guest Artists
CHLOE JOHNSON
Soloist
Chloe earned her Bachelor of Music in Vocal Performance from St. Olaf College where she played viola in the St. Olaf Orchestra and Philharmonia and continued her studies in Voice Performance, studying with Alison Feldt and singing in the St. Olaf Choir.
Chloe went on to receive her Master of Music in Voice Performance and Pedagogy from Westminster Choir College where she toured and performed with the awarded Westminster Choir and Westminster Symphonic Choir under Dr. Joe Miller and sang with teachers Lindsey Christiansen and Laura Brooks Rice. She has had the privilege of singing with renowned orchestras, including the New York Philharmonic, Philadelphia Orchestra, and Berlin Philharmonic. Chloe sang in the choir-in-residence at Spoleto Festival USA and performed at the World Symposium on Choral Music in Barcelona, Spain.
Chloe has toured throughout the United States and internationally with ensembles including VocalEssence, the St. Olaf Choir, the Westminster Choir, and other project-based choirs.
In addition to her work with the Ensemble Singers, she is an active church musician, directing the choir and serving in worship ministry at Hope Church in Richfield. Chloe is also a voice and piano teacher and the mother of two young boys. She has been a member of VocalEssence for eight years.
B.E. BOYKIN
Commissioned Composer
B.E. (Brittney Elizabeth) Boykin is a distinguished composer, conductor and pianist, renowned for her dynamic artistry and profound contributions to the world of music. Most recently, her music appears on two albums nominated for the 2026 GRAMMY Awards in the Best Classical Solo Vocal Album category: Black Pierrot (Sidney Outlaw and Warren Jones) and In This Short Life (Devony Smith and Danny Zelibor). This recognition stands as one of her newest career highlights, joining a legacy of performances at prestigious venues such as the Kennedy Center and Carnegie Hall, and affirms her influence as a leading voice in contemporary classical music.
In addition to her work in opera, she continues to leave a lasting impact on the choral world as a sought-after conductor and clinician who is celebrated for her unique artistic expressions and ability to connect with her ensembles. Her recent features include conducting the Atlanta Music Project Senior Youth Choir in a closing concert for the 2024 Chorus America Conference and leading them to emerge as the category winner at the 2024 World Choir Games, the largest international choral competition in the world. Beyond the concert stage and opera house, Boykin not only solidifies her reputation as a leader in choral music but demonstrates her deep passion and commitment to nurturing the next generation of musicians through her community engagement.
With a career characterized by artistic excellence, educational impact, and a deep commitment to cultural advocacy, she is honored to serve on the National Board for the National Collegiate Choral Organization. She is currently the Director of Choral Activities at the Georgia Institute of Technology. Learn more at Beboykinmusic.com.
Symphony Orchestra
VIOLIN 1
Elise Meichels Parker
Mary Alice Hutton
Karl Braaten
Claire Loudon
Romulo Sprung
VIOLIN 2
Kseniya Khvashchynskaya
Stephanie Skor
Renata Steve
Ethan Balakrishnan
VIOLA
Anne Ainomae
Alastair Brown
Chuck Krenner
CELLO
Teresa Richardson
Sally Dorer
Darin Anderson
Diane Tremaine
BASS
Cassidy Morgan
Irving Steinberg
FLUTE
Karen Baumgartner
Erica Bennett
PICCOLO
Bethany Summersgill
OBOE
Sarah Carmack
ENGLISH HORN
Kelley Tracz
BASSOON
Matt Bertrand
Justin Windschitl
CLARINET
Jennifer Gerth
Karin Meffert Nelson
HORN
Allison Akins
Neal Bolter
Alex Henton
Gina Goettl
TRUMPET
Jonathan Brandt
Christopher Volpe
TROMBONE
Phillip Ostrander
Larry Zimmerman
TUBA
Jacob Grewe
PERCUSSION
Will Kemperman
Joel Alexander
Paul Hill
Robert Adney
About VocalEssence WITNESS School Program
Now in its 36th year, VocalEssence WITNESS celebrates the contributions of African Americans to our shared American heritage through in-school and virtual workshops with teaching artists for students grades 4-12, professional development and classroom resources for teachers, and VocalEssence WITNESS Young People’s Concerts featuring VocalEssence singers.
2025-2026 FAST FACTS
• 49 Partner Schools, including 18 from Minneapolis Public Schools
• 31 schools returning for repeat partnership
• 18 brand new partner schools joining WITNESS this year
• 3,669 students will attend Young People’s Concerts
• 3,603 students will participate in workshops with WITNESS Teaching Artists
• 33 buses, subsidized by VocalEssence through generous supporters will transport Minneapolis Public Schools students to the Young People’s Concerts free of charge
• Teachers have access to 14 different lesson plans—created by VocalEssence staff to meet Minnesota Academic Standards—engaging students in this year’s theme of Eyes Still On The Prize II.
VocalEssence Teaching Artists
TIMOTHY BERRY
Vocalist/Composer/Percussionist
PATRICIA BROWN
Dance Instructor/Choreographer
TRAIVEON DUNLAP
Vocalist/Percussionist
GINGER COMMODORE
Singer/Songwriter/Actress
KARLA NWEJE
Dancer/Choreographer/Literary Artist
T. MYCHAEL RAMBO
Musician/Singer/Actor
ROXANE WALLACE
Dancer/Choreographer
WITNESS Advisory Council
Torrie Allen
Marvin Anderson
Martha Arradondo
Stanley Brown
Tazha Buckner
James Burroughs
Eric Clark
Victoria Davis
Ashley Dubose
Jacob Gayle
Valton Henderson, Chair
Tricia Kaufman
Reatha King
Kevin Lindsey
Laverne McCartney Knighton
Rose McGee
Rhoda Miriphiri-Reed
Maria Mitchell
Dr. Kristin Morris
Philomena Morrissey Satre
Amanda Norman
Jonathan Palmer
Chadwick Phillips
Joanne Reeck
Sharon Smith-Akinsanya
Lezlie Taylor
George Thompson
Reatha Clark King Award
REATHA CLARK KING AWARD WINNER:
ROSE MCGEE
Since 2007, VocalEssence has given out an award named after pioneering African American scientist, educator, and philanthropist Reatha Clark King. This year we’re pleased to recognize the vital work of Rose McGee.
The lyrics “you and I must work together to be the light” aptly articulates the essence of Rose McGee. Born and raised in Jackson, Tennessee, Rose saw her grandmother and great grandmother “be the light” as they baked sweet potato pies for families with a new baby or grieving from the death of a loved one. Rose learned that food connects people and creates opportunities for them to come together—to lift one another up through stories, songs, laughter, and tears. These were the experiences that formed the basis for her life’s work. Rose has led story circles with parents, students, and educators in her work through the Minnesota Humanities Center. She is the playwright behind Kumbayah: The Juneteenth Story and has served on teaching artist rosters for organizations—including VocalEssence. She is also the author of the children’s book, Can’t Nobody Make a Sweet Potato Pie like Our Mama.
All of these gifts come together in her “bake”tivism where her light truly shines bright. As she watched the protests in response to the brutal murder of Michael Brown in August of 2014, Rose asked herself, “What can I do?” Her answer—“Go into your kitchen, make some sweet potato pies, pack your car and deliver them.” So…she packed the trunk of her car with 30 freshly-baked sweet potato pies and traveled to Ferguson. As Rose listened to each recipient talk about how the pie had come at just the right time, her nonprofit organization, Sweet Potato Comfort Pie: A Catalyst for Caring and Building Community was born. Each year since, hundreds of people come together to bake pies and have honest dialogues around race. Rose’s unique approach helps people and communities bridge racial divides and begin the path towards reconciliation and healing. When asked what she hopes to share through her children’s book, Rose says, “I hope that generations will get together and read it together… because what it will do, I hope, is help people to be comfortable with speaking about stories, about history. Things that these children may not know.” Everywhere Rose McGee goes she lets her light shine as she keeps her eyes on the pies!
PAST REATHA CLARK KING AWARD WINNERS
2025: Dr. Reatha Clark King
2024: Dr. Padmini Udupa
2023: Sondra Samuels, Northside Achievement Zone (NAZ)
2022: Traci V. Bransford
2020: VocalEssence Teaching Artists and Joanna Cortright
2019: Hallie Q. Brown Community Center
2018: Dr. Jacob A. Gayle, Jr. and the Medtronic Foundation
2017: T. Mychael Rambo
2016: Dr. Josie Robinson Johnson
2015: Sanford Moore
2014: General Mills
2013: Phyllis Wheatley Community Center
2012: Theresa Neal
2011: Sharon Sayles Belton
2010: Laysha Ward
2009: Minnesota Supreme Court Justice Alan C. Page and Diane Sims
2008: Patricia A. Harvey
2007: Ms. Ossie Brooks James
About Northrop
Situated at the heart of the University of Minnesota Twin Cities campus and a state historic landmark, Northrop has served as the University’s primary gathering place for the performing arts, world-renowned dance performances, concerts, academic ceremonies, and major civic events for nearly 100 years. From touring international and favorite local dance companies, musicians, and film screenings to the hottest comedy acts, renowned speakers, celebrated authors, and prestigious UMN lectures, Northrop offers opportunities for all ages to explore, learn, and engage.
About VocalEssence
For 57 years, VocalEssence has provided opportunities for singers from the Twin Cities area to create incredible music together and build connections as part of the vibrant arts community in Minnesota.
VocalEssence is known for introducing audiences to music and artists who are not yet known, often welcoming guest artists, composers, and conductors who are emerging, have unknown works, or represent a variety of cultures. Welcoming all members of the greater community, VocalEssence embodies the motto: Together We Sing.
VOCALESSENCE MISSION
VocalEssence draws upon the power of singing together to nurture community, inspire creativity, affirm the value of all persons, and expand the influence of choral music.
VocalEssence Artistic Staff
PHILIP BRUNELLE
Artistic Director and Founder
Philip Brunelle, Philip Brunelle, artistic director and founder of VocalEssence 57 years ago, is an internationally-renowned conductor, choral scholar, and visionary. Philip has conducted symphonies, choral festivals, and operas on six continents. He holds five honorary degrees, served 9 years as Vice President of IFCM (International Federation for Choral Music), and has been recognized for his commitment to choral music by the governments of Norway, Hungary, Sweden, Mexico, and the United Kingdom. In 2019, he was awarded the American Prize in Choral Conducting and, in 2020, was given the Honorary Member Award by the Society for American Music. In fall 2024, Philip was appointed a National Arts Associate of the Sigma Alpha Iota Music Fraternity. Philip is also Organist-Choirmaster at Plymouth Congregational Church, Minneapolis. During the pandemic Philip recorded 300 “Musical Moments” which can be accessed at https://www.vocalessence.org/what-we-do/virtual-projects/musicalmoments-with-philip-brunelle/ and his thoughts on music are at RenaissanceManpodcast.com. Philip and his wife Carolyn, a studio artist, have 3 children (Tim, Christopher, and Elise) and 7
grandchildren.
G. PHILLIP SHOULTZ, III
Associate Artistic Director
G. Phillip Shoultz, III, associate artistic director, uses the power of the spoken word and song to foster community and inspire action among people of all ages and abilities. Phillip conducts festival choirs and leads workshops across the United States and beyond. He serves on the faculty of the University of St. Thomas and guides the ministries of worship, music, and the arts at Westwood Lutheran Church. An accomplished curator of multi-disciplinary community collaborations, Phillip is the Artistic Director of the University of Minnesota Rev. Dr. Martin Luther King, Jr. Tribute Concert. The Minnesota Orchestra regularly engages Phillip to host their Young People’s Concerts and his online presence continues to grow as his pandemic livestream, Take 5 with GPS, recently reached the 500-episode milestone. The winner of numerous honors, including the ACDA Graduate Conducting Competition and multiple Teacher of the Year awards, Phillip founded “Table for More” in the summer of 2020 to help organizations address issues related to innovation, equity, racial justice, and belonging in the arts. Phillip lives in St. Louis Park with his wife, Michelle, and their two children (Malachi and Lydia Grace).
ROBERT GRAHAM
Learning and Engagement Manager
Conductor, Vintage Voices
Robert Graham is the Learning and Engagement Manager at VocalEssence where he serves as the conductor for the VocalEssence Vintage Voices choirs, and oversees the renowned VocalEssence WITNESS School Program. Robert has a Master of Music degree in both vocal performance and choral conducting from Southern Illinois University-Carbondale, and a B.A. in vocal performance from Xavier University of Louisiana. Robert currently serves as a section leader of the adult choir at Westminster Presbyterian Church in Minneapolis, sings second tenor in the VocalEssence Ensemble Singers, and also performs around the Twin Cities as a solo and chamber musician.
CASEY RAFN
Accompanist
Pianist Casey Rafn enjoys a varied career as a collaborative pianist both in the United States and abroad, in Europe and Latin America. He is a member of ‘Trés’, whose saxophone-piano trio was just nominated for a Latin Grammy for Best Instrumental Album for their new album “Romance al Campesino Porteño.” Casey often collaborates in concert or recordings with members of the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and University of Minnesota School of Music faculty. As a piano soloist he took top prizes at the International Liszt-Garrison Competition in Baltimore, has appeared with the Duluth-Superior Symphony Orchestra, and has taught at both the University of Minnesota School of Music and the St. Paul Conservatory for Performing Arts.
JOHN JENSEN
Accompanist, VocalEssence Vintage Voices
John Jensen received his music degrees in Southern California, where he attended Occidental College and University of Southern California. While there he free-lanced as a studio musician, playing on the Andy Williams show and touring the country with prominent singers through Columbia Artists Management. He moved to Iowa and taught for 15 years at Grinnell College as an artist-in-residence. In 1990, John moved to St. Paul and has played with VocalEssence, the Minnesota Orchestra, and the Saint Paul Chamber Orchestra. In November 2022, John appeared with the Yale Symphony Orchestra at Yale University to play and record a piano concerto by the late Paul Reale, for Naxos records (released in 2023).
VocalEssence Performing Ensembles
VOCALESSENCE CHORUS
The VocalEssence Chorus is a group of talented and enthusiastic singers from many different walks of life, united by their love of singing and community. Performing a wide variety of musical styles, premiering new works, and sharing the stage with a diverse array of guest artists, the Chorus is a welcome home for singers who wish to continue making music throughout their adult lives.
SOPRANO
Ann Ambach
AnnaLisa Anderson
Madison Asher
Jessica Belt
Christine Boone
Ashley Brandt
Kate Brinkert
Corey Cellurale
Lorinda Chagnon
Marie Colangelo
Amanda Connolly
Emily Dyrdahl
Katie Eilers
Eva Gibney-Jones
Lillian Gray
Kristina M. Guiffre
Rebecca Hovsepian
Claire Huber
Sally Jaffray
Elinor Jones
Maggie Koebele
Laura Langan
Clara Lindwood
Christina Pederson
Venessa Rockwell
Alexa Rosenbaum
Mary Salveson
Emma Schlabach
Emily D. Seifers
Ashley Slattery
Leah Sovick
Abbie Sulik
Dana Terres
Amanda Troolin
Kat True
Jen Vickerman Akaolisa
Dannika Wright
ALTO
Akosua Obuo Addo
Johanna Beaupre
Jo Michelle Beld
Katelyn Belden
Maria Coughlan
Mary Depew
Maggie Driemeyer
Nancy Jo Goettl
Autumn Gurgel Valentini
Marjorie Hakala
Meg Hanna
Dee Hein
Grace Herbertz
Brianna Hill
Grace Hjort
Tori Hornby
Emma Jirele Sandhurst
Katie Kovacovich
Ruby Lindholm Kramer
Annie Krishnan
Jeenee Lee
Lark Lewis
Ana Leyva
Carly Lunden
Kristi Mueller
Elizabeth Neuenfeldt
Jillian Paulson
Liz Raimann
Marty Raymond
Miriam Sahouani
Erin Sandsmark
Katie Sandsmark
Lisa K. Schalla
Sydney Schoeberle
Alyssa Shapiro
Sarah Taft
Allie Wigley
TENOR
Erik Adolphson
Steve Aggergaard
Brett Bacon
Larry J Brandts
Cheryl Calloway
Peter Carlson Schattauer
Bjorn Christ
Dante Colmenares
Ryan Coopergard
Alexander Cox
Mary Kay Delvo
Ben Demaree
Tim Emery
James Feltes II
Kurtis Parlin
Thomas Sasdi
Barry John Tikalsky
BASS
Robert Atendido
Seth R. Bresky
David Castro
Garret Fettig
Adam Hecker
Russ Kaplan
Evan Clay Kelly
Jordan Kiffmeyer
Jeff League
Phillip Lowry
Nicholas Marcouiller
Thomas Mondry
Nicholas Mroczek
Milo Oien-Rochat
David Olson
Ron Pearson
Brian D. Ruhl
Grant Spickelmier
Trent Stenoien
Jacob Hurley Weindling
VOCALESSENCE ENSEMBLE SINGERS
The VocalEssence Ensemble Singers have established an international reputation because of their extensive catalog of recordings and broad range of unique repertoire. This chamber choir, whose members hail from a wide variety of professions, is bound together by their skilled artistry to create what The Times of London has described as a “flawless” sound.
SOPRANO
Jennifer Bevington
Katie Boardman
Elsa Buck
Chloe Johnson
JoAnna Johnson
Kathryn Rupp
Mari Scott
Carey Shunskis
ALTO
Robin Joy Helgen
Patty Kramer
Audrey Lane-Getaz
Anna George Meek
Judith McClain Melander
Carolyn Nuelle
Kristina Rodel Sorum
Catherine Terres
TENOR
Will Berendsen
Ben Brunnette
Jared Campbell
Eli Gatlin-Baumgartner
Robert J. Graham
Jonah Herzog
Andy McCullough
Phil Reilly
BASS
Dakota Andersen
Joseph Ellickson
David Gindra
Joe Kastner
Erik Krohg
Dr. Michael P. Schmidt
Benjamin Shermock
Ian Witry
VOCALESSENCE SINGERS OF THIS AGE
The VocalEssence Singers Of This Age (SOTA) is a community of Twin Cities teenagers engaged in expanding what it means to be a choir and, encouraging a wider circle of participation in the artform. Presenting music ranging from classical to hip-hop, they use creativity and collaboration to build an accepting community, equipped with the skills to lead social change in our society.
Ruby Atkins
Isadora “Isa” Blons
Noa Butler
Quinn Combs
Susanna Cowan
Jayla Ferguson
Iris Ferris
Zsuzsa Gallo
Sage Herringshaw
Amos Lucken Hills
Christ Tha Lay Htoo
Hser Htoo
Soren Johnson
Finley “Fin” Jones
Sasha Jordan
Cole Keller
Annah King
Olive Kirk
Isabella Lah
Emma Miller
Henrik Mills
Bailee Norman
Claire Oberheide
Ian Oberheide
Leah Odegaard-Dunning
Claire Patterson
Zola Ranum
Jake Rowell
Bailey Schneeberg
Danny Shavor
Aurora Silpala
Avery Somdahl
Sarah Tha
Moua Kong Thao
Yawn Ye Thao
Za Zoua Thao
Adra Vang
Alice Weiland
Esther Wildebuer
LJ Wildebuer
Lacha Yang
VOCALESSENCE VINTAGE VOICES
VocalEssence Vintage Voices is an exciting choral program that integrates the arts into the everyday lives of older adults. Guided by a desire to create a welcoming atmosphere and remove barriers for participation, these choirs sing to build community, combat loneliness and isolation, and improve physical and emotional wellbeing.
MEMBERS FROM SABATHANI VINTAGE VOICES
Becky Coleman
Jerie Cuff
Valton Henderson
Wilmetia Henderson
Jean Herron
Paul Kopatz
Linda Kos
Carolvenia Richardson
Nancey Riley
MEMBERS FROM TRILLIUM WOODS CHORALE
Mark Daniel
Jim Ervin
Jean Spong
Chuck Swanson
MEMBERS FROM KEYSTONE CHOIR
Julie Borgerding
Ruthena Fink
Shelley Jensen
Janie Morissette
Chris Rosenthal
Rhonda Simonson
Stephanie Stockton
Mary Lou Wall
Beth Yokom
Northrop Advisory Board 2025-26
Cynthia Betz
Kristen Brogdon
Dr. Robert Bruininks
Deb Cran
Susan DeNuccio
Benjamin Eng
Cari Hatcher
Jill Hauwiller
Holly Kellar
Bob McMaster
Kelly McQueen, Chair
Jim Moore
Robyne Robinson
Toni Pierce-Sands (Emeritus)
Kari Schloner
Chaz Sloane
Kao Lee Vang
Donald Williams
VocalEssence Board of Directors and Staff
BOARD OF DIRECTORS
Daniel Fernelius
President
Maranon-Cobos
Past-President
Valton Henderson
Vice President, Board Affairs Committee Chair
Dan Dressen
Secretary
Kristen Hoeschler O’Brien
Treasurer
