“Sing! Get Happy!” Program Notes
Click the title to learn more about each piece in the program
Hallelujah! Get Happy!
“Get Happy” (often referred to by its opening line, “Hallelujah! Get Happy”) is a jubilant and enduring American song composed by Harold Arlen with lyrics by Ted Koehler in 1929. It marked a pivotal moment in Arlen’s early career and later became one of the most recognizable standards in the Great American Songbook.
The song was first introduced in The Nine-Fifteen Revue, a short-lived Broadway revue, but its infectious gospel-inflected rhythm and uplifting lyrics quickly outlasted the show itself. “Get Happy” was Arlen’s first major hit and helped solidify his partnership with Koehler, with whom he would go on to write a number of iconic songs throughout the 1930s, including “Stormy Weather” and “I’ve Got the World on a String.”
“Get Happy” draws on the structure and style of African American spirituals and gospel music. Its lyrics are an invitation to cast off troubles and embrace a joyous, almost evangelical state of happiness: “Forget your troubles, come on, get happy, you better chase all your cares away.” Though secular, its language of redemption and revival echoes the religious revivals popular in American culture during the early 20th century.
The song’s lasting fame was cemented when Judy Garland performed it in the 1950 film Summer Stock. Wearing a fedora and tuxedo jacket over shorts, Garland’s iconic performance gave “Get Happy” a new theatrical life and introduced it to a post-war generation. Since then, it has been recorded and performed by countless artists, including Frank Sinatra, Ella Fitzgerald, and Rufus Wainwright.
Ultimately, “Get Happy” is both a celebration and a cultural artifact—combining the jazz age’s syncopated optimism with a spiritual yearning for release. It remains a vital example of Arlen’s genius in blending blues, Broadway, and big band traditions into timeless American music.
Yellow Bird
The transformation of Oswald Durand’s 1883 poem Choucoune into the mid-20th century American song “Yellow Bird” is a striking example of cultural appropriation, revealing the complexities and tensions that emerge when a deeply rooted national work is adapted and repurposed for a global—and particularly Western—audience.
Written in Haitian Creole, Choucone is a lyrical and culturally rich poem that celebrates a beautiful woman while also lamenting a lost love. Durand’s text is steeped in Haitian identity, language, and imagery, offering a nuanced portrayal of beauty, desire, and personal reflection. It gained further cultural weight when Haitian composer Michel Mauléart Monton set it to music in 1893, creating a cherished piece of Haitian heritage.
However, in 1957, American songwriters Norman Luboff and Alan and Marilyn Bergman created an English version titled “Yellow Bird,” using Monton’s melody but replacing Durand’s original Creole text with entirely new English lyrics. These new lyrics bear no resemblance to Durand’s original poem. Instead of centering on a Haitian woman and the emotional landscape of love and loss, “Yellow Bird” tells of a lonely man watching a yellow bird fly through the sky—a generic, tropical-themed image divorced from its original cultural context.
This adaptation exemplifies appropriation in several ways. First, it strips away the Haitian cultural and linguistic elements that made the original poem unique, replacing them with sanitized, exoticized imagery that catered to Western audiences during the height of tiki culture and easy-listening music trends. The depth and political significance of Durand’s poem, rooted in post-colonial Haitian identity, are erased in favor of a digestible and romanticized vision of the Caribbean as a carefree paradise.
Second, the transformation raises questions about artistic ownership and recognition. Durand and Monton, both prominent figures in Haitian cultural history, are often uncredited or overshadowed in the song’s popular iterations. “Yellow Bird” became a hit in the United States, recorded by numerous artists and featured in films, yet few listeners were aware of its Haitian origins.
Ultimately, the appropriation of Choucoune into Yellow Bird underscores the power imbalances that often shape cultural exchange. While adaptation can be a creative process, in this case, it involved a significant erasure of cultural specificity and authorial intent—turning a symbol of Haitian pride into a palatable Western product.
Five English Folk Songs
Ralph Vaughan Williams’ Five English Folk Songs (1913) is a choral suite that artfully reimagines traditional English folk melodies for unaccompanied SATB choir. Each of the five songs explores themes of love, loss, nature, and community, reflecting the emotional depth and storytelling richness of English folk traditions.
- “The Dark Eyed Sailor”
This ballad tells of a woman who, after a long separation, is reunited with her lover, a sailor who had been presumed lost at sea. The song delves into themes of enduring love, loyalty, and the joy of reunion.
- “The Spring Time of the Year”
A gentle and evocative piece, this song celebrates the renewal and beauty of spring. It captures the sense of hope and rejuvenation that comes with the changing seasons, highlighting nature’s influence on human emotion.
- “Just as the Tide was Flowing”
This song portrays a fleeting romantic encounter by the water’s edge, symbolizing the transient nature of love and the passage of time. The imagery of the flowing tide serves as a metaphor for the ebb and flow of human relationships.
- “The Lover’s Ghost”
A haunting narrative, this piece tells of a spectral lover who returns to visit his beloved. Themes of love beyond death, longing, and the supernatural are central, reflecting the deep emotional currents found in folk storytelling.
- “Wassail Song”
Concluding the suite on a festive note, this traditional carol is associated with the practice of wassailing—singing and drinking to the health of trees and neighbors during the winter season. It embodies themes of community, celebration, and goodwill.
Vaughan Williams’ arrangements maintain the authenticity of the original folk melodies while enhancing them with rich harmonies and textures. Through this suite, he not only preserves the cultural heritage of English folk music but also brings its emotional and thematic depth to the concert stage.
The Monk and His Cat
In a quiet stone cell nestled in an Irish monastery, a gentle monk named Cormac spent his days transcribing sacred texts. His only companion was a sleek white cat named Pangur, who prowled the corners of the room with silent grace. By candlelight, the monk scratched Latin lines onto parchment while Pangur hunted shadows and chased invisible prey.
Though their purposes differed, both pursued knowledge in their own way—Cormac through the wisdom of ink and scripture, Pangur through the mysteries of the mouse. Each evening, as the bells tolled for vespers, the monk would pause, stroke the cat’s soft fur, and smile. They were kindred spirits in solitude, devoted to the quiet joy of seeking.
Samuel Barber’s “The Monk and His Cat,” set to music from Hermit Songs, captures this tender bond. The melody flows like soft footsteps on cloister stone, the piano rippling with feline curiosity. The voice, warm and lyrical, echoes the monk’s calm delight in simple companionship.
Though centuries have passed, the story still sings: of devotion without words, and of two seekers—one of truth, one of mice—sharing the stillness of a world apart, yet entirely whole.
Old Mother Hubbard
In a crooked little cottage on the edge of a wintry village, Old Mother Hubbard lived with her sprightly dog, a clever creature with eyes full of mischief. Times were lean, and cupboards leaner still. One blustery morning, with snow thick on the ground, Mother Hubbard donned her shawl and trudged to the village shop, hoping to buy her faithful friend a bone.
But her cupboard, as ever, was bare—and so was her purse.
Victor Hely Hutchinson’s whimsical setting of Old Mother Hubbard transforms this simple nursery rhyme into a miniature theatrical adventure. With flourishes of wit and dramatic turns, his music dances between playful irony and earnest affection. The piano stumbles and tiptoes like a dog on a kitchen floor, while the voice narrates with exaggerated flair, spinning humor from hardship.
Back at the cottage, Mother Hubbard opened the cupboard to find, to her amazement, not only a bone, but her dog dressed in fine clothes, standing on two legs, bowing like a gentleman.
Perhaps it was hunger. Perhaps it was magic. Either way, laughter filled the little house, echoing Hutchinson’s spirited music: a charming reminder that joy can be found even in the barest of cupboards.
The Rhythm of Life
“The Rhythm of Life” began as a showstopping number in the 1966 Broadway musical Sweet Charity, with music by Cy Coleman and lyrics by Dorothy Fields. Known for its high-energy gospel-inspired flair, the song was originally conceived as a comedic yet spiritually charged moment in the show, performed by a fictional counterculture preacher “Big Daddy,” leading a congregation of hippies in a funky revival-style sermon.
In Sweet Charity, the song is sung by the character “Daddy Johann Sebastian Brubeck,” a groovy spiritual leader, as he welcomes the show’s main characters into the flamboyant world of the “Rhythm of Life Church.” The scene is both a satire and a celebration of 1960s spiritual experimentation, with Coleman’s jazz-influenced score providing an infectious rhythmic drive and Fields’ lyrics embracing an eclectic spiritual mantra.
Decades later, the song found new life in choral music thanks to an arrangement by British composer and arranger Richard Barnes. Barnes’ version, often performed by youth choirs and show choirs, maintains the song’s theatrical exuberance while translating it into a tightly structured, vocally engaging piece for mixed choir.
His arrangement keeps the lively syncopation and jazzy energy that define the original but introduces clear SATB harmonies, call-and-response textures, and playful dynamic contrasts that make the piece ideal for ensemble performance. It’s a favorite in concert programs for its feel-good tempo, rhythmic challenges, and showbiz flair.
Barnes’ “The Rhythm of Life” is more than a musical number—it becomes a celebration of communal energy, uniting singers and audiences in a shared pulse. Whether heard in a Broadway theater or a school auditorium, the piece delivers a timeless message: that music, movement, and spirit are deeply intertwined. It captures the joy of performance and the irrepressible beat of life itself.
For the Beauty of the Earth
John Rutter’s setting of “For the Beauty of the Earth” has become one of the most beloved and widely performed contemporary choral works in the English-speaking world. Composed in 1980, Rutter’s version takes the familiar 19th-century hymn text by Folliott S. Pierpoint and transforms it into a radiant musical offering of gratitude and praise.
The original poem, written in 1864, was inspired by Pierpoint’s awe at the natural beauty surrounding his native Bath, England. It is a hymn of thanksgiving, praising the wonders of the earth, the joy of human love, and the gift of the senses. Rutter was drawn to its universal themes and timeless expressions of reverence, and his setting captures that spirit with grace and charm.
Unlike many traditional hymn settings, Rutter’s version is not congregational but rather crafted for a choir and accompaniment (originally for organ or small orchestra). His arrangement is flowing, lyrical, and filled with subtle harmonic color. The melody is gentle yet memorable, unfolding in a way that feels both intimate and expansive. Each verse adds layers of texture and dynamic growth, culminating in a joyful celebration of creation and gratitude.
Rutter’s gift for choral writing shines through in the balance of voices, the clarity of diction, and the accessibility of the harmonies. Though not technically difficult, the piece resonates emotionally with both singers and audiences. It has become a favorite for weddings, Thanksgiving services, and choral concerts, often chosen for its warmth and message of universal appreciation.
Through this setting, Rutter has helped revive interest in the Victorian hymn tradition while bringing a fresh, modern sensibility to sacred music. “For the Beauty of the Earth” remains a shining example of his ability to blend reverence, beauty, and emotional depth into a work that speaks across generations.
In My Life
“In My Life” is one of the Beatles’ most introspective and cherished songs, credited to the songwriting partnership of John Lennon and Paul McCartney, though its origin lies largely in Lennon’s own reflections on memory and mortality.
The song began as a poem Lennon wrote in 1965, inspired by a journalist’s suggestion that he should write songs more rooted in his personal experiences. At first, Lennon attempted a literal description of a bus route he used to take through Liverpool, naming various places from his youth. However, he quickly scrapped the specifics, feeling they lacked poetic depth. Instead, he transformed the idea into a broader meditation on life, love, and the passage of time.
“In My Life” reflects Lennon’s evolving songwriting, moving away from simple love songs to more mature, emotionally layered lyrics. He later described it as his “first real major piece of work,” marking a turning point in his artistic development. The lyrics explore the bittersweet nature of memory, acknowledging past loves and lost moments while affirming the enduring power of love in the present.
The music of “In My Life” is a point of some debate. Lennon recalled writing the melody, while McCartney has claimed he composed the musical setting, particularly the baroque-style bridge. Regardless of the split, their collaboration produced one of their most elegant and emotionally resonant songs.
A key moment in the track is the instrumental break, which sounds like a harpsichord but was actually a sped-up piano solo played by producer George Martin. This inventive touch added a classical flair that underscored the song’s nostalgic mood.
First released on the 1965 album Rubber Soul, “In My Life” signaled the Beatles’ growing artistic ambition and remains a timeless meditation on love, memory, and the passage of time.
I Write the Songs
“I Write the Songs,” penned by Bruce Johnston of the Beach Boys in 1975, is often misinterpreted as a self-congratulatory anthem by Barry Manilow, who popularized the song. Contrary to this belief, Johnston clarified that the “I” in the song symbolizes the universal spirit of music itself, not any individual songwriter. He emphasized that the song was about “where music comes from” and, for him, music originates from a divine source .
The song’s journey to fame was unconventional. Initially recorded by Captain & Tennille and then by David Cassidy—whose version reached number 11 on the UK charts—it was Barry Manilow’s rendition that soared to the top of the Billboard Hot 100 in January 1976. Despite his initial reluctance, fearing the lyrics might be perceived as egotistical, Manilow agreed to record the song after persuasion from Arista Records’ Clive Davis. Manilow later expressed concern that listeners might think he was claiming authorship of all songs, stating, “Whenever I heard the song in public, I felt the need to run to everyone who was listening and say, ‘You know, I’m really not singing about myself!’” .
The song’s lyrics, such as “I’ve been alive forever, and I wrote the very first song,” are intended to personify music as an eternal and omnipresent force. Johnston’s intention was to convey that music is a divine gift that transcends individual creators, resonating with the collective human experience .
Despite the initial confusion surrounding its meaning, “I Write the Songs” earned Johnston a Grammy Award for Song of the Year in 1977, marking a significant achievement in his career . The song remains a testament to the enduring power of music and its ability to connect people across different backgrounds and experiences.
With a Voice of Singing
“With a Voice of Singing” is a beloved choral anthem composed in 1923 by British organist and composer Martin Shaw. Though relatively brief in length, the piece has earned a lasting place in the choral canon due to its exuberant energy, elegant simplicity, and uplifting message drawn from scripture.
The text is adapted from Psalm 47 and Isaiah 48, calling on the faithful to “declare ye this, and let it be heard, Alleluia!” It is a summons to joyful praise, expressed through bold, rhythmic vocal lines and a spirited tempo that make it ideal for processions, festivals, and church services. Shaw’s setting turns this biblical exhortation into a radiant musical celebration, encouraging singers and listeners alike to join in exultant worship.
Martin Shaw was part of a circle of English composers in the early 20th century who sought to revitalize church music, making it more accessible and expressive. Alongside contemporaries like Ralph Vaughan Williams and Gustav Holst, Shaw aimed to move beyond the more rigid and ornamental Victorian style toward something more emotionally engaging and rooted in historical and folk traditions. “With a Voice of Singing” reflects that ethos—it is simple, clear, and powerfully direct.
The anthem’s popularity grew steadily after its publication, especially in Anglican and Episcopal traditions, where it became a favorite for choir openings and festival services. Its joyful tone and well-crafted vocal writing make it especially rewarding for both small parish choirs and larger concert ensembles.
Nearly a century after its creation, “With a Voice of Singing” continues to resonate in sacred and concert settings. Its enduring appeal lies not just in its musical craftsmanship, but in its universal call to lift up the voice in celebration—a reminder of the communal power of music to express joy, faith, and unity.
How Can I Keep from Singing
“How Can I Keep From Singing,” arranged by J. Edmund Hughes, is a heartfelt and soaring adaptation of one of America’s most beloved traditional hymns. Originally written in the 19th century, the hymn’s text is often attributed to Baptist minister Robert Lowry, though its exact origins remain somewhat debated. Regardless of authorship, its central message—a resilient joy that endures through hardship—has resonated for generations.
Hughes, an esteemed conductor and music educator, brought new life to this timeless piece with an arrangement that balances rich harmonies and expressive phrasing with a deep respect for the original melody. His version emphasizes the emotional arc of the text: a quiet inner peace that defies turmoil, a spiritual strength that carries the soul above life’s storms.
The text opens with the line, “My life flows on in endless song, above earth’s lamentation,” immediately establishing the hymn’s contrast between sorrow and hope. Hughes’ choral setting brings this contrast to life with gentle dynamic shifts, layered vocal textures, and a gradual build that mirrors the deepening emotional conviction of the words.
What makes this arrangement especially powerful is its accessibility and emotional clarity. Whether sung by youth choirs, church ensembles, or professional vocal groups, Hughes’ version allows singers to connect with the music’s message in an honest, direct way. It invites reflection without sentimentality, offering instead a quiet strength and collective peace.
Performed often in memorial services, peace concerts, and community gatherings, “How Can I Keep From Singing” in Hughes’ setting has become a musical balm in times of both joy and sorrow. His arrangement honors the hymn’s legacy while allowing a fresh generation of singers to affirm, in harmony, the enduring power of music to uplift the spirit—even when the world around us feels uncertain.
The Young May Moon
“The Young May Moon,” arranged by British composer Charles Harford Lloyd (1849–1919), is a charming choral setting of a well-known early 19th-century Irish poem and song by Thomas Moore. Steeped in romantic imagery and gentle nostalgia, the piece celebrates spring’s arrival and the wistful beauty of youthful love.
Thomas Moore’s original poem was part of his Irish Melodies collection, published in the early 1800s. Like much of his work, “The Young May Moon” blends pastoral scenes with tender emotion. It paints a picture of moonlit evenings, blossoming nature, and the fleeting enchantment of youth. The lyrics are rich with imagery: “The young May moon is beaming, love, the glow-worm’s lamp is gleaming, love,” evoking an ethereal world full of quiet magic and emotional intimacy.
Charles H. Lloyd, an accomplished composer and organist known for his sacred music and academic roles (including at Oxford and Gloucester Cathedral), brought the poem to life through a refined choral setting. His arrangement reflects the Victorian English choral tradition: elegant, lyrical, and full of expressive phrasing. Lloyd’s music captures the poem’s gentle lilt and romantic mood, emphasizing the softness of night and the purity of young love.
In Lloyd’s hands, the piece becomes more than a simple pastoral song—it transforms into a delicate choral miniature that celebrates the ephemeral beauty of nature and human feeling. The music unfolds gracefully, with warm harmonies and clear melodic lines that make it accessible for amateur choirs while still emotionally resonant for audiences.
Often performed in spring concerts or themed programs of British art song and part-song, “The Young May Moon” remains a lovely reminder of how music and poetry can together conjure a moment—brief, bright, and deeply human—in time’s ever-turning cycle.
Nyon, Nyon
Jake Runestad’s “Nyon, Nyon” is a bold and innovative choral work that has quickly captured the attention of choirs and audiences worldwide since its creation in 2006. Unlike most traditional choral compositions, this piece features no conventional text—instead, it’s built entirely from invented syllables, vocal effects, and rhythmic vocalizations that mimic the sounds of electronic music using only the human voice.
Runestad composed “Nyon, Nyon” as a creative response to the electronic soundscapes he loved, particularly those found in techno, hip-hop, and digital looping. The title itself—“Nyon, Nyon”—is a nonsensical phrase meant to evoke the quirky, synthetic sounds of early electronic instruments. It has no linguistic meaning, allowing singers to focus on texture, rhythm, and expression rather than narrative.
What makes “Nyon, Nyon” remarkable is how it transforms a traditional vocal ensemble into a multi-layered beat machine. The piece includes beatboxing, mouth pops, overtone effects, and gliding pitch shifts that emulate digital manipulation. Yet, everything is performed live and acoustically, creating an electrifying, percussive sound world that feels both futuristic and primal.
The work’s structure builds from small, playful motives into a powerful, driving climax, often eliciting surprised laughter and awe from audiences unfamiliar with such unconventional choral techniques. At the same time, it offers singers a thrilling challenge in coordination, control, and vocal creativity.
“Nyon, Nyon” is frequently performed by high school, college, and professional choirs alike, often as a showpiece or encore. Its popularity is due not just to its novelty, but to its infectious energy and celebration of what the human voice can do beyond language and tradition.
Ultimately, “Nyon, Nyon” is more than a choral experiment—it’s a joyful, boundary-breaking expression of sound and community, uniting singers and audiences in a shared experience of musical surprise.