Notes: Music Everywhere celebrates the omnipresence and transformative power of music. Based on text by S. W. Foster, the lyrics evoke imagery of music resonating “on the mountain,” “in the air,” and “in the true heart,” underscoring its universal reach and power to unite humankind.

Text:
Music in the valley,
Music on the hill,
Music in the woodland,
Music in the rill,
Music on the mountain,
Music in the air,
Music in the true heart,
Music everywhere.

Music by the fireside,
Music in the hall,
Music for the weary,
Music for us all.
Music in our laughter,
Music in our care,
Music in our gladness,
Music everywhere.

Sing with joyful voices,
Friends and loved ones dear,
Join the happy chorus,
Let all people hear!
Love is everlasting,
Life’s a gift we share,
Swell the glorious anthem:
Music, music, music,
Music everywhere!
Everywhere!

~S. W. Foster (alt.)

Notes: James Weldon Johnson’s The Gift to Sing is a poignant celebration of the power of music to uplift the soul amidst hardship. Written during the Harlem Renaissance, the poem reflects Johnson’s deep belief in the spiritual and emotional resilience found through song, portraying music as both a personal refuge and a collective strength, transforming sorrow into beauty. The poem’s enduring message reminds us that even in the darkest times, the ability to sing is a profound and healing gift — a testament to hope, endurance, and the richness of the human spirit.

Text:
Sometimes the mist overhangs my path,
And blackening clouds about me cling;
But, oh, I have a magic way
To turn the gloom to cheerful day—
I softly sing.

And if the way grows darker still,
Shadowed by Sorrow’s somber wing,
With glad defiance in my throat,
I pierce the darkness with a note,
And sing, and sing.

I brood not over the broken past,
Nor dread whatever time may bring;
No nights are dark, no days are long,
While in my heart there swells a song,
And I can sing.

~James Weldon Johnson

Notes:
The text of this well-known hymn was written by 17th century English poet and Anglican priest, George Herbert. Originally titled “Antiphon (I),” it was designed for responsive singing with different choir sections alternating between the refrain and verses. The hymn expresses a bold and triumphant call to worship, urging all creation to praise God.

Text:
Let all the world in ev’ry corner sing,
My God and King!

The heav’ns are not too high,
His praise may thither fly;
The earth is not too low,
His praises there may grow.

Let all the world in ev’ry corner sing,
My God and King.

The church with psalms must shout;
No door can keep them out.

But above all, the heart
Must bear the longest part.

Let all the world in ev’ry corner sing,
My God and King!
Let every corner sing!
Sing!

~George Herbert

Notes: This piece is a setting of a beautiful poem by Robert Burns, which describes the narrator’s deep and endless love – beautiful, vivid, and fresh as a flower that has just recently bloomed. The music reflects this perfectly, capturing the romance of the text as the poet declares the depth of his love, promising love that will endure beyond time itself.

Text:
O my Luve is like a red, red rose
That’s newly sprung in June;
O my Luve is like the melody
That’s sweetly played in tune.

So fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.

Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
I will love thee still, my dear,
While the sands o’ life shall run.

And fare thee weel, my only luve!
And fare thee weel awhile!
And I will come again, my luve,
Though it were ten thousand mile.

~Robert Burns

Notes: “Ballade to the Moon” is the first of Daniel Elder’s suite, Three Nocturnes. Elder’s own poem serves as the text for this nocturnal ballad, which delves into themes of love, nature, darkness, and light. The composition is marked by a tempo of adagio misterioso, reflecting its introspective and serene character. Elder describes the work as an invitation to embrace the beauty and tranquility of a moonlit night, encouraging listeners to “Come dream in me” and “Come sing with me”.

Text:
On moonlit night I wander free,
my mind to roam on thoughts of thee.
With midnight darkness beckoning
my heart toward mystic fantasy:

Come, dream in me!
How beautiful, this night in June,
And here, upon the velvet dune;
I weep with joy beneath the moon.

The path lies dark before my sight,
And yet, my feet with pure delight
trod onward through the blackened vale
beneath the starry sky so bright.

O, share thy light!
These woods, their weary wanderer soon
in awe and fearful wonder swoon;
I weep with joy beneath the moon.

And as the darkened hours flee,
my heart beats ever rapidly.
Though heavy hang my eyes with sleep,
my singing soul, it cries to thee:

Come, sing with me!
The twinkling sky casts forth its tune—
O, must I leave thy charms so soon?
I weep with joy beneath the moon.

~Daniel Elder

Notes: Wendell Berry’s The Peace of Wild Things is a poignant reflection on finding solace and refuge in nature amid personal despair and anxiety. The poem contrasts human worries with the calmness of wild creatures who live moment to moment, free from fear of the future. Berry’s work emphasizes the healing power of the natural world. The poem resonates as a call for mindfulness, restoration, and hope in turbulent times.

Text:
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.

~Wendell Berry

Notes: William Blake’s The Lamb was published in 1789 as part of his collection Songs of Innocence. The poem is one of Blake’s most well-known works and exemplifies his visionary style and use of symbolic language. Written in a simple, hymn-like structure, The Lamb is narrated by a child and addresses a young lamb, exploring themes of creation, innocence, and divine presence. It serves as a Christian allegory, likening the lamb to Jesus Christ—“He is called by thy name, for He calls Himself a Lamb.”

Text:
Little Lamb who made thee?
Dost thou know who made thee?
Gave thee life and bid thee feed
By the stream and o’er the mead?
Gave thee clothing of delight,
Softest clothing wooly bright?
Gave thee such a tender voice,
Making all the vales rejoice!
Little Lamb who made thee?
Dost thou know who made thee?

Little Lamb I’ll tell thee,
Little Lamb I’ll tell thee!
He is called by thy name,
For he calls himself a Lamb:
He is meek and he is mild;
He became a little child.
I a child and thou a lamb,
We are called by his name.
Little Lamb God bless thee.
Little Lamb God bless thee.

~William Blake

Notes: This joyful and sunny piece is full of positive energy, with Antognini’s signature rhythmic moments, contrapuntal passages, and harmonic surprises. The composer found writing a piece of music using only one word to be quite a challenge, and he recalls having fun looking for all the rhythmic possibilities that worked with the word ‘Alleluia’. The piece constantly moves between two tonalities: E flat major, which has a rather peaceful and subdued colour, and G major, which, by contrast, is very bright, shimmering and luminous.

Text:
Alleluia.

(“Alleluia” is another way to say “Hallelujah”; they mean the same thing: “God be praised” or “Praise the Lord.”)

Notes: Gottlob Benedict Bierey, a German composer and music director, arranged the first movement of Beethoven’s Moonlight Sonata into a choral setting of the Kyrie from the Latin Mass. Transposing the original Adagio sostenuto into C minor, Bierey added a four-part choral movement, harmonizing the sustained phrases of the Kyrie with Beethoven’s iconic melody. This arrangement exemplifies the 18th-century practice of adapting secular music for liturgical purposes, blending the emotional depth of Beethoven’s composition with the solemnity of the Mass text, resulting in a serene and introspective choral work.

Text:
Kyrie eleison.
Christe eleison.
Kyrie eleison.

~Traditional Latin, from the Mass Ordinary

Notes: Harold Arlen’s Over the Rainbow, with lyrics by E.Y. Harburg, was written for the 1939 film The Wizard of Oz and quickly became an American classic. The song expresses longing, hope, and the dream of a better world “somewhere over the rainbow.” Its simple yet deeply emotional melody, paired with heartfelt lyrics, has resonated across generations. It remains a beloved standard, emblematic of both childhood wonder and the enduring human yearning for peace and possibility.

Text:
When all the world is a hopeless jumble
And the raindrops tumble all around,
Heaven opens a magic lane.

When all the clouds darken up the skyway
There’s a rainbow highway to be found,
Leading from your window pane
To a place behind the sun,
Just a step beyond the rain.

Somewhere over the rainbow, way up high,
There’s a land that I heard of once in a lullaby.
Somewhere over the rainbow, skies are blue,
And the dreams that you dare to dream really do come true.

Someday I’ll wish upon a star and wake up where the clouds are far behind me.
Where troubles melt like lemon drops away above the chimney tops,
That’s where you’ll find me.

Somewhere over the rainbow, bluebirds fly.
Birds fly over the rainbow; why, then, oh why can’t I?

Someday I’ll wish upon a star and wake up where the clouds are far behind me.
Where troubles melt like lemon drops away above the chimney tops,
That’s where you’ll find me.

Somewhere over the rainbow, bluebirds fly.
Birds fly over the rainbow; why, then, oh why can’t I?
If happy little bluebirds fly beyond the rainbow,
Why, oh why can’t I?

~E. Y. Harburg

Notes: Somewhere Out There was written for the 1986 animated film An American Tail. Sung by characters Fievel and his sister as they search for one another, the song conveys a heartfelt sense of hope, love, and reunion across great distances. Its gentle melody and tender lyrics struck a chord with audiences, earning Grammy and Academy Award nominations. The piece has since become a beloved ballad, celebrated for its emotional depth and universal message: that love endures, even when separated by time and space.

Text:
Somewhere out there beneath the pale moonlight,
Someone’s thinking of me and loving me tonight.
Somewhere out there someone’s saying a prayer
That we’ll find one another in that big somewhere out there.

And even though I know how very far apart we are,
It helps to think we might be wishin’ on the same bright star.
And when the night wind starts to sing a lonesome lullaby,
It helps to think we’re sleeping underneath the same big sky.

Somewhere out there, if love can see us through,
Then we’ll be together somewhere out there,
Out where dreams come true.

And even though I know how very far apart we are,
It helps to think we might be wishin’ on the same bright star.
And when the night wind starts to sing a lonesome lullaby,
It helps to think we’re sleeping underneath the same big sky.

Somewhere out there, if love can see us through,
Then we’ll be together somewhere out there,
Out where dreams come true.

~James Horner, Barry Mann & Cynthia Weil

Notes: This Is One of Those Moments is one of the poignant songs from the 1983 film Yentl.  The song captures a moment of emotional clarity and transformation, as the title character grapples with identity, love, and self-discovery. With its sweeping melody and introspective lyrics, the piece reflects Yentl’s inner journey and the universal experience of confronting life-changing decisions. Both intimate and powerful, the song exemplifies the film’s blend of personal longing and timeless human themes.

Text:
There are moments you remember all your life.
There are moments you wait for and dream of all your life.
This is one of those moments.

I will always remember this chair, that window,
The way the light streams in.
The clothes I’m wearing,
The words I’m hearing,
The face I’m seeing,
The feeling I’m feeling —
The smell, the sounds
Will be written on my mind,
Will be written in my heart,
As long as I live.

I can travel the past and take what I need
To see me through the years.
What my father learned and his father
Before him will be there for my eyes and ears.
I can walk through the forests of the trees of knowledge,
And listen to the lessons of the leaves.
I can enter rooms where there are rooms within rooms,
Wrapped in the shawl that learning weaves.

I remember, Papa,
Everything you’ve taught me!
What you gave me, Papa,
Look at what it’s brought me!

There are certain things that once you have
No man can take away,
No wave can wash away,
No wind can blow away,
And now they’re about to be mine!
No tide can turn away,
No fire can burn away,
No time can wear away!

I can open doors, take from the shelves
All the books I’ve longed to hold.
I can ask all the questions,
The why’s and the where’s
As the mysteries of life unfold.
Like a link in a chain from the past to the future
That joins me with the children yet to be,
I can now be a part of the ongoing stream
That has always been a part of me!

There are certain things that once you have
No man can take away,
No wave can wash away,
No wind can blow away!
No tide can turn away,
No fire can burn away,
No time can wear away,
And now they’re about to be mine!

There are moments you remember all your life.
There are moments you wait for and dream of all your life.
This is one of those moments.

~Alan & Marilyn Bergman

Notes: The Impossible Dream is the iconic anthem from the 1965 Broadway musical Man of La Mancha. Sung by the character Don Quixote, the song expresses his unwavering commitment to pursuing truth, honor, and idealism—even in the face of failure and ridicule. Its soaring melody and inspirational lyrics have made it a timeless symbol of courage and perseverance. More than a show tune, it has become a universal call to strive for greatness, to “dream the impossible dream,” and to live with purpose and conviction.

Text:
To dream the impossible dream,
To fight the unbeatable foe,
To bear with unbearable sorrow,
To run where the brave dare not go,

To right the unrightable wrong,
To love, pure and chaste, from afar,
To try, when your arms are too weary,
To reach the unreachable star!

This is my quest, to follow that star,
No matter how hopeless, no matter how far;
To fight for the right without question or pause,
To be willing to march into hell for a heavenly cause!

And I know, if I’ll only be true
To this glorious quest,
That my heart will lie peaceful and calm
When I’m laid to my rest.

And the world will be better for this,
That one man, scorned and covered with scars,
Still strove, with his last ounce of courage
To reach the unreachable stars!

~Joe Darion

Notes: “Oklahoma!” is the rousing finale of the groundbreaking musical by Richard Rodgers and Oscar Hammerstein II, which marked a turning point in American musical theatre. Premiering in 1943, Oklahoma! was revolutionary in integrating music, story, and character development seamlessly. The title song, first sung near the end of the show, is a joyful anthem celebrating statehood, unity, and the pioneering spirit of the American West. With its soaring melody and exuberant energy, the song became so influential that it was later adopted as the official state song of Oklahoma in 1953.

Text:
Oklahoma,
Where the wind comes sweepin’ down the plain.
And the wavin’ wheat can sure smell sweet,
When the wind comes right behind the rain!

Oklahoma!
Every night my honey lamb and I
Sit alone and talk, and watch a hawk
Makin’ lazy circles in the sky.

We know we belong to the land,
And the land we belong to is grand!
And when we say: Yeow! A-yip-i-o-ee-ay!
We’re only sayin’, “You’re doin’ fine, Oklahoma!
Oklahoma, O.K.!”

Oklahoma,
Where the wind comes sweepin’ down the plain
And the wavin’ wheat can sure smell sweet,
When the wind comes right behind the rain!

Oklahoma!
Every night my honey lamb and I
Sit alone and talk, and watch a hawk
Makin’ lazy circles in the sky.

We know we belong to the land,
And the land we belong to is grand!

Yip-ee-yi, Yip-ee-yi, Yip-ee-yi,
Yip-ee-yi, Yip-ee-yi, Yip-ee-yi!

And when we say: Yeow! A-yip-i-o-ee-ay!
We’re only sayin’, “You’re doin’ fine, Oklahoma!
Oklahoma, O.K.!”

Okla-homa, Okla-homa, Okla-homa,
Okla-homa, Okla-homa, Okla-homa…

We know we belong to the land,
And the land we belong to is grand!

And when we say: Yee-ow! A-yip-i-o-ee-ay!
We’re only sayin’, “You’re doin’ fine, Oklahoma!
Oklahoma, O-K-L-A-H-O-M-A, Oklahoma!”
Yeow!

~Oscar Hammerstein II

Notes: Climbin’ Up the Mountain is a traditional African American spiritual that metaphorically portrays the journey toward spiritual salvation and freedom. The “mountain” symbolizes both a physical and spiritual ascent—overcoming hardship and striving for a promised land of peace and justice. Like many spirituals, it blends biblical imagery with coded messages of hope and endurance during slavery. Its repetitive, uplifting melody and call-and-response style emphasize communal strength and perseverance, making it a timeless anthem of faith and determination.

Text:
Climbin’ up the mountain, children,
Didn’ come here for to stay
An’ if I nevermore see you again,
Gonna meet you at the Judgemen’ Day.

Moses went down into Egypt Lan’,
An’ he tol’ ol’ Pharaoh, he said,
“That the good Lord sittin’ on de heavenly throne
said let my people go, good Lord,
let my people go.”

Climbin’ up the mountain, children,
Didn’ come here for to stay
An’ if I nevermore see you again,
Gonna meet you at the Judgemen’ Day.

Children in de fiery furnace
when dey begin to pray
de angel of de Lord, put de fire out.
Dat sho’ was a migh’y good day, yes,
it sho’ was a migh’y good day.

Lord, I’m climbin’, climbin’ up the mountain,
Didn’ come here to stay.
If I nevuh see you again,
Gonna meet you at the Judgemen’ Day.
I’ll meet you at de Judgemen’ Day!

~Traditional Spiritual

Notes: During late spring to early summer, tung blossoms are in full bloom in the mountains of western Taiwan. This children’s song written by composer Kim-Su Lu describes the beautiful sight and expresses how the blossom symbolizes the gentle yet persevering spirit of the Hakka people. Basque composer, Josu Elberdin, was mesmerized by the beautiful sight and arranged this children’s song into a four-part mixed voice choral piece. The harmony and simplicity of this arrangement truly evoke the mountains full of snow-white flowers.

Text:
Chiang Tsui Geh San Lin Yu Geh Fa
Chiu Heh Yu Tung Fa
Mm Giang Nid Teu Sai Ya Mm Giang
Kuong Fung Pag Yi Da

Ah Yu Tung Fa Ya Yu Tung Fa Man Tien Ha
Yu Tu Ti Chiu Yu Ta
Sied Pag Geh Fa Shiong Dzn En Geh Hak Ka
En Chiu Chong Ta En Chiu Chong Ta
Gen Kiong Loi Hin Ga

~Taiwanese Hakka Folk Song

Tung Flowers
There is a kind of flower in the green mountains;
That is the Tung flower.
Not afraid of the sun, nor afraid of
Wild wind and heavy rain.

Ah! Tung flowers, tung flowers, blooming everywhere,
You can find it everywhere.
Snow-white flowers symbolize us, Hakka.
We’re just like it, we’re just like it.
Build our home strongly.

Notes: “Blessing” is a song that explores the emotional transformation one undergoes when facing separation—from avoidance and entanglement, to waiting, and ultimately to letting go. It culminates in the offering of a sincere blessing. Narrated in the tone of a first-person monologue, the story unfolds on a rainy autumn day, as a woman recalls a lover she parted with many years ago. A gentle melancholy stirs the still waters of her calm heart. The love once so deeply felt has long since faded without a trace. In the end, thousands of unspoken words are distilled into a few heartfelt blessings—wishing the “you of the past” peace, contentment, and all the best. She also hopes that, still alone, she may soon let go of the past and look ahead to a new beginning.

Translation:
By the window in March, the scent of happiness lingers
I hide away in the memories of us
You’ve been gone for so many years
And I haven’t heard a word from you
Have you found your springtime?
The flowers have long since bloomed and withered—
It’s too late to keep waiting for you
I’m like a flower that never opened
My youth has already faded
And no one’s left to understand or care
If I still love you, how could I resent you?
I wish you well
Peace and safety, and that everything goes your way
May someone who loves you stay by your side and care for you
I wish myself well
To live quietly, alone by the window in the autumn rain
And if loneliness comes—
May I at least be able not to think of you