Transient Glory,the groundbreaking commissioning series for young voices, was created by YPCs Artistic

Director/Founder Francisco J. Nez in 2001 to spotlight the childrens chorus as a serious and, indeed,
glorious instrument during that fleeting period of time when a childs voice imbues music with a particular
poignancy and innocence.
The six works on this album are among over 80 pieces of music YPC has commissioned and premiered
from many established and emerging composers of our time, most of whom had never before composed
for childrens voices. Not only do these works greatly expand the repertoire for young voices, but they also
make a significant contribution to the ever-evolving fabric of music in the 21st century. Equally important,
YPC has changed the perception of the childrens chorus, dramatically heightening an awareness of the
unlimited potential of a youth chorus to rise to unforeseen levels of artistry, and establishing it as a
significant and often untapped instrument for making music.
The Kronos Quartet is featured on Terry Rileys Another Secret eQuation, which was written for YPC and
Kronos and recorded live. All pieces were recorded in the studio, in the presence of many of the composers.

Produced by Francisco J. Nez

Engineered and mixed by Bryan Smith
Recorded at Avatar Studios, Kaufmann Hall at 92nd Street Y and Dubway Studios, New York City
Another Secret eQuation produced and engineered by Judith Sherman
Engineering and editing assistant: Jeanne Velonis
Recorded at the American Academy of Arts and Letters, New York City
Mastered by Paul Zinman
Assistant Producer: Elizabeth Nez
Executive Producer: Nancy Bloom
Production Coordinator: Lindsay Bogaty
Principal Pianist: Jon Holden

Transient Glory compositions are published by Chester Novello, G. Schirmer and Boosey & Hawkes.

Young Peoples Chorus of New York City

37 West 65th Street, 2nd Floor, New York, NY 10023
ypc.org

Young Peoples Chorus of New York City

Francisco J. Nez - Artistic Director/Founder
The Young Peoples Chorus of New York City is a multicultural youth chorus
internationally renowned for its superb virtuosity, brilliant showmanship, and as a model for
an inclusive society that is being replicated globally.Founded by Artistic Director Francisco
J. Nez in 1988, this groundbreaking program harnesses the power of music to fulfill
the potential of every child. Over 1,400 children from ages 7 to 18 participate annually
through YPCs core after-school program, its satellite program in New York City schools,
national affiliates, and its after-school community programs. YPC collaborates with many
of todays most prominent artists, ensembles, and cultural institutions; receives invitations
from countries on four continents; and has become among the worlds most celebrated
and influential childrens choruses. In 2011, YPC was presented with a National Arts and
Humanities Youth Program Awardthe nations highest honor for youth programsfrom the
Presidents Committee on the Arts and Humanities.
Francisco J. Nez, a MacArthur genius fellow, is a composer, conductor, visionary,
leading figure in music education, and the artistic director/founder of theYoung Peoples
Chorus of New York City. He is sought after nationwide as a guest conductor by professional
orchestras and choirs, as a master teacher and advisor, and as a keynote speaker on
the role of music in achieving equality and diversity among children in todays society.
Mr. Nez composes countless compositions and arrangements in all musical formats
and styles, from classical to pop, for choirs, orchestras, and solo instruments. Among his
numerous awards are the ASCAP Victor Herbert Award, the New York Choral Societys
Choral Excellence Award, a Liberty Medal from the New York Post, and ABC-TVs Person of
the Week. Hispanic Business magazine named him one of 100 most influential Hispanics;
General Motors Corporation has hailed him as an unsung Hispanic hero; and La Sociedad
Coral Latinoamericana named him its 2009 Man of the Year.

Every Stop on the F Train

Music (2007) by Michael Gordon

Text from the F line of the New York City subway stations
Commissioned by the Young Peoples Chorus of New York City
Premiered 2007 and 2008 (with film)
Whats more urban than the subway? When Francisco J. Nez asked me to write a piece for Transient Glory, I immediately
thought of all the stops that whiz by us as we sit on the train waiting to arrive at our destination.The A train has the longest
route, but I think the F has the best sounding stops. I also like that the F starts in Jamaica, Queens, and ends in Coney
Island, Brooklyn.I organized the piece in three sections corresponding to the boroughs the F Train travels through.Every
Stop on the F Train starts with a single melody in Queens, splits into a 2-part canon (at the eighth note) when it arrives in
Manhattan and then into a 4-part canon (at the quarter note) when it arrives in Brooklyn. New Yorkers will note that some
of the stops actually have 2 names (42 Street/Times Square); in those cases, I chose only one. (Michael Gordon)
Every Stop on the F Train film
Created by Bill Morrison
Premiered 2008
The film can be found online at vimeo.com/107015665
The first film I made for a Michael Gordon composition was for a segment of the Bang on a Can production of Ben Katchors
comic strip opera The Carbon Copy Building, which premiered at The Kitchen in 1999. The piece was called City Walk.
Starting in the Rockaways, I drove north up Flatbush Ave. with a Super 8 camera wedged in the passenger window of my
car, firing a black and white frame every second, until I crossed over the Manhattan Bridge and descended into Chinatown.
This began a long and fruitful collaborative relationship with Michael.
I first heard Every Stop on the F Train quite by accident. In April 2007, I dropped by the WNYC studios to promote a benefit
concert on John Schaefers Soundcheck. By coincidence I met Michael there, and learned that the Young Peoples Chorus of
New York City would be performing a new composition of his. I had the opportunity to listen to this piece for the first time
completely surrounded by the chorus at point blank range, which was an astonishing acoustic experience.
When I was approached about making a film for the piece, I did not hesitate to accept. My initialidea was to create
something akin to City Walk, capturing video from a movingsubway car. Butonce production began, I soon realized there
were severalcomplications with shooting on thesubway. Firstly, it was illegal. Secondly, there were other people on the
subway who may or may not like being filmed. Thirdly, the subway did not provide a smooth ride. And fourthly, each and
every inch of glass in the entire subway system is covered with scratches and scrawls. I found a tripod that clamped to the
poles inside the car provided the stability a conventional tripod could not. I discovered that either New Yorkers didnt mind
being filmed, or they were just too darned polite to say so. And I learned to like all the scratches on the windows. I was not
able to resolve the legality issue.

So I tried clamping the camera between the subway cars, figuring at least my camera would be out of the way. In so doing,
I found my protagonist: the spring connecting two cars, which moves with acceleration of the car ahead of it. As this flying
coil navigated the city, I felt like each station pulled the next one through the frames of my film, just as the voices of the
YPC pull Michaels measures along. They were exhilarating rides from Queens to Brooklyn and back.

I was eventually collared by an MTA cop (and not by the two seen on the 42nd Street platform in the film). I explained to
him that it was the camera that had been riding between the cars, not me. And furthermore, that the camera had only
filmed the platforms lining the subway, not the subway itself. He gave me a ticket for riding between the cars, but not for
filming on the subway. I thanked him for not busting my chops too bad. To my surprise, he thanked me for not busting his
chops too bad as well. (Bill Morrison)

QUEENS
Jamaica
169th Street
Parsons Boulevard
Sutphin Boulevard
Briarwood
Kew Gardens
75th Avenue
Forest Hills
Jackson Heights
Queensbridge
MANHATTAN
Roosevelt Island
Lexington Avenue
57th Street
Rockefeller Center
42nd Street
34th Street
23rd Street
14th Street
West 4th Street
Broadway-Lafayette
Lower East Side
Delancey
East Broadway
BROOKLYN
York Street
Jay Street
Bergen Street
Carroll Street
Smith Street
4th Avenue
7th Avenue
Prospect Park
Fort Hamilton Pkwy
Church Avenue
Ditmas Avenue
18th Avenue
Avenue I
Bay Parkway
Avenue N
Avenue P
Kings Highway
Avenue U
Avenue X
Neptune Avenue
New York Aquarium
Coney Island

Semaphore Conductus

Music (2008) by Bora Yoon

Text comprised of new and old Latin proverbs
For SSAA chorus, synthesizer, antiphonale (conch, gramophone, megaphone), walkie talkie trio, and tape

Performed within a sound design of shortwave radio number system transmissions, Morse code, cell phone sounds, and
heartbeats the live and playback components create a dimensional stereophonic performance piece, employing altered
early music techniques and the evolving timbre history of communication devices (conch, gramophone, megaphone,
walkie-talkies, cell phone).

Bora Yoon - synthesizer and Gramophone-assisted vocals

Commissioned by the Young Peoples Chorus of New York City
Premiered 2008

In 2007, I was approached by Francisco and the YPC to write a work for treble choir and cell phone, after ending up on the
front-page of the Wall Street Journal, for using cell phones as musical instruments.

In order for this original idea to not become one that exotified technology in a world already overrun and accelerated by
gadgets I thought about what elements I could bring in, to make the piece more timeless. I studied the role that cell
phones and technology played in our lives, and how phones were really just a tool and means of communication and
expression over great distances, time, and place (strikingly similar to music). So I traced the evolution of the telephone,
observing what served its function before modern technology.

In primitive times, the call of the conch shell was used. In later eras, radio technology used frequencies to communicate
across different wavelengths, which brought the language of Morse code, shortwave transmissions, various forms of signals.
The gramophone and phonograph were utilized later, with the introduction of recording technology Later, more portable
forms of amplification and communication evolved, like the megaphone, and walkie-talkies, and now cell phones. All these
forms, being ways to throw ones voice, or ones idea from one place to another, across time and place.

I connected this idea of movement of sound and communication, with techniques found in early music: antiphonal choirs,
calling from the balcony, in response to the choir down below, the use of hocket, which passes a phrase from one singer to
another and played with the double entendre of the sacred early song form conductus with the idea of how conduction
works for electricity, energy, and transmission. So in this work, the conductor, or rather conductionist is the central point of
transmission (to the choristers, and electronics), using gestural movements (akin to semaphore), to blossom a soundfield of
signals, harmonies, and music, from the air.

As a result, what has transpired is Semaphore Conductus, an electroacoustic choral work, sung in surround formation around
the audience, inspired by the conduction of energy, the musical language of signals, and sound.

The text is comprised of new and old Latin proverbs that allude to the cyclical nature of communication and technology:
Sum quod eris, sum quod es
unda est ortus
sepulchrum pluvia, festina lente
in lumine tuo, videbimus lumen
(translation)

I am what you will be, I was what you are

the water is rising
gravitys rainbow, make haste slowly
in your light, we shall see light.

The spatial arrangement of the chorus embodies the vernacular of contemporary sonic geometry, found today in the
visual language used by modern digital interfaces to signify signal strength, volume, and power which are akin to venue
acoustical structures, patterns of sonic resonance, and audience seating design. (Bora Yoon)

Semaphore Conductus speaks to the notion of music as a universal and timeless medium for communication, resonance, and
expression across distances, formats, and time.

Things Heaven and Hell from Three Heavens and Hells

Music (2007) by Meredith Monk
Text by Tennessee Reed
Meredith Monk - voice
Commissioned by the Young Peoples Chorus of New York City
Premiered April 13, 2009 at Lincoln Centers Alice Tully Hall in New York City
Since 1965, I have been composing music for the voice as an instrument. Ive always believed that the voice itself is a
language, which speaks more eloquently than words. Yet, before this piece, I had not set text to music. When my friend
Carla Blank asked me to create music composed to childrens poetry, I became intrigued by the idea of setting music to
Three Heavens and Hells, written by Tennessee Reed when she was 11, because it gave me space to work with my own
rhythms and phonemes as well as an intriguing set of images to play with. I thought the poem was both whimsical and
profound. For example, what would things heaven and hell be like? I just let my imagination fly.
When the Young Peoples Chorus of New York City commissioned me to write a piece, I was excited by the idea of making
a new form with the material. Working with Francisco Nez and the young singers has given me the opportunity to create
different colors and textures, expand my original conception and develop it into a new entity. This recording includes one
movement from a larger 22-minute work. In this movement, I imagined inanimate objects things having a life of their own,
becoming more and more animated as the movement goes on. (Meredith Monk)
There are three heavens and hells.

People Animal Things

heaven and heaven and heaven and
hell hell hell
What do the three heavens and hells look like?
They are all the same.

Another Secret eQuation

Music and words (2010) by Terry Riley
Kronos Quartet:
David Harrington - violin
John Sherba - violin
Hank Dutt - viola
Jeffrey Zeigler - cello
Commissioned by the Young Peoples Chorus of New York City and Kronos Quartet
Premiered March 2010 at Carnegie Hall as part of Kronos Quartets Perspectives Series
I wrote the text keeping in mind that young people would be singing, and that the ideas expressed would gently address the actions of their
elders and the overwhelmingly messy world the kids were being handed. The third section offers up some nonsense syllables as a possible
antidote to the gobbledygook that poses as wisdom from some of our esteemed leaders. (Terry Riley)
TerryRiley wrote Another Secret eQuation in three sections, and dedicated it to the memory of prominent physicist Hans Siegmannthe
project director at the Stanford Linear Accelerator Center.The year before the piece premiered at Carnegie Hall, YPC was invited by Kronos
Quartet to participate in the 45th anniversary performance of Rileys In C extravaganza, also at Carnegie Hall.
We are lost and cannot find our way. A turn to the left, a turn to the right...Who made it dark?...Who turned out the light?
They never listen to us...No, never!
Can it be any other way? The Universe makes it up as it rolls along. Imagining night and day as it hums a song.
Bora...bora bora.
Zla dee doo dha...doo dha day...zlee doo dha
Doo day zlee doo dha day doo day zlee doo dha day doo day zlee doo dha
Bora...bora bora.
A shaba dooba shaba day
Shlot dot dilly ot dot dot ot dilly ot dot dilly ot dot dot
Waih daih waih daih waih daih waih daih whai daih dilly dah
Can it be any other way? The Universe makes it up as it rolls along. Unraveling night and day as it hums a song. The Universe makes it up. Ha!

One Sweet Morning

Music (2006) by John Corigliano
Text by E.Y. (Yip) Harburg
Commissioned by the Young Peoples Chorus of New York City
Premiered April 29, 2006 at the Society for Ethical Culture in New York City
This is my first work for a youth chorus. In searching for a text, I came across E.Y. (Yip) Harburgs Rhymes
for the Irreverenttwo small volumes of poems by the lyricist of the film The Wizard of Oz, the musical
Finians Rainbow, and many other timeless works. Harburg was a very political poet. He was most often
very funny, but occasionally wrote poems of transcendental beauty like One Sweet Morning.
This anti-war poem looks forward to one sweet morning when, out of the flags and the bones buried
under the clover, spring will bloompeace will come. It is an exalted prayer for the future and, when
sung by young people who are the future, has special meaning. (John Corigliano)
Out of the fallen leaves the autumn world over,
Out of the shattered rose that will smile no more,
Out of the embers of blossoms and shades of clover
Spring will bloom one sweet morning.
Out of the fallen lads the summer world over,
Out of their flags plowed under a distant shore,
Out of the dreams in their bones buried under the clover
Peace will come one sweet morning.
One sweet morning
The rose will rise

And make it wise!

To wake the heart

This is the cry of life the winter world over,

Sing me no sad amen, but a bright encore!
For out of the flags and the bones

buried under the clover,

Spring will bloom
Peace will come
One sweet morning
One sweet morning.

Tembandumba
Music (2009) by Paquito DRivera
Text by Luis Pals Matos, Pucho Escalante, and Paquito DRivera
Paquito DRivera - narrator
Commissioned by the Young Peoples Chorus of New York City
Premiered June 12, 2010 at the 92nd Street Y in New York City
My vocal work Tembandumba was created for the magnificent Young Peoples Chorus of New York City, as requested by its
director Francisco Nez. The title is inspired by Tembandumba de la Quimbamba, the main character the poem Majestad
Negra (Black Majesty) by Puerto Rican poet Luis Pales Matos. Two soloistssoprano and altoplus a pair of Cuban claves
add contrast and color to the choir; and although I used some extra lyrics and onomatopoeic sounds for rhythmic effects,
the beautiful poetry of the Puerto Rican maestro stays intact in all its grace and glory. This is my humble musical tribute to
the master poet from Borinquen. (Paquito DRivera)
Temdandumba de la Quimbamba, woww!
Tembandumba, mulata de rumba, kitate kete tumba, maraki bong.
Por la encendida calle antillana va
Tembandumba de la Quimbamba.
Pakete sumba, mulata de rumba, kitate kete tumba, maraki bong.
Maraki bong? Maraki bong. Kochere kon koko. Konkn.
Hmmmm!
Por la encendida calle antillana va
Tembandumba de la Quimbambarumba, candombe, macumba, Bmbulaaaa!!!
entre dos filas de negras caras.
Ante ella un congo - bongo y maraca a lo lejos repican los cueros
ritma una conga bomba ke bamba.
Culipandeando la Reina avanza, y de su
inmensa grupa resbalan meneos cachondos
que el gongo cuaja en ros de azcar y de melaza.
Prieto trapiche de sensual zafra, el caderamen, masa con masa,
Exprime ritmos, suda que sangra, y la molienda culmina en danza.
kitate kete tumba, kochere konk.
mulata de rumba, kitate kete tumba,
Chebere konk? Chebere konkon. Kochere kon koko. Konkn.Hmmm!!

Flor de Tortola, rosa de Uganda, por ti

crepitan bombas y bmbulas;
Por ti en calendas desenfrenades quema la
Antilla su sangre iga.
Hait te ofrece sus calabazas;
fogosos rones te da Jamaica;
Cube te dice: dale, mulata!
Y Puerto Rico: melao, melamba!
Son mis cocolos de negras caras!
Sonar, tambores, batir, maracas.
rumba, candombe, macumba, Bmbulaaaa!!!
Dicen!
que hay una tierra donde castigan a la gente por trabajar,
donde la miel es mas dulce y palo negro
e regal.
Vamano pall!
Tembandumba, cutere cubamba, cutere comba kimba, cutere bong.
Chembo, Chembo, DAJALA PASAR!

(translation)
Down the scorching Antillean street
Goes Tembandumba of the Quimbamba
Between two rows of black faces
--Rumba, macumba, condambe, bmbula.
Before her, a congo band thumps
A bombastic congagongos and maracas.
Sinuously swaying, the Queen steps up
And her lithe body with drums collide
So that seductive wiggles slide
In curdled rivers of sugar and molasses.
Brown-skinned mill of sweet sensation,
Her colossal hips, those massive mortars,
Make rhythms ooze, sweat bleed like blood,
And all this grinding ends in dance.
Down the scorching Antillean street
Goes Tembandumba of the Quimbamba.
Flower of Trtola, Rose of Uganda,
For you the bombs and bambulas crackle.
For you these feverish nights go wild
And set on fire Antillas iga blood.
Haiti offers you its gourds;
Jamaica pours its fiery rums;
Cuba tells you, give us what you got, mulata!
And Puerto Rico: melao, melamba!
Get down, my black-faced love-crazed rascals.
Jangle, drums, and jiggle, maracas.
Down the scorching Antillean street
Goes Tembandumba of the Quimbamba
Rumba, macamba, candombe, bmbula.

YPC Choristers

Saji Abude
Blaize Adam
Nicholas Agar-Johnson
Clare Altman
Tiffany Alulema
Joshua Batista
Dylan Batista
Billy Beltran
Nicole Bennet
Danielle Bennett
Nicole Bennett
Tommaso Bernardini
Alexis Biegen
Lexi Biegen
Corey Black
Chloe Bodden
Adonis Bodzwa
Lindsay Bogaty
Bryanna Brown
Isaac Burg
Quint Burke
Daniel Cabaniss
William Cabaniss
Melissa Cabat
Emily Carter
Kelli Carter
Argenis Castillo
Victoria Cece
Sandra Cedillo
Jordan Centeno
Hannah Chinn
Naomi Clark
Nadine Clements
Jared Colon
Remy Comp
Francis Connolly
Sofie Cornelis
Brianne Cotter
Laura Cottrell
Kieran Coyne
Erin Craig
TaSean Crandoll
Victoria Creary
DaSean Cruz
McKinny Danger-James
Alex DeCastro
Pascal Diaz
Lindsey Diego
Sofia DiGiandomenico
Justin Donaldson

Elizabeth Dorovitsine
Stephan Douglas-Allen
Jamila Drecker-Waxman
Nia Drummond
May El-Harazy
Leonardo Escudero
Catherine Estrada
Mia Farinelli
Juliette Ferdschneider
Mary Joe Fernandez
Sydney Fishman
Aneesa Folds
Ziani Francois
Jamil Fuller
Msmichella Gamble
Sydni Ganaway
Bryan Garcia
Mariah Gilmore
Solveig Gold
Christopher Goodwin
Spencer Gordon-Sand
Alexander Grant
Devon Hailstock
Christopher Hall
Myles Hall
Breigh Hammel
Emma Higgins
Maya Hodge
Max Hoffman
Ada Huang
Marquis Hughes
Samantha Huynh
Izoduwa Idehen-Amadasun
Jubei Inoue
Gavin Jablonski
Alexandra Jankousky
Vera Kahn
Ange Kandolo
Nina Kapoor
Olivia Katzenstein
Ross Kennedy
Alexandra Kessler
Lindsey Knapp
Bethany Knapp
Caroline Kuhn
Camille Labarre
Rose Labarre
Celeste Lejeune
Jamie Lerner-Brecher
Nicholas Leung
Christine Lim

Noah Lipnick
Gregory Lipson
Greg Lipson
Rosa Loveszy
Reuben Loveszy
Charles Lovett
Katie Lovins
Christina Lu
Dustin Lu
Ross Macatangay
John Maldonado
Claudia Malpeli
Jamal Marcelin
Hadley Maya
Maud Mayer
Joshua McCartney
Rebecca McCartney
Catherine McGough
David Mercado
Raphael Mercado
Madison Miller
Alex Miller
Aubrey Miller
Jeremy Munoz
Noni Murphy
Nichole Musumeci
Miki Nakano
James Nash
Ariana Nathani
Gabrielle Nesmith
Sophie Nir
Kayla Norflus
Alex Nouri
Victoria Pagan
Lluvia Perez
Ranya Perez
Auguste Perl
Lucas Petrello
Shereen Pimentel
Isaac Ponce
Eddie Rakowicz
Jordan Reynoso
Jacob Rhee
Olivia Rivera
Jonas Robin
Oona Rodgers
Marisel Rodriguez
Maggie Rouen
Nathaniel Sabat
Sofia Salen
Isabel Schaffzin

Tohar Scheininger
Mitchell Schor
Isaac Schultz
Evan Schweitzer
Veronica Shclover
Naomi Shifrin
Brittany Shoughi
Kalia Simms
Malaia Simms
Owen Smith
Caroline Smith
Gabrielle Smith
Cameron Smith
Jonah Smith
Jonah Sotomayor
Monica Soyemi
Nia Soyemi
Alec Spector
Betina Stennett
Jacqueline Stern
Hannah Stoffer
Louise Sullivan
Brian Sussman
Evan Tatnall
Rebecca Teich
Isabelle Teron
Joan Terrado
Olivia Thompson
Lewalys Torres
Lucy Tuchman
Julie Urena
Erika Urgiles
Clark Vaccaro
Silvia Valentini
Dianne Vasquez
Emily Viola
Andrew Vogel
Devon Wade
Brian Ward
Audrey Weber
Samuel White
Lucy Whiteley
Lucien Whitman
Christian Williams
Sierra Williams
Troy Wilson
Anthony Wyche
Galen Xing
Daniel Zuzworksy
August Zuzworsky

Executive Producers: Michael Gordon, David Lang, Kenny Savelson and Julia Wolfe
Label Manager: Bill Murphy
Cantaloupe sales manager: Adam Cuthbert
Cover design: Donald Giordano
Art direction: John Brown @ cloud chamber
Photography: Stephanie Berger
Management for Kronos Quartet:
Kronos Performing Arts Association
kronosquartet.org
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UPC/EAN: 713746311322

1. Every Stop on the F Train (7:26)

Michael Gordon
2. Semaphore Conductus (7:13)
Bora Yoon
3. Things Heaven and Hell from Three Heavens and Hells (5:44)
Meredith Monk
4. Another Secret eQuation (16:17)
Terry Riley (featuring Kronos Quartet)
5. One Sweet Morning (5:49)
John Corigliano
6. Tembandumba (6:56)
Paquito DRivera (with Payton MacDonald, percussion)

CANTALOUPE MUSIC IS FROM THE CREATORS OF BANG ON A CAN.

& 2015 Cantaloupe Music, LLC , under exclusive license from Young Peoples Chorus of New York City.
All rights reserved. Unauthorized duplication is a violation of applicable laws.
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