Video Information

• Choir: MidAtlantic Chamber Choir
• Piece: Sonnet 30
• Composer:  Steven R. Gerber
• Conductor:  Jason C. Tramm
• Voices:  SATB
• Genres: A cappella, Classical, Contemporary
• MidAtlantic Chamber Choir Personnel:
  Jason C. Tramm, Conductor
  
  Soprano
  Paige Porter
  Veronica Shea Salkin
  Samantha Ferrara
  Hillary Baboukis
  
  Alto
  Kimberlee Korzelius
  Sophia Morte...  moreMidAtlantic Chamber Choir Personnel:
  Jason C. Tramm, Conductor
  
  Soprano
  Paige Porter
  Veronica Shea Salkin
  Samantha Ferrara
  Hillary Baboukis
  
  Alto
  Kimberlee Korzelius
  Sophia Mortensen
  Irene Lyristakis
  
  Tenor
  Rider Foster
  Zachary Morehouse
  Jose Daniel Mojica
  Charles Bryan
  Kevin Courtemanche
  
  Bass
  Christian Arencibia
  Peter Lamendola
  Devin McGuire
  Skyler Klein
  
  Video/Audio Engineering: Quinton Tramm
  Recorded: June 4, 2022
  Broadway Presbyterian Church (Manhattan)
  
  From Sessions of Sweet Silent Thought
  1. Sonnet 30
  
  Sonnet 30: When to the sessions of sweet silent thought
  
  BY WILLIAM SHAKESPEARE
  
  When to the sessions of sweet silent thought
  I summon up remembrance of things past,
  I sigh the lack of many a thing I sought,
  And with old woes new wail my dear time's waste:
  Then can I drown an eye, unus'd to flow,
  For precious friends hid in death's dateless night,
  And weep afresh love's long since cancell'd woe,
  And moan th' expense of many a vanish'd sight;
  Then can I grieve at grievances foregone,
  And heavily from woe to woe tell o'er
  The sad account of fore-bemoaned moan,
  Which I new pay as if not paid before.
  But if the while I think on thee, dear friend,
  All losses are restor'd, and sorrows end.
  
  
  Steven R. Gerber, Biography (1948-2015)
  Steven R. Gerber was born on September 28, 1948 in Washington, D.C. He held degrees from Haverford College and from Princeton University, where he received a 4-year fellowship. Steven's music composition teachers include Robert Parris, J. K. Randall, Earl Kim, and Milton Babbitt.
  
  His early works were in a free atonal style, incorporating serial and non-twelve-tone languages into a distinctive a...    less