Chamber Singers and University Chorale 

  • Geoffrey Boers conducts the UW Chamber Singers (photo: Steve Korn).
    Geoffrey Boers conducts the UW Chamber Singers (photo: Steve Korn).

The University Chorale performs songs of freedom music and peace, including works by Giselle Wyers, Alex Nguyen, Gerald Finzi, Johnny Clegg, Benjamin Britten, Edward Elgar and others. The Chamber Singers present  …the love from me, to you, with songs by Blake Henderson, Claudio Monteverdi, Samih Choukeirl, and Matthew Hazzard. 

Masks are required in all indoor spaces on the UW campus, and patrons must show proof of vaccination or recent (within 72 hours of the performance) negative COVID-19 test for entry to live events at Meany Hall. Enhanced sanitation measures and touchless ticketing are among other safety measures in effect for 2021-22. Details of these policies and procedures are at: https://artsevents.washington.edu/covid-protocols 


Freedom, Music, Peace
University Chorale
Giselle Wyers, director

Join in Gathering by Giselle Wyers
Freedom Comes by Alexander Nam Nguyễn; conducted by Alexander Nam Nguyễn
My Spirit Sang All Day by Gerald Finzi 
If Music be the Food of Love by David Dickau
Song is the Infinite Time of Times by Giselle Wyers; conducted by Leah Wyman
Song has a Bird for Rhythm by Giselle Wyers
Asimbonanga (Mandela) by Johnny Clegg and Savuka
arr. Marshell Lombard and Bernard Kruger; conducted by Marshell Lombard
"Concord" from Songs from Gloriana by Benjamin Britten
Lux Aeterna by Edward Elgar


…the love from me, to you
Chamber Singers
Geoffrey Boers, director

My Flight for Heaven by Blake Henderson
Dara la notte il sol by Claudio Monteverdi
Lao Rahal (If my voice departs) by Samih Choukeirl
Cells, Planets by Erika Lloyd
No Color by Stacey Gibbs and Shawn Kirchner 
Metropolis by Matthew Hazzard


Freedom, Music, Peace
UNIVERSITY CHORALE
Dr. Giselle Wyers, conductor
Serena Chin, collaborative pianist
Leah Wyman and Marshell Lombard, assistant conductors

String Quartet: Christine Chu, violin; 1 Selina Siow, violin 2; Eugene Chin, viola; Youngbin Kim, cello

Join in Gathering 
Giselle Wyers (b. 1969)

Join in gathering remnants of song.
We love to sing along.
Gathering voices, gathering hands,
Gathering neighbors, gathering blossoms of song.

Freedom Comes  (World premiere)
Alexander Nam Nguyễn (b. 2000)
conducted by Alexander Nam Nguyễn

Freedom comes,
Only when love has won,
That’s the day freedom comes. 
Music rings,
Only when kindness sings,
That’s the day music rings.

My Spirit Sang All Day 
Gerald Finzi (1901–1956)
Text by Robert Bridges (1844–1930)

My spirit sang all day, O my joy.
Nothing my tongue could say, only my joy!
My heart an echo caught,
O my joy and spake,
Tell me thy thought,
Hide not thy joy.
My eyes can peer around.

O my joy, what beauty hast thou found?
Shew us thy joy.
My jealous ears grew whist; O my joy.

Music from heaven is’t, 
Sent for our joy?
She also came and heard; O my joy,
What, said she, is this word?
What is thy joy?

And I replied, O see,
O my joy, ‘Tis thee I cried, ‘tis thee:
Thou art my joy.

If Music be the Food of Love 
David Dickau (b. 1953)
Text by Henry Heveningham (1651–1700)

If music be the food of love,
Sing on till I am fill'd with joy
For then my list'ning soul you move
To pleasures that can never cloy.
Your eyes, your mien, your tongue declare
That you are music ev'ry where.

Pleasures invade both eye and ear,
So fierce the transports are, they wound,
And all my senses feasted are,
Tho' yet the treat is only sound,
Sure I must perish by your charms,
Unless you save me in your arms.

Song is the Infinite Time of Times 
Giselle Wyers
Text by Michel Khalil Helayel
conducted by Leah Wyman

Through out time,
Song is the infinite time of times.
Through out time,

Song bears the suffering and joy of its time.
In each place, in each life,
Song is already there. 

Song has a Bird for Rhythm 
Giselle Wyers
Text by Michel Khalil Helayel

Song has a bird for rhythm,
Song lives in blue sky.
Birds never abandon song.

Song birds who carry,
Story lines from our hands. 
Birds who record their symphonies,
In the seeds of days to come.
Song is the rhythm of the wind

Song birds who carry,
Story lines from our hands. 
Birds who record their symphonies,
In the seeds of days to come.

The high seas of nostalgia, Ah.

Asimbonanga (Mandela)
(South African freedom song)
Johnny Clegg (1953–2019) and Savuka (South African band formed in 1986) 
arr. Marshell Lombard and Bernard Kruger
conducted by Marshell Lombard
Alexander Nam Nguyễn, tenor
Jessica Turner, Anmol Kaur, Sophie Root, Maya Shah & Akhila Narayanan, sopranos

African text
Asimbonanga 
Asimbonang' uMandela thina 
Laph'ekhona 
Laph'ehleli khona 

Hey wena 
Hey wena nawe 
Siyofika nini la' siyakhona

English translation
We have not seen him
We have not seen Mandela
In the place where he is
In the place where he is kept

Hey you!
Hey you and you as well!
When will we arrive at our destination

"Concord" from Songs from ‘Gloriana’ 
Benjamin Britten (1913–1976)
Text by William Plomer (1903–1973)

Concord, Concord is here,
Concord is here our days to bless.
And this our land to endue,
With plenty, peace and happiness.
Concord, Concord and Time,
Concord and time each needeth each:
The ripest fruit hangs where not one,
Not one, but only two,
Only two can reach. 

Lux Aeterna
Edward Elgar (1857–1934)

Latin text
Lux aeterna luceat eis, Domine 
cum sanctis tuis in aeternum 
quia pius es 
Requiem aeternam dona eis, Domine
et lux perpetua luceat eis 
English translation
Let perpetual light shine upon them, O Lord
with your saints forever
for you are merciful
Grant them eternal rest, O Lord
and let perpetual light shine upon them

—  INTERMISSION —

…the love from me, to you.
CHAMBER SINGERS
Dr. Geoffrey Boers, conductor
Serena Chin, collaborative pianist
Tiffany Walker and Timothy Little, assistant conductors

My Flight For Heaven 
Blake R. Henson (b. 1983) 
Text by Robert Herrick (1591–1674)

Charm me asleep, and melt me so
With thy delicious numbers,
That, being ravish’d, hence I go
Away in easy slumbers.
Ease my sick head,
And make my bed.
Thou Pow’r canst sever from me this ill,
And quickly still,
Though thou not kill
My fever.

Fall on me like a silent dew,
Or like those maiden showers, 
Which, by the peep of day, do strew
A baptism o’er the flowers.
Melt, melt my pains 
With thy soft strains;
That, having ease me giv’n, 
With full delight
I leave this light,
And take my flight
For Heaven 

Dará la notte il sol
Claudio Monteverdi (1567–1643)
Text by Scipione Agnelli (1586–1653)

Italian text
Dará la notte il sol lume alla terra
Splenderá Cintia il di,
Prima che Glauco di baciar, d’honorar
Lasci quel seno che nido fu d’Amor,
Che dura tomba preme.

Nel sol d’alti sospir, di pianto,
Prodighe a lui saran le fere e’l Cielo

English translation
The sun will illuminate the earth by night
Cynthia (the moon) will shine by day
Before Glauco ceases to kiss and honor
That breast where love once nestled
Crushed by the awful tomb

Nor will the beasts or heaven be alone
In lavishing on him their loud sighs and tears.

Lao Rahal Soti 
Samih Choukeir (b. 1957)
arr. Shireen Abu Khader
Music and Text by Samih Choukeir, sung in Arabic
Tiffany Walker, soloist

If my voice departs, your throats (i.e. voices) will not
I look unto tomorrow and my heart is with you
If the singer goes (dies), the songs will remain
Bringing together the broken and suffering hearts

Cells Planets
Erika Lloyd, arr. Vince Peterson
Music and Text by Erika Lloyd (Little Grey Girlfriend)
Anjali Chudasama and Jessica Turner, soloists

So far away, far away,
When all will shine and all will play,
Hey.
The stars will open up and all will be 
Tiny pieces of galaxy
Reflected in you and me.

Cells, planets, same thing.
Bright electric lights on all the leaves
And everything growing from a tree;
(the) water’s blood, and roots are veins.

I don’t know you, but I like you.
I don’t know you, but I miss you.
I don’t know you, but I need you.

Smallest is the biggest thing, 
And in all the world, 
The love is the love from me to you

I don’t know you, but I like you.
I don’t know you, but I miss you.
I don’t know you, but I need you.

Cells, planets, same thing.

No Color
Stacey V. Gibbs (b. 1964) & Shawn Kirchner (b. 1970)

No color can come between us,
No shade to be thrown,
No tone be taken to demean us,
No hue of hate to be shown,
No color, no shade, no tone;
Let me be transparent with you.

Whose history is whose?
Who’s walking in whose shoes?
Who’s making whose rules?
Who’s learning in whose schools?
Whose history, whose shoes, whose rules?
Let me be transparent with you.

More love is our intention,
Stop—did we forget to mention that
We are more alike than we are different?
United we take a stand,
Ignited with hand in hand,
To build a band of harmony.
No time to wait, don’t hesitate!

Within me there’s a love so strong,
Within me there’s a hope to belong,
Within me there’s a fire to right all wrongs.
Within me there’s a love to share,
Within me there’s a need to care,
Within my heart is a risk to dare. 

Metropolis
Matthew Lyon Hazzard (b. 1989)
Libretto extracted from Metropolis: New York by Jonathan Talberg (ASCAP)

Will you pick me up or should I meet you there?
Skyscrapers and tenements touching a lapis lazuli sky.
Our train fights its way along the bridge,
Water everywhere, towers and smokestacks,
Rattle, clank, fits and starts.

The ancient car rumbles and drops again.
I bounded out and ran up steps that climb forever.
A blast of cold air and blaring horns hit me.

Tourists screaming with glee under buildings so tall you can’t see their crowns.
Cars and bar and starlit lounges,
Backpacks and violin cases.
Shows and raves and dipping underground.
Headphones… A magazine…

Neon and screens, marquees and dreams…
Grandma in a babushka, curious children,   a boom-box, teenagers!
Some come to work, some come to play and we’re definitely here to play.

You can see through the trees to the other side of the park,
Spying glimpses of love.
A couple snuggling on a bench,
Talking and plotting, planning and dreaming amidst the lights.

They’re holding hands.
A knowing glance.
Her eyes looking into his.
Their sighs, their lips, a knee against a knee.
A hand that lingers.
It’s touch amidst all these towers that makes it bearable.

Twenty generations have come of age in this City of Strangers.
Four hundred years of songs sung mostly by long gone neighbors.
It’s not wond’ring which stop to take to get off at Broadway
That makes people want to live here.

It’s searching for people who bring you alive that makes
The City vibrate and thrive.
It’s love, the pure substance, pulling us back now and then,
Bringing us homeward, again and again.

Program Note
The Chamber Singers will share a set we call:
…the love from me, to you.
Tonight’s program is an auto-biography, perhaps of all of us. We have endured an unfathomable trauma of a pandemic, with unexpected challenges of isolation, loss, and challenges of going through each day. But we, the human species, are creative, resilient, and in the end, creatures of community. Perhaps the silver-lining of all of this is that we treasure community and relationship all the more, nothing is taken for granted.

The theme of the story we tell tonight was brought to mind as I entered our rehearsal space on just another ordinary day. I have a habit of listening to the sound in the room prior to rehearsal, what is the rhythm and pitch of the cacophony, and it speaks volumes about the spirit and energy of the choir. That day’s sound was extra-ordinary. Loud and celebratory, hugs and laughter being shared, the pitch was high and bright—these people loved each other as family or long-held friends. How is this? We have recognized how similar we are in our hurt, in our challenges, in our grief, and in our healing. We seem to understand each other in a deeper and profound way, and recognize that even as strangers, we are sojourners and here together.

My Flight for Heaven is a setting of Robert Herrick’s poem. Written in the early 1600’s, it is Shakespearean in its language as it speaks of comfort in our last days, and beauty in the process of death. We have been surrounded by death in these years, and have heard many stories of loved-ones dying alone. These timeless words offer necessary comfort.

Dara la note il sol is a madrigal by Claudio Monteverdi. This music is an impassioned cry of grief as a loved one is left behind as their love has died. Sitting on the tomb of her lover, she cries out that love will endure forever. She hears the sounds of nature—of night-noises of wild animals and wind amongst the forest as joining her in her sighs and moans.

Love made known in grief turns to hope in Lao Rahal Soti, Arabic for “if my voice departs.” Originally composed as a protest song, sung as a marching tune with the sentiment that even if I were to die, my song will go on. Palestinian-Jordanian composer Shireen Abu Khader felt the text and song also fit her culture, but in a different way. Palestinians are in the midst of ongoing struggles for freedom and dignity as governments clash and people suffer. There is a feeling amongst Palestinians that voices and songs do not depart. This offers a quiet gift of hope to those who carry on the struggle, with the hope that (the song) “brings together broken and suffering hearts.”

Cells Planets is a love song, to one, to all of us. It is a song of hope, that even if good times seem far away, we will get there. Together. It paints a picture of our connectedness that a astrophysicist could love—we are all made of the same material, that cells and planets are the same thing, that I am reflected in you, and you in me. Cells, planets—the smallest thing becomes the biggest thing, and in all the world that is “the love from me to you.”

No Color was a brilliant collaboration by two American composers Stacey Gibbs and Shawn Kichner. Gibbs is well-known for his prolific output of traditional spirituals, while Kirchner is a beloved arranger of early-American songs and hymns. Together they created No Color to be a statement of unity. The words of the song point to an ideal that no matter our color or culture we “are more alike than we are different.” This ideal allows all cultures to celebrate their uniqueness, but that we must put down our divided history, and draw together in those things that unite all of us: love, hope, fighting for right, sharing love, caring for others, risking change and growth.

We close our story in celebration. Metropolis is a celebration of life in New York City. The text is an excerpt from Jonathan Talberg’s larger poem Metropolis: New York, which is in part inspired by Stephen Sondheim’s lyrics—listen for a reference to his musical Company. It is a stream of consciousness outpouring of the sights, sounds, and bustle of the city; the choir’s cacophonous conversation stops suddenly as we gaze upon a couple seemingly unaware of all that is circling around them—they are in love. And it is here that we end:

  • it is touch amidst all of this…that makes it bearable.
  • it is searching for people who bring you alive that makes us vibrate and shine.
  • it is love, the pure substance that brings us homeward again.
—Geoffrey Boers

UNIVERSITY CHORALE
Member Roster
Sopranos
Fern Bettinger, Renton, WA
Emily Cameron, Snohomish, WA
Mavis Chan, Bellevue, WA
Sarah Clark, Mercer Island WA
Lauren Fox, Buchanan, VA
Mandy Hansen
Meagan Hodgins, Seattle, WA
Naomi-Hal Hoffman, Bellevue, WA
Whi Jung, Seoul, Korea
Claire Killian, Evergreen, CO
Emma Koslosky, Castro Valley, CA
Anna Kucinski, Redmond, WA
Meena Kuduva, Kirkland, WA
Ellen Kwon, Federal Way, WA
Joely Loucks, Friday Harbor, WA
Anna Messenger, Olympia, WA
Chloe O'Keefe, San Francisco, CA
Sophia Parker, Bothell, WA
Clara Propst, Seattle, WA
Caitlin Sarwono, Redmond, WA
Jessica Turner, Tacoma, WA
Felicia Tzeng, San Jose, CA
Natalia Valvano, Seattle, WA
Ruby Whelan, Melbourne, VIC
Altos
Meher Chand, Portland, OR
Anmol Kaur, Duvall, WA
Ella L'Heureux, Leavenworth, KS
Hannah Limb, Mountlake Terrace, WA
Sophie Ma, Tokyo, Japan
Cindy Mendoza
Lexie Moss, Melbourne, VIC
Julia Park, Cambridge, MA
Sophie Root, Kirkland, WA
Jaminfaye Reduque, DuPont, WA
Silvana Segura, Redmond, WA
Maya Shah, Portland, OR
Nelly Sunstrum, Redmond, WA
Emily Vaughan, Mukilteo, WA
Aliyah Wachob, Belmont, CA
Akhila Narayanan, Redmond, WA
Tenors
Eyad Alsilimy, Mount Vernon, WA
Scott Fisher Jr., Renton, WA
Carson Kyle, Huntingtown, MD
Karsten Lomax, Edmonds, WA
Adrian Nguyen, Olympia, WA
Alex Nguyen, Tacoma, WA
Alejandro Hernandez, Rio Rancho, NM
Will Schlott, Pullman, WA
Zach Shafer, Camas, WA
Ryan Singh, Redmond, WA
Ethan Walker
Basses
Lewis Back, Issaquah, WA
Jason Barringer, Hood River, OR
Elisha Bourassa, Sumas, WA
Matthew Chao, West Linn, OR
Charlie Dawson, Austin, TX
Matt Hansen, Camas, WA
Andrew Hoch, Burr Ridge, IL
Mitch Kluesner, St. Paul, Minnesota
Jonah Ladish-Orlich, Renton, WA
Ethan Nowack, Shoreline, WA
Christian Rolfson, Mount Vernon, WA
Cian Scheer, Vashon, WA
Alec Walter, Spokane, WA
Trey Wheeler, Vancouver, WA

CHAMBER SINGERS Member Roster

Sopranos
Kaelyn Barnes, Everett, WA; Sophomore BA, Vocal Performance
Kate Connors, Kennewick, WA; Sophomore BA, Vocal Performance
Karen Dunstan, Ypsilanti, MI; 1st Year MM, Vocal Performance
Virginia Elizondo, Houston, TX; 2nd Year MM, Vocal Performance
Caitlin Hennessy, Chicago, IL; 1st Year MM, Vocal Performance
Mallory McCollum, Warminster, PA; 1st year MM, Vocal Performance
Shalini Pullarkat, La Cañada, CA; Junior BS, General Biology
Sarah Santos, Houston, TX; 2nd year MM, Vocal Performance
Jessica Turner, Tacoma, WA; Senior BM, Music Education-Choral Emphasis

Altos
Cee Adamson, Washington, D.C.; 1st Year DMA, Vocal Performance
Sydney Belden, San Clemente, CA; Sophomore BM/BS, Music-Voice/Environmental Studies
Lily Campbell, Olympia, WA; Sophomore BA, Public Health-Global Health
Anjali Chudasama, Upland, CA; 1st Year MM, Choral Conducting
Heather Halverson, Woodinville, WA; Sophomore BM/BA,Vocal Performance/Communications
Anna Messenger, Olympia, WA; Junior BM, Music Education
Grace Selmann, Moses Lake; Sophomore BA, Comparative History of Ideas
Emily Vaughan, Mukilteo, WA; Senior BA/BA, Music-Voice/Cinema & Media Studies
Tiffany Walker, Chino Hills, CA; 4th year DMA, Choral Conducting
Leah Wyman, Greenville, SC; 2nd year MM, Choral Conducting

Tenors
Oliver Callahan, Anaheim, CA; 1st Year BM, Music Education-Choral Emphasis
Tyler Todd Kimmel, Seattle, WA; 2nd Year DMA, Choral Conducting
Timothy Little, Pineville, LA; 3rd year DMA, Choral Conducting
Marshell Lombard, Johannesburg, South Africa; 2nd year DMA, Choral Conducting
Alexander Nguyen, Tacoma, WA; Senior BM, Music Education-Choral Emphasis
Tri Nguyen, Everett, WA; Sophomore BS, Mechanical Engineering
John O'Kane, Seattle, WA; Senior BS, Industrial & Systems Engineering
Zach Rude, Brainerd, MN; 1st Year MM, Vocal Performance
Isaac Tian, San Diego, CA; 7th Year PhD, Computer Science & Engineering

Basses
Justin Birchell, Anchorage, AK; 1st Year DMA, Choral Conducting
Frank Goess, Albany, CA; 5th year BS, Aerospace Engineering
Mikey Prince, Kirkland; Senior BM/BA, Music Education/Gender Women & Sexuality Studies
Jonathan Rizzardi, Reading, PA; 4th year PhD, Theatre History & Theory
Dario Rojas, Seattle, WA; Sophomore BA, Environmental Science & Resource Management
Zack Shafer, Camas, WA; Junior BS, Computer Science
Alec Walter, Spokane, WA; Senior BS, Electrical Engineering
Daren Weissfisch, Ridgewood, NJ; 1st Year DMA, Orchestral Conducting
Trey Wheeler, Vancouver, WA; Sophomore BM, Music Education


DIRECTOR BIOS

Geoffrey Boers

Geoffrey Boers is Director of Choral Activities at the University of Washington in Seattle, a program widely recognized as forward thinking, unique, and of great distinction. Under his direction, the graduate choral program has developed a singular mission: to nurture the whole student as conductor-teacher-servant-leader-scholar. This vision has led the program to become one of the most vibrant and innovative in the country, attracting students from around the world interested in exploring the future of our art. Through his teaching he is exploring the evolution of conducting gesture and rehearsal pedagogy and their connection with the emerging neuroscience of mirror neurons, empathy, perception, learning, and personal transformation. His exploration has led to new thoughts about conducting and teaching with regard to breath, movement, artistry, personal awareness, and cultural development. Recently, his work has led to the mentoring of local choral cohorts of teachers and conductors who are interested in building professional communities of ongoing mentorship and musical development.  He has developed such mentorship programs across the United States and Canada. In addition to these thoughts about mentorship he is actively working with other leaders in ACDA and NAfME to develop a more unified and useful system for development of musicianship, assessment, adjudication, and repertoire grading. 

Geoffrey maintains an active conducting, teaching, workshop and clinic schedule; his recent engagements have included conducting concerts in Orchestra Hall in Minneapolis, Meyerson Concert Hall in Dallas, New York’s Alice Tully and Avery Fischer Hall at Lincoln Center, the Mormon Tabernacle in Salt Lake City, and Benaroya Hall in Seattle. In addition he has served as artist-in-residence in Toronto, Ontario, Mainz, Germany, as well as Seoul, Korea with the world-renown choir the Incheon City Chorale

In addition to his position at the UW, Boers sings professionally and is the conductor of the Tacoma Symphony Chorus where he conducts both the choir and symphony players in a four-concert season.

Since his tenure at the University of Washington, the choral program has become a leader in promoting the performance, study and exchange of Baltic music in the United States. The choir has toured to the Baltic countries in 2000, 2005, 2010, and 2013. Geoffrey Boers was awarded a prestigious Royalty Research Grant in 2004 to create a Baltic Choral Library in collaboration with the UW Library as well as State and academic libraries in the Baltic. This collection of scores, manuscripts, vocal music, and writings is the first of its kind in the United States. This collection has promoted yearly exchanges with choirs and conductors from the Baltic area who travel each year to Seattle. Further, it has led to numerous UW choral students winning awards and scholarships to travel, study, and work in the Baltic countries.

Giselle Wyers (she/her/hers) is the Donald E. Petersen Endowed Professor of Choral Music at the University of Washington, where she conducts the award-winning University Chorale and teaches graduate and undergraduate courses in choral conducting and music education. She serves as the newly appointed School of Music's designated Diversity Liaison. University Chorale’s latest CD, Resonant Streams (on the MSR Music Recordings label) was featured in a 2018 Gramophone magazine article. Wyers is the newly appointed director of Concord Chamber Choir, an adult community chorus within the Columbia Choirs community. Her professional project choir Solaris Vocal Ensemble, specializes in the performance of contemporary American choral literature. Their premiere album Floodsongs, on the Albany Music label, won the American Prize Ernst Bacon Memorial Award for the Performance of American Music in 2017-18.

As a guest conductor, Wyers has led high school honor choirs and all-state choruses in New York (Alice Tully Hall, Lincoln Center), Kansas, Wisconsin, Georgia, Missouri, Louisiana, Connecticut, Nebraska, Texas, Washington, Alaska, Idaho, and Vancouver, Canada. She has conducted semi-professional ensembles across the United States and in Germany, the Netherlands, Estonia, and Sweden. Wyers was in demand for Zoom lectures during the pandemic with Res Diversa Chamber Choir (Chile), Western Washington University (a three-week group composition project), University of Iowa, Northern Illinois University, Montana State University, and with the Mastersingers of Milwaukee (Wisconsin), as well as conducting Nevada All-State online. 

Wyers is a leading national figure in the application of Laban movement theory for conductors. She has served as guest lecturer in conducting at Sweden’s Örebro Universitet, European Festival of Church Music (Germany), Latvian Academy of Music, Eastman School of Music, Ithaca College, Westminster Choir College, University of Iowa, Hobart and William Smith Colleges and Portland State University.

Wyers’ choral works are published by Santa Barbara Music Publishing Company as part of the "Giselle Wyers Choral Series," and have been performed across the United States, South America, Canada, Australia, Cuba, and numerous European cities. She will conduct her 30-minute choral cycle entitled And All Shall Be Well, in Carnegie Hall May of 2022 with a consortium of NW-based choruses. In 2021-22, she will serve as composer-in-residence for the Greater Seattle Choral Consortium's annual festivities celebrating the return of in-person singing (her appearance is sponsored by Consortio). Wyers is also committed to mentoring scholar-writers in the field, and serves on the editorial board of ACDA’s Choral Journal.