1
00:00:04,600 --> 00:00:06,366
- So, are they ready for this?

2
00:00:06,466 --> 00:00:08,400
- Oh, yeah. 
Oh, yeah.

3
00:00:08,500 --> 00:00:09,733
We're all ready for this!

4
00:00:09,833 --> 00:00:14,033
♪ ♪

5
00:00:14,133 --> 00:00:15,533
- It's an amazing experience!

6
00:00:15,633 --> 00:00:18,033
- I do this for fun 
and it's really fun.

7
00:00:18,133 --> 00:00:21,700
- I love it so much and I would 
not trade it for the world. 
- Yeah!

8
00:00:25,500 --> 00:00:27,300
- It's really cool 
to be able to sing

9
00:00:27,400 --> 00:00:28,833
with a whole bunch of kids

10
00:00:28,933 --> 00:00:30,033
from all over the state

11
00:00:30,133 --> 00:00:31,800
that are super talented 
and super passionate.

12
00:00:31,900 --> 00:00:34,166
- Some of them 
may be at the top,

13
00:00:34,266 --> 00:00:36,966
they may be the best musician 
in their ensemble

14
00:00:37,066 --> 00:00:38,833
and they're wanting more.

15
00:00:38,933 --> 00:00:40,133
and this 
is their more.

16
00:00:40,233 --> 00:00:42,500
- Stop my heart! 
That is so beautiful.

17
00:00:42,600 --> 00:00:44,300
- The music is 
so much more challenging,

18
00:00:44,400 --> 00:00:46,000
and you're challenging yourself.

19
00:00:46,100 --> 00:00:48,133
- I'm completely convinced

20
00:00:48,233 --> 00:00:50,600
that the interrelationship

21
00:00:50,700 --> 00:00:53,966
between the performers 
and the conductor:

22
00:00:54,066 --> 00:00:57,766
the better that relationship is, 
the better the music will be.

23
00:00:57,866 --> 00:00:59,600
- My school doesn't 
have an orchestra,

24
00:00:59,700 --> 00:01:02,433
so it's-- it's really nice to 
be able to play in an orchestra

25
00:01:02,533 --> 00:01:04,966
with a lot of people who have 
the same interests

26
00:01:05,066 --> 00:01:06,633
and who all want 
to do their best.

27
00:01:06,733 --> 00:01:08,133
- I love this program.

28
00:01:08,233 --> 00:01:10,566
I'm really proud of it, and I'm 
really proud of the students.

29
00:01:10,666 --> 00:01:11,900
- I feel like 
I've learned a lot.

30
00:01:12,000 --> 00:01:13,966
I wouldn't trade being here 
for the world.

31
00:01:14,066 --> 00:01:16,533
- I think it's going 
to be a great concert.

32
00:01:16,633 --> 00:01:20,066
- Funding for 
the 2017 State Honors Concerts

33
00:01:20,166 --> 00:01:22,366
is provided, in part, by

34
00:01:22,466 --> 00:01:24,800
A. Paul Jones Charitable Trust,

35
00:01:24,900 --> 00:01:28,300
and Friends 
of Wisconsin Public Television.

36
00:01:28,400 --> 00:01:31,400
[applause]

37
00:01:38,200 --> 00:01:43,200
[triumphant orchestral music]

38
00:02:47,166 --> 00:02:50,166
♪ ♪

39
00:03:50,233 --> 00:03:53,233
♪ ♪

40
00:04:53,300 --> 00:04:56,300
♪ ♪

41
00:05:56,366 --> 00:05:59,366
♪ ♪

42
00:06:59,433 --> 00:07:02,500
♪ ♪

43
00:07:33,033 --> 00:07:36,033
[cheers and applause]

44
00:07:43,666 --> 00:07:46,266
- Students are coming 
from all different backgrounds,

45
00:07:46,366 --> 00:07:48,333
small towns, the big city.

46
00:07:48,433 --> 00:07:51,433
- My name is Noah Struby. 
I'm from Mount Horeb.

47
00:07:51,533 --> 00:07:53,366
- Weyauwega, Wisconsin. 
- Reedsburg.

48
00:07:53,466 --> 00:07:54,866
- Rice Lake. 
- Stevens Point.

49
00:07:54,966 --> 00:07:56,866
- Oconomowoc. 
- Milwaukee, Wisconsin.

50
00:07:56,966 --> 00:07:59,133
- They come together 
and they're able to

51
00:07:59,233 --> 00:08:01,933
have this wonderful 
experience of a lifetime

52
00:08:02,033 --> 00:08:03,633
working together 
with other students

53
00:08:03,733 --> 00:08:05,966
just as passionate 
and gifted as they are

54
00:08:06,066 --> 00:08:08,033
to make this wonderful music

55
00:08:08,133 --> 00:08:12,200
under the direction 
of a nationally-known conductor.

56
00:08:12,300 --> 00:08:13,300
- Students come together

57
00:08:13,400 --> 00:08:16,433
in the summer 
for about three or four days

58
00:08:16,533 --> 00:08:18,533
with the clinician-- 
with the guest conductor--

59
00:08:18,633 --> 00:08:20,400
and prepare the music 
from scratch

60
00:08:20,500 --> 00:08:21,866
with that conductor.

61
00:08:21,966 --> 00:08:23,766
And then we go 
our separate ways

62
00:08:23,866 --> 00:08:25,866
and then we come back together 
in October

63
00:08:25,966 --> 00:08:27,066
here in Madison,

64
00:08:27,166 --> 00:08:30,300
and we rehearse, really, 
about a good solid day,

65
00:08:30,400 --> 00:08:32,766
and then present 
an evening performance.

66
00:08:32,866 --> 00:08:35,933
- There are many, many schools 
throughout Wisconsin

67
00:08:36,033 --> 00:08:38,066
that have 
fabulous music programs,

68
00:08:38,166 --> 00:08:39,866
but when you 
bring them together,

69
00:08:39,966 --> 00:08:41,866
it's amazing what they can do.

70
00:08:41,966 --> 00:08:44,233
It just makes me 
very proud of the students

71
00:08:44,333 --> 00:08:46,200
and watching them do 
what they love to do,

72
00:08:46,300 --> 00:08:47,566
and at such a high level.

73
00:08:50,233 --> 00:08:53,233
♪ ♪

74
00:09:04,066 --> 00:09:11,533
♪ Tis you that are the music, 
not your song

75
00:09:11,633 --> 00:09:20,166
♪ The song is but a door which, 
opening wide

76
00:09:20,266 --> 00:09:29,100
♪ Lets forth 
the pent-up melody inside

77
00:09:29,200 --> 00:09:37,900
♪ Your spirit's harmony, 
which clear and strong

78
00:09:38,000 --> 00:09:46,533
♪ Sings but of you

79
00:09:53,200 --> 00:10:02,733
♪ Tis you that are the music, 
not your song

80
00:10:02,833 --> 00:10:10,933
♪ The song is but a door 
which, opening wide

81
00:10:11,033 --> 00:10:20,600
♪ Lets forth 
the pent-up melody inside

82
00:10:20,700 --> 00:10:27,433
♪ Your spirit's harmony, 
which clear and strong

83
00:10:27,533 --> 00:10:37,533
♪ Sings but of you

84
00:10:43,533 --> 00:10:47,300
♪ Throughout 
your whole life long

85
00:10:47,400 --> 00:10:56,933
♪ Your songs, your thoughts, 
your doings, each divide

86
00:10:57,033 --> 00:11:04,166
♪ This perfect beauty, 
this perfect beauty

87
00:11:04,266 --> 00:11:10,500
♪ Waves within a tide, 
waves within a tide

88
00:11:10,600 --> 00:11:12,500
♪ Or single notes

89
00:11:12,600 --> 00:11:24,500
♪ Or single notes 
amid a glorious throng

90
00:11:24,600 --> 00:11:34,400
♪ The song of earth 
has many different chords

91
00:11:34,500 --> 00:11:43,600
♪ Ocean has many moods 
and many tones

92
00:11:43,700 --> 00:11:52,233
♪ Yet always ocean

93
00:11:56,933 --> 00:12:05,733
♪ So this is my music, 
so this is my music

94
00:12:05,833 --> 00:12:13,733
♪ With a thousand cadences, 
a thousand cadences

95
00:12:13,833 --> 00:12:19,600
♪ A thousand cadences

96
00:12:19,700 --> 00:12:27,033
♪ Tis you that are the music, 
not your song

97
00:12:27,133 --> 00:12:34,966
♪ The song is but a door 
which, opening wide

98
00:12:35,066 --> 00:12:41,000
♪ Lets forth the pent-up melody

99
00:12:41,100 --> 00:12:49,333
♪ Tis you that are the music

100
00:13:09,800 --> 00:13:16,966
♪ Lets forth 
the pent-up melody inside

101
00:13:17,066 --> 00:13:25,733
♪ Your spirit's harmony, 
which clear and strong

102
00:13:27,000 --> 00:13:34,733
♪ Sings but of you

103
00:13:34,833 --> 00:13:42,000
♪ Sings but of you

104
00:13:54,233 --> 00:13:57,500
[applause]

105
00:14:05,166 --> 00:14:07,133
- The great thing 
about wonderful music

106
00:14:07,233 --> 00:14:09,300
is that it's elastic.

107
00:14:09,400 --> 00:14:11,300
Pieces can go 
at different tempos,

108
00:14:11,400 --> 00:14:14,233
pieces can have different 
dynamic levels,

109
00:14:14,333 --> 00:14:16,500
pieces can have different 
interpretations.

110
00:14:16,600 --> 00:14:18,500
There' a lot of freedom 
for ideas.

111
00:14:18,600 --> 00:14:22,500
♪ If I ever 
had to choose between

112
00:14:22,600 --> 00:14:24,233
- Oh, my God! 
That was so perfect.

113
00:14:24,333 --> 00:14:25,433
Could you hear it?

114
00:14:25,533 --> 00:14:29,466
And ultimately it doesn't 
matter to the music,

115
00:14:29,566 --> 00:14:33,866
as long as they're convicted 
about their belief.

116
00:14:33,966 --> 00:14:36,100
And once they're convicted,

117
00:14:36,200 --> 00:14:38,500
there is an energy level 
that comes through the music

118
00:14:38,600 --> 00:14:40,333
that is much more powerful

119
00:14:40,433 --> 00:14:43,933
than if I simply prescribe it 
for them.

120
00:14:44,033 --> 00:14:46,966
And I would venture 
that ten years from now

121
00:14:47,066 --> 00:14:51,033
they won't all remember 
what the notes or words were

122
00:14:51,133 --> 00:14:55,100
but they'll remember 
how they felt when they did it.

123
00:14:55,200 --> 00:14:58,200
They'll have an emotional 
or even a spiritual memory

124
00:14:58,300 --> 00:15:01,166
of what making that music 
was like

125
00:15:01,266 --> 00:15:02,900
and how special it was.

126
00:15:03,000 --> 00:15:04,966
That process, to me,

127
00:15:05,066 --> 00:15:08,733
is what this entire endeavor 
is about.

128
00:15:10,600 --> 00:15:16,066
[bright piano music] 
♪ Inflammatus et accensus 
(Aflame and on fire)

129
00:15:16,166 --> 00:15:21,133
♪ Per te Virgo sim defensus 
(May I be defended by you 
Virgin)

130
00:15:21,233 --> 00:15:26,200
♪ In die judicii 
(On the day of judgement)

131
00:15:26,300 --> 00:15:31,533
♪ Inflammatus et accensus 
(Aflame and on fire)

132
00:15:31,633 --> 00:15:37,066
♪ Per te Virgo sim defensus 
(May I be defended by you 
Virgin)

133
00:15:37,166 --> 00:15:45,200
♪ In die judicii 
(On the day of judgement)

134
00:15:53,266 --> 00:15:59,333
♪ Fac me Cruce custodiri 
(Let me be guarded by the cross)

135
00:15:59,433 --> 00:16:04,866
♪ Morte Christi praemuniri 
(Fortified by Christ's death)

136
00:16:04,966 --> 00:16:07,466
♪ Confoveri 
(Cherished)

137
00:16:07,566 --> 00:16:10,500
♪ Confoveri 
(Cherished)

138
00:16:10,600 --> 00:16:15,433
♪ Confoveri gratia 
(Cherished by grace)

139
00:16:15,533 --> 00:16:18,266
♪ Confoveri 
(Cherished)

140
00:16:18,366 --> 00:16:23,333
♪ Confoveri gratia 
(Cherished by grace)

141
00:16:24,833 --> 00:16:29,666
♪ Confoveri 
(Cherished)

142
00:16:29,766 --> 00:16:35,433
♪ Confoveri gratia 
(Cherished by grace)

143
00:16:35,533 --> 00:16:40,466
♪ Confoveri 
(Cherished)

144
00:16:40,566 --> 00:16:45,933
♪ Confoveri gratia 
(Cherished by grace)

145
00:16:46,033 --> 00:16:49,033
[bright piano music]

146
00:16:56,266 --> 00:16:58,066
♪ ♪

147
00:17:03,733 --> 00:17:06,733
[melancholic piano music]

148
00:17:45,200 --> 00:17:59,666
♪ Quando corpus morietur 
(When my body dies)

149
00:17:59,766 --> 00:18:10,866
♪ Fac ut animae donetur 
(May my soul be granted)

150
00:18:10,966 --> 00:18:19,300
♪ Fac ut animae donetur 
(May my soul be granted)

151
00:18:19,400 --> 00:18:31,333
♪ Paradisi gloria 
(The glory of paradise)

152
00:18:35,633 --> 00:18:53,600
♪ Quando corpus morietur 
(When my body dies)

153
00:18:53,700 --> 00:19:05,933
♪ Fac ut animae donetur 
(May my soul be granted)

154
00:19:06,033 --> 00:19:16,866
♪ Paradisi gloria 
(The glory of paradise)

155
00:19:16,966 --> 00:19:27,466
♪ Paradisi gloria 
(The glory of paradise)

156
00:19:30,933 --> 00:19:44,466
♪ Paradisi gloria 
(The glory of paradise)

157
00:20:00,333 --> 00:20:02,333
♪ ♪

158
00:20:02,433 --> 00:20:04,900
♪ Amen

159
00:20:05,000 --> 00:20:06,900
♪ Amen

160
00:20:08,500 --> 00:20:11,433
♪ Amen, amen

161
00:20:11,533 --> 00:20:13,466
♪ Amen

162
00:20:17,866 --> 00:20:19,766
♪ Amen

163
00:20:24,733 --> 00:20:27,166
♪ Amen

164
00:20:27,266 --> 00:20:29,800
♪ Amen

165
00:20:29,900 --> 00:20:32,233
♪ Amen

166
00:20:32,333 --> 00:20:34,100
♪ Amen

167
00:20:34,200 --> 00:20:36,233
♪ Amen

168
00:20:36,333 --> 00:20:38,266
♪ Amen

169
00:20:48,066 --> 00:20:50,100
♪ Amen

170
00:20:50,200 --> 00:20:52,133
♪ Amen

171
00:20:53,133 --> 00:20:55,133
♪ Amen

172
00:20:55,233 --> 00:20:57,133
♪ Amen

173
00:21:03,233 --> 00:21:05,400
♪ Amen

174
00:21:05,500 --> 00:21:08,433
♪ Amen, amen, amen

175
00:21:10,033 --> 00:21:12,233
♪ Amen

176
00:21:12,333 --> 00:21:15,833
♪ Amen, amen, amen

177
00:21:15,933 --> 00:21:17,400
♪ Amen

178
00:21:17,500 --> 00:21:19,366
♪ Amen

179
00:21:22,733 --> 00:21:25,900
[applause]

180
00:21:35,066 --> 00:21:37,933
- Band, choir, orchestra...

181
00:21:38,033 --> 00:21:41,500
Those programs 
create this safe haven

182
00:21:41,600 --> 00:21:44,500
for a student 
to be who they are

183
00:21:44,600 --> 00:21:50,766
and to experience 
importance and individualism.

184
00:21:50,866 --> 00:21:52,900
There's no classicism in Band.

185
00:21:53,000 --> 00:21:56,466
This piece doesn't work unless 
we have great second clarinets.

186
00:21:56,566 --> 00:21:58,400
This kid who plays 
second clarinet

187
00:21:58,500 --> 00:22:00,133
can come into your band room

188
00:22:00,233 --> 00:22:03,733
and feel important 
because they are contributing

189
00:22:03,833 --> 00:22:05,566
to the whole

190
00:22:05,666 --> 00:22:07,966
and they feel like they 
have an important job

191
00:22:08,066 --> 00:22:10,466
and without them, 
that ensemble would be less.

192
00:22:10,566 --> 00:22:11,666
Nice try. 
[students laugh]

193
00:22:11,766 --> 00:22:12,833
Here we go.

194
00:22:12,933 --> 00:22:14,700
Two before 19.

195
00:22:14,800 --> 00:22:17,400
With everyone in the room 
playing.

196
00:22:17,500 --> 00:22:19,366
So you have this mixture;

197
00:22:19,466 --> 00:22:21,700
multi-cultural, 
multi-everything.

198
00:22:21,800 --> 00:22:23,600
And all those barriers 
break down

199
00:22:23,700 --> 00:22:26,933
and everybody works 
to the common good

200
00:22:27,033 --> 00:22:29,300
and again 
feels important in that.

201
00:22:29,400 --> 00:22:32,400
♪ ♪

202
00:33:13,466 --> 00:33:16,466
[applause]

203
00:33:23,733 --> 00:33:25,733
- Music is about human emotion.

204
00:33:25,833 --> 00:33:28,133
Composers pour their hearts 
and souls into the music

205
00:33:28,233 --> 00:33:30,666
and now we are recreating that.

206
00:33:30,766 --> 00:33:35,200
And the students are living that 
in a way that is truly unusual

207
00:33:35,300 --> 00:33:38,666
and we are so fortunate that we 
get to do something like this.

208
00:33:38,766 --> 00:33:40,133
I preach gratitude.

209
00:33:40,233 --> 00:33:42,600
And I tell these students, 
"How lucky are we

210
00:33:42,700 --> 00:33:44,666
to be able to share 
this experience together?"

211
00:33:44,766 --> 00:33:46,700
And they're responding 
really, really well.

212
00:33:46,800 --> 00:33:47,866
They get it."

213
00:33:47,966 --> 00:33:50,033
Can you guys really commit now 
at the end?

214
00:33:50,133 --> 00:33:52,133
Really commit. 
Big!

215
00:33:54,066 --> 00:33:55,433
Fabulous!

216
00:33:55,533 --> 00:33:57,200
So we had a rehearsal moment 
this summer

217
00:33:57,300 --> 00:33:59,366
when we were working 
on this next piece,

218
00:33:59,466 --> 00:34:01,700
and it just wasn't 
hanging together.

219
00:34:01,800 --> 00:34:05,100
And a bright light bulb 
went off and I said,

220
00:34:05,200 --> 00:34:07,600
"You're going to do this 
without a conductor."

221
00:34:07,700 --> 00:34:10,600
And they looked at me like, 
"What?!?

222
00:34:10,700 --> 00:34:12,233
No way." 
Right?

223
00:34:12,333 --> 00:34:15,600
Well what you're about to 
witness is a pretty tough piece

224
00:34:15,700 --> 00:34:17,533
where it doesn't even stay 
in the same tempo.

225
00:34:17,633 --> 00:34:19,133
And they're going to play it 
without conductor

226
00:34:19,233 --> 00:34:21,800
by using their ears, their eyes,

227
00:34:21,900 --> 00:34:24,400
and their good 
orchestral sensibilities.

228
00:34:24,500 --> 00:34:26,400
So I'm going to go back 
and listen.

229
00:34:26,500 --> 00:34:29,400
Here's Dvorak's 
"Slavonic Dance, No. 8."

230
00:34:32,333 --> 00:34:35,333
[upbeat orchestral music]

231
00:35:35,400 --> 00:35:38,400
♪ ♪

232
00:36:38,466 --> 00:36:41,466
♪ ♪

233
00:37:41,533 --> 00:37:44,533
♪ ♪

234
00:38:48,533 --> 00:38:51,533
♪ ♪

235
00:38:52,566 --> 00:38:55,566
[cheers and applause]

236
00:39:04,433 --> 00:39:06,800
- People who aren't musicians 
see conductors

237
00:39:06,900 --> 00:39:11,500
and they sort of perceive that 
it's a one-way conversation,

238
00:39:11,600 --> 00:39:13,666
and that the conductor is 
constantly giving information,

239
00:39:13,766 --> 00:39:17,133
whether that's through gesture 
or through speaking to them.

240
00:39:17,233 --> 00:39:19,433
But nothing could be 
further from the truth.

241
00:39:19,533 --> 00:39:22,800
A great conductor is one 
who is in constant conversation,

242
00:39:22,900 --> 00:39:25,300
receiving as much information

243
00:39:25,400 --> 00:39:27,300
as they are giving information.

244
00:39:27,400 --> 00:39:28,300
Good.

245
00:39:28,400 --> 00:39:29,933
If you sing it through 
an 'oosh face'

246
00:39:30,033 --> 00:39:31,200
it will be beautiful.

247
00:39:31,300 --> 00:39:33,266
So I have a passionate 
conviction about how I believe

248
00:39:33,366 --> 00:39:35,433
the music should be sung,

249
00:39:35,533 --> 00:39:37,666
but they come 
with their own preparation.

250
00:39:37,766 --> 00:39:41,133
And so as I'm listening, I'm 
melding what they bring to it,

251
00:39:41,233 --> 00:39:44,033
to what I conceive 
the music to be.

252
00:39:44,133 --> 00:39:46,566
And so 
there's this marvelous dialogue

253
00:39:46,666 --> 00:39:48,033
of collaboration.

254
00:39:48,133 --> 00:39:50,766
How can we conceive 
of this music together

255
00:39:50,866 --> 00:39:53,000
and make a powerful statement 
through it?

256
00:39:54,200 --> 00:39:56,966
[ethereal music]

257
00:40:08,566 --> 00:40:13,200
♪ Alone

258
00:40:13,300 --> 00:40:19,800
♪ Alone in the night

259
00:40:19,900 --> 00:40:31,400
♪ On a dark hill

260
00:40:31,500 --> 00:40:35,333
♪ With pines around me

261
00:40:35,433 --> 00:40:41,833
♪ Spicy and still

262
00:40:41,933 --> 00:40:46,666
♪ And still

263
00:41:03,633 --> 00:41:07,133
♪ And a heaven

264
00:41:07,233 --> 00:41:16,133
♪ A heaven 
full of stars over my head

265
00:41:16,233 --> 00:41:23,133
♪ Topaz and misty red

266
00:41:23,233 --> 00:41:32,933
♪ Myriads with 
beating hearts of fire

267
00:41:33,033 --> 00:41:40,533
♪ The aeons cannot vex or tire

268
00:42:17,566 --> 00:42:21,733
♪ And a heaven full 
of stars over my head

269
00:42:31,800 --> 00:42:35,933
♪ And myriads with 
beating hearts of fire

270
00:42:42,900 --> 00:42:46,166
♪ Heaven full of stars

271
00:42:54,266 --> 00:42:57,533
♪ Heaven full of stars

272
00:43:07,866 --> 00:43:18,666
♪ Ah Ah

273
00:43:18,766 --> 00:43:25,400
♪ Oh Mm

274
00:43:25,500 --> 00:43:31,066
♪ Oh Mm

275
00:43:31,166 --> 00:43:34,800
♪ I know

276
00:43:34,900 --> 00:43:38,333
♪ I am honored

277
00:43:38,433 --> 00:43:42,000
♪ To be witness

278
00:43:42,100 --> 00:43:49,400
♪ Of so much majesty

279
00:43:52,633 --> 00:43:57,500
♪ Majesty

280
00:44:15,866 --> 00:44:18,866
♪ ♪

281
00:44:19,933 --> 00:44:22,933
[applause]

282
00:44:31,866 --> 00:44:33,766
- I've always said,

283
00:44:33,866 --> 00:44:36,166
"You ever sit next to somebody 
that's better than you?

284
00:44:36,266 --> 00:44:37,400
What happens?"

285
00:44:37,500 --> 00:44:39,200
And they say, 
"It makes me a better player."

286
00:44:39,300 --> 00:44:41,733
Absolutely. 
It's like a magnet, 
it pulls you along.

287
00:44:41,833 --> 00:44:45,100
So I say to the student, "Well, 
why don't you be the magnet 
in this piece?

288
00:44:45,200 --> 00:44:47,400
You be the magnet 
that pulls everybody."

289
00:44:47,500 --> 00:44:49,366
It doesn't just change 
their perspective on music.

290
00:44:49,466 --> 00:44:51,600
It changes 
their perspective on life.

291
00:44:51,700 --> 00:44:54,766
And what 
they may be able to achieve.

292
00:44:54,866 --> 00:44:57,866
♪ ♪

293
00:45:57,933 --> 00:46:01,000
♪ ♪

294
00:47:01,066 --> 00:47:04,066
♪ ♪

295
00:48:04,133 --> 00:48:07,133
♪ ♪

296
00:49:07,200 --> 00:49:10,200
♪ ♪

297
00:50:00,200 --> 00:50:03,200
[cheers and applause]

298
00:50:11,333 --> 00:50:13,266
- I hope that they 
always remember the experience.

299
00:50:13,366 --> 00:50:15,933
The dedication and commitment 
to their passion,

300
00:50:16,033 --> 00:50:17,400
and to their instrument 
or their voice.

301
00:50:17,500 --> 00:50:19,300
I hope that they keep that 
with them

302
00:50:19,400 --> 00:50:23,600
and that they see 
that they can always be one--

303
00:50:23,700 --> 00:50:26,600
one step better than 
maybe where they were before,

304
00:50:26,700 --> 00:50:29,000
and that they can 
always reach that higher level.

305
00:50:29,100 --> 00:50:32,100
♪ ♪

306
00:50:37,333 --> 00:50:40,933
♪ Ain't no grave 
can hold my body down

307
00:50:41,033 --> 00:50:44,900
♪ There ain't no grave 
can keep a sista underground

308
00:50:45,000 --> 00:50:49,166
♪ Oh, I will listen 
for the trumpet sound

309
00:50:49,266 --> 00:50:53,266
♪ Ain't no grave 
can hold my body down

310
00:50:53,366 --> 00:50:56,966
♪ Ain't no grave can 
hold my body down

311
00:50:57,066 --> 00:51:01,600
♪ There ain't no grave can 
keep a sista underground

312
00:51:01,700 --> 00:51:05,500
♪ I will listen for 
the trumpet sound

313
00:51:05,600 --> 00:51:08,866
♪ Ain't no grave 
can hold my body down

314
00:51:08,966 --> 00:51:12,966
♪ You know they rolled 
a stone on Jesus

315
00:51:13,066 --> 00:51:17,300
♪ And then they tried to bury 
me, they tried to bury me

316
00:51:17,400 --> 00:51:20,400
♪ But then the Holy 
Ghost, he freed us

317
00:51:20,500 --> 00:51:21,766
♪ Came and freed us

318
00:51:21,866 --> 00:51:25,900
♪ So we could live eternally

319
00:51:26,000 --> 00:51:29,866
♪ Sista, you betta 
get your ticket

320
00:51:29,966 --> 00:51:33,266
♪ If you wanna ride

321
00:51:33,366 --> 00:51:37,933
♪ In the morning, when 
Jesus calls my number

322
00:51:38,033 --> 00:51:41,700
♪ I'll be on the other side

323
00:51:42,900 --> 00:51:46,066
♪ Ain't no grave 
can hold my body down

324
00:51:46,166 --> 00:51:50,233
♪ There ain't no grave 
can keep a sista underground

325
00:51:50,333 --> 00:51:54,533
♪ Oh, I will listen 
for the trumpet sound

326
00:51:54,633 --> 00:51:58,833
♪ Ain't no grave 
can hold my body down

327
00:51:58,933 --> 00:52:02,866
♪ Ain't no grave 
is gonna hold me

328
00:52:02,966 --> 00:52:06,933
♪ Ain't no man is gonna bury me

329
00:52:07,033 --> 00:52:10,833
♪ Ain't no serpent 
gonna trick me

330
00:52:10,933 --> 00:52:15,000
♪ Ain't no grave 
can hold my body down

331
00:52:15,100 --> 00:52:17,866
♪ I will 
[stomping and clapping on beat]

332
00:52:17,966 --> 00:52:20,033
♪ Fly to Jesus

333
00:52:20,133 --> 00:52:21,933
[stomping and clapping on beat]

334
00:52:22,033 --> 00:52:24,033
♪ In the morning

335
00:52:24,133 --> 00:52:25,933
[stomping and clapping on beat]

336
00:52:26,033 --> 00:52:27,933
♪ When I die

337
00:52:28,033 --> 00:52:30,900
[clapping on beat]

338
00:52:31,000 --> 00:52:31,933
♪ I know

339
00:52:32,033 --> 00:52:33,766
[stomping and clapping on beat]

340
00:52:33,866 --> 00:52:35,833
♪ He will take me

341
00:52:35,933 --> 00:52:37,800
[stomping and clapping on beat]

342
00:52:37,900 --> 00:52:39,966
♪ Home to live with

343
00:52:40,066 --> 00:52:41,900
[stomping and clapping on beat]

344
00:52:42,000 --> 00:52:46,700
♪ Him on high 
[clapping on beat]

345
00:52:46,800 --> 00:52:50,533
♪ I will fly with 
Jesus in the morning

346
00:52:50,633 --> 00:52:54,300
♪ Don't look here, 
I'll be way up in the sky

347
00:52:54,400 --> 00:52:58,200
♪ Soon one day, 
He's gonna call me up to heaven

348
00:52:58,300 --> 00:53:01,433
♪ For a chariot ride

349
00:53:02,633 --> 00:53:05,933
♪ Ain't no grave 
can hold my body down

350
00:53:06,033 --> 00:53:10,166
♪ There ain't no grave 
can keep a sista underground

351
00:53:10,266 --> 00:53:14,466
♪ Oh, I will listen 
for the trumpet sound

352
00:53:14,566 --> 00:53:18,566
♪ Ain't no grave 
can hold my body down

353
00:53:18,666 --> 00:53:22,433
♪ Ain't no grave 
can hold my body down

354
00:53:22,533 --> 00:53:26,933
♪ There ain't no grave 
can keep a sista underground

355
00:53:27,033 --> 00:53:30,700
♪ I will listen for 
the trumpet sound

356
00:53:30,800 --> 00:53:34,966
♪ Ain't no grave 
can hold my body down

357
00:53:35,066 --> 00:53:37,800
♪ Ain't no grave

358
00:53:39,166 --> 00:53:41,900
♪ Ain't no grave

359
00:53:43,100 --> 00:53:45,866
♪ Ain't no grave

360
00:53:47,266 --> 00:53:49,133
♪ Ain't no grave

361
00:53:49,233 --> 00:53:51,200
♪ I said no, no, 
no, no, no, no, no

362
00:53:51,300 --> 00:53:52,700
♪ Ain't no grave

363
00:53:52,800 --> 00:53:55,133
♪ Ain't playin', 
no grave could hold me

364
00:53:55,233 --> 00:53:56,633
♪ Ain't no grave

365
00:53:56,733 --> 00:53:59,400
♪ No grave could hold my body

366
00:53:59,500 --> 00:54:03,433
♪ Ain't nobody can hold me

367
00:54:03,533 --> 00:54:06,266
♪ Ain't no grave

368
00:54:07,766 --> 00:54:10,533
♪ Ain't no grave

369
00:54:11,933 --> 00:54:15,333
♪ Ain't no grave

370
00:54:15,433 --> 00:54:19,000
♪ Ain't no grave dug 
deep enough to hold me

371
00:54:19,100 --> 00:54:22,800
♪ Ain't no devil that's 
slick enough to trick me

372
00:54:22,900 --> 00:54:26,600
♪ Ain't no grave digga 
man enough to bury me

373
00:54:26,700 --> 00:54:30,800
♪ You can't hold me down

374
00:54:30,900 --> 00:54:34,566
♪ Ain't no grave 
can hold me down

375
00:54:34,666 --> 00:54:38,666
♪ You can't keep me underground

376
00:54:38,766 --> 00:54:42,700
♪ When the silver trumpet sounds

377
00:54:42,800 --> 00:54:46,533
♪ Ain't no grave 
can hold me down

378
00:54:46,633 --> 00:54:50,633
♪ No grave, no grave 
ever been dug, dug so low

379
00:54:50,733 --> 00:54:54,133
♪ No grave digga ever 
been born so, so strong

380
00:54:54,233 --> 00:54:58,266
♪ No grave, no grave 
ever been dug, dug so low

381
00:54:58,366 --> 00:55:02,233
♪ No grave digga ever 
been born so, so strong

382
00:55:02,333 --> 00:55:06,200
♪ No grave, no grave 
ever been dug, dug so low

383
00:55:06,300 --> 00:55:10,966
♪ No grave digga ever 
been born so, so strong

384
00:55:11,066 --> 00:55:13,266
♪ Ain't no man that can

385
00:55:13,366 --> 00:55:16,100
♪ Ain't no devil can

386
00:55:16,200 --> 00:55:19,066
♪ Ain't no grave

387
00:55:19,166 --> 00:55:22,133
♪ Can hold

388
00:55:22,233 --> 00:55:24,000
♪ Me

389
00:55:26,533 --> 00:55:32,100
♪ Ain't no grave

390
00:55:32,200 --> 00:55:36,033
♪ That goes so

391
00:55:36,133 --> 00:55:37,966
♪ Low

392
00:55:41,800 --> 00:55:49,233
♪ Ain't no grave dug low enough

393
00:55:49,333 --> 00:55:52,833
♪ Down

394
00:55:52,933 --> 00:55:55,833
[choir vocalizing]

395
00:56:04,100 --> 00:56:07,100
[cheers and applause]

396
00:56:34,466 --> 00:56:37,733
- Funding for 
the 2017 State Honors Concerts

397
00:56:37,833 --> 00:56:39,766
is provided, in part, by

398
00:56:39,866 --> 00:56:42,666
A. Paul Jones Charitable Trust,

399
00:56:42,766 --> 00:56:45,433
and Friends of 
Wisconsin Public Television.