Act 2

David and Goliath

1988

Traditional - in the style of Take 6

arr. Mark Kibble
Lyndsey Gore, Micah Hendler, Charlie Ibsen, Karalyn Joseph, Andrew Ross, and Sam Scarrow, chamber ensemble

  • The story of David and Goliath has persisted for millennia chiefly due to its metaphorical significance. It inspires underdogs throughout space and time to face impossible challenges and succeed through the power of doing the right thing. To anyone facing their own Goliath, whether it’s learning a particularly dense Take 6 arrangement, fighting ceaselessly to restore political sanity, and everything in between — I hope this piece reminds you that your efforts are worthwhile, and your story is worth singing about.

    - Charlie Ibsen, tenor

  • David was a young blood; David was a stripling
    But he looked like the jungle boy that was talked about by Kipling
    Well, he looked like a jungle boy and he sang like a bird
    (But the fought like the devil when his temper got stirred)

    When David was attending sheep for his pa
    Somebody hollered, I think it was his ma
    She said "Hurry to the field with this little-bitty sack
    I want you to take it to your Brothers, but hurry right back"

    Now David took his lunch box, and off he hurried
    There he saw the Israelites lookin' right worried
    When he asked them what the problem was, they pointed to the prairie
    There he saw a sight to make an elephant scary

    Oh, there he saw Goliath, champion of Gath
    He roared in his anger, howled in his wrath
    Oh, he was stronger than a lion, he was taller than a tree
    Little David had to tiptoe just to reach up to his knee

    "Come on!" said the giant, raging and striding
    "Bring out your strongmen from where y' got 'em hiding
    Drag out your champions from under the bunks
    I'll feed 'em to the buzzards, the lizards and the skunks"

    Now David heard him bragging, and said, "I declare
    That giant's got an awful lot of mouth up there"
    So he strolled to the brook, and he picked up a pebble
    It was smooth as ice, but hard as a devil

    He starts out for the giant, dancing on his toes
    He was whirling away with his slingshot
    He was singing a song like so… goes:
    "Rock of ages, cleft for me" – like so

    The giant looks at David and lets out a laugh
    He laughs like a tiger being sassed by a cat
    He laughs like a hyena, grins from ear to ear
    Ba-Ba-Ba-Bangin' on his armor with his ten-foot spear

    He starts out for David, bangin' and a-clankin'
    He said, "Come here, Junior! I'm gonna give you a spankin'!"
    David took his slingshot, and swung it 'round his head
    Out flew that pebble and the giant dropped — dead!
    You know little David made a good shot!

Give Us Power

1987

Mbongeni Ngema
arr. Ysaye M. Barnwell

  • I learned this song from my teacher and mentor Dr. Ysaye Barnwell, the renowned composer, educator, and former member of Sweet Honey in the Rock, who has dedicated her life to the power of communal singing. Dr. Barnwell teaches that when we sing together, we create something greater than the sum of our individual voices—we build community, we find strength in unity, and we remember that we are not alone in our struggles or our hopes.

    In Dr. Barnwell's tradition, songs are not performed for an audience but with a community. Today, we invite you to join us in singing "Give Us Power." You don't need to read music or consider yourself a singer—you simply need to be willing to lend your voice. As we teach you the parts, listen for the harmonies that emerge when our voices weave together. Feel how the act of breathing and singing in rhythm with others creates an immediate sense of connection.

    This practice of communal singing has roots in African American spiritual and freedom song traditions, where music was essential for survival, resistance, and joy. When we sing together, we tap into that legacy—we claim our collective power, we affirm our shared humanity, and we remind ourselves that change happens when we raise our voices together.

    So please, stand with us. Sing with us. Let's discover together what it means to give ourselves power through song.

    - Micah Hendler, tenor

Symptom of Life

2024

opb Willow
arr. Andrew Ross for The Capital Hearings
Leila Schochet, soloist

  • Symptom of Life, by Willow, is most definitely a pop song, but with its unusual harmonies and mostly-7/4 time signature, you just knew the Caps were going to perform it, right? In this song, Willow explores her feelings about beauty, religion, identity, nature, and our responsibility to heal the world. She is trying extremely hard to keep the faith, but at the same time trying to determine what she believes. The results are crunchy and melodious.

    - Andrew Ross, bass

  • Pushing and peeling myself out of my disguise
    Looking at you, now I am wondering who am I
    If I could try to take you back, I couldn't define

    Feeling absence of time
    Knowing all is decided
    There's nothing here left to find
    The story's all in my mind

    Pushing and peeling the layers that cover my mind
    Looking into the shadow, now I notice the light
    Magic is real, when you see it inside, you decide

    It's like a snake shedding skin
    Creating life to begin
    And all you know has vanished again
    Transcending virtue and sin


    CHORUS:

    Feast my eyes on lower things while beauty is a symptom of life
    Gotta decide if I'm gonna see it, why?
    Feast our eyes on lower things when suffering is craving the light
    Gotta decide how we're gonna heal it, why?
    Feast my eyes on lower things while beauty is a symptom of life
    Gotta decide if I'm gonna see it, why (why do we?)
    Feast our eyes on lower things when suffering is craving the light
    Gotta decide how we're gonna heal it, why? Yeah
    Gotta decide how we're gonna feel it, I’m (desperately)
    Trying to find out


    Gotta know that life is fragile
    Gotta know, but gotta go
    I stood in awe inside a temple of a God
    I didn't know wanna go
    Find the one who understands
    Why we wait for pain to change us
    To let me know that life is fragile


    It's like a turtle in sand
    Making way to the ocean
    Almost meeting the end
    Because the birds are in motion, oh

Hear My Prayer, O Lord

17th Century

Henry Purcell

  • Purcell’s Hear My Prayer, O Lord sets just a single verse of Psalm 102, yet within its brevity lies extraordinary emotional weight. The anthem unfolds from hushed supplication to impassioned cries, capturing both the vulnerability and persistence of faith in times of distress. Purcell gives voice to raw honesty before God: not polished confidence, but the urgent cry of trust that endures even in suffering—reminding us to keep the faith when hope feels distant. 

    - Ryan McCarty, baritone

  • Hear my prayer, O Lord,
    And let my crying come unto thee.

Samson

2021

opb Regina Spektor
arr. Alex Ratner, adapted by Mariah Lancaster
Regina Dagenhardt, Rachel Gonsenhauser, Mariah Lancaster, Leila Schochet, chamber ensemble

  • A modern take on a tale of biblical proportions, the artist sings of their Samson. 

    The original story of Samson tells of his Herculean power, derived from his uncut hair. Ultimately, the person he loved uncovered the source of his strength and betrayed his secret, culminating in Samson’s downfall as he brought temple columns down upon himself and his captors.

    In Spektor’s version, we sing instead of a faithful love - illustrated by a simple, routine morning. While historians record the dramatic arcs of life, the quieter moments are left unwritten and undocumented. Spektor sings from a woman’s perspective, performed today by a quartet of high voices, recalling the strength of a gentle love otherwise lost to the ages.

    - Mariah Lancaster, alto

  • You are my sweetest downfall
    I loved you first, I loved you first
    Beneath the sheets of paper lies my truth
    I have to go, I have to go
    Your hair was long when we first met

    Samson went back to bed
    Not much hair left on his head
    He ate a slice of wonder bread and went right back to bed
    And history books forgot about us and the bible didn't mention us
    And the bible didn't mention us, not even once

    You are my sweetest downfall
    I loved you first, I loved you first
    Beneath the stars came fallin' on our heads
    But they're just old light, they're just old light
    Your hair was long when we first met

    Samson came to my bed
    Told me that my hair was red
    Told me I was beautiful and came into my bed
    Oh I cut his hair myself one night
    A pair of dull scissors in the yellow light
    And he told me that I'd done alright
    And kissed me 'til the mornin' light, the mornin' light
    And he kissed me 'til the mornin' light

    Samson went back to bed
    Not much hair left on his head
    Ate a slice of wonderbread and went right back to bed
    Oh, we couldn't bring the columns down
    Yeah we couldn't destroy a single one
    And history books forgot about us
    And the bible didn't mention us, not even once

    You are my sweetest downfall
    I loved you first

[    I AM    ]

2023

Stan Walker
arr. Micah Hendler for The Capital Hearings
MG Camarillo & Rachel Gonsenhauser, soloists

  • Stan Walker's "I AM" emerged as an anthem of Indigenous resilience, created for a film exploring shared human experiences of injustice across cultures. The song gained worldwide attention when the New Zealand government began rolling back Māori rights, even attempting to reinterpret the historic treaty guaranteeing Māori protections. In response, people globally posted videos performing haka over "I AM" on TikTok, expressing solidarity with Māori struggles that resonated with their own experiences of oppression and cultural marginalization.

    In preparing this piece, we were honored to work directly with master musicians from Te Pā Tū, who guided us in proper pronunciation and shared the deeper meanings behind each Māori lyric. We also connected with Stan Walker himself, who shared his intentions for writing the song and graciously gave his blessing for the Capital Hearings to perform it.

    Inspired by that viral campaign of global solidarity, we layered three additional songs into our arrangement—each speaking to the resilience of Indigenous and oppressed peoples. Most significantly, we connected with the Piscataway Indian Nation, the Indigenous people of the Washington, DC area, who generously shared one of their songs with their blessing and gratitude. This arrangement thus becomes a musical bridge, explicitly connecting Indigenous erasure and resilience across different contexts and histories, performed in the spirit of acknowledgment, solidarity, and respect.

    - Micah Hendler, Tenor

  • We are the color, felt in the spring
    You are the wind, breathe into me
    You inherit me, I inherit you
    I am the language you speak to me

    As far as the eye can see, everything has changed
    Tell me how can we stand by? I don′t wanna be the same!

    He toiora ahau nōu (I am a living treasure for/of you)
    Te toi nō Kurawaka (The essence of Kurawaka)
    Taku rongomaiwhiti e (My message comes forth)
    Tākiri ko te haeata (Dawn is breaking)
    Anga atu ki te rā (Turn toward the sun)
    Whiti, whiti ki te ora e (Shine, shine to life)

    We are the waters, the rivers and streams
    Flow through the armor of a dying breed
    I am with you and you are with me
    Baptized in fire, we're lions in the ring

    Hou mai rā tō rongo e (Bring forth your message)
    Hou mai rā tō karere (Bring forth your messenger)
    Mau tonu e (Hold fast)

    Tūturu whakamaua kia tina (Firmly establish so it is secure)
    Tina! (Secure!)
    Haumi e (Join together)
    Hui e (Gather)
    Tāiki e. (Unite.)

    ***

    Additional Songs:

    “We Will Not Forget” - by Randy Preston, Piscataway Emissary

    On the shores of the Rappahanock,
    By the mighty Patawomac,
    On the banks of the Patuxent,
    My people lived and loved, and laughed, and cried;
    My people lived and loved, and learned, and thrived!

    Oh, you are not forgotten
    Oh, we will not forget
    Oh, you are not forgotten
    Oh, we will not forget

    “Nassam Aleina el Hawa” - by the Rahbani Brothers, opb Fairuz

    نسم علینا الهوا
    من مفرق الوادي
    یا هوا دخل الها
    خذني على بلادي

    The air breezed upon us
    From the split of the valley
    Oh breeze, for love's sake
    Take me to my homeland.

    “Ain’t Gonna Let Nobody Turn Me ‘Round” - from the African American Tradition

    Ain’t gonna let nobody turn me ‘round, 
    Turn me ‘round, turn me ‘round
    Ain’t gonna let nobody turn me ‘round,
    I’m gonna keep on walkin’
    Keep on talkin’
    Marchin’ up to freedom land.

  • The Piscataway Indian Nation is a confederacy of tribes loyal to a hereditary Emperor, or Tayac. The Piscataway Indian Nation has occupied its territory, which encompasses the entire state of Maryland, all of Washington, D.C., and parts of Pennsylvania and Virginia, for over 15,000 years. In the early 1600s, when the first discoverers and colonial settlers from England arrived on the Eastern shores of what is now Maryland, the Piscataway Indian Nation and the Tayac of the time greeted them with friendship, gave them land on which to live, and engaged with them in trade.

    From their original tentative beginnings, the British colonies steadily grew, and after the United States gained its independence from Britain, the United States continued that growth exponentially. In the process, the Piscataway Indian Nation and its confederated tribes were displaced from their ancestral homelands and excluded from full participation in the United States’ social, economic and political spheres. This 400-year disenfranchisement had a devastating impact on the Piscataway Indian Nation’s culture, economy, and ability to govern.

    Over the last 100 years, the Piscataway Indian Nation has regained a position of strength, due to the tireless efforts of the 27th Hereditary Chief Turkey Tayac, who was instrumental in the Indigenous Civil Rights Movement; the 28th Hereditary Chief Billy Redwing Tayac, who effected the consolidation of the Indigenous People of Maryland back under the banner of Piscataway Indian Nation; and the current 29th Hereditary Chief Mark Tayac, whose leadership stresses building bridges of friendship with organizations like yourselves. The Piscataway Indian Nation is now on the verge of blossoming into a robust new era of cultural, spiritual, and economic vitality. This resurgence offers the Piscataway Indian Nation the opportunity to once again make its immense ancestral wisdom and Indigenous Knowledge available for the benefit of all Americans.

    Current Initiatives

    The Piscataway Indian Nation is currently focused upon these interrelated, interdependent initiatives:

    1) Repatriation of our ancestors
    2) Land acquisition and return
    3) Indigenous cultural centers
    4) Economic sovereignty

    To learn more about how you can participate in these initiatives, please contact:

    Adam David Greene
    Emissary of the Great Tayac of the Piscataway Indian Nation to the Indigenous European People in the Western Hemisphere
    Email: Emissary_Greene@PiscatawayIndianNation.org
    Cell: 845-943-0552 

    Donations may also be sent directly to:

    PISCATAWAY INDIAN NATION
    P.O. Box 312
    Port Tobacco, MD 20677

Dog Days Are Over

2009

opb Florence & The Machine
arr. Katherine Bodor
Mariah Lancaster, soloist

  • The term ‘dog days’ refers when Sirius, the Dog Star, appears in the sky just before the Sun which was believed to mark the beginning of the hottest days of the year. When the star is closest, animals become languid and sleepy, and as it moves away, they wake back up.

    The title was inspired by a work by the Swiss artist Ugo Rondinone: The words displayed in large, rainbow coloured letters on the side of London’s South Bank's Hayward Gallery. 

    This is a song about rediscovering joy even when you’ve lost faith. How even when the world has convinced you that it’s all gone to the dogs, one day you just may be surprised. Releasing pain empowers us to embrace a future teeming with potential. When the world feels dark - we must chase the light. 

    - Mariah Lancaster, alto

  • Happiness, hit her like a train on a track
    Coming towards her, stuck still no turning back
    She hid around corners and she hid under beds
    She killed it with kisses and from it she fled
    With every bubble she sank with a drink
    And washed it away down the kitchen sink

    The dog days are over
    The dog days are done
    The horses are coming so you better run

    Run fast for your mother run fast for your father
    Run for your children for your sisters and brothers
    Leave all your love and your longing behind you
    Can't carry it with you if you want to survive

    The dog days are over
    The dog days are done
    Can't you hear the horses
    'Cause here they come

    And I never wanted anything from you
    Except everything you had
    And what was left after that too, oh

    Happiness hit her like a bullet in the back
    Struck from a great height
    By some man who should know better than that

    The dog days are over
    The dog days are done
    Can you hear the horses
    'Cause here they come

Please join us for a post-concert reception! Venue to be announced from the stage

This performance is dedicated to
Jay Cunningham and Rhonda Cohen

  • Bringing together repertoire from many diverse traditions, The Capital Hearings illuminate commonalities between songs of all styles, from all eras – and the communities that birthed them. Our genre-busting mission unites complex jazz, transcendent global and classical music, and dynamic modern hits into a thought-provoking message. The Capital Hearings break down barriers and prompt our audiences to build new bridges of understanding.

  • Regina Dagenhardt, soprano
    Heather MacDonald, soprano
    Karalyn Joseph, mezzo
    Leila Schochet, mezzo
    Lyndsey Gore, alto
    Rachel Gonsenhauser, alto
    Mariah Lancaster, alto
    Ramya Prabhakar, alto
    Micah Hendler, tenor & vocal percussion
    Charlie Ibsen, tenor
    Sam Scarrow, tenor
    Dileep Srihari, tenor
    MG Camarillo, baritone
    Ryan McCarty, baritone
    Andrew Ross, bass

  • ADMINISTRATION
    Cristina Lopez, General Manager

    Board of Directors 2025:
    Rachel Gonsenhauser, President
    Ryan McCarty, Treasurer
    Dileep Srihari, Secretary
    MG Camarillo, At-Large

    Miranda Bogen, Program Design

    ENSEMBLE:
    Music Team: Heather MacDonald (lead), Lyndsey Gore, Micah Hendler, Ryan McCarty, Ramya Prabhakar

    Culture Team: Rachel Gonsenhauser (lead), Regina Dagenhardt, Leila Schochet

    Outreach Team: Cristina Lopez (lead), MG Camarillo, Lyndsey Gore

  • The Capital Hearings are proud to be an Ensemble-In-Residence at All Souls Episcopal Church in the Woodley Park neighborhood of Washington, DC. We are grateful to their parish, vestry, and staff for their support in providing our weekly rehearsal home.

    Additionally, the performers offer profound thanks to these incredible partners in bringing our music to the stage:

    Our Families and Friends
    Contemporary A Cappella League (CAL)
    Chorus America
    DC Commission on the Arts and Humanities
    First Congregational United Church of Christ
    National Cherry Blossom Festival

    Byron Adams
    Tom Andrew
    Lynn Krynicki Bayer
    Shane Scott Cook
    Nicole Cummings
    David Gradin
    Patience Rowe
    Cristina Lopez
    David Markey
    Andrea Meier
    Mother Sara Palmer
    Jim & Mary Shaffran
    Brittany Shemuga

  • As a 501(c)(3) organization, The Capital Hearings offer sincere gratitude to Lena Abu-Ali, Dileep Srihari, and Alex Swartsel for their generous support.

This project was supported by the
DC Commission on the Arts and Humanities.