Alimental
Songs of hunger and harvest
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Program notes by Holt Skinner and Adrienne Pedrotti Bingamon
Oy comamos y bebamos
Juan del Encina (1469–c.1530)
ft. Jenny Houghton, Eric Newell
We begin our feast with one of the most vibrant examples of a choral feast song, written by the "patriarch of Spanish theater" for the court of Ferdinand and Isabella. This villancico is a lively appeal to celebrate Fat Tuesday (Mardi Gras) to its fullest extent. The text reflects a visceral, almost desperate need to "stuff our bellies" and "fill up our wineskin" because, as the recurring refrain warns, "tomorrow we fast" for Lent. Spanish Text Oy comamos y bebamos Y cantemos y holguemos, Que mañana ayunaremos. Por onrra de Sant Antruejo Parémonos oy bien anchos. Enbutamos estos panchos, Rrecalquemos el pellejo. Que costumbres de concejo Que todos oy nos hartemos, Que mañana ayunaremos. Honrremos a tan buen santo Porque en hambre nos acorra. Comamos a calca porra, Que mañana hay gran quebranto Comamos bebamos tanto Hasta que nos rrebentemos, Que mañana ayunaremos. “¡Beve, Bras! Más tu, Beneyto, Beva Pidruelo y Llorente!” “¡Beve tú primeramente, Quitarnos has deste preito!” “En beber bien me deleyto; ¡Daca, daca! Beberemos, Que mañana ayunaremos.” English Translation Refrain Today let’s eat and drink And sing and enjoy ourselves, Because tomorrow we fast. In honor of St. Antruejo Let’s go the whole hog, Let’s stuff our bellies, Let’s fill up our wineskin. It’s a long-standing custom That we stuff ourselves full today, Because tomorrow we fast. Let’s honor the good saint So he will soothe us when we’re starving. Let’s eat hand and mouth, Because tomorrow we tighten our belts. Let’s go on eating and drinking now, Until we burst, Because tomorrow we fast. “Drink up, Bras! You too, Beneyto! Drink up, Pedro and Llorente!” “You drink first, No need to argue about it!” “I love drinking; So come on then! Let’s all drink, Because tomorrow we fast.”
Kaladō
Latgallian Folksong arr. Juris Vaivods
ft. Cassidy Wallace, Kory Farquhar
Shifting from the Spanish Renaissance to the Northern winter solstice, this Latvian folk song explores the struggle between darkness and light. The lyrics depict a homestead where the table is laden with peas, bacon buns, and a pig's snout. In this tradition, nothing was wasted, and the arrival of Dieviņš (God) at the door suggests that the divine is present in the act of sharing a meal during the year's darkest time. Vaivods's arrangement captures the warmth of the hearth and the spiritual endurance necessary to survive the Northern winter. Latgallian Text Atīdami Zīmassvātki, Kū jyus lobu atnasuši? Klāvā raibu raibaleiti, Stallī siermu kumeleņu, Dasu kuļi mugurāi. Atīdami Zīmassvātki Atnas dasu ļelu kuļi, Puišim dasu nadūsimi, Puiši cyuku nabarōja. Lai ād puiši zyrga dasys. Uz brōleišim gostūs gõju, Vucyn' golva kuleitēi, Ka brōleiši namīlõsi, Grausšu sovu vucyn' golvu. English Translation Christmas is coming, What goodies will you bring? A spotted cow in a barn. A grey foal in a stable. A sack of sausages on your back. Christmas is coming. Bringing a huge sack of sausages. The boys will not get these sausages, Because they did not feed the pigs. Let them eat horse-meat sausages! I visited my cousins. Took a ram's head in a bag. If my cousins will not welcome me, I'll gnaw on my ram's head!
Beautiful Soup
Irving Fine (1914–1962) arr. John Hopkins
Three Choral Settings from Alice in Wonderland
Neoclassical composer Irving Fine brings the sophisticated rhythmic clarity of his style to the absurdism of Lewis Carroll’s Alice in Wonderland. Fine used a sophisticated choral idiom to elevate nonsense verse into high art. In this movement, we celebrate the "soop of the evening" through the Mock Turtle’s irrational and sensory song, reminding us that our relationship with food is often as much about humor and delight as it is about nutrition. Beautiful Soup, so rich and green, Waiting in a hot tureen! Who for such dainties would not stoop? Soup of the evening, Beautiful Soup! Who cares for fish, Game, or any other dish? Who would not give all else for Beautiful Soup?
Mashed Potato/Love Poem
Music by Paul Carey, Text by Sidney Hoddes
Play with Your Food
This piece serves as the middle movement in a larger work by American composer Paul Carey called "Play With Your Food". Of the work, Carey says: "Sidney Hoddes' Mashed Potato/Love Poem muses about love... I felt this little story really needed to be set musically in a very lush way to reflect the protagonist's passion for comfort food, thus the use of plenty of warmly inviting major seventh harmonies and delicious moving lines. The middle section even contains some delirious la, la, la-ing as visions of cholesterol (the good cholesterol, of course!) dance above our hero's head. Food is our sustenance, of course, but additionally it affords great human pleasure."
Laulu perunoiden kiehuessa
Music by Anna-Mari Kähärä, Text by Jokka Itkonen
ft. Katie Gleason, Michel Kennell
This Finnish "Song While Potatoes are Boiling" explores the domestic meditation of food preparation. The narrator sings to trees, sky, raisins, and butter while waiting for the water to boil, turning a mundane kitchen chore into a period of stillness and contentment. The act of boiling potatoes becomes a rhythmic anchor for the singer’s internal monologue, proving that "nothing prevents me from singing". Musically, the bubbling water serves as an implicit ostinato for this celebration of the repetitive rhythms involved in providing for oneself and others. Finnish Text Laulan laulun vedelle, laulan laulun puille, laulan laulun sinulle, kenellepä muille. Laulan valon taivaalle, laulan polun tänne, ja jos tänne tulette, niin olen ystävänne. Laulan lähteen silmästä ja metsän siimeksestä, laulan, sillä eihän minua mikään laulamasta estä. Laulan veden kuplimaan ja perunoita keitän. Laulan tikkataulunkin ja siihen nuolen heitän. Laulan laulun simalle, laulan rusinoille, laulan laulun leivälle, laulan laulun voille. Laulan pöytään lautaset, veitset, haarukatkin. Laulan laulun linnuille ja lähdevettä latkin. Laulan elonpäiville, laulan kuolemalle, jonka laitan nukkumaan kynnysmaton alle. Laulan, koska laulattaa, laulan, koska laulan, kunnes kylmä kulkija lyö kieleen rautanulan. English Translation I sing a song to the water, a song to the trees. I sing a song to you, to whom else. I sing a song to the sky of light, a song to the path here. And if you come here, then, I am your friend. I sing, from the spring's eye and the forest's branches, Because nothing prevents me from singing. I sing to the water bubbling and I boil potatoes. I sing to the dartboard and I throw the ball at it. I sing to the honey, I sing to the raisins, I sing to the bread, I sing to the butter. I sing to the plates on the table, knives and forks too. I sing to the birds and the ladles too. I sing to the days of life, I sing to death, which I put to sleep under the threshold mat. I sing, because it makes you sing, Until the cold traveler hits, an iron nail on the tongue.
I Eat Alone
Thomas LaVoy
ft. Heather Lewis, Kylie Jensen, Jen Wang
I Eat Alone was commissioned as a part of the #MidwestHungerIs campaign at the Writing Center of Michigan State University and was premiered by the MSU Women’s Chamber Ensemble, conducted by Dr. Sandra Snow, in 2016. This piece is based on a selection of writings that were submitted as a part of the campaign, the final text being an amalgamation of the ideas of several female participants at various stages of life; “young motherhood,” “mid-life” and “old age.” The work tracks the occurrence of eating alone throughout these stages, progressing from a rare moment of welcome solitude in young motherhood, to a common occurrence in mid-life, and finally to a cause for outright loneliness in old age. With the constant false/cross relations between D natural and D flat, much of this work is modally in the form of a deconstructed B flat blues scale, with the D flat major chord being based on one of the blue notes. The dirge-like harmonic progression found in much of the piece is reminiscent of a short passacaglia and creates a feeling of uncertainty, darkness, and loneliness. — Thomas LaVoy In young motherhood I hungered for safety. On the news, flashing lights; people falling victim; they are not reporting the shooters' names. I eat with my 2 year old son. I try to make it special, he knows that when there's food we will have fun. Sometimes I eat alone. In mid-life, alone once more, I hungered for knowledge; a deeper, more demanding hunger. Time to do the things that matter, to watch my daughter grow. I share some meals with a neighbor, she is too unwell to cook. I mostly eat alone. I am housebound; Disability voided my dreams to give and serve. Old age; the dignity aging so often steals, that gnaws at our rib cage like starvation. I eat alone.
I Hunger and Thirst
Traditional Shaker Song arr. Kevin Siegfried
ft. André Trahan
“I Hunger And Thirst” was written for performance at the Maine Festival of American Music, and premiered at Sabbathday Lake Shaker Village by The Portsmouth Singers, directed by Kevin Siegfried. The unison Shaker song originated at Alfred, Maine in 1837. Siegfried’s arrangement is based on a version of the tune as sung by Sister R. Mildred Barker (1897-1990). The song still survives in oral tradition today, and is a favorite of members of the United Society of Shakers at Sabbathday Lake, Maine. — Kevin Siegfried I hunger and thirst after true righteousness; In what I’ve obtained my soul cannot rest. An ocean I see without bottom or shore, O feed me I’m hungry, enrich me I’m poor. I will cry unto God, I never will cease, Till my soul’s filled with love, perfect love and sweet peace.
As Pants the Hart (HWV 251b)
G.F. Handel (1685–1759); Psalm 42
ft. Kory Farquhar, Chris Tuggey, Robert Harlan
Composed for the Duke of Chandos, this anthem compares the soul's longing for God to a deer's desperate need for water. Handel adapted this text several times over twenty years, and this specific version (HWV 251b) was rescored for the limited forces available at the Duke’s estate, which initially lacked violas or altos. The opening chorus utilizes descending suspensions to evoke a visceral sense of longing and "affecting sorrow," reflecting a soul that yearns for spiritual sustenance. As pants the hart for cooling streams, so longs my soul for thee, O God.
Famine Lament
Traditional Irish arr. David Mooney
ft. Mark Istratie, Lester Tanquilut, and Michael Evans, flute
This stark arrangement serves as a reminder of the Great Famine of the 1840s, a period of mass starvation and disease in Ireland. The lyrics focus on the failure of the staple crop, potatoes. David Mooney, an Irish musicologist and composer, uses a straightforward, unaffected style to allow the inherent sorrow of the traditional melody to speak for itself. The violin part (here played on the flute by Michael Evans) often acts as a second voice, weaving around the singers to provide a sense of historical memory and Irish magic. O the praties (potatoes) they grow small over here. O the praties they grow small and we dig them in the fall And we eat them coats and all over here. O I wish that we were geese night and morn. O I wish that we were geese and could live our lives in peace Till the hour of our release, eating corn. O we’re down into the dust over here. But the Lord in whom we trust, Will repay us crumb for crust over here.
Sicut Cervus
Nancy Wertsch; Psalm 42:1-3
ft. Adrienne Pedrotti Bingamon, McKenna King, Angela Irving, Kylie Jensen, Chris Tuggey, Holt Skinner, Daniel Robertson, Eric Newell
"Sicut Cervus" was written for the Kiitos Vocal Ensemble, who premiered it on a concert at the Episcopal Church of St. John's in the Village in New York City. The text (which you'll recognize from two songs ago) is the much beloved "So pants the hart..." from Psalm 42 in the Bible, the central theme within these beautiful words being the longing of the soul to unite with God and the age old feeling of restlessness - a longing for that which will fulfill. I chose to set this in Latin because the simple flow of that language prescribes a particular kind of music to me, helping me to express this longing in a clear, concise and unflowery way. The unsettled harmonies in my piece help to propel it forward in restless sections, sometimes murmuring and sometimes loudly stating the unrest. The rhythmic moving passage in the bass starting in measure 44 indicates more urgency in the emotional context of the conflict, ie. "WHEN shall I be united with God?" The final recapitulation is a bit quieter and slower, indicating a certain resignation toward the lack of wholeness and a willingness to wait for that moment when we will find the fullness that we seek. —Nancy Wertsch Latin Text Sicut cervus desiderat ad fontes aquarum: ita desiderat anima mea ad te, Deus. Sitivit anima mea ad Deum vivum: quando veniam et apparebo ante faciem Dei mei? Fuerunt mihi lacrimae meae panes die ac nocte, dum dicitur mihi quotidie: Ubi est Deus tuus? English Translation As the hart yearns for the water springs: so longs my soul for thee, O God! My soul has thirsted for the living God: when shall I come and appear before God's presence? My tears have been my bread by day and by night, while it is said to me daily: Where is your God?
Arwhoolie (Cornfield Holler)
Traditional African American field holler
ft. Michel Kennell
The arwhoolie, or cornfield holler, is a poignant solo vocal tradition born from the labor of enslaved African Americans in the American South. Unlike communal work songs, these calls served as a private means of communication and emotional release during solitary agricultural tasks. The lyrics, which fixate on the arrival of darkness, reflect the profound physical and existential weariness of the workday. In the context of our concert, this holler serves as a stark reminder of the human cost often associated with the cultivation of the land. Oh, I won't be here long. Oh, dark gonna catch me here.
Kasar Mie la Gaji (the earth is tired)
(Excerpt)
Alberto Grau
Venezuelan composer Alberto Grau crafted this evocative work as a sonic plea for environmental preservation and global awareness. The text draws from the linguistic traditions of the African Sahel, a vast multicultural crossroads shaped by French and Arabic influences. Grau employs a sophisticated palette of non-traditional vocal techniques, incorporating whispers, speech-like timbres, and percussive stomps and claps (here performed by our wonderful collaborative percussionists). As the syncopated rhythms accelerate, the piece transforms into a relentless, ritualistic dance, underscoring a visceral message of exhaustion shared by the planet and its inhabitants alike.
Zdes′ khorosho (How Fair this Spot) Op. 21, No. 7
Sergei Rachmaninoff (1873-1943)
ft. Gloria Kim
In this luminous romance, Rachmaninoff captures a moment of profound pastoral solitude. The music evokes a quiet spiritual ecstasy where one can dissolve into the vast, sun-drenched beauty of the natural world. In the stillness of nature, one can find a perfect communion with the divine. This setting serves as a contemplative pause in our journey, celebrating the restorative power of a world in bloom.
Earth
Katerina Gimon
ft. Holt Skinner, Nathan Thompson, Braden Weitzel
This piece is the first movement in Katerina Gimon's larger work, "Elements," which abstractly depicts the four classical elements and explores the wide range of capabilities of the human voice - from overtone singing, to vocal percussion, to colourful vocal timbres. Of the work, Gimon says: "Elements" features no 'text' (at least not in the traditional sense), rather a series of syllables generated through improvisation meant to evoke the sound and energy of each element. Earth is a beautiful, texturally-driven work depicting the simple yet unexplainable beauty of the earth. It features harmonic overtone singing by a group of soloists."
Chua-ay
Fidel G. Calalang Jr.
Scenes from the North
Chua-ay is based on a popular folksong in the Philippines that depicts the Igorot tribes at work, pounding rice by means of a huge mortar and heavily weighted posts in order to separate the rice grains from their outer shells or husks. The Igorot (Tagalog for “mountaineer”) people live and work in the mountains of Luzon, the largest island of the Philippines. At a population of 1.5 million, they live mostly in sizeable villages and exist in at least ten different ethnic sub-groups. Though known mostly for their immense skill in rice farming, the Igorot (or as they prefer to call themselves, Ifugao/Ipugao) people are also known for their skill in weaving and metalworking. The piece begins with bird-calls serenely chanted by two sopranos and followed by a set of rhythmic variations on the repetitive three-note theme of Chua-ay. Foot stomps suggest the mortar and pestle action that also enhances the earthy character of this northern folksong. —Fidel G. Calalang Jr., André de Quadros, & Jonathan Mott Tagalog Text Chua-ay Talum alay takuay we Owe owe English Translation Man-child brave, man-child strong, For thee we call, oe! Oe! Come, oh come, we call thee now, oe Oe!
La rosa y el sauce
Carlos Guastavino (1912–2000)
ft. Gloria Kim
Often heralded as the "Schubert of the Pampas," Argentine composer Carlos Guastavino brings an evocative, late-Romantic sensibility to this traditional Argentine canción, here played as a piano solo by our wonderful collaborative pianist Dr. Gloria Kim. The original text depicts the loss experienced by a passionate willow tree when its beloved rose was stolen by a young girl. Guastavino’s gift for melodic poignancy transforms this simple botanical allegory into a profound exploration of devotion, abandonment, and the lingering sorrow of a heart that refuses to forget.
Tyteberet (Op.33, No. 4)
Music by Edvard Grieg, Text by Aasmund Olavsson Vinje
ft. Eric Johnson
Grieg’s setting of "The Lingonberry" (or Cowberry) highlights the simple, tart fruits of the Norwegian mountains. In this text, the berry is used as a metaphor for maturation and sacrifice. It asks to be picked so that it may "give itself for the people," transforming a biological cycle into a profound musical reflection on the nature of the harvest. The setting reflects Grieg's deep interest in Norwegian folklore and his ability to sacralize the simple objects of the mountain landscape. We take this moment to reflect on all the sacrifices made by so many so that we can survive and thrive. Landsmål Text Tyteberet uppå Tuva Voks ut af ei liten Von. Skogen med si gröne Huva Fostrar mangein raudleitt Son. Eingong seint om Hausten Lagde liten Svein til Berg Skogs ut: “Raudt eg lyser,” Beret sagde, “Kom åt meg, du Vesle Gut.” Her ifrå du må meg taka: Mogjet Ber er utan Ro. Mal meg sundt, at du kan smaka Svaledrykken af mit Blod! Mognar du, so vil du beda Just den sama Bön, som eg. Mogjen Mann det mest må gleda, Burt for Folk at gjeva seg, English Translation The lingonberry up on the hillock grew out of the naked earth; red as blood in the green bush, it wrote those deep words. "Here I lie and here I bleed, here I came to life from death; and the soil that nourishes me, is so red from my own blood." But when the child came and picked the berry in its soft hand, and with a merry heart quenched its thirst on mountain and shore; then the berry was sweet and good, then all it saw was joy, and it did not know it bled, where it lay beneath the heather.
Gratitude
Music by Bob Chilcott, Text by Henry van Dyke (1852–1933)
ft. McKenna King, Erin Yousef, Heather Lewis, Brigid Becker, Michael Follis, Michael Evans
This short prayer of thanksgiving is taken from English composer Bob Chilcott's larger work "The Song of Harvest". Of the work, Chilcott said: "Harvest season is a special time of the year. Living as I do in quite a rural part of England, each year we become ever more aware of the passing of the seasons, of the weather patterns, and also of the changing colours and textures of the land around us. After the challenges that we all faced in 2020 and 2021, I wanted to write a simple expression to reflect on some thoughts of how the concept of harvest might relate to us all as we move forward, through sustainability, community, giving, hope, care, and, perhaps most importantly, thankfulness... It was written for the Royal School of Church Music Celebration Day, held at Durham Cathedral on 9 October 2021, as part of a day to celebrate what it means to sing together." Whatever gifts and mercies in my lot may fall, I would not measure As worth a certain price in praise, or great or small; But take and use them all with simple pleasure. For when we gladly eat our daily bread, we bless The Hand that feeds us; And when we tread the road of Life in cheerfulness, Our very heart-beats praise the Love that leads us.
Tchaka
Music by Sydney Guillaume, Text by Gabriel T. Guillaume
Tchaka is one of the most popular meals in Haitian cuisine. It's a "melting pot" - a tasty mélange of different food products such as corn, beans with pork, and crustaceans. Likewise, Haitian folklore consists of a huge variety of rhythms and dances that when mixed together give birth to extraordinary works. Bon appétit and happy listening! — Sydney & Gabriel Guillaume Haitian Creole Text Chofe dife! Nou pral manje tchaka! Chofe dife, brase mayi, pa bliye tisale, Nou pral manje yon bon tchaka. Nou pral voye monte yon bouyon tèt chaje. Twa tanbou yo frape, tout moun rele anmwe. An nou pote kole pou nou tout ka vanse. An nou makonnen ansanm nan yon bèl amoni Yon bon bouyon lakay, yon tchaka mizikal. Se yon bon bouyon lakay, yon tchaka nasyonal! Chofe dife! Chofe dife! Yanvalou, Kontredans, Rabòday se gwo koze. Mizik lakay, o wi, se bèl bagay. Pote kole; kòtakòt n ape vanse. Chofe dife! Chofe dife! Tchaka ape monte! Ibo, Bolero, Banda, Mayi, Congo, Petro, Maskaron... Mizik sa yo se konpa lakay. Nou danse Kalinda, nou chante Rabòday, Tèt ansanm, nan renmen, an nou fè bèl bagay. Chofe dife! Chofe dife! Nou proklame lespwa e nou chante lapè, Pou limyè la jistis blayi sou tout latè. N ap kontinye chante pou fè lavi pi bèl. Nan jistis, nan renmen, an nou manje yon bon tchaka! Ayibobo! English Translation Turn up the fire! We are going to eat tchaka! Turn up the fire, stir up the corn, don't forget the salt pork, We are going to eat a delicious tchaka. We are going to cook up a mind-blowing stew. At the sound of the three drums, everyone yells out hurray. If we join together we can all move forward. Let us enmesh in lovely harmony A delicious homemade stew, a musical tchaka. It's a delicious homemade stew, a national tchaka! Turn up the fire! Let's get cooking! *Yanvalou, Kontredans, Rabòday are amazing. Folk music, oh yes, that's good stuff. Let's stick together; side by side we can move forward. Turn up the fire! Turn up the fire! The tchaka is cooking! *Ibo, Bolero, Banda, Mayi, Congo, Petro, Maskaron... These are the rhythms of our roots. We danced *Kalinda and we sang *Rabòday, Heads together, with love, let us do great things. Turn up the fire! Turn up the fire! We proclaim hope and we sing of peace, So that the light of justice spreads throughout the earth. We'll keep on singing to make life more beautiful. In justice and in love, let's eat a delicious tchaka! Amen!
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