Facing It
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Amazing Grace
arr. Adrienne Pedrotti Bingamon
I have my friend Joel Nesvadba to thank for the inspiration to arrange Amazing Grace for this concert. He posted on social media recently about the creation of this hymn: “...John Newton, who was a slave trader, wrote this after a near-death experience made him realize the catastrophic evils of enslaving people. This religious experience opened his eyes. He woke up to the cruelty and injustices he was a part of. This is what ‘woke’ means. Awareness of injustice, and that we should all strive to do better, be better, and help other people…” We start with the first half of Verse 3, which introduces the challenges we face: Through many dangers, toils, and snares, I have already come.
Versa est in luctum
Alonso Lobo
This piece by Spanish Renaissance composer Alonso Lobo (1555-1617) is his best-known work and with good reason. Its bold, passionate polyphony vividly depicts the mournful text from the Book of Job. It was written for the death of King Phillip II in 1598, and has such a rich texture with its true six-part counterpoint–a novelty since Italian music of this period was normally limited to five voices at most. Versa est in luctum was printed as part of Lobo’s publication “Liber Primus Missarum” which contained seven motets and six masses. This was the third ever choral collection ever printed in Madrid and it eventually made its way all the way to Portugal and Mexico, exemplifying Lobo's reputation as one of Spain’s finest composers alongside Palestrina and Victoria. We present this piece first to represent loss, grief, and the sadness you can feel when presented with various challenges in life. Versa est in luctum cithara mea et organum meum in vocem flentium. Parce mihi, Domine, nihil enim sunt dies mei. My harp is turned to grieving and my flute to the voice of those who weep. Spare me, O Lord, for my days are as nothing.
De torrente in via bibet
George Frideric Handel
Handel wrote Dixit Dominus in 1707, when he was only 22. He had gone to Rome to further his opera career but began to focus on writing Catholic sacred music even though he was Lutheran, including his Dixit Dominus which was probably first performed at the Church of St. Maria di Montesanto in Rome in July of that year. This piece served as a showpiece both for himself as a master of counterpoint, harmonic and melodic invention, and the Italian style, and for the singers’ and instrumentalists’ virtuosity, with the choral parts being especially demanding. It’s regarded as one of Handel’s finest works and the piece where you can find his earliest surviving autograph. De torrente is the 8th movement and while the text doesn’t necessarily expand on our emotional journey tonight, the pleading and reflective melodic dissonances sung by Jenny and Maureen tug at our heartstrings in a way that I felt complemented the sentiment of the evening. De torrente in via bibet: propterea exaltabit caput. He shall drink of the brook in the way, therefore shall he lift up his head.
Un loup (La Bonne Neige)
Francis Poulenc
I admit that it’s a little strange to break this piece away from its larger work, Un Soir de Neige, which Poulenc wrote on the cusp of World War II in 1944, but I loved the imagery of this poem by Paul Eluard with its subtle references to German SS soldiers as the wolf hunting its prey and the feeling of shame that victims can feel as hunted animals. Poulenc lived in Paris during most of the occupation but was under constant surveillance because of his homosexuality and his suspected support of the Resistance. His unique compositional style with distinctive chromatic language and jarring tonal shifts serves to destabilize the listener and make us feel truly hunted. The pristine snow, the black sky The dead branches, the agony Of the forest full of snares Shame on the hunted animal Whose flight is like an arrow in the heart The tracks of a cruel pursuit Strength to the wolf, always The most magnificent wolf and always The last survivor to suffer The irresistible force of death
again (after ecclesiastes)
David Lang
again (after ecclesiates) is a setting of a few lines from the beginning of the Book of Ecclesiastes, freely adapted by me. Ecclesiastes is a Hebrew prophet (in Hebrew his name is Kohelet) and his book is traditionally read during the harvest holiday of Sukkot. Kohelet moves powerfully from the cycling of the seasons to other endless natural and human cycles, creating a strange equilibrium of hope and futility. In my setting I wanted to make a piece that might convey the weariness of all of these endless cycles, concentrating on the weight of things repeating again. And again. –David Lang people come and people go the earth goes on and on the sun rises, the sun sets it rushes to where it rises again the wind blows round, round and round it stops, it blows again all the rivers run to the sea, but the sea is never full from where the rivers run they run again these things make me so tired I can’t speak, I can’t see, I can’t hear what happened before will happen again I forgot it all before. I will forget it all again.
El lago
Feredico Mompou
El Lago is the second movement from Federico Mompou’s Paisajes (‘Landscapes’). He composed it in 1947, having been inspired by Barcelona’s Montjuic Park.
Raua Needmine (Curse Upon Iron)
Veljo Tormis
Tormis’s Curse Upon Iron has always been a bucket list piece for me and I felt like now was the perfect time to perform it. This Estonian masterpiece from 1972 blends ancient storytelling with modern choral techniques. With text taken from the Finnish folk epic Kalevala as well as contemporary Estonian poetry, Curse Upon Iron serves as a cry against the destructive power of iron. We’re experiencing so much rage and fear in our world today, uncertain of what will become of us, the people we love, and the traditions we hold dear, and yet it ends with a small message of hope that we can find common ground even with that which threatens us most. Our performance today is a unique one with the soloists performing in the original Estonian and the choir performing in English, something that Tormis preferred so that audiences can understand what the piece is truly about. "“The idea of Raua Needmine (‘Curse Upon Iron,’ 1972) was on my mind for years before I found a perfect form for it in an enchanting repetitive ostinato accompanied by a shamanic drum. I combined those elements with modern choral techniques. The idea of the composition derives from shamanism: in order to acquire power over a material or immaterial thing, one communicates knowledge to the object. Thus the describing and explaining of the birth of iron to iron itself forms a part of the shamanic process. The magical rite is performed to restrain the evil hiding inside iron. Each and every thing created by man may turn against man himself when used without respect for the living. The lyrics composed in Estonian by August Annist were based on the ritual incantations of the Finnish epic Kalevala, whereas current Estonian poets Paul-Eerik Rummo and Jean Kaplinski added elements from modern reality.” --Veljo Tormis Ohoi cursed, evil iron! Flesh consuming, bone devouring, Spilling blood, devouring virtue! Whither comes your cruel cunning, Haughtiness so overbearing? Fie upon you, evil iron! Your beginnings reek of malice. You have risen from villainy. From above the earth appeared Fiery maidens in the heavens, Heavily with milk a-laden, Spilling milk upon the marshes. Black, the liquid from one maiden, Turning into ductile iron. White milk flowing from the other, Tempered steel from this arising. From the third a crimson liquid, Cursed, rusty ore created. Ohoi cursed, evil iron! Ohoi evil, cursed iron! Then you were not high and mighty, Not so mighty, not so haughty, When you slumbered in the swampland When you suffered in the marshes. Fie upon you, evil iron! Your beginnings reek of malice. You have risen from villainy. Then a wolf came running hither, Bear a-rambling over yonder. Footprints stirring in the swampland, Traces from the swamp arising Giving rise to iron seedlings, In the shadows of the wolf prints In the traces of the bear tracks. Ohoi wretched child of bogland, Born of rust and milk of maidens! Tell me who made you so angry! Who set you to evil doings? Death came riding through the marshes, Plague along the wintry byways, Finding seedling steel in swampland Rusty iron in a boghole. Then great death began to utter, Killer plague began intoning, In a pinegrove on a hillside, In a field behind the village, Far beyond the farmer’s granges. Here will be the fateful forging! Here a furnace I will fashion, Mighty fanning bellows anchor! Here I’ll set the iron boiling! Blast the rusty ore to flaming! Pound the iron full of fury! Iron quaked and iron quivered, Quaked and quivered, tossed and trembled, When he heard the call for fire, Heard the iron’s angry summons. Ohoi cursed, evil iron! Then you were not high and mighty, Not so mighty, not so haughty! Moaning in the blazing furnace, Whining under beating anvils. Droned the old man on the oven Groaned the greybeard from the furnace: Iron stretches out like tallow, Dripping down like oozing spittle, Flowing from the blazing furnace, Seeping from the scalding fire. Yet the iron, soft and gentle, Must be toughened, must be tempered, Turned into steel defiant. Get the spittle from a serpent! Bring the venom from a viper! Iron would not harbor evil, If it had no serpent spittle Had no murky viper venom. Droned the old man on the oven, Groaned the greybeard from the furnace: Shelter us, Supreme Creator! Grant us safety, God Almighty, so that mankind will not perish, Future children be protected From destruction, From extinction. Changing eras, modern deities. Cannons, airplanes, Tanks, armed warfare. New steel and iron, Transformed into precise Evil, powerful killers Armed with automated guiding devices, Armed with nuclear warheads Useless against all defenses Knives, spears, Axes, halberds, sabers, Slings, tomahawks, boomerangs, Bows and arrows, rocks and clubs, Claws and teeth, sand and salt, Dust and tar, napalm and coal. Innovations, far-reaching, technical, Electronic, ultimate, Ready to fly in any direction, Stay undeflected, striking target forcefully. Annihilate, knocking out of action, Obliterate, Render hopelessly impotent, Killing, killing, with steel and iron! Killing, steel and iron, chromium, Titanium, uranium, plutonium and Multitudes of elements. Ohoi cursed, evil iron! Sword, begetter of all warfare! Golden guardian of the swamp ore, Steel that’s kith and kin to evil. Fie upon you, evil iron! You and I are from the same seed, From the same earth we have sprouted. From the same good soil we harken, You and I, we share this planet, Bound to share the earth together, Earth that will us all recover, Earth enough for all, forever.
Herzlich tut mich erfreuen
Johannes Brahms, arr. Ferruccio Busoni
Brahms’ Eleven Chorale Preludes, Op. 122, is a collection of works for organ written in 1896, at the end of the composer's life, immediately after the death of his beloved friend, Clara Schumann. They are based on verses of nine Lutheran chorales and are relatively short, compact miniatures that were published posthumously in 1902. They were the last compositions Brahms ever wrote, composed around the time that he became aware of the cancer that would ultimately prove fatal. This piece is the 4th prelude, transcribed for solo piano by Ferruccio Busoni in 1902 as BV B 50.
Agnus Dei
Benjamin Britten
Britten composed his War Requiem for the consecration of the new Coventry Cathedral after the original 14th century structure was destroyed during World War II. The work is originally scored for two orchestras, but we are using the piano reduction for this performance. It sets a poem by Wilfred Owen who served in WWI and died one week before the armistice. It compares the soldiers of WWI with the soldiers who mocked Christ at his crucifixion. It also questions the intent of political leaders who spread messages of hate in service of loyalty to the state when that so profoundly conflicts with Christ's new commandment, to love one another. One ever hangs where shelled roads part In this war He too lost a limb But His disciples hide apart; And now the Soldiers bear with Him Agnus Dei, qui tollis peccata mundi Dona eis requiem Near Golgotha strolls many a priest And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ's denied Agnus Dei, qui tollis peccata mundi Dona eis requiem The scribes on all the people shove And bawl allegiance to the state Agnus Dei, qui tollis peccata mundi But they who love the greater love Lay down their life; they do not hate Dona eis requiem sempiternam Dona nobis pacem
Epilogue
James Tecuatl-Lee
I saw the premiere of this piece last year when Panoramic Voices performed at the Wildflower Center and immediately felt drawn to this movement which takes a realistic if a little grim perspective–that the earth will outlive us all and be just fine without us. Lucky for us, Composer James Tectuatl-Lee gave his permission for us to perform just one movement from his larger work and we are so glad he did. “To me, the elements represent the basic human instinct to search for the essential truth of nature and the universe. It’s the idea that there are a few underlying components of reality that, if correctly identified, will provide a more generalized and correct understanding of the world. In this piece, I use the frame of the four classical elements to take a look at snapshots from the history of science and of law. Each of these snapshots shows a different generation striving to better understand fire, air, earth, and water…The composition is bracketed by a Prologue and Epilogue, which work musically to unite the piece. The Prologue portrays the excitement, magic, and enormous privilege of the quest for understanding. The Epilogue takes a step back and views the activity of these humans from the anthropomorphic perspective of the elements themselves.” –James Tecuatl-Lee And then they spoke as one. Do not concern yourself with us, We have no concern for you. You may contend with our true nature, As numbers with infinity, We neither wish you ill Nor wish you well. You may raise your fist against us, As a clock against its cogs. While you’re here, we will be here. When you’re gone, you will be gone. There is no more to be said.
Benedictus
Ruth Watson Henderson
I thank Dr. Hilary Apfelstadt for introducing me to this beautiful piece. She is a champion of women composers and just came out with a book that I’m itching to get my hands on. Ruth Watson Henderson is a Canadian composer born in 1932 who served as the accompanist for the Toronto Children’s Choir for 29 years and for the Festival Singers (later called the Elmer Iseler Singers) where she got her start as a composer. She’s known for her signature rhythmic variety, sensitive text setting, challenging melodies, and her use of modal and impressionistic harmonies. This is the Benedictus movement from her Missa Brevis, composed in 1974, which is now considered a classic of contemporary Canadian repertoire. Benedictus qui venit in nomine Domini Blessed is he who comes in the name of the Lord
After Sunset
Ethyl Smyth
This beautiful piece is the last movement of Ethyl Smyth’s “Three Moods of the Sea” originally for baritone/mezzo soprano and orchestra, but performed here with brilliant piano accompaniment by Benjie. I loved the gentle rocking of this piece, the calm that follows the storm, and knew that Andy would bring us back down to earth, thankful to be inhabitants of it. The sea lies quieted beneath The after sunset flush That leaves upon the heap'd grey clouds The grapes faint purple blush. Pale, from a little space in heaven Of delicate ivory. The sickle moon and one gold star Look down upon the sea
Set Me as a Seal
Brandon Waddles
This gorgeous setting of the Song of Solomon by Composer Brandon Waddles “brilliantly toes the line between the loves of the spiritual and the earthly" and reminds us of the power of love. Set me as a seal upon your heart For love is as strong as death Many waters cannot quench love Neither can the floods drown it Love is strong as death
The Tree of Peace
Gwyneth Walker
This piece adapts a poem by John Greenleaf Whittier, "O Brother Man," which calls us to love one another. The music evokes a duality of emotions using strong, accented chords to signify a tree's strength and also fluid arpeggios to signify the tenderness of peace. O my sister and my brother All who walk upon this earth Fold to your hearts each other Where mercy dwells, the peace of the Lord is there To live rightly is to love one another Each kindness is a gift, each deed is a prayer O my sister and my brother Fold to your hearts each other Listen, listen to one another Walk with reverence in the steps of those who have gone before Where forgiveness and wisdom have stood So shall the wide earth become a temple Each loving life a psalm of gratitude Then shall all shackles fall The violence of war over the earth shall cease Love shall tread out the fire of anger And in its ashes plant a tree of peace Where mercy dwells, the peace of the Lord is there
Lead Me Home
arr. Adrienne Pedrotti Bingamon
Twas grace that brought me safe thus far and grace will lead me home
If I Had a Hammer
Lee Hays and Pete Seeger, arr. Craig Hella Johnson
“I created this choral setting of “If I Had a Hammer” for Conspirare in the fall of 2020. The original song was written by Pete Geeger and Lee Hays in 1949. It became a widely known folk anthem and a rallying call for justice and equality. Although I refer to this piece as an arrangement, the music is almost entirely new with only a few references to the original melody. The lyric is used in its complete original form. We continue to live in a world in which we continue to need songs that can be vehicles for our own cries for justice, equality, and peace. As we sing this song, we can feel empowered by all those who have raised their voices before us, singing passionately and working bravely to create a better world.” –Craig Hella Johnson If I had a hammer, I'd hammer in the morning I'd hammer in the evening all over this land I'd hammer out danger, I'd hammer out a warning I'd hammer out love between my brothers and my sisters All over this land, ooh If I had a bell, I'd ring it in the morning I'd ring it in the evening all over this land I'd ring out danger, I'd ring out a warning I'd ring out love between my brothers and my sisters All over this land, ooh If I had a song, I'd sing it in the morning I'd sing it in the evening all over this land I'd sing out danger, I'd sing out a warning I'd sing out love between my brothers and my sisters All over this land, ooh Well, I got a hammer, and I got a bell I've got a song to sing all over this land It's the hammer of justice, it's the bell of freedom It's a song about love between my brothers and my sisters All over this land It's the hammer of justice It's the bell of freedom It's a song about love between my brothers and my sisters All over this land
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