NOTES ON THE PROGRAM

GWYNETH WALKER
Songs for Women’s Voices

Commissioned by St. Joseph College, West Hartford, Connecticut, in celebration of the 60th anniversary year: 1932-1992.

Songs for Women's Voices are musical settings of six poems by American poet May Swenson. The poems address a variety of topics -- from feminism to romance to death -- yet they speak with one voice, one style, and one life-affirming philosophy. The musical settings are intended to present these poems in a simple and straightforward manner which seeks to portray the beauty, humor, and passion of the words.

It is suggested that each poem be read aloud (by a member of the chorus or reader) before the performance of each song. The poems may also be printed in the concert program. But it is recommended that the audience read the poems in advance (pre-concert or during intermission), perhaps also following along in the printed version during the reading aloud, and then focus on the chorus during the actual singing.

May Swenson (poet) was born in Logan, Utah in 1913. She died in Ocean View, Delaware in 1989. In her lifetime, she worked mainly as a poet, publishing over 450 poems. Much of her life was spent in Greenwich Village, New York City, where she was a chancellor of the Academy of American Poets.

Notes by the composer

MELISSA DUNPHY
Wild Embers

KATERINA GIMON
Fire

Wild Embers

Composer Melissa Dunphy notes that her music is inspired by and explores real-world issues of social justice and personal relationships. She is deeply committed to bringing the voices of women and minorities to the stage, either by telling their stories, or telling stories from their perspective. Wild Embers features text by British-Indian author Nikita Gill. Often labeled an “Instapoet” for her fame as a writer among the social media crowd, her poetry has far more substance than the name may imply. The poem comes from a book by the same name, throughout which Gill uses the metaphor of wild embers to symbolize the untamed, fierce spirit that lies within every woman.

Fire comes from a set of choral works titled Elements. The energetic music incorporates body percussion, colorful timbres, and unique vocal calls to embody the sound and feeling of fire.

GWYNETH WALKER
The Tree of Peace

The text for The Tree of Peace has been adapted from the Quaker poem, "O Brother Man," by John Greenleaf Whittier (1807-1892). This contemporary adaptation of the poem broadens the scope of the original with more inclusive language, opening with: "O, my brother and my sister, all who walk upon this earth, fold to your hearts each other."

A new text fragment, "Listen, listen to one another," is introduced into the poem, and serves as an interlude between stanzas. The final sentence of the original poem becomes the focal point of this work, returning man times: "Love shall tread out the fire of anger, and in its ashes plant a tree of peace."

The musical setting reflects the dual nature of the title, Tree (strength) and Peace (tenderness). The work opens with accented chords in the piano accompaniment. These chords are marked "with strength." This is the conviction of The Tree of Peace.

The tender aspects are introduced in the arpeggio patterns in the piano. These are marked "flowing." And the related choral phrases refer to humanity ("O, my brother and my sister"), to mercy and to the peace of the Lord. Passages of tenderness alternate and intertwine with passages of strength to form a confluence of the message: a prayer for peace.

Notes by the composer

JAKE RUNESTAD
Into the Light

The Reformation was a pivotal event in the history of Western culture and created waves of change across Europe that spread to the rest of the world — the impact of which is still being felt (and studied) today.

Commemorating an historical event with a work of art, especially 500 years later, is no small feat — there are centuries of complexities to unpack and the event itself cannot be summed up in a 15-minute musical work. Rather than create a museum piece for the Reformation, I asked myself what reforming means in our world today: What are the major issues plaguing our world and what is their cause? Who has addressed these issues through their work and their words (in the vein of Martin Luther)? How can I address these issues through a musical work for chorus and orchestra in a meaningful way?

To find the right texts, I scoured through hundreds of writings by individuals who I consider reformers — those who have worked to improve their community, their country, and/ or the world. Along the way, I also discovered the book “The Witness of Religion in an Age of Fear” by Michael Kinnamon. Kinnamon addresses fear and how it has infiltrated our culture and causes many of the issues we face including institutional racism, xeno- phobia, cultural divisions, and fear of “the other.” Many of the writings that I collected also speak to this negative power of fear and how we must work to move beyond it.

The chorale is a staple of the Lutheran movement and I wanted it to be an important element of this work. I am especially inspired by the writers/ reformers whose texts I’ve used — knowing their stories, struggles, and successes provides such depth and greatly influences the music. I encourage you and your students to delve into their lives and work in order to fully grasp the meaning of their words.

It is my hope that this new work, “Into the Light,” allows us to be immersed in the wisdom of some of the most important and influential reformers in history, and challenges us to consider how we can move beyond fear and onto a path of love, compassion, and kindness.

-Notes by Jake Runestad

MORTEN LAURIDSEN
Lux Aeterna

Written in 1997, Morten Lauridsen’s Lux Aeterna has become a staple of the choral repertoire. Born in Washington and raised in Portland, Oregon, Lauridsen studied at Whitman College and the University of Southern California. A professor of composition and former department chair at USC’s Thornton School of Music, Lauridsen was also composer-in-residence of the L.A. Master Chorale from 1990-2002, collaborating frequently with conductor Paul Salamunovich. Their recording of Lux Aeterna was nominated for a 1999 Grammy Award.

This five-movement non-liturgical work is a Requiem. It was completed just after Lauridsen’s mother died and is peaceful and uplifting. All of the words, which contain references to light, are drawn from sacred Latin texts. According to Lauridsen in his note for the score of Lux Aeterna (©1997, Southern Music Publishing Co., Inc.), the two outer movements – “Introitus” and “Agnus Dei - Lux Aeterna” – refer to the Requiem Mass and the central movements come from the “Te Deum,” “O Nata Lux,” and “Veni, Sancte Spiritus.”

Writing in the preface to the choral score, Lauridsen describes the work’s meaning for him: “The instrumental introduction to the Introitus softly recalls motivic fragments from two pieces especially close to my heart (my settings of Rilke’s Contre Qui, Rose and O Magnum Mysterium) which recur throughout the work in various forms. Several new themes in the Introitus are then introduced by the chorus, including an extended canon on ‘et lux perpetua.’ In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herliebster Jesu (from the Nuremberg Songbook, 1677) and a lengthy inverted canon on ‘fiat misericordia.’ O Nata Lux and Veni, Sancte Spiritus are paired songs—the former the central a cappella motet and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the opening section of the Introitus and concludes with a joyful Alleluia.”

— Program Note by Dale Zeidman

LUDWIG VAN BEETHOVEN
Overture to Fidelio, Op. 72

Beethoven’s only opera, Fidelio, underwent numerous major revisions by the composer before he arrived at the final version we know today. The overture to the opera underwent even greater transformations. There are four different overtures, all of them popular in the concert hall. The first three are called Leonore (Nos.1, 2 and 3), after the original title of the opera, and the fourth is known as Fidelio, Beethoven’s final title. 

The complex plot is a paean to marital fidelity and political justice. Leonore disguises herself as a young man, Fidelio, in order to free her husband Florestan who has been incarcerated unjustly as a political prisoner. 

Beethoven’s difficulties with the earlier versions (the three Leonore overtures) stemmed from the fact that they were too dramatic and explicit, and thus giving away the most dramatic and exciting moments of the opera.

The final version, the Fidelio overture, is neither very dramatic nor very closely related to the opera itself. In that sense it could be called a generic overture, similar to many of Rossini’s. However, being by Beethoven, it is nevertheless a well-crafted and enjoyable if somewhat lightweight composition.

ROBERT SHELDON
Danzas Cubanas

Danzas Cubanas is a set of three original dance-like movements celebrating the joy and energy of Afro-Cuban music and people of this island nation. The opening conga sets the mood, followed by a gentle and alluring son-salsa. The closing dance is a fast-paced mambo. An excellent multi-cultural music experience, the three interconnected dances feature solos for piano, trombone, flute and trumpet.

OCCIDE JEANTY
La Delaissee et ses Soupires

Occide Jeanty was a prolific composer employed at the presidential palace in Port-Au-Prince from 1892-1915. A musical prodigy, Jeanty elevated Haitian classical music to such an extent that it gained recognition throughout all of the Caribbean and North America. His meringues, of which this piece is an example, were the most popular of all Haitian Meringues. The meringue style has a distinct history with origins in African rhythms brought over by slaves from the West African coast. The melodies are uniquely Haitian, and some say they embody the soul of the Haitian people. This particular meringue, La Délaissée et ses soupirs- literally translating to The Sighing Woman left behind- is a delightful, danceable piece, with rich rhythms and an intriguing melody. Its symbolic meaning refers to the way in which colonial powers isolated Haiti after its independence in 1804. Originally written for the palace band, it was most likely debuted at an official gathering of the President of the Republic- delighting guests who would have danced in the palace ballroom at the turn of the century.

Haiti’s political history was soon to change, however, and palace composers were replaced by the American occupation, short-lived presidencies and a dictatorship whose leaders ruled Haiti from the mid 1960s to the early 1980s. The dictatorial regime was ousted by a coup d’état led by the masses who, after having successfully exiling the leader of the country, stormed the palace, destroying the very symbols of power that had repressed them for so long- including much of the collection of palace music. Many of Jeanty’s works were destroyed, but La Délaissée was found by a passer-by on the street outside the palace. The anonymous person brought the piece to a well-known organist and medical doctor, Dr. Desmangles, who had hosted Dr. John Jost- an American volunteer teaching at a newly founded music school. Jost, who continues to passionately teach music in Haiti to the present day, arranged the piece for full orchestra. This version of the piece was first presented to Haitian audiences during the summer of 1997 who demanded several encores, expressing their deep love and appreciation for Jeanty’s musical genius and gratitude to Jost for so accurately reviving a relic of Haitian culture
that had been nearly forgotten.

MICHAEL RIHNER
Festive Overture (World Premiere)

Michael Rihner’s Festive Overture is a festive work for orchestra based on some of New Orleans most popular musical styles and traditions written in honor of the Greater New Orleans Youth Orchestras 30 th anniversary. New Orleans is a city with a vast array of diverse cultural influences, and various music festivals and celebrations of every kind happen all over the New Orleans area throughout the year. Spanish, French, African, German, Irish, Italian, and so many other cultures merge in New Orleans to make one of America’s most unique cosmopolitan cities. The Festive Overture offers a small sampling of some of the many celebrations and cultural influences found in this great city, including a jazzy among others. Life in New Orleans is an endless year-long celebration of diverse cultural influences.

BILL HOLCOMBE
International Dixieland Jamboree

The International Dixieland Jamboree is a collage of several Dixieland such as Bill Bailey, St. James Infirmary Blues and When The Saints Come Marching. These works are very well orchestrated and present these pieces in the symphonic setting with full and exciting energy.