Mixed Choir
Amara
This is a song that aspires to embody pure grace. The title was suggested by a Nigerian friend: the mellifluous word "amara" is is Igbo for “grace.” Since there is no text, and no linkage to any particular belief system or religion, each singer and listener can fill in the blanks on their own as to what grace is and how it might be realized in this song and in their own life.. There is a accomanying part available for jazz saxophone, which is a distinctive feature of the piece. The saxophone part is based on an improvisation by Mark Laver. The saxophonist can either play the part as written (which Noemi Sallai does so admirably in the Norfolk Music Festival performance offered here), or, If you have a saxophonist who is a capable improviser, they can read from the chord chart and make things up on their own, as Dave Camwell does in his excellent recording with the Troy University Concert Choir (available on YouTube and Spotify). Conductors should not feel that the instrument is obligatory, however; it is a satisfying choral piece on its own, and in some ways the unaccompanied version is a more direct form of expression. The premiere was performed by Roomful of Teeth in the original version without saxophone. I am forever grateful to them for that inspiring performance.
Four YouTube videos are available: The Norfolk Festival Chamber Choir, the Troy University Concert Chorale, the Madison Singers of James Madison University, and the Missouri State University Chorale.
Amid the Scent of Absinthe and Moringa
This is a setting of a poem of love and longing by Ibn 'Arabi, a prolific poet, philosopher, and theologian from Medieval Spain. It was a winner of the Novavox Choral Award. It is the fifth movement of Convivencia a multi-movement work for choir and string quartet that consists of settings of ancient love lyrics in Hebrew, Latin, and Arabic. Our treasured friends are gone and with them our patience, gone who had been alive in the black core of the heart. I asked where the riders halted and knelt their camels. Amid the scent of absinthe, they said, and moringa blossoms. I told the wind to track them down in the shade of the thicket where the wings of their tents were spread, To bring them greetings from the brother of grief. When the tribe scattered, his heart was torn. Ibn ‘Arabi (1165-1240) English Translation by Michael Sells (used by permission)
And Glory Shone Around
"And Glory Shone Around" is a setting of a familiar Chritsmas text by the Irish poet, Nahum Tate (1672-1815). It was premiered by the Marsh Chapel Choir of Boston University, Scott Allen Jarrett, conductor. It tells the story of the encounter between the angels and the shepherds on Christmas night. The climax comes as the angels exclaim the words that eventually became the opening of the Gloria section of the mass: "All glory be to God on high, and to the earth be peace." text: While shepherds watched their flocks by night, all seated on the ground, an angel of the Lord came down, and glory shone around. "Fear not," said he for mighty dread had seized their troubled mind "glad tidings of great joy I bring to you and all mankind. "To you, in David's town, this day is born of David's line a Savior, who is Christ the Lord; and this shall be the sign: "The heavenly babe you there shall find to human view displayed, all simply wrapped in swaddling clothes and in a manger laid." Thus spoke the angel. Suddenly appeared a shining throng of angels praising God, who thus addressed their joyful song: "All glory be to God on high, and to the earth be peace; Good will henceforth from heaven to men Begin and never cease.."
Beauty by Beauty
Available in SSAA and SATB versions, this piece is a setting of e poem by former U.S. Poet Laureate, Joy Harjo. I was inspired by the Harjo's poem draws our attention to the wonder and mystery of the living presence that continually transforms and rearranges the world, "thought by thought, beauty, by beauty." This piece was written to honor the life of our dear friend Jean Ketter, a member of Vox Feminae, the choir that premiered it, and a long-time colleague of mine at Grinnell College. Jean was a both a gentle and a courageous person, and I hope that this piece has some of her spirit in it—an openness to beauty, and a refusal to let fear govern one’s life. The red dawn now is rearranging the earth Thought by thought Beauty by beauty Each sunrise a link in the ladder Thought by thought Beauty by beauty The ladder the backbone Of shimmering deity Thought by thought Beauty by beauty Child stirring in the web of your mother Do not be afraid Old man turning to walk through the door Do not be afraid
Cantori New York, Mark Shapiro, conductor, performing the New York Premier of "Beauty by Beauity."
Body My House
In this striking poem, May Swenson (1913-1989) contemplates our relationship to our physical bodies and the mystery of death. May Swenson once wrote that she sought to "become naked in lpoetry / [and] force the truth / through a poem." I was inspired by the directness and emotional power of this poem. I love the way May Swenson speaks to her body in a friendly, familiar second person. The poem always surprises me each time I read it; I hope my musical setting does the same. text: Body my house my horse my hound what will I do when you are fallen Where will I sleep How will I ride What will I hunt Where can I go without my mount all eager and quick How will I know in thicket ahead is danger or treasure when Body my good bright dog is dead How will it be to lie in the sky without roof or door and wind for an eye With cloud for shift how will I hide?
Calm on the Listening
Ear of Night
A Winner of the VocalEssence Carol contest, this piece sets a colorful poem by Edmund H. Sears. The guitar accompaniment begins with tranquil harmonics invoking the striking image of the “listening ear of night,” and grows over the course of the piece, at times taking on a concerto-like character in keeping with the grandeur of the announcement of the nativity. Calm on the listening ear of night Come heaven's melodious strains, Where wild Judea stretches far Her silver-mantled plains. Celestial choirs from courts above Shed sacred glories there; And angels, with their sparkling lyres, Make music on the air. The answering hills of Palestine Send back the glad reply; And greet, from all their holy heights, The Dayspring from on high. O'er the blue depths of Galilee There comes a holier calm, And Sharon waves, in solemn praise, Her silent groves of palm. "Glory to God!" the sounding skies Loud with their anthems ring, "Peace to the earth, good-will to men, From heaven's eternal King!" Light on thy hills, Jerusalem! The Saviour now is born! And bright on Bethlehem's joyous plains Breaks the first Christmas morn.
Earth's Remotest Bound
Commissioned and premiered by the Rose Ensemble,Jordan Sramek, Music Director, this work emulates the rough-hewn beauty of shape-note music. I was so taken with the first stanza: "Blow Ye the trumpet, blow the gladly solemn sound. Let all the nations know, to earth's remotest bound, the year of jubilee is come.; Return ye ransomed sinners home." "The gladly solemn sound . . ." What a beguiling phrase that is. It's just a stunning bit of poetry. I tried to write a piece that drew attention to the music that was latent in the text.
I Look For You Early
A setting of a poem by Solomon Ibn Gabirol (c. 1021-1058). It has a soulful part for saxophone. The accompaniment can be handled in a variety of ways: organ alone, organ with saxophone, or piano and saxophone (as in the sample recording). Solomon Ibn Gabirol has been hailed as one of the greatest Jewish poets of all time. His liturgical poems are still used in Jewish services throughout the world. He was active as a philosopher and man of letters in the Arab courts of medieval Andalusia. Because of the mixture of peoples in southern Spain during Gabirol’s life, he grew up under the influence of both Jewish and Arabic cultures. I Look for you early, my rock and my refuge, offering you worship morning and night. Before your vastness I come, confused and afraid, for you see the thoughts of my heart. What can the heart and tongue compose, or spirit's strength within me to suit you? But song soothes you, and so I'll give praise to your being as long as your breath- in-me, moves. Solomon Ibn Gabirol (c. 1021-1058) Translated from the Hebrew by Peter Cole
Job's Lament
Commissioned and premiered by the Rose Ensemble, this setting of a text from Job uses vielle (an early instrument similar to the viola) and a hurdy-gurdy drone. A plaintive song; it is intended to be part of a larger work treating the story of Job. adam yelud isha ketsar yamim us’varogez: Man that is born of a woman is of few days, and full of trouble. ketsits yatsa vayimal vayivrakh katsel velo ya-amod He cometh forth like a flower, and withereth; he fleeth also as a shadow, and continueth not. yamai kalu miniareg vayikhlu b’efes tikva My days are swifter than a weaver's shuttle, and are spent without hope. z'khor kiruakh khayai lotashuv eini lirot tov O remember that my life is a breath; mine eye shall no more see good. lot'shureni ein roi eineikha bi v'eineni: The eye of him that seeth me shall behold me no more; while Thine eyes are upon me, I am gone. kala anan vayelakh ken yored sh'ol lo ya-ale As the cloud is consumed and vanisheth away, so he that goeth down to the grave shall come up no more. Job 14:2, 7:7-9
Praise Beginnings, Praise the End
This piece is intended to be the Gloria movement of a mass. It is a setting of a poem by Joy Harjo poem that is filled with a grateful, celebratory spirit. To make the association wth the mass clear, I have combined Harjo's poem with a few select phrases from the Latin Gloria. In her memoire, Poet Warrior, Joy Harjo writes, "Give back with gratitude. If you sing it will give your spirit lift to fly to the stars’ ears and back. Acknowledge this earth who has cared for you since you were a dream planting itself precisely within your parents’ desire." Praise the rain, the seagull dive The curl of plant, the raven talk— Praise the hurt, the house slack The stand of trees, the dignity —Praise the dark, the moon cradle The sky fall, the bear sleep— Praise the mist, the warrior name The earth eclipse, the fired leap— Praise the backwards, upward sky The baby cry, the spirit food— Praise canoe, the fish rush The hole for frog, the upside-down —Praise the day, the cloud cup The mind flat, forget it all —Praise crazy. Praise sad. Praise the path on which we’re led. Praise the roads on earth and water. Praise the eater and the eaten. Praise beginnings; praise the end. Praise the song and praise the singer. Praise the rain; it brings more rain. Praise the rain; it brings more rain. Copyright © Joy Harjo, used by permission o
Root of All Things
A setting of an inspiring poem by Hildegaard von Bingen that speaks of the Holy Spirit as a life-giving and healing force, animating all things. This work, suitable for an accomplished choir, culminates in an extensive fugue. Spiritus sanctus, vivificans vita movens omnia et radix est in omni creatura ac omnia de inmunditia abluit tergens crimina ac ungit vulntera et sic est fulgens ac laudabilis vita suscitans et resuscitans omnia Hildegard von Bingen The Holy Spirit, life-giving life, moving all things, is also the root of every creature, and cleans all things from impurity, wipes out wrongs, puts balm on wounds, and is thus shining and praiseworthy life, wakening and reawakening all things.
Set Me as a Seal
A setting of the familiar biblical passage sung in the original Hebrew. Commissioned by the Iowa Choral Directors Association and premiered by Magnum Chorum, David Dickau, conductor. The Hebrew text has a certain cadence and rhyme scheme that is highly musical, which is not surprising since these words were likely originally intended to be sung. The Hebrew version also has some strong onomatopoetic elements that disappear with translation. Take for example, the following passage: “For love is fierce as death, its jealousy bitter as the grave” or, in Hebrew, “Ki azah khamavet ahavah kashah kish’ol kinah,” Reciting this text, with the hammering, repetitive k sound, the frequent rhymes, the building emotional pressure that is released with a final knockout blow, it became clear to me that this is about human, gut-level passion and not an idealized vision of love. In this setting, I tried to convey the passion I heard in the text, a love so strong that it threatens to overwhelm us as a “devouring flame”. I also tried to express the affection that underlies the poem, the simple need for connection to another, to be bound to another’s heart. Bind me as a seal upon your heart, simayni khakhotam al libekha A sign upon your arm, kakhotam al z’roekha For love is as fierce as death, ki azah khamavet ahavah Its jealousy bitter as the grave; kashah khish’ol kinah Great seas cannot extinguish love, mayim rabim lo yukhlu l’kha bot et ha’ahavah No river can sweep it away. un’harot lo yisht’ fuah
The Twenty-Third Psalm
This psalm setting for choir and organ intersperses the Hebrew text with the English translation. The mood evolves from the tranquility of the first section of the psalm in which God is compared to a caring shepherd, to the fearsomeness of the "valley of death," and concludes with the assurance of the final assertion, "I will fear no evil, for Thou art with me." This work was premiered by the choir of the Lutheran Church of the Good Shepherd, in Brooklyn, New York, Katherine Marie Meloan, director.
To the World's Edge
This setting of Psalm 19 for choir with brass grows out of the impulse to convey the sense of awe that we feel while gazing up on a clear night at the sky filled with stars – or, in what is actually a more typical encounter for us these days, by looking out into the farthest reaches of the universe and observing those colorful, dramatic, seemingly fantastical forms by way of a Webb telescope screensaver. Psalm 19 (which is the text for one of my favorite pieces, Steve Reich’s Tehillim) seems saturated with this awareness of the majesty of the world beyond our immediate surroundings, and of being made to feel very small in the presence of that enormity. This piece was commissioned for the 160th anniversary of Grinnell United Church of Christ and the installation of Rev. Cameron Barr. It was premiered on October 11, 2015.
Uri tsafon (Awake, O North Wind!)
An exuberant work that begins with a six-part canon for the upper voices.This is the fifth movement of Convivencia, a work for choir and string quartet that consists of settings of ancient love lyrics in Hebrew, Latin, and Arabic. Translation: Awake, O north wind; and come, thou south; blow upon my garden, that the spices thereof may flow out. Let my beloved come into his garden, and eat his pleasant fruits. I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, O friends; drink, yea, drink abundantly, O beloved. Song of Songs 4:16 and 5: 1
We Are Servants of God
This is a setting of the Grinnell United Church of Christ's Mission Statement, which was adopted when the church voted to become open and affirming (in other words, to become welcoming to the LGBTQ community). "We are servants of God and one another on a creative journey of faith. We will respond to the call of Christ and the Holy Spirit. We are one family, open to all. We will strive for peace and Justice."