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Celebration for the Next Century

Lullabies and Dreams

Although the texts are adapted from poems by the Indiana poet James Whitcomb Riley (1849-1916), the poet's intent, imagery, cadence and the soulful message remain intact. The composer's wish is that these songs should be performed in a continuous manner, with no pauses between songs (beyond a natural breath) so that one unfolds seamlessly into the next.

Lullabies and Dreams

Although the texts are adapted from poems by the Indiana poet James Whitcomb Riley (1849-1916), the poet's intent, imagery, cadence and the soulful message remain intact. The composer's wish is that these songs should be performed in a continuous manner, with no pauses between songs (beyond a natural breath) so that one unfolds seamlessly into the next.

Maid of Constant Sorrow

A familiar American folk song is A Man of Constant Sorrow. Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. “All through this world, I’m bound to ramble...perhaps I’ll take the very next train.” Then, later, “perhaps I’ll die upon this train.” Some comfort is taken with the lines “I know we’ll meet on God’s Golden Shore.” Approachable vocal writing with a gently flowing piano accompaniment. Duration: 4:15A familiar American folk song is A Man of Constant Sorrow. Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. “All through this world, I’m bound to ramble...perhaps I’ll take the very next train.” Then, later, “perhaps I’ll die upon this train.” Some comfort is taken with the lines “I know we’ll meet on God’s Golden Shore.” Approachable vocal writing with a gently flowing piano accompaniment. Duration: 4:15

The Morning Train: 3. Maid of Constant Sorrow

A familiar American folk song is "A Man of Constant Sorrow." Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. "All through this world, I'm bound to ramble...perhaps I'll take the very next train." Then, later, "perhaps I'll die upon this train." Some comfort is taken with the lines "I know we'll meet on God's Golden Shore." But the life on this earth is one of constant sorrow. Duration: 2:30.

The Gale

A creative and unusual work, The Gale uses text painting, sound effects, and crafty choral writing to bring to life the text written by Abraham (“Abramek”) Koplowicz, a Jewish boy who was exterminated by the Nazis during the Holocaust. He wrote this poem during the time that his family was trapped in the Lodz ghetto. The terror of the storm represents a deeper terror, the "swallow and his wife...wondering what will come next" allegorically speaks for the people. So it is with the entire poem, which results in a powerful piece of music which is equally effective accompanied by piano or by chamber orchestra. Duration: 6:30

27 Haiku

Originally called hokku, the familiar 3-line verse began as the opening of a group improvisation called renga which evolved in Japan in the middle ages. Often creating spontaneously, one poet would speak the first three lines, another poet would add the next two, another the next three and so on until a longer composition had evolved. This creative collaboration was an important social, creative, and intellectual pastime. Eventually the opening three line groups (whose lines commonly had syllables of 5, 7, and 5 respectively) achieved a life of their own and became the haiku (a merging of hokku and hakai (playful) that we know today. The poetry used in this collection waswritten by the most famous Japanese haiku masters, of whom Basho (1644 94) is considered their founding father. His deep humanity and intense observation of the natural and human world combined to elevate the haiku tradition to its epitome. The poet and painter Buson (1716 84) and the beloved Issa (1762 1826) carried on the tradition and instructed and inspired future generations. Through their work and the work of their compatriots, the impressions of the world around them were distilled into poetic “glimpses,” brief moments of casual acknowledgement, profound beauty, or gentle sadness. The steady references to the seasons, trees and flowers, the small creatures of nature, the intensity of human relationships as well as those quiet moments spent in thoughtful reflection, give us an impression of their world and their relationship to it.

Born in Bethlehem

“Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15 “Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15

Born in Bethlehem

“Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15 “Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15