This program includes everything from “Boogie-woogie Bugle Boy” to Holocaust songs to a rediscovered composition on the blessings of peace. This program honors the women’s experiences of war. As we have learned this music, it has become our way of partaking of the courage women have shown, even in their unimaginable suffering, when the fires of war swept over their lands.
Music illustrating just that, including “The Harp Weaver”, Elinor Remick Warren’s musical adaptation of Edna St. Vincent Millay’s 1922 Pulitzer Prize-winning poem, with guest artists Gerald Whittington, baritone, and Emily Laurance, harp; and Claude Debussy’s “Salut printemps”.
Music honoring mothers. The first part present sacred music devoted to Mary, the mother of Jesus, and to the Church as a mother. The second part celebrates “other” mothers, including adoptive mothers and stepmothers, in all the feisty imperfection many of us know as mothers—and all of us know as daughters—in the relationships between mothers and children. Includes “Nancy Hanks” by Katherine K. Davis, and the Triangle area premiere of Lana Walter’s “Magnificat.”
Music about divine and human love. The first half of the program dwells on the power of sacrificial love to bring healing and peace to a troubled world. The second half begins by portraying the rocky course of romantic love: longing, rejection, and separation. Only at the end do straightforward expressions of admiration seem likely to be reciprocated! Includes “Three Flower Songs” by Amy Beach, and “Mag auch heiss das Scheiden brennen” by Mary Wurm.
The first part of today’s program presented images of Jerusalem—Zion, the holy city, a metaphor for the people of Israel, or for Heaven. The second part visited the city in modern, secular terms: it is the place where pleasurable excitement, even wickedness, may be enjoyed.
Our first commissioned piece: “Magnificat ‘Regina coeli'” by Katherine Dienes of New Zealand, as well as “Past Life Melodies” by Sarah Hopkins and Helen Caskie’s “Three New Zealand Country Songs”. Performed on May 9, 2000.
Music honoring the times and places women have found to compose or to sing music together, including an arrangement by Amy Beach of Oliver Wendell Holmes’ poem “The Chambered Nautilus”, pieces by Hildegard of Bingen and Ysaye Barnwell (of Sweet Honey in the Rock), and an audience sing-a-long of “The March of the Women”, a suffrage song, by Dame Ethel Smyth. Our first program entirely by women composers.
This program celebrates Jews’ and Christians’ spring festivals of redemption and new life. In particular, it honors the rôle of women. Through our music, we have walked in the steps of Miriam, Moses’s sister, who led the Hebrew women in a song of triumph after the crossing of the Red Sea, and with the women […]
This program celebrated our European and African ancestors who came to the New World. Some brought shiploads of material possessions — tools, household goods, books and manuscripts. Some, like the slaves, brought only themselves. All of them brought their memories. Our ancestors’ remembered music — hymns, canticles, folk songs, instrumental tunes, dances, rhythms — became the foundation for our rich North American music idiom. This concert was a sampler of folk, vernacular, and religious music from that immigrant tradition.
The program, with the Meredith Girls’ Chorale conducted by Fran Page as our guest ensemble, included works by Elinor Remick Warren, Barrie Cabena, Amy Beach, Alice Parker, and Salem, N.C. composer Margaret Vardell Sandresky.