Programme Notes

When I first read Carol Burdick's poem After Storm, I was struck by a poetic voice breaking with grief. The simplicity of the opening words masks an underlying sense of loss and pain. I imagined someone whose heart was suffering, who sought to bring peace to where there was only unrest. But the peaceful beauty of the winter snow, outside, does not find its way into this troubled soul. This setting emphasises this contrast between the outer and inner worlds. After a gentle opening suggesting the calming of the falling snow, the sopranos continue this mood with a long melody, while the lower voices struggle to speak underneath. In the next section, the voices combine to appeal for rest, but ultimately beg to be released of all feeling. The last section suggests both a sense of defeat and resignation, and the possibility of eventual release.

Carol Burdick's poem Angeline on Ossabaw depicts, for me, a perfect moment of innocence. Young Angeline dances on the beach, without a care in the world. The older women who watch her have danced in their own earlier time, and they know from their own experience that Angeline's innocence will not last forever -- for pain, sadness, and shadow will always be waiting for her. This setting for choir and cello seeks to capture that perfect moment. The choir itself ebbs and flows like the tide against the sand, while the solo cello represents Angeline herself, dancing in her own perfect world, exploring and inquisitive, untouched by the shadow ahead of her.

When I read through Carol Burdick's poetry collections in search of texts for a trilogy of choral works, Discards sparkled for me. "Sari's" careful and stately procession along the beach, and the delicate colour and glint of the broken seashells she collects, were both images that, to my imagination, made for potent musical inspiration. The result is a work that dances on the surface and glistens in detail.

Performing Note: After Storm, Angeline on Ossabaw and Discards (texts by Carol Burdick) comprise a trilogy of works with a "progressive" accompaniment (the first a cappella, the second with obbligato cello, and the third with string quartet). They may be performed separately or in combination; if the complete trilogy is performed, they should be presented in the order given above.