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Producer: James Ginsburg Cedille Records is a trademark of The Songs from Spoon River, Reflections of a Peacemaker, Engineer: Bill Maylone Classical Recording Foundation, and Other Vocal Music by Lita Grier a not-for-profit foundation devoted Recorded September 8 and 9, October 13, Five Songs for Children (1962/1999) Songs from Spoon River (2004–2008)* 2008, and April 8, 2009, in Bennett-Gordon to promoting the finest musicians and ensembles in the Chicago area. The Chicago (7:16) (30:38) Hall at Ravinia, Highland Park, Classical Recording Foundation’s activities 1 1. Afternoon on a Hill (0:53) bo The Hill (Part I) (4:18) Steinway Piano are supported in part by contributions 2 2. The Seashell (0:58) bp Sarah Brown (2:28) Piano Technician: Jim Hudson and grants from individuals, foundations, 3 3. Someone (1:30) bq Zenas Witt (1:58) Art Direction: Adam Fleishman corporations, and government agencies 4 4. Who Has Seen the Wind (1:57) br Lucinda Matlock (2:52) www.adamfleishman.com including the Alphawood Foundation, 5 5. The Bluebird (1:48) bs Anne Rutledge (2:37) Front Cover Art: A Country Window Elegy Irving Harris Foundation, Kirkland & Ellis Michelle Areyzaga, soprano bt Petit the Poet (3:03) Foundation, The MacArthur Fund for Arts by Robert Kameczura Welz Kauffman, piano cu Margaret Fuller Slack (4:01) Back Cover Photos: and Culture at Prince, NIB Foundation, cl Fiddler Jones (1:53) Negaunee Foundation, Sage Foundation, Lita Grier — by Robert Kameczura 6 Sneezles (1972)* (3:21) cm Rita Matlock Gruenberg (4:26) Chicago Department of Cultural Affairs Mattie J.T. Stepanek — by Jennifer Stepanek Michelle Areyzaga, soprano cn The Hill (Part II) (2:44) (CityArts III Grant), and the Illinois Arts Anne Bach, oboe; Tina Laughlin, percussion Edgar Lee Masters — Photo courtesy Elizabeth Norman, soprano br bs cm cn Council, a state agency. William Billingham, piano of Fanny Butcher Papers, The Newberry Michelle Areyzaga, soprano bp bs cu cn Library, Chicago Five Songs from A Shropshire Lad (1955)* Scott Ramsay, tenor bo bs bt cn Contributions to The Chicago Classical (6:59) Alexander Tall, baritone bq cl cn PUBLISHERS Recording Foundation may be made at 7 I. (0:53) Levi Hernandez, baritone bs Five Songs for Children (1962/1999), Five www.cedillerecords.org or 773-989-2515. 8 II. (2:55) Welz Kauffman, piano bp br bs cu cm Songs from A Shropshire Lad (1955), Two 9 III. (0:42) William Billingham, piano bo bq bt cl cn Songs from Emily Dickinson (1961), and bu IV. (1:14) Reflections of a Peacemaker (2007)* Songs from Spoon River (2004/2006/2008) bl V. (1:06) © Lita Grier. Poetry by Mattie J.T. Stepanek (12:31) Robert Sims, baritone co As it Was in the Beginning (1:11) CEDILLE RECORDS trademark of William Billingham, piano cp Eternal Role Call (3:04) Sneezles © 2009 Walt Disney Music The Chicago Classical Recording Foundation Company and L. Grier; Based on the poem 5255 N. Lakewood Ave, Chicago IL 60640 USA Two Songs from Emily Dickinson (1961)* cq The Pirate Song (2:20) 773.989.2515 tel - 773.989.2517 fax cr “Sneezles” by A.A. Milne, music by L. Grier; (6:26) About Living (Part III) (2:48) WWW.CEDILLERECORDS.ORG cs I AM (2:59) All rights reserved. CDR 90000 112 P & C 2009 Cedille Records bm I. (4:42) All Rights Reserved. Made in U.S.A bn II. (1:41) Chicago Children’s Choir Reflections of a Peacemaker ©2007 Lita Michelle Areyzaga, soprano Josephine Lee, conductor Grier and Jennifer Stepanek Welz Kauffman, piano John Goodwin, piano

*World Premiere Recording Total Time: (67:45)

2 3 The Songs of Lita Grier and high praise. She seemed poised production, as Vice President and, This CD is the first commercially- Notes by Ted Hatmaker to settle in as one of the prominent after the death of her husband, available recording devoted This recording of songs by Lita Grier composers of her generation. And President of Inter-Continental Media, exclusively to the music of Lita brings us much to celebrate. It not then, suddenly, she walked away from producing outstanding musical series Grier. It is fitting that it features her only makes available a marvelous it all. such as nationally-distributed radio songs because this genre spans collection of vocal music, most of it Why would someone abandon broadcasts of the Vienna Philharmonic from her earliest to her most recent for the first time; it also represents the field of composition after such and Salzburg Festival. In the wake of compositions. Grier has set the words how an extraordinarily gifted a promising start? To answer this this career shift she had left a number of illustrious English language poets composer was able to defy history question, one must return to the of high-quality pieces, and these took with a regard for ultimate conveyance and return to creating vibrant music 1960s, when serialism, a compositional on a life of their own. Her flute sonata, of their meaning. These are not songs after a 30-year hiatus. Such a return technique in which pitches (and other violin sonata, songs, and other in which the music competes against is virtually unprecedented, and the elements) are used in a specified chamber works were distributed the word; rather they form a marriage music community is fortunate to reap order and manner to assure an atonal among musician friends and that seeks to become more than the the benefits. effect, reigned over the academic performed throughout this period, to sum of its components. Employing overwhelmingly positive reviews. By her rich harmonic vocabulary, from Having found her compositional voice music establishment, and composers who did not conform were mocked the mid-1990s, the demand for new glorious sonorities to pungent early, Lita was awarded First Prize in works became too great for her to dissonances, Grier is able to give a the New York Philharmonic Young as antiquated. In addition, female composers were not common, and ignore. Commissions began to stream contemporary voice to these poets Composer’s Contest at age sixteen, in, and a career previously derailed of the past, and thus connect them during her first year at Juilliard. many still felt composition should be an exclusively male domain. by unfortunate circumstances was with the modern listener. The result is After completing her degree, she righted and continues rolling along music that projects how we feel inside went on to earn a Masters degree Lita faced both of these prejudices. to this day. In recent years, Lita has when reading these poems. in composition at UCLA, where she Rather than fight against the had entire concerts dedicated to her The Five Songs for Children offer a studied with Lukas Foss and Roy prevailing forces, she redirected her music, seen numerous recordings and Harris. Along the way, her early songs, energies to other musical pursuits: unique opportunity to experience countless performances of her works, the integrity of Grier’s style. Although some of which are included here, and artist management, public relations, and was named a chamber music garnered awards writing, and finally, broadcast they seem cut from the same musical “Chicagoan of the Year” in 2005. cloth, three of the songs were written

4 5 early in her musical life, the other two depicts the annoyance of answering song, with a vocal line spanning The nearly-continuous shift among 37 years later. A listener would be a knock at the door at night to find more than two octaves. The largely the battery of percussion instruments hard-pressed to determine which are no one there, only the busy sounds of stepwise harmonic progression must make this work as delightful to which, because her early works were woodland creatures. Sharp staccatos counterbalances the joyous leaps of watch as to hear. so mature and her later ones bear represent both the knocking and the melody. Composed while still in her teens, the the same youthful zeal and harmonic the narrator’s perturbation. In the The setting of A.A. Milne’s Five Songs from A Shropshire Lad is imprint. (The first three songs were end, the voice part takes its leave “Sneezles,” from the collection Grier’s earliest work on this recording. written in 1962, the last two in 1999.) after accepting it will never know Now We Are Six, is the lone work The simple, carpe diem message The irregular meter and compound who knocked. The piano, however, composed during Ms. Grier’s inactive of A.E. Housman’s collection, from (long-short) rhythms of “Afternoon remains determined, and checks a period, which stretched from 1965 which these were taken, is neatly on a Hill” (Edna St. Vincent Millay), its couple more times before ending to 1995. She composed “Sneezles” revealed in her music. The effect of rolling lines and shouts of glee, aptly the song. The double quatrain of in 1972, when she was reading from love on a young man’s behavior is the suit the youthful narrator’s enthusiasm Christina Rossetti’s “Who Has Seen Milne’s collection to her young son, topic of the first song. The skipping at an unchaperoned day on a hill the Wind?” is handled masterfully by to whom the work is dedicated. Set meter of the accompaniment mirrors overlooking town. In Amy Lowell’s Grier. Gestures that begin one way for soprano, oboe, percussion, and the customary wanton behavior of “The Seashell,” voice and piano lines in the first quatrain are inverted in piano, it features the exploits of the unattached narrator, not the come to life to act out the stories told the second. The effect is to alter the Milne’s favorite character, Christopher well-heeled character of his former by the conch shell at the child’s ear. stress of the words: “Who has seen Robin, as he occupies the adults infatuated self. The poignant second The repeated downward intervals the wind?” versus “Who has seen the in his life with a slight illness. The song relates an eerie scenario: that open the piano and voice parts wind?” Tremolo “leaves” in the piano charm of Christopher Robin’s secret a young man walks with his lass sound familiar to all children-at-heart. part help paint a haunting mood. language of rhymes and the pomp of beneath an oracle-like aspen, which Grier’s piano part serves here as a Nature’s joyous song, complete with the various personages who attend predicts her death and, a year later, playfriend to the voice, playing first bird-chirp motive, bursts forth in him are skillfully exposed through his own. The widely contrasting third in counterpoint, then momentarily “The Bluebird” (Emily Huntington the supple melody. The instruments and fourth songs are told in the veering off on its own fantasy before Miller), which closes the set. This supply appropriately descriptive second person from well-meaning, rejoining the voice in its games. spirited waltz casts the bluebird as commentary, but the percussion in but clearly different counsels. To a “Someone” (Walter de la Mare) the harbinger of spring in a fervent particular adds a new dimension. jaunty, dance-like melody, the former

6 7 prescribes a life of laughing, dancing, music reflect the emotional surge five, “Anne Rutledge,” was added Hill (Part II),” are sung in the third and drinking, since thinking too much hidden behind the argument’s logic, in 2009 in commemoration of the person. All of the other characters will hasten death; in a more somber as well as the disconsolation felt on bicentennial of Lincoln’s birth. The speak for themselves. “Sarah Brown,” air, the latter recalls the biblical the final word, “despair.” Poignant texts come from Edgar Lee Masters’s the second song, cautiously carves prescription to cut off any part of shifts of key and subtle integration Spoon River Anthology, a set of over the poignant plight of a woman the body that causes you to sin, and of melodic motives give this song two hundred poems that unveil a who loved another man as well as to end it all “When your sickness is a gravity far exceeding that of the shockingly scandalous lifestyle in rural her husband. The singer’s final and your soul.” The final song sets the poem alone. “I Taste a Liquor Never Illinois through fictional characters highest note culminates her rationale: best known poem of the collection, Brewed,” Dickinson’s high-on-nature speaking from their graves. Grier’s “There is no marriage in heaven, “When I was one and twenty.” Grier poem, is set to impressionistic colors brilliant array of expressions but there is love.” With the agitated gives an edginess to the folk-like and moto perpetuo arpeggiations complements the characters’ diverse “Zenas Witt,” the baritone portrays a melody through polytonal references and tremolos. It is a virtuosic song accounts, and offers vocal tours- student who suspects he is mortally and metric shifts. Its spirited tempo that taxes both vocalist and pianist. de-force for high soprano, second ill, and has his suspicion confirmed slows only at the end to deliver the Lita Grier’s longest and most soprano or mezzo-soprano, tenor, when he reads his symptoms in an woeful moral. ambitious work to date is the cycle and baritone voices, accompanied by advertisement. A cough ensued, piano. sending him to an early grave, where While studying at UCLA, Lita Grier Songs from Spoon River. Its ten vocal he “slept the sleep without dreams.” composed Two Songs from Emily masterpieces are the product of three The opening song, “The Hill (Part To a waltz, the matriarchal “Lucinda Dickinson. It is hard to imagine a separate commissions from Ravinia I),” for tenor, introduces us to ten more powerful setting for Dickinson’s Festival CEO Welz Kauffman for the residents of the cemetery and their Matlock” outlines her happy, full “I Cannot Live with You” than festival’s Steans Institute for Young various fates, and sets the stage for life, and flippantly directs sharp Grier’s heard here. Through logical Artists. The first set, comprising songs the remaining songs. Its funeral dirge criticism to mopey youths who don’t argument, the narrator explains why one through four and the finale, was tempo and dark harmonies cast a know how to enjoy themselves. The love cannot be allowed between her premiered in 2004 and is dedicated to touch of melodrama to the setting, entire ensemble joins together for and her beloved. The accompaniment Ravinia’s centennial year celebration. and introduce the death motive the first time in “Anne Rutledge,” a lends a restrained forbearance to this An overwhelmingly positive response (“all are sleeping on the hill”), which slow, dignified portrait of Abraham wistful message of love’s impossibility. led to a subsequent commission that reappears in several songs. This song Lincoln’s early beloved. Grier Despite this restraint, Grier lets the yielded songs six through nine. Song and its bookend counterpart, “The brings back the dark harmonies

8 9 from the opening song to capture that kept her from a happy, full Mattie saw beauty and awe in the here — is captured movingly by the Rutledge’s soliloquy. Even in death, life, but circumstances of fate. The everyday; nowhere is this more a cappella setting of this gracious “Petit the Poet” still obsesses over ensemble reunites for the finale, “The apparent than in “As It Was in anthem. The set culminates in “I AM,” poetic meter, his thought processes Hill (Part II),” continuing the survey the Beginning.” Grier’s glistening an anaphoric feast in which the “I” is apparently continuing by inertia. of various characters, as in part I, harmonies spotlight key words such each one of us, and no matter what The accompaniment’s witty metric and concluding with an assessment as “sunshine” and “glee,” while makes us the way we are, we are all interplay with the tenor’s melody of Fiddler Jones’s capricious life and crescendos over each “–ing” of miraculous just by being. This mature recedes only when he stops to comments over strains of “The Battle “thriving, reverberating, exhilarating” viewpoint from such a young man reflect on how life passed him by. Hymn of the Republic.” The colorful, drive home how amazing a concludes the disc, neatly balancing The ambitious novelist “Margaret the distracted, the maligned, the self- playground full of children can be. In the opening five children’s songs Fuller Slack” finds herself undone righteous — all are sleeping on the “Eternal Role Call,” lush, rolling piano from celebrated adult poets. by the “old problem” of sex, which hill. chords lead the children to delight in drew her to matrimony: her eight The life and writings of Mattie J.T. what each season brings to them. Ted Hatmaker is a music theorist and children left her no time to write, Stepanek (1990–2004) have been Even death contributes, for it gives composer who teaches at Northern Illinois and she died of lockjaw from an celebrated for many years now. them a chance to recognize those University. accident sustained while performing Mattie understood more in his short gifts that are part of life. The cycle domestic chores. A rustic drone life than most of us ever will, and of seasons is reflected in the end by escorts the sprightly dance tune for his message of hope, peace, and a return to the opening harmony. the baritone’s joyous “Fiddler Jones,” courage inspired all who knew him, or “The Pirate Song” exemplifies a musician who was ill-equipped to knew of him. When commissioned by Mattie’s “play” mode, which should thrive in his farming profession. A the Chicago Children’s Choir to write be an important part of all our lives. reprise of Lucinda Matlock’s waltz a work for its 50th anniversary in 2007, Here the chorus members become allows her granddaughter “Rita Lita chose to set five Stepanek poems fearsome pirates, with sound effects Matlock Gruenberg” to respond for children’s choir and piano and call to punctuate their chantey. A more movingly to her ancestor’s criticism circumspect outlook is presented in the set Reflections of a Peacemaker, from a nearby grave. It was not lack the title of Mattie’s last published “About Living (Part III).” Its message of “strength, nor will, nor courage” volume of poetry. — live life to the fullest while you’re

10 11 4 TEXTS Of parrots and tropical trees; Who Has Seen the Wind You must be weary of winter, I know; Of islands lost in the Spanish Main Christina Rossetti Hark, while I sing you a message of cheer Five Songs For Children Which no man ever may find again, Summer is coming and springtime is here! Of fishes and corals under the waves Who has seen the wind? Neither I nor you; “Little white snowdrops, I pray you arise; 1 Afternoon on a Hill And seahorses stabled in great green Edna St. Vincent Millay caves. But when the leaves hang trembling Bright yellow crocus, come, open your The wind is passing through. eyes; © 1917, 1945 Reprinted by Permission of Sea Shell, Sea Shell, Sweet little violets, hid from the cold, Elizabeth Barnett, Literary Executor, The Sing of the things you know so well. Who has seen the wind? Put on your mantles of purple and gold! Millay Society. Neither you nor I; Daffodils, daffodils! Say, do you hear? 3 Someone But when the trees bow down their heads Summer is coming and springtime is I will be the gladdest thing Walter de la Mare. The wind is passing by. here!” Under the sun! © The Literary Trustees of Walter de la 5 6 I will touch a hundred flowers The Bluebird Sneezles Mare and the Society of Authors as their Emily Huntington Miller A.A. Milne And not pick one. representatives. Used with Permission. © 1927 Disney. Reprinted by permission. I know the song that the bluebird is singing I will look at cliffs and clouds Some one came knocking All rights reserved. With quiet eyes, Out in the apple tree where he is swinging At my wee, small door; Brave little fellow! The skies may look Christopher Robin Watch the wind bow down the grass, Someone came knocking, And the grass rise. dreary— Had wheezles I’m sure-sure-sure Nothing cares he while his heart is so And sneezles, I listened, I opened, cheery. They bundled him And when the lights begin to show I looked to left and right, Up from the town, Into But nought there was astirring Hark! How the music leaps out from his His bed. I will mark which must be mine, In the still, dark night; And then start down. throat! They gave him what goes Only the busy beetle Hark! Was there ever so merry a note? With a cold in the nose, Tap-tapping in the wall, Listen awhile and you’ll hear what he’s And some more for a cold 2 The Sea Shell Only from the forest Amy Lowell saying, In the head. The screech-owl’s call, Up in the apple tree swinging and swaying. They wondered Only the cricket whistling If wheezles Sea Shell, Sea Shell, While the dewdrops fall, Sing me a song, O, please! “Dear little blossoms down under the Could turn So I know not who came knocking, snow Into measles, A song of ships and sailor-men At all, at all, at all.

12 13 If sneezles Will certainly go.” 8 II Oh, ‘tis jesting, dancing, drinking Would turn They expounded the reazles Spins the heavy world around. Into mumps; For sneezles Along the field as we came by If young hearts were not so clever, They examined his chest And wheezles, A year ago, my love and I, Oh, they would be young for ever: For a rash, The manner of measles The aspen over stile and stone Think no more; ‘tis only thinking And the rest When new. Was talking to itself alone. Lays lads underground Of his body for swellings and lumps. They said “If he freezles ‘Oh who are these that kiss and pass? They sent for some doctors In draughts and in breezles, A country lover and his lass; bu IV In sneezles Then PHTHEEZLES Two lovers looking to be wed; And time shall put them both to bed, If it chance your eye offend you, And wheezles May even ensue.” Pluck it out, lad, and be sound: To tell them what ought But she shall lie with earth above, And he beside another love.’ ‘Twill hurt, but here are salves to friend To be done. Christopher Robin you, All sorts and conditions Got up in the morning, And sure enough beneath the tree And many a balsam grows on ground. Of famous physicians The sneezles had vanished away. There walks another love with me, Came hurrying round And the look in his eye And overhead the aspen heaves And if your hand or foot offend you, At a run. Seemed to say to the sky, Its rainy-sounding silver leaves Cut it off, lad, and be whole; They all made a note “Now, how to amuse them to-day?” And I spell nothing in their stir, But play the man, stand up and end you, Of the state of his throat, But now perhaps they speak to her, When your sickness is your soul. They asked if he suffered from thirst; Five Songs from a Shropshire Lad And plain for her to understand bl V They asked if the sneezles A.E. Housman They talk about a time at hand Came after the wheezles, When I shall sleep with clover clad, When I was one-and-twenty Or if the first sneezle 7 I And she beside another lad. I heard a wise man say, Came first. Oh, when I was in love with you, ‘Give crowns and pounds and guineas They said, “If you teazle 9 III But not your heart away; A sneezle Then I was clean and brave, Or wheezle, And miles around the wonder grew Think no more, lad; laugh, be jolly: Give pearls away and rubies A measle How well did I behave. Why should men make haste to die? But keep your fancy free.’ May easily grow. Empty heads and tongues a-talking But I was one-and-twenty, And now the fancy passes by, Make the rough road easy walking, But humour or pleazle And nothing will remain, No use to talk to me. The wheezle And the feather pate of folly And miles around they’ll say that I Bears the falling sky. Or sneezle, Am quite myself again. When I was one-and-twenty The measle I heard him say again,

14 15 ‘The heart out of the bosom Without my right of frost, So we must keep apart, Songs from Spoon River Was never given in vain; Death’s privilege? You there, I here, Poems from the Spoon River Anthology ‘Tis paid with sighs a plenty With just the door ajar Edgar Lee Masters And sold for endless rue.’ Nor could I rise with you, That oceans are, For more information contact Samuel And I am two-and-twenty, Because your face And prayer, French, Inc. 45 West 25th Street, New York, And oh, ‘tis true, ‘tis true. Would put out Jesus’. And that pale sustenance, NY 10010. Used by Permission. That new grace Despair! Two Songs from Emily Dickinson Glow plain and foreign bn II bo The Hill (Part I) bm I On my homesick eye, I taste a liquor never brewed, Where are Elmer, Herman, Bert, Tom and I cannot live with you, Except that you, than he Charley, Shone closer by. From tankards scooped in pearl; It would be life, Not all the vats upon the Rhine The weak of will, the strong of arm, the And life is over there Yield such an alcohol! clown, the boozer, the fighter? Behind the shelf They’d judge us — how? All, all are sleeping on the hill. For you served Heaven, you know Inebriate of air am I, One passed in a fever, The sexton keeps the key to, Or sought to; One was burned in a mine, I could not, And debauchee of dew, Putting up Reeling, through endless summer days, One was killed in a brawl, Our life, his porcelain, From inns of molten blue. One died in a jail, Like a cup Because you saturated sight, One fell from a bridge toiling for children And I had no more eyes When the landlord turn the drunken bee and wife— Discarded of the housewife, For sordid excellence All, all are sleeping, sleeping, sleeping on As Paradise. Out of the foxglove’s door, Quaint or broken; When butterflies renounce their drams, the hill. A newer Sevres pleases, I shall but drink the more! Old ones crack. And were you lost, I would be, Where are Ella, Kate, Mag, Lizzie and Though my name Edith, Rang loudest Till seraphs swing their snowy hats, The tender heart, the simple soul, the I could not die with you, And saints to windows run, For one must wait On the heavenly fame. loud, the proud, the happy one?— To see the little tippler All, all are sleeping on the hill. To shut the other’s gaze down, Leaning against the sun! You could not. And were you saved, And I condemned to be One died in shameful child-birth, Where you were not, One of a thwarted love, And I, could I stand by One at the hands of a brute in a brothel, And see you freeze, That self were hell to me.

16 17 One of a broken pride, in the search for And specks before my eyes, and nervous children, these weeds, heart’s desire; weakness. Eight of whom we lost Beloved in life of Abraham Lincoln, One after life in far-away London and Paris And I couldn’t remember the books I read, Ere I had reached the age of sixty. Wedded to him, not through union, Was brought to her little space by Ella and Like Frank Drummer who memorized I spun, I wove, I kept the house, I nursed But through separation. Kate and Mag— page after page. the sick, Bloom forever, O Republic, All, all are sleeping, sleeping, sleeping on And my back was weak, and I worried and I made the garden, and for holiday From the dust of my bosom! the hill. worried, Rambled over the fields where sang the And I was embarrassed and stammered larks, bt Petit the Poet bp Sarah Brown my lessons, And by Spoon River gathering many a Seeds in a dry pod, tick, tick, tick Maurice, weep not, I am not here under And when I stood up to recite I’d forget shell, Tick, tick, tick, like mites in a quarrel— this pine tree. Everything that I had studied. And many a flower and medicinal weed— Faint iambics that the full breeze wakens— The balmy air of spring whispers through Well, I saw Dr. Weese’s advertisement, Shouting to the wooded hills, singing to But the pine tree makes a symphony the sweet grass, And there I read everything in print, the green valleys. thereof The stars sparkle, the whippoorwill calls, Just as if he had known me; At ninety-six I had lived enough, that is all, Triolets, villanelles, rondels, rondeaus; But thou grievest, while my soul lies And about the dreams which I couldn’t And passed to a sweet repose. Ballades by the score with the same old rapturous help. What is this I hear of sorrow and weariness, thought: In the blest Nirvana of eternal light! So I knew I was marked for an early grave. Anger, discontent and drooping hopes? The snows and the roses of yesterday are Go to the good heart that is my husband, And I worried until I had a cough, Degenerate sons and daughters, vanished. Who broods upon what he calls our guilty And then the dreams stopped. Life is too strong for you— And what is love but a rose that fades? love:— And then I slept the sleep without dreams It takes life to love Life. Life all around me here in the village. Here on the hill by the river. Tell him that my love for you, no less than bs Anne Rutledge Tragedy, comedy, valor and truth, my love for him, br Lucinda Matlock Courage, constancy, heroism, failure— Wrought out my destiny — that through Out of me unworthy and unknown All in the loom, and oh what patterns! the flesh I went to the dances at Chandlerville, The vibrations of deathless music; Woodlands, meadows, streams and I won spirit, and through spirit, peace. And played snap-out at Winchester. “With malice toward none, with charity for rivers— There is no marriage in heaven, One time we changed partners, all.” Blind to all of it all my life long. But there is love. Driving home in the moonlight of middle Out of me the forgiveness of millions Triolets, villanelles, rondels, rondeaus, June, toward millions, Seeds in a dry pod, tick, tick, tick bq Zenas Witt And then I found Davis. And the beneficent face of a nation Tick, tick, tick, what little iambics We were married and lived together for Shining with justice and truth. While Homer and Whitman roared in the I was sixteen, and I had the most terrible seventy years, I am Anne Rutledge who sleep beneath pines? dreams, Enjoying, working, raising the twelve

18 19 cu Margaret Fuller Slack What do you see, a harvest of clover? Here is your little Rita at last cn The Hill (Part II) Or a meadow to walk through to the river? Grown old, grown forty-nine; I would have been as great as George The wind’s in the corn; you rub your hands Here stretched on your grave under the Where are Uncle Isaac and Aunt Emily, Eliot For beeves hereafter ready for market; winter stars, And old Towny Kincaid and Sevigne But for an untoward fate. Or else you hear the rustle of skirts With the rustle of oak leaves over my head; Houghton, For look at the photograph of me made Like the girls when dancing at Little Grove. Piecing together strength for the act, And Major Walker who had talked by Penniwit, To Cooney Potter a pillar of dust Last thoughts, memories, asking how I am With venerable men of the revolution?— Chin resting on hand, and deep-set Or whirling leaves meant ruinous drouth; here! All, all are sleeping on the hill. eyes— They looked to me like Red-Head Sammy After wandering afar, over the world, Gray, too, and far-searching Stepping it off, to “Toor-a-Loor” Life in cities, marriages, motherhood— They brought them dead sons from the But there was the old, old problem: How could I till my forty acres (They all married, and I am homeless, war, Should it be celibacy, matrimony or Not to speak of getting more alone.) And daughters whom life had crushed, unchastity? With a medley of horns, bassoons and Grandmother! I have not lacked in And their children fatherless, crying— Then John Slack, the rich druggist, wooed piccolos strength, All, all are sleeping, sleeping, sleeping on me, Stirred in my brain by crows and robins Nor will, nor courage. No! I have honored the hill. Luring me with the promise of leisure for And the creek of a windmill — only these? you my novel, And I never started to plow in my life With a life that used these gifts of your Where is Old Fiddler Jones And I married him, giving birth to eight That some one did not stop in the road blood. Who played with life all his ninety years, children, And take me away to a dance or picnic But I was caught in trap after trap in the Braving the sleet with bared breast, And had no time to write. I ended up with forty acres; years. Drinking, rioting, thinking neither of wife It was all over with me, anyway, I ended up with a broken fiddle— At last the cruelest trap of all. nor kin, When I ran the needle in my hand And a broken laugh, and a thousand Then I fought the bars, pried open the Nor gold, nor love, nor heaven? While washing the baby’s things memories, door, Lo! he babbles of the fish-frys of long ago, And died from lockjaw, an ironical death. And not a single regret. Crawled through — but it suddenly sprang Of the horse-races of long ago at Clary’s Hear me, ambitious souls, shut, Grove, Sex is the curse of life! cm Rita Matlock Gruenberg And tore me to death as I used your Of what Abe Lincoln said One time at Springfield. cl Fiddler Jones (From The New Spoon River) courage To free myself! The Earth keeps some vibration going Grandmother! Grandmother! Fold me to your breast There in your heart and that is you You who sang to green valleys, again. And if the people find you can fiddle And passed to a sweet repose at ninety- Make me earth with you for the blossoms Why, fiddle you must, for all your life. six, of spring — Grandmother!

20 21 Reflections of a Peacemaker When the summer comes, I am a pirate Shiver my temper, Mattie J.T. Stepanek And children will chant So nasty and mean, Shiver my soul, And dream in the melody of my creations. I never take a bath Woe, ho, hum, co As it Was in the Beginning I will whistle winds And my teeth are all green. And a bucket of rum! When the fall comes, I snarl and I snortle From Celebrate Through Heartsongs And children will listen And I gurgle my juice, Don’t try to dig © Mattie J.T. Stepanek (Hyperion, 2002). And hum in the understanding of leaves. My clothes are all dirty In the sand or the night Used with permission. I will jingle stars And my socks are too loose! Or you just might shake When the winter comes, Shiver my temper, From a terrible fright When the playground is And children will laugh Shiver my soul, ‘Cause even if my ghost Roaring with kids... And believe in the ballads of the season. W-O-E... Is a skinless dust of bone When the sky is I will revolve seasonally W-O-E... I’ll be guarding my treasure Thundering with sunshine... When my death comes, W-O-E... With a plundering moan! When the atmosphere is And children will remember Shiver my temper, Electrified with glee... And share their Heartsongs, Shiver my temper, Shiver my soul, Then is when we know Celebrating the gifts in the circle of life. Shiver my soul, W-O-E... For sure that life is Woe, ho, hum, W-O-E... Thnving... cq The Pirate Song And a bucket of rum! W-O-E... Reverberating... I’ve sailed the high seas Shiver my temper Exhilarating... From Reflections of a Peacemaker: And a backyard pool. Shiver my soul It is good, indeed. A Portrait Through Heartsongs I’ve buried my treasure Woe, ho, hum © Mattie J.T. Stepanek (Andrews McMeel ‘Cause I am no fool. And a bucket of rum! cp Eternal Role Call Publishing, 2005). Used with permission. I’ve hidden the maps From Celebrate Through Heartsongs Shiver my temper, In a secret-somewhere, © Mattie J.T. Stepanek (Hyperion, 2002). Shiver my soul, And if you try to find them Used with permission. W-O-E... You’d better beware! W-O-E... Shiver my temper, I will paint rainbows. W-O-E... Shiver my soul, When the spring comes. Shiver my temper, W-O-E... And children will dance Shiver my soul, W-O-E... And smile in the music of my colors. Woe, ho, hum, W-O-E... I will shape clouds And a bucket of rum!

22 23 cr About Living (Part III) I dance every dance and I am hardly worth the mention. I am proud. I sing every song and I am short. I am seeking my tomorrow. From Reflections of a Peacemaker: I celebrate every moment. I am height. I am growing. A Portrait Through Heartsongs, I wanted to live I am any frame or stature. I am fading. © Mattie J.T. Stepanek (Andrews McMeel To be. I am smart. I am hope amid the sorrow. Publishing, 2005). Used with Permission. And, I am challenged. I am certain. I am spending my time I am striving for a future. I am doubtful. I wanted to live On earth before death I am able. I am desperate for solutions. To be Living, I am weak. I am leader. One hundred and one Rather than dying, I am some strength, I am none. I am student. Years old. And not wasting a moment I am being. I am faith and evolutions. But that is no Of the precious gifts of time and I am thought. I am spirit. Longer my goal. Of life and I am all things, said and done. I am voice. When I die, Of being, for now. I am born. I am memory, not recalled. I die. I am dying. I am chance. I cannot predict. cs I AM I am dust of humble roots. I am cause. I cannot control. I am grace. I am effort, blocked and walled. I cannot change From Celebrate Through Heartsongs I am pain. I am him. What is to be, © Mattie J.T. Stepanek (Hyperion, 2002). I am labor of willed fruits. I am her. Which is what it is Used with permission. I am slave. I am reasoned without rhymes. And will be I am free. I am past. What it will be. I am black. I am bonded to my life. I am nearing. I wanted to live I am white. I am rich. I am present in all times. To be, I am all skins in between, I am poor. I am many. And not die. I am young. I am wealth amid strife. I am no one. But, I am old. I am shadow. I am seasoned by each being. While I’m alive, I am each age that has been. I am glory. I am me. I am scrawny. I am hiding from my shame. I am you. I live I am well-fed. I am hero. I am all souls now decreeing. To the fullest. I am starving for attention. I am loser. I AM. I treasure each sunrise. I am famous. I am yearning for a name. I remember each sunset. I am cryptic. I am empty.

24 25 Lita Grier grants from organizations including by Theodore Presser, it is featured Ravinia obliged by commissioning Ravinia, Music in the Loft, the on Cedille Records’ American Flute five more songs to expand the cycle Named a “Chicagoan of the Year” in Illinois Philharmonic, Chicago Flute Concertos with soloist Mary Stolper to a full half-hour. 2005 by the Chicago Tribune for her Club, Meet-the-Composer, and the and the Czech National Symphony dual achievements as a composer and Lita Grier has also composed five Chicago Children’s Choir. Orchestra conducted by Paul works for musical theater, all of radio producer, native New Yorker, Freeman. Lita Grier won early recognition as Grier’s works have been widely which have been produced locally. a composer. She was awarded First heard throughout Chicago at Lita Grier’s output also includes Additionally, she was a longtime Prize in the New York Philharmonic major venues including Symphony a variety of chamber music and producer of US radio broadcasts by Young Composer’s Contest at age Center and Ravinia and prestigious numerous vocal works, including the Vienna Philharmonic Orchestra sixteen; her winning composition Midwest schools including the Sonnets to Orpheus, based on and other programming from Austria. was presented at Carnegie Hall and University of Indiana at Bloomington, poems by Rilke, for soprano, piano, For the Mozart 250th Birthday published by Carl Fischer. A graduate Northwestern, Northern Illinois Uni- cello and horn. This was presented Celebration, her company won the of Juilliard, she went on to study versity, DeKalb, De Paul, Roosevelt by The Chicago Chamber Musicians exclusive radio rights to live coverage under Lukas Foss and Roy Harris at University, and the Music Institute at Buntrock Hall in from Salzburg, heard throughout UCLA, earning a Masters degree of Chicago. Many of these have and described by Chicago Sun- the US on FM as well as the US and and an Atwater Kent Prize before presented full length programs Times critic Andrew Patner as “an Canada on XM Satellite Radio. The abandoning composition for 30 years. devoted to her music. Her Flute extraordinary piece . . . of remarkable network for these concerts comprised Sonata, composed while still a complexity and haunting power.” the largest ever for a classical music After a varied career in music, as student at Juilliard, was described by Songs from Spoon River, based on radio series. Lita Grier has since a writer, teacher, artist manager, the late flute virtuoso Julius Baker as Edgar Lee Masters’s Spoon River returned full time to composition. public relations consultant, and “a new classic in the Standard flute Anthology was commissioned by the Her unusual musical journey has been finally broadcaster, her return to repertory.” It has been performed for its 2004 Centennial featured in Chicago Magazine and composition in the past several on five continents, and its orchestral celebration. Premiered in July 2004 in documented on local PBS Channel years has been welcomed with a adaptation, titled “Renascence,” Ravinia’s Martin Theater, the original 11’s “Artbeat Chicago.” growing number of performances, was broadcast nationally on NPR’s version consisted of five songs and recordings, magazine and newspaper Performance Today, with Chicago was hailed by Chicago Tribune critic features, TV and radio broadcasts, Symphony Orchestra principal flutist John von Rhein, who wrote the songs and numerous commissions and Mathieu Dufour as soloist. Published “leave your ears hungering for more.”

26 27 Michelle Areyzaga Ms. Areyzaga’s awards include American Cultural Legacy at Carnegie performances to television and radio Named Chicago’s “Artist of the top prizes from the Metropolitan Hall in 2009. He has performed in recordings. Norman has performed Year” for 2006 by the Pioneer Press, Regional Auditions and the concert at New York’s Lincoln Center concerts and oratorios around the Michelle Areyzaga has appeared in a William C. Byrd International Young and the Smithsonian Institution; the world on prestigious stages including wide range of principal operatic roles Artist, Marguerite McCammon, Ravinia, Chautauqua, Savannah, the House in for organizations including Chicago Union League Civic & Arts Foun- Grant Park, and Big Arts summer New York City, the White House and Opera Theater, Chicago Lyric Opera’s dation, American Opera Society, music festivals; the Latour de France Kennedy Center in Washington D.C., “In the Neighborhoods,” Opera and Foundation Midwest International Music Festival; and the Chicago’s Symphony Center, and the Birmingham, Opera Theatre North, Competitions. Ms. Areyzaga’s recent celebrated American Church in Paris. Musikverein in Vienna, Austria. She DuPage Opera Theatre, Light Opera CD, The Sun Is Love, featuring music Under the auspices of Canti Classics, has also performed in Italy, Israel, and Works, Chicago’s Silk Road Initiative, by Gwyneth Walker, is available on Community Concerts, and the Live the African Countries of Madagascar, and Orquesta Sinfónica del Estado the Proteus label. On Stage Series, Sims has performed Mauritius, Kenya, Tanzania, and de México. Ms. Areyzaga’s extensive Robert Sims more than 150 recitals throughout Rwanda for the United States In- concert work includes performances Highly praised for his moving the United States. His awards include formation Agency. Ms. Norman has with London’s Royal Academy of interpretations of African American the Gold Medal at the 1999 American served as Music Consultant for Music, the Phoenix and San Antonio spirituals, baritone Robert Sims has Traditions Competition. the and is Symphonies, the Minnesota Orchestra, given numerous recitals throughout Elizabeth Norman currently a professor of voice at members of the Israel Philharmonic, the United States, Europe, Africa, A winner of the Metropolitan Opera Roosevelt University’s Chicago Col- and the Chicago Symphony Orchestra and Asia. He has appeared with many National Finals, Lynn Harvey, and lege of Performing Arts. (with at the Ravinia orchestras in the U.S., and toured Bel Canto Competitions, and The Scott Ramsay Festival). An avid solo recitalist and Japan with the Pacific Music Festival American Opera Society and Union Praised by The New York Times for his chamber musician with performances Orchestra, where he was featured in League Civic & Arts Foundation “impressive . . . bright-voiced tenor,” through-out the United States, she a nationally televised performance of Awards, soprano Elizabeth Norman Scott Ramsay is establishing himself has appeared with the New York Leonard Bernstein’s Opening Prayer. appears annually with the Grant Park as a leading tenor on the opera Festival of Song for the past four In 2005, Sims made his Carnegie Orchestra in Chicago as well as with and concert stages of America and season, including opening its 20th Hall recital debut and was invited members of the Chicago Symphony abroad. An alumnus of Lyric Opera Anniversary season (2007–2008) on a by to participate in Orchestra. Her active career ranges of Chicago’s prestigious Ryan Opera program titled “No Song is Safe from Honor! A Celebration of the African from solo recitals and chamber music Center, Mr. Ramsay has sung principal Us.”

28 29 roles in 13 Lyric productions including He has sung with the New York Levi Hernandez the professional studies wing of Edgardo/Lucia di Lammermoor City Opera, Opera Company of With a velvety tone and stage North America’s oldest music festival, opposite Natalie Desasy, Mark/ Philadelphia, Chicago Opera presence that exudes confidence which transforms gifted musicians and the Theater, Florida Grand Opera, Wolf and charm, Baritone Levi Hernandez into expert performing artists. He Painter/Sailor in Lulu. Additional Trap Opera, Fort Worth Opera, the is quickly becoming a sought after has commissioned new work for leading roles have been sung at the San Francisco Opera’s Merola Opera artist on the operatic stage. A Steans Artists from noted composers Dublin International Opera Festival, Program, Opera Birmingham, the recent graduate of Lyric Opera of included Ned Rorem, Jake Heggie, Michigan Opera Theater, Opera National Symphony Orchestra, the Chicago’s Ryan Opera Center, he and Lita Grier. The newest addition Boston, Arizona Opera, Austin Lyric Curtis Institute, Music Academy has performed with Lyric Opera of to Grier’s Ravinia-commissioned Songs Opera, Opera New Jersey, Syracuse of the West, the Ashlawn Music Chicago, Los Angeles Opera, Cedar from Spoon River — “Ann Rutledge” Opera and the Kentucky Opera. In Festival, and the Berkshire Choral Rapids Opera, Lake George Opera, — is part of the festival’s 2009 concert, Mr. Ramsay has appeared Festival. An active concert performer, Opera Colorado, and the Cheyenne season-spanning, bicentennial salute as soloist with the Ravinia Festival, Mr. Tall has appeared in recital in and Kalamazoo Symphonies. He will to the birth of Abraham Lincoln. Grant Park Music Festival, Music New York, Philadelphia, Boston, St. join the rosters of the San Francisco, As a pianist, Kauffman won the of the Baroque, Berkshire Choral Louis, France, and Portugal. Mr. Tall Houston Grand, and Metropolitan Tanglewood Young Artist Award Festival, Bach-Collegium Stuttgart, was recently awarded the Theodor in the 2009–2010 season. A and performed concertos with five Terezin Memorial Commemoration Uppman Award from the William 2002 Metropolitan Opera National prestigious orchestras. He is a regular in Prague, and with the Chicago, Matheus Sullivan Foundation. He Council Awards and Operalia finalist, performer at the Ravinia Festival, Toronto, American, St. Louis, Mil- has also received grants from the his many awards include a Licia where he often accompanies Ravinia- waukee, Nashville, Louisville, Albany, George London Foundation, Opera Albanese-Puccini Foundation grant. commissioned projects. He has also and Pasadena Symphony Orchestras. Index, Inc., and Opera Theater of Welz Kauffman participated in master classes with St. Louis, and awards from Houston John Browning, Alicia de Larrocha, Alexander Tall Pianist Welz Kauffman doubles as Grand Opera’s Eleanor McCollum president and CEO of the Ravinia Alfred Brendel, Tamás Vásáry, Lang Praised by the St. Louis Post-Dispatch Competition for Young Singers, the Lang, Peter Serkin, and Karl Ulrich for his “pleasing presence, splendid Festival, ensuring the accessibility Mario Lanza Foundation, and the of classical music to Chicagoland Schnabel. diction and a rich, expressive voice Marian Anderson Foundation. with a wide range,” Alexander Tall residents of diverse backgrounds. William Billingham is rapidly gaining acclaim as one of As such, Kauffman has expanded the Pianist William Billingham has serv- America’s rising young baritones. The Steans Institute for Young Artists, ed as an Assistant Conductor for

30 31 since 1995. as at numerous area festivals. Anne Founded in 1956, the Open Up Your Heart, and in March Active as a recital accompanist and currently holds the second oboe Chicago Children’s 2006, the soundtrack for the musical chamber musician, Dr. Billingham position in Chicago’s Grant Park Choir is a multiracial, Sita Ram. In February 2008, the holds degrees from the Oberlin Orchestra and maintains an active multicultural choral Choir released Songs on the Road Conservatory, Peabody Conservatory, private studio. music eduction or- to Freedom featuring music from and University of Southern California, Tina Laughlin ganization, shaping and inspired by the Civil Rights where he studied accompanying with Born in Elgin, Illinois, Tina Laughlin the future by making a difference Movement. These recordings are Gwendolyn Koldofsky and Brooks received her B.M. and M.M. in Per- in the lives of children and youth available from Amazon.com, iTunes, Smith. He started his opera career cussion Performance from DePaul through musical excellence. The and www.ccchoir.org. in Germany, spending five years as Choir currently serves 2,800 children, University. Her training also included Appearing on this recording are a repetitor in the opera houses of ages 8–18, through choirs in 45 eight years with the Civic Orchestra Chicago Children’s Choir members: Heidelberg and Düsseldorf. He has of Chicago, where she performed schools, afterschool programs in Phillip Armstrong also been a pianist/coach for the under the direction of Daniel Baren- eight Chicago neighborhoods, Michael Ann Angone Aspen Music Festival and School, boim, Zubin Mehta, Pierre Boulez, and and the internationally acclaimed Victoria Bain Cleveland Orchestra, Florentine Op- Sir . A freelance artist, Concert Choir. Under Artistic Director Samantha Bakall era (Milwaukee, WI), Los Angeles Laughlin performs with organizations Josephine Lee, the Choir has Marianne Bellorin Opera, Midsummer’s Music Festival throughout the Chicago area in- undertaken many highly successful Elise Croteau-Chonka (Door County, WI), and Lyric Opera of cluding Lyric Opera of Chicago, the national and international tours, Emma Daniels Chicago’s Ryan Opera Center. Grant Park Orchestra, Lake Forest received a Chicago/Midwest Emmy Leo Daube Anne Bach Symphony, San Francisco Ballet (on tour), Award for the 2008 documentary Jihan Dubose Originally from Rochester, NY, oboist , , Songs on the Road to Freedom, and Timothy Fett Anne Bach studied with Richard Light Opera Works, and Elgin Sym- been featured in nationally broadcast Adriana Flocco Killmer at the Eastman School phony. A strong advocate of new television and radio performances, Neil Geistlinger of Music, where she received her music, Laughlin became a core mem- most recently on NBC’s Today show Julia Henderson Performer’s Certificate. Since moving to ber of the acclaimed Fulcrum Point and the 2007 PBS series From the Terry Henderson Chicago in 2001, she has performed New Music Project in 2000. She also Top: Live from Carnegie Hall. Mary Jones with the Lyric Opera, Chicago Symphony, appears regularly on the New Music In 2004, Chicago Children’s Choir Caroline Kagan and , as well DePaul concert series and with CUBE. released its first studio recording, Joseph Kern

32 33 Ellie Kleber the Year in the Arts”; she was honored Loren Kole as a Distinguished Musician by The Brandon Lampkin Union League Club of Chicago in Aimee Lucido 2007; and in 2008, she received the Clifton Lyons 3Arts Artist Award and was named Rebecca Marks one of the Anti-Defamation League’s Ashley Marsh “Rising Stars — Women 40 and under Samantha Peltz defining the future.” David Perez Michelle Areyzaga Robert Sims Elizabeth Norman Scott Ramsay Ms. Lee has conducted and Robert Raymond performed concerts and master Stephanie Ricoy classes in Austria, the Czech Lakeyah Scales Republic, Germany, South Korea, Isaac Sherman Thailand, Canada, and Japan. Not Michael St. Peter only a choral conductor, Ms. Lee has Taylor Varndell conducted the Chicago Symphony, Jonathon Wenzel Oregon Symphony, Grant Park, and Max Witherspoon Lyric Opera Orchestras. Kyra Woods Alexander Tall Levi Hernandez Welz Kauffman William Billingham John Goodwin Josephine Lee John Goodwin is Principal Pianist/ Also by Lita Grier on Cedille Records Born in Chicago, Josephine Lee, a Resident Conductor of the Chicago classically trained pianist, conductor, Children’s Choir. He also works with Renascence for Flute and Orchestra arranger, and producer, was the and on American Flute Concertos appointed Chicago Children’s Choir Roosevelt University Chorus, and CDR 90000 046 Artistic Director in 1999. In June is Music Director of the Park Ridge 2002, Chorus America named Ms. Orchestra Chorus. He has performed Lee the first Robert Shaw Conducting around the world and is in great 3x2 for Flute and Clarinet Fellow; in 2006, the Chicago Tribune demand as a recitalist, chamber on Chicago Duos for Flute proclaimed Ms. Lee “Chicagoan of musician, and collaborative artist. CDR 90000 071

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