Choral Works of Jake Runestad

DE 3578

1 DELOS DE 3578 THE HOPE OF LOVING ♦ JAKE RUNESTAD ♦ CONSPIRARE

Let My Love • Let My Love conductor

Waves Conspirare American Triptych American Triptych The Hope Of Loving Total playing time: 79:12 Total Flower into Kindness into Flower • And So I Go On Be Heard Craig Hella Johnson, Loving Hope of • My Soul Is a Candle • The Veil Choral Works of Jake Runestad Jake of Works Choral THE HOPE OF LOVING OF HOPE THE Spirited Sings • Light Why the Caged Bird Things • Come to the Woods the Come to of Wild Things • Peace • The Reflections Yield to Love • Wild Forces • Wondrous Creatures • The Heart’s • The Heart’s Creatures • Wondrous • Wild Forces Love Yield to

DELOS DE 3578 THE HOPE OF LOVING ♦ JAKE RUNESTAD ♦ CONSPIRARE The Hope of Loving Choral Works of Jake Runestad

1. Waves (7:28) The Hope of Loving (16:19) Michael Jones, tenor 9. Yield to Love (2:15) Stefanie Moore, soprano American Triptych (23:49) 10. Wild Forces (2:01) 2. Reflections (7:14) 11. Wondrous Creatures (00:58) 3. The Peace of Wild Things (5:14) Dann Coakwell, tenor 4. Come to the Woods (11:21) 12. The Heart’s Veil (3:28) 13. My Soul Is a Candle (4:46) 5. Why the Caged Bird Sings (9:06) Stefanie Moore, soprano Alissa Ruth Suver, soprano Simon Barrad, baritone

6. Spirited Light (5:02) 14. The Hope of Loving (2:51) Jason Awbrey, bass Dann Coakwell, tenor 15. Flower into Kindness (from Into the Light) (5:19) 7. Let My Love Be Heard (5:07) Kathlene Ritch, soprano

8. And So I Go On (7:00) Mela Sarajane Dailey, soprano Wilson Nichols, tenor

Conspirare

Craig Hella Johnson, conductor

Total Playing Time: 79:12 12 Composer’s Note (as seen on a piano keyboard) as the work progresses through Dunbar’s metaphor of rowing up in Northern Illinois, I was a caged bird wishing to be free. immersed in a family dedicated to Gserving others. My parents made it a One of the greatest joys in my life has come priority to volunteer our time, give of our from my friendship with the phenomenal resources, and show my sister and me that poet Todd Boss. Todd and I met seven years nature is to be valued, and that the world ago when I first moved to Minneapolis, on is made up of a beautiful variety of people the recommendation of a friend. Todd has from myriad backgrounds who should be become one of my dearest friends and most heard and respected. frequent collaborators. His lyrical voice packs a punch with its directness, approachability, When I began to find my truest voice as vivid imagery, and attention to the depths a composer, moving beyond the imitative and complexity of humanity. Todd is a crafts- works of a budding youth, I found that speak- man and delights in the collaborative expe- ing to social issues and authentic human ex- rience — creating a new work with Todd is a periences was what lived closest to my heart. joyful, illuminating, and fulfilling experience. The works included in this album are a repre- sentation of what drives me as an artist: a de- Waves (2015) is the first work on which Todd sire for beauty, for allowing compelling texts and I collaborated. I remember sitting at an to inspire the music, and for telling authentic outdoor café on a warm, summer evening stories in a way that might foster compassion and discussing what I look for in a text for for our shared human experiences. music (clear and succinct language, open vowels for climactic moments, intentional use Why the Caged Bird Sings (2014) was my of consonants for percussive effects, a narra- first collaboration with Craig Hella Johnson, tive form...). The resulting piece uses double who commissioned the work for the Cin- choir to explore a wash of sound, moving cinnati Vocal Arts Ensemble. Paul Laurence back and forth between choirs like waves on Dunbar’s text (from which Maya Angelou the shore, as we move through the heaviness found the title for her famous autobiog- of sadness into a consoling sunrise. raphy), conveys the complexity of life as a post-Civil War black man born to previ- And So I Go On (2015), another collab- ously enslaved parents. Musically, there is oration with Todd, has a very special ori- a tension between black and white pitches gin. When choral director Germán Aguilar

2 passed away unexpectedly in the summer of that belonged to my grandfather and was 2014, it was a huge loss to our world. Ger- given to me after his death. The main mel- mán had a love for life, teaching, and the ody of the work, first stated in the tenors, people around him — especially his fiancé, slowly ascends onto the wings of angels as Jon Talberg. After Germán’s death, Jon was the plea is lifted into the sky. cleaning out Germán’s wallet and found that the only business card inside was mine. I had I am a hoarder of poetry, and one of my given it to Germán when we met in January favorite collections is Love Poems From of 2014. Jon soon contacted me and asked if God — mystical poems by Daniel Ladinsky I would write a piece of music in memory of inspired by famous writers from around Germán, and I was honored to do so. Scored the world. This book is a composer’s dream for double choir, this piece is a conversa- with colorful, powerful, and succinct writ- tion between two lovers as one struggles ings that talk of living fully, deep spirituality, through the intense experience of loss. self-contemplation and love. When starting my work on this new composition, I opened A recurring theme in my work is the im- Ladinsky’s book to find a treasure trove of portance and beauty of the natural world. I quaint parables and sage advice for us all. am passionate about being outside amidst The Hope of Loving (2015) for chorus, so- trees, mountains, lakes, skies, and about hik- loists, and string quartet, uses a selection ing, camping, and basking in the glory of our of writings inspired by spiritual mystics world. American Triptych (2013, 2015) is a throughout history to explore the idea of collection of three works with texts that span love and its manifestation in our lives. the USA from east to west featuring authors Henry David Thoreau (Massachusetts), Wen- My hope is that this music might introduce dell Berry (Kentucky), and John Muir (Cali- you to meaningful texts, connect you with fornia). Each movement expresses an aspect an element of your own human experience, of our human connection with the natural and foster your compassion for the story world, and journeys through a rushing river, of another. I am thrilled to be collaborating a peaceful lakefront, and a windstorm in the with Craig Hella Johnson and Conspirare, Western Sierra Nevada mountains. and to be sharing in this concert and recording experience together. The Alfred Noyes poem that inspired Let My Love Be Heard (2015) is a grief-filled — Jake Runestad plea that I found in a collection of poetry

3 Waves (Track 1) There is the calmness of the lake when there is not a breath of wind; O my soul, where do you go sometimes? so it is with us. Why have I come brooding for you Sometimes we are clarified and calmed here where the ocean writes its tidelines as we never were before. on the endless sand? We become like a still lake of purest crystal Waves come, waves go. and without an effort Waves know nothing but tossing and our depths are revealed to ourselves. crossing and crashing and thrashing. All the world goes by us My sadness is enormous as the sea. and is reflected in our deeps. Birds are made of bones of air but I Such clarity! am water, drawn by my nature to drown. Obtained by such pure means! Light — O, magnanimous light! Find me! By simple living, Blind me with sight! Sweep free by honesty of purpose. and steep me in the serenity that saves — To be calm, to be serene! sunlight washing over me in waves — ! — Henry David Thoreau — Todd Boss II. The Peace of Wild Things American Triptych (Tracks 2-4) When despair for the world grows in me I. Reflections and I wake in the night at the least sound We live but a fraction of our life. in fear of what my life and my children’s We do not fill all our pores with our blood; lives may be, we do not inspire and expire fully and I go and lie down where the wood drake entirely enough, rests in his beauty on the water, and the so that the wave of each inspiration great heron feeds. shall break on our farthest shores, I come into the peace of wild things rolling ’til it meets the sand which bounds us, who do not tax their lives with forethought and the sound of the surf comes of grief. I come into the presence of still water. back [to us]. And I feel above me the day-blind stars Why do we not let on the flood, waiting with their light. For a time raise the gates, I rest in the grace of the world, and am free. and set all our wheels in motion? — Wendell Berry

4 III. Come to the Woods And the river flows like a stream of glass; When the first bird sings and the first Another glorious day, the air as delicious bud opens, to the lungs as nectar to the tongue. And the faint perfume from its The day was full of sparkling sunshine, chalice steals — and at the same time enlivened with one of I know what the caged bird feels! the most bracing wind storms. I know why the caged bird beats his wing The mountain winds bless the forests Till its blood is red on the cruel bars; with love. For he must fly back to his perch and cling They touch every tree, not one is forgotten. When he fain would be on the When the storm began to sound, bough a-swing; I pushed out into the woods to enjoy it. And a pain still throbs in the old, old scars I should climb one of the trees for a And they pulse again with a keener sting — wider look. I know why he beats his wing! The sounds of the storm were glorious with I know why the caged bird sings, ah me, wild exuberance of light and motion. When his wing is bruised and his Bending and swirling backward and for- bosom sore, ward, round and round, When he beats his bars and he would in this wild sea of pines. be free; The storm-tones died away, and turning It is not a carol of joy or glee, toward the east, But a prayer… I beheld the trees, hushed and tranquil. I know why the caged bird sings! The setting sun filled them with amber light, and seemed to say, — Paul Laurence Dunbar “Come to the woods, for here is rest.” Spirited Light (Track 6) — John Muir Spirited light! On the edge Why the Caged Bird Sings (Track 5) of the Presence your yearning burns in the secret darkness, I know what the caged bird feels, alas! O angels, insatiably When the sun is bright on the upland slopes; into God’s gaze. When the wind stirs soft through the Perversity could not touch your beauty; springing grass, you are essential joy.

5 But lost your companion, and thirst in rain angel of the crooked wings. there is no sea He sought the summit, that can drown my pain shot down the depths of God, and plummeted past Adam — but you want me to live that a mud-bound spirit might soar. and love again

— Hildegard von Bingen, and so I go on translated by Barbara Newman always Let My Love Be Heard (Track 7) wherever you are lovely one Angels, where you soar My lovely one Up to God’s own light, Take my own lost bird I am gone On your hearts tonight; taken from you And as grief once more mine in your suffering Mounts to heaven and sings, mine in your joy Let my love be heard Whispering in your wings. my snow will kiss you pouring down my love — Alfred Noyes there is no sea that can drown your pain

And So I Go On (Track 8) I want you to live and love again My lovely one and so I go on though you are gone taken from me always I cannot leave you wherever you are I am not free lovely one

I burn in snow — Todd Boss

6 The Hope of Loving (Tracks 9-14) VI. The Hope of Loving What keeps us alive, what allows I. Yield to Love us to endure? I know about love the way the fields know It is the hope of loving, of being loved. about light, We weep when light does not reach the way the forest shelters us. our hearts. We are vulnerable like an infant. We wither like fields if someone close We need each other’s care or we will suffer. does not rain their kindness upon us. How will you ever find peace unless you My soul has a purpose, it is to love. yield to love? — Meister Eckhart — Rabia Flower Into Kindness (Track 15) II. Wild Forces There are beautiful, wild forces within us. The soul is made of love and must ever Let them turn millstones inside return to love. filling bushels that reach to the sky. There is nothing so wise, — St. Francis of Assisi nor so beautiful, nor so strong as love.

III. Wondrous Creatures — Mechthild von Magdeburg O wondrous creatures, by what strange miracle do you so often not smile? Above all, love.

— Hafiz — Peter the Apostle IV. The Heart’s Veil V. My Soul Is a Candle I shed my words on the earth My soul is a candle that burned away the veil; as the tree sheds its leaves. only the glorious duties of light I now have. Let my thoughts unspoken The soul is a candle that will burn away flower into kindness. the darkness; — Rabindranath Tagore, only the glorious duties of love we will have. adapt. Runestad Tenderly, I now touch all things, knowing one day we will part.

— St. John of the Cross All compositions published by JR Music 7 Conspirare is a professional choral organi- Choirs, an educational program for singers zation under the leadership of Craig Hella in second through twelfth grade. Johnson. Inspired by the power of music conspirare.org to change lives, this ensemble engages singers from around the world who join voices to deliver world-class, extraordinary Craig Hella Johnson is the Founding Ar- live musical experiences and recordings. tistic Director and Conductor of Conspirare Their discography includes 13 commercial and Music Director of Cincinnati’s Vocal Arts albums and 19 self-produced live albums. Johnson and Conspirare were awarded a 2014 Grammy for Best Choral Performance for The Sacred Spirit of Russia album and have been nominated seven other times. Conspirare was awarded the Texas Medal of Arts in 2019. Based in Austin, Texas, they perform an annual concert series and tour in the United States and abroad. Conspir- are also consists of Conspirare Symphonic Choir, boasting more than 100 auditioned volunteer voices, and Conspirare Youth

8 Ensemble. Known for crafting thought-pro- dio Symphony, voking musical journeys that create deep the Netherlands connections between performers and lis- Radio Choir, the teners, Johnson is in frequent demand as Dallas Sympho- a guest conductor of choral and orchestral ny Orchestra, the works. He joined the faculty at Texas State Santa Fe Desert as Artist in Residence in fall 2016 and is Chorale, Seraphic currently Professor of Practice. Johnson is Fire, the Louisi- a published composer and arranger, guest ana Philharmonic conductor and educator. His first con- Orchestra, the cert-length composition Considering Mat- Philippine Madri- thew Shepard was premiered and record- gal Singers, Craig ed by Conspirare for a 2016 CD release. Hella Johnson and Conspirare, Johnson’s accomplishments have been and many more. recognized with numerous awards and Jake’s visceral honors. Notably among them, he and Con- music and char- spirare won a 2014 Grammy for Best Cho- ismatic personality have fostered a busy ral Performance, Chorus America awarded schedule of commissions, residencies, him the Michael Korn Founders Award for workshops, and speaking engagements, Development of the Professional Choral enabling him to be one of the youngest Art in 2015, and the Texas State Legislature full-time composers in the world. Con- named him Texas State Musician for 2013. sidered “one of the best of the younger craighellajohnson.com American composers” (Chicago Tribune), Jake Runestad holds a master’s degree in composition from the Peabody Conserva- Jake Runestad (b. 1986) is an award-win- tory of the Johns Hopkins University, where ning and frequently performed composer he studied with Pulitzer Prize-winning of “highly imaginative” (Baltimore Sun) and composer Kevin Puts. He has also studied “stirring and uplifting” (Miami Herald) mu- extensively with acclaimed composer Libby sical works. He has received commissions Larsen. A native of Rockford, IL, Mr. Runes- and performances from leading ensembles tad is currently based in Minneapolis, MN, and organizations such as Washington and his music is published by JR Music. National Opera, VOCES8, the Swedish Ra- JakeRunestad.com

9 CONSPIRARE Craig Hella Johnson, Artistic Director and Conductor

SOPRANOS TENORS Mela Sarajane Dailey – Austin, TX Dann Coakwell – Ithaca, NY Chelsea Helm – Houston, TX Michael Jones – Philadelphia, PA Julie Keim – Washington, DC David Kurtenbach – San Francisco, CA Fotina Naumenko – Washington, DC Jos Milton – Oxford, MS Stefanie Moore – Los Angeles, CA Wilson Nichols – New York, NY Kathlene Ritch – Santa Fe, NM Jason Vest – Cincinnati, OH Alissa Ruth Suver – Nashville, TN BASSES ALTOS Jason Awbrey – Dallas, TX Ana Baida – Atlanta, GA Simon Barrad – San Francisco, CA Angela Burns – Wilmington, NC Rick Gabrillo – Round Rock, TX Sarah Brauer – Portland, OR Robert Harlan – Austin, TX Janet Carlsen Campbell – Omaha, NE Tim O’Brien – Austin, TX Lauren McAllister – Cincinnati, OH John Proft – Austin, TX Keely Rhodes – Austin, TX

INSTRUMENTALISTS Stephen Redfield, violin – Hattiesburg, MS Caleb Polashek, violin – Austin, TX Bruce Williams, viola – Austin, TX Douglas Harvey, cello – Austin, TX Carla McElhaney, piano – Round Rock, TX

10 Conspirare acknowledges with heartfelt gratitude Patti Troth Black for her visionary support of this recording and her embrace of music’s power to invoke hope and love. Conspirare thanks the following patrons for their support of this recording: South Texas Money Management / Legacy of Sound 2 / Hella Circle / National Endowment for the Arts / Texas Commission on the Arts / City of Austin Economic Development Department, Cultural Arts Division / Jake Runestad / St. Martin’s Lutheran Church

Recorded January 20-22, 2019, at St. Martin’s Lutheran Church, Austin, TX Recording Engineer & Editor: Brad Michel Producer: Robina G. Young Assistant Engineer: Jake Moon Booklet design: Lonnie Kunkel Cover Illustration: Karin Elsener Photos of Conspirare and Craig Hella Johnson: Scott van Osdol Photo of Jake Runestad: Travis Anderson

Craig Hella Johnson and Jake Runestad