So it was I
This text is set in a landscape of conflict and beauty. Where the conflict lies – within the narrator’s being or as part of a landscape scarred by an actual current war, is left ambiguous, for, as Thomas Merton understood, all wars have their origin in individual human hearts. However, another keynote of this text is tenderness, towards the beauty of the damaged landscape, but also towards human lives damaged by our conflicts. The narrator meets a wounded young soldier, becoming his reluctant healer, welcoming him as a stranger, just as we pilgrims are on a journey to bring ourselves back from exile into a home in our own selves.
To Avielle, On Her Fifth, Sixth Birthday (The Unarmed Child)
From the large choral work, "The Unarmed Child." There's really no way to appropriately recognize your lost child's birthday, Jeremy said as he and Jennifer talked about what life has been like for their family since the mass shooting at Sandy Hook Elementary School took the lives of twenty children and six educators in 2012.
The Unarmed Child
The Unarmed Child by composer Michael Bussewitz-Quarm is a gorgeous, riveting, deeply moving and important work that is thoroughly accessible at the very first listening. Composed in response to gun violence against children, the work sensitively navigates this difficult, heart-wrenching subject with beautiful, poignant, healing words and music. Each movement deals with a different aspect of emotion in a uniquely expressive way. One cannot get through the experience without tears. But the vibrant final movement releases the audience and performers with an energized call to action that is infused with hope. - Dr. Diane Retallack, Artistic Director, Eugene Concert Choir.
Scars (Where We Find Ourselves)
The fourth movement from Where We Find Ourselves. This selection's dark tone and fluid tempo embody the lyrics about the unexpected beauty of scars.
Would You Know Me By My Work? (Where We Find Ourselves)
This third movement from Where We Find Ourselves features inspirational lyrics about hard work in an anthem about what we are leaving for our children.
I’m Not Lost
Native American women are more likely to be abducted, assaulted, and murdered than any other population group, and the perpetrators are rarely charged or convicted. Through the MMIWG (Murdered and Missing Indigenous Women and Girls) movement, a light has been cast upon this form of genocide. “I’m Not Lost” includes Native words and phrases from across North America: Abenaki, Odawa/Ojibwe, Lakota, and Navajo/Diné. Each verse cries out for missing mothers, daughters, sisters, and Two Spirit (transgender) loved ones. The performance of “I’m Not Lost” is more than the singing of a song; it is an expression of longing and grief for those whose voices have been silenced.
Nigra Sum
Composed as a tribute to the victims of the global refugee crisis, this piece utilizes modern a cappella harmonies, cluster chords and chant-like melodies to create a gorgeous setting of the Latin text from the Song of Solomon. Extended divisi, particularly in the tenor part, creates tight harmonies that sparkle against the open chord structure established throughout.
My Name is Lamiya: Don't Call Me "Refugee"
This composition was written to bring attention to one of the most significant and challenging issues in our world today, the global refugee crisis. Nine-year-old Lamiya Safarova lost her home and her village, and she began writing poems to express her feelings. The stirring text and repeated rhythmic elements persist throughout this work, along with body percussion that represents the journey of the refugee, forced away from their home, most often by foot.