Winter: Exaltations of Snowy Stars
a song cycle for Mezzo-Soprano and Piano
Elizabeth Kirchner
The Seasons: Winter
“Exaltations of Snowy Stars”
EXALTATIONS OF SNOWY STARS
Oasis of chilly afterthoughts:
could I have loved more when love
became me? The leaves bury themselves
beneath the snow as if their low fires
were a sin to be hidden from God.
Exaltations of snowy stars birthing
frosty crowns. Here, there, a chickadee
and my heart, like an antique clock,
locked and stopped. Stillness then
and a wound inside the great silences.
THE NIGHT BELLS
More than wind, it seems,
wants to die, even the moon
is seized by frozen darkness
and so my isolation tingles
deep inside while I watch
the dizzy delirium of fallen snow.
My dreams are underwritten
by a god ghosted by rolling
penumbras. In the low interiors
that loft me, heaven packs
my soul too tight. And so
I have been leased to love you.
And so the frost-bitten wind
scans into poignant pentameters
and the sharp driven intensities
of your lines split me into
infinitudes touched by tidal titillations:
ung, ung, ung goes the night bells—
death hints at me, sinks in you.
BEREFT, BEREFT
Winter winnows into me
the treasure-trove of death.
The stars retreat.
The birds close down and the sky
is the color of ivory marrow. I am
one of the lost ones that loss
leans into with its weights
of lead, and its heart of stone.
Kinship dies. Love dies. Bereft, bereft
are the ancient trees that bear
wounds older than God.
Seeds of ice plant numbness
in my bones. And yet
their souls romance with me while mine
is beaten down to a heap of ash.
Why do I live like one who cherishes
perishing? Wildly, wildly all those
ancient trees are tossing snowy
headdresses as if to grieve over their
lost fruit whose sweetness, like mine,
has been bitten into bitterness.
LILT OF LULLABY
O how I long to mount
the wild horse of dance,
dream and lunacy while snow,
in beautiful excess, falls from
Eden. A long lost radiance
steals all over me, healing all
the long ago wounds. Lilt
of lullaby while snow flies.
And you lurking in the ante-
chamber of my heart, that
closed bud that can only be
opened by your bliss-blown kisses.
Solace comes in long sighs.
And the great consoling angles
draw their sustenance from
the soft fire of our love,
that bright blaze in evermore,
everlasting darkening days.
THE TINY HEART OP HEAVEN
We are but a wedge in wind.
Gold dust falling from clouds.
A shimmer that never escapes its shine.
O glory to the snowflakes that land,
like manna, upon that wedge, that gold dust,
that quick shimmer which mirrors the reflections
of birds who lift their wind-skirted wings
while searching for the sea holding
the tiny heart of heaven. Touch me,
it says, taste me and savor
the relishing of all that free-falls
in a world showered with gold dust
just now descending.
January 20, 2008, D’Anna Fortunato and Larry Bell, NEC’s Williams Hall
May 19, 2010, Bethany Tammaro Condon and Larry Bell, Brown Hall at New England Conservatory. March 27, 2011, Bethany Tammaro Condon and Larry Bell, The Beethoven Society, Melrose, MA. January 16, 2012, First Church Boston
[on desktop under CDs] These song cycles represent my four-part work called The Seasons, op. 101. Each of the four song cycles contains five songs and can be performed on its own. Fall: Autumnal Raptures, written in 2006 for tenor and harp, was especially conceived for Thomas Gregg and Emily Laurance. Winter: Exaltations of Snowy Stars is for mezzo-soprano and piano and was written for and first performed by D’Anna Fortunato and myself in January of 2008; here it is sung by Bethany Tammaro Condon. Spring: In a Garden of Dreamers, was written for Phillip Lima in the fall of 2009 and is scored for baritone and harpsichord. The final set Summer: The Fragrant Pathway of Eternity, is scored for soprano and guitar.
The most important element uniting these works is their common poet, Elizabeth Kirschner. Elizabeth’s poetry inspired each song in ways that I cannot consciously explain–nor would I wish to if I could. The poems are profoundly intimate, refreshingly free of pessimism, and vividly imagistic. Most importantly, perhaps, is that they clearly originate from a determining artistic personality that feels perfectly suited to my own.
More Vocal and Choral Works
The Prism of the Lyre, Opus 197
Seven Principles for SATB chorus acapella No. 7, Opus 193
In Common Things for soprano and piano, Opus 190 no. 2
Music when soft voices die, no. 1, Opus 190 no. 1
The Shadows Fall So Gently, Opus 181
Parables of Love and Death, Opus 173
A Hymnbook for Congregational Singing, Opus 169
The Harp at Nature's Advent, Opus 167
Thou God of Love, Thou Ever Blessed, Opus 164
Blest Are the Sons of Peace, Opus 16
O God our Help in Ages Past, Opus 162
Awake our Souls, Away our Fears, Opus 160
Once to Every Soul and Nation, Opus 144
Arrangements of Congregational Music for Thanksgiving, Opus 142
I'm Just A Poor Wayfaring Stranger, Opus 131
And Am I Born to Die?, Opus 129
Fancies, a cycle of five songs for Tenor and Piano, Opus 117
Revels, A cycle of ten songs for Baritone Voice and Piano, Opus 114
The Echolocations of Cellos, Opus 108
The Seasons, A Cantata, Opus 101
Summer: The Fragrant Pathway of Eternity, Opus 100
Spring: In the Pendulum of My Body, Opus 99
Duet from Holy Ghosts, Opus 93
Unchanging Love, a hymn based on a text by Romulus Linney, Opus 87
Fall: Autumnal Raptures, a song cycle for Tenor and Harp, Opus 86
Songs of Time and Eternity, Opus 64
Ten Poems of William Blake, Opus 53
“The Immortal Beloved”, Opus 50
A Cry Against the Twilight, Opus 42
“Prologue” and “The End of the World”, Opus 14
Reality Is an Activity of the Most August Imagination, Opus 8