This is a free concert :). No tickets required. I have not been in Memorial Church, so not sure about the number of seats available.
I hope to be there as close to 4pm as possible. However, I will be coming from Sanders Theater(Barber/Brahms/RVW see the meetup for that event if interested). Please don't wait for me to obtain a seat. If anyone does signup for this :), we can meetup after the concert and walk over to Harvard Sq.
Sung by the Harvard University Choir in the Memorial Church
Here are the directions to the church:
The composer's website:
From the composer's website:
http://www.carsoncooman.com/revelations.htmlThe Revelations of Divine Love
(Metaphors from Sea and Sky)
oratorio for soprano and baritone soloists, chorus, and chamber orchestra
Music by Carson P. Cooman (b. 1982)
Texts adapted from the writings of Julian of Norwich (c. 1342–1416), Margery Kempe (c. 1373–1438; translated by Christopher M. Brunelle), Robert Herrick (1591–1674), and Elizabeth Kirschner (b. 1955)
(Texts adapted from the writings of Julian of Norwich, unless otherwise cited.)
The primary concept underlying this oratorio is the presence of two distinct discourses. One is a sequence taken from Julian’s religious visions. The other is a “sonic geography” of Nantucket Island (located 30 miles off the coast of Massachusetts in the United States). This interconnected concept was inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Living his entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the “transposition” of religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery of distinctly Orcadian character.)
The landscape of Nantucket Island has been the driving force behind a large number of my compositions for many years. In this oratorio, Julian’s visions are transposed from Norwich and mapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes: a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Much of the music was planned in the actual locations. Since the soloists and choir must, by necessity, sing the words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role is substantially greater than simply accompaniment.
Because of these two discourses, the oratorio is not intended as comprehensive “working out” of all aspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes her beautiful words, and the fundamentals of her visions, and attempts to create a new narrative and spiritual experience from them.