The Secret Wisdom of Flowers
Publisher: LAH Publications
Catalogue Number: LAH 80
Year: 2022
For: SSA with Piano
Duration: 20:00
Note: Some single movements are available below. Additional single movements are available upon request.
Commissioned by Elektra Women’s Choir (Vancouver, BC) – Morna Edmundson, Artistic Director; Nove Voce Choral Society (Prince George, BC) – Robin Norman, Artistic Director; Ariose (Edmonton, AB)- Jolaine Kerley, Artistic Director; Oriana Women’s Choir (Toronto, ON) – Mitchell Pady, Artistic Director; Aeolian Singers (Halifax, NS) – Heather Fraser, Artistic Director; Lady Cove Women’s Choir (St. John’s, NL) – Kellie Walsh, Artistic Director.
Note for pianists: a “piano only” score is available upon request.
Feedback from commissioners
It was truly our pleasure to be able to learn this beautiful new music of yours, workshop the pieces with you, and share them with the audience (and a bonus to have you there)! You write so beautifully for the voice and the independent vocal lines are so intricate and full of life. I love how you stretch the ranges and allow for the singers to fully make use of their instruments. Your writing for the piano was exquisite and your choice of poetry was varied and relatable for the singers and the audience.
~Jolaine Kerley – Artistic Director, Ariose
Composer’s Notes
I began sketching ideas for this work in the autumn of 2021, having no idea at the time what the work would eventually be. I had purchased a book of poetry called “Best-Loved Poems,” and right away found several that inspired musical ideas very quickly, and within a couple of days I had sketched the main ideas for five of the movements. I gave myself the challenge to capture these ideas as simply as possible, without deciding what they would become – if they would be part of a set or single works, if they would be for solo voices, for mixed choir, or for upper voices. It was a truly joyful creative endeavour for me, and I quickly realized these sketches would be part of a larger work for choir and piano. Later, I described the idea of this larger work to Morna Edmundson, Artistic Director of Elektra Women’s Choir, who was enthusiastic about having Elektra as part of the project; and so to my delight it became a work for upper voices and piano!
The piece explores the perspective of flowers and plants, offering an invitation to contemplate the messages, emotions, and wisdom each poetic gem has to offer. It opens with a bold and energized “floral salute” to the day in the first movement, Lord of Morning, staying with day-time themes and feelings for the playful second movement, Marigolds, and Thirsty Earth which is a rollicking drinking song. The piece then moves delicately into the evening and night with Evening Primrose, which features a romantic piano part that should be treated on equal level with the voices, in duet, allowing the phrasing of the singers and the pianist to guide the rubato. We venture deeper into the night with a chant setting of The Heart of Night, then emerge from the night with E. Pauline Johnson’s exquisitely evocative Moonset, which I’ve opened with a lush mezzo solo (selfishly, being a mezzo myself). The penultimate movement, Fire Flowers, is a meditation on the sacred process of destruction and rebirth. In fact, this text has been set so many times, I’ve wondered if it has really become a sacred text of our times, regarded with the same reverence as, for example, the text of the Kyrie. With the close of the work, we arrive again at the dawn, greeting the sun in Sunrise Along the Shore.
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