Various Artists | Turning in the Light: Compositions By Deborah Kilmer

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Turning in the Light: Compositions By Deborah Kilmer

by Various Artists

A lullaby for oboe, cello, and piano, a love song for soprano, recorder, and piano, amusing French folk songs in a choral arrangement - What's not to love?
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
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1. Up in a Swing (Piano Solo)
Eric Plutz
2:42 $0.99
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2. Piano Reflections No. 3 (Noel Nouvelet) (Piano Solo)
Eric Plutz
3:09 $0.99
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3. Three Poems By Rita Dove: Pithos (for Mezzo Soprano and Piano)
Linda Mindlin & Eric Plutz
0:54 $0.99
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4. Three Poems By Rita Dove: Taking in Wash
Linda Mindlin & Eric Plutz
3:13 $0.99
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5. Three Poems By Rita Dove: Happenstance
Linda Mindlin & Eric Plutz
1:31 $0.99
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6. Missa Salvator Noster Misericordiae: Credo: I. Credo in Unum Deum
Composer's Chamber Choir & Deborah Kilmer
2:05 $0.99
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7. Missa Salvator Noster Misericordiae: Credo: II. Deum De Deo
Composer's Chamber Choir & Composer's Chamber Choir Soloists
1:41 $0.99
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8. Missa Salvator Noster Misericordiae: Credo: III. Et Incarnatus Est
Composer's Chamber Choir & Composer's Chamber Choir Soloists
1:06 $0.99
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9. Missa Salvator Noster Misericordiae: Credo: IV. Crucifixus
Composer's Chamber Choir & Composer's Chamber Choir Soloists
1:28 $0.99
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10. Missa Salvator Noster Misericordiae: Credo: V. Et Resurrexit
Composer's Chamber Choir & Composer's Chamber Choir Soloists
1:24 $0.99
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11. Missa Salvator Noster Misericordiae: Credo: VI. Et in Spiritum Sanctum Dominum
Composer's Chamber Choir
1:12 $0.99
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12. Missa Salvator Noster Misericordiae: Credo: VII. Et Unam Sanctam Catholicam
Composer's Chamber Choir & Composer's Chamber Choir Soloists
1:58 $0.99
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13. Missa Salvator Noster Misericordiae: Gloria
Composer's Chamber Choir, Deborah Kilmer & Composer's Chamber Choir Soloists
4:13 $0.99
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14. Three English Folksongs (for Soprano, Recorder, Cello, and Piano): I Will Give My Love an Apple
Magdalen Kadel, Sue Parisi, Sarah Bennett Wolfe & Eric Plutz
2:22 $0.99
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15. Three English Folksongs (for Soprano, Recorder, Cello, and Piano): Nottamun Town
Magdalen Kadel, Sue Parisi, Sarah Bennett Wolfe & Eric Plutz
4:17 $0.99
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16. Three English Folksongs (for Soprano, Recorder, Cello, and Piano): Oh, No John
Magdalen Kadel, Sue Parisi, Sarah Bennett Wolfe & Eric Plutz
3:10 $0.99
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17. Three Chamber Works (for Oboe, Cello, and Piano): Irish Ballad
Melissa Bohl, Sarah Bennett Wolfe & Eric Plutz
3:16 $0.99
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18. Three Chamber Works (for Oboe, Cello, and Piano): Vinegar
Melissa Bohl, Sarah Bennett Wolfe & Eric Plutz
3:18 FREE
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19. Three Chamber Works (for Oboe, Cello, and Piano): At Rest
Melissa Bohl, Sarah Bennett Wolfe & Eric Plutz
3:20 $0.99
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20. Shall I Compare Thee to a Summer's Day
Composer's Chamber Choir, Deborah Kilmer & Eric Plutz
2:47 $0.99
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21. Two French Folksongs (for Choir, 2 Recorders, and Piano): La Bell', Si Nous Etions
Composer's Chamber Choir, Deborah Kilmer, Sue Parisi, Sheila Farnekes & Eric Plutz
3:14 $0.99
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22. Two French Folksongs (for Choir, 2 Recorders, and Piano): Margoton
Composer's Chamber Choir, Deborah Kilmer, Sue Parisi, Sheila Farnekes & Eric Plutz
2:34 $0.99
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23. Of a Deer
Composer's Chamber Choir, Deborah Kilmer & Eric Plutz
5:25 $0.99
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24. Now Is the Month of Maying
Composer's Chamber Choir & Deborah Kilmer
3:26 $0.99
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25. Many Waters
Composer's Chamber Choir, Deborah Kilmer & Audience Members
2:05 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Copyright information for lyrics
Pithos from Museum, Carnegie Mellon University Press, Pittsburgh, PA. © 1983 by Rita Dove. Used and reprinted by permission of the author. Taking in Wash from Thomas and Beulah, Carnegie Mellon University Press, Pittsburgh, PA. © 1986 by Rita Dove. Used and reprinted by permission of the author. Happenstance from The Yellow House on the Corner, Carnegie Mellon University Press, Pittsburgh, PA. © 1980 by Rita Dove. Used and reprinted by permission of the author.
Of a Deer is from Three Poems for Deer in In Blue Mountain Dusk by Tim McNulty, © 1992, Broken Moon Press, Seattle.

Program Notes
Up in a Swing
This is one of the many cases where the title followed the composition. For me, the opening theme with its rocking meter and large leaps, evokes one of my favorite childhood pastimes, going Up in a Swing. This piece is a reworking of a piece I composed in 2004. Here, I have abandoned the original first theme, and reworked the piece beginning with what was the second theme in six-eight.
Piano Reflections #3 (Noël Nouvelet)
This is the third in a set of seven pieces for piano which I composed over the summer of 2003. In this piece, I began by composing the playful opening theme. When I was experimenting, searching for a contrasting B theme, the melody for Noël Nouvelet, a French Christmas carol, sprang serendipitously to mind. I then constructed the rest of the piece using phrases from the carol alternating with versions of the opening theme.
Three Poems by Rita Dove
I composed these three pieces as a group in 2005. I envisaged them as songs for mezzo-soprano, but pitched them too high. In their 2011 incarnation, they are pitched more appropriately. I was interested to find that I had to re-voice (change the octave placement of some of the notes ) or even re-write many of the chords in these pieces to make them please my ear in the new keys. I couldn’t simply transpose the whole thing down and leave it at that. The title of this recital, Turning in the Light, is derived from the third poem, Happenstance.
Pithos
A pithos is a large urn, used for storage, or sometimes for burial. I used highly chromatic motion in the voice part to highlight the somewhat eerie nature of the imagery, resolving to a more open, tonal sound as the imagery becomes more hopeful.
Taking in Wash
Taking in Wash is a story narrated by a character who observes the temperaments and interactions of other members of her family. The music, like the narrative, moves between comfortably familiar ground and disturbing imagery, ending on a note of strength and defiance.
Happenstance
The vocal line of this miniature begins with a whole tone pattern, evoking the mystery of this moment of meeting.
Missa Salvator Noster Misericordiae
I originally composed this setting of the Latin Mass in 2004. I revised it considerably in November of 2010. In this Mass setting, I am grappling with the problem of suffering and evil in our world juxtaposed with my own belief in a God of love. Through this music, I move from anguished doubt to trust in God’s unfailing love. For this performance, we presented only the Credo and Gloria from the Mass, leaving aside the Kyrie, Sanctus, and Angus Dei.
Credo
Upon revisiting this mass in preparation for this performance, I found that the Credo was basically a pastiche; I had composed it as a single movement, but with so many contrasting themes that the piece lacked both direction and continuity. I was faced with the choice of cutting the piece drastically and eliminating half of the themes, or rewriting the piece in several movements. I chose the latter course of action. Most of the movements are based on my original material, but some parts, in particular the music for the “Et in Spiritum Sanctum Dominum” section, are newly composed. 3
Gloria
This is a re-working of the Gloria from my 2004 mass setting. It includes many of the same compositional devices I have used in the Credo, though the two pieces do not share thematic material. One of the devices I have used is groups of two or three voices moving in parallel, sometimes with the top voice moving an interval of a fourth above the next, and the lowest voice a third below the middle voice (fauxbourdon style.) This gives parts of the piece, for example the setting of the text Miserere nobis, a medieval flavor.
Three English Folksongs
When I was a child, my family owned a set of recordings of the singer and educator John Langstaff singing English and American folksongs with beautifully rendered piano accompaniments. He interpreted the songs with purity and simplicity, while conveying great emotional depth. These three folksong arrangements are dedicated to the memory of John Langstaff, singer and educator.
I Will Give my Love an Apple
This text is similar to the more commonly heard Riddle Song, I Gave my Love a Cherry. Inspired by Ralph Vaughan Williams’ beautiful folk song arrangements, I have used countermelodies in the instrumental accompaniment to compliment the original folk song melody.
Nottamun Town
This mysterious, somewhat eerie tune is most familiar perhaps as the tune for Bob Dylan’s Masters of War. Dylan changed the meter from nine-eight (three groups of three per measure) to six-eight time (two groups of three.) I have used his meter for only one of the verses of this song, and kept the rest in the more traditional six-eight.
Oh, No John!
I composed this setting for my sister Anne and her husband John. When I was a little girl, John came to dinner one day to ask my father for Anne’s hand in marriage. Most of the people in my large family were quite aware of what was happening, but I being young and foolish was completely oblivious. I broke the tension at the dinner table by singing out, clearly and happily, “Oh, no John, no John, no John, no!”
At Rest
I composed the following three pieces as a group of piano solos. My sister Noelie suggested that these pieces, particularly Vinegar, would work well arranged for oboe and piano. I added an oboe line to the piano solo version, and then arranged it again to include a cello part as well.
Vinegar
Vinegar, in its piano solo incarnation, was the opening music for my last recital. The new arrangement adds to the already bright and piquant color of the music.
Irish Ballad
This melody is intended to be in the style of an Irish ballad, but not a direct quote. Earlier this summer, I discovered, much to my mingled amusement and consternation, that the first phrase is actually an exact quote of the folk ballad A Maid in Bedlam, or My Love Loves Me. It was stored away in my memory banks somewhere, and out it would come when I was composing this piece.
Shall I Compare Thee to a Summer’s Day ~ William Shakespeare
A few years ago, I sang a choral setting of this poem composed by George Shearing. I greatly admired and enjoyed most of the settings in this group of songs from Shakespeare, but this one irritated me because of what I felt to be flaws in the placement of word stresses. So in 2010, I challenged myself to compose a more graceful setting of this famous text.

Two French Folksongs
La Bell’ si nous Etions
This is an arrangement of a French folk-song. Very roughly, the translation of the first verse is “Beautiful one, if we were in that forest we would eat many nuts. We would eat them at our leisure. Beauty, you have overwhelmed me (emberlificoté) by your beauty.” In the second verse, the narrator suggests “If we were by this fish pond, we could put some ducks in it and have them swim.” In the third verse, the invitation is to go to the garden and sing evening and morning. My arrangement, which employs two recorders, echoes the childlike nature of the text.
Margoton
Margoton tells the story of a young girl who went to the well for some water and fell in! Happily, some young boys come by and, seeing her plight, ask “What will you give us, beautiful one, if we pull you out?” Margoton offers them a sweet kiss in the form of a coin. The tale ends there, but I feel confident that the young men are so charmed by Margoton’s loveliness that they come to her aid without hesitation.
Of a Deer
Of a Deer is Philip Rice’s lovely setting based on a poem by contemporary poet Tim McNulty. As Philip describes it, Of a Deer is a simple setting for choir and piano which expresses the simplicity and profundity of nature. The piano supplies quizzical, truncated gestures while the choir sings the narrative in a strongly melodic texture.
Now Is the Month of Maying
This is a Madrigal in a modernized version of the English style. Like its Elizabethan forebear, this setting uses a homophonic (chordal) sound in the verses, and contrapuntal (voices moving with rhythmic independence) style for the “fa la la’s.”
Many Waters: a Round Based on a Theme of John Ireland
I like to end my recitals with something that the audience and the performers can sing together. I composed this round, based on a quote from "Greater Love Hath No Man" by John Ireland, as a tribute to the victims of 9/11/2001.


Performers

Composers Chamber Choir:
Deborah Kilmer, Conductor, Eric Plutz, Accompanist, Daniel Stipe, Rehearsal Accompanist
Soprano: Mary Ferguson; Emily Jarvis; Magdalen Kadel*; Rebecca Mariman*. Emily Shea
Alto: Elizabeth Brocka; Carolann Buff*; Suzanne C. Neilson; Jenny Sakano
Tenor: Chris Hodson*, John Kemp, Philip Rice
Bass: Zachary Lee Krieger; Devin Mariman*; Mark McConnell; Tony Parisi; Luc Peterson; Christian Punckt
*Soloists for "Missa Salvator Noster Misericordiae"


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Reviews


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Miriam A. Kilmer

Deborah's Music Continues to Delight
I love Deborah's use of English and French folk songs on this recording. Her charming accompaniments never overshadow the ancient tunes. My husband was blown away by the glorious Mass parts; they are as provocative and soul-searching as they are elevating.
Deborah is raising funds for a concert of new music on Kickstarter.com - the campaign ends Friday Sep 13, 2013, at 9:03am EDT
http://www.kickstarter.com/projects/1954808307/dancing-in-the-snow-chamber-music-by-deborah-kilme
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