Ashes to Impulse

Gregory T. Glancey composer

Release Date: December 8, 2023
Catalog #: RR8097
Format: Digital
21st Century

ASHES TO IMPULSE is an extroverted, highly expressive album of redemption and realization, where harmonies become metaphors and dissonance transforms into catharsis. Conceived by Berklee music professor Gregory T. Glancey, these compositions delve into the core of human struggle, mirroring the very process of creation – a journey from the ashes of doubt to the ignition of artistic impulse.

A glimpse into Glancey’s labyrinthine mind, ASHES TO IMPULSE unearths emotions as if from a hidden wellspring. These are all chamber music pieces, but they are almost symphonic in their profundity. As a flicker becomes a flame, these musical landscapes transcend with unbridled energy and fiery candor.


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Track Listing & Credits

# Title Composer Performer
01 Under a Shattered Moon Gregory T. Glancey James Baker, conductor; Barry Crawford, flute; Benjamin Fingland, clarinet; Emilie-Anne Gendron, violin; Chris Gross, cello; Matthew Gold, percussion; Mike Trusdale, percussion 8:44
02 Out of the Fray Gregory T. Glancey Nara Shahbazyan, cello; Yoko Hagino, piano 11:17
03 Caprice Gregory T. Glancey Duo Zonda | Orlando Cela, flute; Wei Zhao, flute 6:14
04 Elegy for Parrhesia Gregory T. Glancey Junghwa Lee, piano 7:11
05 Effervesce Gregory T. Glancey Rogier de Pijper, flute; Paolo Gorini, piano 13:19
06 Identity Crisis Gregory T. Glancey Ronald Stewart, trumpet 6:45
07 From the Four Winds Gregory T. Glancey Nemø Ensemble | Kevin Hendrickx, conductor; Ben Bertrand, bass clarinet; Freya Bovijn, clarinet; Esther Coorevits, viola; Bert De Rycke, piano; Elisabeth Klinck, violin; Jasmijn Lootens, cello; Wim Pelgrims, percussion; Esther-Elisabeth Rispens; soprano; Arno Roesems, saxophone; Mar Sala Romagosa, flute 13:48
08 One Perfect Rose Gregory T. Glancey Joni Fukuda-Prado, soprano 1:54
09 Experience Gregory T. Glancey Joni Fukuda-Prado, soprano 0:45
10 Two-Volume Novel Gregory T. Glancey Joni Fukuda-Prado, soprano 0:38
11 Pattern Gregory T. Glancey Joni Fukuda-Prado, soprano 3:43
12 Theory Gregory T. Glancey Joni Fukuda-Prado, soprano 1:17
13 General Review of the Sex Situation Gregory T. Glancey Joni Fukuda-Prado, soprano 0:33

Track 1
Recorded August 10, 2018 at Brandeis University’s Slosberg Recital Hall in Waltham MA
Session Producer Greg Glancey
Session Engineer & Mixing Anthony DiBartolo
Mastering Will Holland

Track 2
Recorded January 8, 2018 at Berklee College of Music in Boston MA
Session Producer Greg Glancey
Session Engineer, Mixing & Editing John Escobar
Session Assistant Engineer James Donahue
Mastering Will Holland

Track 3
Recorded November 5, 2022 at Chillhouse Studios in Charlestown MA
Session Producer & Editing Greg Glancey
Session Engineer, Mixing & Mastering Will Holland

Track 4
Recorded January 6, 2023 at Southern Illinois University’s Old Baptist Recital Hall in Carbondale IL
Session Producer & Editing Greg Glancey
Session Engineer Christopher Walczak
Mixing & Mastering Will Holland

Track 5
Recorded October 19, 2017 at Duntz Studios in Oudenbosch, Netherlands
Session Producer Greg Glancey
Session Engineer, Editing & Mixing Gé Bijvoet
Mastering Will Holland

Track 6
Recorded March 24, 2023 at Chillhouse Studios in Charlestown MA
Session Producer & Editing Greg Glancey
Session Engineer, Mixing & Mastering Will Holland

Track 7
Recorded August 29, 2022 at the HERMESensemble Hall in Stokerijstraat 29/B22 bus 6 2110 Wijnegem, Antwerp, Belgium
Session Partners Cultuur Gent, HERMESensemble
Session Producer Ward De Jonghe
Session Engineer Lise Daelemans
Editing Greg Glancey
Mixing & Mastering Will Holland

Tracks 8-13
Recorded January 10, 2005 at Crossroads Studios in Ladera Ranch CA
Session Producer Greg Glancey
Session Engineer & Mixing Chris Taylor
Mastering Will Holland

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Chris Robinson

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Aidan Curran

Artist Information

Gregory T. Glancey


Glancey’s music embodies a unique blend of traditional and progressive musical elements, and expresses a fervent harmonic language, coloristic textures, and intricate formal designs. A background in and affinity for all popular styles and film music infuse his writing with sonic freshness and rhythmic energy. His music has been programmed throughout the United States and Europe, as well as featured in a number of independent films. 

Yoko Hagino


Yoko Hagino was born and raised in Japan, where she began her piano studies at the age of 4. As a child, she performed her own compositions, which took her to Europe and the United States, including performances as a concert soloist with the Czech Symphony, the University of Southern California Symphony, Kyoto City Symphony, and Ensemble Orchestra Kanazawa. Hagino has appeared as a soloist with Osaka Century Orchestra, UMass Boston Chamber Orchestra, Key West Symphony Orchestra, White Rabbit Sinfonietta, and has also performed various piano recitals ranging from the music of Bach to contemporary repertoire. Hagino is a prize winner of the Steinway Society Piano Competition, the First International Chamber Music Competition, the All-Japan Selective Competition of the International Mozart Competition, and Chamber Music Competition of Japan.

Orlando Cela


Venezuelan born musician Orlando Cela is committed to engaging audiences with lively performances that open new worlds of experience. Known for his engaging performances using imaginative programming, Orlando has premiered in over 100 works, both as a flutist and as a conductor. In concert, Cela regularly offers short lively introductions to selected works, offering audiences entry points into unfamiliar works, to easily connect the music with other life experience.

James Baker


Benjamin Fingland


Emilie-Anne Gendron


Chris Gross


Mike Trusdale


Wei Zhao


Rogier de Pijper


Paolo Gorini


Matthew Gold


Percussionist Matthew Gold is a performer, ensemble director, and educator committed to presenting innovative and adventurous programs featuring new voices. As the Talea Ensemble’s percussionist and Director of Operations he has performed with the group across the United States and at international festivals. He is also a member of the New York-based percussion group, Talujon. Gold is an Artist in Residence in Percussion and Contemporary Music Performance at Williams College where he directs the Williams Percussion Ensemble and New Music Williams, and is the Artistic Director of the annual I/O Festival of New Music. He serves on the faculty of the Composers Conference and Contemporary Performance Institute and is a frequent Artist in Residence at the Walden School’s Creative Musicians Retreat. Gold has been a featured artist on recent festivals including Time:Spans 2019, Festival Les Musiques in Marseille, Festival Musiques Démesurées in Clermont-Ferrand, and has appeared with the New York Philharmonic on its “Philharmonic 360” program at the Park Avenue Armory. Gold performs regularly with, among others, the Mark Morris Dance Group and the Albany Symphony.

Junghwa Lee


Pianist Junghwa Lee, a native of Korea, performs actively in solo recitals, chamber concerts, and lecture recitals, and has frequently appeared in concerto performances as a soloist and has presented solo performances in 16 countries.

Winner of many competitions in Korea, including Sonyun-Hankuk-Ilbo, Wolgan-Eumak, Seoul National University Symphony Orchestra Concerto Competition, and the Korean Symphony Orchestra Concerto Competition, Lee received the Performer’s Certificate from the Eastman School of Music, along with the Max Landow Memorial Scholarship and the Liberace Foundation Scholarship for Performing/Creative Artists. As an active collaborator as well as soloist, she received the Excellence in Accompanying Award from the Eastman School.

Lee recorded the Complete Piano Works by Frank Stemper which has been released by Albany Records titled BLUE13. The CD received a Gold Medal from Global Music Awards. In addition, it was selected for Global Music Awards Top Ten Albums 2015.

Lee has performed Clara Schumann’s works commemorating her bicentennial throughout 2019, including a music festival in Chile, international artist series’ in Thailand and Singapore, at the Frederick Historical Piano Concert Series in Massachusetts playing an 1846 Streicher, as well as at various venues and recital series’ in the Midwest. She recorded Schumann’s select piano works that was released in March 2021 by Centaur Records titled Clara Schumann: Piano Works, which was awarded a Gold Star in June 2021 from “Music & Stars Awards,” an international online music competition based in Barcelona, Spain. She has presented Schumann’s piano works at the College Music Society (CMS) National Conference, Illinois State Music Teachers Association (ISMTA) State Conference, “Performing Clara Schumann” Conference at Cornell University in 2019, and Clara Schumann’s Solo Piano Works and Preludes at the Music Teachers National Association (MTNA) Virtual Conference in 2020.

With her interest in promoting music for young students and the community, she has initiated and directed music events, such as the Hays Spring Music Project and Scholarship Musicale in Hays KS. As a dedicated teacher as well as performer, she has taught at many clinics, festivals, and masterclasses, and organized the Fort Hays State University (FHSU) High School Piano Competition and the FHSU Summer Piano Camp, and directed the Cottonwood Music Project, a weeklong chamber music outreach program and concert. She is currently Director of SIU Summer Piano Camp and Competition, as well as Director of Southern Illinois Piano Festival.

Lee received her Bachelor of Music and Master of Music degrees in Piano Performance from Seoul National University. She earned her Doctor of Musical Arts degree in Piano Performance and Literature from the Eastman School of Music. She has served as Visiting Assistant Professor of Piano at Oklahoma State University and Assistant Professor of Piano at Fort Hays State University. Lee is Professor of Piano at Southern Illinois University Carbondale.

Ronald Stewart


Ron Stewart holds a Bachelor’s Degree in Music Education from SUNY Potsdam and a Master’s Degree in Music Performance from University at Stony Brook. He has performed for several conductor/composers, including Leonard Bernstein, Aaron Copland, Ralph Shapey, Elliot DelBorgo, Robert Washburn, and Howard Hanson among others. During his career, Stewart has performed 50 world premieres representing composers Gregory Glancey, Susan McDonald, Kent Marks, Dan Weymouth, Peter Winkler, Sean O’Laughlin, Dan Becker, Ed Harsh, John Lessard, Lori Dobbins, Louis Ballard, and others. Currently Stewart resides in Baldwinsville NY with his wife, Chris.

Nemø Ensemble


Nemø ensemble was founded in September 2017 and performs contemporary, experimental music. The collective aims to connect existing repertoire with new pieces by young artists that are not afraid of crossing boundaries between different genres and artistic disciplines. The group challenges the conventional concert format by exploring different forms of presentation. This gives rise to immersive performances that overcome the distance between those who listen and those who perform.

For Nemø, art means bringing people together in a context outside the rush of everyday life. Each show is conceived as an “intensified context” for the audience to fully engage in the material moment of the now. Therefore, Nemø ensemble not only acts as a performer but also as a curator that frames music. In collaboration with other artists, they search to play with light, space and movement in their overarching performances.

Kevin Hendrickx


Kevin Hendrickx studied piano with Christine Baeten and choral conducting with Geert Hendrix in Lier. In 2013 he continued to study orchestral conducting with Bart Piqueur in Ghent, which he graduated from in 2017. Afterwards, he studied composition and conducting at the Royal Conservatory of Ghent with teachers such as Kristiina Poska, Daan Janssens, Filip Rathé, Johan Duijck, and Florian Heyerick.

He followed courses and masterclasses with renowned conductors such as David Hill, Martin Sieghart, Alexander Polyanichko, and Frieder Bernius. He appeared with the Flanders Symphony Orchestra, Manchester Camerata, Budapest Symphony Orchestra MAV, Moravian Philharmonic Orchestra, London Classical Soloists, Bulgarian State Opera Stara Zagora, and Orchestra da camera Fiorentina. In 2017 he was laureate of the Beethoven competition organized by the London Classical Soloists. Regularly performing new music, he worked with SPECTRA ensemble, Nemø ensemble, and ensembles and orchestra from the Royal Conservatory of Ghent. Also with his own orchestra ( he follows an adventurous course.

As a choir conductor, Hendrickx is the artistic leader of the Leuven University Choir and the Chamber Choir Roeselare. He has worked with the Kammerchor Stuttgart, RNCM Chamber Choir, Ghent University Choir, Helicon Chamber Choir, Choeur Universitaire de Liège, and Chorale de la CIUP.

Joni Fukuda-Prado


Dr. Joni Y. Prado, soprano and associate professor of vocal studies at California State University, Fullerton earned a Doctor of Musical Arts degree in vocal arts at the University of Southern California where her areas of specialty included vocal performance, choral music, music education, and jazz studies. She holds a Master of Music degree in vocal performance from California State University, Fullerton and a Bachelor of Arts degree in music and psychology from California Baptist University. Prado’s teaching areas include private vocal studies, foreign language diction, song literature, vocal pedagogy, and leading vocal workshop.

Prado is a frequent soloist in recital and oratorio throughout the Southern California region. She has performed with world-renowned ensembles and conductors such as the Pacific Symphony with Maestro Carl St. Clair, the Los Angeles Philharmonic with conductor Esa Pekka Salonen and the Hollywood Bowl orchestra under the direction of John Mauceri. Prado has also been privileged to share the stage with operatic singers, Alessandra Marc, Richard Margison, Rodney Gilfrey, and Andrea Bocelli.

In addition to teaching and performing, Prado is also in demand as an adjudicator, choral clinician, and vocal coach for local school and church choir programs. She has assisted on several recording projects as a vocal coach and vocal producer at Skywalker Ranch and Sony Pictures Studios and continues to connect with singers and educators across the country through various singing and speaking engagements.

Lise Daelemans

Recording Engineer

Lise Daelemans is a music producer, songwriter, and musician. She teaches music production and songwriting at the academy of Sint-Agatha-Berchem and De Poel in Ghent. In 2019, she obtained her Master of Arts in creative music: music production and music education in Ghent. In 2016, she founded UMM, her own musical project with which she released two EPs and an album (Deep Sea Diver, 2022).


ASHES TO IMPULSE is a collection of original music that stands as a significant creative statement and good representation of who I am as an artist. These specific works explore themes of redemption and/or realization through struggle, both musically and metaphorically. A number of these compositions were stirred from musings on the origins of emotion. While pulling this collection together, I couldn’t help but recall how each piece took a lot out of me to express. The writing process is rarely easy for me, but these compositions seemed particularly arduous. My writing experience is less like creating something from nothing and more like unearthing something that is already there. I am but a clumsy fool groping in the dark, fumbling to make sense of the things I find. It is agonizing, and I am always perplexed where the motivation to work is conjured from. Yes, deadlines help, but the desire to want to work is a whole other issue. Each piece begins with no passion — no life, no spark, and no fire in me to sit at that desk and work. Only dread at the looming deadline and the thought of slogging through the onerous task to make meaningful art. The endeavor is not magical — it is rather monotonous and stressful. However, in due time it always happens. A small flicker, as if from some mystical place, suddenly changes the aura. Gestures begin to swirl and make sense, ideas I put aside begin to connect and lead to others, and ultimately a concept for the whole emerges. Then, voilà, impulse is ignited and the music gradually comes to life, or is unearthed. Though, it still doesn’t get easy.

The included program notes are personal allegories describing how the music spoke to me during the writing process. They are not meant to guide the listener. My hope is for each person to have his or her own unique experience with the sounds, and in the end to be moved by the music (though it will require attentive listening). I don’t aim to break new ground with my compositions, nor to be revolutionary. My intent is to be genuine. Aesthetically I’m drawn to certain things and certain things live inside me, and these things all blend together to create a particular soundscape at a particular time. Excluding From the Four Winds and the song cycle One Perfect Rose, which have poetry as the bedrock, titles and metaphors for pieces come much later in the writing. The general vibe and ebb and flow of the music typically maps with something I’m feeling, going through, or pondering at the time. Maybe my subconscious shapes the musical details to resonate with my soul in the moment — hard to know for sure. All I know is that my gut always finds an appropriate title for the music by the time I have to deliver the goods.

A note of thanks:
To all the performers. Listening over and over again to these recordings drew my attention to your exceptional playing and attention to the details. What a blessing! I appreciate the opportunity to make this music together. To my parents for your support and instilling a solid work ethic in your children. Dad, you were the one who encouraged me to leave my blue-collar career and go to school for music. Then, years later when my spirit waivered, you urged me to “just finish that degree already!” To fellow composer and friend Christopher Walczak. For the countless commiseration sessions and your moral and technical support. And most importantly to my wife, Alona, and two daughters, Brianna and Camille. You have to endure this grumpy, disengaged grouch brooding around the house until the creation is done. I love you dearly and could not do this sort of thing without you.

“Behold! I tell you a mystery. We shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised imperishable, and we shall be changed.” (1 Corinthians 15:51-52) Ashes to Impulse. Soli Deo gloria!

— Gregory T. Glancey

The subtle and ethereal beauty of the moon can evoke a sense of peace and tranquility. It can draw cluttered thoughts away from earthly chaos and into a contemplative calm that is “other-worldly.” A luminous moon can also dispel airs of uncertainty and confusion, as it sheds a guiding light over obstacles and dangers strewn about in the darkness. Imagine a night sky illuminated by a shattered moon casting skewed and vague reflections of the sun. How disconcerting this would be, and how hopeless it might feel to search for a clear and familiar path to security. Under a Shattered Moon expresses musically how a lucid and serene mind can so easily scatter and dissolve into clouded and restless states when the world becomes hazy and unfamiliar. The music unfolds with placid diatonic textures that inevitably stir and whisk away into various chromatic agitations and dim renderings. Familiarity is ambiguous and resolve is fleeting under the light of a broken moon. Under a Shattered Moon was written for the 2018 Composers Conference at Brandeis University, Mario Davidovsky, director. It is a lament for the many who suffer through various forms of cognitive disorders and those who may be in the throes of watching a loved one slip away from the devastating effects of these diseases. It is dedicated to my mother, in the late stages of dementia, and my father, who has cared for her in the twilight of their years.
While writing Out of the Fray I was unsuccessfully exploring the practice of mental disengagement and the art of retreating to a quiet mind in the midst of a noisy and nagging daily grind. The dramatic arch of the music maps how efforts to pull away are continuously thwarted by relentless gnawing distractions, which grow to consume the focus and suck the mind back into the fray. Commissioned by Ensemble Parallax, directed by Peyman Farzinpour, for their 2017 concert at the Rhode Island Philharmonic School of Music, Providence RI.
Caprice is a celebration of free conversation and open dialogue, sometimes flowing in beautiful unity and other times spiraling into intense contrapuntal disagreement. In the end, however, both parts contribute to create a positive exchange that is energetic, engaging, and playful.
Elegy for Parrhesia emerged from my contemplations on the current state of public discourse and social media in our culture, specifically over the past five years. The harmonic language and gestural flow of the music reflect various emotional responses, ranging from ambivalence to fiery passion, mild agitation to seething anger, subtle dismay to profound despair, and in the end inconsolable sadness. The Greek word Parrhesia is a figure of speech described as: “to speak candidly or to ask forgiveness for speaking.” It is a noun, also meaning “free speech” or “to speak everything” and by extension “to speak truth to power.” Parrhesia can also be thought of as a collective mindset encouraging the expression of ideas and opinions without the threat (or fear) of being silenced or punished for such expressions. Parrhesia is a principle by which civil debate, rational discourse, and the pursuit of truth can supersede and diminish tribal thinking, intolerance, and hate. Commissioned by Junghwa Lee.
The musical gestures and formal process of Effervesce in many ways mirror the chemical reactions involved in fermentation. When kefir grains are introduced to milk, for example, live cultures of bacteria inhabit the substance and begin converting milk sugars (lactose) to lactic acid. The environment slowly changes and swirls with activity as the kefir grains rise and fall during the various phases of the fermentation process. A new infusion (or yogurt) is complete when bubbles of carbon dioxide, the by-product of the feasting bacteria, rise to the surface and “effervesce.” Not unlike these fizzy bubbles of C02, uncontrollable emotions such as joy, enthusiasm, or even anger can “effervesce” and bubble up from inside of our being. Where do these impulses come from? Now that’s a mystery. Written for Rogier de Pijper and featured at the 2017 12th Adams International Flute Festival, Ittervoort, The Netherlands.

Written for Ronald Stewart (the only one foolish enough to play it) during our graduate school days at Stony Brook University, Long Island NY. It is included on this album for sentimental reasons as it emerged during a time of significant struggle and doubt, and consequently sparked in me a new artistic confidence. It is the first work of my early career that stands out as a genuine articulation — something that embodies what I love about the modern aesthetic and experimentation, but with an unsophisticated, raw rock n’ roll attitude. The essence of the piece is best described in this short poem.

Identity Crisis
Gregory T. Glancey 2023

What a frazzled and frenzied fool;
Muttering and sputtering out of steam,
Stumbling with erratic grooves,
Bumbling in a manic dream.

Always grumbling, always murmuring,
Ever guessing, never sure… (of things).
Is there a song you wish to sing,
Or a rhythm you long to churn?

So tattered and distraught
By your sad and shattered tune;
So overwrought, so overthought
With intentions overdue.

Such a reckless and frantic pace
Breaks an overstrung, rundown fool.
How can you move with Spirit and grace
Wearing someone else’s shoes?

From the Four Winds is a musical setting based on the vision of the valley of dry bones from Ezekiel chapter 37. The timbral and textural aura, and dramatic shape of the music reflect the images of this epic vision, which depicts a supernatural resurrection from lifeless ashes to radiant impulse. Throughout the scriptures of the Old and New Testament, the four winds are a mystical point where the divine interacts with the natural world in extraordinary and sometimes catastrophic ways. In the vision of the valley of dry bones, Yahweh calls on the four winds to breathe life into scattered dry bones, resulting in a miraculous resurrection of a dead nation to a vibrant and unified people. The context of this vision is during Israel’s exile and oppression under the Babylonian empire (597-538 BC). The people of Israel were scattered and “dead” as a nation, deprived of their land, king, and temple. They had been divided and dispersed for so long that unification and restoration seemed hopeless and futile. Ezekiel’s vision was a sign that the life, vigor, and faith of this decimated nation would one day be restored. Commissioned by Nemø ensemble for their 2019 concert event Nemø Ensemble Presents EXO Splinters, Miry hedendaags, Miry Concertzaal, KASK Conservatorium, Ghent, Belgium.

Hebrew text of selected verses from Ezekiel chapter 37:5-11
׃וּנָֽל וּנְר ַ֥זְגִנ וּנֵ֖תָוְקִת הָ֥דְבָא וּניֵ֛תוֹמְצַע וּ֧שְׁבָי םיִ֗רְמֹא
׃םֶֽתיִיְחִו ַחוּ֖ר םֶ֛כָב איִ֥בֵמ יִ֜נֲא
ר֗ ָשָׂבּ םֶ֣כיֵלֲע יִ֧תֵלֲעַהְֽו םיִ֜דִגּ םֶ֨כיֵלֲע ֩יִתַּתָנְו
םֶ֑תיִיְחִו ַחוּ֖ר םֶ֛כָב יִ֥תַּתָנְו רוֹ֔ע ֙םֶכיֵלֲע יִ֤תְּמַרָקְו
׃וּֽיְחִֽיְו הֶלֵּ֖אָה םיִ֥גוּרֲהַבּ יִ֛חְפוּ ַחוּ֔רָה יִאֹ֣בּ ֙תוֹחוּר עַ֤בְּרַאֵמ
׃הָֽוהְי יִ֥נֲא ־יִֽכּ םֶ֖תְּעַדיִו

’ōmərîm, yāḇəšū ‘aṣmōwṯênū wə’āḇəḏāh ṯiqwāṯênū niḡzarnū lānū.
’ănî mêḇî ḇāḵem rūaḥ wiḥyîṯem. (Adonai?)
wənāṯattî ‘ălêḵem giḏîm wəha‘ălêṯî ‘ălêḵem bāśār,
wəqāramtî ‘ălêḵem ‘ōwr, wənāṯattî ḇāḵem rūaḥ wiḥyîṯem.
mê’arba‘ rūḥōwṯ bō’î hārūaḥ, ūp̄əḥî bahărūḡîm hā’êlleh wəyiḥyū.
wîḏa‘tem kî’ănî Yahweh. (Adonai)

English translation of selected verses from Ezekiel chapter 37:5-11
They say, “our bones are dried up and our hope is gone; we are forsaken.”
I will make breath enter you, and you will come to life. (Adonai?)
I will attach tendons to you and make flesh come upon you and cover you with skin; I will put breath in you, and you will come to life.
Come, breath, from the four winds and breathe into these slain, that they may live.
Then you will know that I am Yahweh (Adonai).

Commissioned by soprano Joni Fukuda-Prado and included on this album for a lighter, sorbet conclusion to a substantial meal. I have always adored and admired the clever, razor-sharp wit of Dorothy Parker, and especially her ability to mix emotions over a few words or short lines. I was specifically drawn to her poetry marked with pithy, punch line humor and self-deprecation, as well as devastating sadness and loneliness brought on by tragic romance and rejection. The selected poems are from two of her early volumes: Enough Rope (1926) and Sunset Gun (1928), published by Boni & Liveright, New York. The composer would like to thank the National Association for the Advancement of Colored People for authorizing this use of Dorothy Parker’s works.

Text by Dorothy Parker (1893-1976)

I. One Perfect Rose
A single flow’r he sent me, since we met.
All tenderly his messenger he chose;
Deep-hearted, pure, with scented dew still wet—
One perfect rose.

I knew the language of the floweret;
“My fragile leaves,” it said, “his heart enclose.”
Love long has taken for his amulet
One perfect rose.

Why is it no one ever sent me yet
One perfect limousine, do you suppose?
Ah no, it’s always just my luck to get
One perfect rose.

II. Experience
Some men break your heart in two,
Some men fawn and flatter,
Some men never look at you;
And that cleans up the matter.

III. Two-Volume Novel
The sun’s gone dim, and
The moon’s turned black;
For I loved him, and
He didn’t love back.

IV. Pattern
Leave me to my lonely pillow.
Go, and take your silly posies;
Who has vowed to wear the willow
Looks a fool, tricked out in roses.

Who are you, my lad, to ease me?
Leave your pretty works unspoken.
Tinkling echoes little please me,
Now my heart is freshly broken.

Over young are you to guide me,
And your blood is slow and sleeping,
If you must, then sit beside me…
Tell me, why have I been weeping?

V. Theory
Into love and out again,
Thus I went, and thus I go.
Spare your voice, and hold your pen—
Well and bitterly I know
All the songs were ever sung,
All the words were ever said;
Could it be, when I was young,
Someone dropped me on my head?

VI. General Review of the Sex Situation
Woman wants monogamy;
Man delights in novelty.
Love is woman’s moon and sun;
Man has other forms of fun.
Woman lives but in her lord;
Count to ten, and man is bored.
With this the gist and sum of it,
What earthly good can come of it?