
Thank you for joining us for this unique program spotlighting women composers from across North America.
This program has been generously sponsored by the Canadian Music Centre of BC
THE PROGRAM
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All day I hear the noise of waters
Making moan,
Sad as the sea-bird is when, going
Forth alone,
He hears the winds cry to the water's
Monotone.
The grey winds, the cold winds are blowing
Where I go.
I hear the noise of many waters
Far below.
All day, all night, I hear them flowing
To and froPOEM BY JAMES JOYCE
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Young Love lies sleeping
In May-time of the year,
Among the lilies,
Lapped in the tender light:
White lambs come grazing,
White doves come building there:
And round about him
The May-bushes are white.
Soft moss the pillow
For oh, a softer cheek;
Broad leaves cast shadow
Upon the heavy eyes:
There winds and waters
Grow lulled and scarcely speak;
There twilight lingers
The longest in the skies.Young Love lies dreaming;
But who shall tell the dream?
A perfect sunlight
On rustling forest tips;
Or perfect moonlight
Upon a rippling stream;
Or perfect silence,
Or song of cherished lips.POEM BY CHRISTINA ROSSETTI
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Come to me in the silence of the night;
Come in the speaking silence of a dream;
Come with soft rounded cheeks and eyes as bright
As sunlight on a stream;
Come back in tears,
O memory, hope, love of finished years.
Yet come to me in dreams, that I may live
My very life again tho’ cold in death:
Come back to me in dreams, that I may give
Pulse for pulse, breath for breath:
Speak low, lean low,
As long ago, my love, how long ago.
POEM BY CHRISTINA ROSSETTI
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The May-tree on the hill
Stands in the night
So fragrant and so still,
So dusky white.
That, stealing from the wood
In that sweet air,
You'd think Diana stood
Before you there.
If it be so, her bloom
Trembles with bliss.
She waits across the gloom
Her shepherd's kiss.
Touch her. A bird will start
From those pure snows,--
The dark and fluttering heart
Endymion knows.POEM BY BY ALFRED NOYES
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FROM SONGS OF TREES
And only where the forest fires have sped,
Scorching relentlessly the cool north lands,
A sweet wild flower lifts its purple head,
And, like some gentle spirit sorrow-fed,
It hides the scars with almost human hands.And only to the heart that knows of grief,
Of desolating fire, of human pain,
There comes some purifying sweet belief,
Some fellow-feeling beautiful, if brief.
And life revives, and blossoms once again.POEM BY EMILY PAULINE JOHNSON
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BY EMILY PAULINE JOHNSON
Idles the night wind through the dreaming firs,
That waking murmur low,
As some lost melody returning stirs
The love of long ago;
And through the far, cool distance, zephyr fanned.
The moon is sinking into shadow-land.The troubled night-bird, calling plaintively,
Wanders on restless wing;
The cedars, chanting vespers to the sea,
Await its answering,
That comes in wash of waves along the strand,
The while the moon slips into shadow-land.O! soft responsive voices of the night
I join your minstrelsy.
And call across the fading silver light
As something calls to me;
I may not all your meaning understand,
But I have touched your soul in shadow-land. -
-
They all say it is a lie that I do love you
because never they saw me so much in love
I swear to you that not even I understand
why your glance has fascinated me
When I am near you, you are happy,
I woudn't want you to remember anyone
I am jealous even of the thought
that could remind you of any loved person.
Swear to me that although time passes by
you won't forget the moment when I first met you.
Look at me, for there is nothing in this world bigger
or more profound than the love I gIve you.
Kiss me, with a loving kiss,
like no one has kissed me since the day I was born.
Love me, love me up to madness
and then you will know the sadness that I am suffering for you.
-
-
Somewhere along the line
the ball bounced too high
never to return
casuing a stir in the equation
To say the least. To say the least.
And I thought three plus three
meant something
meant
something
somewhere
down the line.
The ball,
oh the ball plus three
begs for a chance.
I try, but can’t
and wonder why it’s so perfect to say
Never to return never to return
POEM BY TOM CONE
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o that after all no
thought breaks
the mind's cold spell
chill these bones their
language lost
in this fresh silence
weather hides all
odours of decay
by freezing time
I travel through
this numb day
look look
my small
my beautiful child
the icicle here
how it shimmers
in the blue sun
my small
my beautiful child
look once more
into the shimmeringPOEM BY JOY KOGAWA
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moving into the slow
pool beneath the voices
to the quiet garden where
airtime sounds are
cloud shadow and
sun games—what
matters here in this cool
inverted sky are small
darting fish
coloured cues shimmering
past the hooks, beneath
the nets, succulent, safe
and swift as prayer
POEM BY JOY KOGAWA
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the fruit takes from the sun
the skin swells thin green
to red to ripeness
until the time for giving
when the wind
thuds and seeds the earth
and the rich brown soil receives the flight down
and to walk at that moment
in the orchard again
when the children
are still small
and to see
in the sunlight
how the blossoms are falling
POEM BY JOY KOGAWA
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If your eyes were not the color of the moon,
of a day full of clay, and work, and fire,
if imprisoned you did not move in agile grace like the air,
if you were not an amber week,
not the yellow moment
when autumn climbs up through the vines;
if you were not that bread the fragrant moon
kneads, sprinkling its flour across the sky,
oh, my dearest, I could not love you so!
But when I hold you I hold everything that is —
sand, time, the tree of the rain,
everything is alive so that I can be alive:
without moving I can see it all:
in your life I see everything that lives. -
Your hand flew from my eyes into the day.
The light arrived and opened like a rose garden.
Sand and sky throbbed like an ultimate
beehive carved in the turqoise.
Your hand touched syllables that rang like bells,
touched cups, barrels full of yellow oil,
flower petals, fountains, and, above all, love.
Love: your pure hand guarded the ladles.
The afternoon was. Quietly the night
slid over a man asleep, its celestial capsule.
Honeysuckle set loose its sad savage odor.
And then your hand fluttered, it flew back again:
it closed its wings, its feather I had thought were lost,
over my eyes the darkness had swallowed.
-
Maybe—though I do not bleed—I am wounded,Walking along one of the rays of your life.
In the middle of the jungle the water stops me,
the rain that falls with its sky.
Then I touch the heart that fell, raining:
there I know it was your eyes
that pierced me into my grief’s vast hinterlands.
And only a shadow’s whisper appears,
Who is it? Who is it? but it has no name,
the leaf or dark water that patters in the middle of the jungle, deaf along the paths;
so, my love, I knew that I was wounded,
And no one spoke there except the shadows,
the wandering night, the kiss of the rain.
-
And now you're mine. Rest with your dream in my dream.
Love and pain and work shall all sleep now.
The night turns on its invisible wheels,
And you are pure beside me as a sleeping amber.No one else, Love, will sleep in my dreams.
You will go, we will go together over the waters of time.
No one else will travel through the shadows with me,
Only you, ever green, ever sun, ever moon.Your hands have already opened their delicate fists
And let their soft drifting signs drop away;
Your eyes closed like two gray wings, and I moveafter, following the folding water you carry, that carries me away.
The night, the world, the wind spin out their destiny.
Without you, I am your dream, only that, and that is all.
THE COMPOSERS
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1908-2000
Jean Coulthard was born in Vancouver to a doctor father and a music teacher mother. It was apparent
early in her life that music was to play an important part. She enrolled in the new University of British
Columbia but went to London in the late 1920s to study with Vaughan Williams. She also knew and
studied with Copland, Milhaud, Schoenberg and Bartok. She became the first composition teacher in the
School of Music at the University of British Columbia where she taught for 26 years. She was a very
prolific composer and she composed in many genres. Her music was widely performed and recorded in
Canada and abroad during her lifetime. She received the Order of Canada in 1978 and held honorary
doctorates from several universities. She is considered one of the most significant and influential
Canadian composers of the 20 th century.
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1993-
Katerina Gimon has gained a reputation as having a distinctive voice in contemporary Canadian
composition. She has received two SOCAN awards, a Barbara Pentland Award for Outstanding
Composition, and was nominated for the Western Canadian Composer of the Year. She draws influences
from a myriad of places and styles and her large catalogue of choral, vocal, instrumental and orchestral
works are widely performed in Canada and abroad. She studied at Wilfred Laurier University and the
University of British Columbia, and is based in Vancouver.
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1885-1951
Maria Grever was the first female Mexican composer to gain international acclaim. She was born in
Mexico but moved to her father’s homeland, Spain, when she was six. She studied music in France – it is
said she studied with Debussy. She returned to Mexico, before marrying and moving to New York city
where she lived the rest of her life. She wrote between 800 and a thousand songs, most of them in
Spanish. Her most famous song is, in the English translation, What a difference a Day Makes. In 1920 she
began work as a film composer for Paramount Pictures and 20 th Century Fox.
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1945-2018
Graciela Agudelo studied piano and composition in Mexico and in Darmstadt in Germany. She was a
founding member of the Mexican Society of New Music. She was interested in music education and
published articles and essays on music education. She has composed for symphony orchestra, chamber
ensembles, theatre, television and educational productions. Almost all of her works are available on
recordings.
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1969-2023
Jocelyn Morlock was one of the leading Canadian composers of her generation. She studied at the
University of Brandon and at the University of British Columbia where she was also an instructor and
lecturer of composition. She was composer in residence for Music on Main, and for the Vancouver
Symphony Orchestra for five years. She also had strong ties with the National Arts Centre Orchestra. She
wrote compelling music that continues to receive many performances, and she has been extensively
recorded. Her work My Name is Amanda won the Juno award in 2018 for best classical composition. She
said that much of her music was inspired by birds and insomnia, or a peculiar combination thereof.
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1953-
Leslie Uyeda is a Montreal born composer, conductor and pianist. She was for many years the Chorus
Music Director and head of the Resident Artist Program at Vancouver Opera, for whom she also
conducted several productions. She has worked at important musical institutions across North America
including the Canadian Opera Company and the Banff Centre. She has composed in many genres but a
great deal of her work involves the voice. Her new opera, Silence, will receive it’s premiere this summer
at the Nuova Music Festival in Edmonton
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1953-2023
Judith Cloud had a double career as a performing mezzo-soprano/voice teacher and as a composer. Her
last teaching position was as Coordinator of Voice at Northern Arizona University in Flagstaff. Her first
important composition teacher was the American Robert Ward, who encouraged her to pursue her
double life. She wrote for all combinations of instruments, but the bulk of her compositions are for voice
- either solo or choral. She has received numerous awards for her compositions and has been composer
in residence for several organizations including the Big Bear Lake Song Festival in California. Many of her
compositions have been recorded and are easily available.
DEDICATION
Catherine would like to dedicate this program to her late voice teacher, Dr. Judith Cloud. She was a force of nature; kind, funny, caring. A fierce teacher with a heart of gold. She is sorely missed.
THANK YOUS FROM CATHERINE
THANK YOU to the Canadian Music Centre of BC for their generous sponsorship of this program! Over half of the program consisted of composers from Vancouver :)
THANK YOU to Alfredo Carrillo Martinez and Encarnación Vazquez for gifting the music for Graciela Agudelo’s beautiful piece, Lullaby! THANK YOU to Emma Petersen for assisting in getting this music to me!
THANK YOU to Richard Epp for his countless hours of research, rehearsals, coachings, and absolute mastery of these pieces. Without his help, inspiration, gentle reminders to breathe in and out, and endless amount of patience, there would be no program at all. His artistry is beyond inspirational and I am filled with gratitude to have had the opportunity to put this program together with him!
THANK YOU to Nebula Performances’ artistic director, Wenwen Du, for allowing Richard and I to use the hall for our March 8th performance.
Last but absolutely not least, THANK YOU for joining us!
I am immensely grateful to have the opportunity to share what I am most passionate about with members of the community! If this is your very first introduction to the unique style of Art Song, I sincerely hope you enjoyed the journey and if you’re a seasoned Art Song expert, I hope that you were pleasantly surprised by the selections of today’s program!
THE ARTISTS
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Mexican-American soprano Catherine Thornsley is a two-time National Semifinalist in the Metropolitan Opera Laffont Competition. Based in Vancouver, Catherine is an Artist-in-Residence with Nebula Performances, where she regularly performs and collaborates on impactful programming.
A passionate advocate for diversifying classical music, Catherine finds fulfillment in curating projects that showcase underrepresented voices. This year, she worked with Vancouver’s Opera Lirica to present a program celebrating her Mexican heritage, featuring Mexican composers. She has loved spearheading this wonderful program with pianist Richard Epp for International Women’s Day, spotlighting music and poetry by women from Canada, Mexico, and the U.S. These projects reflect her commitment to amplifying overlooked voices in classical music.
Catherine believes in music’s power to inspire and transform. She strives to make it more accessible and enjoys teaching voice, helping others experience the joy and freedom she finds in music. She draws inspiration from everyday people's resilience and the escape music provides from life's challenges.
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Collaborative PianistRichard Epp is a Vancouver based vocal coach, pianist and conductor. He was senior opera coach for the Opera Workshop at UBC and as well as sessional instructor in the School of Music for many years. At UBC he conducted Serse, Die Gärtnerin aus Liebe, Le Nozze di Figaro, Die Zauberflöte, Hänsel und Gretel, Der Fledermaus, Die lustige Witwe, Brundibar, Cabaret, Weisse Rose among others. In the past year he has worked for Vancouver Opera, Pacific Opera Victoria, Vancouver City Opera and in the young artist program at Kelowna Opera. In the past he worked at the Vancouver Opera as pianist for their Resident Artist Program for five years and has also been on the faculty at the Vancouver Academy of Music. He has appeared in concert for both Vancouver Early Music and Vancouver New Music. He has premiered numerous Canadian works and has appeared in recital on CBC on numerous occasions.