MUSIC WITHOUT BORDERS
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MUSIC WITHOUT BORDERS 〰️
PANORAMIC VOICES
enriches the lives of Central Texas music lovers with inclusive and innovative musical experiences that encourage collaboration, showcase regional talent, and create opportunities for diverse participants and audiences.
Panoramic Voices thrives on its “music without borders” approach, offering exceptional choral experiences to musicians of all ages, races, gender-identities, socio-economic backgrounds, and skill levels. Our programming breaks down the traditional boundaries to participation—like auditions and fees—making choir inclusive and accessible to all. Despite being a non-auditioned group, Panoramic Voices’ artistic output is musically excellent in no small part thanks to incredible guest artists and collaborators, and a vibrant artistic team. We believe strongly that the process of music-making is as important on the product, too, and with a safe, inclusive, joyful rehearsal space, Panoramic Voices prides itself in being deeply community-focused.
JOIN US! Registration for each project opens approximately 3 months prior to the concert date, and is announced via social media and emails—all singers are welcome! Subscribe to our newsletter, or follow us on Facebook & Instagram, and register for the projects that speak to you.
VOCES PANORÁMICAS
enriquece la vida de los amantes de la música del Centro de Texas a través de experiencias musicales innovadoras que promueven un escaparate para la colaboración del talento regional y la creación de oportunidades para participantes y público diverso.
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Juli Orlandini
Managing Artistic Director
Directora Artística en Funciones
Benjamin Dia
Accompanist
Acompañante
Photography by Jack Kloecker
PROGRAM
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PROGRAMA
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PROGRAM 〰️ PROGRAMA 〰️
WATERMELON
SOPHIE MATHIEU
With text by Zach Matteson
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“Watermelon” by Zach Matteson
Altai Oblast, 1996
warm leather hands
hold aloft bright red fruit
small mouths devour
Austin, 2024
at the end of the world
sitting in my memories
Arshan Village, 2000
hot oily mud
bubbling pits full of life
full of bodies
Los Angeles, 2019
mastodons on spa day
“FOREVER la brea tar pits”
Lake Baikal, 1999
water so clear
you can see for miles below
the seals playing
wikipedia, 2024
“twenty five thousand tons”
of tourist [waste] per year
Lake Baikal, 2000
in December
the ice has yet to set
father jumps in
Austin, 2024
wondering will the ice
ever be so thick again
Bozeman, 2001
blizzard in Bozeman
“it’s just like home!” like Irkutsk
we love the cold
Austin, 2024
even then the snow day
soon a rare occurrence
Flathead Valley, ca. 2006
morel picking
weave your way through the char
life springing forth
New York, 2023
in the summertime haze
the smoke blown far down south
Hungry Horse, ca. 2007
bear spray can in hand
crouched by the huckleberries
locked, loaded, ready
Austin, 2024
will bears still hibernate?
they prowl for food, skin on bone
Kalispell, 2009
the wolves are back
spreading through the valley
howling at the moon
Kalispell, 2008
(the dear had gotten so thick
their brains began to rot)
Austin, 2020
by the train tracks
in the muddy creek bed
cold feet dangle
Austin, 2020
when they said “go inside”
coyotes took back the streets
Hays County, 2023
water your lawn
with water from Jacob’s Well
“make our garden grow”
Austin, 2024
support you local nursery
buy exotic grasses
Austin, 2021
cozy blanket fort
(the power went off last week)
broken pipes drip. . . drip
Austin, 2021
crashing on James’ couch
hold your friends close, closer
Now
my brother’s child
five months old today
her face reflects the moon
who will hand her this red fruit?
at the end of the world -
“Sandía” poema a de Zach Matteson
Altai Oblast, 1996
Cálidas manos de piel
Sostienen en lo alto brillantes frutas rojas
pequeñas bocas devoran
Austin, 2024
En el fin del mundo
Sentado en mis memorias
Villa Arshan, 2000
Caliente aceitoso lodo
Burbujeantes fosas llenas de vida
Llenas de cuerpos
Los Ángeles, 2019
Mastodontes en día de spa
“POR SIEMPRE pozos de asfalto de La Brea”
Lago Baikal, 1999
Agua tan clara
Puedes ver por millas debajo
Las focas jugar
Wikipedia, 2024
“Veinticinco mil toneladas”
De turistas (basura) por año
Lago Baikal, 2000
En diciembre
El hielo está por colocarse
Padre brinca adentro
Austin, 2024
Preguntándome si el hielo será
De nueva cuenta tan grueso
Bozeman, 2001
Tormenta de nieve en Bozeman
“!Es como nuestro hogar!” como Irkutsk
Nos gusta el frío
Austin, 2024
Aún entonces el día nevado
pronto una rara ocurrencia
Valle Flathead, ca. 2006
Recogiendo morillas
Zigzaguea tu andar entre la ceniza
La vida renaciendo
Nueva York, 2023
En la bruma de verano
El humo sopla desde abajo del sur
Hungry Horse, ca. 2007
Repelente de osos en mano
Agachados por los arándanos
Cerrado, cargado, listo
Austin, 2024
¿Todavía hibernan los osos?
Acechan por comida, piel en los huesos
Kalispell, 2009
Los lobos están de vuelta
Esparciéndose por el valle
Aullando a la luna
Kalispell, 2008
(las llagas estaban tan gruesas
sus cerebros empezaron a pudrirse)
Austin, 2020
Por las vías del tren
En el arroyo lodoso
Cuelgan pies fríos
Austin, 2020
Cuando dijeron “vayan adentro”
coyotes retomaron las calles
Condado de Hays, 2023
Riega tu césped
Con agua del Pozo de Jacob
“Haz que nuestro jardín crezca”
Austin, 2024
Apoya tu vivero local
Compra pastos exóticos
Austin, 2021
Acogedor fuerte de cobijas
(se fue la luz la semana pasada)
Tuberías rotas gotean… gotean
Austin 2021,
Durmiendo en el sofá de James
Mantengan a sus amigos cerca, más cerca
Ahora
La hija de mi hermano
Cumple cinco años hoy
Su cara refleja la luna
¿Quién le dará esta fruta roja?
En el fin del mundo
COMPOSER’S NOTE: Being tasked with composing a piece to complement Mozart's Requiem was undeniably daunting. As a composer whose work often finds its roots in nature, I felt compelled to weave themes of grief and loss stemming from climate change into my composition. Lacy M. Johnson's poignant article, "How to Mourn a Glacier," was a primary source of inspiration, prompting me to enlist the talents of Austin-based poet and violinist Zach Matteson to craft a text resonating with similar themes.
Zach's poetry embodies a dual narrative, juxtaposing experiences of climate change across time, which I chose to primarily set contrapuntally, creating a dialogue between past and present. I also chose to write a fairly involved piano part to highlight Panoramic Voices’s incomparable accompanist, Benjamin Dia.
NOTA DE LA COMPOSITORA: Haber recibido la tarea de componer una pieza que complementase al Réquiem de Mozart fue sin duda complicado. Como compositora cuya obra encuentra muchas veces sus raíces en la naturaleza, me sentí atraída de tejer temas de dolor y pérdida que vienen del cambio climático en mi composición. El conmovedor artículo de Lacy M. Johnson, “Cómo guardar el luto a un glaciar”, fue mi primera fuente de inspiración que me incitó en reclutar al poeta y violinista radicado en Austin, Zach Matteson para crear un texto que resonara con dichos temas.
La poesía de Zach encarna una narrativa dual, yuxtaponiendo experiencias del cambio climático a través del tiempo y que decidí poner principalmente en contrapunto, creando un diálogo entre pasado y presente. También decidí crear una complicada parte para el piano que demostrase al incomparable acompañante de Panoramic Voices, Benjamin Dia.
-Sophie Mathieu
———
POET’S NOTE: “Watermelon” is a reflection on the effects of climate change in my lifetime. Written as a renga—a collaborative poem that eventually was shortened into what we now consider Haiku—“Watermelon” depicts a conversation between myself, a 30s adult living in Austin, TX, and my younger self growing up in various locations around the world (primarily Irkutsk, Russia and Kalispell, Montana). A lot of my life has been spent out in the woods, foraging, hunting, and examining ant hills. My most vivid memories took place in the country or on the trail, so it can feel a little disorienting and bleak to know that some of those places have either been burned away in massive forest fires, literally melted, or overrun by unchecked human exploitation. “Watermelon” is not only way for me to grieve that sense of loss (and maybe my own fading childhood), but is also a call to action, as I see a newer generation being born into this world needing just a little bit of hope (and maybe someone in their life who can show them where to pick some huckleberries one day).
NOTA DEL POETA: “Sandía” es una reflexión de los efectos del cambio climático a través de mi vida. Escrito como una renga -una poesía colaborativa que eventualmente fue recortada en lo que ahora consideramos como haiku- “Sandía” muestra una conversación conmigo, un adulto treintañero viviendo en Austin, Texas y mi yo más joven creciendo en diversos lugares alrededor del mundo (principalmente Irkutsk, Rusia y Kalispell, Montana). Una gran parte de mi vida la he pasado en el bosque forrajeando, cazando y examinando hormigueros. Mis más vívidas memorias ocurrieron en el campo o en las veredas, por lo que puede ser muy algo desconcertante y lúgubre el saber que algunos de esos lugares han sido quemados en incendios forestales masivos, fundiéndose literalmente o sobrepasados por la desenfrenada explotación humana. “Sandía” es no solamente una manera para mi de guardar duelo a ese sentimiento de pérdida (así como de mi desvaneciente infancia), pero también una llamada a la acción, pues veo una nueva generación que nace en este mundo necesitando un poco de esperanza (y quizás alguien en su vida que les muestre dónde recoger arándanos algún día).
-Zach Matteson
GREEN, GREEN ROCKY ROAD
TRADITIONAL, ARR. KARL MITZE
With choral parts by Juli Orlandini
Featuring Invoke
Geoffrey Maynin, Karl Mitze, Nick Montopoli, and Zach Matteson
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When I go back to Baltimore
Ain’t no carpet on my floor
Come along and follow me
We'll go down to Galilee
—
CHORUS:
Green, green rocky road
You promenade in green
Tell me who ya love
Tell me who ya love
—
See that crow up in the sky
He don't walk, no he just fly
He don't walk, no he don't run
He keep on flapping to the sun
—
CHORUS
—
Little Miss Jane runnin’ to the wall
Don't you stumble, don't you fall
Don't you sing and don't you shout
When I sing you come runnin' out
—
CHORUS
—
Hooka tooka soda cracker,
Does your mama chew tobacca?
If your mama chew tobacca,
Hooka tooka give your mom a soda cracker.
—
CHORUS -
Cuando regrese a Baltimore
No habrá alfombra en el piso
Ven y sígueme
Bajaremos a Galilea
—
ESTRIBILLO:
Camino verde, verde y rocoso
Paseas vestido de verde
Dime a quien amas
Dime a quien amas
—
Mira ese cuervo en el Cielo
No camina, sólo vuela
No camina, tampoco corre
Sigue aleteando hacia el sol
—
ESTRIBILLO
—
La señorita Jane corriendo hacia la pared
No tropieces, no te caigas
No cantes y no grites
Cuando canto, sal corriendo
—
ESTRIBILLO
—
Hooka tooka, galleta de soda
¿Mastica tabaco tu mamá?
Si tu mamá mastica tabaco,
Hooka tooka, dale a tu mamá una galleta de soda
—
ESTRIBILLO
ABOUT INVOKE:
Described as “...not anything but everything: Classical, Folk, Bluegrass, Americana and a sound yet to be termed seamlessly merged into a perfect one” (David Srebnik, SiriusXM Classical Producer), Invoke (Nick Montopoli, violin/banjo/vocals; Zach Matteson, violin/vocals; Karl Mitze, viola/mandolin/vocals; Geoff Manyin, cello/vocals) strives to successfully dodge even the most valiant attempts at genre classification. The multi-instrumental quartet encompasses traditions from across America, including bluegrass, Appalachian fiddle tunes, jazz, and minimalism. Fueled by their passion for storytelling, Invoke weaves all of these styles together to form a unique contemporary repertoire, featuring original works composed by and for the group.
Invoke was selected to be the Young Professional String Quartet in Residence at the University of Texas at Austin from 2016-2018. Since being selected as Interlochen’s Emerging Artists Quartet in 2014, the group has been a featured artist and on faculty at the Interlochen Adult Chamber Music Camp. The group also participated in the Emerging String Quartet Program at Stanford, and was selected as an Artist in Residence at Strathmore and the Fellowship String Quartet at Wintergreen Performing Arts. In 2018, Invoke was named a winner of the Concert Artists Guild Victor Elmaleh Competition in New York, NY, received First Prize at the M-Prize International Chamber Arts competition in Ann Arbor, Michigan, and received First Prize in the Coltman Competition in Austin, Texas.
Thank you to OUR GRANTING AGENCIES!
¡GRACIAS A NUESTRAS AGENCIAS SUBSIDIARIAS!
THIS PROJECT WAS FINANCED IN PART BY THE CITY OF AUSTIN “ELEVATE” GRANT PROGRAM
ESTE PROGRAMA FUE FINANCIADO EN PARTE POR EL PROGRAMA DE SUBSIDIOS ELEVADOS DE LA CIUDAD DE AUSTIN
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Thank you to our donors!
¡Gracias a nuestros donadores!————
(Jun. 2023 – May 2024)
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