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CLEARING AT DAWN

SPRING SERENADE

Andrea Weidemann, soprano

Dear Audience Member,  

Thank you for endeavoring us on this Spring Serenade, a program that reflects upon nature (both human and elemental) as the changing of the seasons guide inner and outer shifts. As you will see, this recital explores Spring beyond its typical correspondences in ways you might not expect. The narrative outlines a range of human experience from a woman’s point of view. Nature’s changes serve as a grounding placemaker woven into her memories, and the act of looking forward instills in her strong feelings of nostalgia.

Much of the program’s lyrics explores how life, death, and time can all be personified as entities with whom we can share a relationship. I hope that this combination of poetry and expressive melody can inspire you to enjoy the beauty of the “middle ground” in whichever season you may find yourself. The program’s theme can also provide insight on how to approach changes of state with gratitude and neutrality, especially when we look to the past. 

I hope that this artistic concept speaks to you and guides you into summer. Thank you for supporting The Texas Voices! 

- Andi


Program Notes

Twelve Poems of Emily Dickinson (1950) - Aaron Copland 

Alan brought this song cycle to my attention back in 2025; I was familiar with a few of the songs, but had never before sung any of Copland’s pieces nor any settings by Emily Dickinson. I learned that Copland began writing music for "The Chariot,” and moved on to the other eleven poems over time, accumulating in his longest piece for solo voice. My most recent performance of a song cycle and its entirety was in 2019, and I didn’t realize how much I missed having real opportunities to perform Art Song, and missed having a challenge! 

In the process of learning this piece, Alan and I have joked immensely about its difficulty. We put much care into managing large leaps within the melodies, the low vocal range, changes of meter, and independence of the piano part. The unexpected harmonic shifts and unpredictable phrase lengths and resolutions have certainly kept things interesting, too. The total freedom of musical expression in this piece has been a huge source of excitement for me. Unlike during my other performances, I am pleased to reference the sheet music for the best possible quality and accuracy, so that our recording may be referenced as an educational tool for other young singers learning the piece. 

As a recreative artist, someone who studies the creations of others and imbues them with my own perspective, the most rewarding part of this process is the “I get it!” moment. I always look forward to the instant where words and melody finally create a personal meaning; I am then able to fully recognize the genius of the work in front of me. The depth of Ms. Dickinson’s musings have been no less than humbling, and I completely comprehend why Aaron Copland was considered “The Dean of American Music." These songs are unique and particularly sophisticated; Dickinson’s eloquent vulnerability paired with Copland’s bravery amount to a work of art that I feel truly privileged to share. 

“Willow Song” - The Ballad of Baby Doe (1956)

Douglas Moore’s The Ballad of Baby Doe is a major contribution to American opera, a story based on real historical figures in pioneer culture of the 1880s. Elizabeth “Baby” Doe, the second wife of silver tycoon Horace Tabor, was known for her lavishness as one of the richest women in Colorado. In reality, her experience was more so a rags to riches – but back to rags – tragedy. In “Willow Song,” she places nature as the backdrop while she laments her crumbling first marriage to Harvey Doe, and then begins an affair with Horace. They both divorce their spouses for each other, and go on to enjoy the spoils of the Matchless Mine of Leadville, CO, now an historic landmark and museum. When the price of silver plummeted, the pair became penniless. The woman who was once recognized for her opulence retreated to a cabin at the mining site, where she was later found frozen to death. 

As an opera singer who lived in Colorado for seven years, I heard about Baby Doe a lot. It premiered at Central City Opera in the fifties, and since then has been recognized as a state icon with local opera companies producing the work frequently. One does not have to venture far from Denver to experience the mining relics of the Old West, easily instilling a feeling of “living history” which makes me feel connected to the opera’s plot. I first started learning the role of Baby Doe when I was still living in Fort Collins, where on my favorite walking path sits a massive willow tree that I’ve come to think of as a personal friend. It makes sense to me that Baby could find solace in the comfort of nature, and I can understand that a little spot of home outside can serve in our lonelier and sweeter moments. 

My voice is very happy singing the role, but I must admit that over time I have grown away from portraying characters that embody bad luck, or die at the end of the show. When I rest my ego I realize that the breadth of complexity in a person’s life is not synonymous with failure and it is important to tell stories that help us better understand our nation’s history. 


Lyrics

Nature, the gentlest mother 

Nature, the gentlest mother
Impatient of no child,

The feeblest or the waywardest, –
Her admonition mild

In forest and the hill
By traveller is heard,

Restraining rampant squirrel
Or too impetuous bird.

How fair her conversation,
A summer afternoon, –
Her household, her assembly;
And when the sun goes down

Her voice among the aisles
Incites the timid prayer

Of the minutest cricket,
The most unworthy flower.

When all the children sleep
She turns as long away
As will suffice to light her lamps;
Then, bending from the sky,

With infinite affection
And infiniter care,
Her golden finger on her lip,
Wills silence everywhere.

There came a wind like a bugle

There came a wind like a bugle,
It quivered through the grass,
And a green chill upon the heat
So ominous did pass

We barred the window and the doors
As from an emerald ghost
The doom’s electric moccasin
That very instant passed.

On a strange mob of planting trees,
And fences fled away,
And rivers where the houses ran
The living looked that day,

The bell within the steeple wild,
The flying tidings whirled.
How much can come and much can go,
And yet abide the world!

Why do they shut Me out of Heaven?

Why do they shut Me out of Heaven?
Did I sing too loud?
But I can say a little “Minor”
Timid as a Bird! 

Wouldn’t the Angels try me
Just once more
Just see if I troubled them
But don’t shut the door!

Oh, if I were the Gentleman
In the “White Robes”
And they were the little Hand that knocked
Could I forbid?

Why do they shut Me out of Heaven?
Did I sing too loud?

The World feels Dusty

The World feels Dusty
When We stop to Die
We want the Dew then
Honors taste dry

Flags vex a Dying face
But the least Fan
Stirred by a friend’s Hand
Cools like the Rain

Mine be the Ministry
When they Thirst comes
Dews of Thyself to fetch
And Holy Balms

Heart, we will forget him

Heart, we will forget him
You and I, tonight.
You may forget the warmth he gave,
I will forget the light.

When you have done, pray tell me,
That I my thoughts may dim;
Haste! lest while you’re lagging,
I may remember him!

Dear March, Come In! 

Dear March, come in!
How glad I am!
I looked for you before.
Put down your hat –
You must have walked –
How out of breath you are!
Dear March, how are you?
And the rest?
Did you leave Nature well?
Oh, March, come right upstairs with me,
I have so much to tell!

I got your letter, and the bird’s;
The maples never knew
That you were coming, – I declare,
How red their faces grew!
But, March, forgive me –
And all those hills
You left for me to hue,
There was no purple suitable,
You took it all with you.

Who knocks? that April?
Lock the door!
I will not be pursued!
He stayed away a year, to call
When I am occupied.
But trifles look so trivial
As soon as you have come,
And blame is just as dear as praise
And praise as mere as blame.

Sleep is supposed to be

Sleep is supposed to be,
By souls of sanity,
The shutting of the eye.

Sleep is the station grand
Down which on either hand
The hosts of witness stand!

Morn is supposed to be,
By people of degree,
The breaking of the day.

Morning has not occurred!
That shall aurora be
East of Eternity;

One with the banner gay,
One in the red array, –
That is the break of day.

When they come back

When they come back if Blossoms do
I always feel a doubt
If Blossoms can be born again
When once the Art is out

When they begin, if Robins may,
I always had a fear
I did not tell, it was their last Experiment
Last Year,

When it is May, if May return,
Had nobody a pang
Lest in a Face so beautiful
He might not look again?

If I am there,
One does not know
What Party one may be
Tomorrow, but if I am there
I take back all I say

I felt a funeral in my brain

I felt a funeral in my brain,
And mourners to and fro,
Kept treading, treading, till it seemed
That sense was breaking through.

And when they all were seated
A service like a drum
Kept beating, beating, till I thought
My mind was going numb.

And then I heard them lift a box,
And creak across my soul
With those same boots of lead, again.

Then space began to toll

As all the heavens were a bell,
And Being but an ear,
And I and silence some strange race,
Wrecked, solitary, here.

I’ve heard an Organ talk, sometimes

I’ve heard an Organ talk, sometimes
In a Cathedral Aisle,
And understood no word it said
Yet held my breath, the while

And risen up and gone away,
A more Berdardine Girl
And know not what was done to me
In that old Hallowed Aisle.

Going to Heaven!

Going to Heaven!
I don’t know when,
Pray do not ask me how, –
Indeed I’m too astonished
To think of answering you!
Going to Heaven! –
How dim it sounds!
And yet it will be done
As sure as flocks go home at night
Unto the shepherd’s arm!

Perhaps you’re going too!
Who knows?
If you should get there first
Save just a little place for me
Close to the two I lost!
The smallest “robe” will fit me,
And just a bit of “crown”;
For you know we do not mind our dress
When we are going home.

Going to Heaven!
I’m glad I don’t believe it
For it would stop my breath,
And I’d like to look a little more
At such a curious earth!
I am glad they did believe it
Whom I have never found
Since the mighty autumn afternoon
I left them in the ground.

The Chariot

Because I could not stop for Death —
He kindly stopped for me —
The carriage held but just ourselves —
and Immortality.

We slowly drove — he knew no haste,
And I had put away
My labour, and my leisure too
For His Civility —

We passed the school, where children played,
Their lessons scarcely done.
We passed the fields of gazing grain,
We passed the setting sun.

We paused before a house that seemed
a swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.

Since then ’tis centuries; but each
Feels shorter than the day
I first surmised the horses’ heads
Were toward eternity.