The title of the album takes inspiration from Modesta Bor’s gorgeous setting “Aquí te amo.” We are proud to present the first official U.S. release of this piece, and it feels incredibly fitting to share it with you on what would have been her 97th birthday. Venezuelan composer Modesta Bor (1926-1998) was an influential music educator, musicologist, and choral conductor whose work was essential to the development of modern choral music in Latin America. We hope that our recording will increase interest in Bor’s work throughout the choral world. Her immense catalog is a treasure trove begging to be explored by singers all over the world, and “Aquí te amo” may be its crowning jewel.

Our all-a cappella album also features two choral works from Mexico’s colonial period, two zambas arranged by Carlos Guastavino, and two songs from the cardenche tradition of Sapioriz, Mexico. “Cardenche” refers to a species of cholla cactus; like an encounter with the cactus’ spines, cardenche songs are meant to be “torn out” of one’s body and soul in a cathartic release of pain. The spirit of cardenche singing is in capturing the intense emotion of the text in the vocal tone and extreme vocal range. Cardenche singing has elements derived from centuries-old indigenous musical expressions which, when combined with elements of European choral music introduced by German immigrants to the region, resulted in something entirely new.

Additionally, we are excited to feature the premier recording of beloved Minnesota-based composer Carol Barnett’s “A Tree Telling of Orpheus” on our album! This setting of Denise Levertov’s poem is a choral opera scene that relays Orphic events from an arboreal point of view. We are immensely grateful to have worked closely with Carol to bring this recording to the choral community. ¡Muchas gracias, Carol!

Words from our Artistic Director:

“Throughout this program we have sung of love and heartbreak, using only the instrument of the human voice to tell these stories. The songs have alternated between the points of view of the lover and the beloved, and we even hear from the tree, the sky, and the sun rising over the lone figure sitting on the hill. The songs on this program span centuries and are the collective expression of people on opposite ends of the planet, of different races and genders, all coming together for one moment in time, channeled through the voices of the musicians in our ensemble. If that is not a magic comparable to trees ripping themselves from the ground and bursting into dance, I don’t know what is.”

— Ahmed Anzaldúa