Watersheds

The New Earth Ensemble (NEE) performs Nicholas Cline’s Watersheds, which explores the many ways we engage with this shared resource. NEE will be joined by the Chicago Music Collective, who will be performing works by Edie Hill, Caroline Shaw, and Moira Smiley. Guest speaker Dr. Karl Rockne will discuss global and local water issues and Joe Connor joins us as saxophone soloist.

Sunday, July 9th | 3:00 PM
Palm Court, Loyola University Chicago
4th Floor, Mundelein Center for Fine and Performing Arts
1032 W. Sheridan Road, Chicago IL

Land Acknowledgement

We are a community growing in our practice of earth and water stewardship gathered here in reflection and music-making along the shores of the largest freshwater lakes in the world. We begin by acknowledging that we are on the traditional territories of the Three Fire Peoples: the Ojibwe, Odawa, and Bodewadmi. We share this space with one of the largest and most diverse urban Native communities, which includes the Ho-Chunk, Miami, Inoka, Menominee, Sac, and Fox. We recognize that Indigenous peoples are the traditional stewards of the land that we now occupy. Their ancestors lived, worshipped, sang, danced, and thrived here long before Chicago was a city. Seven generations later, they thrive here still.

As we make music now on this soil and beside these waters, let us reflect on what we can do to right the historical wrongs of colonization and state violence and to support the rights of Indigenous communities to self-determination and sovereignty. And then, let us do it.

Program

Welcome

Thomas Aláan and Kirsten Hedegaard, Co-directors, The EcoVoice Project

Opening Remarks

Urban Water, Dr. Karl Rockne, Associate Dean for Research, University of Illinois Chicago

Chicago Music Collective

Circle of the River (Edie Hill)
Tija Franklin, handchimes
Megan Risser & James La Fayette, percussion

Stand in That River (Moira Smiley)
Claire Chaikin & Nicola Hosner, soloists

From Rivers (Caroline Shaw)
Clare McCullough, soloist
James La Fayette, cello 

  • Poetry by Noah Keesecker

    How long has our history run?

    How far does the water flow?

    The circle of the river carries more

    Than we will ever know.

    Oh Great River, Mississippi,

    Your waters carry life and memory.

    Circle, cycle, river, water

    Oh Great Mississippi

    Circle, cycle, river, water

    Boundless Mississippi.

    How long has the river run?

    How far has our history come?

    The circle of the river carries

    Everything back to its home.

  • Come and stand in that river

    Current gentle and slow,

    Send your troubles down water

    Down on that water flow.

    When you stand in that river,

    Angels sing in your head.

    Secrets beyond every worry,

    Dreams beyond every dread.

    Tell me sister, brother,

    Where does that river flow?

    It flows down to that great water

    Where soon my people will go.

    Oh, time passes,

    Passes on down the stream.

    Some days are so much sweeter,

    Some days some pass like the dark dream.

  • Words by Caroline Shaw

    To the sky, from rivers.

    We are beginning will be again.

    We are beginning round and around.

    We come together around you.

    You are beginning will be again.

    My feet in the river, my face to the sky.

New Earth Ensemble

Watersheds (Nicholas Cline)
prelude: water-witching
I. water borders
II. the lace-like fabric of streams
III. a method for finding
IV. to encourage the habits of industry
V. threads of the community fabric
VI. rain follows the plow
VII. the gentle rain which waters

Joe Connor, saxophone
Clay Mettens, electronics

  • It is the proper destiny of every considerable stream in the west to come an irrigation ditch. It would seem the streams are willing. They go as far as they can toward the tillable land.

    Mary Hunter Austin
    from The Land of Little Rain (1903)

  • Contemplating the lace-like fabric of streams outspread over the mountains, we are reminded that everything is flowing.

    John Muir
    from My First Summer in the Sierra (1911)

  • Witching (or switching) for water is a method for
    finding sand or gravel beneath the surface of the
    earth. A live stick or wire held in the hands of
    some people will have a downward pull.

    Paul Bergschneider
    from his notes (ca. 1950)

  • this diversion of water
    to which there is no adequate remedy
    as water on portions of the public domain
    dependent on its waters for irrigation
    to encourage the habits of industry
    they had command of the lands and the waters--
    command of all their beneficial use, whether
    kept for hunting or turned to agriculture and the
    arts of civilization. Did they give up all this?

    Winters Doctrine
    207 U.S. 564 (1908)

  • So delicately interwoven are the relationships
    that when we disturb one thread of the
    community fabric we alter it all.

    Rachel Carson
    from “Essay on the Biological Sciences” (1958)

  • No one can question or doubt the inevitable effect of this cool condensing surface upon the
    moisture in the atmosphere […] A reduction of temperature must at once occur, accompanied
    by the usual phenomena of showers. The chief agency in this transformation is agriculture. To
    be more concise: Rain follows the plow.

    Charles Dana Wilber
    The Great Valleys and Prairies of Nebraska and the Northwest (1881)

    When all the rivers are used, when all the creeks in the ravines, when all the brooks, when all the springs are used, when all the reservoirs along the streams are used, when all the canyon waters are taken up, when all the artesian waters are taken up, when all the wells are sunk or dug that can be dug, there is still not sufficient water to irrigate this arid region.

    John Wesley Powell
    to the Los Angeles International Irrigation Conference (1893)

  • the gentle rain which waters keeps me in the house today
    though it prevents my hoeing it is of far more worth
    if it should cause the seeds to rot in the ground
    it would still be good for the grass
    being good for the grass it would be good for me

    Mar 8, 1861

    earth after rain was bare

    Apr 3, 1856

    almost forgotten sound of rain on the roof

    May 25, 1860

    the horizon the slate color of falling rain

    Henry David Thoreau
    from Walden, Solitude (1854) and The Journals

Personnel

Chicago Music Collective
Dr. Kirsten Hedegaard, conductor

Jin Alonzo
Leah Banawa Mangano
Claire Chaikin
Sara Fecko
Oriana Fleming
Enoch Gish
Zoa Glab
Kate Hahn
Nicola Hosner
Olivia Hess
Anisha Kapoor
Katie Little
Clare McCullough
Kelly Merrill
Anna Monarski
Megan Risser
Jessica Schubert
Ola Wysocki

———

New Earth Ensemble
Dr. Kirsten Hedegaard, conductor

Lydia Walsh-Rock, soprano
Allison Selby Cook, soprano
Victoria Marshall, alto
Chelsea Lyon, alto
Carl Alexander, tenor
Michaël Hudetz, tenor
Dominic German, bass
John Orduña, bass

———

Gregory Levinson, sound engineer
Charles Saineghi, sound engineer
Vivian Cossey, EcoVoice Project intern
Averi Nolan, EcoVoice Project intern

Featured Festival Contributors

  • Dr. Karl Rockne is Associate Dean for Research at the University of Illinois Chicago College of Engineering and Professor of Environmental Engineering in the Department of Civil, Materials, and Environmental Engineering. He coordinates the research activities of over 200 faculty and works closely with the offices of sponsored research, innovation, and research integrity. He is the recipient of numerous teaching, research, and service awards, most recently being named University Scholar of the University of Illinois system and two major awards from the National Science Foundation (NSF): the Director's Award for broadening participation of indigenous communities in STEM and the CAREER award for research on “active capping” technology for environmental cleanup. He has published >100 scientific articles in the fields of pollutant fate, dental materials, environmental forensics, microbial ecology, bioremediation, and sediment treatment and is among the top 3%-6% in citations worldwide in the fields of environmental biotechnology, environmental engineering, and bioremediation.

  • Joseph Connor is active as a saxophonist, educator, and collaborator focused on presenting the music of living composers. Joseph has worked closely with composers Elijah Daniel Smith, Joanne Metcalf, EllioI Lupp, David Werfelmann, John Mayrose, JP Merz, Jasmine Thomasian, and others to create new works exploring the complex and malleable characteristics of the saxophone. An award-winning soloist and chamber musician, Joseph is a Luminarts Fellow and has performed with the Lyric Opera of Chicago, Joffrey Ballet, Ensemble Dal Niente, Grant Park Festival Orchestra, and others. Recent engagements include ten performances of Lera Auerbach’s The Li'le Mermaid with Joffrey Ballet, and recording sessions with Ensemble Dal Niente of Aaron Einbond’s Attempts at Exhausting a Place and Jeff Parker’s Water on Glass. Joseph serves as Instructor of Saxophone at Lawrence University where he teaches applied saxophone and chamber music.

    josephconnormusic.com

  • Luke Wallace embodies a new wave of politically charged folk music, writing the soundtrack for a movement of people rising up to meet the social and environmental challenges of our times. You can find Luke at folk festivals all over the West Coast or leading rally-sing-a-longs at Canada’s biggest Climate Marches. Known for his catchy songwriting and inspiring musical delivery, Luke continues using his music to amp up and inspire the folks fighting for a better world. His message-driven songwriting has landed him slots at Salmon Arm Roots and Blues, Vancouver Island Music Festival, The Vancouver Folk Festival and an opening slot for global roots band Rising Appalachia. His fifth record, “What on Earth”, was released in March 2020 and has been followed by his new singles Comeback and Melody Inside of the Madness.

    lukewallacemusic.com