Inversion presents
String Theory
featuring
Invoke
June 6 at 7PM & June 7 at 4PM
dadaLab
Inversion is a music organization that focuses primarily on new music and music by living composers. We create impactful art in the heart of Texas by harnessing the power of music to tell stories that matter, foster connection and healing, and amplify voices that need to be heard.
Katrina Saporsantos, conductor
Benjamin Dia, piano
Program
* indicates world premiere performance
Full program PDF here
We believe in neurodiversity advocacy and the inherent rights of all human beings.
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Soli: Maureen Papovich, soprano (Rooster); Cayla Cardiff, mezzo-soprano (Donkey); Nathan Thompson, tenor (Cat); Steve Young, baritone (Dog)
I was delighted when Adrienne asked me to rewrite the tale of the Bremen Town Musicians with neurodivergent characters. The themes in this story reflect the feelings of individuals who feel ostracized by society, and I connected deeply with reimagining this tale with neurodiverse individuals as the protagonists in this story.
As the mother of an autistic son who is in transition into adulthood, I am acutely aware of the reality that most neurodivergent people lack the support and structure they have had through their school-age years. Neurodivergent people have incredible potential but struggle to make their way in a society with a bias for conformity. Their innate talents and unique abilities are too often overlooked and wasted. In our reimagining of this tale, it was natural to have neurodivergent main characters who do not meet society’s norms because they are misunderstood and dismissed.
My experience with autistic youths and adults spans more than 20 years in a wide range of settings. Every individual is truly unique with their own gifts and challenges. The sooner society, as a whole, learns to accept and incorporate them, the better our world will be. — Maureen Papovich
CHORUS: Once upon a time there was a musically gifted and surly young donkey. Their owner grew tired of the animal’s obsessive violin practicing leaving no time for their duties. Fed up, she yelled at the donkey to take their fiddle and get out!
DK (Donkey): Wow I can’t believe I got fired. I mean, hauling bags of grain obviously isn’t as important as perfecting my scales and arpeggios! I hear there is a good music scene in Bremen where they actually pay musicians to play.
CHORUS: So the donkey took off for the town of Bremen. A ways down the road, a dog sat practicing the viola. As the donkey passed with the violin, the dog excitedly attempted to reach out.
DG (Dog): Hey! Is that a v-v-violin you’ve got there?
CHORUS: The Donkey was completely focused on the road ahead and paid no attention to the dog.
DG: I’m a viola p-p-player! W-w-where are you headed?, I j-j-j-just got fired from my g-g-guard j-j-job.
CHORUS: The donkey had, by now, noticed the dog but didn’t want to encourage their company so started practicing scales and arpeggios.
DK: Join the club.
DG: My b-b-barking isn’t s-s-scary enough. I c-c-couldn’t get my barks out f-f-fast enough to s-s-stop an intruder. Are you going somewhere to play m-m-m-music?
DK: Yup. Bremen.
DG: Sweet. Let’s g-g-go.
CHORUS: Reluctantly, the donkey allowed the dog to tag along.
DG: See, that c-c-cat’s not even s-s-scared of me. Hey there k-k-kitty, are you a musician? Is that a t-t-tom tom mallet in your mouth? This donkey and I are going to B-B-Bremen to p-p-play our instruments — want to come?
C (Cat): Oh, um, okay. I just got thrown out of my house. I took care of the mice like my owner asked me to — fed them and kept them safe. They seemed to like me, I think they’re my friends. My owner was so mad and threw me out. I’ll miss the mice. Sorry, tell me again where you are going?
DG: B-B-Bremen. S-s-sorry, my stutter makes me hard to understand sometimes. My owner d-d-didn’t think I was w-w-worth k-k-keeping either.
C: I’m so sorry that happened to you. I have autism and sometimes have a hard time processing what others are trying to say to me.
CHORUS: The two new friends walked for a bit in companionable silence as they tried to keep up with their leader, when they all heard a wonderful but wrenching song.
DK: What is that racket??!!
CHORUS: The cat, who was very sensitive, found himself tearing up as the singing grew louder.
C: How beautiful and tragic that sounds
CHORUS: They turned a corner and found an elegant rooster wailing the Puccini aria Vissi d’arte.
R (Rooster):
Vissi d’arte, vissi d’amore,
I lived for art, I lived for love.Non feci mai male ad anima viva!
I never did harm to a living soul!Con man furtiva
With a secret handQuante miserie conobbi aiutai.
I relieved as many misfortunes as I knew of.DG: J-j-join us p-p-please. We’re going to Bremen to make music together.
CHORUS: The rooster quietly went along without explaining her own story. She had been thrown out because of her poignant sad singing at all hours. She was amazed that the three strangers liked her singing and invited her to join them!
R: Amazing Grace, how sweet the sound that saved a wretch like me. I once was lost but now am found, was blind but now I see.
CHORUS: The dog was amazed by the donkey’s sense of direction and purpose. So intense was their focus that they noticed little around them and the dog had to rescue the donkey twice from running into trees. The dog also comforted the cat who missed his mice friends and encouraged the rooster to sing happier songs. They came upon a wood and began to settle down for the night.
R: Over there!
CHORUS: The dog looked to where the rooster was focused and noticed a beautiful mansion in the middle of the forest. The four decided to investigate and were amazed to discover two of the most capitalizing capitalists in the land. The capitalists were scheming to replace symphony players with AI music. Extremely distressed by this, the four new friends decided to show the two schemers what real musicians could do. With their instruments in hand, the dog piled on top of the donkey followed by the cat on top of the dog and, lastly, the vocalist rooster topped the trio. The four decided to sing some Puccini.
R:
O mio babbino caro, mi piace bello
Oh, my dear father, it is beautiful.Mi struggo e mi tormento!
I struggle and torment myself!O Dio, vorrei morir!
Oh God, I want to die!Babbo, pietà!
Father, have pity!CHORUS: The capitalists were stunned by the depth and beauty of the odd quartet outside their window and, zombie-like, went outside to behold the gifted performers. The four musicians performed another beautiful song.
DK, C, DG, R:
Gloria Patri, gloria Filio, et Spiritui Sancto;
Glory to the Father, glory to the Son, and to the Holy Spirit;Sicut erat in principio, et nunc et semper,
As it was in the beginning, is now, and ever shall be,et in saecula saeculorum.
and unto the ages of ages.
Amen.CHORUS: The two capitalists invited them in to eat and stay. The capitalists were greatly impressed by the musicians’ talent as well as their ability to work together to create such moving art. In the end, the capitalists asked the musicians to stay. They turned the mansion into a place where artists could live and create and make music happily ever after. The End.
Adrienne Inglis
Founder, composer, and performer with Inversion Ensemble of Austin, Texas, award-winning Latina composer Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. Frequently drawing on her family history and Ojibwe, Venezuelan, and Scottish roots, Inglis composes choral, chamber, orchestral music and a little opera. An avid birder and environmentalist, she lives in the rural hill country of Central Texas.
www.adrienneinglis.com
INVOKE
Intermission
We believe in social and racial justice.
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Text and Music: Evan Blaché
"I was inspired by a Kendrick Lamar song called ‘Mortal Man’. In the song, he was having a conversation with Tupac. At some point in the song, Tupac talked about how the more people in charge continue to treat disenfranchised people’s lives as disposable, the more buildup of resentment there will be before they fight back. It made me want to compose something based on that sentiment, which made me choose the tale of The Pied Piper." — Evan Blaché
Constantly helping,
Never complaining
Promises spoken again and again.
Black and white, now working together
A promise of equal forever.
Is the promise kept?
Their world is in need -
Need of another.
Their hands aren’t enough
They need help from another.We’re asking for help
You’re asking for help.
We’re needing you now
Why do you need us?
We’ll give you our help.
Thank you for your help.As time goes and goes and worlds shift and shift.
It seems like things get better and better.
New bonds are formed
New trusts are made
Bridge connections with one another
Broken promises
Trust is abandoned
The bond between two is brokenAren’t we equals?
We never said that.I thought we were equals
We can never do thatYou have no idea what you have done.
Oppressors rise
The oppressed falls
The oppressed will rise against one
It’s time to pay
Pay who?It’s time to pay the Piper.
Evan Blaché
Evan Blaché is a non-binary choral composer and choral singer based out of San Marcos, Texas.
Never known to mince words, Evan has composed a lot of work combining the classical style with topics of social justice. They are a Masters in Music Composition graduate at Texas State University. While at Texas State, Evan was commissioned by various groups all over the United States, including Conspirare, Vocem Cordis, and Voices of the New, and the Unsung Collective.
We believe in LGBTQIA+ rights.
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Text: Jo-Hanna Reynolds, Sylvia E. Halloran, Steven Moore, Marjorie Halloran | Music: Marjorie Halloran
When asked to write “a Cinderella story, but with two men”, I immediately thought of my favorite fictitious couple from my favorite video game (nerdy types may recognize June from Stardew Valley’s Ridgeside Village expansion mod), about whom I have been writing fan fiction for a few years at this point. After spending a summer living in Seoul and witnessing just how many identical French bakeries are on every block, Ben and June’s K-drama-inspired fairy tale fell into place, conceived with assistance and permission of June’s creator, @ch20youk. Ben, ordinarily relegated to being a Stardew farmer, gets a chance for his Jewish heritage to save the day in the form of the cufflink he drops— because, yes, there really is only one synagogue in the entire country.
One may notice the differences in instrumentation and melody when each boy is speaking his part of the story; pianist June is accompanied by the sound of the keyboard, while Ben speaks using the string quartet. Behind them play traditional Korean folk song “Arirang” and well-known Hanukkah hymn “Maoz Tsur” as nods to their respective cultures, melodies that wound up being surprisingly harmonious when combined. (Is it also possible that the composer just wanted a chance to show off two of the languages she knows how to read? ...Unlikely.)
Although the boys get a happy ending in this story, the reality is more difficult. LGBTQ+ people living in South Korea experience discrimination and lack of legal protections, including (but not limited to) same-sex marriage and adoption not being allowed, with the country having a lower equality index than most of the developed world. Fortunately, small steps are being taken, such as healthcare rights for same-sex couples starting in 2024, and their inclusion in the census starting in 2025. I hope and encourage us all to continue moving toward equality and inclusion on a global scale, from Korea to the USA and everywhere in between.
CHORUS:
It’s not a tale of ease, or wit, or might, but one of quiet will in the night
JUNE:
Finding a way to find myself in a world seems impossible
Finding a way to find my prince seems even more insane
In this world where I’m only shown a princess
From a family that only sees the gold in the family name
And the world on my shouldersBEN:
Proving myself in a place where I am invisible seems impossible
An unending path to nowhere
Striving to make a mark and falling through the crack in every sidewalk
Where the feet of everyone move along my spine
Pushing me down, face in the dirtCHORUS:
And yet, there was a chance that fate would have its way
And let these two hearts, Ben and June, have a sayAnd so they meet, and the lines have changed
Both can no longer live as though nothing shifted
Wearing not a slipper, but a cuff of gold
The two of them find their roadBEN:
I stepped into the wrong cafe
Seeking opportunity
Instead, I encountered someone completely new
We ordered cups of coffee
And shared a slice of cake
But I ran away, not knowing what to doI don’t know how to name it
Or if I should even try
If I do, I’m afraid that makes it real
And it’s just the same old story
Only this time, boy meets boy
So shouldn’t I know how I feel?
It feels different with him
Different with himCHORUS:
A fateful encounter has now set in motion
A terrible rift that’s as wide as the oceanJUNE:
How can I find this mysterious man
Whose love matches mine and whose soulmate I am?I’m left, discouraged, wanting more
Hey— what’s this treasure on the floor?
A cufflink dropped by the man I met
Six points of gold that form a star
The synagogue is not that far
Maybe there’s a way to find him yetI only knew the depth of night
Til I caught a star and saw the light
And wonder if this could be something real
Now from this empty coffee shop
With stomach tied in anxious knots
I’ll go out and confess how I feel
It feels different with him
Different with himCHORUS:
It’s wintertime now, and all eight candles shine.
Their rhythm begins and their words start to rhyme
A return of a cufflink, the beautiful clue
That brings them together, now as one from two.아리랑, 아리랑, 아라리요...
아리랑 고개로 넘어간다
청천하늘엔 잔별도 많고,
우리네 가슴엔 희망도 많다(Arirang, Arirang, Arariyo…
You are going over Arirang Pass.
Just as there are many stars in the clear sky,
There are also many dreams in our heart.)מָעוֹז צוּר יְשׁוּעָתִי לְךָ נָאֶה לְשַׁבֵּחַ
תִּכּוֹן בֵּית תְּפִלָּתִי וְשָׁם תּוֹדָה נְזַבֵּחַ
לְעֵת תָּכִין מַטְבֵּחַ מִצָּר הַמְנַבֵּחַ
אָז אֶגְמֹר בְּשִׁיר מִזְמוֹר חֲנֻכַּת הַמִּזְבֵּחַ(O mighty stronghold of my salvation, to praise You is a delight.
Restore my House of Prayer and there we will bring a thanksgiving offering.
When You will have prepared the slaughter for the blaspheming foe,
Then I shall complete with a song of hymn the dedication of the Altar.)It’s not a tale of ease, or wit, or might
But one of quiet will in the night
Spinning of lore and symbol
To be more honest and gentleTheir lives intersect and a future begins,
Because of a cufflink that wouldn't stay in.
Marjorie Halloran
Marjorie Halloran (b. 1985) is a synesthetic composer, songwriter, and performer based in Austin, TX. Her choral music blends together lush melodic lines and contemporary harmonies, with the occasional abrupt change in time signature or key— just to keep things interesting.
Halloran holds a BA in music theory/composition from UC Davis, and an MFA in songwriting from Vermont College of Fine Arts, where she founded the Choral Workshop and served as Assistant Director. She has extensive experience both as a choral singer and award-winning composer around the world, and currently performs with and writes for Inversion Ensemble, Chorus Austin, and the Austin Philharmonic Orchestra. Her music is available on MusicSpoke, JW Pepper, and Bandcamp.
Halloran loves biodegradable glitter, peanut butter, chords in first inversion, and reading alto clef. She has a husband, two cats, a green Prius, and an obsession with rainbows. Once, she camped in Antarctica.
We believe in ecological and environmental justice.
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Text: Mary Louise Martin | Music: Eleanor Daley
The composer Eleanor Daley, one of Canada's leading choral composers, wrote the SATB choral work “Grandmother Moon” in 2006. Daley’s musical writing effectively captures the text by celebrated Mi’kmaq poet, artist, and writer Mary Louise Martin. The Mi’kmaq people are the First Nations People of Nova Scotia, the name coming from the aboriginal word nikmak, meaning “my kin-friends”. The poem describes the full moon from a feminine perspective, evokes its tranquility, beauty, and light on a clear evening, and reflects how it “looks into and beyond” someone’s soul. The poem ends with the Mi’kmaq word we'lalin, which means thank you.
She looks into and beyond my soul,
The lacy cedar boughs creating her shadows,
Cedars weave design of midnight canvas.
She looks into and beyond my soul,
She a powerful sacred hoop of full light,
Simplicity against the ebony blues and blacks of night sky land and crystal star people.
She looks into and beyond my soul,
Her round face of translucent beauty and light,
Quiet powers speak out in her name… We’lalin. -
Music: Ruben Federizon
soli: Ivy Cantu, Julia Sterner-Holden, Melody Chang, Guillermo Delgado, voices; Daniel Robertson, percussion
"Tinig ng Lupa" (Sounds of the Earth) is an avant-garde, wordless choral composition for a cappella mixed chorus and the kalatong bamboo instrument written by Philippine-born composer Ruben Federizon, now based in Canada. The three-movement work was inspired by a 1980s tragic mudslide in the Visayan region of the Philippines, located in the central part of the archipelago, that buried an entire neighborhood, which was witnessed by Federizon himself. Seeing dead bodies trapped in mud affected him so much that it moved him to create this piece as a powerful plea to love Mother Earth. Federizon employs the use of onomatopoeia to mimic destruction and nature (shouts, stomps, and the kalatong), and of the dead as they struggle to free themselves from the abyss–the mud (atmospheric soundscapes from the singers’ voices).
String Theory Artists
Katrina Saporsantos,
conductor
Benjamin Dia,
piano
Irida Herri, soprano
Ivy Cantu, soprano
Jennifer Wang, soprano
Jenny Houghton, soprano
Julia Sterner-Holden, soprano
Maureen Papovich, soprano
AV Villarreal, alto
Cassidy Wallace, alto
Cayla Cardiff, alto
Kristen Thomas, alto
Krystina Speegle, alto
Melody Chang, alto
Lester Tanquilut, tenor
Mark Istratie, tenor
Nathan Thompson, tenor
André Trahan, bass
Chaz Nailor, baritone
Casey Papovich, baritone
Daniel Robertson, bass
Rick Gabrillo, bass
Steve Young, baritone
Jonathan Riemer, tenor
Guillermo Delgado, tenor
PRODUCTION STAFF
Jess Griggs, Producer
Natalie George Productions, Lighting Design
Elise Etherton, Audio Engineer
Jack Kloecker, Photo & Videography
Susannah Kirtland, Illustrator
Tucker Hymel-Pratt, Projections Operator
Zoe Riemer, Stage Assistant
Jennifer Hymel, Front of House and volunteer coordinator
VOLUNTEERS
June 6: Jessica Bernstein, Rosa Mondragón Harris
June 7: Debbie Ward, Erika Mittag, Brianna Mercer, Maleeha Rizvi
INVERSION PERSONNEL
STAFF
Katrina Saporsantos, Artistic Director and Conductor
BOARD OF DIRECTORS
Jonathan Riemer, President
Jenny Houghton, Interim Treasurer
Guillermo Delgado
Holly Salinas
Kathy Leighton
Meredith Ware Morrow
Marketing Consultant
Lester Tanquilut
DONORS
Many thanks to our individual, business, and sustaining donors going into our seventh season! For a current list of donors, visit the donation page on our website.
Many Thanks to
This project is supported in part by an Elevate Grant of Austin Arts, Culture, Music, & Entertainment.
St. James Episcopal Church of Austin, an inclusive, multicultural church with African American roots in East Austin, for hosting us for our rehearsals.
Rev. Eileen O’Brien, rector
Rick Gabrillo, music minister
Aimee Estep, parish administrator
Diana Espinosa, office assistant
Our Inversion Cares partner, Women’s Storybook Project,helps connect children with their incarcerated mothers through the joy of literature. They conduct monthly visits to 13 prisons across the state of Texas, where they record moms reading books to their children. They then send the book and the recording to the child wherever they may live. This allows moms to stay connected with their children, even from a distance, through storytelling and messages of love.
Additional thanks to WSP Executive Director Jill Gonzalez, and WSP Programs Manager Hadley Jauer, and their volunteers for their invaluable help during these concerts!
And to our friends Kent Burress and Michael Pressler for donating our food and drinks for these concerts!
THANKS FOR COMING!