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For SATB Chorus (divisi) unaccompanied
By David Ashley White
The composer set this same poem years earlier as part of a song cycle (Four Madrigals of Michelangelo, high voice, violin, and piano, #5447, published in 2001). The poetry is from the Complete Poems and Selected Letters of Michelangelo, translated into English by Creighton Gilbert. Like its companions in the aforementioned song cycle, the text for this new choral work employs "eyes" as its central theme. As Professor Gilbert pointed out in the foreword to his book, in the Renaissance, eyes were perceived as the most spiritual element of the human body and the window to the beloved's soul.
By David Ashley White
The composer set this same poem years earlier as part of a song cycle (Four Madrigals of Michelangelo, high voice, violin, and piano, #5447, published in 2001). The poetry is from the Complete Poems and Selected Letters of Michelangelo, translated into English by Creighton Gilbert. Like its companions in the aforementioned song cycle, the text for this new choral work employs "eyes" as its central theme. As Professor Gilbert pointed out in the foreword to his book, in the Renaissance, eyes were perceived as the most spiritual element of the human body and the window to the beloved's soul.
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