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The Same River

by Molly Herron

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1.
Everyday my branches grow. Everyday my clothes hang out to dry. I wander through a jungled porch--mine, I guess--with endless plants in tangles. I water, I don't, yet shoots grow haphazard. I search for beginnings, or proper joints in branches, and reach out to trim back chaos. I want corners all at right angles. I want a jungle to stay in its place. Once, these were pots that I potted. Small gifts of green now unruly. I tuck my fingers into the soil, and feel the grip of roots. Every time I look, I find something invisible. I move forward, forward I disappear. Or I am backwards, back into branches.
2.
Begin as rock, somewhere above, in mountains of cosmic generations. Submit to ice in cracks and splits, stubborn demands of change. Let pieces fall, roll sliding down to creek then stream then river. The beginning and the end are common at the edge of a circle. River remain true. Small at first, pick up time pieces of stone and roll them toward a second chance through avenues and bends--carve signatures of landscape. Collect these grains, smooth them in gathering, and deliver them downward, from forgotten to sea; spread them out into the vastness of deep. Make telegrams for oysters. Remember what was once of mountains. Restless, relentless; nature loves to hide. We step and we do not step into the same river. We are and we are not. - John Knight

about

The Same River
Music by Molly Herron
Text by John Knight

Commissioned by Concert Black

mollyherron.com
theconcertblack.com
arpeggiamedia.com

credits

released September 1, 2016

Performed by:
Domenica Fossati, alto flute and voice
Eleonore Oppenheim, double bass and voice
Owen Weaver, percussion and voice

buy the score: molly-herron.my-online.store/The_Same_River_[PDF_Score]/p6004121_19606404.aspx

Audio engineering by Brett Parnell at Bear in a Barn NYC.

Special thank to St. Paul's Episcopal Church in Brooklyn, NY

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Molly Herron New York

Composer Molly Herron “thinks deeply about motion, energy, and the physics of sound” (NPR). Whether writing for baroque strings, flower pots, or newly designed instruments, her work achieves “a wonderful consideration of counterpoint and sound in time” (Seen and Heard International). ... more

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