A Grass-Green Pillow

Performance Notes
Because of the tight harmonies, little to no vibrato is desirable.
Take a breath only when indicated by a rest.
If a crescendo appears without a starting/ending dynamic it is based on the treatment of the text.

Program Notes
If there were a “standard” subject for poetry centered on the season of spring it would probably be the subject of love and, more specifically, new love. Luckily, the genius of Keats takes on this traditional theme with the amazing, poetic language and seamless rhyme he is known for. I gravitated towards this particular text because of the symmetry between the first and second halves of the poem. In the first two stanzas it sounds like the stereotypical, overzealous young man trying to woo a maiden who might be above him in social standing and may or may not return his sentiments. However, once you reach the midway point (and especially in the last stanza), it suddenly becomes much more tender and romantic—as if he suddenly figures out the difference between lust and love.
I’d like to think he chooses the latter.

A special note: I am especially indebted to Matthew Culloton and Vicki Peters for supporting the creation of such a large work. They and their respective choirs gave all six pieces amazing premieres in three different “volumes” (red/green, purple/yellow and blue/orange).