Author name: Linda Kachelmeier

‘Swallowed By Sea’ with Off-Leash Area

My collaborations with Off-Leash Area, a Twin-Cities based interdisciplinary performance company are always energizing, and challenge me to see my work in new ways.

I recently attended a work-in-process in preparation for their performances, and as a performer in many of the recordings, I was able to hear works from across my entire career featuring many treasured colleagues– hearing those voices again paired with the expressive beauty of the dancers brought me to tears. This collection of many of my earlier works was made new through Reid Kruger, a frequent sound engineer collaborator, who masterfully enhanced and wove my music into a seamless story right along with the dancers. 

This upcoming show tells an emotional, redemptive story that invites the audience to navigate the eternal currents through ocean, land and sky. Weaving together a lush collection of my choral compositions, live-animated projection design, and the graceful and forceful physical performances by an all abilities cast who move with and without wheels, Swallowed by Sea is a rich tapestry of a production about beginnings and endings, destruction and renewal. This production also continues Off-Leash Area’s partnership with Young Dance, whose mission is transforming lives through movement, and another step in their integration of all abilities into their programs and performances.

The artistic contributions to Swallowed By Sea include dancers Christine Maginnis, Gabriel Rodreick, Lexine Samara, Brian Evans, Erin Landers, and Lilly Rossow; sound design and sound engineering by Reid Kruger; animation, video, and projection by Paul Herwig; and direction and choreography by Off-Leash Area founding director Jennifer Ilse.

DATES & TIMES
Friday, June 26 – 7:30 PM followed by a post-show reception
Saturday, June 27 – 7:30 PM
Sunday, June 28 – 7:30 PM

I’d love to see you there.
You can learn more and purchase tickets here.

*Photos by Bill Cameron

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Presenting “Words Matter: Poetry, Lyrics and Writing for the Voice” at AAUW Event

Recently, I had the pleasure of giving a presentation to a group of deeply engaged women from the American Association of University Women. The AAUW “empowers women and girls by championing their success in higher education and pushing for bold policy solutions to create lasting change. For more than 140 years, AAUW has led the fight for gender equity in higher education and beyond. With a strong record of advocacy and action, AAUW continues to break barriers and defend the rights of women in education and the workplace.”

It was both fun, and somewhat challenging to present to people outside of my usual music world as I shared examples of my vocal pieces to demonstrate how I set text and the difference between choral and solo settings. As I chatted with people after the presentation, someone told me that it’s the first time she understood how music and lyrics work together! Ultimately, I hope that these wonderful women left with a better understanding of the compositional process, and when they attend their next concert, they can bring this lens to their listening.

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An Engaging Workshop with SMSU Chorale

Leading up to tomorrow’s premiere of When I Say Heart, I Mean, I had the pleasure of working with a small but mighty group of some of the most engaged students I’ve had the honor of working with. I was grateful for the investment and all that their director, Steven Kingsbury, has done to champion this new work based on the poetry of the late SMSU adjunct faculty member, Saara Myrene Raappana.

The SMSU Chorale, conducted by Dr. Stephen Kingsbury, will present “When We Sing Heart” at 2 p.m. Sunday, Nov. 9, in First Lutheran Church, 100 Church Street in Marshall, MN. Check out this article put out by The Marshall Independent about tomorrow’s premiere.

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Three New Releases

I always think that summer is going to be relaxed and chill, and then right about now I realize I’ve been working just as hard as ever! I do hope you’ve had some time to take a break and recharge and when you’re ready to look towards the new year, check out some of my newest titles–there’s something for everyone!

Never Ordinary

Encourages developing singers to see how confusion can be an opportunity for growth and change
SSA and piano | Easy-Moderate
Bonus–supporting educational slides available!

Girl from the North Country

A haunting arrangement of the Bob Dylan classic
SSAA or TTBB a cappella | Moderate-Advanced

Shepherds, Sing Noel!

A highly energetic and rhythmic piece that rings in the holiday season 
SATB, oboe, opt. bells/glockenspiel and hand drum | Moderate-Advanced

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Review of Off-Leash Area Performance Featuring ‘Sicut Aurora’

In recent years, I had a wonderful experience writing music for Off-Leash Area whose mission is to create and present original cross-disciplinary and risk-taking productions and programming,  throughout the Twin Cities metro area, through which we enrich our local community and nurture independent voices within the performing arts.

Off-Leash Area presented ‘The Oldest Deer–the Longest Path–the Highest Bough” featuring text by frequent collaborator Athena Kildegaard, and I’m pleased to share that they used the recordings of my music sung by See Change Treble Choir! Read through the review by Minnesota Star Tribune’s Sheila Regan here.

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“The singing will never be done…”

My piece Everyone Sang is one that is very close to my heart, and I’ve had the privilege of hearing choirs of all kinds sing it in concert. Most recently, the Michigan State Honor Choir brought life to it at their January concert. I love how they interpreted the ending, giving a quiet resoluteness to the repeated phrase “The singing will never be done”. Thanks to conductor Dr. Erin Colwitz for her artistic leadership, and enjoy! It’s too good not to share.

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“Steadfast, Beating”

The Red Wing High School Concert Choir (Scott Perau, director) commissioned the song “Steadfast, Beating” as their new graduation song, and it’s been a joy to create. Take a moment to watch a video made by one of the students, Nora Tift, to learn how the piece — made possible by a Red Wing Public Schools Foundation grant — came to be.

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I’m stressed and worried, are you?

What to do when you feel there’s nothing you can do?
Make community by singing.

I’m participating in a community sing on Wednesday, November 6, the night after the election. We’ll be singing:
Songs of hope, 
songs of care for one another, 
songs of strength and resilience 
and songs of healing. 

I hope you can sing with your community soon too!

…oh, and don’t forget to vote! (Not sure where to vote? Visit this link to find your polling place.)

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New Release: To Know the Path

Border CrosSing has published my cantata “To Know the Path,” and it is now available for purchase on Graphite! Weaving ancient texts with new poems by Athena Kildegaard, “To Know the Path” is a cantata in 8 movements following the canonical prayer hours of the day. The journey follows the path of the sun throughout the day from dark to light and back to dark, away from home and towards home.

Thank you to my co-commissioners Amherst College Chorale Society, Arianne Abela, director; Border CrosSing and the Unity Singers, Ahmed Anzaldúa, director; and Central Presbyterian Church Choir, Jennifer Anderson, director.

“To Know the Path” is structured on the canonical hours of the day that stem from ancient Jewish prayer traditions. Early Christians continued the practice and monasteries formally structured them into eight separate hours. Each movement follows the path of the sun throughout the day, starting before dawn when it is still dark (Matins), and progressing to after it has set and is dark again (Compline).

Musically, I have been influenced by ancient chants from many different sources including Georgian Orthodox, Gregorian chant, Greek Orthodox, and Kabbalist Jewish prayers. I see these all as a call for communal prayer and devotion, a way to connect with each other.

Silence is a key part of this work and is built into each movement to create some meditative space for the musicians and listeners. This cantata uses prayer as a metaphor for opening our eyes (awareness) to knowing the path, and our willingness to get on the path with each other (compassion).

Like Medieval religious followers, we must imagine ourselves into the shoes of the migrants and refugees around the world. These words are my prayer for understanding and welcome and for the dignity we all deserve.

– Athena Kildegaard

“Linda’s music is both profound and immediately accessible. I am inspired by her search for deeper meaning and relevance in everything she does.”

— Ahmed Fernando Anzaldúa

Learn More and Purchase Here

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