Daire FitzGerald and Stephen Taylor, Co-… Read Full Bio ↴ST. LUKE'S CHAMBER ENSEMBLE
Daire FitzGerald and Stephen Taylor, Co-Directors of Chamber Music
Founded in 1974, the St. Luke’s Chamber Ensemble consists of 20 virtuoso artists dedicated to the mastery of a diverse repertoire spanning the Baroque to the contemporary. The Ensemble is also the artistic core of the Orchestra of St. Luke's, America's foremost chamber orchestra and a unique musical organization that currently comprises the orchestra, the chamber ensemble, and the St. Luke’s Arts Education Program. St. Luke’s currently performs approximately 100 orchestral, chamber, and educational concerts throughout New York each year, all showcasing the hallmark collaborative spirit that has garnered consistent critical acclaim for vibrant music-making of the highest order.
The St. Luke’s Chamber Ensemble presents three annual series: programs of varied chamber repertoire at The Morgan Library & Museum and Brooklyn Museum.
The Orchestra of St. Luke’s evolved from the Chamber Ensemble and was founded at the Caramoor International Music Festival in 1979. In addition to being presented by Carnegie Hall in an annual series in the Isaac Stern Auditorium, the Orchestra continues a 20-year collaborative relationship with Carnegie Hall that currently includes participation in such Carnegie events as the Choral Workshop, Family Concerts, and concert presentations of musical theater. The Orchestra is also engaged throughout the year in a number of artistic collaborations with other New York City cultural organizations, and serves each summer as the Orchestra-in-Residence at the Caramoor Festival. OSL musicians also participate in the St. Luke’s Arts Education Program, which integrates comprehensive in-school workshops and residencies with free performances for over 12,000 New York City school children annually.
Five
Orchestra of St. Luke's Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How glad I am
I hoped for you before
Put down your Hat
You must have walked
How out of Breath you are
Dear March, how are you, and the Rest
Did you leave Nature well
I have so much to tell
I got your Letter, and the Birds
The Maples never knew that you were coming
I declare - how Red their Faces grew
But March, forgive me
And all those Hills you left for me to Hue
There was no Purple suitable
You took it all with you
Who knocks? That April
Lock the Door
I will not be pursued
He stayed away a Year to call
When I am occupied
But trifles look so trivial
As soon as you have come
That blame is just as dear as Praise
And Praise as mere as Blame
The lyrics of "Dear March Come in" by Emily Dickinson, beautifully performed by the Orchestra of St. Luke's, paint a picture of a speaker welcoming the arrival of March after a long, dreary winter. The singer addresses March, personifying the month as an individual, allowing us to attribute human qualities and characteristics to it. When she greets March, she exclaims how glad she is and confirms that she had hoped for the return of the month before. She takes note of March's appearance, suggesting that it has walked a great distance and is out of breath. She then enquires about how nature is and urges March to come upstairs with her, perhaps to share stories about the events that have occurred during the winter.
The second stanza delves more into the singer's feelings upon receiving March's letter. She expresses her delight upon the arrival of March, declaring how red the faces of the trees have grown in anticipation of the change of season. However, the singer also humbly admits that she could not find purple suitable for the hills, as March had taken it all with it, showing a sense of defeat to the power unstoppable march of time. She then hears knocking at her door and realizes that April has come. Despite her excitement for March's arrival, she decides to lock the door to keep April out, as she wants to savor her time in March before moving on to another month.
The final stanza depicts the singer reflecting on how January's harshness appears trivial once March arrives. She notes that blame is as just as important as praise, emphasizing the balance of both. These lyrics showcase Dickinson's skill in exploring themes such as seasonal change and rebirth, while also demonstrating her thoughts on life's fundamental concepts, such as the role of judgement and forgiveness.
Line by Line Meaning
Dear MarchCome in
The arrival of March is eagerly awaited as indicated by the warm greeting.
How glad I am
The singer expresses happiness upon the arrival of March.
I hoped for you before
The singer was hoping for March to come before its actual arrival.
Put down your Hat
The artist welcomes March to their house and asks them to get comfortable.
You must have walked
The artist infers that March has walked to their house based on their breathlessness.
How out of Breath you are
The singer comments on March's breathlessness upon their arrival.
Dear March, how are you, and the Rest
The singer asks March about their well-being and that of others.
Did you leave Nature well
The artist inquires if March has left the surrounding environment in good condition.
Oh March, Come right upstairs with me
The artist invites March into their house for a private conversation.
I have so much to tell
The artist has a lot of news or topics to discuss with March.
I got your Letter, and the Birds
The singer received a letter from March and also noticed the signs of spring arrival.
The Maples never knew that you were coming
The trees in the area surprised by March's arrival, and perhaps the growth of spring and summer.
I declare - how Red their Faces grew
The singer notes the beautiful changes that occurred due to the coming of March that made the trees turn red.
But March, forgive me
The singer apologizes to March for not meeting their expectations in coloring the hills.
And all those Hills you left for me to Hue
The singer is referring to the leftover colors that March left for them to color the hills and flowers.
There was no Purple suitable
The artist was unable to color the remaining parts purple because no shade matched the ones used by March.
You took it all with you
The artist implies that the missing color had disappeared, which March had taken it with them.
Who knocks? That April
The singer hears that April is at their doorstep.
Lock the Door
The singer denies entrance to April by locking the door, indicating that they are not ready for the arrival of April yet.
I will not be pursued
The artist will not be rushed or chased by April.
He stayed away a Year to call
April waited for a year to arrive after its previous visit.
When I am occupied
The artist wants April to show up when they are busy with other things.
But trifles look so trivial
The singer finds that insignificant matters seem small when March is already present.
As soon as you have come
As soon as March arrives, the things that seemed significant before the arrival of March seem small.
That blame is just as dear as Praise
The singer suggests that even negative feedback has value and is appreciated.
And Praise as mere as Blame
The singer implies that praise is no more important than blame or criticism.
Lyrics © O/B/O APRA AMCOS
Written by: Emily Dickenson
Lyrics Licensed & Provided by LyricFind