Synthesis
Saturday, May 31, 2025, 8:00 PM
First United Methodist Church, Santa Monica
First United Methodist Church, Santa Monica
C3LA
Soprano:
Katelyn Dietz
Rhiannon Lewis
Jill Redding
Jocelyn Scofield
Alto:
Alexandra Grabarchuk
Vera Lugo
Margaret McGlynn
Ariana Stultz
Tenor:
Daniel Leese
David Rentz
TJ Sclafani
Bass:
David Avshalomov
John Bergquist
Dusty Hall
Tanner Pfeiffer
Matthew Scherb
Synesthesia Sinfonietta
Isaiah Castro, Artistic Director
Michael Huynh, Associate Director
Maranda Li, Assistant Director
Eleanor Núnez, President
Violin I:
Aaron Tam
Dani Tam
Belle Suot
Violin II:
Chujian Li
Ava Brackett
Carmen Marquez
Viola:
Fred Canada
Andy Park
Dana Apolonio
Cello:
Maranda Li
Jiyai Qin
Chad Cuadro
Bass:
Aidan Neauman
Flute:
Ana Paola Rincones
Eyana Fomby
Piccolo:
Luis Alvarado
Oboe:
Elian Kleparek
Karren Hernandez
English Horn:
Bennett Kai Imai
Clarinet:
David Aguirre
David Sanchez
Bassoon:
Kyra Harris
Horn:
Timothy Moy
Gabby Baniqued
Andrew Fong
Patrick Williams
Trumpet:
Troy Sargent
James Teubner
Jeanette Pun
Trombone:
Merissa Mills
Ethan Holmes
Bass Trombone:
Michael Salgado
Tuba:
David Jiminez
Timpani:
Jared Davenport
Percussion:
Gabriel Harvey
Jonathan Chu
Soprano:
Katelyn Dietz
Rhiannon Lewis
Jill Redding
Jocelyn Scofield
Alto:
Alexandra Grabarchuk
Vera Lugo
Margaret McGlynn
Ariana Stultz
Tenor:
Daniel Leese
David Rentz
TJ Sclafani
Bass:
David Avshalomov
John Bergquist
Dusty Hall
Tanner Pfeiffer
Matthew Scherb
Synesthesia Sinfonietta
Isaiah Castro, Artistic Director
Michael Huynh, Associate Director
Maranda Li, Assistant Director
Eleanor Núnez, President
Violin I:
Aaron Tam
Dani Tam
Belle Suot
Violin II:
Chujian Li
Ava Brackett
Carmen Marquez
Viola:
Fred Canada
Andy Park
Dana Apolonio
Cello:
Maranda Li
Jiyai Qin
Chad Cuadro
Bass:
Aidan Neauman
Flute:
Ana Paola Rincones
Eyana Fomby
Piccolo:
Luis Alvarado
Oboe:
Elian Kleparek
Karren Hernandez
English Horn:
Bennett Kai Imai
Clarinet:
David Aguirre
David Sanchez
Bassoon:
Kyra Harris
Horn:
Timothy Moy
Gabby Baniqued
Andrew Fong
Patrick Williams
Trumpet:
Troy Sargent
James Teubner
Jeanette Pun
Trombone:
Merissa Mills
Ethan Holmes
Bass Trombone:
Michael Salgado
Tuba:
David Jiminez
Timpani:
Jared Davenport
Percussion:
Gabriel Harvey
Jonathan Chu
Vox quae manet
Composed by Jocelyn Scofield
Vox Quae Manet (The Voice That Remains) is a 6.5-minute orchestral and choral work that traces the evolution of Western music across six eras: Medieval,
Renaissance, Baroque, Classical, Romantic, and Modern. A single, recurring melody serves as the constant thread, evolving stylistically through the changes of each time period. As the piece unfolds, listeners experience how musical language transforms while the core of human expression endures. Vox Quae Manet is both a re:ection on the passage of time and a tribute to the enduring nature of the human spirit.
Text:
Vox per tempus perenne, progrediens et volens mutari
Translation:
The voice through eternal time, progressing and willing to change.
Renaissance, Baroque, Classical, Romantic, and Modern. A single, recurring melody serves as the constant thread, evolving stylistically through the changes of each time period. As the piece unfolds, listeners experience how musical language transforms while the core of human expression endures. Vox Quae Manet is both a re:ection on the passage of time and a tribute to the enduring nature of the human spirit.
Text:
Vox per tempus perenne, progrediens et volens mutari
Translation:
The voice through eternal time, progressing and willing to change.
Red string
Song & text by Rhiannon Lewis
Arranged/orchestrated by Dusty Hall
Arranged/orchestrated by Dusty Hall
Red String is an old song of mine, inspired by the Chinese myth of the “red string of fate”, which I discovered through its popular use today in media and fandom. The belief that soul mates are
tied to one another by an invisible red cord that predestines them to one day unite. Though this string can tangle or stretch, it can never break. I was fortunate to collaborate with Dusty Hall on this piece who set my music to orchestra and choir. This song is a light-hearted and hopeful look towards the future, and the many people I have yet to meet, and yet to love.
–Rhiannon Lewis
Text:
Red string on my finger
Never loosens up
Tied knots how they linger
With stories left entwined
Sometimes it gets a little shorter
But most days I’m left in ties
But somewhere out in the distance
I know your string is mine
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Red string on my finger
Wonder where it goes
Bows, hitches, and bell ringers
Left to be unwound
Sometimes it gets a little shorter
But most days I’m left in ties
But somewhere out in the distance
I know your string is mine
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Someday I’m going to see the end
The end of where the string leads to
And I will see your face again
With no webbed string in view
Red string on my finger
Ravels on its own
Till I meet the other
Side that I don’t know
And when our string has unfolded
And all that is left’s a strand
We’ll make one final tangle
When I hold your hand
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Yes our string will be aligned
When I find you
tied to one another by an invisible red cord that predestines them to one day unite. Though this string can tangle or stretch, it can never break. I was fortunate to collaborate with Dusty Hall on this piece who set my music to orchestra and choir. This song is a light-hearted and hopeful look towards the future, and the many people I have yet to meet, and yet to love.
–Rhiannon Lewis
Text:
Red string on my finger
Never loosens up
Tied knots how they linger
With stories left entwined
Sometimes it gets a little shorter
But most days I’m left in ties
But somewhere out in the distance
I know your string is mine
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Red string on my finger
Wonder where it goes
Bows, hitches, and bell ringers
Left to be unwound
Sometimes it gets a little shorter
But most days I’m left in ties
But somewhere out in the distance
I know your string is mine
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Someday I’m going to see the end
The end of where the string leads to
And I will see your face again
With no webbed string in view
Red string on my finger
Ravels on its own
Till I meet the other
Side that I don’t know
And when our string has unfolded
And all that is left’s a strand
We’ll make one final tangle
When I hold your hand
I will follow the thread till I’ve found you
Don’t pull or tug I’m coming through
Little knots may take a while to untangle
But our string will be aligned when I find you
Yes our string will be aligned
When I find you
the fate of the man-child
Composed by TJ Sclafani
"I don't have the answers, man. All I got are a lot of unanswered questions."
–The composer
Text:
You don’t know that.
You don’t know that.
Don’t tell us what
we’re going to feel.
We’re trying to solve a problem.
Don’t tell us what we’re going to feel.
You are in no position to dictate
what we’re going to feel.
You’re not winning.
You’re not winning.
You’re not winning this.
We are going to feel
very good and very strong.
Very good.
Very strong.
Very good.
Very strong.
–The composer
Text:
You don’t know that.
You don’t know that.
Don’t tell us what
we’re going to feel.
We’re trying to solve a problem.
Don’t tell us what we’re going to feel.
You are in no position to dictate
what we’re going to feel.
You’re not winning.
You’re not winning.
You’re not winning this.
We are going to feel
very good and very strong.
Very good.
Very strong.
Very good.
Very strong.
ONE DAY SHIPPING
Composed by Ariana Stultz & Richard An
The motifs and ideas of this piece were largely text inspired, including the words of Mat Cusick and Tristan “Lion” Dutchin, two union organizers and Amazon workers who were terminated from their jobs, (whose firings they were told were “unrelated” to their affiliation with their
union work). We also searched for Amazon items that seemed to encapsulate a certain aesthetic of American culture; items that might be categorically considered useless except for their ability to satiate us, if only briefly, from the gnawing need to have (new) things, and be entertained. Later, with the final summarized quote by commentator Eric Frumin, we reckon with the reality of the fact that, even though the continued support of Amazon through consumption of their products is a disability, sustainability and class issue, those issues are a price we are happily willing to pay for something quick, exciting, cheap and convenient.
Text:
“Cap Gun Bottle Opener,Funny Launcher Shooter Bottle Opener for Creative Game,Family Party,Bar ,Outdoor Barbecue,Plastic (Black&Red)”
–AI Generated Name for Amazon Product
“I was on a COVID care leave that I was told was until April 29th. Instead, they extended the leave until the 26th and then they, after three days, began termination proceedings against me for abandonment of my job.They didn't tell me anything about until the three days, which was supposed to be the last day of my COVID leave. These productivity requirements have been made illegal (to a great extent) in California, and New York state has just issued legislation called the Warehouse Workers' Protection Act, to make it illegal in New York as well.
These productivity quotas are a great reason why Amazon has 2-3 times higher injury rate than other warehouses which are already some of the most dangerous places to work in the United States.”
–Matt Cusick
“I was recently terminated (May the 7th) due to falling behind rates. I fell behind rates in the past of course. Me, just being a regular worker, working at a regular pace, these people expect you to work really fast. To speed it up, they expect you to pick items up to 275 an hour at a universal station and 375 an hour at the ARSAW station.”
–Tristan “Lion” Dutchin
“What price is America willing to pay, as a community, as a nation, for one day shipping?”
–Eric Frumin
union work). We also searched for Amazon items that seemed to encapsulate a certain aesthetic of American culture; items that might be categorically considered useless except for their ability to satiate us, if only briefly, from the gnawing need to have (new) things, and be entertained. Later, with the final summarized quote by commentator Eric Frumin, we reckon with the reality of the fact that, even though the continued support of Amazon through consumption of their products is a disability, sustainability and class issue, those issues are a price we are happily willing to pay for something quick, exciting, cheap and convenient.
Text:
“Cap Gun Bottle Opener,Funny Launcher Shooter Bottle Opener for Creative Game,Family Party,Bar ,Outdoor Barbecue,Plastic (Black&Red)”
–AI Generated Name for Amazon Product
“I was on a COVID care leave that I was told was until April 29th. Instead, they extended the leave until the 26th and then they, after three days, began termination proceedings against me for abandonment of my job.They didn't tell me anything about until the three days, which was supposed to be the last day of my COVID leave. These productivity requirements have been made illegal (to a great extent) in California, and New York state has just issued legislation called the Warehouse Workers' Protection Act, to make it illegal in New York as well.
These productivity quotas are a great reason why Amazon has 2-3 times higher injury rate than other warehouses which are already some of the most dangerous places to work in the United States.”
–Matt Cusick
“I was recently terminated (May the 7th) due to falling behind rates. I fell behind rates in the past of course. Me, just being a regular worker, working at a regular pace, these people expect you to work really fast. To speed it up, they expect you to pick items up to 275 an hour at a universal station and 375 an hour at the ARSAW station.”
–Tristan “Lion” Dutchin
“What price is America willing to pay, as a community, as a nation, for one day shipping?”
–Eric Frumin
Principles Mvt. 6 – We hold these truths
Composed by David Avshalomov
My oratorio, Principles, was inspired by my first encounter with Jefferson’s personal Creed, chiseled high on the stone wall of his Memorial in Washington, D.C., during cherry blossom time. It stunned me like a lighting bolt. Other texts there intrigued me as well, given my lifelong concern with social justice. I soon sketched settings for some of those ringing phrases, laying out structural ideas for a work for chorus with large ensemble. Some research provided further texts, culminating in the amazing Statute of Virginia for religious freedom, a document for our time, which sets the tone for the whole work. The present version for mixed chorus with orchestra represents the latest
revision.
The text source for Movement 6 is the Declaration of Independence, 1776
Musically, the full piece is a hybrid; it draws on the old formal conventions of oratorio, with choral sections, solo voice, interludes, more choral passages, recitative, and so on. But it is dramatic in emotional range, and stylistically rooted in mid-20th-century, in the neo-tonal vein. The forms of the movements were delineated by my choices of text, and the texts were a challenge to set. Jefferson’s prose uses the long, earnest cadence of the Enlightenment, with formal rhetorical flourishes and extended series of clauses. To get a manageable “libretto,” I made frequent ellipses—without altering meanings or inflections. Although many of his formulations spoke directly to me, few evoked lyricism. My response was to develop a hortatory, structured singing rhetoric to match the logic, rhythm, and structure of the ideas; I managed to eke out some lyric moments as well.
The principles set to music here are not outdated, nor are they merely empty rhetoric—even today. We have scarcely begun to realize the potential that lies behind Jefferson’s optimistic view in his last days, that “All eyes are opened, or opening, to the rights of Man.” I simply hope that my music will help to ”refresh our recollection of these rights, and an undiminished devotion to them.”
–David Avshalomov
Text:
We hold these Truths to be self-evident,
that all men are created equal,
that they are endowed by their Creator with certain inalienable Rights,
[and] that among these are Life, Liberty, and the pursuit of Happiness.
That, to secure these Rights, Governments are instituted among Men,
deriving their just powers from the consent of the governed.
That whenever any Form of Government becomes destructive of these ends
it is the Right of the People to alter or abolish it,
and to institute new Government . . . in such form as to them shall seem most
likely to effect their Safety and Happiness.
. . . Governments long established should not be changed for light or transient causes;
. . . mankind are more disposed to suffer, while evils are sufferable,
than to right themselves by abolishing the forms to which they are accustomed.
But . . . under absolute Despotism, it is their right, it is their duty,
to throw off such Government, and to provide new Guards for their future security.
We, therefore, the Representatives of the United States of America, in General
Congress Assembled,
appealing to the Supreme Judge of the world for the rectitude of our intentions,
do, in the Name, and by Authority of the good People of these Colonies, solemnly
publish and declare
That these United Colonies are, and of Right ought to be
Free and Independent States;
[. . . and to assume among the Powers of the earth, the separate and equal station
to which the Laws of Nature and of Nature’s God entitle them]
. . . and that as Free and Independent States they have full Power
to levy War, conclude Peace, contract Alliances, establish Commerce,
and to do all other Acts and Things which Independent States may of right do.
And for the support of this Declaration,
with a firm reliance on the protection of Divine Providence,
we mutually pledge to each other
our Lives
our Fortunes
and our sacred Honor.
[from the Declaration of Independence, 1776]
revision.
The text source for Movement 6 is the Declaration of Independence, 1776
Musically, the full piece is a hybrid; it draws on the old formal conventions of oratorio, with choral sections, solo voice, interludes, more choral passages, recitative, and so on. But it is dramatic in emotional range, and stylistically rooted in mid-20th-century, in the neo-tonal vein. The forms of the movements were delineated by my choices of text, and the texts were a challenge to set. Jefferson’s prose uses the long, earnest cadence of the Enlightenment, with formal rhetorical flourishes and extended series of clauses. To get a manageable “libretto,” I made frequent ellipses—without altering meanings or inflections. Although many of his formulations spoke directly to me, few evoked lyricism. My response was to develop a hortatory, structured singing rhetoric to match the logic, rhythm, and structure of the ideas; I managed to eke out some lyric moments as well.
The principles set to music here are not outdated, nor are they merely empty rhetoric—even today. We have scarcely begun to realize the potential that lies behind Jefferson’s optimistic view in his last days, that “All eyes are opened, or opening, to the rights of Man.” I simply hope that my music will help to ”refresh our recollection of these rights, and an undiminished devotion to them.”
–David Avshalomov
Text:
We hold these Truths to be self-evident,
that all men are created equal,
that they are endowed by their Creator with certain inalienable Rights,
[and] that among these are Life, Liberty, and the pursuit of Happiness.
That, to secure these Rights, Governments are instituted among Men,
deriving their just powers from the consent of the governed.
That whenever any Form of Government becomes destructive of these ends
it is the Right of the People to alter or abolish it,
and to institute new Government . . . in such form as to them shall seem most
likely to effect their Safety and Happiness.
. . . Governments long established should not be changed for light or transient causes;
. . . mankind are more disposed to suffer, while evils are sufferable,
than to right themselves by abolishing the forms to which they are accustomed.
But . . . under absolute Despotism, it is their right, it is their duty,
to throw off such Government, and to provide new Guards for their future security.
We, therefore, the Representatives of the United States of America, in General
Congress Assembled,
appealing to the Supreme Judge of the world for the rectitude of our intentions,
do, in the Name, and by Authority of the good People of these Colonies, solemnly
publish and declare
That these United Colonies are, and of Right ought to be
Free and Independent States;
[. . . and to assume among the Powers of the earth, the separate and equal station
to which the Laws of Nature and of Nature’s God entitle them]
. . . and that as Free and Independent States they have full Power
to levy War, conclude Peace, contract Alliances, establish Commerce,
and to do all other Acts and Things which Independent States may of right do.
And for the support of this Declaration,
with a firm reliance on the protection of Divine Providence,
we mutually pledge to each other
our Lives
our Fortunes
and our sacred Honor.
[from the Declaration of Independence, 1776]
NEBULOUS
Composed by Drew Corey
Nebulous was created in collaboration with visual artist Sabrina Kalleen. Through many conversations and cups of tea, she and I developed this concept and began to shape the piece by trading musical and artistic sketches back and forth. Through this process, the piece organically formed into five movements/pieces between our two artistic voices. Sabrina’s five incredible graphite pieces are displayed below in the program and follow the five movements of the musical work.
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Text: sum nebula sum lux et tamen non sum aeterna |
Translation: I am mist I am light and yet I am not eternal |
hey chase
Composed by Vera Lugo
Hey Chase is about that constellation of souls we are connected to throughout the world, no matter how far or how often we share space. What began as a song for voice and piano evolved into a piece for recorded choir in 2020 and is now seeing new life in orchestration.
Text:
Hey Chase, I wonder where you are tonight
What stars your eyes are taking in
miles away from mine
Hey Chase, I wonder where you are tonight
And who is by your side
And in the morning I sit and think of you
Sometimes I sit on the bed and think of you
Hear your sweet laugh
Here in the mess and the clutter of my room
Where are you now?
Picture the lines softly growing on your face
Reaching out, when can I see you?
Wish it were soon but I know
that’s not the case
We’ ll never get a chance
But hey Chase, are you thinking about me?
What about the days and nights we spent whiling away the time
Hey Chase, I wonder where you are tonight
And who is on your mind
Text:
Hey Chase, I wonder where you are tonight
What stars your eyes are taking in
miles away from mine
Hey Chase, I wonder where you are tonight
And who is by your side
And in the morning I sit and think of you
Sometimes I sit on the bed and think of you
Hear your sweet laugh
Here in the mess and the clutter of my room
Where are you now?
Picture the lines softly growing on your face
Reaching out, when can I see you?
Wish it were soon but I know
that’s not the case
We’ ll never get a chance
But hey Chase, are you thinking about me?
What about the days and nights we spent whiling away the time
Hey Chase, I wonder where you are tonight
And who is on your mind
Where are they?
Composed by John Bergquist
The Fermi paradox is the apparent contradiction between the high statistical likelihood that intelligent
civilizations exist elsewhere in the universe and the lack of scientific evidence of their existence. The paradox was first proposed in 1950 by physicist
Enrico Fermi who looked to the stars and asked "Where Are They?" after recognizing the abundant opportunities for life to emerge, and therefore for intelligent life to develop, even just within our Milky Way Galaxy.
This question has been studied by numerous astrophysicists, including Brian Cox who suggests that despite the high likelihood for life elsewhere, given the absence of evidence of other life we,
the human race, should behave as if we are the only sentient life in the universe.
John Bergquist's text and setting is a reflection on the fragility, and the preciousness of life when considered in this cosmic scale.
Text:
In the cold, expansive darkness,
a beacon in the tempest,
a refuge,
Light.
A fire has been burning in the night for billions of years
Feeding us the energy to hatch from the egg,
To emerge from the cocoon,
To spawn into the wilderness
Naked, blind, helpless.
Our hands reach out into the darkness
We grasp for that which we can understand,
And, lacking understanding, we fear.
Sensing that our time is limited,
And that there is much more to know
We name the stars to give us comfort
We see, we breathe, we go!
Are we alone, or does our lantern draw attention?
Despite our vanity we feel they must be there!
Someone!
We seek a friend,
But do we seek in vain?
We feel the draw towards the unknown like a child
We are precious, we are unique,
We are beautiful.
civilizations exist elsewhere in the universe and the lack of scientific evidence of their existence. The paradox was first proposed in 1950 by physicist
Enrico Fermi who looked to the stars and asked "Where Are They?" after recognizing the abundant opportunities for life to emerge, and therefore for intelligent life to develop, even just within our Milky Way Galaxy.
This question has been studied by numerous astrophysicists, including Brian Cox who suggests that despite the high likelihood for life elsewhere, given the absence of evidence of other life we,
the human race, should behave as if we are the only sentient life in the universe.
John Bergquist's text and setting is a reflection on the fragility, and the preciousness of life when considered in this cosmic scale.
Text:
In the cold, expansive darkness,
a beacon in the tempest,
a refuge,
Light.
A fire has been burning in the night for billions of years
Feeding us the energy to hatch from the egg,
To emerge from the cocoon,
To spawn into the wilderness
Naked, blind, helpless.
Our hands reach out into the darkness
We grasp for that which we can understand,
And, lacking understanding, we fear.
Sensing that our time is limited,
And that there is much more to know
We name the stars to give us comfort
We see, we breathe, we go!
Are we alone, or does our lantern draw attention?
Despite our vanity we feel they must be there!
Someone!
We seek a friend,
But do we seek in vain?
We feel the draw towards the unknown like a child
We are precious, we are unique,
We are beautiful.
vivo sin vivir en mí
Composed by Tanner Pfeiffer
Vivo sin vivir en mí takes its name from a poem of the same name by St. Teresa of Ávila. In a somewhat macabre devotion, Teresa laments her continued living because she so desperately wants to be united with God in heaven. She describes with captivating imagery a divine prison of love within which God is held captive. The refrain at the end of each stanza is “Muero porque no muero”—I die because I do not die. This work takes Teresa’s devotion as a starting point and asks what would happen if such energy might be directed into the community and one another.
St. Teresa’s mysticism revolved around both asceticism and ecstasy. Vivo sin vivir en mí explores both the emptiness and humility of asceticism as well as the swells of ecstasy before settling into a vernacular dedication. The melody quoted in the middle of the work is “Idumea” from the sacred harp tradition.
The vast majority of the text comes from the poem mentioned above, “Vivo sin vivir en mí” by St. Teresa of Ávila. The final four lines are the composer’s work, following the poetic conventions set forth by the original poem. The original Spanish and the composer’s translation follow.
St. Teresa’s mysticism revolved around both asceticism and ecstasy. Vivo sin vivir en mí explores both the emptiness and humility of asceticism as well as the swells of ecstasy before settling into a vernacular dedication. The melody quoted in the middle of the work is “Idumea” from the sacred harp tradition.
The vast majority of the text comes from the poem mentioned above, “Vivo sin vivir en mí” by St. Teresa of Ávila. The final four lines are the composer’s work, following the poetic conventions set forth by the original poem. The original Spanish and the composer’s translation follow.
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Text: Vivo sin vivir en mí, y tan alta vida espero, que muero porque no muero. Esta divina prisión, del amor en que yo vivo, ha hecho a Dios mi cautivo, y libre mi corazón; y causa en mí tal pasión ver a Dios mi prisionero, que muero porque no muero. ¡Ay, qué larga es esta vida! ¡Qué duros estos destierros, esta cárcel, estos hierros en que el alma está metida! Sólo esperar la salida me causa dolor tan fiero, que muero porque no muero. Vivo sin vivir en mí, vivo en la comunidad. Vivo por vivir en mí, ¡que viva nuestra amistad! |
Translation: I live without living in myself, And such a lofty life I yearn for, that I die because I do not die. This divine prison of love in which I live has made of God my captive, and made free my heart; and provokes in me such passion to see God my prisoner, that I die because I do not die. Oh, how long is this life! How hard these exiles, this prison, these iron shackles in which my soul is trapped! Just awaiting my release causes in me such fierce pain, that I die because I do not die. I live without living in myself, I live in the community. I live by living in myself, Long live our friendship |
This organization is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture.
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