Caritas began life as a song for mezzo-soprano, string quartet, and harp, commissioned by Deutsche Gramophon for mezzo Emily D'Angelo's debut album, Enargeia. Emily knew I was writing an opera about 12th c. composer/visionary/polymath Hildegard von Bingen, and asked me to write a piece inspired by her texts. I created a poem of sorts based on various Hildegard texts about the Biblical virtue Caritas, or Charity, to whom she often prayed. For Hildegard, Caritas embodied the Female Divine; along with Sapientiae (or Wisdom), she was God's partner in creating the Universe. In this song, Caritas sings in the first person about being the life force behind the sun, moon, stars, and sea; the greenness in nature; and the vibrance in all living things.
Mary Elizabeth Bowden, the trumpetist, asked me to create this version for her, which she included on her album, Storyteller.
I Care If You Listen
"And in her new arrangement of Caritas, originally written for mezzo soprano, Snider rocks us on a bed of strings, and Bowden leans into the songlike form of the piece with the lower mid-range of her instrument."
Phil's Classical Reviews
Next, Caritas, by Sarah Kirkland Snider, takes its title from a poem by 12th century visionary poetess Dame Hildegard von Bingen. The word, translated “Charity,” was seen by Hildegard as the all-pervasive life force that has animated all of nature, including the movements of sun, moon, and stars and the greenness of the natural world, from the time of Creation (I told you this writer was different!) Bowden’s playing fits Snider’s music to perfection."
Five Finger Review
" Sarah Kirkland Snider’s “Caritas,” originally a song for mezzo-soprano, is reimagined for trumpet. Bowden’s performance is imbued with a sense of strength and grace, celebrating the power of the Female Divine. The orchestra’s accompaniment is lush and supportive, creating a profound sonic tapestry."
Colleen Wheelahan Substack
"Sarah Kirkland Snider’s Caritas does indeed portray a woman who “broke through” in her own inimitable way. The composer began with source material from Hildegard of Bingen, with the title coming from Bingen’s depiction of the Female Divine."
