BLEST PAIR OF SIRENS


English Choral Masterworks

FRIDAY, OCTOBER 9 | 7 PM
St. Paul’s Episcopal Church, Indianapolis

Don’t miss our season-opening performance—a program of English choral works spanning five centuries, including Hubert Parry’s majestic anthem for eight-part choir and organ, Blest Pair of Sirens, from which the ensemble name Sphere Born is derived.

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FREE PRE-CONCERT EVENTS

Friday, October 9 | 1:15PM
St. Paul’s Episcopal Church, Indianapolis

“Behind the Music” with Sphere Born

A guided tour of Parry’s Blest Pair of Sirens, led by Sphere Born and Artistic Director Simon Thomas Jacobs. Discover the musical and literary influences behind this magnificent work—and how it helped shape the English choral tradition for generations.

Friday, October 9 | 6:15PM
St. Paul’s Episcopal Church, Indianapolis

Pre-concert talk: In Conversation with Simon Thomas Jacobs

An informal conversation with Simon Thomas Jacobs and Sphere Born member Laura Atkinson (Host and Producer in Classical Radio at Louisville Public Media), exploring the music on this evening’s program, and discussing the story behind Sphere Born and the artistic vision that continues to shape our work.

THROUGH HER EYES


Benedict Sheehan's "The Passion of Mary"

SATURDAY, MARCH 13 | 5 PM
St. Luke’s United Methodist Church, Indianapolis

SUNDAY, MARCH 14 | 3 PM
St. Francis in the Fields Episcopal Church, Louisville, KY

Composed in 2024 and receiving its Indianapolis premiere, The Passion of Mary tells the Passion story from the perspective of the women in Jesus’ life. This unique and thought-provoking new work will be heard alongside Marian works by Kerensa Briggs and Iain Farrington, and the monumental sixteenth-century votive antiphon Maria plena virtute, by Robert Fayrfax.

"A HUMAN REQUIEM"


by Johannes Brahms

SATURDAY, MAY 15 | 6 PM
Indianapolis Hebrew Congregation

SUNDAY, MAY 16 | 4 PM
Christ Church Cathedral, Indianapolis

Composed originally for large choir and symphony orchestra, Brahms’ transcendent Ein Deutsches Requiem will be heard in a version for chamber choir and piano four-hands, arranged by the composer for the work’s 1871 London premiere. This more intimate setting allowed the work to reach a wider audience, as did the English translation that will be sung at this performance. The concert title is from a quotation of Brahms himself and captures the interfaith nature of this project.

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A German Requiem

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