An amalgamation of "Hey Ho, Nobody Home," "Rose Red," and the Souling Song.

Hey Ho Nobody Home

Lau #2 The Moon Is Distant From the Sea

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Hervararkviða (Incantation of Hervor)
By Melissa Dunphy (voice, violin, harp)

When I first conceived of this album, I wanted to include music based on some of J.R.R. Tolkien’s stories of Middle Earth. Tolkien estate only grants a select few permissions to use his material for music-writing, I therefore cast my net wider and found the Icelandic Edda, which were one of Tolkien’s influences as he built his world.

One such poem tells the story of Hervor, a Viking princess whose father had been the owner of an enchanted sword named Tyrfing. He dies before she is born, and she grows up a wild tomboy. Her foster father finally tells her of how her father died protecting Tyrfing, and she immediately sets off to recover the blade herself, dressing as a man and joining a pirate crew. 

Tyrfing has been created by the dwarves to grant its wielder success in battle, but it comes with a price: any time it is unsheathed, it must be sheathed again in warm human blood. It also tends to corrupt its owner, much like Frodo’s ring.

Hervor will not be deterred. Now captain of her own ship, she finds the haunted island where her father and Tyrfing lie; she calls forth her father’s ghost to demand the sword as her birthright. After some argument, the shade acquiesces, but Hervor must retrieve the sword from within a ring of fire. She emerges triumphant, and goes on to wield Tyrfing with more wisdom and caution than anyone before.

Dunphy has adapted sections of this epic poem into three parts, each with Hervor speaking to a different character. Both Dunphy and I were interested in exploring Hervor’s relationship to gender, and this is brought out both in vocal range and in use of instrumentation.

III. To My Father
Awaken, Angantyr!
I am Hervor,
the only daughter of you and my mother.
Give me the sword Tyrfing
which the dwarves once made for Svafrlami.

Hervarðr, Hjörvarðr, Hrani, Angantyr!
Sons of Arngrím,
men of evil,
Speak to me.
Prove yourselves 
of stronger stuff 
than mold and dust 
beneath this mound.

Hervarðr, Hjörvarðr, Hrani, Angantyr!
Bring me the sword 
that Dvalinn forged,
or I will curse you
with mounds of worms
and stinging ants
that swarm your flesh.
Who are dead men
to keep such a blade?

Hell’s gate is lifting!
The grave yawns bright!
No infernal fire
will daunt my courage.
My father’s ghost!
Give me the sword!
I will guard it and wield it.
The flames subside...

I return to my ship,
the sword in hand.
I care not at all
how my sons shall strive beneath its burden.
May you all be at peace,
for I must depart.
I exist between worlds
when grave-fires burn around me.

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Hervararkviða: III. To My Father

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Hervararkviða (Incantation of Hervor)
By Melissa Dunphy (voice, violin, harp)

When I first conceived of this album, I wanted to include music based on some of J.R.R. Tolkien’s stories of Middle Earth. Tolkien estate only grants a select few permissions to use his material for music-writing, I therefore cast my net wider and found the Icelandic Edda, which were one of Tolkien’s influences as he built his world.

One such poem tells the story of Hervor, a Viking princess whose father had been the owner of an enchanted sword named Tyrfing. He dies before she is born, and she grows up a wild tomboy. Her foster father finally tells her of how her father died protecting Tyrfing, and she immediately sets off to recover the blade herself, dressing as a man and joining a pirate crew. 

Tyrfing has been created by the dwarves to grant its wielder success in battle, but it comes with a price: any time it is unsheathed, it must be sheathed again in warm human blood. It also tends to corrupt its owner, much like Frodo’s ring.

Hervor will not be deterred. Now captain of her own ship, she finds the haunted island where her father and Tyrfing lie; she calls forth her father’s ghost to demand the sword as her birthright. After some argument, the shade acquiesces, but Hervor must retrieve the sword from within a ring of fire. She emerges triumphant, and goes on to wield Tyrfing with more wisdom and caution than anyone before.

Dunphy has adapted sections of this epic poem into three parts, each with Hervor speaking to a different character. Both Dunphy and I were interested in exploring Hervor’s relationship to gender, and this is brought out both in vocal range and in use of instrumentation.

II. To A Stranger
Shepherd, no, I shall not flee!
Shelter I'll deny.
Bring me to the burial mounds 
where the sons of Arngrím lie.

I command a Viking ship,
Hervarth is my name, my
crew and vessel bide off-shore.
Shepherd, no, I shall not fly!

Ghostly grave-fires fright’ me not,
Though your island blazes.
Long-dead men shall never see
Hervarth quit or quaver!

Shepherd, here’s a necklace dear--
I will give it to thee.
Guide me to the graveyard here.
Wherefore do you run from me?

Shepherd, fly! I shall not flee.
Coping with the coward
But seeks to embolden me.
Brave, I seek my destiny!

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Hervararkviða: II. To a Stranger

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Hervararkviða (Incantation of Hervor)
By Melissa Dunphy (voice, violin, harp)

When I first conceived of this album, I wanted to include music based on some of J.R.R. Tolkien’s stories of Middle Earth. Tolkien estate only grants a select few permissions to use his material for music-writing, I therefore cast my net wider and found the Icelandic Edda, which were one of Tolkien’s influences as he built his world.

One such poem tells the story of Hervor, a Viking princess whose father had been the owner of an enchanted sword named Tyrfing. He dies before she is born, and she grows up a wild tomboy. Her foster father finally tells her of how her father died protecting Tyrfing, and she immediately sets off to recover the blade herself, dressing as a man and joining a pirate crew. 

Tyrfing has been created by the dwarves to grant its wielder success in battle, but it comes with a price: any time it is unsheathed, it must be sheathed again in warm human blood. It also tends to corrupt its owner, much like Frodo’s ring.

Hervor will not be deterred. Now captain of her own ship, she finds the haunted island where her father and Tyrfing lie; she calls forth her father’s ghost to demand the sword as her birthright. After some argument, the shade acquiesces, but Hervor must retrieve the sword from within a ring of fire. She emerges triumphant, and goes on to wield Tyrfing with more wisdom and caution than anyone before.

Dunphy has adapted sections of this epic poem into three parts, each with Hervor speaking to a different character. Both Dunphy and I were interested in exploring Hervor’s relationship to gender, and this is brought out both in vocal range and in use of instrumentation.

I. To My Mother
Mother, make haste, 
hide my hair,
cut me a cloak and kirtle.
Wisest of women,
prepare me as you would a son.
The truth I seek is only in dreams.
There is no peace for me here.
I will seek out my slain kinsmen
I will claim their riches
as rightful heir,
if I survive.
Mother, make haste,
when morning comes,
I must depart.
No longer Hervor,
My name is Hervarth.
There is no peace for me here.

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Hervararkviða: I. To My Mother

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Kivalina
By Kamala Sankaram (voice, violin)

Kivalina is a small Inuit village of only 1.9 square miles, located on a barrier island in Alaska.  The rising sea level threatens to submerge the village, its people, and their culture.

This work was written for Duo Cortona and premiered in 2014.

III. The Sea Rises
The sea rises.
Rises up.
The sea is just behind the door.
And we are weary.
Weary.
Weary from watching and waiting.
The sea rises.
Rises up.
The sea is lapping at our toes.
The earth is weary.
Weary.
Weary of fighting our battles.
She melts away, releases the swirling blue, and the sea rises.
Rises up.
Beneath, Agloolik waits.
And he is hungry.
Hungry.
Hungry to swallow the world.
This was my home.
This was my home.
This was my home.

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Kivalina: III. The Sea Rises

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Kivalina
By Kamala Sankaram (voice, violin)

Kivalina is a small Inuit village of only 1.9 square miles, located on a barrier island in Alaska.  The rising sea level threatens to submerge the village, its people, and their culture.

This work was written for Duo Cortona and premiered in 2014.

II. Hunting the Great Whale
Like the Seal Woman’s Sea-Joy, this is sung without words.

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Kivalina: II. Hunting the Great Whale

Performed by: 
Maren Montalbano, mezzo-soprano
Elizabeth Huston, harp
Rebecca Harris, violin

Kivalina
By Kamala Sankaram (voice, violin)

Kivalina is a small Inuit village of only 1.9 square miles, located on a barrier island in Alaska.  The rising sea level threatens to submerge the village, its people, and their culture.

This work was written for Duo Cortona and premiered in 2014.

I. Home
This.
This is my home.
This is my home: this ribbon of ice and snow, this glimmer in the endless blue.
Cold and caribou drum.
Singing songs of Sedna.
This.
This is my home.
This is my home.
This is my father’s house.
These steps that led to the sea now disappear.
Now disappear into the sea.
Disappear into the sea.
Disappear.
Disappear.
Disappear.

Producer: Daniel Perelstein
Engineer: Peter Richan
Recorded at Buckeye Recording Studios, Philadelphia, PA
Cover Art: Emily Lynn

SEA TANGLE: SONGS FROM THE NORTH is based on myths and folk tales from Scotland, Iceland, Alaska, and New England, written and performed by women. Works by Melissa Dunphy, Emily Lau, Kamala Sankaram, and Marjory Kennedy-Fraser.

Kivalina: I. Home

Maren Montalbano sings "Liber Scriptus" from Verdi's Requiem, with the Lancaster Symphony Orchestra, conducted by Francesco La Vecchia

Verdi - Liber Scriptus

Maren Montalbano sings "Oh! that I on wings could rise" from Handel's Theodora

G.F. Handel - Oh! that I on wings could rise

Maren Montalbano performs "Schlummert ein" (BWV 82/3) by J.S. Bach, from Anna Magdalena Bach's Notebook

J.S. Bach - Schlummert ein (BWV 82)

Maren Montalbano sings "Their land brought forth frogs" from Handel's Israel in Egypt, with Philadelphia Chamber Orchestra, Matthew Glandorf conducting.

G.F. Handel - Their Land Brought Forth Frogs

Recorded live January 2019 at the Philadelphia Episcopal Cathedral with Lyric Fest.
piano: Laura Ward

Snö föll neder på Sankt Göransdagen,
fågeln genomflöge ej dess flingor.
Flickan trampar drifvan bar om foten,
efter henne bär dess broder skorna.
“Kännes ej i dina fötter vinter?”
“Ej min a fötter kännes vinter!”
“Vinter känner jag utimitt hjerta,
dock från snön är vintern ej derinne.
Vintern der är kommen från min moder,
som mig ger åt den, som jag ej älskar!”

Snow fell on St. George's Day,
So thick that a bird could not fly through the snowflakes.
A girl steps in the snow barefoot,
Behind her, her brother is carrying her shoes.
"Do you not feel the winter in your feet?"
"My feet do not feel winter!
Winter I feel in my heart,
But it is not from the snow that I feel winter.
The winter comes from my mother,
Who gives me to one who I do not love."

Translated by Matti Raitta

Tor Aulin - Vinter i hjertat (winter in the heart)

Recorded live January 2019 at Philadelphia Episcopal Cathedral with Lyric Fest
piano: Laura Ward

Скрізь плач, і стогін, і ридання,
несмілі поклики, слабіб
на долю марні нарікання 
і чола, схилені в журбі.

Над давнім лихом України
жалкуєм тужим в кожний час,
з плачем ждемо тії години,
коли спадуть кайдани з нас.

Ті сльози розтроюдять рани,
загоїтись їм не дадуть.
Заржавіють відс ліз кайдани,
самі ж ніколи не спадуть!

Нащо даремнії скоботи?
Назад нема наи вороття!
Берімось краще до роботи,
змагаймось за нове життя!

Translation:
Surrounded by weeping, moaning, and sobbing, 
These meek, inept cries 
Are useless complaints about our fate,
Our foreheads are bowed in sorrow.

Through the long suffering of Ukraine,
Which we, in sorrow and pity, long for at each turn,
With tears we await the hour 
When the shackles will fall from us.

Our tears will cut the wounds, 
So they will never heal,
Our tears will rust the shackles, 
They will never fall off on their own!

Why grieve so fatalistically? 
We have no turning back!
It is far better to take up work, 
and vie for a new life!
- Lesia Ukrainka (1871-1913)

Vadym Kipa - Скрізь плач (Amidst Weeping)

Recorded live January 2019 at Philadelphia Episcopal Cathedral
piano: Laura Ward

Unter den Linden, an der Haide,
wo ich mit meinem Trauten sass,
da mögt ihr finden, wie wir Beide 
die Blumen brachen und das Gras.
Vor dem Wald mit süssem Schall
Tandaradei! Tandaradei!
sang im Thal die Nachtigall.

Ich kam gegangen zu der Aue,
mein Liebster kam vor mir dahin.
Ich ward empfangen als hehre Fraue,
dass ich noch immer selig bin.
Ob er mir auch Küsse bot?
Tandaradei! Tandaradei!
Seht, wie ist mein Mund so roth!

Wie ich da ruhte, wüsst’ es Einer, 
behüte Gott, ich schämte mich.
Wie mich der Gute herzte,
Keiner erfahre das,
als er und ich;
und ein kleines Vögelein,
Tandaradei! Tandaradei!
das wird wohl verschwiegen sein.

Translation:
Under the Linden tree, on the heath,
where I sat with my darling,
there you might find the place where we lay,
where the flowers and grass are bent.
Beyond the woods, with a sweet sound,
“Tandaradei! Tandaradei!”
A nightingale sang in the valley.

I came to the meadow,
my lover came before me.
He treated me like a noble lady,
For that I am still happy.
Did he offer me kisses?
“Tandaradei! Tandaradei!”
See how my mouth is so red!

I lay there, thinking if someone knew,
God forbid, I would be ashamed.
I am a good-hearted girl,
And nobody will know of this,
Except he and I;
and a little bird,
“Tandaradei! Tandaradei!”
Who will keep it secret.

Edvard Grieg - Die verschwiegene Nachtigall (the secret nightingale)

Recorded live January 2019 at Philadelphia Episcopal Cathedral with Lyric Fest
piano: Laura Ward

Af “Haugtussa.” Det syng

Å veit du den Draum og veit du den Song,
so vil du Tonarne gøyma;
og gilja det for deg so mang ein Gong,
rett aldri so kan du det gløyma.

Å hildrande du!
med meg skal du bu,
i Blåhaugen skal du 
din Sylvrokk snu.

Du skal ikkje fæla den mjuke Nott,
då Draumen slær ut sine Vengjer,
i linnare Ljos en Dagen hev ått,
og Tonar på mjukare Strengjer.

Det voggar um Li,
det svævest av Strid,
og Dagen ei kjenner den Sæle Tid.

Du skal ikkje ræddas den Elskhug vill,
som syndar og græt og gløymer;
hans Famn er heit og hans Hug er mild
og Bjønnen arge han tøymer.

Å hildrande du!
med meg skal du bu,
i Blåhaugen skal du 
din Sylvrokk snu.

Translation:
O, you know the dream and you know the song,
you will always retain the notes;
and though time and again you may go astray,
you will never be able to forget.

O you enchantress!
you shall live with me,
on Blue Mountain you shall turn 
your silver spinning wheel.

You shall not fear the gentle night,
when the dream spreads its wings,
to softer strains than daylight can offer,
and music from more delicate strings.

The hill rocks us gently,
all strife fades away,
and daylight does not know these hours of bliss.

You shall not tremble at fiery passion,
that sins and weeps and forgets;
his arms are hungry, and his heart is meek,
and he can tame wild bears.

O you enchantress!
you shall live with me,
on Blue Mountain you shall turn 
your silver spinning wheel.

Translation by Bradley Ellingboe

Edvard Grieg - Det Syng (The Song)

Recorded live on January 2019 at the Philadelphia Episcopal Cathedral with Lyric Fest
piano: Laura Ward

Přeletěl slavíček přes Javorníček,
prišiel k nám dnes večér švarný Janiček.
prišiel on k nám, prišiel, ale neskoro, 
chcel sa on zhovářat, mne sa nescelo.

Translation
As dreams flew over Javorníček,
my lover came to me, the bonny Janiček.
he came to me, late at night,
he wanted to talk, but I did not want to talk at all.

Arne Dørumsgaard - Přeletěl slavíček (As Dreams Flew)

recorded live January 2019 at the Philadelphia Episcopal Cathedral with Lyric Fest
piano: Laura Ward

Tuuti, tuuti tummaistani,
tummaisessa tuutusessa,
tummaisella tuutijalla,
tummaisen tuvan sisässä!
Tuuti lasta Tuonelahan,
lasta lautojen sylihin,
alla nurmen nukkumahan,
maan alla makoamahan;
Tuonen lasten laulatella,
Manan neitojen piellä!
Tuonen tuutunen parempi,
Manan kätkyt kaunosampi,
etevämmät Tuonen eukot,
paremmat Manan miniät,
tupa suuri Tuonelassa,
Manalla majat avarat.

Translation:
Rock, rock my dark one
in a dark cradle,
a dark one rocking in a dark cabin!
Rock the child to Tuonela
the child to the planks’ embrace
under turf to sleep
underground to lie
for Death’s children to sing to
for the grave’s maidens to keep!
For Death’s cradle is better
and the grave’s cot is fairer
cleverer Death’s dames, better
the grave’s daughters-in-law, large
the cabin in Tuonela
and the grave has wide abodes.

Yrjo Kilpinen - Tuuti, Tuuti Tummaistani

Maren Montalbano performs "Pie Jesu" from Requiem, Op. 9 by Maurice Duruflé

Maurice Duruflé - Pie Jesu

Philadelphia mezzo-soprano + traveler + dreamer
✨ sang on 3 GRAMMY® winning albums
✨ member of Trio Eos and The Crossing

Maren Montalbano

Pinned to spotlight

Popular tracks