Eric Whitacre

I remember singing this song for my audition for Iowa All-State, my Choir concert and for my Chamber Choir (so I got to sing this piece 3 times – which I was DEFINITELY happy about!)

This piece was actually the first choral piece that I had ever listened to that actually left me with tear stained cheeks whilst having a lump in my throat and goosebumps all over. Just at the part of "Giving silence"………."For silence"……..*lets out a high pitched squeak!* Nothing is more haunting and emotionally overwhelming that musical silence.

You're right with the 'never kissing' part, it IS – for me at least – THE musical phrase, I could use all kinds of adjectives here, but the point is that it's indescribable. Thank you for having done such a wonderful rendition of this marvellous poem.

this has become my favorite song, even over cloudburst, haha

C'est fabuleux!!!!!!

I am currently working on a project for graduate school at Oberlin Conservatory, where I, in front of my peers, will go through a song and describe the meaning, or what I perceive to be the meaning, behind a particular piece of music – the melodic/harmonic decisions, the choice of text, the theme, etc. When I was assigned this project, A Boy and a Girl immediately jumped into my head as the perfect choice. There is so much beauty in both the notes and the text – I can honestly think of no better combination which I have heard, performed, seen, or read. The richness is ineffable at times, and is enough to bring tears to the eye of most any music listener and appreciator.

I was struck by Delia's (4/12/10) comments, about this progression of a relationship, and the love between the "boy" and the "girl." In the end, aren't we all supposed to be children at heart? I wonder if that is the message behind the poem – not to loose this childlike purity of love, one that simply loves wholeheartedly. I also wonder if this progression, when we do become "stretched out underground," continues even beyond the scope of this life. I say this because of the continuing hums in the choral parts. Love is eternal, and perhaps when we do reach the conclusion of life, we return to the initial childlike innocence of when we first fell in love, suggested by the specific section the choir hums ("Stretched out on the grass….like waves, exchanging foam" – the first encounter and early moments in the relationship). Granted, there are many ways of interpreting this incredible piece. I only offer my thoughts and perspectives.

Mr. Whitacre, thank you for all you contribute musically. It is people like you who suggest so strongly the need for continuing music exposure and participation, both in schools and in various capacities as adults. We, the current and future teachers in this country, owe you more than we can possibly give.

I absolutely LOVE this composition. The sound resonates beautifully!

This was actually the first piece of yours I heard. Well, actually, first CHORAL piece. It was two years ago, and our school band did a quick run-through/sight-read of October and I was thinking something along the lines of:

"omgholycrapIgottalookthisguyupthismusicisamazingomgomg."

And so, I found your blog, scrolled down a tad, and saw your post about arranging this piece for strings. So I listened to it and my jaw dropped about a foot.

Then I got to the 2:51 mark (on the string version) and my jaw dropped an additional 2 feet.

I guess all I can say is, thank God your friend "tricked" you into joining that choir. ;-)

On top of everything that has been said I think the imagery of the waves and the clouds needs some attention. At first I thought the prase about the beach should be paired with the phrase about the waves. They go together, right? Wrong.

In the beginning stages of love kisses come and go like innocent, quick waves. Deeper into the relationship, the kisses tend to be more passionate and long-lived, like clouds colliding and hanging together in perfect harmony until a gust of high-altitude wind breaks them apart, or makes them dissapate.

The text is equally as genius as the musical composition. Great choice. I really enjoy your work.

Becca McNeil, Sapulpa, OK

Where can I buy the orchestral version of this song? I am unable to find it.

I love this piece, it's really spectacular. I do think it's interesting how it's changed over the years tho.

I think I liked "stretched out underground" with the original harmony; and similarly "never kissing" in it's originally written state where the tenors didn't anticipate the "ne(ver ki-".

Again, huge fan of the work, but it's interesting to see it become something different.

I love all of your music! But this one makes me shiver when I listen to it! So beautiful!!!

Absolutely beautiful, Eric. I found those 4 measures to cut right through to my heart and bring out the longing of never being able to kiss my love again.

Thank you so much for sharing your thoughts and feelings with the rest of us. I am a better person for having listened today.

Mr. Whitacre, i am honored to write this message to you. You are an inspiring and amazing composer who gives me this indescribable and euphoric feeling through your music. I am a highscool student and you are a light to a lot people my age.

~Josh

I’m not a native speaker, so the first time I heard this piece, not knowing what it was all about, I didn’t think much of it. Now, after a couple of months I decided to give it another try, this time by following the lyrics on screen.
I’ll just say that when I heard the “never kissing” part, it made me cry. I couldn’t believe one can put so much beauty and sorrow at the same time in these two words. I immediately decided to check what you wrote about it, and you saying: “…the four measures that musically paint the text ‘never kissing’ may be the truest notes I’ve ever written.” shocked me beyond belief.

I had to post something that hasn’t been brought up about this piece….and that is purity. I have been studying choral music for most of my life and though I no longer sing in a professional group (unfortunately, Chicago doesn’t have many options when it comes to singing modern a cappella music), I still obsessively listen and arrange choral music with Eric and Arvo Part as my main influences.

My last “hurrah” was singing this piece of music last year at Carnegie Hall (with Eric directing). I was there as an individual (not there with another choir), and I would be willing to bet I was the oldest one in the choir! It was at that moment, after finishing this song, that I realized my choral “career” was complete. After hearing the string version of this song, I realized the true meaning (to me) of this piece of music. It’s not the words, but the chords…..the constant pulling/tension, flow, suspensions, etc… It’s the purity of the chords that makes this piece so amazing. This poem could never be arranged differently….

Eric, you have set the benchmark a little too high with this one :-) I only hope that when my daughter is old enough, she will appreciate not only your music, but choral music as much as I do. I am afraid though that choral music, especially in high school, is becoming a lost art. I do not believe that those sitting on the school boards, senators, governors, congress, do not realize the impact that ANY music can have on someone. Eric, thank you…your contribution to music will be studied, enjoyed, and loved for generations.