This page uses cookies
By clicking “Accept All”, you agree to the storing of cookies on your device to enhance site navigation, analyze site usage, and assist in our marketing efforts. View our Privacy Policy for more information.
.jpeg)
Librettists: Kirke Mechem
Instrumentation: chamber orchestra or piano
(May be staged, semi-staged or performed in concert)
1221 2110. 1 perc. hp. str.
Solo voices: Soprano, Tenor, Baritone, Bass
SATB chorus and SA children’s chorus
Nearly every version of the Befana parable shows her as an old woman in a small village. Her compulsive sweeping brings ridicule from the children of the villagers. She is visited by the Magi on their way to Bethlehem to deliver gifts to the new-born Baby King. They invite her to join them, but she declares that she is too busy with her housework, and promises to join them later. When she realizes her mistake the next day, it is too late. Every year on Epiphany night Befana is doomed to fly on her broom with her gifts, searching for the baby. She leaves candy and gifts at every house where there are young children. The lesson of the story, sung by all, is “Put off your toiling and let love in.”
The work is a reinvention of the 16 th -century Italian madrigal comedies of Vecchi, Banchieri and others. For the music I have chosen simplicity of expression. I have often used the styles of early music, especially Italian, including the ancient church modes. The introduction, for instance, is written almost entirely in the Phrygian mode, and is based upon the time-honored use of a descending scale.
“. . . brilliant beyond words.”
— Cheryl Anderson, conductor, Cabrillo Symphonic Chorus
. . . what glorious music and such a heartwarming, human story. I love the piece; it’s lovely and magical.
— Elena Sharkova, conductor, Symphony Silicon Valley Chorus
". . . a delightful departure from traditional holiday fare, blending heart and musical brilliance."
— Matthew Martinez, Artistic Director, Long Beach Chorale and Orchestra
"Befana was gloriious! The audience loved it."
— Kristina Nakagawa, conductor, Resounding Achord Chorus
"Another Mechem hit!"
— Charlene Archibeque, conductor
I have found more than a dozen different versions of the Befana legend, celebrated each year by Italian children and their families. The fables have much in common, but they offer varying details. Mine is a selection and expansion of the versions that most appeal to me. The only borrowed phrases are in the final stanza, which has been adapted from part of a poem by Phyllis McGinley (1905-1978), “The Ballad of Befana.” This was the poem that inspired me to find out more about this poignant parable.
For the music, I have chosen simplicity of expression. I have often used the styles of early music, especially Italian, including the ancient church modes. The introduction, for instance, is written almost entirely in the Phrygian mode, and is based upon the time-honored use of a descending scale.
The work is a reinvention of the 16th-century Italian madrigal comedies of Vecchi, Banchieri and others. Those were not always comedies — the name “madrigal comedy” was coined by a musicologist in the 20th century — but they were always stories with plots and various characters, using not only madrigals but other types of ensembles and soloists. Sometimes called the precursors of opera, they were performed with staging and costumes, which can be used in Befana. The work offers many opportunities for imaginative projections, whether performed as opera or choral theater.
— K. M.