Click here to see Lanier's Hymns of the Marshes.

March 2, 2008, the Chancel Choir of Glenn Memorial United Methodist Church on the Emory University campus gave a performance reading of Steven Darsey's new setting of Sidney Lanier's "The Marshes of Glynn." Scored for orchestra, soloists and divisi chorus, this performance used a reduced orchestration for piano and organ. Soloists were Cynthia Watters, Katherine Murray, Timothy Miller and Stephen Ozcomert. Todd Skrabanek played piano and Timothy Albrecht, organ. Steven Darsey conducted. For his concert remarks and  program notes go here - Concert

Steven Darsey has been studying the poetry of Sidney Lanier, since 1986, when after his arrival in Atlanta, the late congressman James A. Mackay introduced him to the works of this great poet. When Meridian Herald was founded in 1997, it adopted one of Steven's goals of setting "The Marshes of Glynn," and now all the Hymns of the Marshes to music. Board member Sally  Sears has taken a special interest in advancing Mr. Darsey's setting of the Hymns of the Marshes. Through her unique relationship to the administration of Georgia's Ossabaw Island, Sally invited Steven to the island in 2002, to aid his inspiration for the work. Click here to read Steven's reflection on this trip to Ossabaw.

In 2006, Sally invited the Meridian Herald board and Steven to Ossabaw.  Below is Steven's letter to the retreat attendees, 9/15/06.

Before his death, Lanier grouped four of his poems into a set that he called Hymns of the Marshes.

I   Sunrise - December 1880

II  Individuality - 1878-9

III Marsh Song—at Sunset  - 1879-1880

IV The Marshes of Glynn – 1878

The cycle covers a 24 hour period and each poem has a distinct role. It seems to me since Lanier considered them a unit, the oratorio should comprise them all as well.  I may well write the Marshes first, but it is important that the basic structure of the cycle and musical forms for the individual poems be formulated before I begin writing.  Important to this outline and to the actual composition is understanding the forms and structures of the poems, poetic devices and the meaning that Lanier is conveying through each and the whole. In the hands of a technical and philosophical genius like Lanier, these are complex, subtle and profound, not easily revealing their riches. 
I have read each poem many times and have only yet gained a superficial grasp. No one person can distill this much genius, so I am asking you to help.  I invite each of you to read the cycle, and for those so inspired, to choose one poem that you will analyze in depth and share with the rest of us.  As there are more than four of us, there will be overlap. This is fine, for the poems will speak differently to each of us. You can analyze your poem in any way you like – form, meter, poetic devices, rhetoric, imagery, and/or meaning.  All four are easily found on the internet, or I can forward you a copy.
 

Presenting is not required. Simply listening and sharing in discussion is welcome and helpful.  Nor do you have to attend to contribute.  Our good friend Sue Williams, who is not able to attend, has agreed to analyze “Individuality” and send her work along with us. Anyone is welcome to do the same. Please tell me which poem you are choosing.

Click here to read Steven's reflection on the Ossabaw retreat. Ossabaw 2006

Pictures taken by Steven Darsey (The dates of the pictures do not correspond perfectly to the dates)

October 8       October 9    October 10    October 11  Waldrip Pictures