DEBUT ALBUM

DEBUT ALBUM

ABOUT VAMP

Conceived pre-pandemic and born in March 2020, VAMP is a vocal quintet of formidable female artists touting a motley songbook and a bold red lip. Versatile in style and genre, they are committed to programming and commissioning new work and making classical vocal music relatable for audiences.

VAMP Vocals seeks to create unconventional musical experiences that embrace vulnerability and emotional intensity and provide audiences with a unique ​women-led perspective and a renewed sense of connection to their community, themselves, and the world.

vampvocals.com
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NOTES ON THE ALBUM

Some of the music on this album has been with VAMP since March 2020 when we were rehearsing in parking garages and backyards, our voices like the very birds we sang about, soaring across space to reach one another. You'll hear pieces that were born from our lived experience as women, honed by impossible and paradoxical pressures. Other songs serve as a peaceful refuge, or in some cases, a plea for peace. This debut album is a hallmark in our collective and individual journeys as singers, composers, poets, producers, business owners, and friends. We hope you can hear in every chord and line all the love we have for this music and each other. Thank you for listening.

CREDITS

VAMP

Adrienne Pedrotti Bingamon
Mary Ashton Gray
Katrina Saporsantos
Page Stephens
Laura Mercado-Wright


Engineered by Jett Galindo (Muni Sound
Produced by Jordan Walsh
Photography & Album Art by Nathan and Amy Russell
Recorded in Austin, TX

TRACK LIST

First Bird
Music & lyrics by Laura Mercado-Wright, 2024
Laura Mercado-Wright, Adrienne Pedrotti Bingamon, Mary Ashton

Be Like the Bird
Composed by Abbie Betinis, 2009
Text by Victor Hugo
VAMP 

Dolce Cantavi
Composed by Caroline Shaw, 2015
Poetry by Francesca Turini Bufalini
Page Stephens, Adrienne Pedrotti Bingamon, Laura Mercado-Wright

Il vostro dipartir
Music & text by Maddalena Casulana, 1570
Adrienne Pedrotti Bingamon, Mary Ashton, Page Stephens, Katrina Saporsantos

I Have Come to Bury Love
Composed by Remel Derrick, 2020
Poem by Sara Teasdale
Adrienne Pedrotti Bingamon, Mary Ashton, Page Stephens

Daytime Atheist
From A Point on a Slow Curve
Music & text by Dana Lyn, 2019-2021
Mary Ashton, Adrienne Pedrotti Bingamon, Page Stephens, Laura Mercado-Wright

Inertia
Music & text by Laura Mercado-Wright, 2021
Mary Ashton, Page Stephens, Laura Mercado-Wright

The Smell of Rain
Composed by Peter Stopschinski, 2023
Text by Danila Stoianova and Peter Stopschinski
VAMP

Silver Dagger
Appalachian traditional arranged by Linda Kachelmeier, 2015
VAMP

Smile
Original tune by Charlie Chaplin, arranged by Adrienne Pedrotti Bingamon, 2023
Lyrics by John Turner and Geoffrey Parsons
VAMP

Smile
Music & lyrics by Laura Mercado-Wright, 2023
Adrienne Pedrotti Bingamon, Mary Ashton, Katrina Saporsantos, Page Stephens

As a Woman
Composed by Joan Szymko, 1988/2013
Text by Virginia Woolf
VAMP

Anthem
Composed by Laura Mercado-Wright with contributions from Adrienne Pedrotti Bingamon, 2020
Erasure poetry from The Star Spangled Banner by Francis Scott Key
VAMP

Meditation
Composed by Adolphus Hailstork, 2014
Philippians 4:8 (King James adapted)
VAMP

PROGRAM NOTES


  • for Lianna


    This song came to me one morning when a sparrow outside my window woke me up well before sunrise. I couldn’t go back to sleep, and instead was inspired to write about the relentless bird, singing alone, determined to bring on the day all by herself. The lyrics evolved into a metaphor for a dear friend and one of the bravest souls I know. — Laura Mercado-Wright

    First bird
    Tugging at the morning light
    That first bird
    Calling others to be brave
    That first bird
    To shout out the night
    That first bird
    She is not afraid
    First bird
    Follow first bird
    See where she roams 
    Keep her company
    And lift her wings
    When she tires
    All the way back home
    First bird

01 First Bird
02 Be Like the Bird
  • Minnesota-based composer Abbie Betinis wrote this canon just after completing cancer treatment for the second time.

    My family and I sent it out as our annual Christmas card in 2009. And – while I couldn't have foreseen it at the time – it would turn into my mantra over the next year, while I underwent a third cancer diagnosis and bone marrow transplant.

    My cousin Sarah Riley and I discovered the text quite by accident. In October 2009, our grandfather, the Rt. Rev. John H. Burt (a.k.a Christmas reveler and merry-maker, lover of music and literature, and inspiring leader and activist) had died. After his funeral, and after an impromptu family round-sing (common in the Burt family), Sarah and I were sitting on Grandpa's old couch, reading through some of the sermons he had written and delivered throughout his long life. Sarah is co-director of an incredible program called High Rocks, a comprehensive and unique school for girls founded by her mom, Susan Burt, in the mountains of rural West Virginia.

    Sarah and I realized that Grandpa had quoted this lovely Victor Hugo text in a few sermons over the years, always to inspire courage in the face of adversity. It struck me as a surprisingly hopeful text befitting a difficult year, but it also moved me to tears to think of the work that my Aunt Susie and now my cousin herself, sitting there next to me on the couch, are doing to change the world – one girl at a time.

    So I dedicate this carol to High Rocks for Girls. May High Rocks continue to educate, empower, and inspire each girl to know that “she hath wings.

    – Abbie Betinis

    Be like the bird that, pausing in her flight awhile on boughs too slight, feels them give way beneath her – and sings – knowing she hath wings.

03 Dolce Cantavi
  • Composer Caroline Shaw composed “Dolce Cantavi” for TENET Vocal Artists and used as her inspiration a poem written by 16th-century Italian poet Francesca Turini Bufalini.

    Bufalini was the first Italian woman to write autobiographically, detailing her life experiences, emotions, and even the places she lived in her poems. After being driven out of her home in Umbria by her sons, she sought refuge at the Colonna Palace in Rome with Duchess Lucrezia Tomacelli. She was very happy there for eight years until the Duchess’s sudden death, forcing Bufalini to return to Umbria. This poem speaks of the lovely little bird who has gone away and we imagine Bufalini speaking directly to the Duchess, longing for her impossible return.

    Vago augellin, che per quei rami ombrosi
    dolce cantavi a minüir mie pene,
    di sentirti al mio cor gran desir viene
    per fare in tutto i giorni miei giocosi.

    Deh vieni, e teco mena i più famosi
    cantor che quella selva in sen ritiene,
    ché goderete in queste rive amene,
    ed a l'estivo dì starete ascosi.

    Il boschetto vi attende, e 'l bel giardino
    là dove in fra le fronde e l'onda e l'ora
    gareggian mormorando a me vicino.

    A cantar sorgeremo in sul mattino:
    io con le Muse invocarò l'aurora,
    e voi col vostro gorgheggiar divini.

    Lovely little bird, who, among those shady branches,
    used to sing so sweetly to mitigate my sorrows,
    a great desire comes to my heart to hear you again,
    to make my days complete in their joy.

    Come, and bring with you the most famous singers
    that the forest nurtures in its breast,
    for you will have the pleasure of these fair waters
    and be hidden away from the heat of the summer day.

    The little wood awaits you, and the lovely garden where,
    among the leaves, the ripples and the breeze
    compete in their murmuring beside me.

    We will rise together before sunrise:
    I will herald the dawn with the Muses,
    And you with your warbling divine.

04 Il vostro dipartir
  • Maddalena Casulana was an Italian composer, lutenist and singer of the late Renaissance. She is generally accepted as the first female composer in the history of western music to have had a whole book of her music printed and published.

    Her first book of madrigals was dedicated to Isabella de' Medici and in it, she writes of her desire to “show to the world…the vain error of men, who so much believe themselves to be the masters of the highest gifts of intellect, that they think those gifts cannot be shared equally by women.”

    Il vostro dipartir was published in 1570 in Casulana’s second book of madrigals for four voices.

    Il vostro dipartir, donna, mi diede noiosa vita
    E con si dubbia spene di voi, caro mio bene
    Ch’alti si n’pera di ciò fia cagione
    Le vostr’alme virtut’ al mondo sole
    E rio timor mi spinge ond’ i miei lumi
    Sembran d’amare lacrime duo fiumi.

    Your departure, lady, leaves my life insipid
    And my hope for you is so unsure, my dearest,
    That I aspire to nothing less
    Than your soul, the only virtue in the world.
    And fear moistens my eyes repeatedly
    As if they were two streams of bitter tears.

05 I Have Come to Bury Love
  • Remel M. Derrick is a composer, church musician, and choir director based out of Abilene, Texas, who was inspired by the poetry of American poet Sara Teasdale for this piece.

    This beautiful poem…is filled with insightful emotion, and is an accurate description of the human love relationship. The irregular meter was chosen because of the inconsistency and the irregularity of loving someone and anyone. The minor key depicts the overall sad tone of the poem, and the F major chord found in measure 30 on the word “joy” seems to come as a surprise, but returns to the f minor tonality for the rest of the piece. The resolute determination to go on, even while suffering, is a major theme of this work.

    – Remel Derrick

    I have come to bury love
    Beneath a tree,
    In the forest tall and black
    Where none can see.

    I shall put no flowers at his head,
    Nor stone at his feet,
    For the mouth I loved so much
    Was bittersweet.

    I shall go no more to his grace,
    For the woods are cold.
    I shall gather as much of joy
    As my hands can hold.

    I shall stay all day in the sun
    Where the wide winds blow,
    But oh, I shall cry at night
    When none will know.

06 Daytime Atheist
  • Dana Lyn is a Brooklyn-based composer, violinist/fiddler, pianist, visual artist, and enthusiastic bass player, and her favorite thing to do is to make albums. Her most recent album, A Point on a Slow Curve, features a suite of music for septet and four voices, inspired by visual artist Jay DeFeo’s monumental painting, The Rose (1958-1966), which stands 11 feet tall and weighs almost a ton. “Daytime Atheist” is the fourth movement of this work, the premiere of which took place in Austin in January 2019 and featured Page and Adrienne as singers.

    sirens of doubt and unease
    drowning the memory of sleep achieved
    of evenings perched
    a distance away from our dreams
    what I believe falls to nothing
    when thoughts like these uninvited
    are cited, ten thousand nights
    we lurch towards a state of reprieve
    calm were the nights before these
    when we accepted what we couldn’t see
    halfway believing we’re part of the rainfall
    we become part of the chord
    what I believe in the daylight
    makes me forget how at nighttime
    I resign but still cannot find
    a way in or out of extremes

07 Inertia
  • In the midst of the pandemic, I spent a lot of time talking to a young friend of mine, who had been my voice student from grades 6-12. He was a sophomore at Lawrence University in the spring of 2020, and was sent home to complete the next few semesters from his parents’ house in Austin. I felt so much compassion for the interruption of his life, and the insecurity of the coming years. I found myself thinking of him often during those months, and that turned into musings in writing, and then finally developed into this piece, originally written for tenor/baritone/bass. Inertia is an acknowledgment and an encouragement for David, and for all my students and young friends who have weathered this time with courage. It was premiered on David’s undergraduate senior recital in May 2022.

    – Laura Mercado-Wright

    Last night, I dreamt an apple fell from its tree
    And instead of resting on the ground
    Burst forth through the crust of the Earth
    As if the God Inertia, Negator Of Art,
    Son of Ignorance and Bliss
    Lost his grip in that moment
    and we went careening through space
    For I was now that apple,
    Sudden with purpose and free of external force.
    Seeking my own way,
    Spinning,
    Elated
    Thrust in an instant into the infinite possibilities
    of every and only, never and yet
    My notions suspended,
    Time was no more

    From this silence
    A fresh spark
    (flashing, daring to catch)
    The friction of free thought
    (flashing, daring to catch)
    My hands, my heart
    Flames pulsed and rose, called me by name
    And said,
    “Forge yourself here, in the fire of this moment, in the fire of a new momentum.”
    A new moment, clocks chimed again

    When I awoke,
    My heart still pulsing with flame,
    I knew in that moment
    The true weight of sand and flesh,
    And flung myself to the open window
    Just as an apple began to fall

08 The Smell of Rain
  • “I heard VAMP for the first time in the Draylen Mason Studio during the KMFA Unofficial SXSW 2023 concert and was so moved by their sound and artistry that I went home that night and wrote this piece for them. I often stay up very late into the night and on this night snippets of melody kept cycling through my head until I was compelled to form them into a piece of music.  The lyrics are a sort of mashup of unconnected verses.  I had been reading the poetry of Bulgarian poet Danila Stoianova and rather than set any particular poem of hers, I scanned through the collection and chose individual lines.  I even added some lines of my own. The next day I sent VAMP “The Smell of Rain,” completely unsolicited, and I am so grateful to them for their generosity with their time in giving this music a performance.” --Peter Stopschinski


    When I have fallen, fallen to sleep,
    I feel the grass grow on my feet.
    Sunny roses on my toes
    And air that’s crystal and cold.
    It’s so good to let my mind glow bright
    In solitude and light.

    When I have fallen, fallen to sleep,
    And my mind is cool, clean, and neat,
    My tears fall icy on the night,
    Passionless, pale, orange, white.
    The moon divides herself in two,
    And all the sad and crude
    sinful hymns weep in the cold,
    But the rain smells fresh and new.

09 Silver Dagger
  • This arrangement of a traditional Appalachian folk song by Minnesota-based composer, conductor, and singer Linda Kachelmeier has challenged us to find a new voice and connect to an age-old story. It’s a display of empowerment through heartbreak and desperation that we found very moving. 


    Don’t sing love songs, you’ll wake my mother,
    She’s sleepin’ here right by my side.
    And in her right hand, a silver dagger,
    She says that I can’t be your bride.

    “All men are false” says my mother,”
    “They’ll tell you wicked, lovin’ lies
    And the very next evenin’, they’ll court another
    And leave you alone to pine and sigh.”

    My daddy is a handsome devil
    He's got a chain five miles long,
    And on every link a heart does dangle
    Of another maid he's loved and wronged.

    Go court another tender maiden
    And see if she will be your wife
    For I've been warned and I've decided
    To sleep alone all of my life.

10 Smile
  • This piece developed out of an honest and spontaneous question that popped into my head one day: Why do we always smile? The “we”, in this case, being women. It is so automatic for many of us to smile, for reasons other than to express happiness, and often it’s because we are told to do so. I wanted to explore the possible responses, if we did not bend to social norms and expectations. This led me into a dark fantasy, filled with gnashing teeth and carnage. I wanted to hint at the deep resentment and power that can be repressed behind our smiles, and also celebrate the grace and patience we exercise in not resorting to more extreme responses to the casual misogyny we experience on a daily basis. The barbershop-inspired style is meant to root the piece in gentile, polite society, juxtaposed with the menacing intent of the text.
    –Laura Mercado-Wright



    Why do we always smile?
    Why do we always smile for you?

    “You’d look prettier if you’d smile.”
    “Oh, darlin’, why don’t you smile?”
    “Come on baby, give me a smile.”

    See?
    See my teeth?
    Can you see my teeth, sir?

    Now, don’t you let these pearly whites fool you.
    It doesn’t take much pressure to penetrate flesh,
    And we’re packing a hundred and sixty-two pounds per square inch.

    Think of the carnage.
    Think of the mess.
    We hope that we don’t need to be more explicit than this.

    So the next time you’re compelled to tell a woman to smile,
    Please kindly turn around and fuck off.
    ‘Cause we are so tired, so awfully tired, of smiling
    For you.

    (And now I only smile for me.)

11 As a Woman
  • American composer Joan Szymko was inspired to write "As a Woman" after having participated in the 1983 encirclement of the Boeing Cruise Missile Plant in Kent, WA sponsored by the Puget Sound Women's Peace Camp.

    This event had been inspired by the massive protests to a proposed American cruise missile site at Greenham Common, England. I saw this quote by Virginia Woolf painted on a placard being carried by another participant. The quote is from Virginia Woolf's "Three Guineas" (1937), a long essay on her views about war and women, and how to prevent war.

    – Joan Szymko

    As a woman, I have no country
    As a woman, I want no country
    As a women, the whole world is my country*


    (* original wording of third line: "as a woman, my country is the whole world")

12 Anthem
  • One of the first ideas we had when VAMP formed in March 2020 was to develop our own arrangement of The Star Spangled Banner. I started with the melody and Adrienne came up with a descending chromatic soprano line that really inspired me, and I decided to create an erasure poem of our four stanza national anthem, highlighting and pointing to the words within the lyrics that harbored a deeper, more poignant meaning. It felt particularly relevant to reflect on these lyrics during the tumultuous summer of 2020, when many of us were re-examining our relationship to this country, its ideals and each other.

    – Laura Mercado-Wright

    O say, can you see we hailed the perilous fight?
    We watched the red glare through the night

    O say, does that Star-Spangled Banner yet wave, ore the land of the free and the home of the brave?

    Don’t seen through mists of deep, haughty, dread silence,
    Fitfully half concealed, half disclosed

    O say, does that Star-Spangled Banner yet wave, ore the land of the free and the home of the brave?

    Where war and battle their blood washed out,
    No refuge from terror, flight, gloom, or grave

    O say, does that Star-Spangled Banner yet wave, ore the land of the free and the home of the brave?

    When freemen stand between victory and peace, praise power and conquer,
    In God we trust

    O say, does that banner yet wave
    Ore the free and the brave?

13 Meditation
  • Adrienne bought this piece on a whim, sight unseen, and without having heard any recordings of it, only knowing that Hailstork was a venerated living composer. Based on a passage from Philippians 4, the piece was composed to celebrate the 20th anniversary of the Virginia Children’s Chorus but we feel like it’s accessible to people of all ages and loved its lush harmonies and sense of wonder and introspection.

    Think on these things

    Whatever is true, whatever is honest, whatever is noble,
    whatever is just, whatever is kind, whatever is pure, whatever is lovely.

    If there is any virtue, anything worthy of praise.

    Think on these things

GRATITUDE

This album was made possible by an awful lot of support from our families, friends, and especially our Austin music community. Special thanks to the following folks who donated $500 or more:

Brad King
Jess Chapin & Laurie Eiserloh
Stephen Tyler
LisaDiane and Joey Etheredge
Becky & Ted Mercado
Jonathan Riemer
Suzanne Pence
Connie & Rex Esau
Elena Goyanes
Mindy & Stuart Ashton
Steven Sérpa
Phyllis & Thomas Lane Keller
Mark & Buffie Stephens
Mary Ellen Poole
Lynne Dobson & Greg Woodridge

And thank you to the many others that financially supported this project!

Massive thank you to Nathan and Amy Russell who drove all the way from Colorado to photograph us, and to Nathan for designing our debut album cover. They donated their skills and artistry to support us. Their friendship and support is a huge gift. 

We’d also like to recognize Shari Alise Wilson, who was one of our original founding members and helped shape some of the repertoire on this album.