For Our Common Home
Linda J. Chase, composer
FOR OUR COMMON HOME – Resounding Ecojustice is an impassioned appeal to preserve the Earth that nourishes us — and like its subject, it is ethereally beautiful. This oratorio is based on Laudato Si’, an encyclical issued by Pope Francis calling on humanity to acknowledge the urgency of the environmental crisis and work toward building a just and sustainable world. Inspired by a canticle of St. Francis of Assisi, the message focuses on environmental justice, addressing the impact of the climate crisis on the most vulnerable communities.
The music transcends pre-existing concepts of stylistic boundaries blending classical, jazz, gospel, and klezmer idioms, with vocal styles ranging from whispered text to full-throated anthems. FOR OUR COMMON HOME highlights compassion and solidarity and relates its message through its sheer beauty, communicative power, and skillful use of text. Immediate beauty, but with depth — much like nature itself.
Track Listing
# | Title | Composer | Performer | |
---|---|---|---|---|
01 | Prelude | Linda J. Chase | Holly Druckman, conductor | 4:39 |
02 | We Come Together | Linda J. Chase | Burcu Gulec, mezzo-soprano; Stuart Ryerse, recorder; Aimee Toner, flute; Holly Druckman, conductor | 5:37 |
03 | Prayer for Our Common Home | Linda J. Chase (Adapted from, "A Prayer for Our Earth", Laudato Si') | J'adon Brooks, baritone; Stan Strickland, soprano saxophone; Holly Druckman, conductor | 3:11 |
04 | Interlude I | Linda J. Chase | Aimee Toner, flute; Anna Unchu Pyon, piano | 0:56 |
05 | Languages of Trees | Linda J. Chase | Sarah Welden, soprano; Burcu Gulec, alto; Wei En Chan, alto; Teri Kowiak, alto; Kyle Seniw, tenor; J’adon Brooks, bass; Nathan Halbur, bass; Jennifer Hruska, electronics; Thomas Schmidt, percussion; Stuart Ryerse, piano; Holly Druckman, conductor | 4:24 |
06 | Interlude II | Linda J. Chase | Aimee Toner, flute; Abigale Reisman, violin, Elizabeth Abbate, violin; Carla Kihlstedt, violin; Carson McHaney, violin; Arjun Mudan, viola; Lysander Jaffe, viola; Thomas Barth, cello; Adithya Muralidharan, cello; Kirstan Lamb, double bass; Jennifer Hruska, electronics | 1:33 |
07 | Laudato Si' | Linda J. Chase | Kat Skafidas, voice; Holly Druckman, conductor | 7:43 |
08 | Sister Cries Out | Linda J. Chase | Carla Kihlstedt, voice; Sarah Matsushima, voice; Stan Strickland, soprano saxophone; Holly Druckman, conductor | 4:37 |
09 | We Are Not God | Linda J. Chase | Burcu Gulec, mezzo-soprano; J'adon Brooks, baritone; Mark Berney, trumpet; Holly Druckman, conductor | 5:06 |
10 | Harmonize with Creation | Linda J. Chase | Carla Kihlstedt, voice; Aimee Toner, flute; Holly Druckman, conductor | 5:12 |
11 | Interlude III | Linda J. Chase | Aimee Toner, flute; Mark Berney, trumpet | 0:32 |
12 | God of Creation, God of Liberation | Linda J. Chase | J’adon Brooks, baritone; Holly Druckman, conductor | 5:03 |
13 | Where is Your Brother? | Linda J. Chase | Kat Skafidas, soprano; Kyle Seniw, tenor; George Lernis, percussion; Thomas Schmidt, percussion; Holly Druckman, conductor | 6:00 |
14 | Interlude IV | Linda J. Chase | Lysander Jaffe, viola; Diane Heffner. Bass Clarinet | 1:37 |
15 | Breathing | Linda J. Chase | Holly Druckman, conductor | 4:00 |
16 | We Are Dust | Linda J. Chase | Burcu Gulec, mezzo-soprano; J’adon Brooks, baritone; Thomas Barth, cello; Adithya Muralidharan, cello; Abigale Reisman; violin; Stan Strickland, soprano saxophone; Anna Unchu Pyon, piano; Hankus Netsky, piano; Holly Druckman, conductor | 8:25 |
17 | They Are Not Recognized | Linda J. Chase | Carla Kihlstedt, voice; Kyle Seniw, tenor; Holly Druckman, conductor | 5:50 |
18 | What Does Earth Need? | Linda J. Chase | Carla Kihlstedt, violin; Stan Strickland, soprano saxophone; Hankus Netsky, piano; Holly Druckman, conductor | 2:28 |
19 | Interlude V | Linda J. Chase | Stuart Ryerse, piano | 1:27 |
20 | Gratitude | Linda J. Chase | Holly Druckman, conductor | 3:12 |
21 | Interlude VI | Linda J. Chase | Diane Hefner, bass clarinet; Thomas Schmidt, percussion; Adithya Muralidharan, cello; Kirstan Lamb, double bass | 2:55 |
22 | Preach to the Flowers | Linda J. Chase | J'adon Brooks, baritone; Stan Strickland, soprano saxophone; Anna Unchu Pyon, piano; George Lernis, percussion; Kirstan Lamb, double bass | 5:36 |
23 | Beyond the Sun | Linda J. Chase | Holly Druckman, conductor | 4:27 |
24 | Let Us Sing As We Go | Linda J. Chase | Sarah Brindell voice, Stan Strickland, soprano sax; Stuart Ryerse, piano | 3:09 |
Recorded May 24-27 2022 at Fraser Performance Studio, WGBH in Boston MA
Engineer Antonio Oliart
Editing, Mixing, Mastering Antonio Oliart
Cover Photo Autumn Chase-Dempsey
Executive Producer Bob Lord
Artistic Directors, Albany Records Peter Kermani, Susan Bush
VP of A&R Brandon MacNeil
A&R Danielle Sullivan
VP of Production Jan Košulič
Audio Director Lucas Paquette
VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Kacie Brown
Digital Marketing Manager Brett Iannucci
Artist Information

Linda Chase
Composer, improviser, and flutist Linda J. Chase writes instrumental chamber music, choral pieces, jazz, and experimental music. Blending the boundaries between improvisation and composition, she explores creating music beyond categorization and often focuses on themes of peace and justice. She draws inspiration from the natural world and seeks connections between music, nature, and spiritually. Chase is a professor at Berklee College of Music and New England Conservatory where she teaches Ecomusicology, Music, Spirit & Transformation, and leads the Interdisciplinary Arts Ensemble. Her Japan Foundation Fellowship (coinciding with 2011 Tohoku Earthquake and Tsunami) resulted in music incorporating the poetry of Shikibu, Ono no Komache, and Jane Hirshfield. This led to a collaboration with Hirshfield and a suite of songs called Hope is the Hardest Love We Carry,which was performed at the Museum of Fine Arts in Boston and New England Conservatory. Chase was Artist in Residence at Grand Canyon National Park where she composed Grand Canyon Sketches for voice and string quartet. While Artist in Residence at the Morris Graves Institute, she wrote First Comes Darkness then the Moon for flute, cello, and rhythm section. As composer in residence at Old Cambridge Baptist Church she composed The City is Burning, a concert length multi-media piece drawing on multi-faith sacred texts and poetry.
Chorus & Orchestra
Conductor
Holly Druckman
Violin
Elizabeth Abbate
Carla Kihlstedt
Abigale Reisman
Carson McHaney
Viola
Lysander Jaffe
Arjun Mudan
Flute
Aimee Toner
Clarinet/Bass Clarinet
Diane Heffner
Trumpet
Mark Berney
Percussion
Thomas Schmidt
George Lernis
Cello
Thomas Barth
Adithya Muralidharan
Sebastian Ortega
Double Bass
Kirstan Lamb
Piano, Recorder
Stuart Ryerse
Soprano
Kat Skafidas
Laura Thomas
Sarah Welden
Alto
Burcu Gulec
Wei En Chan
Teri Kowiak
Tenor
Kyle Seniw
Rian Grimmer
Peython Echelson-Russell
Bass
J’adon Brooks
Nathan Halbur
Notes & Libretto
Our goal is not to amass information or to satisfy curiosity, but rather to become painfully aware, to dare to turn what is happening to the world into our own personal suffering and thus to discover what each of us can do about it. (Pope Francis, 2015)
FOR OUR COMMON HOME – RESOUNDING ECOJUSTICE lifts up humanity’s urgent need to heal our relationship with Earth and each other. This oratorio was commissioned by world renown theologian Dr. Harvey Cox and is based on Laudato Si’ — an encyclical issued by Pope Francis. Laudato Si’ calls on humanity to acknowledge the urgency of the environmental crisis and work toward building a just and sustainable world. Inspired by a canticle of St. Francis of Assisi, the message focuses on environmental justice, addressing the impact of the climate crisis on the most vulnerable communities.
This cross-genre oratorio for chorus, soloists, and chamber orchestra draws from sacred choral music, contemporary classical, jazz, gospel, and klezmer traditions. Contemplative instrumental interludes in between vocal movements lead the listener from one movement to the next guiding shifts in mood or harmony and inviting a moment to reflect on the text which has just been sung.
The music engages the performers with the audience in a shared communal experience. The composer creates this environment by including soloists influenced by a wide range of traditions from around the world. The piece’s inclusivity is, in itself, a metaphor for “Our Common Home” and how we all need to participate in care.
References to Earth crying out calls attention not only to the devastation wrought by climate change but also endangered species of animals, racism, violence against women, systems of oppression, and climate refugees on perilous journeys. It is no accident that the piece’s genesis during COVID-19 corresponds to a time when people came together to demand that “injustice be defeated in the land” with protests accelerating around the world with the Black Lives Matter movement. This piece is an effective musical parallel with poetic text portraying God as a “God of liberation” and inviting us (as does St. Francis) to see nature as a magnificent book and, above all, asking humanity to “harmonize with creation.” The oratorio weaves songs of celebration along with reflection on the planetary crisis, calling for participation in movements for social and environmental transformation. The composer interprets the text as a call to action.
Pope Francis wrote to the composer:
“I very much appreciated your work. Thank you for your sensibility and commitment. The world constantly needs to be made aware of the importance of the care for our common home. Please continue with zeal, joy, and creativity.” (Pope Francis)
Origin & Inspiration
In March of 2020, theologian Harvey Cox commissioned me to compose an oratorio based on Laudato Si’. The text addresses the impact of the environmental crisis on the most vulnerable communities and speaks out against systems of oppression, reminding us that we are all siblings.
Laudato Si’ challenged me to write music that could invite conversations addressing injustice and what it means to rebuild our common home. Guided by the text, the music reflected what was happening in the world. I began writing at the beginning of the COVID-19 lockdown. That summer there were uprisings in the streets in response to the murder of George Floyd. This was for many, the first time to gather since the beginning of the pandemic, coming together to demand an end to violence. I spent winter on the New England coast reflecting on environmental justice, the plight of climate refugees, and questions of responsibility. Tuning in to the Earth while listening to the waves and wind, I reflected on the text: “May our struggles and concern for our planet never take away the joy of our hope. Let us sing as we go.”
– Linda Chase
*A piano and choir version of the score is also available.
*Album cover provided for Editorial use only. ©Albany Records. The Albany Imprint is a registered trademark of PARMA Recordings LLC. The views and opinions expressed in this media are those of the artist and do not necessarily represent or reflect the views and opinions held by PARMA Recordings LLC and its label imprints, subsidiaries, and affiliates.