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Piedra de sol

Acclaimed composer Joby Talbot’s choral setting of Mexican poet Octavio Paz’s epic masterpiece.

“Octavio Paz’s masterwork Piedra de sol defies easy description; drawing on Aztec symbolism and a heady dose of surrealism, it broadly traces an emotional U-shape – from creation to the depths of despair, and finally to a form of salvation. Craig Hella Johnson and chamber choir Conspirare are on absolutely top form in this choral tour de force, which has to be heard to be believed. Anyone who was blown away by Talbot’s Path of Miracles will not want to miss this.” —David Smith, Presto Music

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Watch the online launch with Joby Talbot and Craig Hella Johnson

Drawing on the symbolism of the Aztec calendar stone, Octavio Paz’s poem Piedra de sol (1957) is like no other. It uses techniques of modern poetry, particularly surrealist imagery, to meditate on cyclical time and the possibility of breaking its grip through poetry and love, as explained by Adela Pineda Franco of the University of Texas at Austin in her excellent booklet article.

The seventy-minute-long musical structure mirrors the poem’s narrative journey from ecstatic vision, through deep despair, to eventual enlightenment. It features a wide range of vocal textures, extended passages of complex rhythmic interplay, exposed solo passages for a single voice, and episodes where slabs of sound colour reflect the poem’s vivid imagery. Coloring much of the music is the marimba (superbly played by Thomas Burritt), which anchors the harmonies and rhythm and contributes to the otherworldly character of the musical palette. Piedra de sol invites listeners and performers alike on a journey of infinite dimensions – a voyage whose course bends, advances, recedes, comes full circle, and arrives forever.

SOPRANO 

  • Emily Yocum Black, Paducah, KY
  • Chelsea Helm*, Washington, DC
  • Gitanjali Mathur, Austin, TX
  • Elijah McCormack, Bridgeport, CT
  • Savannah Porter*, London, England
  • Kathlene Ritch*, Santa Fe, NM
  • Tiana Sorenson, Chicago, IL 

ALTO 

  • Ana Baida, Atlanta, GA 
  • Zerrin Agabigum Martin, Tampa, FL
  • Lauren McAllister, Cincinnati, OH
  • Laura Mercado-Wright*, Austin, TX
  • Katrina Saporsantos, Austin, TX 

TENOR 

  • Dann Coakwell*,  Ithaca, NY
  • Haitham Haidar, Montreal, QC
  • Noah Horn, Amherst, MA
  • Wilson Nichols*, New York, NY
  • David Kurtenbach Rivera – San Francisco, CA 

BASS 

  • Robert Harlan, Austin, TX
  • Harris Ipock*, Columbus, OH
  • Enrico Lagasca*, New York, NY
  • Glenn Miller*, Birmingham, MI
  • Tim O’Brien*, Austin, TX
  • John Proft, Austin, TX
  • Paul Max Tipton*, New York, NY
  • Jonathan Woody*, New York, NY 

INSTRUMENTALISTS 

  • Thomas Burritt, Marimba,  Leander, TX
  • Joseph Choi, Rehearsal Pianist, Austin, TX 
Track Listing

Creation
1. I. …a crystal willow, a poplar of water…
…un sauce de cristal, un chopo de agua…

2. II. …a single presence like a sudden song…
…una presencia como un canto subito…

3. III. …I travel between galleries of sound…
…voy entre galerías de sonidos…

4. IV. …I travel your body as if through the world…
…voy por tu cuerpo como por el mundo…

5. V. …your skirt of corn ripples and sings…
…tu falda de maíz ondula y canta…

6. VI. …endless corridors of memory…
…corredores sin fin de la memoria…

7. VII. …I search for a real moment, as alive as a bird…
…busco una fecha viva como un pájaro…

8. VIII. …writing of fire on a slab of jade…
…escritura de fuego sobre el jade…

Despair
9. IX. …there is nothing in front of me, only a moment salvaged from a dream…
…no hay nada frente a mí, solo un instante rescatado esta noche…

10. X. …while time snaps shut its fan…
…mientras el tiempo cierra su abanico…

11. XI. …oh life to be lived and already lived…
…oh vida por vivir y ya vivida…

12. XII. …facing an afternoon of saltpetre and stone…
…frente a la tarde de salitre y piedra…

13. XIII. …there is nothing left of me but a gaping wound…
…no hay nada en mî sino una larga herida…

Salvation
14. XIV. …in clarity…
…de claridad…

15. XV. …life and death make a pact in you, lady of the night…
…vida y muerte pactan en ti, señora de la noche…

16. XVI. …open your hand lady who sows the seeds that are days…
…abre le mano, señora de semillas que son días…

17. XVII. …gateway of being: awaken me and dawn…
…puerta del ser: abre tu ser, despierta…

18. XVIII. …I want to go on, to go further…
…quiero seguir, ir más allá…

19. XIX. …a crystal willow, a poplar of water…
…un sauce de cristal, un chopo de agua…

Executive Producers: Ann McNair, Craig Hella Johnson, and Robert Harlan
Producer and Recording Engineer: Randall Squires
Producer and Technical Director: Robert Harlan
Recording Assistant:  Cindy E. Shepard
Cover Design: Karin Elsener
Cover Image: David Coleman | Have Camera Will Travel / Alamy
Booklet Design: James Cardell-Oliver
Photos: Kennedy Box 
Joby Talbot headshot: Anna McCarthy
Diction Consultant: Pablo Zamora Mata
Stage Manager: Viera Buzgova 
Director of Development: Travis Fitzgold 
Artist Relations: Meri Krueger 
Production Assistant: Indri Schaelicke
Director of Accounting: Jane Ramirez 
Grants Manager: Catherine Spainhour 
Executive Assistant to the Artistic Director: Melissa LeClair and André Trahan

Recorded in the historic Evans Auditorium at Texas State University in San Marcos, Texas. 

PUBLISHED EXCLUSIVELY BY CHESTER MUSIC PART OF WISE MUSIC GROUP  www.wisemusicclassical.com 

Piedra de sol reprinted with kind permission from the Paz Estate and ©Octavio Paz 

Recorded on January 26-29, 2026 in the historic Evans Auditorium and Harlan Studios on March 20, 2026. 

Acknowledgements:
Conspirare gratefully acknowledges the Tejemos Foundation, Lynne Dobson and Greg Wooldridge, for their vital support of this recording.

Thank you to the Joel Brauer Fund for New Music and Mary & Phil Delk for underwriting Joby Talbot’s commission.

We thank the following individuals and organizations for their additional generous support of Conspirare:
H-E-B, Nancy Wilson Scanlan, members of Hella Circle, members of Hella’s Angels, Shield-Ayres Foundation, Still Water Foundation, Texas Commission on the Arts, St. Martin’s Lutheran Church, Conspirare Board and Staff, Randy Adair, Nancy & Randy Baden, Roslyn & Sean Breen, Marvin J. Brittman, Robert L. Brueck, Stephanie & Carla Burzyk-Smith, Dixie Camp, Fran & Larry Collmann, Paula D’Arcy, Nina & Jeffrey Di Leo, Susanna &
Richard Finnell, William G. Fivecoat, Elena Goyanes, Lara & Robert Harlan, Sheri Clark Henriksen, Howry, Breen & Herman LLP, Trish & Robert J. Karli, Gail & Jeff Kodosky, Kathy & Henry Leighton, Lee Manford & Casey Blass, Joey Martin, Rebecca & Art Miller, Philip Overbaugh & Craig Hella Johnson, DeeAnne & Steven Paulson, Tina & Dale Knobel, Gayle Glass Roche, Carol Williams, Anonymous, Two Anonymous Foundations, and every cocreator who believes in the power of music to heal and connect us. This project is funded in part by an Elevate Grant from the City of Austin.

Thank you to our venue hosts:
First English Lutheran Church
St. Martin’s Lutheran ChurchTexas State University College of Fine Arts and Communication
Dr. John Fleming, Dean, College of Fine Arts and Communication
Dr. Joey M. Martin, Associate Dean for Faculty Development and Research
Dr. Todd Sullivan, Director of the School of Music Chuck Harris, Operations Manager for Evans Auditorium
Hector Finlayson, Emma Hallett, Sara Vilera, Alan HolmquistCasteñeda, Evans Auditorium Crew

September 2026

from Choir and Organ:  “…The professional chamber choir of Conspirare under artistic director Craig Hella Johnson clearly relish the challenges set by Talbot: they give a fine account of an intricate score, not least because of their ability to get behind and convey the meaning of Paz’s words.”

August 2026

from Classical CDs: Pigeons, pennies and Piaf  “The 25-voice Conspirare sing beautifully and with complete artistic sympathy, which comes directly from their director, Craig Hella Johnson, the guiding force behind the piece’s commissioning. Piedra de sol is a serious piece – like Path of Miracles it is contemplative and challenging – but its harmonic weight never gets clogged, and the moments of textural clarity when they arrive are revelatory. The choir is complemented with a marimba – which is nominally optional but feels integral – playing tremolos that colour the timbre, but very much sitting within the choir. The solo voices that emerge from the choir are a strength of Conspirare. This is a major new addition to the choral repertoire and I am sure it will be taken up by lots of choirs. It is a fine work and very well sung. I have listened to it a number of times, and its merits become more apparent with each hearing.” —Bernard Hughes

from Sonograma:  “The album presents the recorded premiere of Sunstone (‘Piedra de sol’), an extensive choral work of approximately seventy minutes composed by Joby Talbot based on a selection from the celebrated poem of the same name by Octavio Paz. The performance is carried out by the American choir Conspirare, conducted by Craig Hella Johnson, with Thomas Burritt’s marimba as the sole accompanying instrument. The work is divided into nineteen sections grouped into three major dramatic blocks: Creation, Despair, and Salvation. Octavio Paz’s poem has a circular structure, an approach Talbot has sought to translate into his musical composition. The liner notes devote considerable space to contextualizing Piedra de sol, considered one of the masterpieces of 20th-century Spanish American poetry. They explain that the poem takes the Aztec sun stone as its symbolic reference point and develops a reflection on cyclical time, memory, love, and the possibility of transcending history through poetic and amorous experience. Influenced by surrealism, the poem combines visionary imagery with historical and mythical references, proposing a journey in which past, present, and future are continuously interwoven.

Talbot’s writing moves between the rhythmic complexity of polyphonic textures and the transparency of solo passages, alternating large choral masses with moments of greater intimacy. The solo marimba, far from functioning as a simple accompaniment, takes on a structural role, sustaining much of the rhythmic and harmonic framework and contributing a timbral color that contrasts with the density of the voices. This generates a sonority of great richness, capable of shifting from luminosity to more unsettling atmospheres without losing the continuity of the discourse. Throughout this journey, the American choral ensemble demonstrates a particular ability to articulate the different planes of the choral writing and to preserve the intelligibility of the text even in the densest moments. The performance thus achieves a balance between precision and expressiveness, making the poetic dimension of the work perceptible without reducing it to a mere vehicle for Paz’s text.
This first world recording of Piedra de sol also holds special interest within Talbot’s body of work, as it takes on a large-scale choral piece in which his experience in vocal writing, his interest in the narrative dimension of music, and a particularly rich conception of color and sonic texture all converge.”-Luisa Balaguer

 

from Music Web International  “Anyone who cares about contemporary choral music should hear this wonderful score.” 

Joby Talbot and Craig Hella Johnson on setting Octavio Paz’s poem ‘Piedra de sol’

In the latest edition of the Gramophone Podcast, composer Joby Talbot and Craig Hella Johnson join Editor Martin Cullingford to talk about their fascinating collaboration: a setting of Mexican poet Octavio Paz’s epic work, Piedra de sol.

Joby Talbot on Sunstone  PrestoMusic’s Ben Hogwood talks tea with Joby Talbot in his London studio and is featured in their New Release Round-Up – 21st August 2026.

from Pizzicato:
“With its stylistic and vocal sophistication, Conspirare brings a sense of tension, intensity, and emotional depth to Talbot’s effort to capture in sound the fundamental idea of flow and dissolution, of timelessness and finitude.”

Piedra de sol is featured on these streaming platforms:

Apple Classical Music – featured as a top album
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