On of the great joys of being a composer is that you get to spend your time in the company of ideas.  You never know when or how an idea will show up in your studio and take you by surprise.  When one does, even though you are startled by its audacity and thrown off balance by its insistence to be recognized and dealt with, you are reminded why you are an artist.

A few years ago, my long time friend James Meredith, founder and director of Sonos Ensemble contacted me with the rather zany idea.. “Libby,” he said, “I’ve got the idea of putting together a new piece for handbells and mezzo soprano.  Are you interested?”  The sound of full hand bell choir and mezzo soprano immediately filled my head and of course,

I couldn’t resist the opportunity to work with it.  The result is “Hell’s Belles” the brainchild of James Meredith, Frederica Von Stade and me.  Flicka wanted us to create a work which spoke directly with as much character personality as possible.  We toyed with several ideas and then lit on the idea of wild and sassy women – Hell’s Belles.  The four songs

are loosely organized around the narrative of a independently spirited young girl (There Was a Little Girl) who grows into womanhood,  even more independently spirited (Footlight Wisdom) and moves into old age with spit and vinegar (When I am an Old Woman), finally defining the chariot that swings low for her on her own terms! (The Magic City Golden Transit)