This setting of the Kyrie for SAATTBB choir adheres to the tridentine tradition, in that each text phrase (Kyrie eleison, Christe eleison, Kyrie eleison) is heard three times.
I composed this piece in 2005, while interim music director at the Presbyterian Church of Barrington, IL, my first job out of college. It was premiered as the offertory anthem at a church service that October by the church’s choir. In some ways, I consider it my first â€œprofessionalâ€ piece, given that it was the first thing I composed as a working professional musician.
Scored for flute, oboe, clarinet, bassoon, prepared piano, harpsichord, portative organ, 4 violins, 2 violas, 2 cellos, bass and percussion.
This was my senior thesis in composition at the University of Chicago. It is a polystylistic romp through the ages, built on three pieces of material: a descending glissando figure, the “La Folia” chord progression, and a waltz. It’s a humdinger of a piece. It’s hard to hear on this recording, but at the end, I have the organist switch off the power supply to her instrument. As the air decompresses, various higher partials in the pipes are activated, creating about the coolest instrumental effect I know.
The recording above is fromÂ my senior recital in 2005 and features a bunch of my friends as well as some hired ringers (conducted by me). Here’s a second recording by the Chicago Composer’s Orchestra conducted by Matthew Kasper in 2012 (slightly updated version which I discussed here.)