Musician
for A Cappella Choir
My setting of this text is so Old Skool that I repeat each phrase (Kyrie… Christe… Kyrie…) thrice*. I first composed this piece as an Offertory Anthem for a church service in October — my first composition for the Presbyterian Church of Barrington Choir. I later incorporated it into the oratorio.
(P.S. “Thrice” is a word — Miami is nice, so I’ll say it thrice)
for Chamber Orchestra
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 from 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.)