This is one of my personal favorites among my own works. The entire thing is based on the simplest possible scalar motive (C Major) and in the second half, only two pitches change. Despite this tremendous economy of means, I think the piece works.
The text of this piece is the continuation of Jesus” quote from the cross, “Father, why hast Thou forsaken me?” Â The piece is the emotional center of my Good Friday Music. Â The string parts for this and the other Good Friday music casino francais en ligne are necessarily simple because I had no idea who would be playing them. Â There ended up being a mix of my friends from town and some suburban high school students. Â I was glad I had written conservatively.
This is a sort of secret, unofficial part of “Thy King Cometh”, but it’s not really in the oratorio. The oratorio was originally written to be interspersed in various church services, on of which was a Maundy Thursday. The church decided to combine it that year with 1st communion, so I needed something for the kids. I decided to take the text and try to write an honest-to-god Disney ballad.
The fun of this was that all I wrote down was a lead sheet with chords. The music was literally one line long. I gave it to my swell friends Kimberly Gunderson (née Marolf) and Carlton Ford on the car ride up to the church. Right before the service we picked keys and I told them to just let me modulate and they’d know where to start; and, most importantly, to ham it up as much as possible. The improvised results can be heard above.
Ever since I first heard the Seldom Scene’s recording of “Were you there?” I have always associated Easter (and church music in general) with Bluegrass Music. Â Perhaps that’s what begat my traditional Easter meal of fried chicken and bourbon. Â This piece is a sort of Country-Classified Bluegrass Ballad for two altos.
I hate to have thisÂ bizarrity listed as my only work for solo organ (I’ll try to rectify that, organists). Â The entire idea of this piece is to use the organ to literally shake the rafters of the church and make the most grotesque, earthquake-esque sound possible. Â It is played here by my a true wizard of the Organ and a great friend of mine, Thomas Weisflog.