Music
2008 Music
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Lux Aeterna for 8-part mixed choir
Lux Aeterna was written in the summer of 2008 in the wake of the flood that
decimated much of eastern Iowa. After witnessing much destruction and upheaval,
the piece is intended to represent both the somber tone of our situation, but also the
message of hope and optimism throughout. The piece is unified through the initial
Phrygian chant, first sung by a single soprano voice and heard in its entirety at various
points throughout the piece. Fragments of that melody are pieced together in each of
the eight voices to form a community of coherent phrases and harmonies.
Lux Aeterna is dedicated to all the cities and towns in eastern Iowa that were affected
by this summer’s natural disaster.
The recording below is from a choral reading in spring 2009 by the University of
Iowa Kantorei singers under the direction of Dr. Timothy Stalter, with various
segments of the rehearsal spliced together resulting in a continuous first 60 measures
of music. (The final "Amen" section appears at the end, although measures 60-75
were not covered in the reading session in the interest of time. Also, the words in this
final section were replaced with syllables to facilitate sight-reading.) The vocal
directions and piano heard along with the singing are the result of this reading session,
and are obviously to be omitted in performances of the work.
Reading Session
Kantorei singers
University of Iowa
The Terraces of Purgatory for soprano and piano
Written in the summer of 2008 for Shannon Rose McAuliffe, the original idea for the
song cycle was the topic of the "Seven Deadly Sins," which led to an examination of
Divina Commedia by Dante Alighieri (1265-1321). The middle section of the work is
entitled "Purgatorio" and discusses the punishment for each of the seven sins: pride,
envy, wrath, sloth, avarice, gluttony, and lust. The passages selected for each
movement were chosen by Ms. McAuliffe as representative texts (in English,
translation by Charles Eliot Norton) to portray aspects of each sin. Rather than each
movement serving as a musical representation of the sin itself, the music instead
varies from movement to movement based upon three separate elements: first, the
sin; second, the punishment; and last, the actions of the characters of the text. In the
story, as Dante passes through each terrace, a letter P is removed from his forehead,
symbolizing his purification as he draws nearer to Paradise. Likewise, as the music
draws nearer to its conclusion, the key relationships move closer to C major, which
could be considered the "purest" of keys. This purity is symbolized in the last note of
the soprano, a high C, which is followed by an emphatic C major chord in the piano.
Yet, chromatic embellishments remain as the piano ascends on its way to the piece’s
conclusion, an indication that perhaps purity, and Paradise, are not as easy to attain as
it would seem.
Recording from performance at Denison University New Music Festival, March 27,
2009
Herrick Hall, Denison University
Granville, Ohio
I. Pride
II. Envy
III. Wrath
IV. Sloth
V. Avarice
VI. Gluttony
VII. Lust
Perspective for viola solo
Truman Capote (1924-1984) wrote: "Writing has laws of perspective, of light and
shade just as painting does, or music. If you are born knowing them, fine. If not, learn
them. Then rearrange the rules to suit yourself." This quote gives a fairly accurate
representation of my compositional process, specifically in writing this piece.
Recording from premiere performance, Society of Composers Incorporated Concert,
May 3, 2008
Dixon Hall, University of Iowa
Iowa City, Iowa
In Memoriam for symphony orchestra (2005, rev. 2008)
Written in 2005 and revised in 2008, "In Memoriam" developed as a reflection of
tragedy on both a universal and personal level over the course of my lifetime (25
years at the time). A composition entitled as such usually refers to someone specific.
Yet, when composing this work I thought more of "us" than "me," and how "we" as a
society mourn people lost to us, leaving "us" behind to continue their memory.
In 2007, "In Memoriam" was recorded by members of the Czech Philharmonic and
Prague Radio orchestras as part of ERM Media's "Masterworks of the New Era"
series. The piece was selected for the opening night concert at the 2008 Midwest
Composers Symposium at the University of Iowa.
Recording from 2008 Midwest Composers Symposium, February 8, 2008
Clapp Recital Hall, University of Iowa
Iowa City, Iowa
Kevin Pearce, conductor
Lux Aeterna was written in the summer of 2008 in the wake of the flood that
decimated much of eastern Iowa. After witnessing much destruction and upheaval,
the piece is intended to represent both the somber tone of our situation, but also the
message of hope and optimism throughout. The piece is unified through the initial
Phrygian chant, first sung by a single soprano voice and heard in its entirety at various
points throughout the piece. Fragments of that melody are pieced together in each of
the eight voices to form a community of coherent phrases and harmonies.
Lux Aeterna is dedicated to all the cities and towns in eastern Iowa that were affected
by this summer’s natural disaster.
The recording below is from a choral reading in spring 2009 by the University of
Iowa Kantorei singers under the direction of Dr. Timothy Stalter, with various
segments of the rehearsal spliced together resulting in a continuous first 60 measures
of music. (The final "Amen" section appears at the end, although measures 60-75
were not covered in the reading session in the interest of time. Also, the words in this
final section were replaced with syllables to facilitate sight-reading.) The vocal
directions and piano heard along with the singing are the result of this reading session,
and are obviously to be omitted in performances of the work.
Reading Session
Kantorei singers
University of Iowa
The Terraces of Purgatory for soprano and piano
Written in the summer of 2008 for Shannon Rose McAuliffe, the original idea for the
song cycle was the topic of the "Seven Deadly Sins," which led to an examination of
Divina Commedia by Dante Alighieri (1265-1321). The middle section of the work is
entitled "Purgatorio" and discusses the punishment for each of the seven sins: pride,
envy, wrath, sloth, avarice, gluttony, and lust. The passages selected for each
movement were chosen by Ms. McAuliffe as representative texts (in English,
translation by Charles Eliot Norton) to portray aspects of each sin. Rather than each
movement serving as a musical representation of the sin itself, the music instead
varies from movement to movement based upon three separate elements: first, the
sin; second, the punishment; and last, the actions of the characters of the text. In the
story, as Dante passes through each terrace, a letter P is removed from his forehead,
symbolizing his purification as he draws nearer to Paradise. Likewise, as the music
draws nearer to its conclusion, the key relationships move closer to C major, which
could be considered the "purest" of keys. This purity is symbolized in the last note of
the soprano, a high C, which is followed by an emphatic C major chord in the piano.
Yet, chromatic embellishments remain as the piano ascends on its way to the piece’s
conclusion, an indication that perhaps purity, and Paradise, are not as easy to attain as
it would seem.
Recording from performance at Denison University New Music Festival, March 27,
2009
Herrick Hall, Denison University
Granville, Ohio
I. Pride
II. Envy
III. Wrath
IV. Sloth
V. Avarice
VI. Gluttony
VII. Lust
Perspective for viola solo
Truman Capote (1924-1984) wrote: "Writing has laws of perspective, of light and
shade just as painting does, or music. If you are born knowing them, fine. If not, learn
them. Then rearrange the rules to suit yourself." This quote gives a fairly accurate
representation of my compositional process, specifically in writing this piece.
Recording from premiere performance, Society of Composers Incorporated Concert,
May 3, 2008
Dixon Hall, University of Iowa
Iowa City, Iowa
In Memoriam for symphony orchestra (2005, rev. 2008)
Written in 2005 and revised in 2008, "In Memoriam" developed as a reflection of
tragedy on both a universal and personal level over the course of my lifetime (25
years at the time). A composition entitled as such usually refers to someone specific.
Yet, when composing this work I thought more of "us" than "me," and how "we" as a
society mourn people lost to us, leaving "us" behind to continue their memory.
In 2007, "In Memoriam" was recorded by members of the Czech Philharmonic and
Prague Radio orchestras as part of ERM Media's "Masterworks of the New Era"
series. The piece was selected for the opening night concert at the 2008 Midwest
Composers Symposium at the University of Iowa.
Recording from 2008 Midwest Composers Symposium, February 8, 2008
Clapp Recital Hall, University of Iowa
Iowa City, Iowa
Kevin Pearce, conductor