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| Title | Description |
St. Francis in the Americas : A Caribbean Mass | St. Francis in the Americas: A Caribbean Mass celebrates the marriage of Latin American cultures and the spiritual legacy of the medieval Italian saint, Francis of Assisi. Followers of "Il Poverello," the little poor man from Assisi, have left their mark on this hemisphere with cities named for the saint (San Francisco, Los Angeles) and customs such as the Christmas nativity scenes we see at holiday time. This concert mass sets several of Francis' writings into languages and musical styles of the New World. The instrumentation features steel drums (invented in the islands of Trinidad and Tobago in the mid 20th century) and other percussion instruments from Latin American traditions. Just as Francis said that his cathedral was the whole world, we see that his simple wisdom could not be limited to one language or musical tradition. We hope you enjoy this musical mosaic of the writings of one of the world's most beloved saints. | Kyrie from St. Francis in the Americas | This piece weaves the Greek text "Lord have mercy, Christ have mercy, Lord have mercy" and a prayer written by Francis of Assisi (1182-1226) into the fabric of a Caribbean Samba. Francis wrote this prayer at a pivotal moment of conversion. After he had given up the lavish life of rich young man, he prayed before a crucifix in broken down church that commanded him to go "rebuild my church." This humble prayer was the beginning of FrancisŐ life of service, just as the Kyrie marks the humble beginning of our liturgy, a liturgy that calls us to a life of service. | Gloria from St. Francis in the Americas | In contrast to more lively settings of the "Gloria" text, this piece creates a melancholy mood with the presence two melodies: Amazing Grace (a British tune entitled "New Britain," and text written by reformed slaver trader, John Newton) and "Sometimes I feel like a Motherless Child"(a mournful African-American Spiritual). Even though Old Testament scriptures commented on the tragedy of slavery, Christianity still inspired both the slaves and slave owners of the New World. The "Gloria" explores this painful paradox of our history by placing a melody of a slave trader next to a melody of a slave. This piece resonates with the Book of Job by exploring the mysteries of innocent suffering. Latin American cultures were born out of the conflicts and collaborations of Native populations, Europeans and West Africans, therefore, this piece expresses "Glory to God" within the context of their tragic history. | Credo from St. Francis in the Americas | Unlike the mysterious nature of the "Gloria," the "Credo" is a powerful, confident statement. The soloist sings over a pulsating salsa rhythm. The complex overlapping drum rhythms are combined with a subtle rhythm pattern sung by the choir. In this way, the choir becomes another rhythm instrument. The overall form, a12 bar blues chord progression, makes an additional reference to the African contributions to Latin American cultures while hand clapping refers back to the contributions of Spanish music culture. | Santo from St. Francis in the Americas | The "Santo" sets another one of Francis of Assisi's poems in the liturgical context. The music includes references to a traditional Mexican melody and a "comparsa" rhythm. The driving rhythm of this piece is reminiscent of a great deal of Latin American liturgical music. Whereas Northern European liturgical music often emphasizes the solemnity of prayer, Latin American and African liturgical music often emphasizes the lively, dance-like quality of prayer. | Agnus Dei from St. Francis in the Americas | The "Agnus Dei" or "Lamb of God" is arranged in the style of African singing for choir and percussion. The call and response form is a regular feature of African-American singing. The Kenyan work entitled "Missa Luba" inspired the rhythmic style of singing that you find in this movement. | Guadalupe Magnificat | This four movement work sets the Latin prayer Magnificat to Latin American musical gestures. The piece celebrates the unique Latin American spirituality that has grown out of devotion to Our Lady of Guadalupe. The piece opens with three themes that are woven together over a Calypso rhythm. The second movement includes a soprano solo. The third movement utilizes some Latin American harmonic gestures in the midst of standard choral singing and the fourth movement provides a lively Samba finale. | Magnificat from Guadalupe Magnificat | | Quia Respexit from Guadalupe Magnificat | | Quia Fecit from Guadalupe Magnificat | | Suscepit Israel from Guadalupe Magnificat | | Adoramus Te | "Adoramus Te Domine," (We adore you Lord) is set to Latin American harmonies and rhythms. The piece opens with a chant section and eventually builds into a joyous Calypso. | Come and Sing With Me (Caribbean) | Come and Sing with me is an upbeat, calypso tune with lots of rhythmic singing. The refrain is based on the African proverb, "If you can talk, you can sing. If you can walk, you can dance." | I'm Part of the Rainbow (Caribbean) | This is a choral arrangement of a children's song that explores how a child dreams of becoming all of the beautiful colors of the rainbow. | Stephen Foster Series (African) | These arrangements explore the African side of Stephen Foster's musical imagination. He brilliantly created a new American musical language by combining European music with gestures of West African syncopation and form. I have used the techniques of layered, rhythmic singing in these new arrangements of Stephen Foster's work. | Hard Times from Stephen Foster Series (African) | "Hard Times" was one Stephen Foster's most successful sentimental songs. This satb arrangement uses layered rhythms to create a gentle pulse underneath the melody. The melody is shared by all of the voices of the choir. | Some Folks from Stephen Foster Series (African) | "Some Folks" is a comical piece, set in a highly rhythmic, playful setting. Just as rhythms are passed between drums in West African music, rhythms are passed between voices in this arrangement. | Day of the Unconquered Sun (Celtic) | "Dies natalis invincti solis" (The Birth of the Unconquered Sun) paints a Celtic musical picture of the mythology surrounding the Winter Solstice. The winter solstice, as seen through many mythologies, is often described as the culmination of a "battle" between the old sun (the metaphor for things of the past) and seasonal forces. The old sun "dies" in this battle and a new sun is reborn(the metaphor for new things, new possibilities). Celtic culture not only has strong references to the solstice (with the myriad of speculation and research on Stonehenge and Duidic culture) but also has a noble history of battles with the Romans. I use the traditional Irish jig, "Banish Misfortune"(a very eery tune the switches back and forth between major and mixolydian modes) to represent the Celtic culture and the Latin phrase to represent the Roman culture. The piece opens with a "battle" between the choir and percussionists. The choir sings large blocks of sound on the word "solis." The percussionists and flute/piccolo players are playing fragments of "Banish Misfortune". About one third of the way through the piece, the battle wanes (the percussionist/flute wins!) and out of a quiet, solemn moment, the full latin phrase emerges in evolving variations of the same Irish tune. This roughly 6 minute piece paints a picture of this ancient view of the solstice as a death and rebirth in which the two forces that are in conflict in the opening of the piece give birth to music that includes elements of both. The opening of the piece is loud and bombastic, the middle of the piece is gentle and soft, and last third of the piece grows into a triumphant mixture of earlier thematic material. | Go Down Moses | The beloved spiritual, "Go Down Moses" is re-interpreted in this hot salsa arrangement. Interlocking Caribbean rhythms are woven through the voices while the steel drums sustain a driving unlying pulse. At several points, the roles of voices and drums are flipped upside down by placing the voices in the accompaniment and the drums in the lyrical, melodic lead. The piece also includes an introductions that places the Moses story within the large context of Old Testament history. | The Storm | This latin/jazz tone poem opens with the murmuring sounds of the beginning of a rain storm. A trumpet solo introduces the main theme and then the band eventually builds into a roaring samba , representing the storm. This piece was born out of composition residency at the Penfield High School in which students worked with Glenn McClure in the creative process. | Ulysses/Dante's Inferno/Canto 26 | The brash speech of Ulysses in Dante's epic poem, The Divine Comedy is explored within a World Music environment. The chorus acts as Greek Chorus in conveying to the audience the overall themes while the character of Ulysses tells his tale of sailing beyond the boundaries of the West and eventually to his doom. Many of the literary symbols that Dante uses to create his picture of the afterlife are described with music. Images of "tongues of fire" from Canto 26 are described here with elements of a Gregorian chant that comes from the Latin Mass for Pentecost. Though Ulysses aria begins with power and confidence, his speech is eventually swallowed up by an emerging layered salsa rhythm, just as his ship is swallowed up by the western seas. Furthermore, the use of a Caribbean setting for this piece draws a connection between the arrogance of Ulysses (and his ultimate tragedy) and the arrogance of the Colonial Period of North and South American History that also lead to great tragedy. By exploring this text with World Music, we can connect Dante's timeless appraisal of humanity with more contemporary historical events of which Dante had no knowledge. This work is meant to be a seminal work that will lead a large operatic setting of Dante's poem. | The Voice of Pocahontas | This piece for women's choir is one of several pieces that were born out of a composer-in-residence program in which students researched on their local history and some of the themes and documents were set to music and performed at their county's 350th anniversary celebration. The song captures a famous moment in her life when she persuades her father, the chief, to spare the life of John Smith. |
