Wounded, Bleeding, Still Proceeding Update

(Original posting 5/21/2017) Well, with the finale (He Became Like Me) completed it’s time to move back to the two remaining unwritten movements in my Easter cantata. These will be the settings of the crucifixion and the resurrection of Christ. Of course, these are the two most daunting movements. It’s not the music that is intimidating, as I already know what I want to do, but the gravity of the subject matter as the two most important events in Christianity weighs heavily as a duty to set them well. First up will be the crucifixion setting, which will also include the Garden of Gethsemane and the trial, and will be called, Wounded, Bleeding, Still Proceeding. It will feature tenor solo with SATB chorus. The harmonies selected for this piece are inspired by Sergei Rachmaninoff’s setting of Simeon’s Song, the “Nïne otpushchayeshi” from his All Night Vigil. Although somewhat camouflaged, the strings introduce Wounded, Bleeding, Still Proceeding with “Nïne otpushchayeshi’s” opening swaying chords and the rocking motion carries on as underlying accompaniment to the melody. We shall see how it turns out!

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