Robert Myers is an aspiring composer seeking to reveal beauty, truth, and goodness in music. After 30+ years in the business world Mr. Myers has plunged fully into composition and music ministry, thereby testing the admonition that “no one puts new wine in old wine skins” and relying on the promise that “what is impossible with man is possible with God.” He holds a Master of Music degree from Southwestern Baptist Theological Seminary (2017) with a concentration in composition, studying under R. Christopher Teichler, Gary Joe Hardin, and Don Wyrtzen.
His compositions aim to bring the beauty of holiness into our churches and point to the eternal power and divine nature of Almighty God in our concert halls. He writes for choral and instrumental ensembles with original works, arrangements of extant hymns, new settings of old texts, and an occasional foray into absolute music of an impressionist/neo-romantic bent. His music and reflections are posted at WheatMyerMusic.com.
Mr. Myers was the winner of the 2015 Southwestern Baptist Theological Seminary student composer contest. For the contest award his work, “Divinum Mysterium” was performed by the Fort Worth Symphony Orchestra. He was selected to attend the 2017 John Ness Beck Composers Workshop in Greenville, SC to study with Craig Courtney, Dan Forrest, and Howard Helvey. His carol arrangement, "Lo, a Rose" was featured for the May, 2019 Christian Fellowship of Art Music Composers listening page. Over the last twenty years Mr. Myers has performed in and assisted with choral and music ministries in churches across the Dallas-Fort Worth Metroplex and performed with the SWBTS Master Chorale at Bass Hall. He currently serves as Associate in the Worship & Creative Arts ministry at First Baptist Church, Keller, TX where he oversees vocal ensembles and the FBC Keller Orchestra.
Associate in Worship & Creative Arts, First Baptist Church (Keller, TX)
The tune BUNESSAN is a traditional Gaelic melody first printed in 1888 as the setting of Mary MacDonald’s carol “Child in the Manger.” The tune was named after Mary’s birthplace on the Isle of Mull off Scotland’s western coast. BUNESSAN is commonly associated with hymns celebrating new beginnings: the aforementioned “Child in the Manger,” then the 1931 creation-celebrating hymn “Morning Has Broken,” and the more recent but lesser-known 1982 hymn “Baptized in Water.” The title of this piece, “A Hymn of Beginnings,” recognizes that association.
AT THE CROSS is a simple arrangement of the beloved hymn with fresh and poignant harmonies. Set for SATB choir with piano accompaniment, it is moderately easy but rewarding of good musicianship. The light, delicate accompaniment directs the focus onto the text while providing the perfect amount of color and interest. It allows a choir to show artistic merit without enduring exhaustive preparation.
Fairest Friend combines the beloved hymn tune from “What a Friend We Have in Jesus” and “Fairest Lord Jesus” in a duet for C Flute and Horn in F (or trombone) with piano accompaniment. Full score and parts are included in the package, including parts for optional drum set, bass guitar, and synthesizer (or strings). Any or all of the optional parts may be included as needed but the piece works well with just the piano accompaniment also.
Fingal’s Fantasy is an original work for solo piano using three, synthesized, seven-pitch scales derived from the first three variations of the opening theme in Felix Mendelssohn’s Hebrides Overture, better known as Fingal’s Cave. Fingal’s Fantasy is a three part work in which each section uses one of the three scales with each section appearing in a contrasting style. Mendelssohn’s original motive can be clearly heard in the treatment of the first scale and appears more heavily disguised in other sections. Despite the use of synthetic scales, the piece ends with a strong declaration of B-minor in homage to Mendelssohn’s selected key for Fingal’s Cave. Fingal’s Fantasy is only moderately difficult but will engage even advanced performers with an excursion into 21st century composition. It is suitable for concert or recital repertoire.
What Child We Sing best works in the Advent or Christmas seasons with its strong exposition of traditional Christmas carols and would be suitable in a sacred concert or as a prelude, offertory, or reflective music in either liturgical or unstructured service. It has sufficient artistic metric to be suitable for the concert stage as well, although it is not at all difficult, being suitable for intermediate or higher level musicians.