Fairest Friend is a medley of two beloved hymns, Fairest Lord Jesus and What a Friend We Have in Jesus. It is set as a flute and horn (or trombone) duet with piano accompaniment. Optional rhythm and strings/synth may be used if available or to add color but the piece works well with the three principal instruments.
Duration: ~4:00
Fingal’s Fantasy is built on three synthesized, seven-pitch scales derived from the first three variations of the opening theme of Felix Mendelssohn’s Hebrides Overture, better known as Fingal’s Cave. Each scale is developed in its own section to build a three-part work of contrasting styles. Mendelssohn’s original motive can be clearly heard in the first development but appears more heavily disguised in subsequent 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.
Duration: ~5:45
a Rondo in the style of Debussy
First Impression: On Second Thought is an excursion into the impressionistic world of French composers Claude Debussy and Maurice Ravel with seasonings borrowed from 20th Century pioneers such as Charles Ives and Paul Hindemith. It is set in a rondo structure where the adventurous and tonally unstable ‘A’ sections surround distinct, sweet, and lyrical passages. The work is not particularly difficult but it allows the adventurous pianist to explore unique artistic expressions that are still accessible to the casual listener. Suitable for concert stage or recital hall.
Duration: ~8’00”
Here’s Alfred Situmorang performing
First Impressions: On Second Thought
Duration: ~1’50”
It Is Not Death to Die, is a setting of French poet Henri Abraham César Malan’s Non, ce n’est pas mourir as translated by George Washington Bethune. This text first came to my attention through Dan Wells’ choral arrangement of Bob Kauflin’s popular setting. Although Kauflin’s treatment of the text is lovely and effective I sensed that there were still depths of Malan’s poetry to be probed, especially the tension between the Christian’s certain transition into eternal bliss and the inevitability of tasting death. This moved me to attempt a fresh musical setting that captures the mixture of dread and hope borne out in the acclamation that “death is swallowed up in victory!”
If you have an adventurous church choir or advanced academic singers you’ll want to consider using this setting of It Is Not Death to Die, with deep pathos in its musical progression that matches the text’s narrative, in your upcoming programming. Available with orchestra or piano (this version) accompaniment, It Is Not Death to Die makes a fitting close to the Easter season, or is suitable for Ascension Sunday, funeral, memorial service, or any time in the church year to remind Christians of the central hope of our faith, eternal life in Christ. Its artistic treatment of humanity’s universal appointment with death works as a moving component of a concert program as well.
Duration: 4’35”
It Is Not Death to Die, is a setting of French poet Henri Abraham César Malan’s Non, ce n’est pas mourir as translated by George Washington Bethune. This text first came to my attention through Dan Wells’ choral arrangement of Bob Kauflin’s popular setting. Although Kauflin’s treatment of the text is lovely and effective I sensed that there were still depths of Malan’s poetry to be probed, especially the tension between the Christian’s certain transition into eternal bliss and the inevitability of tasting death. This moved me to attempt a fresh musical setting that captures the mixture of dread and hope borne out in the acclamation that “death is swallowed up in victory!”
If you have an adventurous church choir or advanced academic singers you’ll want to consider using this setting of It Is Not Death to Die, with deep pathos in its musical progression that matches the text’s narrative, in your upcoming programming. Available with orchestra (this version) or piano accompaniment, It Is Not Death to Die makes a fitting close to the Easter season, or is suitable for Ascension Sunday, funeral, memorial service, or any time in the church year to remind Christians of the central hope of our faith, eternal life in Christ. Its artistic treatment of humanity’s universal appointment with death works as a moving component of a concert program as well.
Duration: 4’35”
