Barbara Harbach
Orchestral, String Orchestra and Concertos
Orchestral, String Orchestra and Concertos
Suite Luther, 2017 - MS 1672
In 1517, Martin Luther purportedly nailed 95 theses to the door of All Saints’ Church in the German town of
Wittenberg. His criticisms challenged the teachings of the Roman Catholic Church and led to a split with the Church,
giving birth to the beginnings of Protestantism and the Reformation which, as it spread throughout Europe, was
marked by horrific episodes of warfare and violence. The 500th anniversary of the nailing of the theses has spurred
many creative projects, and as Barbara Harbach was a Minister of Music at an Evangelical Lutheran Church in
Missouri, she, too, was inspired to pay homage to Martin Luther.
Harbach’s five-part Suite Luther for orchestra follows the centuries-old practice of invigorating traditional melodies
with contemporary harmonizations, rhythms and orchestral colors. The melody she uses in three of the five movements
(I, III and V) is A Mighty Fortress is Our God (Ein’ feste Burg ist unser Gott), one of the best-known hymns by Luther, who
wrote the words and music sometime between 1517 and 1519. Ein’ feste Burg is also known as the “Battle Hymn of the
Reformation” since it increased support for the Reformation movement. The Luther hymn of the second movement,
In Peace and Joy I Now Depart (Mit Fried und Freud ich fahr dahin), is a paraphrase in German of the Nunc dimittis,
the canticle of Simeon written in 1524, often used for funerals. The third Luther hymn, heard in Movement IV, is From
Deepest Depths I Cry to Thee (Aus tiefer Not schrei ich zu dir). Written in 1524, it is a paraphrase of Psalm 130.
I. Motet – A Fortress Strong is an exuberant arrangement of the original rhythmic melody of Ein’ feste Burg. Harbach
follows the form of the hymn, AABA1 (A1 indicating a variation of A), featuring counterpoint preceding each presentation
of the phrases with “pre-imitation” as did Buxtehude, Pachelbel and J.S. Bach. Opening with a five-note timpani
fanfare with cymbals, the trumpet and trombone announce the first phrase of the hymn, seemingly in double time. The
woodwinds follow with new material, and then close the introduction with the ending phrase of the ‘A’ section. A short
imitative section precedes Luther’s original rhythmic notation, with the flute regally playing the melody soaring above
the orchestra. The lively middle ‘B’ section has transitional material featuring the brass instruments in close harmony
and a more subdued presence for the words “And armed with cruel hate.” This is followed with cascading flourishes in
the strings before the echoes of the familiar opening phrases herald the end of the movement.
II. In Peace and Joy I Now Depart is a six-phrase hymn by Luther. Harbach was inspired to write a two-part piece with the
form of ABA1B1. The ‘A’ parts are newly composed with the ethos underscoring a feeling of Peace, while the ‘B’ portions
evoke the feeling of Joy. The ‘A’ section begins with a decorated flute melody, with the oboe taking over the melody with
comments from the lower woodwinds and horn. The Joy section is reminiscent of a Renaissance dance, with the trumpet
presenting the chorale melody with decorations, and then being joined by the horn with string accompaniment. The flute
melody heard at the beginning of the piece returns, but with the decorated melody in a major tonality. ‘A1’ returns with a
fuller and richer harmonization while the xylophone and timpani enhance the musical fabric in ‘B1’.
III. Chorale Fantasy – Ein’ feste Burg, or “Christ, the New Contender,” is a powerful and lively setting of the
second verse of Ein’ feste Burg, which announces Christ as the triumphant advocate. The melodies of the imitative
introduction are derived from the first two phrases of the famous hymn melody, with conversations between the
woodwinds and strings. The woodwinds state the ‘A’ section followed by more introductory material. The brass
section and flute lead the next ‘A’ section, while the winds and brass alternate in the ‘B’ portion with strings, busily
commenting on the introductory material. The entire orchestra joins in the noble final phrase.
IV. From Deepest Depths I Cry to You (Aus tiefer Not schrei ich zu dir) is a newly harmonized rendition of the fourpart
chorale in AAB form. The movement creates a mood of introspection with recurrent plaintive petitions, with
an orchestra here of only flute, horn, trumpet, trombone and strings. The pre-imitation is original material as well
as utilizing some motives derived from the original melody. The horn and trombone play the melody in unison with
the counterpoint weaving around them. The rising motives reflect the pathos or word painting of trying to climb out
of the depths to a holier place.
V. Ein’ Feste Finale marks the return of Luther’s famous hymn, Ein’ feste Burg, but this time with more familiar
rhythmic notation. The hymn tune pulsates with many different simultaneous rhythms and key changes, with
trombone and tuba in unison and in canon, and sections with three-part canons. The triumphant ending is rendered
by full orchestra in traditional harmony for the final iteration.
In 1517, Martin Luther purportedly nailed 95 theses to the door of All Saints’ Church in the German town of
Wittenberg. His criticisms challenged the teachings of the Roman Catholic Church and led to a split with the Church,
giving birth to the beginnings of Protestantism and the Reformation which, as it spread throughout Europe, was
marked by horrific episodes of warfare and violence. The 500th anniversary of the nailing of the theses has spurred
many creative projects, and as Barbara Harbach was a Minister of Music at an Evangelical Lutheran Church in
Missouri, she, too, was inspired to pay homage to Martin Luther.
Harbach’s five-part Suite Luther for orchestra follows the centuries-old practice of invigorating traditional melodies
with contemporary harmonizations, rhythms and orchestral colors. The melody she uses in three of the five movements
(I, III and V) is A Mighty Fortress is Our God (Ein’ feste Burg ist unser Gott), one of the best-known hymns by Luther, who
wrote the words and music sometime between 1517 and 1519. Ein’ feste Burg is also known as the “Battle Hymn of the
Reformation” since it increased support for the Reformation movement. The Luther hymn of the second movement,
In Peace and Joy I Now Depart (Mit Fried und Freud ich fahr dahin), is a paraphrase in German of the Nunc dimittis,
the canticle of Simeon written in 1524, often used for funerals. The third Luther hymn, heard in Movement IV, is From
Deepest Depths I Cry to Thee (Aus tiefer Not schrei ich zu dir). Written in 1524, it is a paraphrase of Psalm 130.
I. Motet – A Fortress Strong is an exuberant arrangement of the original rhythmic melody of Ein’ feste Burg. Harbach
follows the form of the hymn, AABA1 (A1 indicating a variation of A), featuring counterpoint preceding each presentation
of the phrases with “pre-imitation” as did Buxtehude, Pachelbel and J.S. Bach. Opening with a five-note timpani
fanfare with cymbals, the trumpet and trombone announce the first phrase of the hymn, seemingly in double time. The
woodwinds follow with new material, and then close the introduction with the ending phrase of the ‘A’ section. A short
imitative section precedes Luther’s original rhythmic notation, with the flute regally playing the melody soaring above
the orchestra. The lively middle ‘B’ section has transitional material featuring the brass instruments in close harmony
and a more subdued presence for the words “And armed with cruel hate.” This is followed with cascading flourishes in
the strings before the echoes of the familiar opening phrases herald the end of the movement.
II. In Peace and Joy I Now Depart is a six-phrase hymn by Luther. Harbach was inspired to write a two-part piece with the
form of ABA1B1. The ‘A’ parts are newly composed with the ethos underscoring a feeling of Peace, while the ‘B’ portions
evoke the feeling of Joy. The ‘A’ section begins with a decorated flute melody, with the oboe taking over the melody with
comments from the lower woodwinds and horn. The Joy section is reminiscent of a Renaissance dance, with the trumpet
presenting the chorale melody with decorations, and then being joined by the horn with string accompaniment. The flute
melody heard at the beginning of the piece returns, but with the decorated melody in a major tonality. ‘A1’ returns with a
fuller and richer harmonization while the xylophone and timpani enhance the musical fabric in ‘B1’.
III. Chorale Fantasy – Ein’ feste Burg, or “Christ, the New Contender,” is a powerful and lively setting of the
second verse of Ein’ feste Burg, which announces Christ as the triumphant advocate. The melodies of the imitative
introduction are derived from the first two phrases of the famous hymn melody, with conversations between the
woodwinds and strings. The woodwinds state the ‘A’ section followed by more introductory material. The brass
section and flute lead the next ‘A’ section, while the winds and brass alternate in the ‘B’ portion with strings, busily
commenting on the introductory material. The entire orchestra joins in the noble final phrase.
IV. From Deepest Depths I Cry to You (Aus tiefer Not schrei ich zu dir) is a newly harmonized rendition of the fourpart
chorale in AAB form. The movement creates a mood of introspection with recurrent plaintive petitions, with
an orchestra here of only flute, horn, trumpet, trombone and strings. The pre-imitation is original material as well
as utilizing some motives derived from the original melody. The horn and trombone play the melody in unison with
the counterpoint weaving around them. The rising motives reflect the pathos or word painting of trying to climb out
of the depths to a holier place.
V. Ein’ Feste Finale marks the return of Luther’s famous hymn, Ein’ feste Burg, but this time with more familiar
rhythmic notation. The hymn tune pulsates with many different simultaneous rhythms and key changes, with
trombone and tuba in unison and in canon, and sections with three-part canons. The triumphant ending is rendered
by full orchestra in traditional harmony for the final iteration.
Arabesque noir, 2017 - MS 1672
Arabesque noir was inspired by the ornamental designs found in Arabic and Moorish decoration. The music reflects
the florid ornamentation with flowing melodies and motifs that are sinuous, spiraling and undulating. It seeks
to capture the complicated relationships between slaves and their masters; the subtle, hidden and forbidden
interactions that can occur, such as the relationship between Thomas Jefferson and Sally Hemings.
I. Looking for an Angel opens with a sweeping melody for solo flute that spans more than two octaves. Upon the second
statement of the theme, the flute melody is imitated by the oboe, accompanied by the strings. The two instruments
cross parts and intertwine until the bassoon, clarinet and trumpet join the imitative texture. The oboe states a second
theme, similar to one heard in Harbach’s Early American Scandals’, Looking for an Angel, found in the second
movement of that work, River Styx. One can interpret the second theme as representing the seeking out of an angel to bring happiness to a life without hope. After a short transition, the horn takes up the theme with the trumpet, oboe and
clarinet joining the imitation. The sweeping first theme returns with the melody now in the first violins. The mood
changes as the horn states a new theme, She’s a Woman, Simply Woman, which depicts the enchantment between
lovers and features an expansive range with strings interjecting “comments” as would a Greek chorus. The trombone
takes over while the Looking for an Angel theme returns in a three-part canon in the woodwinds. As the She’s a Woman
theme finishes, the woodwinds begin a three-part canon in diminution, having half rhythmic values. The conversation is
ended when the timpani begins an insistent five-note motive. The violins and oboe play the opening theme in imitation,
being joined by the flute, horn and viola. The movement ends quietly with only a fragment of Looking for an Angel.
II. Evening Love depicts lovers wrapped in the arms of the night, with arabesque melodies descending in a tetrachord
in the bass, viola gently repeating its motive while the second violins enter on a single pitch. The first violins
follow with a slow, gently moving theme. Pizzicatos in the viola, cellos and bass provide accompaniment under the
flute and violin duet. A second theme emerges in the trumpet, echoed by the oboe. Their interplay continues until
the flute starts a descending and then ascending motive that is imitated by the first violins. All themes begin to vie
for attention until the horn introduces the melody, A Slave to Love, with its double meaning of being a slave, but
also being in love – “now I’m a slave to love, and so enslaved by love remain”. All themes return and compete for
dominance, interacting and intertwining, sinuous and seductive.
III. In the Still I will Wait continues exploring clandestine trysts of lovers, and even if parted by death, I will wait for you,
my heart. The movement opens with a descending cadenza-like figure in the solo first violin accompanied by the flute.
A gentle and beguiling ascending waltz melody opens with the clarinet in canon with the flute – an octave higher – and
strings, with 3/4 passages being interrupted by passages in 2/4. A new ascending theme emerges in the trumpet
imitated by the oboe in canon at the unison, followed by a return of the first theme as a horn and trumpet duet, imitated
by flute, oboe and clarinet. The trombone introduces a new theme, with numerous comments from the woodwinds,
which is repeated with a canon among the trumpet, horn and clarinet that leads to a climax using material from the
introductory cadenza. The first theme returns, but this time in the first violins. Imitation in the strings and woodwinds
is heard, leading to a section of several themes weaving in and out, with instruments vying to project their lines. In the
Still I will Wait closes with gestures of the opening cadenza motif, fading away like the memories of long ago.
Arabesque noir was inspired by the ornamental designs found in Arabic and Moorish decoration. The music reflects
the florid ornamentation with flowing melodies and motifs that are sinuous, spiraling and undulating. It seeks
to capture the complicated relationships between slaves and their masters; the subtle, hidden and forbidden
interactions that can occur, such as the relationship between Thomas Jefferson and Sally Hemings.
I. Looking for an Angel opens with a sweeping melody for solo flute that spans more than two octaves. Upon the second
statement of the theme, the flute melody is imitated by the oboe, accompanied by the strings. The two instruments
cross parts and intertwine until the bassoon, clarinet and trumpet join the imitative texture. The oboe states a second
theme, similar to one heard in Harbach’s Early American Scandals’, Looking for an Angel, found in the second
movement of that work, River Styx. One can interpret the second theme as representing the seeking out of an angel to bring happiness to a life without hope. After a short transition, the horn takes up the theme with the trumpet, oboe and
clarinet joining the imitation. The sweeping first theme returns with the melody now in the first violins. The mood
changes as the horn states a new theme, She’s a Woman, Simply Woman, which depicts the enchantment between
lovers and features an expansive range with strings interjecting “comments” as would a Greek chorus. The trombone
takes over while the Looking for an Angel theme returns in a three-part canon in the woodwinds. As the She’s a Woman
theme finishes, the woodwinds begin a three-part canon in diminution, having half rhythmic values. The conversation is
ended when the timpani begins an insistent five-note motive. The violins and oboe play the opening theme in imitation,
being joined by the flute, horn and viola. The movement ends quietly with only a fragment of Looking for an Angel.
II. Evening Love depicts lovers wrapped in the arms of the night, with arabesque melodies descending in a tetrachord
in the bass, viola gently repeating its motive while the second violins enter on a single pitch. The first violins
follow with a slow, gently moving theme. Pizzicatos in the viola, cellos and bass provide accompaniment under the
flute and violin duet. A second theme emerges in the trumpet, echoed by the oboe. Their interplay continues until
the flute starts a descending and then ascending motive that is imitated by the first violins. All themes begin to vie
for attention until the horn introduces the melody, A Slave to Love, with its double meaning of being a slave, but
also being in love – “now I’m a slave to love, and so enslaved by love remain”. All themes return and compete for
dominance, interacting and intertwining, sinuous and seductive.
III. In the Still I will Wait continues exploring clandestine trysts of lovers, and even if parted by death, I will wait for you,
my heart. The movement opens with a descending cadenza-like figure in the solo first violin accompanied by the flute.
A gentle and beguiling ascending waltz melody opens with the clarinet in canon with the flute – an octave higher – and
strings, with 3/4 passages being interrupted by passages in 2/4. A new ascending theme emerges in the trumpet
imitated by the oboe in canon at the unison, followed by a return of the first theme as a horn and trumpet duet, imitated
by flute, oboe and clarinet. The trombone introduces a new theme, with numerous comments from the woodwinds,
which is repeated with a canon among the trumpet, horn and clarinet that leads to a climax using material from the
introductory cadenza. The first theme returns, but this time in the first violins. Imitation in the strings and woodwinds
is heard, leading to a section of several themes weaving in and out, with instruments vying to project their lines. In the
Still I will Wait closes with gestures of the opening cadenza motif, fading away like the memories of long ago.
Early American Scandals, 2017 - MS 1672
Early American Scandals are four snapshots that look back to the turbulence, Revolution, slavery, Civil War and
social unrest of the 18th and 19th centuries. Harbach has always been intrigued by this time period, and has written
several compositions exploring the moods and pathos of that time, including Booth! an American Musical; Two
Songs from the Sacred Harp for string orchestra; Frontier Fancies for violin and orchestra; Freedom Suite for string
orchestra; Symphony No.3 “A State Divided”; Symphony No.8 “The Scarlet Letter”; Pioneer Women for soprano,
clarinet and piano; Harriet’s Story for soprano, violin and piano; and Emanations of the Sacred Harp for cello and
piano. Early American Scandals won the TUTTI orchestral composition prize and was premiered 7 March 2019 at
Denison University in Granville, Ohio.
I. Love - Revenge uneasily evokes a happier time, with hints of conflict and revenge, as when “the master” makes unwanted advances toward a slave or when the love object chooses another. The movement has two themes. One is a subtly menacing waltz with descending half steps, often accompanied with flourishes in the upper strings; the other, a rising and descending melody that contains repeated notes, first enunciated by the bassoon, and later more forcefully by trumpet and trombone.
II. River Styx focuses around the choices we make – some are abhorrent and some fulfilling. The first of four themes is
gently nostalgic, full of longing for a lost love or for one who has died. The desire to be reunited is strong, accompanied by
a willingness to brave the River Styx to pass into hell to see the beloved one more time. Shortly after the introduction of the
gentle opening motive, the River Styx theme provides a jolt of reality, with short dotted rhythms and powerful strident horn
and brass iterations. A little later, the flute and clarinet introduce the third theme, Looking for an Angel. Imitation abounds
in transitions as well as within all of these three themes. Emotions become more complex when the Angel theme, with
flute and oboe in canon at the octave, combine with the River Styx on the clarinet. The last theme, introduced by trombone
and imitated by trumpet, may represent a call before the Divine. In the final section, the three themes intermingle and
intertwine, and conclude with the River Styx theme, reminding us that one does not always get what one wants!
III. The Vulture Hours occur in the night when sleep does not come, and one’s mind tortures with thoughts of things
done and not done. The past rears up like a winged phantom; cruel memory rips into the darkness with a terrifying
shriek. Each dream becomes a nightmare when the vulture hours descend. The Vulture Hours was inspired by the
horror John Wilkes Booth brought upon his family, never to be forgotten. The clarinet is heard in a short vorimitation
before the bassoon introduces the first theme of ambiguous tonality and melancholy, and an ever-so-slight hint of
tango. The clarinet joins the bassoon with another statement of the melody, while the flute and oboe join with a
canon at the octave. The trombone adds darkness as the texture grows to fortissimo, then returning to the sadness
of melancholy. One last crescendo is heard before the music dissolves into the darkness.
IV. Virginia’s Real Reel is a romping, early American period dance piece that originates from the Revolutionary War
and Civil War era. It is based on three fiddle tunes: Five Miles out of Town; Johnny, Bring the Jug Around the Hill; and
Jack Danielson’s Reel. The tunes are stated individually, with each featuring a section of the orchestra – strings,
woodwinds and brass – before bringing in the entire orchestra for a show-down, hoe-down finish. The trombone
acts as the caller for dancing a reel and abounds with imitation, mode changes, string glissandos and flourishes.
Early American Scandals are four snapshots that look back to the turbulence, Revolution, slavery, Civil War and
social unrest of the 18th and 19th centuries. Harbach has always been intrigued by this time period, and has written
several compositions exploring the moods and pathos of that time, including Booth! an American Musical; Two
Songs from the Sacred Harp for string orchestra; Frontier Fancies for violin and orchestra; Freedom Suite for string
orchestra; Symphony No.3 “A State Divided”; Symphony No.8 “The Scarlet Letter”; Pioneer Women for soprano,
clarinet and piano; Harriet’s Story for soprano, violin and piano; and Emanations of the Sacred Harp for cello and
piano. Early American Scandals won the TUTTI orchestral composition prize and was premiered 7 March 2019 at
Denison University in Granville, Ohio.
I. Love - Revenge uneasily evokes a happier time, with hints of conflict and revenge, as when “the master” makes unwanted advances toward a slave or when the love object chooses another. The movement has two themes. One is a subtly menacing waltz with descending half steps, often accompanied with flourishes in the upper strings; the other, a rising and descending melody that contains repeated notes, first enunciated by the bassoon, and later more forcefully by trumpet and trombone.
II. River Styx focuses around the choices we make – some are abhorrent and some fulfilling. The first of four themes is
gently nostalgic, full of longing for a lost love or for one who has died. The desire to be reunited is strong, accompanied by
a willingness to brave the River Styx to pass into hell to see the beloved one more time. Shortly after the introduction of the
gentle opening motive, the River Styx theme provides a jolt of reality, with short dotted rhythms and powerful strident horn
and brass iterations. A little later, the flute and clarinet introduce the third theme, Looking for an Angel. Imitation abounds
in transitions as well as within all of these three themes. Emotions become more complex when the Angel theme, with
flute and oboe in canon at the octave, combine with the River Styx on the clarinet. The last theme, introduced by trombone
and imitated by trumpet, may represent a call before the Divine. In the final section, the three themes intermingle and
intertwine, and conclude with the River Styx theme, reminding us that one does not always get what one wants!
III. The Vulture Hours occur in the night when sleep does not come, and one’s mind tortures with thoughts of things
done and not done. The past rears up like a winged phantom; cruel memory rips into the darkness with a terrifying
shriek. Each dream becomes a nightmare when the vulture hours descend. The Vulture Hours was inspired by the
horror John Wilkes Booth brought upon his family, never to be forgotten. The clarinet is heard in a short vorimitation
before the bassoon introduces the first theme of ambiguous tonality and melancholy, and an ever-so-slight hint of
tango. The clarinet joins the bassoon with another statement of the melody, while the flute and oboe join with a
canon at the octave. The trombone adds darkness as the texture grows to fortissimo, then returning to the sadness
of melancholy. One last crescendo is heard before the music dissolves into the darkness.
IV. Virginia’s Real Reel is a romping, early American period dance piece that originates from the Revolutionary War
and Civil War era. It is based on three fiddle tunes: Five Miles out of Town; Johnny, Bring the Jug Around the Hill; and
Jack Danielson’s Reel. The tunes are stated individually, with each featuring a section of the orchestra – strings,
woodwinds and brass – before bringing in the entire orchestra for a show-down, hoe-down finish. The trombone
acts as the caller for dancing a reel and abounds with imitation, mode changes, string glissandos and flourishes.
Recitative and Aria, 2017 - MS 1672
Recitative and Aria is a two-movement work inspired by the life of Edwin Booth (1833-1893), one of the greatest
American actors of the past, and arguably the greatest Prince Hamlet of the 19th century. Booth toured throughout
the United States as well as Europe, giving performances to riveted audiences. The older brother of John Wilkes
Booth, the man who assassinated President Lincoln, Edwin carried with him the dark stigma that surrounded the
event for the rest of his life.
The Recitative is a complex work of varying mood, meter and tempo, instrumentation and themes – like a mad
soliloquy where one repeats and contradicts in a stream of consciousness rant. The horn, often doubled by
trombone, is prominent throughout as Edwin’s “voice”. One wonders whether Edwin thought, “For here’s the
horrifying truth: That Booth is Hamlet, Hamlet Booth.”
Another tragedy in Edwin’s life was the loss of his wife after only three years of marriage. At the time, heavy drinking
habits prevented him from being able to read several telegrams informing him of her failing health. In Aria – Our Love
Forever New, Edwin dreams of a time when they can be reunited, in the flowing stream of time, with “hearts forever
young, love forever new”. After the introduction, again with the horn representing Edwin, the oboe and bassoon
state the first theme, creating a nostalgic and wistful mood. Several themes, often played by the full orchestra,
create a lush and provocative fabric. Closing quietly, the horn again asserts, “I will always love you,” and Mary
responds, “Our love forever new.”
Recitative and Aria is a two-movement work inspired by the life of Edwin Booth (1833-1893), one of the greatest
American actors of the past, and arguably the greatest Prince Hamlet of the 19th century. Booth toured throughout
the United States as well as Europe, giving performances to riveted audiences. The older brother of John Wilkes
Booth, the man who assassinated President Lincoln, Edwin carried with him the dark stigma that surrounded the
event for the rest of his life.
The Recitative is a complex work of varying mood, meter and tempo, instrumentation and themes – like a mad
soliloquy where one repeats and contradicts in a stream of consciousness rant. The horn, often doubled by
trombone, is prominent throughout as Edwin’s “voice”. One wonders whether Edwin thought, “For here’s the
horrifying truth: That Booth is Hamlet, Hamlet Booth.”
Another tragedy in Edwin’s life was the loss of his wife after only three years of marriage. At the time, heavy drinking
habits prevented him from being able to read several telegrams informing him of her failing health. In Aria – Our Love
Forever New, Edwin dreams of a time when they can be reunited, in the flowing stream of time, with “hearts forever
young, love forever new”. After the introduction, again with the horn representing Edwin, the oboe and bassoon
state the first theme, creating a nostalgic and wistful mood. Several themes, often played by the full orchestra,
create a lush and provocative fabric. Closing quietly, the horn again asserts, “I will always love you,” and Mary
responds, “Our love forever new.”
Hypocrisy - Orchestral Suite, 2016 - MS 1646
Hypocrisy is an original film score written for the 1915 silent film, Hypocrites, directed by the legendary American director, Lois Weber (1888-1939). The film points out the intriguing, aggravating, moralizing indictment of hypocrisy, especially applied to religion, business, politics, love and family. The film’s use of religious imagery and innovative special effects is also noteworthy. The newly composed score is of special artistic significance for its focus on raising the awareness of contemporary and original music with an historical silent film.
The film follows the two parallel stories of an early Christian monk, Gabriel, and a modern minister. The Medieval monk devotes himself to completing a statue of “Truth.” When his work turns out to be an image of a naked woman, an ignorant mob murders him. The contemporary minister is the pastor of a large wealthy urban congregation for whom religion is a matter of appearances and not beliefs. A series of vignettes in which the Naked Truth, a female nude, reveals the hypocrisy of the congregation and then exposes their voracious appetite for money, sex and power. In the film, the nudity is barely visible due to the film technique of double exposure, producing a ghostly appearance. This technique was revolutionary for the time, as was Weber’s intricate editing.
Hypocrites was a shocking and controversial film. Distribution of the film did not occur for months due to the debate over the release of a film with frontal nudity. Interestingly, the British Board of Film Censors accepted the film. However, because of the recurring nudity throughout the film, it caused riots in New York, banned in Ohio and the mayor of Boston demanded the film negatives be painted over in order to cover the woman with clothes. Although there were calls for censorship, the film was as an artistic and cultural milestone.
Most of the film has survived, though some early scenes have suffered from nitrate decomposition in places. A print of the film resides in the Library of Congress and is now available on DVD by Kino.
Lois Weber was the leading female director-screenwriter in early Hollywood. She began her career alongside her husband, Phillips Smalley. Her films were well scripted and acted, very popular, and financially successful. They addressed topics that contained controversial social issues: abortion, birth control, capital punishment, religious hypocrisy, a living wage, child labor, prostitution, and white slavery. The New York Evening Journal described the film as “the most startlingly satisfying and vividly wonderful creation of the screen age.” Considered one of the top talents in Hollywood, Lois Weber is regularly mentioned with such outstanding film directors as D. W. Griffith and Cecil B. DeMille. She was the first and only woman elected to the Motion Picture Directors Association in 1916, an honor she held for decades.
Harbach has divided the forty-nine minute film into eleven short movements, each portraying the underlying pathos of the scene.
I. The Gates of Truth The gate opens and a female nude (who is Truth), goes through the gate, and then the gate closes. In church, the congregation hears a sermon on “Hypocrisy,” and is uncomfortable and uneasy. As the pastor continues “Even so, ye outwardly appear righteous unto men, but within ye are full of hypocrisy and iniquity.” Even though the minister tells his message with passion, the congregation sneers at his words. The music begins calmly with a drone in the lower strings and then turns edgy with all instruments participating in various fast figurations while the timpani adds tension with ostinatos and two-note chords. The parishioners talk among themselves portrayed musically with imitation among the instruments, and the boys and men choir are themselves nodding and sneering. The movement ends with noble music befitting a final blessing.
II. Conversations Outside of the church, the men are plotting behind the minister’s back, “Ask for his resignation but keep my name out of it.” The women in the church are primping and putting on their hats, while the minister is dejected holding the newspaper with the headline “Why ‘the Truth’ has Startled Wicked Paris.” The scene opens with the triangle summoning the men and then a three-part canon depicts the conversations. The first episode is imitation between the trumpet and trombone pontificating in a minor key followed by the woodwinds and upper strings adding comments with flourishes. A somber mood begins with the violins in canon with the bassoon while the xylophone plaintively ends the discussion. The flute brings back the memory of happier times and the piece ends with a four-part canon between the trumpet, oboe, horn and trombone.
III. Deceptions “Hypocrisy the only evil that walks invisible, except to God alone,” John Milton. The minister ponders and becomes anxious, and then morphs into the monk, Gabriel. He goes to the forest terrain where women and a family follow him up a hill. Several others fall or refuse to follow, and some go up the hill and pass on. As a father tries to ascend, his bag falls, and gold spills everywhere, and they do not go up the hill because they are trying to put the gold dust back into the bag. Another dutiful husband ogles a pretty, young woman behind his wife’s back. A muted trumpet symbolizes the minister’s unrest. Gently rolling strings and flute follow the people up the hill. A short woodwind and brass fanfare interject while the gold is scattered. The gentle music returns as the people continue to ascend the hill. Surprised by another short fanfare, the music turns quiet but ominous reflecting the words “Hypocrisy the only evil that walks invisible, except to God alone.”
IV. Elusive Truths The monk goes up the gravel pathway surrounded by rocks while a woman struggles to go up the hill, but she cannot continue, and asks the monk for help. The monk stands above the river and implores the heavens. The woman gives up and leans on a rock. 7/8 time alternating with 2/4 create tension and agitation that begins to build with constant sixteenth notes in the clarinet’s lower chalumeau register. Intensity builds with other instruments joining the chorus until crashing chords interrupt the flow. The tension eases until the trumpet and trombone ask “for help” from the monk. The opening material returns as if nothing has happened, but surprisingly begins to build tension again with descending chords and a sixteenth motive as if to indicate that there is more to come.
V. Gabriel the Ascetic The naked woman, Truth, is ever elusive, she runs and hides behind a tree while the monk follows and talks to her. With prayer and fasting, he reverently forms his idea of Truth. He implores heaven, and then returns to work on his sculpture. Outside his studio, the other monks are drinking and laughing around a long table. After a short introduction, the strings play the plaintive, descending melody depicting the monk’s search for Truth.
VI. Curiosity As the monks are drinking and laughing, they want to know what Gabriel is working on, so they send a young monk to knock on his door. There is no answer, so he leaves food, and rings the bell. Meanwhile, Gabriel covers the naked statue, gets the food and goes back to working on the statue. The young monk scales the wall and peaks over the high window. Blinded by what he saw, the young monk clutches his head and falls. Holding his head, he tells the other monks what he saw, and then collapses. The bishop makes the sign of the cross. A young nun comes to Gabriel’s door, looks around and prays. After she leaves, Gabriel found the lily that she left. Many instruments have their own motives showing the many scenes going on, as if searching for something. A solo flute expresses the shock of seeing the sculpture, and the trombone portrays the bishop pontificating. There is no consensus of a musical ending since each instrument carries on its own motive in apparent consternation.
VII. Fated Féte Day After the statue is completed, Gabriel asks permission to present Truth to the people. The people gather as if it is a festival day with children dancing, while men, women, monks and nuns gather. Gabriel observes from afar, as he surveys the praying, banners, tents, ribbons, all excited to see the unveiling. Royalty, guards in armor are amid sacred logo medallions. A tango rhythm in the cellos underscores the gathering for the festivities. The Glockenspiel adds emphasis to highlight the musical fabric while all the instruments are in frequent imitation that propels the conversations onward.
VIII. Dancing Children The Festivities continue. The Abbot unveils the statue, he bows, talks to people, and orates. Gabriel watches from afar, and then hurries to the trees imploring his God. The bassoon leads the celebration beginning with a short, ascending rubato introduction. After the first statement of the theme by the bassoon, imitation begins with the oboe and clarinet chasing the bassoon. A quiet middle section with close imitation reminiscent of Early American tunes begins softly while the countersubject is an inversion of the opening theme, but now with a soft “blues” note at the end of the phrase. The second theme returns in the minor before the first and second theme combine, ending the movement joyously.
IX. Shock and Death The nakedness of Truth shocks the people. Some study the sculpture, parents hurriedly take their children away, the jester laughs, and nuns and monks hide their faces while royalty leave angrily. The statue is covered again, and melee reigns with people running and monks trying to help, while Gabriel prays. The Abbot incites a riot. The people menacingly advance toward Gabriel and begin to stab him with spears – a mob killing. The murderers include nuns and monks, and all gather around the naked statue. The music is a madrigal with each section portraying a different segment of the gathering: monks, nuns, children, the Abbot, and the Truth tune is the recurring motive between sections.
X. Robe of Mourning A nun in white and a woman in black mourn over Gabriel’s body while the monks run away. The woman in black covers Gabriel’s face and chest with her black robe. The strings enter individually from the first violins to double basses with a free harmonization of Komm, süsser Tod (Come, Sweet Death) with the horn playing the chorale melody.
XI. Vignette of Love Truth holds her mirror up to politics. The scene alternates between the present day, and the Medieval Gabriel with the naked Truth. The present day is a posh modern setting with women in sleeveless cocktail dresses and men in tuxedos. Gabriel is there in his Medieval robe. A woman is slightly alarmed by Gabriel, and then casts off her uncomfortable feelings. The scene continues with an intimate conversation between a man and a woman, she drinks and he kisses her. Men are smoking, playing poker and drinking. A fight breaks among them. A quick scene change to a man and woman on a settee. Gabriel is with the naked woman, and she holds up a mirror to the couple as he proposes to her. The music is light-hearted with nostalgia music from the 1920s with the FoxTrot, the Two-step, Soft-shoe, and waltz.
XII. Mixed Signals Gabriel approaches a woman on the bench, while the naked woman enters with a mirror with Gabriel superimposed on an eyeball coming into focus. The woman implores Gabriel, Gabriel calls on heaven, and she cries while kissing his hand and hem. He walks away pondering while she reaches for him and dissolves in tears. Outside men and women are having great pleasure, but when Gabriel enters with the naked woman they are afraid, and all the revelry stops. The instruments enjoy playing and interacting while introducing several motives, but all stop when Gabriel enters. The music starts again as they are no longer afraid. There are moments of concern when the music stops, but then carry on as usual, feeling that they are invincible.
XIII. Sermon of Hypocrisy The scene shifts to a family with a sick child. Gabriel enters in his monk’s clothing and the naked woman holds up a mirror to the family showing a short vignette of indulgence and sex. The child recovers but the boy reads about sex, indulges with food, and then becomes ill again. The gate opens, and Gabriel and naked woman go toward the gate. Gabriel implores the family with open arms before going through the gate. The scene returns to modern day with men in top hats and morning coats entering the church, where they find the minister dead. The prominent minister expired in the church after preaching a sermon on Hypocrisy. The scene opens with solo violin and pizzicato double bass before the main theme enters with the clarinet. The theme then migrates to the trumpet leading to a rhythmic loud section portraying rage and despair. The mournful theme returns before a section of shock and outrage occurs with full orchestra hammering with percussive chords. A short fughetta announces the return of the main theme with imitation before leading to the noble and majestic ending.
Hypocrisy is an original film score written for the 1915 silent film, Hypocrites, directed by the legendary American director, Lois Weber (1888-1939). The film points out the intriguing, aggravating, moralizing indictment of hypocrisy, especially applied to religion, business, politics, love and family. The film’s use of religious imagery and innovative special effects is also noteworthy. The newly composed score is of special artistic significance for its focus on raising the awareness of contemporary and original music with an historical silent film.
The film follows the two parallel stories of an early Christian monk, Gabriel, and a modern minister. The Medieval monk devotes himself to completing a statue of “Truth.” When his work turns out to be an image of a naked woman, an ignorant mob murders him. The contemporary minister is the pastor of a large wealthy urban congregation for whom religion is a matter of appearances and not beliefs. A series of vignettes in which the Naked Truth, a female nude, reveals the hypocrisy of the congregation and then exposes their voracious appetite for money, sex and power. In the film, the nudity is barely visible due to the film technique of double exposure, producing a ghostly appearance. This technique was revolutionary for the time, as was Weber’s intricate editing.
Hypocrites was a shocking and controversial film. Distribution of the film did not occur for months due to the debate over the release of a film with frontal nudity. Interestingly, the British Board of Film Censors accepted the film. However, because of the recurring nudity throughout the film, it caused riots in New York, banned in Ohio and the mayor of Boston demanded the film negatives be painted over in order to cover the woman with clothes. Although there were calls for censorship, the film was as an artistic and cultural milestone.
Most of the film has survived, though some early scenes have suffered from nitrate decomposition in places. A print of the film resides in the Library of Congress and is now available on DVD by Kino.
Lois Weber was the leading female director-screenwriter in early Hollywood. She began her career alongside her husband, Phillips Smalley. Her films were well scripted and acted, very popular, and financially successful. They addressed topics that contained controversial social issues: abortion, birth control, capital punishment, religious hypocrisy, a living wage, child labor, prostitution, and white slavery. The New York Evening Journal described the film as “the most startlingly satisfying and vividly wonderful creation of the screen age.” Considered one of the top talents in Hollywood, Lois Weber is regularly mentioned with such outstanding film directors as D. W. Griffith and Cecil B. DeMille. She was the first and only woman elected to the Motion Picture Directors Association in 1916, an honor she held for decades.
Harbach has divided the forty-nine minute film into eleven short movements, each portraying the underlying pathos of the scene.
I. The Gates of Truth The gate opens and a female nude (who is Truth), goes through the gate, and then the gate closes. In church, the congregation hears a sermon on “Hypocrisy,” and is uncomfortable and uneasy. As the pastor continues “Even so, ye outwardly appear righteous unto men, but within ye are full of hypocrisy and iniquity.” Even though the minister tells his message with passion, the congregation sneers at his words. The music begins calmly with a drone in the lower strings and then turns edgy with all instruments participating in various fast figurations while the timpani adds tension with ostinatos and two-note chords. The parishioners talk among themselves portrayed musically with imitation among the instruments, and the boys and men choir are themselves nodding and sneering. The movement ends with noble music befitting a final blessing.
II. Conversations Outside of the church, the men are plotting behind the minister’s back, “Ask for his resignation but keep my name out of it.” The women in the church are primping and putting on their hats, while the minister is dejected holding the newspaper with the headline “Why ‘the Truth’ has Startled Wicked Paris.” The scene opens with the triangle summoning the men and then a three-part canon depicts the conversations. The first episode is imitation between the trumpet and trombone pontificating in a minor key followed by the woodwinds and upper strings adding comments with flourishes. A somber mood begins with the violins in canon with the bassoon while the xylophone plaintively ends the discussion. The flute brings back the memory of happier times and the piece ends with a four-part canon between the trumpet, oboe, horn and trombone.
III. Deceptions “Hypocrisy the only evil that walks invisible, except to God alone,” John Milton. The minister ponders and becomes anxious, and then morphs into the monk, Gabriel. He goes to the forest terrain where women and a family follow him up a hill. Several others fall or refuse to follow, and some go up the hill and pass on. As a father tries to ascend, his bag falls, and gold spills everywhere, and they do not go up the hill because they are trying to put the gold dust back into the bag. Another dutiful husband ogles a pretty, young woman behind his wife’s back. A muted trumpet symbolizes the minister’s unrest. Gently rolling strings and flute follow the people up the hill. A short woodwind and brass fanfare interject while the gold is scattered. The gentle music returns as the people continue to ascend the hill. Surprised by another short fanfare, the music turns quiet but ominous reflecting the words “Hypocrisy the only evil that walks invisible, except to God alone.”
IV. Elusive Truths The monk goes up the gravel pathway surrounded by rocks while a woman struggles to go up the hill, but she cannot continue, and asks the monk for help. The monk stands above the river and implores the heavens. The woman gives up and leans on a rock. 7/8 time alternating with 2/4 create tension and agitation that begins to build with constant sixteenth notes in the clarinet’s lower chalumeau register. Intensity builds with other instruments joining the chorus until crashing chords interrupt the flow. The tension eases until the trumpet and trombone ask “for help” from the monk. The opening material returns as if nothing has happened, but surprisingly begins to build tension again with descending chords and a sixteenth motive as if to indicate that there is more to come.
V. Gabriel the Ascetic The naked woman, Truth, is ever elusive, she runs and hides behind a tree while the monk follows and talks to her. With prayer and fasting, he reverently forms his idea of Truth. He implores heaven, and then returns to work on his sculpture. Outside his studio, the other monks are drinking and laughing around a long table. After a short introduction, the strings play the plaintive, descending melody depicting the monk’s search for Truth.
VI. Curiosity As the monks are drinking and laughing, they want to know what Gabriel is working on, so they send a young monk to knock on his door. There is no answer, so he leaves food, and rings the bell. Meanwhile, Gabriel covers the naked statue, gets the food and goes back to working on the statue. The young monk scales the wall and peaks over the high window. Blinded by what he saw, the young monk clutches his head and falls. Holding his head, he tells the other monks what he saw, and then collapses. The bishop makes the sign of the cross. A young nun comes to Gabriel’s door, looks around and prays. After she leaves, Gabriel found the lily that she left. Many instruments have their own motives showing the many scenes going on, as if searching for something. A solo flute expresses the shock of seeing the sculpture, and the trombone portrays the bishop pontificating. There is no consensus of a musical ending since each instrument carries on its own motive in apparent consternation.
VII. Fated Féte Day After the statue is completed, Gabriel asks permission to present Truth to the people. The people gather as if it is a festival day with children dancing, while men, women, monks and nuns gather. Gabriel observes from afar, as he surveys the praying, banners, tents, ribbons, all excited to see the unveiling. Royalty, guards in armor are amid sacred logo medallions. A tango rhythm in the cellos underscores the gathering for the festivities. The Glockenspiel adds emphasis to highlight the musical fabric while all the instruments are in frequent imitation that propels the conversations onward.
VIII. Dancing Children The Festivities continue. The Abbot unveils the statue, he bows, talks to people, and orates. Gabriel watches from afar, and then hurries to the trees imploring his God. The bassoon leads the celebration beginning with a short, ascending rubato introduction. After the first statement of the theme by the bassoon, imitation begins with the oboe and clarinet chasing the bassoon. A quiet middle section with close imitation reminiscent of Early American tunes begins softly while the countersubject is an inversion of the opening theme, but now with a soft “blues” note at the end of the phrase. The second theme returns in the minor before the first and second theme combine, ending the movement joyously.
IX. Shock and Death The nakedness of Truth shocks the people. Some study the sculpture, parents hurriedly take their children away, the jester laughs, and nuns and monks hide their faces while royalty leave angrily. The statue is covered again, and melee reigns with people running and monks trying to help, while Gabriel prays. The Abbot incites a riot. The people menacingly advance toward Gabriel and begin to stab him with spears – a mob killing. The murderers include nuns and monks, and all gather around the naked statue. The music is a madrigal with each section portraying a different segment of the gathering: monks, nuns, children, the Abbot, and the Truth tune is the recurring motive between sections.
X. Robe of Mourning A nun in white and a woman in black mourn over Gabriel’s body while the monks run away. The woman in black covers Gabriel’s face and chest with her black robe. The strings enter individually from the first violins to double basses with a free harmonization of Komm, süsser Tod (Come, Sweet Death) with the horn playing the chorale melody.
XI. Vignette of Love Truth holds her mirror up to politics. The scene alternates between the present day, and the Medieval Gabriel with the naked Truth. The present day is a posh modern setting with women in sleeveless cocktail dresses and men in tuxedos. Gabriel is there in his Medieval robe. A woman is slightly alarmed by Gabriel, and then casts off her uncomfortable feelings. The scene continues with an intimate conversation between a man and a woman, she drinks and he kisses her. Men are smoking, playing poker and drinking. A fight breaks among them. A quick scene change to a man and woman on a settee. Gabriel is with the naked woman, and she holds up a mirror to the couple as he proposes to her. The music is light-hearted with nostalgia music from the 1920s with the FoxTrot, the Two-step, Soft-shoe, and waltz.
XII. Mixed Signals Gabriel approaches a woman on the bench, while the naked woman enters with a mirror with Gabriel superimposed on an eyeball coming into focus. The woman implores Gabriel, Gabriel calls on heaven, and she cries while kissing his hand and hem. He walks away pondering while she reaches for him and dissolves in tears. Outside men and women are having great pleasure, but when Gabriel enters with the naked woman they are afraid, and all the revelry stops. The instruments enjoy playing and interacting while introducing several motives, but all stop when Gabriel enters. The music starts again as they are no longer afraid. There are moments of concern when the music stops, but then carry on as usual, feeling that they are invincible.
XIII. Sermon of Hypocrisy The scene shifts to a family with a sick child. Gabriel enters in his monk’s clothing and the naked woman holds up a mirror to the family showing a short vignette of indulgence and sex. The child recovers but the boy reads about sex, indulges with food, and then becomes ill again. The gate opens, and Gabriel and naked woman go toward the gate. Gabriel implores the family with open arms before going through the gate. The scene returns to modern day with men in top hats and morning coats entering the church, where they find the minister dead. The prominent minister expired in the church after preaching a sermon on Hypocrisy. The scene opens with solo violin and pizzicato double bass before the main theme enters with the clarinet. The theme then migrates to the trumpet leading to a rhythmic loud section portraying rage and despair. The mournful theme returns before a section of shock and outrage occurs with full orchestra hammering with percussive chords. A short fughetta announces the return of the main theme with imitation before leading to the noble and majestic ending.
The Birth, Life and Death of Christ for Chamber Orchestra, 2016 - MS 1544
La Naissance, La Vie et La Mort du Christ (The Birth, Life and Death of Christ) is a 33-minute silent film from 1906 comprised of twenty-five scenes or tableaux, directed by the trail-blazing French filmmaker Alice Guy (1873-1968). The very first woman filmmaker, Guy was one of few individual artists to have exerted such a profound influence on the evolution of cinema. Not simply a “woman filmmaker”, she is an unqualified giant of the medium whose work is as important as that of the Lumière Brothers, Georges Méliès and Edwin S. Porter in moving cinema from an optical illusion to a storytelling medium to an art form. This religious film, the very first of its kind and the one for which she is best known, is her crowning achievement. Film International writes: “By the standards of the period, ‘La Vie du Christ’ was both ambitious and lavish in production, as well as epic in running time, in an era in which most films lasted only a few minutes.” Harbach has grouped the twenty-five scenes into eleven movements, where each movement retains the same emotional impact whether being a standalone scene, or a combination of several. This work was premiered 16 November 2014 at the St. Louis Art Museum under the auspices of the St. Louis International Film Festival and sponsored by the French-language channel TV5MONDE. The event was co-presented by the University of Missouri-St. Louis. The viewing of the 1906 film La Naissance, La Vie et La Mort du Christ was accompanied by Harbach’s piece, performed by thirteen musicians and conductor.
1. Arrival in Bethlehem – Nativity and Arrival of the Magi – The Sleep of Jesus
2. The Samaritan – The Miracle of Jairus’ Daughter
3. Mary Magdalene Washes the Feet of Jesus – Palm Sunday
4. The Last Supper
5. The Olive Garden – The Night Watch – Judas’s Betrayal
6. Jesus Before Caiaphas – The Denial of St. Peter
7. Jesus Before Pontius Pilate
8. The Torment – Ecce Homo (Behold the Man) – Bearing of the Cross – Jesus Falls for the First Time
9. Saint Veronica – Climbing Golgotha
10. The Crucifixion – The Agony – Descending from the Cross
11. Committed to the Tomb – The Resurrection
La Naissance, La Vie et La Mort du Christ (The Birth, Life and Death of Christ) is a 33-minute silent film from 1906 comprised of twenty-five scenes or tableaux, directed by the trail-blazing French filmmaker Alice Guy (1873-1968). The very first woman filmmaker, Guy was one of few individual artists to have exerted such a profound influence on the evolution of cinema. Not simply a “woman filmmaker”, she is an unqualified giant of the medium whose work is as important as that of the Lumière Brothers, Georges Méliès and Edwin S. Porter in moving cinema from an optical illusion to a storytelling medium to an art form. This religious film, the very first of its kind and the one for which she is best known, is her crowning achievement. Film International writes: “By the standards of the period, ‘La Vie du Christ’ was both ambitious and lavish in production, as well as epic in running time, in an era in which most films lasted only a few minutes.” Harbach has grouped the twenty-five scenes into eleven movements, where each movement retains the same emotional impact whether being a standalone scene, or a combination of several. This work was premiered 16 November 2014 at the St. Louis Art Museum under the auspices of the St. Louis International Film Festival and sponsored by the French-language channel TV5MONDE. The event was co-presented by the University of Missouri-St. Louis. The viewing of the 1906 film La Naissance, La Vie et La Mort du Christ was accompanied by Harbach’s piece, performed by thirteen musicians and conductor.
1. Arrival in Bethlehem – Nativity and Arrival of the Magi – The Sleep of Jesus
2. The Samaritan – The Miracle of Jairus’ Daughter
3. Mary Magdalene Washes the Feet of Jesus – Palm Sunday
4. The Last Supper
5. The Olive Garden – The Night Watch – Judas’s Betrayal
6. Jesus Before Caiaphas – The Denial of St. Peter
7. Jesus Before Pontius Pilate
8. The Torment – Ecce Homo (Behold the Man) – Bearing of the Cross – Jesus Falls for the First Time
9. Saint Veronica – Climbing Golgotha
10. The Crucifixion – The Agony – Descending from the Cross
11. Committed to the Tomb – The Resurrection
Sinfonietta for String Orchestra, 2010 - MS 1258
Sinfonietta for String Orchestra is a petite symphony in three movements. The first movement, Hommage, is dedicated to all lost love and loved ones. The form is a loose rondo in six sections (ABACBA). The first section opens with a mournful descending line in the first violins, and this motive is soon taken up by all the strings but the double bass. Each entrance is a third apart with the bass adding harmonic support. The next section reveals the entire theme that is partially quoted at the beginning of the piece with murmurings in the viola and second violins, but now in a faster tempo. This material is developed with imitations and a key change. The melodic motive of the opening section returns, and in a new key before leading into the third section. The theme of this section is reminiscent of “In the Cold in the Deep in the Dark,” Alexandra’s aria from Harbach’s O Pioneers!. In this aria, Alexandra mourns the death of her murdered brother, Emil.
Beginning with imitation based on a two-measure motive, Jeu Jeu, plays with rests, slurs and staccatos in a five-part form (ABACA). The first violins have their own theme, also punctuated with rests before morphing into a new treatment of Marie’s “Moon Waltz” from O Pioneers!, still with the same ostinato opening motive accompanying.
Pastiche is a combination of melodies, with the melodies playing happily together or juxtaposed together in a six-part form (ABACBC). The first section is imitative with spritely syncopations leading into the tango section that has fiery glissandos and tremolos. The theme of the first section returns, but now in unison, breaking into a wide-spaced texture. Next, a rollicking fugue starts, and contains many key changes with an extended area of augmentation of the fugal theme in the lower strings. The captivating tango returns, but is cut short by the return of the fugue, more insistent than before.
Click to view I. Hommage
Click to view II. Jeu Jeu
Click to view III. Pastiche
Sinfonietta for String Orchestra is a petite symphony in three movements. The first movement, Hommage, is dedicated to all lost love and loved ones. The form is a loose rondo in six sections (ABACBA). The first section opens with a mournful descending line in the first violins, and this motive is soon taken up by all the strings but the double bass. Each entrance is a third apart with the bass adding harmonic support. The next section reveals the entire theme that is partially quoted at the beginning of the piece with murmurings in the viola and second violins, but now in a faster tempo. This material is developed with imitations and a key change. The melodic motive of the opening section returns, and in a new key before leading into the third section. The theme of this section is reminiscent of “In the Cold in the Deep in the Dark,” Alexandra’s aria from Harbach’s O Pioneers!. In this aria, Alexandra mourns the death of her murdered brother, Emil.
Beginning with imitation based on a two-measure motive, Jeu Jeu, plays with rests, slurs and staccatos in a five-part form (ABACA). The first violins have their own theme, also punctuated with rests before morphing into a new treatment of Marie’s “Moon Waltz” from O Pioneers!, still with the same ostinato opening motive accompanying.
Pastiche is a combination of melodies, with the melodies playing happily together or juxtaposed together in a six-part form (ABACBC). The first section is imitative with spritely syncopations leading into the tango section that has fiery glissandos and tremolos. The theme of the first section returns, but now in unison, breaking into a wide-spaced texture. Next, a rollicking fugue starts, and contains many key changes with an extended area of augmentation of the fugal theme in the lower strings. The captivating tango returns, but is cut short by the return of the fugue, more insistent than before.
Click to view I. Hommage
Click to view II. Jeu Jeu
Click to view III. Pastiche
Freedom Suite for String Orchestra, 2010 - MS 1258
I. Harriet Scott – A Strong Woman is inspired by her memories as a child in Minnesota and St. Louis. She would have heard spirituals and dance music as an adult, and they, hopefully, would have reminded her of the good memories she had as a child and a young woman.
A brief introduction ushers in The Good Lord is Comin’ for Me, a new spiritual based on the traditions of the 18th and 19th century American spirituals. Dance reels follow, in imitation of the Virginia Reels that were popular in the 19th century and in St. Louis, Missouri. The poignant spiritual Don’t You Weep When I’m Gone, composed by Harry (Henry) Thacker Burleigh (1820-1869) has the melody in the cello that so wonderfully portrays the rich somberness of Burleigh’s melody. The dance tunes and The Good Lord is Comin’ for Me return and rush exuberantly toward the close.
II. Eliza and Lizzie – Let My People Go!
The second movement is inspired by two spirituals – Sometimes I Feel Like A Motherless Child and Go Down, Moses. The movement seems to open with random-like pitches in long notes, but is built on the circle-of-fifths utilizing the notes in the chromatic scale. The first section features Sometimes in G Minor with a triple canon among the two violins and viola. An interlude of the opening material then precedes a combination of the two melodies in F-sharp Minor although the melody Go Down predominates. The final section combines as well as alternates between the two melodies.
III. Freedom - At Last opens with a rising and ecstatic fanfare. A joyous four-voice fugue begins. Even amid the celebration of freedom is the ache of memories from the past – Many Thousands Gone – a new spiritual melody inspired by the words of the spiritual of the same name. The fugue melody is then combined with Many Thousands Gone. With each return of the fanfare, excitement builds…but always touched by the memories of the many that have gone, until the feeling of freedom is wholly embraced.
Click to view I. Harriet Scott - a Strong Woman
Click to view II. Eliza and Lizzie - Let My People Go!
Click to view III. Freedom - At Last
I. Harriet Scott – A Strong Woman is inspired by her memories as a child in Minnesota and St. Louis. She would have heard spirituals and dance music as an adult, and they, hopefully, would have reminded her of the good memories she had as a child and a young woman.
A brief introduction ushers in The Good Lord is Comin’ for Me, a new spiritual based on the traditions of the 18th and 19th century American spirituals. Dance reels follow, in imitation of the Virginia Reels that were popular in the 19th century and in St. Louis, Missouri. The poignant spiritual Don’t You Weep When I’m Gone, composed by Harry (Henry) Thacker Burleigh (1820-1869) has the melody in the cello that so wonderfully portrays the rich somberness of Burleigh’s melody. The dance tunes and The Good Lord is Comin’ for Me return and rush exuberantly toward the close.
II. Eliza and Lizzie – Let My People Go!
The second movement is inspired by two spirituals – Sometimes I Feel Like A Motherless Child and Go Down, Moses. The movement seems to open with random-like pitches in long notes, but is built on the circle-of-fifths utilizing the notes in the chromatic scale. The first section features Sometimes in G Minor with a triple canon among the two violins and viola. An interlude of the opening material then precedes a combination of the two melodies in F-sharp Minor although the melody Go Down predominates. The final section combines as well as alternates between the two melodies.
III. Freedom - At Last opens with a rising and ecstatic fanfare. A joyous four-voice fugue begins. Even amid the celebration of freedom is the ache of memories from the past – Many Thousands Gone – a new spiritual melody inspired by the words of the spiritual of the same name. The fugue melody is then combined with Many Thousands Gone. With each return of the fanfare, excitement builds…but always touched by the memories of the many that have gone, until the feeling of freedom is wholly embraced.
Click to view I. Harriet Scott - a Strong Woman
Click to view II. Eliza and Lizzie - Let My People Go!
Click to view III. Freedom - At Last
Nights in Timisoara for String Orchestra, 2010 - MS 1258
Nights in Timisoara for String Orchestra evokes the essence of the Romanian people in the eastern city of Timisoara. Over the years many cultures have influenced and left their mark in the neighborhoods throughout the city even to the present time. Nights in Timisoara strives to portray in music the exotic architecture and vibrant culture life of this “Little Vienna” which is also called “the City of Flowers.” Nights in Timisoara opens with a wide-range flourish spanning across the instruments, evolving into a haunting melody in the first violins over a moving accompaniment. This is followed by a tango ostinato with the violins dueling over the melodic motives. A four-voice jig fugue begins in the cello while the violins have their own imitative fugue. The opening flourish returns leading into a toccata for the string orchestra with the melody in the lower strings. Nights is an enlarged version which began as an organ composition.
Click to view Nights in Timisoara
Nights in Timisoara for String Orchestra evokes the essence of the Romanian people in the eastern city of Timisoara. Over the years many cultures have influenced and left their mark in the neighborhoods throughout the city even to the present time. Nights in Timisoara strives to portray in music the exotic architecture and vibrant culture life of this “Little Vienna” which is also called “the City of Flowers.” Nights in Timisoara opens with a wide-range flourish spanning across the instruments, evolving into a haunting melody in the first violins over a moving accompaniment. This is followed by a tango ostinato with the violins dueling over the melodic motives. A four-voice jig fugue begins in the cello while the violins have their own imitative fugue. The opening flourish returns leading into a toccata for the string orchestra with the melody in the lower strings. Nights is an enlarged version which began as an organ composition.
Click to view Nights in Timisoara
In Memoriam: Turn Round, O My Soul, To Your Rest for String Orchestra, 2010 - MS 1258
In Memoriam is a eulogy and elegy for All Souls Day, remembering the friends and loves that have passed through our lives. Strings evoke the feelings that words cannot express – sadness, beauty, mournfulness, grief, sorrow and nobleness. The harshness of grief is portrayed by the dissonance near the end of the middle section with loud, tension and grief-stricken chords. Convertere, anima mea, in requiem tuam, requiem tuam.
Click to view In Requiem: Turn Round
In Memoriam is a eulogy and elegy for All Souls Day, remembering the friends and loves that have passed through our lives. Strings evoke the feelings that words cannot express – sadness, beauty, mournfulness, grief, sorrow and nobleness. The harshness of grief is portrayed by the dissonance near the end of the middle section with loud, tension and grief-stricken chords. Convertere, anima mea, in requiem tuam, requiem tuam.
Click to view In Requiem: Turn Round
Two Songs from the Sacred Harp for String Orchestra, 2010 - MS 1258
The Morning Trumpet for String Orchestra is based on the melody, “The Morning Trumpet,” 1844, composed by Benjamin Franklin White (1800 - 1879), a singing master and compiler of the shape-note hymn book known as The Sacred Harp. Harbach has always been fascinated with early American hymn tunes, and set many of them throughout her compositions.
Oh when shall I see Jesus,
And reign with Him above,
And shall hear the trumpet sound in the morning?
And from the flowing fountain
Drink everlasting love,
And shall hear the trumpet sound in the morning?
Chorus
Shout, Oh glory! for I shall mount above the skies,
When I hear the trumpet sound in the morning.
The Morning Trumpet for String Orchestra is a multi-sectional form. The first section alternates unison and lush chords. This leads into the second section with the poignant tune in the viola with a solo violin beginning its counter melody less than a half beat later with the lower strings softly pizzicato. The cello takes over for the second half of the verse, and then the viola finishes with the melody of the chorus. The opening material returns leading into the first fugue with the melody taken from the first phrase of the hymn tune. All but the double bass participate in the fugue. A short transitional section precedes a new statement of the chorus with the melody in the violas and cellos. A new fugue begins with the entrances two beats apart in a stretto manner. Unison writing alternating with chords returns before a short coda quotes the first and last phrases of the hymn.
Early American composer, William Billings (1746-1800), wrote the tune Chester with his own patriotic text and it became unofficially national anthem of the American Revolution. In music, he was largely self-taught, a tanner by trade. His New England Psalm-Singer (1770) was the first collection of music entirely by an American
Let tyrants shake their iron rods. And slavery clank her galling chains.
We fear them not, We trust in God. New England's God forever reigns.
The foe comes on with haughty stride, our troops advance with martial noise,
Their veterans flee before our youth, and generals yield to beardless boys
What grateful offerings shall we bring, what shall we render to the Lord,
Loud Hallelujahs let us sing, and praise His name on every chord.
Harbach’s version of Chester for String Orchestra is a three-part form. Churning strings preface the entrance of the melody in the lower strings. This is followed by sharply, syncopated rhythmic patterns in the upper strings. A key change heralds large divisi chords, ending with syncopated chords and a flourish. The following fugue subject, based on the first phrase of the hymn, begins in the viola, with each entrance a fifth higher. A canon between cello and viola leads into the opening materials with the sturdy melody again in the lower strings.
Click to view I. The Morning Trumpet
Click to view II. Chester
The Morning Trumpet for String Orchestra is based on the melody, “The Morning Trumpet,” 1844, composed by Benjamin Franklin White (1800 - 1879), a singing master and compiler of the shape-note hymn book known as The Sacred Harp. Harbach has always been fascinated with early American hymn tunes, and set many of them throughout her compositions.
Oh when shall I see Jesus,
And reign with Him above,
And shall hear the trumpet sound in the morning?
And from the flowing fountain
Drink everlasting love,
And shall hear the trumpet sound in the morning?
Chorus
Shout, Oh glory! for I shall mount above the skies,
When I hear the trumpet sound in the morning.
The Morning Trumpet for String Orchestra is a multi-sectional form. The first section alternates unison and lush chords. This leads into the second section with the poignant tune in the viola with a solo violin beginning its counter melody less than a half beat later with the lower strings softly pizzicato. The cello takes over for the second half of the verse, and then the viola finishes with the melody of the chorus. The opening material returns leading into the first fugue with the melody taken from the first phrase of the hymn tune. All but the double bass participate in the fugue. A short transitional section precedes a new statement of the chorus with the melody in the violas and cellos. A new fugue begins with the entrances two beats apart in a stretto manner. Unison writing alternating with chords returns before a short coda quotes the first and last phrases of the hymn.
Early American composer, William Billings (1746-1800), wrote the tune Chester with his own patriotic text and it became unofficially national anthem of the American Revolution. In music, he was largely self-taught, a tanner by trade. His New England Psalm-Singer (1770) was the first collection of music entirely by an American
Let tyrants shake their iron rods. And slavery clank her galling chains.
We fear them not, We trust in God. New England's God forever reigns.
The foe comes on with haughty stride, our troops advance with martial noise,
Their veterans flee before our youth, and generals yield to beardless boys
What grateful offerings shall we bring, what shall we render to the Lord,
Loud Hallelujahs let us sing, and praise His name on every chord.
Harbach’s version of Chester for String Orchestra is a three-part form. Churning strings preface the entrance of the melody in the lower strings. This is followed by sharply, syncopated rhythmic patterns in the upper strings. A key change heralds large divisi chords, ending with syncopated chords and a flourish. The following fugue subject, based on the first phrase of the hymn, begins in the viola, with each entrance a fifth higher. A canon between cello and viola leads into the opening materials with the sturdy melody again in the lower strings.
Click to view I. The Morning Trumpet
Click to view II. Chester
Demarest Suite for String Orchestra, Vivace Press, 2009 - MS 1258
Echoes of Our Youth begins the suite with lush sonorities and bold statements. Its range of emotions such as insecurity, joy, and nostalgia, are all feelings associated with childhood. Remember the Ladies is a phrase from a letter from Abigail Adams to her husband John Adams. The letter spoke to the fact that John was involved in the freeing of the country and yet, women could not vote or be educated. The seductive tango comes to a quiet close as Mrs. Adams’ plea fell on deaf ears. Joyous Day is the development of a theme from Harbach’s opera, O Pioneers!. In the opera, this theme was used at a joyous wedding and the joy in the theme translates well to strings as the suite comes to a close.
Click to view I. Echoes of Our Youth
Click to view II. Remember the Ladies Tango
Click to view III. Joyous Day for Double String Orchestra
Echoes of Our Youth begins the suite with lush sonorities and bold statements. Its range of emotions such as insecurity, joy, and nostalgia, are all feelings associated with childhood. Remember the Ladies is a phrase from a letter from Abigail Adams to her husband John Adams. The letter spoke to the fact that John was involved in the freeing of the country and yet, women could not vote or be educated. The seductive tango comes to a quiet close as Mrs. Adams’ plea fell on deaf ears. Joyous Day is the development of a theme from Harbach’s opera, O Pioneers!. In the opera, this theme was used at a joyous wedding and the joy in the theme translates well to strings as the suite comes to a close.
Click to view I. Echoes of Our Youth
Click to view II. Remember the Ladies Tango
Click to view III. Joyous Day for Double String Orchestra
Lilia Polka for String Orchestra, 2009 - MS 1258
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the string orchestra.
Click to view Lilia Polka
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the string orchestra.
Click to view Lilia Polka
The Soul of Ra for String Orchestra, 2008 - MS 1255
I. In Memoriam
II. Phoenix Rising
The Soul of Ra has two contrasting movements: In Memoriam and Phoenix Rising. In Memoriam portrays all our lost loves, loved ones and the many war dead. The throbbing pulse of pain alternates with the soaring melody of hope and heart’s ease. Phoenix Rising personifies the indomitable human spirit that transcends loss and this world’s suffering. Amidst our joy there is always a reminder of In Memoriam and the gentle ache of remembrances past.
Click to view I. In Memoriam
Click to view II. Phoenix Rising
I. In Memoriam
II. Phoenix Rising
The Soul of Ra has two contrasting movements: In Memoriam and Phoenix Rising. In Memoriam portrays all our lost loves, loved ones and the many war dead. The throbbing pulse of pain alternates with the soaring melody of hope and heart’s ease. Phoenix Rising personifies the indomitable human spirit that transcends loss and this world’s suffering. Amidst our joy there is always a reminder of In Memoriam and the gentle ache of remembrances past.
Click to view I. In Memoriam
Click to view II. Phoenix Rising
Transformations for String Orchestra, 2007 - MS 1255
I. Pastorale
II. Towards Liberty
III. Re-strain
IV. Commandment
V. For Life
VI. One Out of Many
VII. Profit
VIII. Return
Transformations for String Orchestra began life as string quartet with the same name. The expansion included divided strings and an added double bass part. This eight-movement work for string orchestra was inspired by pioneer director Alice Guy Blache’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view 2.Towards Liberty
Click to view 3. Re-strain
Click to view 4. Commandment
Click to view 5. For Life
Click to view 6. One Out of Many
Click to view 7. Profit
Click to view 8. Return
I. Pastorale
II. Towards Liberty
III. Re-strain
IV. Commandment
V. For Life
VI. One Out of Many
VII. Profit
VIII. Return
Transformations for String Orchestra began life as string quartet with the same name. The expansion included divided strings and an added double bass part. This eight-movement work for string orchestra was inspired by pioneer director Alice Guy Blache’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view 2.Towards Liberty
Click to view 3. Re-strain
Click to view 4. Commandment
Click to view 5. For Life
Click to view 6. One Out of Many
Click to view 7. Profit
Click to view 8. Return
Frontier Fancies for Violin and Orchestra, 2007 - MS 1252
I. Fiddleflirt
II. Twilight Dream
III. Dancedevil
This exuberant violin concerto features spirited interaction between violin and orchestra. Fiddleflirt is a dual of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
I. Fiddleflirt
II. Twilight Dream
III. Dancedevil
This exuberant violin concerto features spirited interaction between violin and orchestra. Fiddleflirt is a dual of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
Arcadian Reverie for String Orchestra, 2004 - MS 1252
Arcadian Reverie begins with a simple setting of the pastoral theme that recurs in many forms from theme with gentle counterpoint to pulsing rhythms and undercurrents. A faster middle section with punctuating, slightly dissonant chords herald the introduction of melodic and rhythmic ostinatos and the melody in 6/8 time. The original theme makes several attempts at disrupting the frolicking fugue before gathering all the string forces into a lush concluding statement.
Click to view Arcadian Reverie
Arcadian Reverie begins with a simple setting of the pastoral theme that recurs in many forms from theme with gentle counterpoint to pulsing rhythms and undercurrents. A faster middle section with punctuating, slightly dissonant chords herald the introduction of melodic and rhythmic ostinatos and the melody in 6/8 time. The original theme makes several attempts at disrupting the frolicking fugue before gathering all the string forces into a lush concluding statement.
Click to view Arcadian Reverie
Rhapsodie Jardine for Oboe and Strings, 1996 - MS 1252
This work vividly evokes a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint. The opening fantasie-like section juxtaposes a minimalistic ostinato pattern in the lower strings with the evocative and expansive melodic line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry oboe serenading a slightly awry orchestra. A return to the fantasie material follows a brief contrapuntal transition. The fugue, alternating between 6/8 and 9/8, is passed among the strings and soloist. This leads to a plaintive duet between the oboe and cello and a unison statement of the fugal subject bring the piece to the end with a flourish.
Click to view Rhapsodie Jardine
This work vividly evokes a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint. The opening fantasie-like section juxtaposes a minimalistic ostinato pattern in the lower strings with the evocative and expansive melodic line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry oboe serenading a slightly awry orchestra. A return to the fantasie material follows a brief contrapuntal transition. The fugue, alternating between 6/8 and 9/8, is passed among the strings and soloist. This leads to a plaintive duet between the oboe and cello and a unison statement of the fugal subject bring the piece to the end with a flourish.
Click to view Rhapsodie Jardine
