Fratres, after Palestrina



There was a natural connection for me to the music of Palestrina growing up: from childhood memories in church, to my education as a classically trained musician, and finally during my time  studying at The Juilliard School where as a lecturer I taught species counterpoint.I wanted to create a sensory piece that gave the soundscape of the life and community that attend a church. To illustrate this, elements of the composition are left to chance,signaling the voices of a congregation. By disrupting the text, the singers babble quickly with a combination of words, getting louder and more indistinguishable, similar to 'theTower of Babel' where people are muttering and talking over one another.I had fun experimenting outside of the boundaries of species counterpoint, exploring delayed or non existent resolutions to the dissonance created. I have had many encounters with the music of Palestrina, and to bridge this reflection into my current work was very exciting.

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