Faith, Praise, and Prayer (2002)
- Nettleton (for Alice Klanderman)
- Assurance (for John Holtman)
- Holy Manna (for Sue Bratt Cok)
- Kremser (for Shirley Holtman)
- Liebster Jesu (for Robert Carl)
- Wondrous Love (in memory of Ralph Shapey)
- McKee (for Heather Hutton)
- Weisse Flaggen (for Sandra Gay)
Carson Cooman, piano
Duration: 19 min.
Commission: Commissioned by National Music Publishers
Publisher: Fred Bock Music Company
Performance materials available from the publisher.
Nettleton begins with a single voice singing alone. Gradually it builds in voices to a climax in the middle before dying away to the end.
Assurance is in two sections. The first is slow and meditative. The second is fast and energetic, with a “New England gospel” flavor.
Holy Manna is a fast and excited prelude. The thematic element driving the piece is a contrast between the open/”spare” harmonies of early American pentatonic hymns (such as this tune) and more contemporary additive harmonies. This piece explores the juxtapositions of these two kinds of harmonies.
Kremser is a gentle, lilting prelude. The opening motive (based on stacks of perfect 4ths) recurs in various guises. The tune is treated with warm harmonies.
Liebster Jesu is in ABA form. The opening and closing sections are sprightly and sparkling. The middle section is an ornamented version of the hymn tune—with allusions to the music of the English “voluntary composers” such as William Boyce (1711–79).
Wondrous Love is slow and spare, emphasizing the modal quality of the tune and the plaintive nature of the text. Use of the pedal creates long sustained and blurred textures.
McKee is a gentle and flowing prelude. The tune is presented twice—one in the upper and once in the middle register of the piano.
Weisse Flaggen is majestic and grand. Phrases of the tune alternate with the fanfare music.