Compositions

Syöjätär sometimes referred to as an “ogress”, is a character in Finnish folklore.  I have first visited Musiikkitalo in 2021, when its main pipe organ was still in its planning phase. A year later, when I saw its rich specifications that included a quarter-tone division and a wind-regulating mechanism, I decided that I would write something for this instrument. A vague desire leaped into action only when I saw the first digital renderings of the  new organ on the International Kaija Saariaho Organ  Composition Competition’s website. I immediately started working out some ideas, deriving them directly from the organ’s evocative visual design and eclectic specification. The silvery wind ducts, like futuristic roots of a tree, creep up a black box reminded me of the Syöjätär, the character from Kalewala. The tangling pipes, the mystery of a black box filled with pipes, inspired me to compose a visceral, mystical, yet very energetic piece. The special effects, quarter-tone division, and the wind regulation on each division are all essential building blocks in my composition.  I am please that it has received the price of the Finnish Association of Composers as well as the top prize of the competition in the chamber orchestra and organ category. The premiere will take place at the Musiikkitalo in March 2024.

I composed my “Kodály Triptych” for the composition competition organized by the Hungarian Philharmonia, to commemorate the 140^th anniversary of the composer’s birth in 2022. Each movement is based on a Hungarian folk song.  The first movement uses the two melodies associated with the Marian hymn “Ah, where are Thou, shining star of Hungary”. The text is a prayer to the Blessed Virgin and King Saint Stephen to protect Hungarians. The second movement is a night prayer of a refugee for shelter and safe return home. The last movement is a canonic fanfare based on “Felszállott a Páva,” the folk song Kodály used in his Peacock Variations for orchestra. This colorful movement  begins with a triple canon, followed by a trumpet fanfare in five-eight meter and toccata-like repeated notes in canonic imitations. The quiet section presents the theme in a free, imitative section with the Vox Coelestis, Flute and the pedal. The five-eight fanfare returns at the end of the work on the full organ. This movement has been selected the winner of the competition by an international jury that included Cameron Carpenter.

My Four Preludes of fugues on B-A-C-H were commissioned by Martin Schmeding for the 2022 Boston Bach International Organ Competition. The candidates are required to play one of them for the semifinals on the Fisk organ at Old West Church in Boston.

These short pieces are loosely based on miscellaneous preludes and fugues of the Well-Tempered Clavier and are in a succession of tonalities that are also based on Bach’s four letters. I have used the theme in different permutations: No. 1 Bb uses the classic B-A-C-H motive, whereas No. 2 in A is based on A-C-H-B, No. 3 on C-H-B-A and No. 4 on H-B-A-C.

The four pieces provide stylistic variety and may be played in a succession as a suite or separately, but I strongly recommend playing them staggered in a mixed program. My registration markings are suggestions only and should be adapted to any given instrument.

No. 1 in Bb

No. 2 in A

No. 3 in C

I have been commissioned by Miklós Környei to write a double concerto for Guitar and Cimbalom and String Orchestra for Musicians Libres in Budapest, Hungary. The inspiration came from Turkish Oude music for the first two movements. The last movement is a Vivaldian concerto grosso, inspired by the great Concerto in D Major “Grosso Mogul” RV 208. The premier took place on January 21, 2022 by Miklós Környei, guitar and the great Hungarian Cimbalom player András Szalai, with the Anima Musicae Chamber Orchestra, conducted by Balázs Horváth.

I. Lento, Improvisando- Allegro

II. Air

III. Vivace

This work was is part of a series of compositions I wrote for period instruments, including my two cantatas “I am Content” and “O Come, O Come,” my “Concerto after Vivaldi” and Harpsichord and Organ Concerto No. 3. This sonata is inspired by the Six Violin and Harpsichord Sonatas by Bach.

I. Overture

II. Allegro

III. Aria

IV. Allegro

In this solo cantata for soprano and period ensemble, I have used English translations of several of Bach’s Easter cantata texts. It is also a chorale cantata, based on Ahle’s “I am Content” chorale that prompted the whole tone harmonic language of the piece. I am particularly fond of the “Rejoice” movement that poses plenty of virtuosic passages for the soprano. Addy Sterret’s agile and expressive voice gave me the inspiration to write this work for Saint Peter’s 2021 Easter service. I scored the work for baroque strings, oboe, and continuo. The video recording was shot and edited by me at St Barnabas Episcopal Church in Greenwich, CT.

I. Recit (BWV 67 Erschienen ist der herrliche Tag)
The glorious day has appeared,
over which no one can rejoice enough:
Christ, our Lord, triumphs today,
He leads all His enemies captive.
Alleluia!

II. Aria (BWV 145/1)
Arise, my heart, the Lord’s day
has driven off the night of fear:
Christ, who lay in the grave,
He has not remained in death.
From now on I am truly comforted,
Jesus has redeemed the world.

III. Recit (BWV 249/1)
Come, hasten and run, you fugitive feet,
Find the cave that hides Jesus!
Laughing and jesting
Accompany our hearts,
For our salvation has arisen!

IV. Chorale (Hymn Vs. 1)
I am content! My Jesus ever lives,
In whom my heart is pleased.
He has fulfilled the Law of God for me,
God’s wrath He has appeased.
Since He in death could perish never,
I also shall not die forever.
I am content! I am content!

V. Aria (BWV 84/1)
I am content with the fortune
that my dear Lord bestows on me.
If I am not to have the comfort of riches,
then I thank God for little gifts
and am also not worthy of these.

VI. Recit (BWV 134/2)
Rise up believers! sing lovely songs;
A splendid, renewed Light shines in you.
The living Savior causes blessed times,
Rise, souls! You must prepare an offering,
Pay your duty to the Most High with thanksgiving.

VII. Aria (BW 66/1)
Rejoice, you hearts,
fade away, you sorrows,
the Savior lives and rules within you.
You can drive away
mourning, fear, anxious despair,
the Savior revives his spiritual kingdom.

VIII. Recit (BWV 145/4)
My Jesus lives,
no one can take this from me,
therefore I die without grieving.
I am certain
and I have assurance,
that the darkness of the grave
will raise me up to heavenly glory;
my Jesus lives,
now I have enough.
My heart and mind
will be in heaven even today,
to behold the Redeemer Himself.

IX. Chorale (Hymn Vs. 3)

I am content! My Jesus is my light,
My radiant sun of grace.
His cheering rays beam blessings forth for all,
Sweet comfort, hope, and peace.
This Easter sun has brought salvation
And everlasting exultation.
I am content! I am content!

I used English translations of Bach cantata texts and the words of the “O Antiphons” in my Advent Cantata. It is set for a Bach-style (period or not) orchestra: two oboes, strings and continuo. I dedicated it to our retiring Senior Pastor at Saint Peter’s Church, the Rev. Amandus Derr. The Saint Peter’s Bach Collegium premiered it for his ordination anniversary concert on January 25, 2020.

The design of my cantata follows closely that of Bach’s Chorale Cantatas, in which  every movement has an unmistakable reference to its chorale tune or text, in my case the Advent Hymn “O Come, O come Emmanuel.”  It is hard to miss the reference to BWV 140 in the concerto-style opening chorale fantasy, but I included some more subtle Bach techniques from his later period. The aria (No. 5) is interrupted by the choir (like in some arias in the St Matthew Passion), the Chorale fantasy (No. 9), in the oboes play the cantus firmus with three ornate vocal lines around it (like Suscepit in the Magnificat) and the arioso is a recit that sometimes becomes an arioso with the choir commenting on it. I chose the texts carefully, to be consistent with the Advent message of the O Antiphons. (My favorite is probably the bass aria No. 5 that has a poignant Lutheran text.)

1. Chorus

O come, O come, Emmanuel,
And ransom captive Israel,
That mourns in lonely exile here,
Until the Son of God appear.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
Hymn “O come, O come,” Vs. 1

2. Recit (T)

Marvel, o humanity, at this great mystery:
the Supreme Ruler appears to the world.
Here the treasures of heaven are uncovered,
here a divine manna is presented to us,
O miracle! The purity will be entirely unblemished

3. Aria (S)

Prepare the ways, prepare the path!
Prepare the ways
and make the footpaths
in faith and in life
smooth before the Highest.
The Messiah is coming!
Da capo
Text: BWV 132 No. 1, translation by Alfred Dürr

4. Recit (T)

O Wisdom, coming forth from the mouth of the Most High,
reaching from one end to the other,
mightily and sweetly ordering all things:
Come and teach us the way of prudence.
Text: O Antiphons (O Sapientia)

5. Aria (B) with Choir

Who are you? Ask your conscience,
then you must hear without hypocrisy whether you,
O human, are false or true.
Who are you? Ask the law,
it will tell you who you are,
a child of wrath in Satan’s net,
A false and hypocritical Christian

Choir:
A false Christian, a child of wrath!
Da capo

Text: BWV 132 No. 1, translation by Alfred Dürr

6. Chorale (SSA)

O Adonai, and leader of the House of Israel,
who appeared to Moses in the fire of the burning bush
and gave him the law on Sinai:
Come and redeem us with an outstretched arm.
Rejoice! Rejoice! Emmanuel shall come to you, O Israel.
Text: O Antiphons (O Adonai)

7. Arioso (T) with Choir

I would freely confess to you God, I have not rightly acknowledged you before.
Though mouth and lips call you Lord and Father, yet my heart has turned away from you.

Choir:
I have denied you in my living.

Tenor:
How can you give me good testimony?
When Jesus your spirit and baptismal water cleansed me of my misdeeds,
I indeed promised to keep constant firm
faithfulness with you. Ahh, but alas the baptismal
Covenant is broken, I repent the unfaithfulness.

Choir:
O God have mercy on me!

Tenor:
O help me with unswerving loyalty
I may constantly renew in Faith the covenant of Grace.

Text: BWV 132 translation by Alfred Dürr

8. Aria (S)

Members of Christ consider what the savior has given to you
through baptism’s purifying bath!
With his blood and water fountain your garments become bright,
Which were stained with misdeeds.
Christ gave you as new garments scarlet, purple, white silk: these are the Christian’s splendor.

Members of Christ consider what the savior has given to you
through baptism’s purifying bath!

9. Chorale

O come, Thou Rod of Jesse, free
Thine own from Satan’s tyranny;
From depths of hell Thy people save,
And give them victory o’er the grave.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.

Hymn “O come, O come,” Vs. 2

Lonely Hearts is a one-act opera in Hungarian language, based on a true story. I heard about this story on NPR in 2015. Jesse (T) signed up for a pen pal service, that put him in touch with a woman he could correspond with and befriend. The woman was named Pamela (S). She was beautiful, understanding, and sympathetic. Jesse cherished her letters, but never looked closely enough to realize they were mass-produced and written by another man. The story rings all too familiar this day and age. I commissioned Almási András Tóth to write the libretto in Hungarian. My opera is about the tension between illusion and reality, dreams and facts. Jesse prefers his version of reality to the facts revealed to him in the court room and continues to believe his story. The judge (B) falls in love with Pamela and dismisses the case to join the paradise himself. Pamela confesses and thus becomes the only truthful character in the opera.A mű leírása Magyarul

The music is very eclectic, there is a jazz singer singing Bindin’ My Time in Hungarian, in a dialogue with the soloists and chorus at the meeting scene (mm. 627). There are several other quotations throughout the work; the opening chorus recalls the Barcarolle from Les Contes d’Hoffmann, Jesse’s Aria is based on the Hungarian suicide song Gloomy Sunday, and the Angels respond to Mother Mary with the Gregorian chant Ave Maria Gratia Plena (mm. 244). Bartók’s “A bit drunk” from Hungarian Sketches is quoted in mm. 421 as Pamela relates the story of a drunk man stealing her phone. The libretto is not specific to the internet age, but there are few places, where this old story is updated with allusions to modern technology.

I preserved the beautiful chanted lines of these ancient rites of the Compline Service, treating the Gregorian lines very carefully to preserve their essential beauty and modal qualities. For the words of the Anthem (No. 2) and the Lord’s Prayer, I have chosen an open and transparent harmonic language that are more homophonic than the rest of the movements. Overall this piece is probably the best I have done for a cappella. Commissioned by the Rev. Jared Stahler for an interfaith service at Saint Peter’s Church in 2019.

I. Opening

“Almighty God, grant us a quiet night and peace at the last”

II. Anthem

“Let Light Shine out of Darkness”
2 Corinthians 4:6-7 John 17: 11b

III.Responsory

“Into your hands O Lord, I commend my spirit”

IV. Gospel Canticle

“Guide us waking, O Lord, and guard us sleeping that awake we may watch with
Christ and asleep we may rest in peace”
– Prayers (chanted with harmonized Amen)

V. Our Father

– Prayers (chanted with harmonized Amen)
– Blessing (chanted with harmonized Amen)

This was a prelude for our 11 a.m. 2019 Easter Service at Saint Peter’s Church. I use a small but symphonic-sounding ensemble of woodwind quintet and string quintet with a single percussion player and harp in this fun potpourri of Easter tunes.

A rousing toccata and fugue. medium to difficult.

This three-movement concerto is very special to me, not only because it brings back to my clarinetist roots, but it gave me the opportunity to express my very intimate relationship to this instrument. The first movement starts with a melody on the solo clarinet, supported by string tremolos that develops into an exciting development and a ecstatic ending. The second movement is a hopeful and dramatic slow movement exploring the wide expressing range of the instrument. The third movement is a virtuosic, fiercely difficult scherzo, with a solo cadenza for the clarinet.

An exciting toccata for solo organ. Difficult.

Organ Book No. 1 is a tribute to Johann Sebastian Bach, following the blueprints of his most typical genres for the organ: the Italian concerto, Chorale Prelude, Prelude and Fugue, Passacaglia and Trio Sonata. I conceived these works for historic organs; however, they can be equally well performed on any organ with a quick, responsive action and lively voicing.

The choices of registrations are up to the performer and is expected to vary depending on the instrument. My indications are not to be taken more than suggestions. I personally prefer combination of stops that are fewer in number but rich in color and have a singing quality. These pieces should be played with a lively, speech-like articulation and appropriate tempi to fit the instrument and room.

An arrangement of the great Lutheran tune “Lasst uns Erfreuen” with an unnecessarily difficult harp part. We had one of the best harp players in the city (Melanie Genin) for our 2018 Easter service, so I made a nice part for her. She was very happy and so were the people listening.

I used a favorite small, symphonic-sounding chamber ensemble for this arrangement for our 2018 Easter service at Saint Peter’s. The melody, an old French Carol, is in fact a Christmas tune re-fitted with an Easter text by John Campbell Crum (1872-1958). Since there was going to be dance during our service, I went all the way and used a rather blasphemes quotation from Richad Strauss’ “Dance of the Seven Veils.” There were no complaints from the clergy nor the parishioners. Only in New York City.. There is also a quite crazy piccolo passage at the end, which I rewrote for a subsequent performance per the request by the flute player Brandon George, but I still like the first, crazy version better.

Noël Nouvelet/Now the Green Blade Rises
(2018) for choir, orchestra and congregation by Bálint Karosi
The Saint Peter’s Choir, Orchestra and Dance at Saint Peter’s

1 Now the green blade riseth, from the buried grain,
Wheat that in dark earth many days has lain;
Love lives again, that with the dead has been:
Love is come again like wheat that springeth green.

2 In the grave they laid Him, Love who had been slain,
Thinking that He never would awake again,
Laid in the earth like grain that sleeps unseen:
Love is come again like wheat that springeth green.

3 Forth He came at Easter, like the risen grain,
Jesus who for three days in the grave had lain;
Quick from the dead the risen One is seen:
Love is come again like wheat that springeth green.

4 When our hearts are wintry, grieving, or in pain,
Jesus’ touch can call us back to life again,
Fields of our hearts that dead and bare have been:
Love is come again like wheat that springeth green.

I commissioned poet Kai-Hoffman Krull to compose a poem tackling various philosophical definitions of truths. The protagonist (T), is like an evangelist, tells three versions of the famous biblical scene when Jesus is interrogated by Pilate, and Pilate asks him: what is truth?
This fun, seven-minute cantata is set for a baroque ensemble; it is like a recitative with small ariosos with interludes quoting the string parts in Charles Ives’ “Unanswered Question”

The question
-Kai Hoffman Krull (2017)

Pilate asked Jesus what is truth?

Jesus responded, Truth is yes
each word shaped by the other.
If you say I am Pilate and I say true
could I not say
yes? The mountains are sand
and the beach a mountain
Yes
true in my time, not yours.
In my time the mountains
were not yet formed.

When Pilate heard this
he went back outside and said
go and crucify him.

Pilate asked Jesus, What is truth?

Jesus responded, Truth is coherence
truth is when belief builds like rain creating the sea.
Can you take a man at the end
of his years and tell him
what he lived was not true
no, we believe what our days
teach us. Truth is the water
everyone must cup in their own fingers.

When Pilate heard this
he went back outside and said
go and crucify him.

Pilate asked Jesus, What is truth?

He responded, Truth is use.
If a person speaks the truth
a mind in the wind can come to the fire.
If a person speaks false their secret rusts
the nails of the home
and one day the wind
separates each board from the others. Tell me
Do not all tools need attention?

Tools must be used
for them to continue
to offer their use.

When Pilate heard this
he went back outside and said
go and crucify him.

Pilate asked Jesus, What is truth?

Jesus responded, Nothing is true
but reality makes it so.
Truth depends on the discovery of the real,
correspondences outside of our beliefs.
While it is possible to believe
in something that is false
it is the belief we should always question.

When Pilate had heard this
he went back outside and said:
I find no guilt in this man.

A three-movement concerto mixing schemata from Vivaldi and contemporary harmonic language for two violins. It is an arrangement of the opening piece in my Organ Book No. 1 that I arranged for baroque strings and harpsichord.