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SE 2024 Programs

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Sound Ecologies Presents:

Charissa Garrigus & Brenna Green

Glass Catfish Luke Garrigus

Kuhli Loach

Lake Mist Daniel Scott Watson

Hope D. S. Isaac

Charterhouse Suite Ralph Vaughan Williams

Slow Dance

Quick Dance

Slow Air

Rondo

Charissa Garrigus - Piano

Iris Field Rob Funkhouser

Charissa Garrigus, Brenna Green - Piano

Mezzanine Echoes Brenna Green

Against the Wind

Amanda S.

Ramshorn Snail Luke Garrigus

Plakat Betta

Berceuse de la chevrette Arthur Lourié

Phoenix Park Nocturne

Green - Piano

University Heights United Methodist Church Friday, Feb. 23, 2024

Brenna

SoundeEcologies.org

www.patreon.com/soundecologies

www.facebook.com/SoundEcologies

Sound Ecologies Presents:

CHORAL REFLECTIONS

Requiem D.S. Isaac

I. Introitus

II. Kyrie

Anna Wright, Soprano

III Graduale: Requiem Aeternam

IV. Tractus Absolve Domine

V. Sequentia: Dies Irae

Megan Hansen, Soprano

VI. Offertorium: Domine, Jesu Christe

VII. Sanctus

VIII. Agnus Dei

IX. Lux Aeterna

X. Pie Jesu

XI. Libera Me

XII. In Paradisum

Virtues and Vices

Heidi Moranski, Soprano

The Two Kinds of People (Generosity & Greed)

The Proud Pebble (Humility & Pride)

Stop Me! (Patience & Wrath)

Jennifer Kitzmiller, Soprano

Little by Little (Diligence & Sloth)

Jonathan Shinn, Tenor

Experience (Love & Desire)

Bethany Watson, Soprano

Daniel Scott Watson

The Cat and the Saxophone (2 A.M.) (Temperance & Gluttony)

Emily Loper, Mezzo-Soprano

Let Us Be Kind (Kindness & Envy)

Betha Smith, Soprano

Alana Tragesser, Mezzo-Soprano

Daniel Scott Watson - Director

Charissa Garrigus - Piano

Ruth Lilly Performance Hall Thursday, Mar. 7, 2024

About the Music

Virtues and Vices by Daniel Watson

Virtues and Vices is a seven-movement choral masterwork that explores the “seven deadly sins” and their associated virtues. This work explores sacred themes through secular texts while utilizing contemporary, folk, and jazz styles. After a decade in the sketchbook, this work invites performers and audiences to explore the presence of holiness and sin in humanity.

Requiem by Darrin Scott Isaac

Darrin Isaac’s Requiem is a large-scale sacred choral composition that is heavily influenced by the meditative hymnody most popularly used in Taizé worship services. In 2017, Isaac spent several months in Taizé, France where he was immersed in this style of worship in the monastery where it originated. This musical genre is categorized primarily by its use of ostinatos, canons, and chant singing. This influence, combined with Isaac’s interest in motets, oratorios, and other large-scale choral works results in this newly composed piece. The requiem is dedicated to the late Father John Beitans, a catholic priest from Indianapolis and champion of the local arts scene, who commissioned Isaac’s previously composed mass setting, Taizé Mass, which was influenced by this same style of worship.

Soprano

Stephanie Bailey

Grace Bertsch

Deb Habing

Olivia Habing

Megan Hansen

Anna Himes

Tabytha Hite

Jennifer Kitzmiller

Rebecca Loman

Ellie Planalp

Samantha Redkey

Betha Smith

Hadleigh Pierce

Alana Tragesser

Bethany Watson

Anna Wright

Alto

Renee Christner

Samantha Fletcher

Denise Fort

Carrie Hawk

Lauren Johnson

Betsy Loper

Emily Loper

Iniecia Miller

Catherine Mobley

Heidi Moranski

Zoe Patrick-Hight

Allison Pena

Lauren Stoffregen

Caity Withers

Tenor

Endy Andrahi

Jeff Braun

Christopher Gillie

Brett Habing

Corbin Huffman

Josh Lamb

Jessica Miller

Adan Porras

Jonathan Shinn

Michael Stauffer

Andy Swenson

Dirk Tomandl

Stephen Weigel

SoundeEcologies.org

www.patreon.com/soundecologies

www.facebook.com/SoundEcologies

Bass Stephen Ávilez

Robbie Covert

Rick Gamble

Luke Garrigus

Caleb Hardman

Andrew Himelick

Nicolas Hood

Benjamin Lasseter

Kevin Moranski

Alan Morrice

Logan Purcell

Alan Stillerman

Calen Van Curen

Dylan Zyrowski

J u n e 2 n d , 2 0 2 4

Circle City Orchestra

w i t h S o u n d E c o l o g i e s

B a s i l e T h e a t r e

a t t h e H i s t o r i c A t h e n a e u m

P r e - C o n c e r t T a l k - 3 : 5 5 p m

C o n c e r t - 4 : 1 5 p m

P r o g r a m O r d e r :

• B y r h t n o t h ' s S w o r d A m a n d a S .

( W o r l d P r e m i e r )

• S a n d C a s t l e E r i c S a l a z a r

( W o r l d P r e m i e r )

• S o m e T h o u g h t s o n M i d d l e A g e . R o b F u n k h o u s e r

( W o r l d P r e m i e r )

I - C o n M o t o

I I - A d a g i e t t o

I I I - C o n M o t o

• C o r n t a s t r o p h e L u k e G a r r i g u s

( W o r l d P r e m i e r )

P r o g r a m N o t e s :

B y r h t n o t h ’ s S w o r d

E a r l B y r h t n o t h l i v e s i n h i s t o r y a s l e a d i n g a g r o u p o f E a s t S a x o n s a g a i n s t a

N o r s e v i k i n g i n v a s i o n i n 9 9 1 . T h e e p i c p o e m , T h e B a t t l e o f M a l d o n , d e s c r i b e s

t h e c o m b a t i n v i v i d d e t a i l . T h e v i k i n g s a n d t h e S a x o n s b e g a n s e p a r a t e d b y a

s t r e a m , b u t w h e n t h e w a t e r l e v e l w e n t d o w n , B y r h t n o t h v a l i a n t l y o f f e r e d t o

g i v e t h e v i k i n g s s a f e c r o s s i n g . T h e S a x o n s w e r e s e v e r e l y o u t n u m b e r e d , a n d

s o m e d e s e r t e d a s i t b e c a m e o b v i o u s t h a t t h e N o r s e m e n w o u l d b e v i c t o r i o u s .

B y r h t n o t h h i m s e l f w a s d e s c r i b e d a s a h u g e m a n , o v e r s i x f e e t t a l l , i n h i s

s i x t i e s , a n d a s s t r o n g a s a n o x . I t t o o k t h r e e v i k i n g s t o t a k e h i m d o w n a n d h i s

g o l d e n s w o r d w a s f o u n d s t i l l i n h i s h a n d s , r e a d y t o f i g h t a n o t h e r d a y . T h e

p o e m d e p i c t s B y r h t n o t h ' s f i n a l s p e e c h t o r a l l y h i s t r o o p s a s ( i n m o d e r n

E n g l i s h ) :

M i n d m u s t b e f i r m e r , h e a r t t h e m o r e f i e r c e ,

C o u r a g e t h e g r e a t e r , a s o u r s t r e n g t h

D i m i n i s h e s . . . .

A m a n d a S .

S a n d C a s t l e

S a n d C a s t l e i s a c h o o s e - y o u r - o w n a d v e n t u r e s t y l e g u i d e d - i m p r o v p i e c e f o r

o r c h e s t r a , w h i c h a i m s t o p r e s e n t a u n i q u e p e r f o r m a n c e e x p e r i e n c e e v e r y t i m e i t i s

p l a y e d . L i k e b u i l d i n g a s a n d c a s t l e i n a s a n d b o x , p e r f o r m e r s h a v e l i b e r t y t o c r a f t

t h e p i e c e t h e i r o w n s p e c i a l w a y - a n d n o t w o p e r f o r m a n c e s o f t h i s p i e c e w i l l e v e r

s o u n d t h e s a m e . T h e c o n d u c t o r g e t s t o b e t h e m a s t e r e n g i n e e r o f t h i s s o n i c s a n d

c a s t l e , a n d e a c h m e m b e r o f t h e o r c h e s t r a c o n t r i b u t e s t o t h e c o n s t r u c t i o n o f t h i s

i n t e r p r e t a t i o n ’ s u n i q u e f o r m . T h e a u d i e n c e , o n t h e o t h e r h a n d , g e t s t o e x p e r i e n c e

t h e m a g i c o f c o m m u n a l l y s h a r i n g i n a m e m o r a b l e o n c e - i n - a - l i f e t i m e p e r f o r m a n c e .

M y g o a l i n c r e a t i n g S a n d C a s t l e i s t o a l l o w t h e c o n d u c t o r t o h a v e a n o p p o r t u n i t y t o

d i g d e e p i n h o w t h e y s h a p e a n i n t e r p r e t a t i o n o f a p i e c e o f m u s i c , h a v i n g l i c e n s e t o

i n t e r p r e t d y n a m i c s , m e l o d y , a n d f o r m i t s e l f . F o r t h e o r c h e s t r a , m y g o a l i s t o g i v e

t h e m a c h a n c e t o i m p r o v i s e t o g e t h e r a n d f u r t h e r d e v e l o p t h e i r m u s i c i a n s h i p b y

e n g a g i n g i n a c o m p l e t e l y d i f f e r e n t f o r m o f m u s i c - m a k i n g t h e y a r e u s e d t o . A s f o r

t h e a u d i e n c e , I m a i n l y j u s t w a n t t h e m t o h a v e a w o n d e r f u l m e m o r y o f e x p e r i e n c i n g

a s p o n t a n e o u s p e r f o r m a n c e t o g e t h e r , h o p e f u l l y c o m i n g a w a y w i t h t h e n o t i o n t h a t

t h e i r o w n l i v e s d o n ’ t h a v e t o b e f u l l y s c r i p t e d i n o r d e r t o b e m e a n i n g f u l . A f t e r a l l ,

s o m e t i m e s d e v i a t i n g f r o m t h e p l a n c a n h a v e w o n d e r f u l l y u n e x p e c t e d r e s u l t s .

- E r i c S a l a z a r

P r o g r a m N o t e s :

S o m e T h o u g h t s o n

M i d d l e A g e .

S o m e T h o u g h t s o n M i d d l e A g e i s a t o n e p o e m

w i t h a p a i r o f s p i k y b o o k e n d s . I n w r i t i n g t h i s

p i e c e , I w a s r e f l e c t i n g o n t h e a d a g e " y o u ' r e

o n l y a s o l d a s y o u f e e l " a n d p o k i n g a l i t t l e f u n

a t m y s e l f f o r t h e t i m e s I h a v e f e l t o l d o v e r t h e

c o u r s e o f m y l i f e . T h e r e ' s s o m e t h i n g c o m e d i c i n

t h e i d e a o f a w i z e n e d 1 6 y e a r o l d ,

c o n t e m p l a t i n g t h e m y s t e r i e s o f m u s i c a n d t h e

u n i v e r s e w h i l e s t i l l g e t t i n g a l l o w a n c e f r o m t h e i r

p a r e n t s .

I n t h e s p i r i t o f t h i s l i n e o f t h i n k i n g , I h a v e

t a k e n o n e o f m y f i r s t m e l o d i e s , a n d b u i l t a

s m a l l s e t o f l a n d s c a p e s a r o u n d i t , r e i n f o r c i n g

i t s w a y o f p e r s i s t e n t w a n d e r i n g . T h i s m e l o d y

r e c u r s a f e w t i m e s i n t h e s e c o n d m o v e m e n t , b u t

i s m o s t c l e a r l y h e a r d i n t h e g l o c k e n s p i e l . T h e

f i r s t a n d t h i r d m o v e m e n t s a r e a n h o m a g e t o

m a n y l a t e n i g h t s I s p e n t a s a t e e n a g e r l i s t e n i n g

t o l o u d a n g u l a r h a r d c o r e m u s i c i n s u c h e x o t i c

l o c a l e s a s t h e K n i g h t s o f C o l u m b u s , c h u r c h

b a s e m e n t s , a n d s w e a t y c i n d e r b l o c k r o o m s .

R o b F u n k h o u s e r

C o r n t a s t r o p h e

T h e r e ’ s m o r e t h a n c o r n i n I n d i a n a . .

C o r n t a s t r o p h e i s m i s c h i e v o u s , k i t s c h y , a n d

t e r r i f y i n g . T h e m u s i c t a k e s i n s p i r a t i o n f r o m

c l a s s i c G o d z i l l a f i l m s c o r e s , G o l d e n - a g e

B r o a d w a y m u s i c a l s , a n d f e a t u r e s a l i g h t

b u t t e r i n g o f P e n d e r e c k i a n d G l o r i a C o a t e s .

E m b e d d e d w i t h i n t h e w o r k a r e c l a s s i c c o r n -

i n f u s e d m e l o d i e s , f e a t u r i n g a f e w o f o u r o w n

h o m e - g r o w n I n d i a n a l a n d t u n e s :

1 9 9 0 ’ s e r a I n d i a n a B e a c h c o m m e r c i a l s -

“ T h e r e ’ s m o r e t h a n c o r n i n I n d i a n a ”

T a r i q , t h e C E O o f C o r n“ I t ’ s c o r n , a b i g l u m p

w i t h k n o b s ”

O n t h e B a n k s o f t h e W a b a s h“ R o u n d m y

I n d i a n a h o m e s t e a d w a v e s t h e c o r n f i e l d s ”

O k l a h o m a“ T h e c o r n i s a s h i g h a s a n

e l e p h a n t s e y e ”

I ’ m e x c i t e d t o b e i n a t t e n d a n c e f o r t h e C C O ’ s

p r e m i e r e o f t h i s p i e c e ! H o w e v e r , b e

a w a r e t h a t a n y a n d a l l c o m p l i m e n t s w i l l b e m e t

w i t h “ A w w w w , s h u c k s . ”

- L u k e G a r r i g u s

C i r c l e C i t y O r c h e s t r a M u s i c i a n s :

V i o l i n 1 :

E r i n M e i d , C o n c e r t m a s t e r

A m y L a w s o n

E l y s a T h o m p s o n

G e o r g i n a S a n c h e z M o r a l e s

M a t t h e w S p r i n g e r

Y e J i n W i c k e s b u r g

V i o l i n 2 :

B e t h A v i v G o l d h a m m e r

D o n n a C h a n

D o n n a H e n s o n

H a l e y W h a l e n

J o n a t h a n C r u z

V i o l a :

E d e n H a n y

H a n n a h C a t h e r s

J e n i C e c i l

J o h n D i T u s a

C e l l o :

I a n M c N i n c h

J a r o d W i l k e r s o n

K a y l e e M a s s e y

P h i l i p K r a n y a k

S a r a h S c h i k o r a

S t e v e R i n g

B a s s :

D r e w E b e r s o l e

J e s s i c a M i t c h e l l

M i a O c h o a

F l u t e :

A m a n d a P e t e r s

C y n d e e M e y e r

D o n n a O l s e n

K i m G r i f f i t h - F r a l e y

R e c i e J o h n s o n

O b o e , E n g l i s h H o r n :

T r a c i e L i n d q u i s t

C l a r i n e t :

B r i t t a n y S e m l e r

F r e n c h H o r n :

A n d r e w P o l a n d

C h a r l i e H a r t m a n

F o r r e s t O w e n

L e o n a r d D i n t e n f a s s

T r u m p e t :

R a y m o n d N e l s o n

S a n d r a D i T u s a

S t e v e n J u r e k

T r o m b o n e :

J a s o n S h i v e

T u b a :

J i m D e a l

P e r c u s s i o n :

M i c h a e l P o w e r

C a r o l i n e C h e n g

A r t i s t i c D i r e c t o r & C o n d u c t o r : E l l i o t t L e n t z

C i r c l e C i t y O r c h e s t r a S p o n s o r s :

A n d a n t e ( $ 1 0 0 – $ 2 4 9 )

A m y L a w s o n

C a l e b E l l i o t t

D o n n a C h a n

E i l e e n & S t e v e n J u r e k

G r a n t P f i f e r

H a l e y W h a l e n

J o s e p h R e s i s

M a t t h e w S p r i n g e r

R a y m o n d N e l s o n

S t a n l e y W a l t e r

Y e J i n W i c k e s b e r g

A l l e g r e t t o ( $ 2 5 0 – $ 4 9 9 )

D o u g l a s R e i c h l

S a n d r a & J o h n D i T u s a

A l l e g r o ( $ 5 0 0 – $ 9 9 9 )

S t e p h e n R i n g

V i v a c e ( $ 1 , 0 0 0 – $ 4 , 9 9 9 )

A l o h n a W a r r e n

S

L U K E G A R R I G U S B R E N N A G R E E N

GEORGE REVILL, TENOR - CHARISSA GARRIGUS, PIANO

GEORGE REVILL, TENOR - BRENNA GREEN, PIANO

GEORGE REVILL, TENOR - CHARISSA GARRIGUS, ORGAN

PERFORMED BY: AMANDA S , HENRY HARTLEY, AND CHARISSA GARRIGUS

GEORGE REVILL, TENOR - CHARISSA GARRIGUS, PIANO

Sound

Ecologies Presents:

ORCHESTRAMANIA

Sound Ecologies Chamber Orchestra

Elliott Lentz, Conductor

Tuesday, October 8th, 2024

7 p.m., Ruth Lilly Performance Hall

Christel DeHaan Fine Arts Center

S o u n d E c o l o g i e s C h a m b e r O r c h e s t r a M u s i c i a n s :

V i o l i n I :

T r i c i a B o n n e r

A n n i e D o n a t o

V i o l i n I I :

C h l o e P a y a c k

A n g e l a P u l l i a m

V i o l a :

E r i c k O r r

L e x i S c i d a

C e l l o :

S e a n C o n o v e r

D r e w S p e r r y

R y a n W o m b l e s

B a s s :

G r a d y L o c k e

J e s s e W h i t m a n

P i a n o :

C h a r i s s a G a r r i g u s

L u k e G a r r i g u s

G u i t a r s :

L o g a n P u r c e l l

F l u t e :

A m a n d a S .

C a t H o e l s c h e r

O b o e :

C a m e r o n S t o r e y

C l a r i n e t :

K a t y B l o c h e r

B a s s C l a r i n e t :

E r i c S a l a z a r

F r e n c h H o r n :

S a r a P e t o k a s

T r u m p e t :

T e r r i E w i g l e b e n

T r o m b o n e :

T h o m a s E w i g l e b e n

S a x o p h o n e s :

J u l i a n O r e m

B a s s o o n / C o n t r a b a s s o o n :

S a r a E r b

P e r c u s s i o n :

F o x L o p e z

H u n t e r W h e a t c r a f t

R o b F u n k h o u s e r

C o n d u c t o r : E l l i o t t L e n t z

Program

Daughters of Rán Amanda S.

Symphony no. 2 in F Major: Emerald Coast Darrin Scott Isaac

I. Changing Tides

II. Calm on the Shoreline

III. Choctawhachee Bay

IV. Emerald Coast

THE

WHITE RIVER

ERADIGATOR

Luke Garrigus

Intermission

Orchid Pavilion Brenna Green

Just Talking John Berners

Where is Your Reason Now?

Rob Funkhouser, Glass Organ

Sound Ecologies Chamber Orchestra

Elliott Lentz, Conductor

Rob Funkhouser

Notes on the Program

Daughters of Rán is inspired by Old Norse mythology. Ægir and his wife Rán are personifications of the sea. They have nine daughters together, who are each individual states of waves. It makes sense that the Vikings would have so many names for the sea and I was intrigued by the different personalities each daughter would have in conjunction with their waves. For instance, the daughter Hefring is a rising wave, Kólga is a cold wave, and Himinglæva is a transparent wave I have integrated these personalities into the piece as part of an ever-changing ocean of sound. The daughters of Ægir and Rán are dangerous and menacing to sailors and often pull them from their ships into the depths below.

- Amanda S.

Symphony No. 2 in F Major: Emerald Coast is a four-movement neoclassical orchestral work that I composed during a time of great transition in my life. I initially wrote this material for piano when my wife and I moved across the country from Indianapolis to Panama City Beach for work, all while preparing for the birth of our first child This piece draws inspiration from the bodies of water that define the landscape of our new home and expresses the excitement, anxiety, and anticipation that come with welcoming a new life into the world. Each movement of this work is a study in Sonata-Allegro form, featuring lyrical lines and dynamics that ebb and flow to evoke different images of the Emerald Coast. This piece was orchestrated and completed in 2024.

Movement I was written on our first day on the coast and expresses a hopeful longing for a new chapter in life. It reflects on the changing tides and the transitions we experience.

Movement II portrays a unique scene on the Gulf of Mexico, capturing a moment when the water was completely flat and calm. This movement expresses preparation and the desire to slow down amid anxious feelings

Movement III evokes excitement and anticipation. The inspiration for this movement came from a thrilling sunset over Choctawhatchee Bay. The strings and woodwinds shimmer across the surface of the water, while the brass convey the majesty of the moment.

Movement IV is a celebratory piece meant to represent a sunny day at the beach, as well as the birth of my son, John Archibald Isaac.

- Darrin Scott Isaac

Notes on the Program (cont.)

THE WHITE RIVER ERADIGATOR is dedicated to the giant alligator terrorizing Indiana’s own White River and inspiring headlines from local news outlets.

“22-foot long alligator spotted in White River”

June 29, 2024

“Abnormally large alligator seen near Waverly, IN White River public access ”

September 4th, 2024

“Historic Indiana White River Swim cancelled following multiple reports of large alligator ”

July 30, 2024

"Step Aside, Bigfoot: Indiana’s 'Eradigator' Becomes the New Face of Natural Terror"

October 2, 2024

Indiana Observer

- Luke Garrigus

Orchid Pavilion commemorates the 4th-century AD gathering of Chinese literati during the annual Spring Purification Festival on Mount Kuaiji Wang Xizhi, host of the competition and one of China’s most celebrated calligraphers, invited everyone to the Orchid Pavilion to compose poetry and drink wine. When a cup of wine floating in the stream stopped before an individual, that person had to compose a poem or forfeit his turn and drink the wine.

Wang Xizhi immortalized the Orchid Pavilion Gatherings in Lantingji Xu(Preface to the Poems Composed at the Orchid Pavilion), with the first verse reflected below, translated from the original Chinese

In the ninth year of Yonghe, at the onset of late spring, We have gathered at the Orchid Pavilion in the North of Kuaiji Mountain for the purification ritual.

All the literati, the young and the aged, have congregated. This location has high mountains and steep hills, dense woods, and tall bamboo, as well as a clear, limpid stream reflecting the surroundings. We sit by a redirected stream, allowing the wine goblets to float beside us on its winding course.

Although without the accompaniment of music, the wine and poem reciting are sufficient for us to exchange our feelings. On this day, the sky is clear, the air is fresh, and a gentle breeze is blowing

- Brenna Green

Notes on the Program (cont.)

Just Talking begins with the percussion fidgeting and clearing the orchestra's throat--ahem--and soon the violins begin to speak The bass clarinet and trombone respond and soon most of the orchestra is talking among themselves This piece is conversational; almost every phrase played is a solo. Outbursts, bickering and other modes of chatter form waves that rise and fall musically over the five minutes' duration.

The piece is meant, on the one hand, to have humor--I love those performers who do wonderful speech mimicking with their instruments. But, by getting loose and having each instrument show an independent and rebellious character, it is also a response to the traditional, incredibly unified mode of orchestral playing Further, simple conversation; talking and listening; being open, is something we need more of Obviously most of the world's problems could be solved with the right kind of conversation So--here is a moment of music about talking

Other than being the best yellable tagline I could invent for a wrestling-themed orchestra concert, Where Is Your Reason Now?, is a piece I have wanted to be able to write for a long time, bringing together the world of my invented instruments with classical composition. The more serious meaning behind the title settled in as I was struggling toward a career change earlier this year, and giving Kierkegaard a run for his money in terms of my ability to “keep the faith” It also comes at the end of a marathon series of commissions put on by Sound Ecologies and others that has allowed me to rediscover my compositional voice and get my seal legs back The end result is what I hope ends up being a piece that is greater than the sum of its parts, which I have kept as simple as possible.

The glass organ, which you will see me perform on along with the orchestra tonight, has been my musical ship of theseus for the last three years. It is played by getting your hands wet, and rubbing along a “keyboard” of glass rods These in turn act like a sort of violin bow for each note that I am playing Finding my voice on this instrument has been a trying process on a lot of levels First and foremost, getting the instrument to behave consistently has been a constant project, and just about everything on the instrument has been replaced once or twice in pursuit of better musical results. On the other hand, building a performance practice on an instrument with a wide physical interface but small tonal range has forced me to think in new ways about both small and large ideas. In this piece, you will hear me droning in harmony with the orchestra more than leading it, perhaps more similar to sea than ship.

This piece for me is a tribute to faith in uncertain moments, and the trust one builds when seeing a plan through the difficulty Whether alone or with another, I believe these moments are when we begin to know ourselves and each other

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