for SATB Chorus,
Soloists, and Orchestra
(also for Chorus and Piano
Quintet and Chorus, String Orchestra, and Piano)
(Nov. '08--Nov. '09)
Traditional lyrics in Sanskrit and
memory of my sister Akanda, and my guru Neem Karoli Baba
Recordings from the October 21, 2012
premiere of the string orchestra and piano version with
Rodney Wynkoop leading the Chamber Chorus of the Choral Society of
Durham, Ciompi quartet as section leaders of the string orchestra,
Randall Love on piano. Someday we'll perform the full orchestral version--somehow, somewhere, somewhen!
Orchestral Score, Legal size, PDF
Quintet and Chorus Score, PDF
Piano Quintet String parts
Piano Quintet Piano part Cover
Orchestra, Piano, and Chorus Score, PDF
Orchestral Score, 11"x17",PDF
I. Om Jaya Jagadish Hare
II. Sri Ram Jai Ram Jai Jai Ram
[6:44] MP3 video
III. Hanuman Chalisa
Program to October 21, 2012 premiere
Recording of Sri Ram Jai Ram Jai Jai Ram from the January 13, 2012
premiere of the string orchestra and piano version, arranged
MP3 video (YouTube)
started chanting mantras in about 1971, just before my first attempts
composition. This powerful practice is central to my spiritual life,
inspires much of my music, both instrumental and vocal. For some time I
intended to write a large work based on my experiences with personal
as well as sankirtan (congregational chanting), but wanted to wait
until I had
experience and opportunities for possible performance.
own attention span is rather long, and I enjoy many classical
lasting well over an hour. However our modern times, and performance
dictate more modest lengths. The three movements of this cantata could
augmented in the future should more length be acceptable; or, maybe
I’ll write another
to use for a double Bill.
first movement, Om Jaya Jagadish Hare,
uses the text to the Universal Aarti.
In Hinduism, Aarti is a short ceremony in reverence to a deity or guru
sung prayer and lighted lamps of clarified butter.
second movement uses the simple mantra Sri
Ram Jai Ram Jai Jai Ram, pronounced Shree
Raam, Jay… It means “Honored (or
Radiant) Rama, Victorious Rama.” The
double “aa” is as in “father”.
third movement is a setting of the Hanuman
Chalisa, a poem by Tulsidas in forty verses in praise of
monkey devotee of Sri Rama. This is in the Avadhi dialect of Hindi.
have included a Sanskrit/Hindi pronunciation guide for use with the
printed before the score, which include diacritic marks to ensure
information on how the words sound when spoken by European scholars. I
anglicized spelling in the score and vocal part; this simplified
is appropriate outside of India.
double bass part has excursions
below low E. In all my orchestral scores, I write notes down to low C
same notes included an octave higher in case the bassist does not have
extension or fifth string. It is important for this piece that some
play the lower notes.
every meter change, except where
indicated otherwise, the duration of notes remain the same.
is characteristic of sankirtan to keep things simple. I have limited
to SATB, with one very brief exception in the Hanuman
Chalisa where each voice splits in two (mm. 281-284). In
the absence of choral forces, four singers could use amplification. For
case at the split, the upper three voices should take the upper part
bass should sing the lower part. In any appropriate passage, the
section can be
replaced by a soloist at the discretion of the choral director. The
pattern of solo passages is as suggested by Rodney Wynkoop, conductor
premiere performance on October 21, 2012.
there are challenges to performers, any good college orchestra should
to perform this piece. Professionals will find plenty to keep them busy.