Presenter Hub
Works & Commissions — Presenter Packets
This hub provides presenters, artistic administrators, and programming directors with concise, professional summaries of major works available for commissioning, consortium participation, and performance.
Category II
VOCALISE – Part VI of Song of Thirteen Moons
Soprano, Tenor, Chorus, Orchestra,
~20 min.
Category I
BIRDS FROM BEFORE LIGHT – A Song In Praise of Halcyon Days
Voice(s), Orchestra/Chamber Ensemble
Duration TBD
Category II
MAGNIFICAT Parts II–IV
Orchestra, Chorus, Soloists
~15–20 min./mvmt
Related Pages
Flagship Opportunity
Consortium Now Forming
Essential Stats
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Duration: 20 minutesPart VI of Song of Thirteen Moons — in development and consortium forming
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Recordings/Performances: PARMA RecordingsParts I-III recorded and released on the Navona Records Label — 25 min. (2025)
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Programming Context: Presenter / Venue ProgrammingVocal/Choral series, contemporary orchestral programs, festival settings, thematic concerts (vocal+electronics, chorus+orchestra, untexted vocal)
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Digital Assets: Available Online (Submit Request)
Details
Sample Audio
"Vocalise Working Extract".
Song of Thirteen Moons - Adagio
Song of Thirteen Moons - Elegy
"SO13M Serenade PARMA Excerpts_EXCERPT 1".
Score Excerpt
Vocalise – Sketches | Song of Thirteen Moons |
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Artistic Overview
Vocalise explores the boundary between instrumental timbre and vocal identity. Electronics serve as a spectral extension rather than a dominant layer. The work embodies Equation of the Horizontal and Vertical, Long Line, and Complexity & Balance, creating a seamless, breath-transcending melodic arc.
Audience Engagement Potential
- Highly accessible due to vocal-like expressivity
- Immersive sound world without text
- Ideal for audiences new to electroacoustic music
- Strong emotional clarity
Programming Pairings
- Saariaho (Lonh, Nymphéa)
- Takemitsu
- Messiaen
- Contemporary vocalise works
- Electroacoustic chamber repertoire
Technical Notes
- Electronics: subtle spectral expansion; simple setup
- Flexible chorus spacing; antiphonal preferred
- Moderate rehearsal complexity
Composer Engagement Options
- Demonstration of electroacoustic techniques
- Workshop on spectral-adjacent writing
- Pre-concert talk on vocal-instrumental synthesis
Related Pages
Related Pages
Essential Stats
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Duration: Part I 10 minutes; Parts II-IV ~10–15 eachParts II-IV currently in development; exact durations TBD upon competion
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Recording/Performance: KLK Symphony Orchestra and Chamber Chorus - Lviv, Ukraine (2026)World Premiere presented by KLK New Music Sacrarium
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Programming Context: Presenter / Venue ProgrammingSacred series, contemporary orchestral programs, festival settings, thematic concerts (light/dark, ancient/modern)
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Digital Assets: Available Online (Submit Request)
Details
Sample Audio
- "Magnificat-Part-1_KLK-Performance_Excerpt_Opening_2026-05-27".
Score Excerpt
Artistic Overview
Magnificat is a radiant, large‑scale meditation on praise, humility, and spiritual illumination. Scored for soprano soloist, double chamber choir, and symphony orchestra, the work transforms the ancient text of Luke 1:46–55 into a sweeping, cinematic sound world where individual devotion and collective exaltation coexist.
The double choir creates a spatial and emotional architecture — antiphonal waves of sound that echo the text’s interplay between the intimate and the cosmic. The soprano soloist emerges as a singular voice of wonder and vulnerability, while the orchestra provides a vast harmonic landscape that shimmers, surges, and ultimately ascends.
The music moves through phases of contemplation, awe, and ecstatic release, culminating in a luminous final section where voices and instruments fuse into a single, resonant beam of praise. It is a work that invites listeners into a space of reverence, transcendence, and inner stillness.
Audience Engagement Potential
- Ideal centerpiece for programs exploring spirituality, ritual, sacred texts, or illumination
- Strong emotional arc accessible to audiences of all backgrounds
- Works beautifully with lighting design, projections, or architectural staging
- Opportunities for pre‑concert talks on sacred music, metaphysics, and the Magnificat tradition
Programming Pairings
- Arvo Pärt — Te Deum
- John Adams — Harmonium
- Morten Lauridsen — Lux Aeterna
- Caroline Shaw — To the Hands
- James MacMillan — Magnificat
Technical Notes
- Standard symphonic forces + double chamber choir + soprano soloist
- Optional spatialization of choirs
- No extended techniques
- Works best in resonant or architecturally expressive spaces
Composer Engagement Options
- Pre‑concert talk: Music as Illumination
- Post‑concert Q&A
- Virtual rehearsal visit
- Short video introduction
Related Pages
Related Pages
Essential Stats
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Duration: ~20 – 30 minutes (TBD)
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Recording/Performance: UnperformedIdeal for consortium premieres including University performances and New Music festivals
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Programming Context: Presenter / Venue ProgrammingSacred adjacent series, contemporary orchestral programs, festival settings, thematic concerts (mythology, poetry)
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Digital Assets: Available Online (Submit Request)
Details
Sample Audio
Sample Audio Not Yet Available
Score Excerpt
Sample Score Not Yet Available
Artistic Overview
Birds From Before Light – A Cantata In Praise Of Halcyon Days
integrates principles of Opposites, Texture Layers, and Harmonic Context, shaping a narrative arc from pre-light stillness to halcyon radiance. The writing emphasizes vocal clarity, orchestral transparency, and poetic pacing, making the text central to the musical experience.
Audience Engagement Potential
- Ideal centerpiece for programs exploring spirituality, ritual, sacred texts, or illumination
- Strong emotional arc accessible to audiences of all backgrounds
- Works beautifully with lighting design, projections, or architectural staging
- Opportunities for pre‑concert talks on sacred music, metaphysics, and the Magnificat tradition
Programming Pairings
- Arvo Pärt — Te Deum
- John Adams — Harmonium
- Morten Lauridsen — Lux Aeterna
- Caroline Shaw — To the Hands
- James MacMillan — Magnificat
Technical Notes
- Standard symphonic forces + double chamber choir + soprano soloist
- Optional spatialization of choirs
- No extended techniques
- Works best in resonant or architecturally expressive spaces
Composer Engagement Options
- Pre‑concert talk: Music as Illumination
- Post‑concert Q&A
- Virtual rehearsal visit
- Short video introduction