Christopher Jessup, piano

Le Revenant is a solo piano work inspired by Charles Baudelaire’s haunting poem of the same name, in which a ghostly figure returns from the grave to haunt—perhaps even possess—the beloved. The poem’s atmosphere is one of quiet menace and seductive dread, blending love, death, and the supernatural in true Baudelairean fashion. Musically, the piece unfolds as a slow-burning narrative, where shadowy harmonies, whispered motifs, and sudden, jarring contrasts evoke the presence of something unseen—lingering just beyond the edges of perception. The texture is often sparse, but always charged, as if each note carries the weight of unspoken memory. Repeated figures drift like echoes in a half-remembered dream, while low, tolling chords suggest a funeral procession frozen in time. This is not a piece of overt terror, but of quiet possession—where the line between beauty and horror blurs, and where the piano becomes a voice not only of the living but of the revenant who refuses to be forgotten.

"Le Revenant" for Solo Piano

Brett Deubner, viola
Allison Brewster Franzetti, piano

I. Introduction
II. Interlude
III. Scherzo
IV. Vocalise
V. Conclusion

Suite for Viola and Piano is a five-movement work inspired by the dramatic contrasts and bold character of Sergei Prokofiev’s music. I’ve long been drawn to Prokofiev’s unique ability to juxtapose thorny, angular textures with moments of lyrical warmth—and in this suite, I sought to emulate that dynamic tension while exploring the expressive possibilities of the viola and piano as equal, and often competing, voices. The piece opens with a dramatic fanfare, where the viola and piano vie for prominence in a bold, declamatory exchange. The energy is raw and theatrical, setting the stage for what’s to come. A brief but haunting Interlude follows—a fragile, introspective movement that acts as both a pause and a pivot. From its eerie atmosphere springs the Scherzo, a giddy, almost manic burst of motion where rhythmic play and biting harmonies create a sense of joyful instability. In stark contrast, the fourth movement, Vocalise, is written for solo piano. Here, the viola steps aside entirely, allowing the piano to sing a solitary, poignant melody. This moment of introspection brings emotional depth and stillness to the suite. Finally, the Conclusion reignites the fire with relentless drive and rhythmic urgency, as both instruments charge forward in a thrilling and fiery close. Suite for Viola and Piano is at once a personal homage and a contemporary response—a piece that embraces contrast as a powerful expressive force, and that celebrates the complex emotional terrain between dissonance and lyricism.

Suite for Viola and Piano

Kühn Choir of Prague
Lenka Navrátilová, conductor

Text by Walt Whitman

Astronomia is a set of three a cappella choral works, each of which use poems by Walt Whitman that center around the theme of astronomy. The first movement, “When I Heard the Learn’d Astronomer,” captures the moment when intellect gives way to intuition, and analytical observation yields to personal, lived experience. In the poem, the speaker listens to a scientific lecture on astronomy, filled with data and diagrams, but soon finds himself disengaged, longing instead for a direct encounter with the stars. Quietly slipping away, he looks up at the night sky in silence, finding a deeper, more spiritual connection with the cosmos. Set to music, this poem invites the choir to explore the contrast between the structured world of reason and the transcendent wonder of simply “looking up in perfect silence at the stars.” The piece is a journey from the noise of the mind to the stillness of the soul.

Astronomia: I. "When I Heard the Learn'd Astronomer" for SATB Choir A Cappella

The Crossing
Donald Nally, conductor

Text by Walt Whitman

The second movement of Astronomia, “The Mississippi at Midnight,” is a brief but evocative piece about the quiet power and vastness of nature. In this poem, the mighty river becomes a symbol of timeless flow and silent strength, moving steadily through the stillness of night. Whitman’s language conjures an atmosphere of mystery and awe, inviting reflection on the immensity of the natural world and humanity’s place within it. This piece invites the listener to stand with Whitman on the riverbank, immersed in the beauty and solemnity of the midnight current.

Astronomia: II. "The Mississippi at Midnight" for SATB Choir A Cappella

Performed live at National Sawdust
Allison Loggins-Hull, flute
Jeffrey Zeigler, cello
Christopher Jessup, piano

I. Growth
II. Swelling
III. Dampening
IV. Harvest
V. Retreat

Phases is a five-movement chamber work inspired by the cyclical and interdependent nature of the five natural elements—Wood, Fire, Earth, Metal, and Water. Each movement explores not only the unique sonic qualities of its corresponding element but also its place within a continuous, evolving cycle. Rather than existing in isolation, the elements flow into one another, suggesting a world in which transformation is constant and balance is vital.

The first movement, Wood, begins with restless upward gestures and organic, pulsing rhythms that evoke growth, tension, and renewal. It sets the cycle in motion with a sense of reaching and expansion. Fire follows with volatile energy and sudden bursts of color—shimmering textures in the flute and crackling rhythmic interplay convey both destruction and illumination. From the ashes of Fire emerges Earth, a grounding and meditative movement that centers the trio in warmth and stability.

In Metal, clarity and precision take hold. This movement is sharper and more austere, using resonance and silence as compositional tools. The metallic edge of the piano and the cello’s harmonies lend an air of refinement and cool strength. Finally, Water brings fluidity and reflection. Melodic lines dissolve into one another, and the boundaries between instruments blur, suggesting motion, memory, and the return to origin. As Water flows, it begins to nourish Wood once more—completing the elemental cycle.

Phases invites the listener to consider change not as rupture but as continuity—a natural progression where each phase feeds the next, and where creation and dissolution are part of the same unfolding story.

"Phases" for Flute, Cello, and Piano (Live)

London Symphony Orchestra
Miran Vaupotić, conductor

Svítání—Czech for “dawn”—is an orchestral tone poem that explores the symbolic power of daybreak. Inspired by the sweeping drama and vivid storytelling of the great tone poems of Richard Strauss, this work opens with a suspenseful interplay between winds and piano, conjuring the stillness and uncertainty of night. The tension gradually builds, layer by layer, unfolding into an expansive and triumphant climax that evokes the first brilliant light of morning breaking through the darkness. While the piece paints the image of a sunrise, Svítání reaches beyond mere depiction. It is, at its heart, a meditation on resilience, hope, and renewal. In the face of uncertain and often challenging times, this piece stands as a reminder that even the longest night gives way to dawn. The rising sun becomes a metaphor for perseverance and the promise of new beginnings—an affirmation that light will return, and with it, the possibility for change, healing, and growth. With rich orchestral textures, emotional breadth, and an arc that moves from shadow to radiance, Svítání invites listeners on a journey not only through sound, but through the universal human experience of emerging from darkness into hope.

"Svítání" for Orchestra

Performed live at The Juilliard School
Ning Zhang, clarinet
Christopher Jessup, piano

Miroirs is a deeply personal work that marks a turning point in my artistic development—one in which my own voice as a composer began to take shape independent of external influences. Originally composed for clarinet and marimba, and later adapted for clarinet and piano, this piece is not inspired by a particular story, image, or composer, but instead by an introspective process of self-discovery. The title, Miroirs (“Mirrors”), reflects both the musical structure and the philosophical core of the piece. Throughout the work, the clarinet and piano engage in close imitation—echoing, shadowing, and refracting one another’s gestures. Much like a reflection in a mirror, their dialogue is intimate but never identical: one voice responding to the other with subtle shifts in color, rhythm, or inflection. This mirrored interplay becomes a metaphor for the self—how we perceive, question, and come to understand who we are through reflection, both literal and internal. Through this exploration of symmetry and distortion, Miroirs invites the listener into a sound world that is fluid, searching, and quietly expressive. It is a work about listening inward, and about finding clarity in the interplay between image and reality, self and shadow.

"Miroirs" for Clarinet and Piano (Live)

‍Two for One is a duo for violin and cello that explores the relationship between individuality and unity. While the two instruments maintain their distinct voices, the piece gradually blurs the line between them, allowing their timbres, lines, and gestures to merge into a single, cohesive sonority. What begins as a dialogue slowly transforms into a shared musical identity. Throughout the work, imitation, overlapping textures, and close harmonic writing are used to weave the instruments together, emphasizing their similarities rather than their differences. The title Two for One reflects this merging—two players working not as separate soloists, but as one expressive body. The piece is a meditation on musical intimacy, balance, and the beauty that arises when contrasting voices come together in perfect harmony.

"Two for One" for Violin and Cello

Performed live at The Juilliard School
Christopher Jessup, piano

I. Curieux
II. Mal a l'aise
III. Anxieux et agité
IV. Songeur
V. Sarcastique

In Cinq États d’Esprit (“Five States of Mind”), I set out to explore the expressive power of brevity through a set of five miniature pieces, each capturing a distinct emotional state. As both a composer and a lover of the French language, I was drawn to the poetic resonance of these titles and the challenge of translating complex internal experiences into concise musical portraits. The five movements—Curious, Ill-at-ease, Anxious and Agitated, Pensive, and Sarcastic—are highly contrasting in character, each lasting only a short time, yet distilled to convey the emotional essence of its title. Rather than relying on extended development, I used sharply defined textures, rhythmic variety, and a wide palette of melodic gestures to evoke the unique psychological flavor of each state. From the inquisitive energy of the opening, to the unease and tension of the middle movements, to the wry humor of the final piece, the set traverses a broad emotional spectrum in miniature form. Five States of Mind is a reminder that music need not be long to be expressive. Sometimes, a fleeting moment—carefully shaped—can say more than a thousand notes.

"Cinq États d'Esprit" for Solo Piano (Live)

New York Virtuoso Singers
Harold Rosenbaum, conductor

Text by Robert Frost

Stopping by Woods on a Snowy Evening is a choral setting of Robert Frost’s beloved poem, reimagined with a contemporary musical lens. The poem’s quiet, contemplative mood—its snowy stillness and meditative tone—has long captivated readers, and in this setting, I sought to honor that atmosphere while exploring the deeper emotional undercurrents that lie beneath the surface. While the text evokes a peaceful winter scene, it also touches on themes of solitude, responsibility, and the passage of time. My musical interpretation leans into this emotional complexity: lush harmonies and shifting tonal colors reflect the poem’s sense of wonder and introspection, while subtle dissonances suggest the quiet tension between rest and duty, stillness and movement. The piano acts as both landscape and companion—sometimes echoing the falling snow, other times nudging the journey forward. This setting doesn’t aim to modernize Frost’s words so much as to illuminate them from a new angle—inviting listeners to hear the familiar lines with fresh ears and to feel, perhaps more vividly, the weight of that final, timeless promise: “And miles to go before I sleep.”

"Stopping by Woods on a Snowy Evening" for SATB Choir and Piano

New York Virtuoso Singers
Harold Rosenbaum, conductor

Text by Walt Whitman

‍As I Ebb’d with the Ocean of Life is a choral setting of Walt Whitman’s deeply introspective poem of the same name. Whitman’s writing has always resonated with me, particularly his profound connection to the natural world and his ability to find metaphysical meaning within it. In this work, the ocean serves as both a physical and spiritual force—symbolizing the vast, often overwhelming complexity of life and the ebb and flow of human experience. As Whitman walks along the shoreline, observing driftwood and debris carried in by the tide, he begins a meditation on identity, purpose, and the nature of existence. This imagery—the restless sea, the scattered remnants of life—is mirrored in the music through shifting textures, flowing lines, and moments of fragmentation that gradually coalesce. While the text expresses vulnerability, uncertainty, and even self-doubt, I view it not as a poem of despair, but of transformation. The journey through emotional turbulence leads not to resolution, but to a deeper, more compassionate understanding of one’s place in the world. This a cappella setting seeks to reflect the poem’s organic rhythm and emotional arc, with harmonies that rise and recede like tides, and voicings that emphasize the solitary and collective aspects of the text. Ultimately, As I Ebb’d with the Ocean of Life is about listening—to nature, to ourselves, and to the quiet revelations that emerge in the spaces between.

"As I Ebb'd with the Ocean of Life" for SATB Choir A Cappella

Brian Scanlon, alto saxophone

Soliloquy unfolds as an intimate, single-voice meditation. At its heart lies a subdued and sensitive character—fragile, searching, and reflective—yet the music constantly blossoms with flashes of color and bursts of energy. The alto saxophone, with its wide expressive range, shifts between whispering lyricism and spirited outcry, weaving a narrative that is both inward-looking and expansive. Rather than following a traditional structure, the piece flows like a stream of consciousness: moments of quiet contemplation are suddenly interrupted by vivid gestures, urgent rhythms, and glowing harmonic colors. This interplay of restraint and vitality creates a musical language that is at once vulnerable and vibrant. In this way, Soliloquy becomes less a “speech without an audience” and more an interior dialogue—a portrait of the saxophone as both poet and storyteller, revealing the many shades of its voice in a single breath of time.

"Soliloquy" for Solo Alto Saxophone

Christopher Jessup is an award-winning composer and pianist whose music has been hailed as “lovely” (The New York Times), “imaginative” (Fanfare), and “ethereal” (Textura). A graduate of The Juilliard School, Jessup’s work includes contributions to GRAMMY®-recognized recordings and collaborations with renowned artists such as the London Symphony Orchestra and four-time GRAMMY® Award-winning choir The Crossing. His compositions have been commissioned, performed, and recorded internationally by leading ensembles and soloists, and as a pianist he has concertized throughout North America and Europe, premiering his own piano concerto in Italy at age sixteen. He has appeared at Carnegie Hall and other major venues, with his performances lauded as “refined and eloquent” (New York Concert Review) and “absolutely breathtaking” (Interlude). Visit www.christopherjessup.com for more information.

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