Background and poem text: http://www.brainpickings.org/2014/09/24/mary-oliver-reads-wild-geese/

Recorded by the Lannan Foundation in 2001.

DETAILS / POEM TEXT

Mary Oliver reads "Wild Geese"

composed: 1993
Demonstration recording of choral anthem, Dr. John Richmond conducting the Bayshore Baptist choir, Tampa, FL.

Have This Love

Just a slow, minor blues...simple and to the point.

Vow of Love

Mystic Procession

A concerto in one movement for harp and chamber orchestra. Score at hiltonkeanjones.com/music

Fantasy For Harp And Chamber Orchestra

Son of Hickery Holler's Tramp - New Breaks

mix v1

Son Of Hickery Holler's Tramp - New Breaks

The first movement, “Evocation”, is intended as an evocation of the Holy City of New Jerusalem, shrouded in mist. As the piece progresses, the mist gradually unfolds, until the trumpet from heaven
sounds (Revelation 8:1-2), signaling the breaking of the seventh seal. Yet this is but a dream, a prophetic vision (Revelation 1:1-9), and the vision of the Holy City evaporates, shrouded in the mist of a dream.

Tapestries

Mov 1 Evocation - Tapestries - Marco A. Jimenez

This movement depicts the lake of fire, brimming with wrath and fury. “But the fearful (…) shall have their part in the lake which burneth with fire and brimstone: which is the second death”.(Revelation 21:8) As things escalate, all suddenly becomes tranquility, depicting the heaven which lies above. All is peace and joy, but a seemingly innocuous Dies Irae (“Day of wrath and doom impending”) appears in the chimes, foreshadowing the Judgment to come. Suddenly, Dies Irae bursts out in sparkling figuration, and after figuration, we return to the lake of fire—much intensified, louder, more extreme, more insistent. Finally, the lake erupts, and as we hear the tolling of miniature bells (Zimbelstern) against the volcanic theme, Dies Irae suddenly erupts with excoriating intensity. “And whosoever(…) was cast into the lake of fire.” (Revelation 20:15).

Mov 2 Toccata - Tapestries - Marco A. Jimenez

“Epilogue” is a movement about a forgotten story. A lone voice sings from a distant mountaintop, pleading, yearning, and hoping. It is the voice of a story that was never told, never heard—desolate, and
broken. The movement features a ground bass Passacaglia, relentlessly repeating two bars firmly grounded in the soul of the Earth, against which the melancholic clarinet hums alone. As its melody is restated in canon, the clarinet moves up in search of higher ground—struggling to sing, to speak—desperate, sighing, and finally dropping out in exhaustion.

As the clarinet drops out, a new thread, one of hopeful yearning, is sung, all against a single “drone” note. This thread is spun, and has its highs and lows, but eventually finds some solace before
evaporating forever into oblivion.

Determined to sing, the clarinet returns to tell the remainder of its tale in its final breaths. It sings a hopeless song of abject despair, but finally finds its voice beneath the flutes, which exude a sense of
ethereal timelessness. Broken, the clarinet, after a few perfunctory gasps, exhales for one last time before dropping out forever.

The distant tolling of church bells is heard, as Earth and Heaven join together in eternal tableau. The flutes are celestial, above mortal comprehension, while the ground bass Passacaglia is rooted in the
fabric of the earth. Against the tolling bells, the flutes cannot move the earth-bound Passacaglia, and sing of a forgotten world in the astral sphere. Although the sound eventually fades away, its ambience remains, offering us a glimpse into the infinite cosmos.

Mov 3 Epilogue - Tapestries - Marco A. Jimenez

I _think_ I wrote both the trumpet descants, but I honestly can't remember. For a working church musician, stuff like that gets lost in the shuffle and is lucky to even get written down somewhere scribbled on the back of a church bulletin. I know the last one is mine, but not sure of the middle one because it's older, the first appearance of the trumpet is just the tune, of course. This track was for a video I  assembled for my church job's online devotional this weekend.

For All The Saints w/trumpet descants

HILTON KEAN JONES is a composer of both commercial and classical music.  The recipient of awards, grants and commissions, Jones’ compositions are performed by both professional and amateur musicians. He is published by Kendor Music, Dabash Kephim, Concordia, Logia, SKQ, Hope, and WTM and appears on Capstone, C. Alan, HoneyRock, Crest, ESM and Bacchanal Bay labels. His works include sound tracks for videos and films by award winning film directors, including Will Hindle and Richard Protovin.  Mr. Jones was Music Director of 9 NFL Super Bowl Pregame Shows from Super Bowl XXVI (1992) through Super Bowl XXXV (2001) and Music Coordinator/Video Director for Super Bowl XXXVI (2002) Pregame Show.  Jones is an ASCAP composer. He recently retired from his position as Professor of Music at the University of South Florida School of Music (Tampa), where he taught music composition, computer applications in music, orchestration and various graduate and undergraduate theory courses. He was granted the title of Professor Emeritus.  He continues his work as a freelance composer, producer, and performer. A complete listing of his compositions and downloadable scores and recordings are available at www.hiltonkeanjones.com.

For All The Saints w/trumpet descants

Hilton Kean Jones

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