"The Temptation of Saint Anthony" is a new work for chorus and winds commissioned and premiered by Texas A&M University-Commerce, Phillip Clements and Randall Hooper, conductors. For more information visit www.jamessyler.com.

Program Notes
Anthony of Egypt (251-356) was a 3rd century hermit, saint, and father of monasticism in the early church. His life and account of being tempted and tormented in the Egyptian desert were popularized through the firsthand account of Athanasius (296-373) in his book "The Life of Antony". Anthony’s dramatic and supernatural reports of temptation and torment have been a source of inspiration for visual artists and writers from the 10th century to the present. The six musical sections of this work are titled by phrases I found memorable from my reading of The Life of Antony (trans. Robert Gregg, Athanasius, Paulist Press, 1980). By avoiding a direct depiction of his experiences, I’ve approached the Temptation of Saint Anthony as an analogy for the process of temptation - approach, doubt, temptation, torment, relief, and joy. Whatever our temptations may be they can be powerful and full of consequences. I found it interesting that Anthony’s resistance to his temptations caused so much torment, yet in the end his resistance resulted in joy, or as Athanasius wrote “he felt his body contained more might than before.”  The music is filled with drama, sensuality, horror, and strangely enough, joy. �

The Temptation of Saint Anthony 
  Words & Music by James Syler

I. “the great desert”
I do not know why my eyes are opening 
to a warm yellow light from the great desert 
full of untold terror and light.

II. “a great dust cloud of considerations”
No one will ever know. 
Just this one time, just once.
But what if… Why not?
No one will ever know.

III. “the softness of pleasure”
A glance, a wink, a smile, a look.                                
A walk that moves like a gentle brook.                        
With eyes that want to warm me like spring.                       
I can’t wait, I’ve got to sing.    
                        
A word, a voice, a vexing hook.                              
A song of desire from an ancient book.                     
Lips from the Louvre worthy of a king.     
I can’t wait, I’ve got to sing.    
                       
A touch, a brush, I think I’m doomed.                   
A hand on the cheek that calms my gloom.             
Fingers that linger with jasmine and ginger.             
I can’t wait, I’ve got to sing.     
                       
A trace, a hint, I know this perfume.                    
A scent that rings like a sonic boom.               
How deep will your siren song sting?               
Something tells me, I’ve got to sing.              

IV. “their ragings were fierce”
Kyrie eleison. 

V. “a certain beam of light”

VI. “more might than before"
How do you find yourself before it’s over?
How do you stop yourself before it’s too late?
I do not know why my eyes are opening 
to a warm yellow light.

Copyright © 2014 James Syler
All Rights Reserved


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The Temptation of Saint Anthony for Chorus and Winds

A modern one movement concerto grosso for sax quartet and wind ensemble that explores the connection between the Baroque and bebop jazz. Inspired by the famous 1940's New York jazz club in a "third stream" type setting. No improvisation required. Also available for orchestra. Completed in 1994 and commissioned by the United States Air Force Band, Washington, DC. Visit www.jamessyler.com for more information.

Minton's Playhouse for Sax Quartet and Wind Ensemble

A one movement "third stream" type symphonic poem. Early jazz styles and contemporary devices are used in a modern setting to intensify the realities of Storyville - the infamous New Orleans prostitution district. No improvisation required. The work is dramatic with a sense of sadness and spaciousness. Completed in 1996 and commissioned by a consortium of 9 universities. Visit www.jamessyler.com for more information. 

Storyville

A dark abstract adagio that exploits the sonorities of the woodwind and brass choirs by separating them on stage. Further spatial sound is achieved through an off-stage right flugelhorn and off-stage left percussion. A dramatic quiet ending fuses together blocks of woodwind and brass chords. Uses asynchronous events and layers of sound to create an Ivesian numinous sound world. Completed in 1994 and commissioned by the Air Force Band of Flight, Dayton, Ohio. Also available for orchestra. Visit www.jamessyler.com for more information.

Fields

Commissioned by the American Composers Forum and the Artaria String Quartet, St. Paul, Minnesota. Three movements based in lyricism, color and rhythmic energy. The first movement is a modified sonata form, the second a harmonically colored adagio, and the finale is a driving fusion of bebop and bluegrass fiddle styles. Completed in 2003. Visit www.jamessyler.com for more information.

String Quartet No. 1, I. Movement

Built on the techniques of minimalism, this work separates the timbre and color of the woodwind and brass choirs. The woodwinds begin by playing repeated fragments that create a shifting contrapuntal texture along a steady pulse. The brass are divided into stage-right and stage-left choirs and play out-of time with the woodwinds. As the music develops and the energy builds they come together to drive the music to its climax. Optional 2 conductors. Completed in 2005 and commissioned by a consortium of 20 university wind ensembles.

Tattoo

A contemporary program symphony in six movements based on the poem of the same name by British poet Francis Thompson. Features a solo antiphonal trumpet and an eclectic mix of styles to emphasize the poem's drama. Minimalism, 12-tone writing, post-romanticism, tonality and atonality exist side by side and are held together by the work's melodic throughline. 

The Hound of Heaven - I. mvmt.

The Hound of Heaven - II. mvmt.

The Hound of Heaven - III. mvmt.

The Hound of Heaven - IV. mvmt.

The Hound of Heaven - V. mvmt.

The Hound of Heaven - VI. mvmt.

New Orleans was founded by the French in 1718. Shortly thereafter, the first generation of enslaved arrived. By 1817 a city ordinance was passed confining Sunday slave celebrations to one location - a public space called Congo Square. Throughout its history Congo Square was also the site of public executions, a whipping post, and the buying and selling of slaves. It is a place of conflicting emotions and multi-layered meanings. Another often overlooked reality is the influence of mixed race Creole musicians in New Orleans and Congo Square. During the early 1800's music in New Orleans was often described as more Caribbean than African. This unique mix of African, Creole, and Caribbean is what I've tried to internalize as I wrote Congo Square. 

The antiphonal flugelhorn is heard in the beginning and throughout the work as a kind of warning, similar in sound and meaning to the ancient blasts of the temple shofar. The African drum quartet represents the West African influence. It begins by quoting an authentic Konkoba war dance in 3/4. The polyrhythms of the quartet grow in intensity. The middle section quotes Salangadou, an old Creole song about a mother in search of her abducted child. Near the end of the work an early jazz style song emerges in a stomp style as the drummer plays a traditional New Orleans "Second Line" style groove, both of which suggest the new music that will eventually grow out of Congo Square. These three musics - the African drums, a Creole song, and early jazz styles - overlap and sound at the same time to produce the emotional zenith of the work. From the point-of-view of the past, we hear that past, its present, and future music simultaneously. My hope is that it will produce a reflective moment that gives the listener a deeper understanding of the multi-layered realities of Congo Square. The music was commissioned by a consortium of 12 universities and completed in November 2014.  This performance by University of Louisiana - Lafayette, William Hochkeppel, conducting.
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Congo Square

An energetic, brassy and lyrical overture-like work that evokes repetitive mechanical sounds and the singing lines that emerge out of them. Develops a simple motive through canon, repetition, counterpoint and lyricism. Commissioned and premiered by the San Antonio Symphony, San Antonio, Texas in 2009, James Judd, conducting. In memory of my father Robert Syler (1933-2007) - a lover of cars, driving and all things mechanical. Visit www.jamessyler.com for more information.

Gearbox for orchestra

The Wu Xing (pronounced wu-hsing) are the traditional Chinese five phases - Wood, Fire, Earth, Metal, and Water. “Wu” refers to the number 5 and “Xing” the phases. These five phases also have traditional pitch associations in solfege that produce a pentatonic scale and these corresponding harmonies. 
          Metal - Water - Wood - Fire - Earth   
             re          la         mi       sol      do
              ii           vi          iii        V         I 
in Bb:  Cm        Gm      Dm       F        Bb
The resulting chord progression of Cm Gm Dm F Bb is used throughout, as is the number 5. The work feaures two solo percussionists playing a variety of sounds organized by instruments made of, or representing, metal, water, wood, fire, and earth. The final "Earth" section uses two bass drums playing a 5-note rhythm, in five phrases, of five rhythms each, that grows in power to the end. Visit www.jamessyler.com for more information.

Wu Xing Concertino for Two Percussion &  Band

In recent works, I’ve become interested in music that creates a space for contemplation. Music that creates a 
journey between two points. The subject in this work is love as a timeless force. Its continuation in our lives beyond 
the grave, throughout time and space, and amidst the personal loss, difficulties, or ruins of our lives. The title is from
the poem Love Among the Ruins by Robert Browning.

This is not a concerto in the traditional sense, but rather a work that features the viola for its color, expressivity, and 
voice within a narrative. That narrative is left to the listener. I use a transformational technique where music that 
appears in the beginning is gradually transformed into new ideas which are then transformed into even newer ideas. 
It is always evolving as a metaphor for love as a transforming force. It also borrows from a previous work titled Fields 
that I've always felt there was more to say before and after it. The phrase by the Roman poet Virgil seems to have 
become appropriate for this work - "Amor Vincit Omnia" (Love Conquers All)

The music was commissioned by a consortium of 14 colleges led by Dr. Matthew Schlomer, Director of Bands at the Interlochen Arts Academy, Interlochen, Michigan. This live performance is from Emory University, Paul Bhasin, conductor with Yinzi Kong, viola soloist. 

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Love Among the Ruins for Viola, Winds, and Percussion

Visit www.jamessyler.com for more information.

JAMES SYLER

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