On Compassion

"A Gaelic Blessing: Deep Peace," composed by Stephanie K. Andrews. ©2005. Performed by the Quin Choir, All Saints' Episcopal Church, Gregory Eaton, Organist-Choirmaster, Austin, TX, January 2016. Duration: 2:46.

9:00 AM Holy Eucharist

A Gaelic Blessing: Deep Peace

"Let Everything Happen," performed by the women of Inversion Ensemble, October 1, 2017 in Austin, Texas. Text: Rainer Maria Rilke. Steven Brennfleck, conductor; Shana Norton, harp; Eunhie Lim, cello.

Let Everything Happen

"Berceuse" was written for the "Dream Keeper" concert to be performed by Inversion Ensemble of Austin, Texas in March of 2019. It is, as the title suggests, composed as a soothing lullaby, with a gentle rocking motion in the piano throughout. The clarinet and violin take turns playing lush melodic lines, often in parallel sixths, the sixth being an interval associated with consonance and pleasure. In a world wracked with discord, it is hoped that this lullaby for listeners and performers of all ages may bring comfort and solace.

Berceuse

I composed “Da pacem, Domine” in July 2016 in the aftermath of the massacre that occurred 12 June 2016 at the Pulse nightclub in Orlando, Florida. Fifty human beings died and another 53 were injured, many critically, in the shooting. This attack has been identified as the deadliest assault on LGBT (Lesbian, Gay, Bisexual, and Transgender) people in the history of the United States. As an individual who identifies as bisexual, this hate crime had a profound impact on me personally. As I mourned the devastating loss of so many in my LGBT family, I found an intense comfort in listening to Estonian composer Arvo Pärt’s setting of Da pacem, Domine and was moved to create my own setting of this powerful text in memoriam of the Pulse victims. The protracted rests in the piece are meant to be moments of silence for the victims of this horrendous tragedy. May the souls of the departed rest in peace, and may light perpetual shine upon them. Recorded May 21, 2017 in Austin, Texas by the Chamber Ensemble of Chorus Austin, Ryan Heller, Artistic Director.

Da pacem, Domine

I composed “The Dream of Icarus” at the end of 2016 and the beginning of 2017 in collaboration with October Project poet Julie Flanders. At its outset, tempo rubato is used to create an ethereal, dream-like atmosphere. Influenced by the “mystical sevenths” of Brahms, the intervallic leaps of sevenths in the melody are meant to evoke mysticism.  Throughout the piece, complex harmonies including seventh, ninth, and thirteenth chords create a fundamentally spiritual character and airy quality. Another essential aspect of this work, text painting, is utilized in the setting of words such as “light” in measures 17-18 and “night” in measures 26-27. The maestoso at the conclusion of the piece is intended to remind us of the significance of our beliefs: that we can indeed fly through the power of our dreams. Recorded May, 2018 in Austin, Texas by the Chamber Ensemble of Chorus Austin, Ryan Heller, Artistic Director.

The Dream of Icarus

"Perplexed Music" was written in loving memory of Judith Ann Burnham (Nov. 11, 1943 - Nov. 11, 2018), who sang alto in Chorus Austin of Austin, Texas. A brilliantly shining light, beloved by many, Judy slipped away on her 75th birthday after battling cancer for over a year. 

The piece is based on a sonnet of the same name by the poet Elizabeth Barrett Browning (1806-1861). Throughout the piece, shimmering cluster chords allude to the radiant beauty of Judy's spirit. Text painting, another compositional device employed in this piece, is seen in the setting of words such as "unfold" and "fall," as well as phrases such as "deathly colds." The aleatoric section, mm. 45-54, is meant to convey the uncertainty we often feel in times of grief and loss. Yet even in the midst of these struggles, comfort may be found as enlightened spirits smile down upon us, whispering, "SWEET."

Recorded February 10, 2019 at All Saints' Episcopal Church, Austin, Texas, by Adrienne Inglis. Soprano: Eva Hawker, Adrienne Bingamon, Suzette Emberton; Alto: Claudia Carroll, Bonnie Bogovich, Stephanie Andrews; Tenor: Joshua Chai, Adrienne Inglis; Bass: Julius Young, Steve Overcashier.

Perplexed Music

"Perplexed Music" was written in loving memory of Judith Ann Burnham (Nov. 11, 1943 - Nov. 11, 2018), who sang alto in Chorus Austin of Austin, Texas. A brilliantly shining light, beloved by many, Judy slipped away on her 75th birthday after battling cancer for over a year. 

The piece is based on a sonnet of the same name by the poet Elizabeth Barrett Browning (1806-1861). Throughout the piece, shimmering cluster chords allude to the radiant beauty of Judy's spirit. Text painting, another compositional device employed in this piece, is seen in the setting of words such as "unfold" and "fall," as well as phrases such as "deathly colds." The aleatoric section, mm. 45-54, is meant to convey the uncertainty we often feel in times of grief and loss. Yet even in the midst of these struggles, comfort may be found as enlightened spirits smile down upon us, whispering, "SWEET."

Crystal Veil Suite was composed in 2018 for REVEL, an Austin, Texas based classical music group led by Dr. Carla McElhaney, and for Chorus Austin, also of Austin, Texas, Ryan Heller, Artistic Director. The premiere of the piece took place on December 1, 2018, at the "Existential Solstice" concert, part of REVEL's "Radio Project" concert series. The "Existential Solstice" concert, a collaboration between REVEL and Chorus Austin, featured music and poetry meant to elicit vivid imagery of winter scenes. As a lifelong Texan, this required a stretching of my creativity, as you well might imagine. The A section of the first movement, "The Snow," was written in Phyrigian mode to evoke the melancholy mood that may accompany a long winter, with descending patterns in the viola/tenor saxophone and the right hand of the piano painting a gentle snowfall. The B section contrasts with a faster tempo, suggesting an intensification of the snowfall, before returning to the melancholic A section. The second movement, "Frost and Wind," paints a snowstorm with its faster tempo, swirling winds in the right hand of the piano and in the choir, and bitter frost evinced in all voices. Finally, in the third movement, "Snow," a shift to the major mode and tranquil melodic lines suggests a return to a gentle snowfall following the storm, with contemplative motives in all voices, until a lone robin's voice and sunlight bring us hope of spring's return.

Winter Revelry

Crystal Veil Suite

"Lux Aeterna," recorded by Inversion Ensemble, March 2019. Artistic Director: Trevor Shaw; Managing Director: Robbie LaBanca

Lux Aeterna

Kings Point Suite as performed at the Space City New Music Festival in Houston, Texas, July 11, 2019. Kate Dreyfuss, violin; Jacob Ottmer, vibraphone; and Michael Avitabile, flute.

Kings Point Suite

Crystal Veil Suite was composed in 2018 for REVEL, an Austin, Texas based classical music group led by Dr. Carla McElhaney, and for Chorus Austin, also of Austin, Texas, Ryan Heller, Artistic Director. The premiere of the piece took place on December 1, 2018, at the "Existential Solstice" concert, part of REVEL's "Radio Project" concert series. The "Existential Solstice" concert, a collaboration between REVEL and Chorus Austin, featured music and poetry meant to elicit vivid imagery of winter scenes. As a lifelong Texan, this required a stretching of my creativity, as you well might imagine. The A section of the first movement, "The Snow," was written in Phyrigian mode to evoke the melancholy mood that may accompany a long winter, with descending patterns in the viola and the right hand of the piano painting a gentle snowfall. The B section contrasts with a faster tempo, suggesting an intensification of the snowfall, before returning to the melancholic A section. The second movement, "Frost and Wind," paints a snowstorm with its faster tempo, swirling winds in the right hand of the piano and in the choir, and bitter frost evinced in all voices. Finally, in the third movement, "Snow," a shift to the major mode and tranquil melodic lines suggests a return to a gentle snowfall following the storm, with contemplative motives in all voices, until a lone robin's voice and sunlight bring us hope of spring's return.

Stephanie K Andrews

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