INTRODUCTION
Keaton Lee Scott, born in 1950, is gaining recognition as one of America's prolific composers of sacred music With over 300 published compositions to his name, his works encompass a variety of forms, including hymns, anthems, and pieces for solo voice, organ, and brass, as well as larger sacred works like Lux.
Aeterna is a five-movement composition featuring a men’s chorus accompanied by piano, flute, cello, and timpani The piece, titled Lux Aeterna, was first performed by The University of Mississippi Men’s Chorus on March 30, 2010, at Nutt Auditorium in Oxford, Mississippi, as noted by composer Nick Strimple.
In a commercialized landscape where artistic integrity often faltered, few composers remained dedicated to writing primarily for the church Scott's genuine approach led to the creation of well-crafted, insightful, and emotionally resonant music across various styles, typically rooted in traditional models, which gained significant popularity.
Scott's remarkable talent lies in his skill to select and set text to music, resulting in a unique American-style anthem rather than reinterpreting traditional European Anglican anthems His innovative and pragmatic approach to contemporary religious choral music distinguishes him from his peers, as he embraces a fresh perspective that moves away from conventional methods.
“academic” compositional language that might distort his interpretation of the genre
1 Nick Strimple, Choral Music of the Twentieth Century (New Jersey: Amadeus Press, 2002), 270.
Scott's writing style is adaptable, allowing choirs of various structures and skill levels to perform his compositions He demonstrates a keen awareness of the unique needs of different choirs, including high school, collegiate, church, and professional groups As a result, his music has resonated with diverse communities nationwide, showcasing the distinct character and quality of his works.
Despite receiving significant acclaim for his expertly crafted compositions, Scott’s work has not garnered the scholarly attention it deserves, especially when compared to renowned 20th-century composers like John Rutter and Aaron Copland Given the extensive body of literature Scott has produced, the limited research on his music highlights the necessity for further study in this area.
Scott's compositional style is characterized by a deliberate avoidance of rhythmic gimmicks and overly complex harmonies He favors profound and literate texts, demonstrating a deep understanding of ancient church traditions and their ongoing significance Additionally, he shows a keen awareness of technical limitations in his work.
Scott's diverse stylistic approach is evident in his extensive works, characterized by a friendly tone that remains accessible Michael Huebner highlights Scott's talent as a skillful orchestrator, noting his ability to craft clear and comprehensible texts for both chorus and vocal soloists.
He spent 20 years creating his Requiem, one of his most highly regarded works
An analysis of this work will conclude that Scott’s extended works reflect a composition-
Birmingham composer K Lee Scott's CD of 'Requiem' showcases a musical style that transcends market limitations, having been performed by various collegiate ensembles An analysis of his work reveals his dedication and commitment, highlighting his exceptional musicianship and sensitivity towards choral music.
Gaining insight into Scott's compositional process enhances the reader's comprehension of his works, benefiting choral conductors in their performances Analyzing Scott's compositions can promote his legacy and inspire more frequent performances in concert halls and churches across the United States.
Contacting living composer Scott through interviews, emails, and phone exchanges offers valuable insights into his music and perspectives on sacred music A biographical overview will highlight key experiences that shaped his life and compositional style The analysis of his work, "Requiem," will focus on its melody, harmony, form, and texts, supported by musical examples that demonstrate his unique style Additionally, a phone and email interview with conductor Dr Donald Trott, who premiered one of Scott's compositions, will provide further context and understanding of his work.
Although there are no dedicated scholarly books on Scott, his contributions are acknowledged in Strimple's "Choral Music in the Twentieth Century," which serves as a concise reference for significant classical choral works from 1900 to 2000 Strimple provides analysis and insight, noting that Scott's compositions are expertly crafted, reflecting a deep appreciation for ancient choral traditions and early European anthems.
In her analysis of the hymn "There is a Garden," Emily Brink explores the hymn's origins and significance, highlighting Scott's arrangement as a notable example among many well-crafted versions Brink emphasizes that Scott's choral arrangements not only maintain strong melodies but also effortlessly evolve musical ideas, a quality often lacking in many contemporary hymns and compositions.
Michael Huebner of the Birmingham News commended Scott’s Requiem for its distinctive composition for choir, soloist, and orchestra, drawing parallels to the major choral works of Brahms and Rutter While Huebner's critique is informative, it lacks in-depth exploration of Scott’s vision and musical strategy Further research is essential to enhance understanding of Scott's contributions, which have garnered significant praise for their craftsmanship and natural style, yet he has not received the scholarly recognition afforded to other 20th-century composers This study aims to highlight Scott’s most important composition and serve as a valuable resource for choral musicians engaging with his work.
BIOGRAPHY
Keeton Lee Scott was born April 19, 1950 in Valley, Alabama His father,
Willard W Scott, was an electrician and later a minister His mother, Katheryne Sorrell
Scott, was a homemaker and amateur musician His parents and grandparents were extremely musical and came from musical families, particularly his mother’s 4
My father played the mandolin and fiddle and was part of a country and western band during the early years of his marriage On the other hand, my mother's family appears to have a richer musical heritage, especially my maternal grandmother, Ardecie.
Sharp Sorrell Ardecie, my grandmother, was a fine singer, and she married Rufus A
Sorrell My grandfather, Rufus, also loved to sing, and lead Sacred Harp singings in the
For 40 years, the Chambers County Courthouse in Lafayette influenced my life, particularly through my mother's singing, despite my granddad passing away before my birth As a child, my mother would sing me to sleep with hymns and folk songs, many of which featured modal qualities This modal writing has significantly shaped my compositional style.
Scott's mother was the youngest of twelve siblings, with ten reaching adulthood, nine of whom were musically inclined He notes that being musical was an expectation in the Sorrell family Additionally, Scott's father had two siblings, one of whom played the violin At the age of six, Scott's parents embraced Christianity, which significantly influenced his upbringing.
4 Keaton Lee Scott, email with the author 15 June 2012
In 1963, Scott felt a calling to the Christian ministry and enrolled in Theology at Columbia Theological Seminary in Atlanta During this period, he also began taking private piano lessons, developing a passion for the instrument through daily practice, listening to recordings, and studying supplemental materials After completing his seminary studies in 1965, Scott's father served as a minister in five churches across three counties in Alabama.
Scott began high school in Greene County, Alabama, where he developed his skills as a young pianist while attending three different schools that lacked choral programs His first exposure to choral music came from recordings of The Mormon Tabernacle Choir, which sparked his fascination and led him to collect choral scores to play on the piano After relocating to Boligee, Alabama, he resumed piano and organ lessons and dedicated his remaining high school years to playing for his father's church services, utilizing various instruments including pianos and an electric organ.
8 Womack, Damion Interview with Keaton Lee Scott Phone Interview Montgomery, June 19, 2012
9 Keaton Lee Scott, email with the author 15 June 2012
In 1968, Scott enrolled at The University of Alabama in Tuscaloosa, where he pursued a unique BM undergraduate degree in choral literature and composition, a program that has since been discontinued He proudly notes that he was one of only two students to ever receive this specialized degree, highlighting its rarity and the fact that similar programs were typically offered only at the graduate level.
During his undergraduate studies, Scott benefited from being taught primarily by full professors, which provided him with extensive exposure to the faculty in theory and composition He noted that the Music Department prioritized composition similarly to how a strong English department focuses on writing Furthermore, Scott's theory courses consistently emphasized composition through semester-long projects.
During Scott's freshman year, Kenneth Neilson served as the Director of Choral Activities, emphasizing the importance of pure vowels and good rhythmic production While Scott appreciated the focus on technique, which was beneficial given his limited choral training, he noted that Neilson's rehearsals were often slow-paced and did not involve much literature.
UA the next year for another position; however, Scott was elated to discover that
Fredrick Prentice was appointed Director of Choral Activities Scott was familiar with
11 Keaton Lee Scott, email with the author 18 June 2012
14 Ibid the education background of Prentice, a published composer with degrees from The Uni- versity of Southern California and Yale University
Scott highlights that Frederick Prentice's experience as a composer significantly contributed to his appointment as the Director of Choral Activities Furthermore, Scott expressed his excitement about Prentice joining the team, noting that during his undergraduate years, The University of Alabama served as the annual host for The Southeastern Composers Conference.
As a new member of the University Singers, Scott took advantage of the opportunity to perform and study new works written by participants in the conference
From 1969 to 1974, Scott studied choral literature and conducting under Prentice while also singing in the University Singers He frequently worked on choral compositions, presenting them to Prentice for feedback and guidance Scott fondly recalls Prentice's generosity with his time, often having pieces read or performed by the University Singers, which he describes as the most rewarding study of composition he has ever experienced In 1972, Scott's first piece, "Now is the Month of Maying," was published by one of Prentice's publishers in California.
He was delighted to become published while he was studying for his first degree
Scott acknowledges Prentice for his invaluable assistance and support throughout his studies As part of his minor in voice, he completed a comprehensive year-long course titled "Song Literature," where he explored five centuries of solo song, focusing on how composers crafted texts and accompaniments.
The intense study I undertook had a profound impact on me, a realization I never anticipated before enrolling in the course Upon graduating in 1972, I was accepted into the graduate music programs at both the University of Southern California and The University of Iowa.
During his college selection process for graduate studies, Scott faced significant family turmoil, including his father's severe illness and subsequent nervous breakdown This crisis resulted in his father's removal from the ordained ministry and a divorce, leading to financial instability at home As a consequence, Scott was unable to attend the University of Southern California or the University of Iowa In January 1973, he ultimately enrolled in a Master's program.
Music program at the University of Alabama, majoring in Choral Literature and
Conducting, and studying with Prentice
Scott dedicated significant time to music history courses and extensively researched musical scores During his Master's degree, he assisted Prentice as a choral assistant while continuing to study composition and arranging with him, even without receiving academic credit His interests also expanded to include Elizabethan choral music and the classical Mass setting.
In 1976, during his final year of graduate studies, Scott was invited by Don Moses, the Director of Choral Activities at The University of Iowa, to participate in a Haydn seminar in Austria Coinciding with the United States' Bicentennial year, the Austrian government did not offer any special acknowledgment of the occasion; however, Scott's group was granted a unique opportunity to view rare musical scores at the Albertina Museum and Archive in Vienna.
COMPOSITIONAL STYLE
Scott's journey at The University of Alabama focused on mastering choral conducting and composition As he developed as an educator, his compositional style and techniques evolved significantly Each new piece he created showcased a unique approach, reflecting the growth of his professional career as a composer.
The primary goal of each composition, whether arranged or freely created, is to illuminate and amplify the text's meaning Embracing the enigmatic nature of creativity is essential, a concept that the romantics readily accepted In contrast, a more analytical approach tends to strip away this mystery entirely.
When I sit down to write, ideas often flow, though I occasionally experience writer's block Inspiration strikes during moments like driving, where melodies and phrases come to mind While studying a text, I might encounter a melodic fragment, rhythmic idea, or harmonic flow As I strive to integrate these elements into a cohesive context, I consider all aspects—melody, harmony, rhythm, and instrumentation The overarching concept of what the piece aims to convey is crucial at every stage of the creative process.
27 Keaton Lee Scott, email with the author 13 June 2014
A study of the text often helps frame out some sense of form even before a note is con- ceived.” 28
Scott emphasizes the importance of simultaneously conceiving choral voices and their accompaniment to ensure a cohesive musical composition His proficiency in crafting effective accompaniments stems from his background in piano and organ during high school, which became crucial when commissioned to write church anthems He acknowledges the challenge of creating music that integrates both voice parts and accompaniments, drawing inspiration from masterpieces like the Mozart and Brahms Requiems, where the harmonious interplay between voices and instruments showcases their unique musical identities.
Scott is a versatile writer who enjoys exploring various genres, particularly African American spirituals He is especially inspired by the works of Alabama native William Dawson and Shaw-Parker arrangements, as well as the spirituals he encountered during his upbringing in the South Many of Scott's spiritual arrangements feature a strophic structure, allowing for creative word painting and imaginative choral interpretations A notable example is his arrangement of “The Old Ship of Zion,” where he incorporates the word “Hallelujah” at the conclusion, symbolizing the joy of a fulfilled life in heaven.
Figure 3.1 Scott, The Old Ship of Zion, mm 25-43
Scott has arranged a variety of secular and sacred folk songs, driven by his passion for melody He emphasizes that their vocal beauty has significantly influenced his approach to writing for voices One notable example of his work is "Write Your Blessed Name," where he skillfully uses a simple yet poignant melody, enhancing the composition by starting with a unison voice and progressively adding additional vocal lines throughout the piece.
Figure 3.2 Scott, Write Your Blessed Name, mm 5-14
Text is the foremost consideration in Scott’s compositional process He states,
As a composer, my creative process begins with a deep exploration of the text, whether I am arranging or composing freely When working with psalm texts, I dedicate significant time to researching their background and theological significance, a practice I also apply to secular texts This thorough understanding informs the tone and overall impact I aim to achieve in the final composition, ensuring it resonates meaningfully with the listener.
Scott diligently seeks out rare and uncommon texts, meticulously studying each piece, whether it be poetry or biblical writings He spends significant time in the library searching for new material and actively reads and purchases poetry to discover underutilized works According to Scott, publishers are in search of innovative and refreshing texts A notable example of a lesser-known work is “Write your blessed Name, O Lord, upon my Heart” by Thomas Aquinas, which has not been widely set to music by composers.
Write your blessed Name, O Lord, upon my heart,
There to remain so indelibly engraved,
That no prosperity, no adversity,
Shall ever move me from your love
Be to me a strong tower of defence,
A very present help in trouble,
Through the many temptations and dangers of this life 31
30 Keaton Lee Scott, email with the author 11 June 2014
31 The Theology and Ministry Unit, Book of Common Worship Daily Prayer (Louisville, Kentucky: John Knox Press, 1993), 446
By utilizing unconventional texts, he draws inspiration for innovative and creative ideas Among the distinguished poets referenced by Scott are John Donne, Timothy Dudley-Smith, Thomas Tomkins, and John Wesley.
Scott highlights the significant influence of Igor Stravinsky's use of mixed meter on his own rhythmic ideas, as he incorporates this technique in many compositions He emphasizes that text serves as the primary motivator for employing mixed meter, noting that spoken language is inherently improvised When setting a biblical text, the natural flow often lends itself to a free interpretation, making mixed meter a fitting choice in choral music Scott expresses his appreciation for the creative freedom that mixed meter offers, particularly in exploring various texts.
To effectively set text to music, it is essential for the music to reflect and enhance the natural rhythm of speech Scott achieves this by employing mixed meters and varying tempos, incorporating both fast and slow elements A notable example of this technique can be found on page 31 of "Gloria," where Scott applies mixed meter to the text "Cum Sancto."
Spiritu in Gloria Dei Patri (Figure 3.3)
32 Keaton Lee Scott, interview with the author 6 July 2014
In "Now," the repetition of the word "Alleluia" on page 7 exemplifies the author's skillful use of mixed meter, effectively generating drama, agitation, excitement, and tension throughout the narrative.
Figure 3.4 Scott, Now Glad of Heart mm 41-47
Scott’s arrangements of folk songs, hymns, and spirituals often utilize strophic or modified strophic forms These compositions may feature verses with refrains or stand-alone verses, showcasing exceptional musical craftsmanship Each verse is uniquely scored and accompanied to reflect the distinct style and emotional tone of the lyrics.
Scott's notable compositions include titles such as "Above the Stars," "Apple Tree," "Chill of the Nightfall," "Christ is Now Arisen," and "Daniel Saw the Stone." He often employs thematic development, variation, and recapitulation, commonly using the ternary form ABA in pieces like "Day By Day," "Pleasure Enough," "To Thee I Die," "After the Storm," and "Write Your Blessed Name." Additionally, Scott showcases through-composed form in works such as "Wilderness Will Rejoice," "Psalm 96" (A New Made Song), "God is Our Refuge and Strength," and "The Look."
REQUIEM
In 1976, Scott and 12 fellow student conductors from The University of Alabama attended the International Haydn Festival in Eisenstadt, Austria, where he had the rare privilege of viewing Mozart’s Requiem at “The Abertina,” the State Archives in Vienna This extraordinary experience, as Scott noted, was a significant honor since the score is rarely displayed to the public, inspiring him to compose his own Requiem After 22 years of dedication, Scott's Requiem was finally performed at the 32nd annual “Celebration” choral workshop on August 4, 2006, at the Sheraton Imperial Hotel in Durham, NC.
The "Celebration" concert, a standout event of the workshop, was free to the public and opened with a welcome speech by Roberta Van Ness, President of Hinshaw Music The first half showcased selections of organ and choral music from the Hinshaw catalog, while the second half was dedicated entirely to the works of Scott.
The Requiem by Brahms had a direct influence on Scott resulting in several paral- lels between the two works Both used the text from Revelation 14:13 Scott also chose
33 Ibid not to use the text from the Roman Catholic Mass In addition, both composers focused on the living, not the dead
Scott mentions text was one of the most challenging aspects of writing the
In crafting a meaningful sequence of scriptural passages for a Reformed perspective on the Latin Mass for the Dead, I incorporated texts by John Donne and a hymn by Timothy Dudley-Smith This work emphasizes the importance of preparing for the afterlife while highlighting the significance of the Collect from The Book of Common Prayer, which serves as a foundational element rather than a mere expression of piety The text ultimately conveys comforting messages about the blessed state of those who have passed into God's presence.
Scott's text is derived from a mix of common and uncommon sources, prominently featuring the King James Version It includes funeral sentences, scriptures, and Psalms, commonly found in various Requiems Notably, John Donne's words in the second movement emphasize the urgency of repentance: “'Tis late to ask abundance of thy grace when we are there; here on this lowly ground, teach me how to repent.” This theme of repentance is echoed in the phrase “Search me O God,” highlighting the belief that one's eternal state is shaped by the preparations made in this life.
Revelation 4:8b emphasizes God's eternal nature, proclaiming, "Holy, Holy, Holy is the Lord God Almighty, who was and is and is to come," which underscores His capacity to sustain the blessed saints for eternity The hymn by Timothy Dudley-Smith expands on these themes found in Revelation, while the 23rd Psalm and John Donne's final prayer provide a profound conclusion, encapsulating the essence of ultimate rest and spiritual fulfillment.
The first movement of the work, titled "Blessed Are the Dead," was the last to be composed, presenting a significant challenge for Scott He noted that crafting this movement was particularly difficult because the other movements included some of his finest compositions, making it essential to create a high-quality opening that matched their caliber.
"Blessed are those who pass away in the Lord, for they will find rest from their efforts, and their deeds will continue to resonate."
The musical form unfolds in a series of four sections, beginning with the piano in- troduction (mm 1-19) Table 4.1 shows the overall structure of the first movement
Table 4.1 The overall structure of the first movement
A 20-33 Blessed are the dead who die in the Lord
A’ 34-43 Blessed are the dead who die in the Lord
B 44-53 That they may rest from Their many labors
C 53-88 For their works do follow after them
C’ 83- End Their works do follow after them
In “Blessed are the Dead,” the predominant compositional technique employed is the fugue, which commences at measure 53 The text plays a crucial role in shaping the composition, as it naturally lends itself to the creation of the fugue, according to Scott.
C major in measure 53 in the alto voice (Figure 4-1) The tonal answer appears in the so- prano voice in measure 56 (Figure 4-1) The subject appears again in the bass in measure
In measure 64, the tonal answer is restated by the tenor voice, while the alto voice introduces the subject in measure 69, followed by a response from the soprano in the relative minor.
The subject reappears in the tenor and bass voices in the relative minor at measure 74 An episode is presented sequentially in measures 78-82, featuring the alto and bass, followed by the soprano and tenor Stretto is utilized from measures 82-89 in the original key of C major The episode recurs in measures 90-94, and in measure 95, the accompaniment mirrors the prelude in the bass clef.
Figure 4.1 Scott, Requiem, mm 53-61, movement 1
Figure 4.2 Scott, Requiem, mm 74-77, movement 1
Figure 4.3 Scott, Requiem, mm 82-89, movement 1
Figure 4.4 Scott, Requiem, mm 90-109, movement 1
“Blessed are the Dead” is primarily set in C major, with brief excursions to F# major and E-flat major between measures 43 and 52, before reestablishing C major at measure 53 to initiate the fugue At measure 73, the piece transitions to the relative minor, but Scott returns to C major in measure 82, maintaining this key until the final five measures, which navigate through A minor, A-flat, G-flat, and culminate in a return to C major in the last two measures.
Figure 4.5 Scott, Requiem, mm 44-52, movement 1
Figure 4.6 Scott, Requiem, mm 39-43, movement 1
The fugue that begins at measure 53 comes to a climax at the episode in measure
In the conclusion of the fugue, the bass and alto sing an octave apart, while the tenor and soprano also harmonize an octave apart This section reflects on the word "rest" and transitions through the harmonies of A minor, A-flat Major, and G-flat Major Ultimately, the piece resolves by returning to the original harmony of C major in the final chord.
Figure 4.7 Scott, Requiem, mm 90-94, movement 1
Figure 4.8 Scott, Requiem, mm 95-109, movement 1
The composer sets a tempo of quarter note = 44, indicating a largo pace, while employing a triplet figure consistently throughout the movement to enhance its rhythmic intensity Notably, in measure 34, he emphasizes the word "Blessed" by elaborating on it with the triplet figure, adding depth and significance to the piece.
Figure 4.9 Scott, Requiem, mm 30-38, movement 1
“At The Round Earth’s Imagin’d Corners”
Scott considers this movement to be one of the most difficult in his entire work, noting that it was among the last pieces he composed He feels the introduction evokes the music of the Elizabethan era This composition is arranged for SATB chorus with a soprano solo, and Scott has a deep appreciation for the texts of John Donne.
Earth’s Imagin’d Corners is a familiar text to many However unlike many composers,
Scott set this text to driving rhythms and mixed meter to bring out the excitement of the resurrection
At the round earth’s imagined corners, blow
Your trumpets, angels, and arise, arise
From death, you numberless infinities
Of souls, and to your scattered bodies go,
All whom the flood did, and fire shall, o’erthrow,
All whom war, dearth, age, agues, tyrannies,
Despair, law, chance, hath slain, and you whose eyes,
Shall behold God, and never taste death’s woe
But let them sleep, Lord, and me mourn a space;
For, if above all these, my sins abound,
‘Tis late to ask abundance of thy grace,
When we are there Here on this lowly ground,
Teach me how to repent; for that’s as good
As if thou’hadst seal’d my pardon with thy blood
The selection is through-composed, featuring a musical form that unfolds across three sections, starting with an organ introduction spanning measures 1 to 16 The overall structure of the second movement, titled “At the Earth’s Imagin’d Corners,” is detailed in Table 4.2 below.
Table 4.2 The overall structure of the second movement
Section MM # Text Tempo Dynamic
A 17-31 At the round earth’s imagin’d cor- ners…
B 32-65 All whom the flood did, and fire shall over- throw…
C 66-End But let them sleepe, Lord, and mee morn a space…
SUMMARY AND CONCLUSION
Keaton Lee Scott is a prominent contemporary composer known for his extensive contributions to choral music An analysis of his unique compositional style, particularly through his significant work, Requiem, reveals his innovative approach to choral composition This study emphasizes Scott's aspiration to craft music that serves as an extension of the text, moving beyond mere technical considerations to enhance the overall emotional and narrative depth of his works.
Every artist cultivates a unique signature that embodies their personal perspectives and values Scott, deeply influenced by his passion for literature and music, discovered his voice as a choral composer through the encouragement of his parents and college professors An extensive analysis of Scott's Requiem and choral compositions reveals distinct traits that define his musical style.
Scott combines sacred and secular texts from renowned poets and biblical sources, aiming to share his passion for these writings with performers of his music He views poetry as the "mother of music," asserting that the text shapes both the form and style of his compositions.
Scott primarily employs traditional forms in his compositions, with most of his works structured in ternary form His arrangements of folk songs and hymns typically follow strophic or modified strophic patterns The melodies he creates are rooted in the harmonic structure, serving as the defining characteristic of his pieces Each melodic phrase is distinctly marked for breath and tempo changes, while strategic melodic leaps emphasize key words and syllables Generally, his melodies are placed in the top voice, often introduced in unison before transitioning into harmonized parts.
Scott effectively employs rhythm to enhance the cadence of his speech By utilizing mixed meters and varying tempos, he brings a dynamic quality to poetry and biblical texts that are rhythmically free His technique of juxtaposing triple rhythms with duple rhythms generates drama, agitation, excitement, and tension, enriching the overall impact of his work.
His compositions are expertly crafted, showcasing a harmonious blend of form, melody, and rhythm The integration of text and music creates a profound experience for both performers and listeners, transcending mere notes and words to resonate deeply with the heart and soul While his works remain accessible, they also present meaningful musical challenges, offering insights into universal emotions and experiences.
This analysis of K Lee Scott's Requiem aims to introduce his unique musical style to choral conductors, enabling them and their singers to perform his works with enhanced effectiveness and deeper comprehension.
BIBLIOGRAPHY Brink, Emily “Hymn Interpretation.” The Hymn 55 (2004): 38-41
Davies, Stephen Musical Meaning and Expression New York: Cornell University Press,
Dean, Scott “The Excellent Sacred Musician: An Oxymoron?” Choral Journal 43, no.9
Elson, C Louis The History of American Music England: The Mac Millan Company,
Heintze, James R., and Michael Saffle Reflections on American Music: The Twentieth
Century and the New Millennium New York: Pendragon Press, 2000
Huebner, Michael “Birmingham Composer K Lee Scott’s CD of ‘Requiem’ takes cues from Rutter, Brahms.” Birmingham News (December 26, 2007): sec C, page 45
Laster, James Catalogue of Choral Music Arranged in Biblical Order Maryland:
McBain, Robert Mark “The Choral Music of John Rutter: Analysis and Performance
Practices.” D.M.A diss., Arizona State University, 1981
McCoy, Jerry “College and University Choirs: Attention is called to the lack of new significant choral works by American composers” Choral Journal 35, no 4
Musgrave, Michael Brahms, A German Requiem England: Cambridge University
Ogasapian, John Church Music in America, 1620-2000 Georgia: Mercer University
Strimple, Nick Choral Music of the Twentieth Century New Jersey: Amadeus
Swain, Joseph Peter Historical Dictionary of Sacred Music Maryland: Scarecrow
Wienandt, Elwyn A Choral Music of the Church New York: Free Press, 1965
Wienandt, Elwyn A Opinions on Church Music; Comments and Reports from Four-and-
Half Centuries Texas: Markham Press Fund of Baylor University Press, 1974
DW : What were the conditions that led you to write a Requiem?
With degrees in choral literature and conducting, I recognized a gap in the availability of English-language Requiems, particularly from a Reformed perspective on Holy Scripture regarding life and death This inspired me to compose a work that many churches could perform, given their reluctance to use Latin Masses for the Dead The positive feedback from Presbyterian pastors evaluating the theological content of my Requiem has been encouraging My experience of viewing the original score of Mozart's Requiem in Vienna in 1976 ignited my ambition to create a comparable piece, despite acknowledging Mozart's superior compositional skills That encounter with greatness profoundly influenced my artistic journey and determination.
DW: Was the Requiem a commission or dedication?
After not receiving any commissions initially, I dedicated a significant amount of time to assembling my work from various separate commissions Ultimately, a friend commissioned the first two movements as a tribute to his late parents, allowing me to thematically connect the first and last movements In some instances, the key relationships from earlier commissions were not suitable, so I made adjustments to ensure seamless continuity within my Requiem.
DW: Was your compositional process different than it was in other works?
Although I do not hold a formal degree in composition, my background includes both academic and private study in the field My compositional approach is somewhat unconventional, as I often conceive melody and harmony simultaneously, aiming for each part to be engaging to sing A distinguishing feature of my work is the emphasis on the relationship and contrast between movements in my individual commissions, where both the structure of each movement and the overall architectural effect play crucial roles This process has significantly challenged and expanded my growth as a composer.
DW: Were any of the movements, or was any of the material, pre-existing?
In the early 1980s, I wrote "Search Me, O God," recognizing its potential for future projects Subsequently, I explored additional texts to incorporate into various commissions Notably, I later realized that "That Blessed Dependency," created years earlier, would serve as an excellent concluding piece for the work.
In some ways it is a patch-work quilt
DW: Many conductors will excerpt movements of various pieces What is your opinion in regarding excerpting from this work?
The narrative movements inspired by the Revelation are likely to be more challenging to present individually compared to standalone pieces Additionally, programming Donne's setting of "At the Round Earth's Imagined Corners" as a separate work may prove difficult However, the other movements can be effectively performed both in worship settings and concerts Notably, "A City Radiant as a Bride" has successfully been showcased as an individual piece in various performances.
DW: One of the most original and personal elements of your Requiem is the text selection Please describe your thought process and the decision making in that regard
LS: Text selection was, by far, the most difficult and challenging aspect of its creation
In crafting a meaningful sequence of scriptural passages for the Latin Mass for the Dead, I incorporated texts from John Donne and a hymn by Timothy Dudley-Smith, emphasizing the Reformed perspective on the necessity of preparing for the afterlife The Collect from The Book of Common Prayer, referenced on the title page, serves not as an act of piety but as a guiding principle for the work's intended message This composition ultimately conveys comforting words about the blessed state of those who have departed to be with God, and a straightforward reading of the texts reveals their clear and direct message.
DW: Were there other texts that you almost chose? If you were to do it again would you choose the same texts?
LS: Most of the texts seemed logical The biggest challenge was selecting passages from
The Revelation presents challenging passages that can easily elude a composer’s grasp After an extensive search, I am satisfied with the two selections I chose, particularly the final passage from Donne, which serves as a powerful conclusion to the work Overall, I am pleased with the texts and their impact.
DW: Conductors often view themselves as the composers advocate What would you tell conductors and choirs as they approach your Requiem?
I encourage everyone to appreciate both the overall architecture and the intricate details of the piece, much like a fresco that balances completeness with individual elements It's essential to guide the listener through the unfolding shapes and forms to uncover the deeper spiritual significance Ultimately, I aim to evoke a lasting feeling that lingers in the air once the piece is finished.
DW: What was your decision to have different available accompaniment?