The Prayer Of Daniel: For Flute (with Alto Flute .

2. MATERIALSThe TextThe text was the first element I took into consideration as I formed my concept ofthis piece. Earlier, I showed the historical context in which Daniel prayed. In this section,I will illustrate the emotional drive of Daniel’s prayer by examining the prior verse andits relation to the prayer itself. My intention is to show how Daniel’s emotional drivecontributed to the overall inspiration of this composition.The book of Daniel 9:3, gives us an indication of the passion Daniel had forprayer. Describing the manner in which he prayed, Daniel wrote:So I turned to the Lord God and pleaded with him in prayer and petition, infasting, and in sackcloth and ashes.13Pleading and turning to God demonstrates Daniel’s recognition of God’somnipotence, his sovereignty over Israel, as well as his own life. Daniel’s faith gave himthe assurance that God’s providence extended beyond that of his Medo-Persian captors.Daniel’s faith was demonstrated during the same historical period as his prayer, when hewas thrown into the lion’s den14. This event was one of many events in Daniel’s lifewhere God had proved his faithfulness by delivering him from certain disaster. Danielwrote:When he (Darius) came near the den, he called to Daniel in an anguished voice,"Daniel, servant of the living God, has your God, whom you serve continually,been able to rescue you from the lions?" Daniel answered, "O king, live forever!My God sent his angel, and he shut the mouths of the lions. They have not hurt13Daniel 9:3We learn from Daniel 9:1 that this prayer historically took place in the first year of thereign of Darius, who was deceived into putting Daniel into the lion’s den, as read in thebook of Daniel 6.146

me, because I was found innocent in his sight. Nor have I ever done any wrongbefore you, O king." 15The fruit of Daniel’s devotion and faithfulness to God were demonstrated in hisdeliverance from certain death. In this same way, Daniel’s prayer also demonstrates hisassurance, based not only on a lifetime of events, but also on historical events such as theexodus from Egypt. Daniel recalls this event in his prayer, verse 15:“Now, O Lord our God, who brought your people out of Egypt with a mightyhand and who made for yourself a name that endures to this day.”Daniel lived in the assurance that God’s sovereignty and providence extended over Israel,beyond their captors. Daniel knew that God would end the captivity of Israel and allowthem to return to their land.The fervency of Daniel’s prayer is displayed in the words “ in fasting,sackcloth, and ashes.”16 Fasting in sackcloth and ashes was not unheard of during timesof intense prayer and petition. Throughout the Old Testament, there are numerousaccounts of this type of concentrated prayer.Sackcloth and ashes are used in the Bible as a means to outwardly symbolize aninward state of repentance and mourning. The traditional use of ashes signifies thesinfulness of mankind in contrast with the holiness of God. Easton's Bible Dictionarydescribes the meaning of covering ones head with ashes as a token of self-abhorrence andhumiliation.17In addition to ashes, sackcloth was worn as a means to intensify mourning. TheSmith's Bible Dictionary defines sackcloth and its use as:15Daniel 6:20 - 22Daniel 9:317Easton, Matthew George. Entry for 'Ashes'. Easton's Bible Dictionary. 28 Apr. 2003 http://www.studylight.org/dic/ebd/view.cgi?number T338 .167

Cloth used in making sacks or bags, a coarse fabric, of a dark color, made ofgoat’s hair, (Isaiah 50:3; Revelation 6:12) and resembling the eilicium of theRomans. It was used also for making the rough garments used by mourners,which were in extreme cases worn next to the skin. (1 Kings 21:27; 2 Kings 6:30;Job 16:15; Isaiah 32:11)18By wearing this coarse uncomfortable material, Daniel demonstrated that thecircumstances of Israel and the glory of God concerned him more than his physicalneeds. Daniel makes his plea for mercy because he is concerned about the name of God,as seen in the last line of the prayer:For your sake, O my God, do not delay, because your city and your people bearyour Name.19Daniel suggests that the continuing captivity of God’s covenant people, past its propheticend, would be seen by other nations as the unfaithfulness of their deity. Daniel knew thatGod acts not mercifully because men claim righteousness, rather that God is whollyrighteous and merciful. In other words, God’s mercy is not dependent upon the gooddeeds of people, but of his nature. Likewise regarding the exodus, Moses wrote:God heard their groaning and he remembered his covenant with Abraham, withIsaac and with Jacob. So God looked on the Israelites and was concerned aboutthem.20The third verse of chapter 9 adds depth to the emotional content of this prayer,revealing several key elements I portray in the setting of this text; Daniel’s remorse oversin, the holiness of God, acceptance of guilt and punishment, and the assurance of God’spromises to reconcile with his people. The affection embedded in the third verse adds18Smith, Dr. William. Entry for Sackcloth. Smiths Bible Dictionary. 28 Apr. 2003 http://www.studylight.org/dic/sbd/view.cgi?number T3700 .19Dan. 9:19Exodus 2:24-25208

depth to the character and piety of Daniel, seen not only in this prayer, but also in theentirety of his life. It was only after analyzing the verse preceding this prayer that I couldappreciate the emotionally charged atmosphere of the prayer itself. It was myappreciation of Daniel’s penitence that became the cornerstone for my overall conceptionof this piece.EnsembleIn this section I will briefly discuss each member of the ensemble and theirmusical roles. I will present these members in three hierarchical groups, each member inorder of musical and overall conceptual involvement. I have grouped these into coregroup members (Bass-baritone, Piano, and Doumbec), essential ensemble (Flute,Clarinet, Violin, Cello, and Percussion), and the added element of men’s chorus. I madeit a point to feature each instrumentalist, in some way, during the course of thiscomposition.Core Group: Baritone-bassGiven the nature and author of this text, I felt that the vocal role of Daniel wouldbest be cast as a Bass-baritone. As I researched the text in the early phases of composingmelodic material, I imagined a vocal line with a solid lower range, a warm round tone,with the ability to project in the upper range at full volume. My conception of thebaritone part required the lyric ability and sensitivity to express sorrowful prayer in theupper range, mezza-voce. My interpretation of the text and analysis of Daniel’s writing,aided me in visualizing the vocal color that I needed to portray wisdom in prayer.9

In the nineteenth-century composition by George Fredrick Bristow, The Oratorioof Daniel21, the part of Daniel was also cast as a baritone. A brief analysis of the tessituraassigned to the baritone reveals a melody that floats in the upper vocal range in many ofthe solo parts throughout this work. However, in the ninth section titled “Aria”, Bristowexplores a wider vocal range, as Daniel sings a song of praise to the Lord. The aria beginswith a simple chant-like melody, on the text “Blessed be the name of God forever.” Themelody begins on middle c’22 and expands down a fifth to f. The secondary melody uses awider range from B to d’, in contrast to the opening theme’s f to c’ range, singing ofGod’s wisdom and might. This secondary theme culminates in a heroic crescendoreturning to the upper baritone range on c’. Bristow paints the next portion of text, “. ofdeep and secret things” by dropping the range from f’ down to G. Once again there is agravitational return to the original melody on c’. Finally at the end of this aria, thebaritone leaps an octave to a high f’, double forte, making its way downward by way ofan F major arpeggio. Although Bristow does visit the baritone’s lower range, hisinterpretation of Daniel focuses the baritone in the upper range. This is in contrast to ThePrayer of Daniel, where I center the tessitura on the staff in the baritone’s strong middlerange, between A and a’, for much of the setting. I attribute the differences in the centerof melodic gravity to Bristow’s Daniel being much younger than my Daniel. Bristow’s21Bristow, George Fredrick. The Oratorio of Daniel. Ed. David Griggs-Janower.Madison, WI: A-R Editions, Inc., 1999.22I will be using the Helmholtz nomenclature system to indicate pitch and octave.LLoyd, LLewelyn S, and Richard Rastall. Pitch Nomenclature. The New GroveDictionary of Music Online ed. L. Macy. 1 May. 2003 www.grovemusic.com .See Appendix 2, pg. 43.10

Daniel was set in the beginning of the Babylonian exile, whereas my Daniel is portrayednear the end of his life and exile.The vocal tessitura in The Prayer of Daniel is in the lower baritone range [A – a],where the voice starts quietly and somberly flowing from section to section in archinglines. These lines continue to ebb and flow, building to the climactic end in the uppervocal range. This differs from Bristow’s Daniel as the distribution of pitches is weightedlower in comparison.Fig. 1. Bass-baritone, mm. 419-426.This example shows that while the range rises above the staff, it then descends into theresonant and comfortable baritone range. Although the majority of the baritone’s pitchesare in the mid to low range, the upper range is called upon to portray areas of sensitivityand strength.Fig. 2. Bass-baritone, mm. 366-370In the above passage, Daniel pleads for God to turn away his anger and wrath. Themelodic line compliments this sentiment with gentle melodic phrasing in the upper rangeof the baritone. This combination of range and dynamic exemplified in figure 211

demonstrates the expressive use of the upper baritone range used in The Prayer ofDaniel.Another application of the upper range is seen in the climactic ending, where thebaritone melody peaks on an f’ double forte as Daniel articulates the height of hisemotional plea: “For your sake, O my God, do not delay, because your city and yourpeople bear your Name.”23Fig. 3. Bass-baritone, mm. 452-456.This example, beginning on f, builds towards the climactic ending in a series of archingphrases, finishing with a large heroic leap into the upper range that ends an octave aboveon f’. This use of the upper range is less prevalent, but as we see both this example (fig. 3)and the previous example (fig. 2), appropriately reflect the emphatic nature of the textthey portray.PianoMy first instrumental consideration in scoring this piece naturally led me to thepiano. Without stating the obvious virtues of the piano to accompany the voice, the pianohas a tremendous capacity for expression and support in virtually all areas of a chamberensemble. My own experience as a pianist contributed to the overall style in which Icomposed its ensemble, solo, and accompanying roles.23Daniel 9:1912

The accompanying role of the piano focused on supporting the baritone part, fromwashes of sound in the pedal, to flowing arpeggiated voicings of the melodic line. Rarelydoes the piano depart from supporting the baritone while he is singing. The performancestyle in which I wrote the piano part combines elements of nineteenth-century romanticfigurations with elements of twentieth-century contemporary tonal structures. I willdiscuss the harmonic identities used in this composition later in section three.I found inspiration for a large part of the romantic accompaniment writing in theromantic “Concerto for Piano in A Minor” by Edvard Grieg.Fig. 4. Grieg Piano Concerto in A minor, second theme, mm. 23-26.Fig. 5. Piano and Bass-baritone, mm. 42-46.Looking at these two excerpts, we see the similarity in the singing cantabile playingstyle, the fundamental movement in the bottom voice, and the flowing arpeggiated chordmovement in the inner voices. The result is an accompaniment that is rich in sonority,making it easier for the vocalist to sing against the contemporary harmonic structures.13

The secondary role of the piano is that of an ensemble player. Invariably the pianooscillates between these two roles, accompanying the baritone and interacting with therest of the ensemble. In this example, the piano acts in concert with the ensemble,completing a sweeping figure initiated by the winds and strings.Fig. 6. Sweeping ensemble passage, mm. 98-100.Immediately upon finishing this gesture, the piano returns to its supportive role.Fig. 7. Piano and Bass-baritone, mm. 102-10614

An example of the pianist’s function in the ensemble comes in the second sectionof the piece, beginning on measure 132. This section begins with a rhythmic cue from thedoumbec and the vocal line. Here, the piano abandons the baritone to play with theensemble. This departure lasts for 20 measures before the piano returns to accompany thebaritone in measure 152. Eight measures later, in measure 160, there is a downward shiftin tempo by means of metric modulation as the piano accompaniment drops outaltogether, favoring melodic support from the flute.In addition to the ensemble duties of the piano, there are moments of brilliancewhere the piano performs sweeping virtuosic passages. For example, in measure 25 – 28,a dark wash of sound begins in the piano’s lower register that turns into a high sweepingfiguration ending in the piano’s upper range (fig. 8).Fig. 8. Piano, mm. 25-28.Fig. 9. Piano bravura, mm. 68-69.15

Beginning in measure 68, we see another example of piano bravura. This gesturebuilds upon the climax of baritone and chorus by means of a rapid arpeggiation, ending ina chromatic run that explodes in a release of sound from three successive cluster chords.My conception of the piano is shown in these examples to serve several functionsin this composition. The pianist serves in the primary role of accompanist, and alsointeracts in concert with the ensemble. We have seen that the piano will perform with theensemble apart from the vocalist, but that this departure is short-lived as the pianoquickly returns to its primary role. Lastly, the piano writing is marked with deep washesof sound, brilliant sweeping bravura, and virtuosic passages.DoumbecThe unique timbre of the doumbec was critically important to my conception ofthis composition. Named after the three primary sounds it produces, doum – ka – tek24,this middle-eastern hand drum’s character adds a dimension of location to this piece thathelps transport the listener to ancient Babylon. The doumbec also provides a musicalstructure that assists the composition by heightening suspense in ensemble passages, byproviding rhythmic focus, and by providing rhythmic reinforcement to the ensemble. Ingeneral, the doumbec stands as a symbol of the passionate heart of Daniel, as unique inthis ensemble as Daniel was unique amongst his people.24About the doumbek drum. Full Circle Drums. Full Circle Drums. 3 May. 2003 http://www.fullcircledrums.com/about3.htm .16

Fig. 10. Doumbec, Flute, and Piano. Opening figure, mm. 1-3.The doumbec is the first and last instrument to be heard in The Prayer of Daniel.The sudden attack of the doumbec, followed by the pensive flute line, serves to initiate aperceptual shift to the Middle East where this drama occurs.In this example (fig. 10) we see the sudden attack of the doumbec followed by atremolo. The piano adds a thrust of sound to this opening gesture as the alto flute plays anarching line comprised of sweeping figurations and driving rhythm. As this gesture isplayed a second and third time, the doumbec forms a backdrop to the introspective moodcreated by the ensemble.The doumbec also fulfills a supportive role by providing rhythmic stability undersparse ensemble writing. This type of support first occurs beginning in measure 79, andcontinues to measure 120. We see an example of this in measure 91 where the baritoneenters accompanied by piano and doumbec.17

Fig. 11. Doumbec, Bass-baritone, and Piano, mm. 91-94.In this example, the doumbec provides a steady rhythmic pattern as the voiceexecutes its own rhythmically simple line. As with the voice, the piano offers littlerhythmic stability to this passage. The role of the doumbec here is to provide contrast,rhythmic interest and metric stability, as the other parts float in the foreground with themelody.18

Fig. 12. Doumbec with ensemble. Tutti passage, mm. 134-136.The doumbec is also used to reinforce the ensemble by accenting tutti passages.This type of reinforcement can be seen beginning in measure 134. In this example we seethe doumbec playing in rhythmic unison with the ensemble, resulting in added “punch” tothe accented structures. This also has the effect of increased contrast between ensemblepassages and the solo figures occurring in measures 135, 139, 142, and 148.The three forms of writing I have described––suspenseful and contemplative,rhythmic stabilizing, and supportive of ensemble passages––serve as constructs thatsupport the dramatic goals of the ensemble.19

Essential EnsembleThe essential ensemble is comprised of the remaining instruments, namely theflute, clarinet, violin, cello, and percussion. In this section I will briefly discuss the natureof each part.FluteThe flutist in this piece doubles on alto flute. The primary role of the flute isidentified by the harmonic support it provides to the ensemble. Naturally, I have alsoengaged the flutist’s ability to play complex passages on both C and alto flutes. As such,the warm round tone produced by the alto flute inspired me to write the opening gesture.Fig. 13. Alto-flute. Opening line, mm. 1-3.This excerpt opens with a sudden burst of energy in the form of a downwardthirty-second quintuplet, ending in a leap upward of a minor ninth. The line continuesbuilding intensity by accelerating and decelerating on a repeated a’’25. This continuesuntil the next measure where the intensity spills over into another thirty-second quintupletburst, followed by a downward decelerating line that finishes on a low d’, deep in theresonant part of the instrument.25Written pitch.20

The opening figure of a composition is the most important statement of the entirepiece, because the mom

(with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men’s chorus, Master of Music (Composition), August 2003, 45 pp., 30 illustrations, 30 references. The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal bass-baritone soloist,