An elegantly tapered two-handled water vessel challenges the power of the Empire -

Amphora

This is what cognitive dissonance looks like.

It’s the “I’m so sorry!” afterward that killed me!!

May we all Walk in Beauty, Walk in Light together.

If you listen to only one movement, “4. Noises from the Multitudes” is a tour-de-force. Rose uses pauses, counting, sirens, unison, homophony, and frenetic canon alternately to create an incredibly evocative interrogation of the idea that silence is golden.

Okay actually my favorite thing about this piece is the 6th movement, “Hummingbird.” It’s five minutes of pure, unadulterated musical joy.

But my absolute favorite thing about this piece is how she uses canons. This work contains several instances of either canon or fugue that are so beautiful, elegant, melodically simple yet incredibly harmonically rich. It’s like an invitation and a lesson at the same time.

Another hallmark is her ability to write both text and melody together, giving her work an organic feel that is different from typical text setting. Here, the text is a mix of response to the biblical style of Thompson’s piece mixed with conversational real talk.

Rose’s command of harmony, and her particular gift of throwing harmonic curveballs, is a hallmark of her work.

This piece is an absolute masterclass in nuanced harmony, text married to music, and how the seemingly simple canon can deliver unbelievable texture and richness.

If you want a full description of the process and movements, there was a wonderful piece in Oregon ArtsWatch www.orartswatch.org/the-end-goal...

Rose describes this piece on her website as “an a cappella Cantata to partner with Randall Thompson’s “A Peaceable Kingdom,” with which piece it was originally paired for the premiere performance.

Why did you have to come for me, specially, this hard.