Symphony No. 3 (centered in D)

Title	Description	Published:
Symphony No. 3 (centered in D) “Trinity” Approx. total performance time: 28:49 I. Abba II. Ben III. Ruach IV. Elohim	The movement titles for this one should help point the listener in the right direction, in terms of appreciating—or at least understanding—the piece. This one is, by far, the most "mystical" of my symphonies so far. It was also the most difficult to write, having been written, in a sense, "in reverse". Conceptually, it was an attempt (rather meager and pitiful, to be sure) to capture something of the essence and mystery of the Trinity in musical form: Each of the first three movements is devoted to one of the three persons of the Godhead. In the last movement, then, the three movements are merged together as one. In this, each of the first three movements is included, in its entirety, to make the last one. It's not the most exciting thing I've ever written, I suppose, but it is, conceptually at least, the most profound. This work was composed/scored in Finale and later rendered in REAPER, using the EastWest Quantum Leap sound libraries. It was completed © in 2018.

Title

Description

Published:

Symphony No. 3 (centered in D)
“Trinity”

Approx. total performance time: 28:49

I. Abba

II. Ben

III. Ruach

IV. Elohim

The movement titles for this one should help point the listener in the right direction, in terms of appreciating—or at least understanding—the piece.

This one is, by far, the most "mystical" of my symphonies so far. It was also the most difficult to write, having been written, in a sense, "in reverse". Conceptually, it was an attempt (rather meager and pitiful, to be sure) to capture something of the essence and mystery of the Trinity in musical form: Each of the first three movements is devoted to one of the three persons of the Godhead. In the last movement, then, the three movements are merged together as one. In this, each of the first three movements is included, in its entirety, to make the last one. It's not the most exciting thing I've ever written, I suppose, but it is, conceptually at least, the most profound.

This work was composed/scored in Finale and later rendered in REAPER, using the EastWest Quantum Leap sound libraries. It was completed © in 2018.

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