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A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost

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A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost

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i

A STUDY OF NICK STRIMPLE’S COMPOSITIONAL LIFE
WITH AN EMPHASIS ON HIS WORK PENTECOST

By

Yoojin Muhn

__________________________________________________

A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)

MAY 2017

Copyright © 2017 Yoojin Muhn

ii

DEDICATION

For my loving husband Donathan Chang and my family in Korea.

iii

ACKNOWLEDGEMENTS

First and foremost, praises and thanks to God for His showers of blessings
throughout my life to complete the degree successfully.
I would like to express my special appreciation to Dr. Nick Strimple, for his
contribution to the choral arts and his devotion to his students. I am most grateful for
the support he has provided me throughout the process, without which this project
would not have been possible. Additionally, I gratefully would like to recognize my
advisor, Dr. Cristian Grases for his brilliant comments and suggestions and allowing
me to assist his ensemble at USC which inspired me so much to grow as a conductor
and a composer. I would like to thank the other members of my dissertation committee,
Dr. Tram Sparks for her generous advice and encouragement for me and Dr. Morten
Lauridsen for his contribution to the choral world and especially the composition
lessons with him which motivated me to become a better composer.
Furthermore, my sincere thanks to all the professors at USC, especially Dr. Jo-
Michael Scheibe for his excellent leadership, artistry, and devotion to his students.
Singing in the Chamber Singers under his direction was a life-changing experience for
me and allowed me to broaden my perspective on choral sound. I also would like to
thank to my instrumental conducting teacher, Prof. Larry Livingston for his inspiration
for me to become a better musician. I am also grateful to my voice teacher, Prof. Mary
Mattei-Scheibe and conducting teacher, Prof. Donald Brinegar.
Remembering those years, I am grateful for all the opportunities to meet and
learn from great teachers, Dr. Joe Miller, Dr. James Jordan, Dr. Steve Pilkington, and Dr.
Stefan Young at Westminster Choir College, Dr. Earl Rivers, Dr. Brett Scott, and Dr.
Elmer Thomas at the University of Cincinnati, and Dr. Richard Sparks at the University

iv

of North Texas. In addition, I would like to give special thanks to my very first
conducting teacher, Chunmi Kwon who inspired me to become a conductor from being
a composition student.
Lastly, I would like to express my deepest thanks to my parents and my sisters,
Jihye and Aden, and my parents in law for their support for me throughout the years.
This accomplishment could not have been possible without their sincere support,
enduring love, encouragement, and prayers. I love you all from the bottom of my heart.
My ultimate gratitude goes to my husband Donathan Chang, my best friend and
lover, who has been with me from the very beginning of my choral journey until now. I
love you so much, Donathan Dongwoo Chang.

v

TABLE OF CONTENTS
Dedication ..................................................................................................................................... ii
Acknowledgements .................................................................................................................... iii
List of Tables ................................................................................................................................ vi
List of Musical Figures .............................................................................................................. vii
Abstract ......................................................................................................................................... xi
Introduction .................................................................................................................................. 1
Chapter 1: Biography ................................................................................................................... 3
Early Years and Formal Education ........................................................................................ 3
Musical Achievements ............................................................................................................ 5
Chapter 2: As a Composer ........................................................................................................ 10
Compositional Background .................................................................................................. 10
Compositional Process .......................................................................................................... 11
Philosophy of Composition .................................................................................................. 13
Chapter 3: Analysis of Pentecost ............................................................................................... 15
Background ............................................................................................................................. 15
Text Sources ............................................................................................................................ 18
Musical Structure ................................................................................................................... 24
Voicing ..................................................................................................................................... 25
Instrumentation ...................................................................................................................... 42
Brass ..................................................................................................................................... 42
Organ ................................................................................................................................... 47
Percussion ........................................................................................................................... 53
Strings .................................................................................................................................. 58
Chapter 4: Detailed Analysis .................................................................................................... 59
Part 1: Intro – Choir ............................................................................................................... 59
Part 2: Tenor solo and unaccompanied Choir ................................................................... 69
Part 3: Speaker and Choir (on Lord's Prayer) .................................................................... 74
Part 4: Full orchestra .............................................................................................................. 80
Part 5: Speaker and Choir ..................................................................................................... 86
Part 6: Speaker, Tenor solo with Choir response .............................................................. 97
Part 7: Choir (Fugue) ........................................................................................................... 100
Part 8: Choir (Speaking on “Hallelujah”) and Speaker .................................................. 108
Part 9: Choir .......................................................................................................................... 115
Conclusion ................................................................................................................................ 125
Bibliography ............................................................................................................................. 126
Appendices ............................................................................................................................... 127
Appendix A: Interview with Nick Strimple ..................................................................... 127
Appendix B: List of Complete Choral and Vocal Works ............................................... 135
Appendix C: List of Complete Instrumental Works ....................................................... 149

vi

LIST OF TABLES

Table 1. Text structure in Pentecost .......................................................................................... 18
Table 2. Relationship between units and parts of Pentecost ................................................. 24
Table 3. Vocal structure in Pentecost ........................................................................................ 26
Table 4. Appearance of Speaker in Pentecost .......................................................................... 26
Table 5. Structure of the choral writing .................................................................................. 34
Table 6. Use of percussion instruments in Pentecost ............................................................. 53
Table 7. Use of handbells in Pentecost ..................................................................................... 56
Table 8. Instrumentation of “Opening Fanfare” .................................................................... 62
Table 9. Homophonic passage in part 4 .................................................................................. 82
Table 10. Instrumentation of the reused material ................................................................. 83
Table 11. Structure of text in part 9 ....................................................................................... 117
Table 12. Orchestration and key signatures in part 9 ......................................................... 120

vii

LIST OF MUSICAL FIGURES

Figure 3.1. The bulletin for the May 18th service at Beverly Hills Presbyterian in 1986. 17
Figure 3.2. Text painting on the opening choir, part 1, m. 10-13. ........................................ 19
Figure 3.3. Tenor solo, part 2, m. 77-90. .................................................................................. 20
Figure 3.4. Four-part a cappella, part 2, m. 99-108. .............................................................. 21
Figure 3.5. First appearance of the Speaker, part 2, m. 131-136. ......................................... 28
Figure 3.6. Beginning of part 3, m. 137-140. ........................................................................... 30
Figure 3.7. Beginning of part 2, m. 69-78. ............................................................................... 32
Figure 3.8. Tenor solo, part 6, m. 234-241. .............................................................................. 33
Figure 3.9. Change of choral texture, part 1, m. 10-20. ......................................................... 35
Figure 3.10. A cappella, part 2, m. 214-220. ............................................................................ 36
Figure 3.11. Use of fugue, part 7, m. 243-253. ....................................................................... 38
Figure 3.12. Lord’s Prayer (speaking), part 3, m. 154-157. ................................................... 39
Figure 3.13. Lord’s Prayer (randomly speaking), part 3, m. 158-167. ................................. 40
Figure 3.14. Acts 2:19-20, part 5, m. 201-204. .......................................................................... 41
Figure 3.15. Trumpet solo, part 1, m. 28-35. ........................................................................... 43
Figure 3.16. Trumpet solo intro, part 2, m. 71-76. ................................................................. 44
Figure 3.17. Trumpet solo, part 9, m. 378-383. ....................................................................... 44
Figure 3.18. Horn solo, part 7, m. 276-281. ............................................................................. 44
Figure 3.19. Horn solo doubling the altos, part 7, m. 291-295. ............................................ 45
Figure 3.20. Fanfare effect, part 1, m.1-8. ................................................................................ 46
Figure 3.21. Full homophonic chords in brass, part 4, m. 168-175. ..................................... 47
Figure 3.22. Organ’s big homophonic chord, part 5, m. 201-208. ....................................... 48
Figure 3.23. Organ as a solo, part 1, m. 65-68. ........................................................................ 49

viii

Figure 3.24. Organ and strings as duet, part 5, m. 309-312. ................................................. 50
Figure 3.25. Use of organ, ascending triad chords, part 7, m. 301-304. .............................. 51
Figure 3.26. Organ accompaniment in Pentecost hymn, part 9, m. 353-357. ..................... 52
Figure 3.27. Use of handbells, part 2, m. 94-99. ..................................................................... 54
Figure 3.28. Use of handbells, part 6, m. 240-243. ................................................................. 55
Figure 3.29. Use of xylophone A, part 1, m. 21-24. ................................................................ 57
Figure 3.30. Use of xylophone B, part 3, 162-167. .................................................................. 58
Figure 3.31. Use of glockenspiel, part 5, m. 193-196. ............................................................ 58
Figure 4.1. Opening, part 1, m. 1-4. ......................................................................................... 61
Figure 4.2. Horns and trombone I, part 1, m. 3-6. ................................................................. 62
Figure 4.3. Brass and percussion, part 1, m. 41-44. ............................................................... 63
Figure 4.4. Brass, part 8, m. 333-338. ....................................................................................... 64
Figure 4.5. Full orchestra appearance, part 1, m. 41-44. ....................................................... 66
Figure 4.6. Repetition of C#-A-F#-D#, part 1, m. 56-60. ...................................................... 68
Figure 4.7. Tenor solo and organ accompaniment, part 2, m. 91-96. .................................. 70
Figure 4.8. Handbells before a cappella, part 2, m. 96-99. .................................................... 71
Figure 4.9. Middle section of a cappella, part 2, m. 114-122. ............................................... 72
Figure 4.10. Part 3, m. 141-144. ................................................................................................. 75
Figure 4.11. Part 3, m. 145-149. ................................................................................................. 76
Figure 4.12. Choir, part 3, m. 158-161. ..................................................................................... 78
Figure 4.13. Full orchestra, part 3, m. 162-167........................................................................ 79
Figure 4.14. The opening of part 4, m. 168-171. ..................................................................... 81
Figure 4.15. Part 4, m. 178-184. ................................................................................................. 82
Figure 4.16. Strings’ closing idea, part 2, m. 130-136. ........................................................... 83
Figure 4.17. Moving to a new section, part 8, m. 326-329. ................................................... 84

ix

Figure 4.18. The opening of part 5, m. 189-192. ..................................................................... 87
Figure 4.19. Part 5, m. 205-213. ................................................................................................. 89
Figure 4.20. Diagram of part 5. ................................................................................................. 91
Figure 4.21. A cappella, part 5, m. 214-228. ............................................................................ 93
Figure 4.22. Strimple’s original score, “To the Rose Upon the Rood of Time,” m. 66-72. 95
Figure 4.23. The ending of part 5, m. 225-228. ....................................................................... 96
Figure 4.24. The opening of part 6, m. 229-233. ..................................................................... 98
Figure 4.25. Part 6, m. 240-243. ................................................................................................. 99
Figure 4.26. Fugue subject A, part 7, m. 243-248. ................................................................ 101
Figure 4.27. Fugue subject B, part 7, m. 267-270. ................................................................. 101
Figure 4.28. String accompaniment in fugue, part 7, m. 244-248. ..................................... 102
Figure 4.29. String and brass in fugue, part 7, m. 286-290. ................................................ 103
Figure 4.30. Choir and strings, part 7, m. 301-304. .............................................................. 104
Figure 4.31. Part 1, m. 28-31. ................................................................................................... 105
Figure 4.32. Beginning of the coda, part 7, m. 305-308. ...................................................... 106
Figure 4.33. Part 7, m. 309-312. ............................................................................................... 107
Figure 4.34. The beginning of part 8, m. 317-320. ................................................................ 109
Figure 4.35. Violins’ strong and uplifting passage, part 1, m. 2-4. .................................... 110
Figure 4.36. Violins’ smooth and gentle arpeggio, part 8, m. 317-320. ............................. 110
Figure 4.37. The climax, part 8, m. 325-328. ......................................................................... 111
Figure 4.38. Part 8, m. 333-336. ............................................................................................... 113
Figure 4.39. The ending of part 8, m. 341-344. ..................................................................... 114
Figure 4.40. Strimple’s original Pentecost hymn melody. ................................................. 116
Figure 4.41. Mary Hammond’s “O Breath of Life.” ............................................................ 118
Figure 4.42. Joel Blomquist’s “O Breath of Life.” ................................................................ 118

x

Figure 4.43. B Aeolian harmony. ........................................................................................... 119
Figure 4.44. Fanfare effect in Trumpets, part 9, m. 352-354. .............................................. 121
Figure 4.45. Fanfare effect in Brass, part 9, m. 402-405. ...................................................... 121
Figure 4.46. Trumpet’s melody doubling, part 9, m. 378-382. ........................................... 122
Figure 4.47. Horizontal harmony, part 9, m. 403-407. ........................................................ 123
Figure 4.48. The ending of Pentecost, part 9, m. 404-408. .................................................... 124

xi

ABSTRACT

Nick Strimple (b. 1946) has influenced many aspects of choral music as a
composer, conductor, scholar, and author. He authored the definitive texts on
nineteenth and twentieth century choral music and has studied and performed the
music of Dvořák and other Czech composers, as well as Jewish and Holocaust-related
music. As a conductor, he has led some of the world's most prestigious ensembles, as
well as regularly directing the Los Angeles Zimriyah Chorale. In addition, he has
written many choral works, ranging from unaccompanied a cappella music to large
choral-orchestral pieces. Despite his national prominence, he is seldom recognized as a
composer by fellow conductors, singers, and audiences. This study aims to present a
biography of Strimple, detail his compositional work, and examine his choral-orchestral
work Pentecost which demonstrates Strimple’s distinct compositional style.

1

Introduction

Nick Strimple has influenced the field of choral music as a scholar, author,
conductor, and composer throughout the world. He has written over one hundred
thirty works in all genres, including television and film, and his works have been
commissioned by both national and international organizations, such as the Vienna
International Organ Festival, the J. Paul Getty Museum, Diva Complex, Jorge Mester,
and the London Youth Choir. Also, he has been conducting some of the world’s finest
ensembles including the London Symphony Orchestra, the Orchestra and Chorus of the
Polish National Opera, the Slovak Radio Orchestra, London Voices, the YMF Debut
Orchestra, the Prague Radio Choir, the Ernst-Senff Choir (Berlin), the Berliner Domkor,
and the Hollywood Bowl Easter Sunrise Services. In particular, he served multiple years
as special projects consultant and guest conductor with the Nuremberg Symphony and
fulfilled a similar role with the Prague Symphony Orchestra. As a scholar, Strimple is
internationally recognized for his work with music related to the Holocaust. He has
worked as a lecturer and clinician at leading educational institutions including most
recently Cambridge University, Yale University, Oxford University, and Wellesley
College as well as served as a consultant with Holocaust-related organizations
including the Los Angeles Museum of the Holocaust and Warsaw's Museum of the
History of Polish Jews.
Having been published and performed by prominent international companies
and ensembles, Nick Strimple has begun to achieve wider recognition; however, despite
his significant national prominence, little is known about the composer on the global
stage. This dissertation provides a closer look into the life and music of Nick Strimple
and will serve as the seminal scholarly study on this highly accomplished composer. It

2

focuses on Nick Strimple’s work as a composer and analyzes one of his choral-
orchestral works, Pentecost, as a means for understanding his distinct style.
In order to better understand the composer’s work, the study begins with a
biography, which outlines his development from childhood to the present day. Also, his
musical achievements as a scholar, conductor, and composer are presented in chapter
one. Chapter two takes a closer look at Strimple as a composer. The third chapter
presents an overall analysis of his choral-orchestral work, Pentecost by providing its
background, text sources, musical structure, voicing, and instrumentation with musical
examples from the score. Chapter four discusses the nine parts of Pentecost in detail. A
personal interview with the composer is included in Appendix A, which provides a
variety of interesting perspectives on Strimple’s compositional process and philosophy,
and also helps the reader to better understand his music.

3

Chapter 1
Biography

Early Years and Formal Education

Nick Strimple was born in Amarillo, Texas in 1946. His father was in the grocery
business and his mother stayed at home until Strimple was a senior in high school.
Later she began to work as a medical secretary. Although there were no professional
musicians in the family, it was full of amateur musicians; everyone read music and sang.
Strimple states, “My mother really had a beautiful voice and she played the piano quite
well. My dad sang, his mother and one of his sisters played the piano by ear, and they
played hymns in church. My brother studied the trumpet, he was a very good trumpet
player, and he worked professionally as a trumpeter for summer stock companies and
things like that.”
1

In his early years, he was interested in the history of World War II and spent
hours reading a set of books entitled Pictorial History of World War II. It was this
fascination that led him to become interested in the Holocaust in subsequent years.
Strimple describes his childhood in the following way: “Instead of doing math
homework, I was either playing ball or living in those books. Or going to church.”
2

His
parents were very devoted churchgoers, so everyone in the family found themselves at
First Baptist Church in Amarillo every day except Friday.

1. Nick Strimple, interview by author, Los Angeles, CA, September 28, 2015.

2. The Baylor Line, “Distinguished Alumni Award Nick Strimple ’69,” Winter 2013,
http://www.nickstrimple.com/prs1301Baylor.htm (accessed March 13, 2016).

4

Strimple took private flute lessons as a child, as well as played in the school
orchestra and singing in the choir. When he was in the fourth grade, he had a good
music teacher, whose name was Bernice Parrott, in the public school. Her vivid lessons
on Mozart and Dvořák sparked Strimple’s interest, and he became particularly
fascinated with Czech music.
3
Strimple stated, “She really emphasized that Mozart
began composing when he was a kid. It struck me because I was about the same age
and thought that if he could do that, then I can do that.”
4

This was the starting point of
his compositional career.
Later, when Strimple was a junior in high school, he had a vocal music teacher
who helped him after school with rudimentary compositional lessons. He asserted, “In
high school, I was writing real pieces and some of them are big pieces for piano and
orchestra which were played by the school orchestra during my junior year. And the
conductor of the Amarillo symphony, who was also a composer, was at the concert and
he contacted my parents and offered to give me composition lessons.”
5
This occasion
marked the real beginning of his formal training as a composer.
In 1965, he attended Baylor University in Waco, TX and studied composition in
his bachelor’s degree.
6

After finishing his undergraduate degree, he went on to
University of Southern California (USC) to pursue a Master of Music degree in
composition. In his first semester he was enrolled in a double degree program, in

3. Ibid.

4. Strimple, interview by author.

5. Ibid.

6. In 2013, Strimple received the Distinguished Alumni Award from Baylor University.

5

composition and church music, but he eventually graduated with a Master of Music
degree in church music.
Strimple went on to complete a Doctor of Musical Arts degree in choral music
from the same institution, but left academia from 1978 to 1993. During this time he was
employed by Beverly Hills Presbyterian Church, where he served as the Director of
Music for 35 years, from April 1978 to June 2013. During this time, Strimple also wrote
film and television scores, and worked for pop groups such as Air Supply. He states,
I had a church job that was half-time, and I was writing film scores and working
as an arranger for pop groups. I did a lot of pop recordings, mostly Christmas
recordings. And I worked as expert witness in copyright infringement lawsuits.
Then I was asked by UCLA [University of California Los Angeles] to come and
teach one class, and was asked to contribute a chapter to a book on Dvořák. Then
I approached that publisher about the twentieth-century book, and that book
actually got me back into academia, teaching.
7

In 1996, Strimple came back to USC and started teaching in the Choral and Sacred
Music department. Since then, he has been teaching classes in choral literature and
sacred music, as well as thematic courses such as Holocaust and the Creative Impulse for
undergraduate students, and Music and the Holocaust for graduate students.
8

Musical Achievements

Strimple has influenced many aspects of choral music as a scholar, author,
conductor, and composer. He feels that composers see him as a conductor, conductors
see him as a musicologist whose work is centered on choral music, and musicologists

7. Strimple, interview by author.

8. Strimple, Nick, “Biography,” Nick Strimple, http://nickstrimple.com/bio.htm (accessed
August 14, 2016).

6

think of him as a composer.
9
However, he thinks of himself primarily as a composer. He
states,
I would say that I’m a composer first. I started as a composer, but I started
conducting about the same time. I conducted in public for the first time when I
was in the sixth grade. My scholarship is mostly just the fact that I am interested
in all of these things and I remember it. I get really bored doing really detailed
scholarly “trying to find a needle in the haystack” sort of thing, I don’t have the
temperament for that kind of research, so I would say that my scholarship would
come in the third.
10

As a scholar, Strimple is internationally recognized for his work with music
related to the Holocaust. He has lectured on Holocaust music at Yale University, Oxford
University, the University of Miami, Wellesley College, the University of Minnesota, the
Oregon Bach Festival, the Simon Wiesenthal Center for Holocaust Studies, the Spertus
Institute for Jewish Studies, the Krakow Jewish Culture Festival, and other
distinguished institutions. In addition, he regularly presents and performs Holocaust
music education programs throughout the United States and Europe.
He has stayed active in his research on the subject, which is clearly shown in his
involvement with a range of organizations. He presented and conducted two concerts
in collaboration with the Terezin Then and Now exhibition at the Pauline Hirsh Gallery of
the Jewish Federation of Los Angeles, which he helped organize. In 2001 and 2002, he
actively served on a group called the California State Legislature Working Group for
Holocaust, Genocide, and Human Rights Education. From 2003 through 2013, he served
as Artistic Director of the annual Los Angeles Interfaith Symposium and Concert. He
currently serves as Vice President of the David Nowakowsky Foundation, and is on the
advisory boards of the Young Musicians Foundation, the Jewish Music Commission of

9. Strimple, interview by author.

10. Ibid.

7

Los Angeles, the Santa Barbara Revels, the Los Angeles Yiddish Opera, the Aminadav
Aloni Music Foundation, and San Diego's Summer Bands at the Beach.
11

As a scholar, in addition to his interests in choral and Jewish music, his
knowledge about the music of Dvořák and other Czech composers and the aesthetics of
sacred music is comprehensive. He authored two critically acclaimed books, Choral
Music in the Twentieth Century (2002) and Choral Music in the Nineteenth Century (2008),
and has contributed chapters to four others, including the New Cambridge Companion to
Choral Music (2012), Franz Liszt: A Chorus of Voices (2012), and the article “Choral Music
in Theresiensatdt 1941-1944” in the Orel Foundation Online Journal (2010).
Moreover, a numbers of his articles and reviews in choral and sacred music have
appeared in American Choral Review, The Choral Journal, The Orel Foundation Online
Journal, Journal of the Central Conference of American Rabbis, Music Library Notes, The
Austrian History Yearbook, and other journals.
12
As a performer-scholar of Czech music,
he has directed premieres of works by such twentieth-century Czech composers as
Pavel Haas and Gideon Klein, Jan Hanuš, Petr Eben, and Arnošt Parsch.
As a conductor, Strimple has been invited to conduct some of the world's most
prestigious ensembles, including the London Symphony Orchestra, the Orchestra and
Chorus of the Polish National Opera, the Philharmonia Orchestra (London), the Slovak
Radio Orchestra, London Voices, the Prague Radio Choir, the Ensemble Vocal
d'Aquitaine (Bordeaux), the Ernst-Senff Choir (Berlin), the Berliner Dom Choir, the New
York Oratorio Society, and the Hans Sachs Choir (Nuremberg). From 1984 to 2002,
Strimple served as a special projects consultant and guest conductor with the

11. Strimple, “Biography.”

12. Ibid.

8

Nuremberg Symphony, and from 1988 to 2001 he worked in a similar capacity with the
Prague Symphony Orchestra. His works of twentieth-century choral music are
represented on labels such as the Naxos, Music & Arts, and 4-Tay. His choral ensembles
have performed at divisional and national American Choral Directors Association
(ACDA) conventions and at numerous European music festivals, including the Prague
Summer Festival, the Athens Festival, the Pažaislis International Music Festival (Kaunas,
Lithuania), the Vilnius International Music Festival, the Prague Musica Iudaica Festival,
among others. He has also served as the chorus master for several renowned conductors
including Zubin Mehta, Michael Tilson-Thomas, and Gerard Schwartz.
Strimple also served as Music Director for the Choral Society of Southern
California (CSSC) from its founding in January 1982 through June 2013. During
Strimple’s tenure with the CSSC, the Society became well known for its performances of
American music and less well-known pieces by composers of other nationalities. In
addition to presenting its own concert series in the Los Angeles area, the CSSC toured
Europe ten times, performing in Germany, Austria, the Czech Republic, France, Greece,
Great Britain, the Netherlands, and the Baltic countries.
Although Strimple retired from both the Beverly Hills Presbyterian Church and
CSSC in 2013, he has served as Music Director of the Los Angeles Zimriyah Chorale
(LAZC) since 1998, which is dedicated to performing Jewish music and music of the
Jewish experience throughout time. Under Strimple’s leadership, LAZC has performed
contemporary, classical, and traditional pieces written by Jewish composers and others,
ranging from liturgical to secular, folk, and compositions based on Biblical themes. In
addition, the choir has performed repertoire embracing the early twentieth century
composers, such as Kurt Weill, George Gershwin, Arnold Schoenberg, Aminadav Aloni,

9

Michael Isaacson, David Nowakowsky, and Max Helfman, as well as those of earlier
centuries, like George Friedrich Handel and Salamone Rossi.

10

Chapter 2
As a Composer

Compositional Background

The first composition that led Strimple to consider himself a professional
composer was written when he was a junior at Baylor University. At that time, in 1967,
he was hired by the Baylor theatre to supervise music for all of their productions,
including writing incidental music. He wrote music for Shakespeare and Bernard Shaw
plays, and to his surprise, actually got paid for it. During his graduate studies at USC he
composed many choral works that were performed by the USC Concert Choir under Dr.
James Vail’s baton.
As was mentioned in chapter 1, during his time away from academia from 1978
until 1993, he worked for pop groups as an arranger and composed film and television
scores. In addition, in 1978 Strimple landed a church job at Beverly Hills Presbyterian
Church in Los Angeles, California. In his thirty five years as director of music, he wrote
music for services, concerts, and liturgical works. His work at the church was similar to
J.S. Bach’s music ministry in that he wrote numerous works for services based on the
church calendar. According to Strimple, since he often could not find appropriate
settings of the texts for a certain Sunday, he had to compose music for the church when
it was needed. As a result, during his post at Beverly Hills Presbyterian Church,
Strimple wrote approximately sixty-four anthems and four large cantatas; the
completed ones were Nativities (1980), Franciscan Canticles (1982), and Pentecost (1986),
and the fourth, Carols, was unfinished due to personal reasons. In terms of his anthems

11

and part songs, Five Easy Hymn-Anthems on Original Texts and Tunes (1985-2003), and
Valley of Bones (1995) are the most well known. Also, he wrote several large choral-
orchestral works, such as Magnificat and Nunc dimittis (1998), Mother and Child (1992-
2001), and Pirke Avot (2009).
Since his retirement from the church in 2013, he has written more instrumental
and secular music, as well as revised some of his old compositions. Among his recent
choral works are Two Little Pieces on Text by Dr. Watts written for SATB a cappella, Two
Flowers for SATB and piano accompaniment, Zacharti Lach for cello, cantor, chamber
choir, and large choir, Rorate coeli desuper for SATB a cappella, and Two American Lyrics
for SATB and piano accompaniment. Among his instrumental works are Four
Miniatures for Horn Quartet (a reworking of “Four women”), and Trio for clarinet, cello
and piano (in progress).
13

Compositional Process

Strimple’s general process of composition is to get everything worked out
in his head and then start writing it down. When he actually writes, he checks details at
the piano just to make sure that he hears the right chord, or he writes down what he
actually hears. Also, when the ideas are vague, he often sits down at the piano and
starts playing around with and solidifying ideas.
14

The process, however, is different when he composes instrumental music as
opposed to choral music. He states, “The process is a little different because instruments

13. The catalogue of Strimple’s works is given in the Appendix B.

14. Strimple, interview by author.

12

have different capacities than voices, and I have to consider for a long time all of these
capabilities of an instrument and how I am going to do that, whereas in choral music, I
am constrained by the text.”
15
Strimple thinks that the difference is when there is a text,
which it helps greatly in shaping the structure or the form of the piece, and even the
structure of melodic materials is formed by the text: “When I am writing choral music,
the text creates everything for me.”
16

He indicates that the phrase structures are
determined by group singing, like folk songs or hymn tunes that influence him. He
states, “Every hymn tune does not have the same structure. It is based on the rhythm of
the text, but hymn tunes are all rounded forms of some kind or another and that has
been a big influence on how my thematic material comes out.”
17

He often writes in one of two favorite places, where nobody would bother him in
either of these situations: one is when he soaks in a hot tub and the other is when he sits
out on his patio with a cigar and a drink.
18

“When my children were little and they
were running all over the place, it was hard to get privacy at my house. I knew that
nobody would bother me if I was outside with a cigar and nobody was going to walk
into the bathroom if I was in the tub.”
19

15. Ibid.

16. Ibid.

17. Ibid.

18. He told me, “Most of the Pentecost cantata was composed in the bathtubs of the Victoria
Hotel in Amsterdam and panorama Hotel in Prague.” (Ibid.)

19. Strimple, interview by author.

13

Philosophy of Composition

Strimple was influenced by many aspects of other works and artists. He states,
“It is natural for every composer to be influenced by the work of others. I
am influenced primarily by Gregorian chant, Hebrew cantilation,
American folk music, modality, hymnody, J. S. Bach, Beethoven, the
English School, Ernest Bloch, Schoenberg, Penderecki and my teachers
Thomas Hohstadt and Halsey Stevens. I am also profoundly influenced by
certain writers and visual artists, primarily the Bible, Aristotle,
Shakespeare, W. B. Yeats, John Steinbeck, Jaroslav Seifert, Albrecht Durer,
Johannes Vermeer, Rembrandt, Paul Delaroche, Theodore Gericault,
Vincent van Gogh, Gustav Klimpt, Willem de Kooning, Alexander Calder,
Andy Warhol, Edward Hopper, Georgia O'Keefe.”
20

However, he stays true to his own compositional styles. “I try to keep up with the latest
developments in compositional technique, but I never use gimmicks or attempt to be
trendy for the sake of gimmicks and trendiness alone. I do not attempt to hide these
influences, but if, to my ears, a piece doesn't sound like me I throw it in the trash.”
21

Strimple’s philosophy on choral music is to focus on the text. He believes
sensitivity to the text is the most important factor when a composer writes any kind of
vocal music. Also, a good knowledge of vocal ranges is very effective. By learning about
voice and text setting, composers are able to understand the syllabic stress, so that they
do not accent the wrong syllable of a word, as a rule. Also, learning about the limitation
of the voice and how things sound in certain areas of the vocal range is very crucial for
choral composers, according to Stirmple.
22
He states,

20. Ibid.

21. Ibid.

22. Ibid.

14

I compose with an awareness of performers, their abilities and their
potential audiences. There are people who write low F or low E for basses
and write fortissimo, because they think it is the same as the cello; the cello
can play loudly down there, so they think the singers should be able to.
People with this sort of ignorance of vocal spectrum shouldn’t be writing
music. But I think those are the two most important things, sensitivity to
the text and a really good working knowledge of the voice.
23

Furthermore, he believes that good choral music maintains interest on repeated
hearings where people still hear new things in the music after they know it well, and
where the proportions work and satisfy them both intellectually and emotionally on
multiple levels. Another viewpoint is that good music is determined when the piece is
put together well where the structure makes sense, where the audience is never bored
when they listen to the music, and where there are surprises even after people know a
piece well.
24

23. Ibid.

24. Ibid.

15

Chapter 3
Analysis of Pentecost

Background

When Strimple was working as a music director at the Beverly Hills Presbyterian
Church, the minister, James Morrison, challenged him to write a piece for Pentecost in front
of the congregation. It was only two or three weeks before the Pentecost Sunday in 1979.
Strimple wrote a hymn tune based on Bessie Porter Head’s “O breath of life” on the next
day and the congregation sang the hymn in unison on the following Sunday at church.
However, Strimple did not write the whole work because he did not want people to think
of him as a Charismatic,
25

and he also did not want to associate himself with that
movement. As a result, it took some time to write the whole work. Strimple states:
The real issue was, I had a commission from the church, technically the
church wanted a cantata and the minister wanted it to be charismatic. I
didn’t know what I was going to do. So, I tried to put text together that I
would just tell the story, without making any comment about the
charismatic. I had no ideas at all.
26

Six years later, when his brother died one week before Thanksgiving, Strimple
was motivated to write a Pentecost piece after coming back from the funeral. The date
was November 21, 1985.

25. “Pentecostalism, charismatic religious movement that gave rise to a number of Protestant
churches in the United States in the twentieth century and that is unique in its belief that all Christians
should seek a postconversion religious experience called baptism with the Holy Spirit. Baptism with the
Holy Spirit is also believed to be accompanied by a sign, the gift of tongues.” John Gordon Melton,
“Pentecostalism,” Britannica.com, accessed September 17, 2016,
https://www.britannica.com/topic/Pentecostalism.
26. Strimple, interview by author.

16

I remember coming back from the funeral. On a plane, I was thinking
about the Pentecost piece. Suddenly one of the Pentecost hymns, English
hymnal text hit me. It starts like “Thou are gone up on high, to mansions
in the skies...we are lingering here…Lord, send thy promised comforter.”
The hymn text became very personal to me, because my brother died, and
the family still here. I had been working on the music in my head. So, “I
will just see how it works,” and it worked fine.
27

Although Strimple already had the initial idea after his brother’s funeral in 1985,
he finished most of the work when he came back from Europe in 1986. At that time, he
was having a meeting in Amsterdam. He was staying at a hotel named The Victoria,
and every night he would go down to the bar and sketch some music after meetings.
Strimple came back home and finished the work. Pentecost was completed very quickly.
The first rehearsal was right after Easter, on March 30,1986. The premiere was
performed on Pentecost Sunday on May 18, 1986, as part of the service at the Beverly
Hills Presbyterian Church under Strimple’s baton (see Fig. 3.1).
28

27. Ibid.

28. Ibid.

17

Figure 3.1. The bulletin for the May 18th service at Beverly Hills Presbyterian in 1986.

Delbert Mann, who was a film director and whose wife served in the hiring
committee at the church, was the narrator and Jefferey Araluce was the tenor soloist.
The Beverly Hills Presbyterian Church Choir sang with him, and contracted studio
players in Los Angeles to serve as the orchestra. The following is a timeline for the
composition of Pentecost.
1979 Two to three weeks before Pentecost: Minister Jim Morrison challenged Strimple
to write a piece for Pentecost in front of the congregation. Strimple wrote a hymn
tune next Sunday, which the congregation sang at the church.
1980 Strimple wrote a Christmas Cantata commissioned by Beverly Hills Presbyterian
Church.
1985 November, one week before Thanksgiving, Strimple’s brother died.
1985 In December, he started writing the melody.
1986 May 8 was the premiere of the work at Beverly Hills Presbyterian Church.

18

Text Sources

In Pentecost, Strimple uses texts from the Bible, specifically the book of Isaiah
45:8A, selections from Acts 2 and Romans 8:1, and from the poems “Lift Up Your Heads,
Great Gates, and Sing” by Sir John Beaumont (1538-1627), “Thou Art Gone Up on High”
by Emma Leslie Toke (1812-1872), and “O Breath of Life” by Bessie Porter Head (1850-
1936). The following table shows the text structure in the work. There is no text used in
part 4 because it is written for orchestra only.

Table 1. Text structure in Pentecost
Part Measures Text
1 1-68 “Lift Up Your Heads”
2 69-96
99-130
“Thou Art Gone Up on High”
Isaiah 45:8A
3 137-167 Acts 2:1-4
5 188-200
201-227
Acts 2:11-18
Acts 2:19-21
6 228-233
233-241
Acts 2: 38-39
Acts 2:28
7 243-307 Roman 8:1
8 318-328
345
Roman 8:14
Acts 2:21,39
9 346-407 “O Breath of Life”

When Strimple came up with the idea for Pentecost, he was inspired by the
ascension text from Beaumont’s poem “Lift Up Your Heads.” He set the music with
ascending perfect fifth or major sixth intervals on the text “lift up” in the opening of the
work, demonstrating text painting (see Fig. 3.2).

19

Figure 3.2. Text painting on the opening choir, part 1, m. 10-13.

In part 2, he uses Toke’s poem “Thou Art Gone Up on High” set for tenor soloist.
According to Strimple, the text is connected to the relationship between his brother’s
death and his surviving family:
The opening text for ascension, “Lift Up” is an ascension text. I got the idea
because I was thinking, what if I started the piece, Jesus leaving, and the disciples
remained. They don’t know what to do. So, I found the text, “Thou art gone…but
we’re lingering here.” What hit me about it is, “but we’re lingering here,” which
reflects my family.
29

The tenor solo begins at the pickup to m. 77, starting with a low registration on F#4;
then it moves up to F#5. The climax happens at m. 84 when the tenor sings the text
“But we are lingering here” with the ff dynamic (see Fig. 3.3).

29. Ibid.

20

Figure 3.3. Tenor solo, part 2, m. 77-90.

After the tenor solo, a four-part a cappella section begins at m. 99 for the first
time in the work. Strimple sets an advent text from Isaiah 45:8, which is a prayer of the
disciples:
Drop down, ye heavens from above,
And let the skies pour down righteousness (Isaiah 45:8A)

Strimple uses text painting to set the text “Drop down.” It starts with the note of C# and
moves a whole step down to b at m. 100 (see Fig. 3.4). The complete English text by
parts is given on the following pages and the reader can see the overall textual structure
of the Pentecost with sources.

21

Figure 3.4. Four-part a cappella, part 2, m. 99-108.

Full text of Pentecost
1. Chorus: Lift up your heads, great gates, and sing,
Now Glory comes, and Glory’s King;
Now by your high all-golden way
The fairer Heaven comes home today.

Hark! Now the gates are open, and hear
The tune of each triumphant sphere:
Where every Angel as he sings
Keeps time with his applauding wings.
And makes Heaven’s loftiest roof rebound
The echoes of the noble sound.
(John Beaumont, 1538-1627)

2. Tenor: Thou art gone up on high,
To mansions in the skies,
And round thy throne unceasingly
The songs of praise arise;
But we are lingering here,

22

With sin and care opprest:
Lord, send thy promised Comforter,
And lead us to thy rest.
(Emma Leslie Toke, 1812-1872)

Chorus: Drop down, ye heavens from above,
And let the skies pour down righteousness.
(Isaiah 45:8A)

3. Speaker: And when the day of Pentecost was fully come, they were
all with one accord in one place.
When suddenly there came a sound from heaven as of
a rushing mighty wind, and it filled all the house where
they were sitting.
And there appeared unto them cloven tongues like as of fire,
and it sat upon each of them.
And they were all filled with the Holy Ghost, and began to
Speak with other tongues, as the spirit gave them utterance.
(Acts 2:1-4)

Chorus: Our Father……….

5. Speaker: And there were dwelling at Jerusalem Jews, devout men,
out of every nation under heaven.
Now when this was noised abroad, the multitude came
together, and were confounded, because that every man
heard them speak in his own language.
And they were all amazed and marveled, saying to one
another,
Behold, are not all these which speak Galileans?
And how hear we every man in our own tongue, wherein
we were born?
… We do hear them speak in our own tongues the
wonderful works of God.
And they were all amazed, and were in doubt, saying what
meaneth this?
Others mocking said, These men are full of new wine.
(Acts 2:5-13)

But Peter, standing up with the eleven, lifted up his voice,
and said unto them.
Ye men of Judaea, and all ye that dwell at Jerusalem,
be this known unto you, and hearken to my words.
For these are not drunken, as ye suppose, seeing
It is but the third hour of the day.
But this is that which was spoken by the prophet Joel;
And it shall come to pass in the last days, saith God,
I will pour out of my Spirit upon all flesh: and your sons
shall prophesy, and your young men shall see visions, and

23

your old men shall dream dreams:
and on my servants and on my handmaidens I will pour out
in those days of my Spirit; and they shall prophesy:
(Acts 2:14-18)

Chorus: And I will show wonders in the heaven above, and signs in
the earth beneath; blood, and fire, and vapour of smoke:
The sun shall be turned into darkness, and the moon
into blood, before that great and notable day of the Lord
come:
And it shall come to pass, that whosoever shall call on the
name of the Lord shall be saved.
(Acts 2: 19-21)

6. Speaker: Then Peter said unto them, Repent, and be baptized every
one of you in the name of Jesus Christ for the remission of
sins, and ye shall receive the gift of the holy Ghost.
For the promise is unto you, and to your children, and to all
that are afar off, even as many as the Lord our God shall call.
(Acts 2:38-39)

Tenor: Hallelujah.
Thou has made known to me, the ways of life.
(Acts 2:28)

7. Chorus: There is therefore now no condemnation to them which are
in Christ Jesus, who walk not after the flesh
but after the Spirit.
(Romans 8: 1)

8. Choir: For as many as are led by the Spirit of God, they are the
sons of God. Hallelujah.
(Romans 8: 14)

Speaker: And it shall come to pass, that whosoever shall call on the
name of the Lord shall be saved. For the promise is unto
you, and to your children, and to all that are afar off,
even as many as the Lord our God shall call.
(Acts 2:21, 39)

9. Chorus (with congregation): O breath of life, come sweeping through us,
Revive Thy church with life and power;
O breath of life, come cleanse, renew us,
And fit thy Church to meet this hour.
O wind of God, come bend us, break us,
Till humbly we confess our need;
Then in Thy tenderness remake us,
Revive, restore, for this we plead.

24

O breath of love, come breathe within us,
Renewing thought and will and heart.
Come, love of Christ, afresh to win us,
Revive Thy Church in every part.
Revive us, Lord! Is zeal abating
While harvest fields are vast and white?
Revive us, Lord, the world is waiting,
Equip Thy Church to spread the light. Amen
(Bessie Porter Head, 1850-1936)

Musical Structure

Pentecost is a large through-composed work. Although there are no movements,
it can be divided into nine parts based on the content of the text. In addition, the whole
work can be grouped into five parts based on the role of the Speaker. The following
table outlines these parts and their relation to the different sections (see Table 2).

Table 2. Relationship between units and parts of Pentecost
Unit Corresponding parts
Unit 1 (m. 1-136) Parts 1 and 2
Speaker
Unit 2 (m. 137-188): Parts 3 and 4
Speaker
Unit 3 (m. 189-228): Part 5
Speaker
Unit 4 (m. 229-345) Parts 6, 7, and 8
Speaker
Unit 5 (m. 346-408) Part 9

25

There are a variety of forms among the parts. For example, part 1 has a ternary
form ABA’ based on the musical elements, and part 9 has a binary form of AA’;
however, the other parts are through composed. In general, the structure of each part is
determined by the text, and by the presence of any of the following four musical
elements: introduction or bridge (by orchestra), tenor Solo, SATB chorus, and Speaker.
Details of each part will be discussed in Chapter 4.

Voicing

Since Pentecost is a large choral-orchestral work
30
, it is important to understand
how the composer uses vocal elements. First of all, the speaker, the tenor solo, and the
mixed choir are considered the main vocal parts in the work. Each vocal part plays an
important role in each of the parts. For example, a speaker tells the story of Pentecost
from the Bible and determines the overall structure of this work. Table 2 (on page 23)
presents the relationship between the speaker and the structure of the work.
Also, a tenor solo appears in part 2 after the initial orchestral introduction, and
its text was the inspiration for Strimple to compose Pentecost. The chorus has varied
vocal texture that ranges from full harmonies in homophony, to fugue and canon in
polyphony, to a cappella singing. Table 3 outlines the structure of the vocal elements
and details of each one.

30. The duration of Pentecost is approximately twenty five minutes.

26

Table 3. Vocal structure in Pentecost
Part Measure Voice Texture/Technique
1 10-20 SATB Polyphonic+Homophonic
30-67 SATB Polyphonic
2 77-96 Tenor solo
99-130 SATB Polyphonic+Homophonic/A Cappella
3 137-153 Speaker
154-167 SATB Speaking
5 189-200 Speaker
201-211 SATB Speaking (Shout!)
214-228 SATB Polyphonic+Homophonic/A Cappella
6 228-233 Speaker
233-234
235-236
237-241
Tenor solo
SATB
Tenor solo

Homophonic

7 243-271, 276-307 SATB Polyphonic/ fugue
8 318-328, 333-344 SATB Homophonic
9 346 Speaker
353-407 SATB Homophonic

The speaker’s role is crucial in Pentecost. Not only does it describe the Pentecost
scenes from Acts 2 in the Bible, which is the main idea of the work, but it also
determines the entire structure of the work. There are four appearances of the speaker
throughout the work and they always appear at the beginning of each new part (see
Table 4).
Table 4. Appearance of Speaker in Pentecost
Part Measure Text
3 134-153 Acts 2:1-4
5 189-200 Acts 2:5-8 and Act 2:11-18
6 228-233 Acts 2:38-39
9 346 Acts 2:21 and 39

27

The first appearance of the speaker is at m. 136 when the first unit (parts 1 and 2)
ends. The initial text is “And when the day of Pentecost was fully come, they were all
with one accord in one place. When, suddenly,” from Acts 2. As soon as the speaker
narrates “when suddenly,” a new section starts, marked Allegro con fuoco (see Fig. 3.5).

28

Figure 3.5. First appearance of the Speaker, part 2, m. 131-136.

29

When the narration begins, the full orchestra appears at the downbeat of m. 137
with a strong eighth note. After that, the organ sustains the augmented seventh
arpeggio passage, and the strings accompany with quick arpeggiated sixteenth notes
(see Fig. 3.6). The speaker continually narrates with urgency, and the orchestra rapidly
plays until the choir’s Lord’s Prayer at m. 154.

30

Figure 3.6. Beginning of part 3, m. 137-140.

31

In terms of the tenor solo, it appears only two times in the work, in m. 77-96 and
233-241. The text for the solo comes from Toke’s poem “Thou Art Gone Up on High,”
and Acts 2:38-39 from the Bible. Although the tenor solo appears only twice, it is very
important; it was the primary motivation for Strimple to compose this work because the
text reflects his brother’s death.
The first tenor solo appears in part 2 after a quiet trumpet solo plays with mute.
At this time, the violin I doubles the tenor melody line an octave above followed by the
viola’s canon (see Fig. 3.7).

32

Figure 3.7. Beginning of part 2, m. 69-78.

33

In part 6, the tenor solo appears again in m. 234-241. The solo alternates with the
choir singing “Hallelujah!” and escalates to the climax of the text on “life” set on a high
A5 (see Fig. 3.8).

Figure 3.8. Tenor solo, part 6, m. 234-241.

In terms of the choir, it sings texts from different poems and scriptures from the
Bible, which dovetails with the text of the speaker, also from the Bible. Various vocal
textures and techniques are used in the choir. In terms of the vocal texture, four-part
homophonic harmonies are mostly used, especially on the text “Hallelujah” in parts 6
and 9. However, some passages start with canonic motions in polyphonic texture and
eventually change to a homophonic texture. Table 5 shows the structure of the choral
writing.

34

Table 5. Structure of the choral writing
Part Measure Text Texture/Technique
1 10-20 “Lift up your heads, great
gates, and sing”
Polyphonic !homophonic
30-67 Polyphonic (canonic entrance) !
homophonic
2 99-130 Isaiah 45:8A Polyphonic (canon) ! homophonic
A cappella
3 154-167 Lord’s Prayer Speaking
5 201-211 Acts 2:19-21 Speaking
214-228 Polyphonic (canonic entrance) !
homophonic
A cappella
6 235-236 “Hallelujah” Homophonic
7 243-271,
276-307
Romans 8:1,14 Polyphonic (fugue)

8 318-328 Romans 8:14 Homophonic
333-344 “Hallelujah” Speaking
9 353-377,
378-407
“O breath of life” Homophonic (hymn)

The initial appearance of the choir is at m. 10 when the bass ascends in perfect
fifths on “lift up,” imitated by the tenor, alto, and soprano. This canon passage becomes
homophonic at the middle of m. 16, where the text “now glory” is set, and finally ends
the part 1 (see Fig. 3.9). Another example of a canonic beginning passage is shown in m.
214-228 when the choir sings a cappella (see Fig. 3.10). At the pickup to m. 214, the
soprano begins with canonic motion singing the text “and it shall come to pass,”
imitated by the alto a perfect fifth below. After that, the tenor and bass present the same
melodic material. However, all choral parts align in homophonic texture at the middle
of m. 221, singing the text “the name of the Lord.” Eventually, the choral texture gets
thicker, dividing into six parts in m. 222-223.

35

Figure 3.9. Change of choral texture, part 1, m. 10-20.

36

Figure 3.10. A cappella, part 2, m. 214-228.

37

Another important feature of vocal texture is polyphony with fugue. The fugue
appears in m. 243-271 and 276-307, only in part 7. It begins in the bass with the text
“there is therefore now no condemnation to them which are in Jesus Christ,” followed
by the soprano, tenor, and alto (see Fig. 3.11).

38

Figure 3.11. Use of fugue, part 7, m. 243-253.

Moreover, Strimple often uses a strong speaking technique in which the
performers speak with a loud dynamic in order to achieve a powerful effect. He sets the
choir to speak the Lord’s Prayer in part 3 and Acts 2:19-20 in part 5. First of all, the
Lord’s Prayer appears in m. 154-167 in part 3 with the description “repeat ad libitum, in
as many languages as possible.” Right before this Lord’s Prayer passage, the speaker
narrates passages from Acts 2:1-4, which talks about tongues of fire. Strimple provides
instructions to use different languages for this passage as a way to realize the meaning
of the text (see Fig. 3.12). Moreover, the choir gradually changes to random speaking on
the note of Bb, Ab, or Db in m. 158-161 (see Fig. 3.13).

39

Figure 3.12. Lord’s Prayer (speaking), part 3, m. 154-157.

40

Figure 3.13. Lord’s Prayer (randomly speaking), part 3, m. 158-161.

41

There is another example of the spoken segment for the choir in m. 201-211 in
part 5. While the choir speaks the Lord’s Prayer randomly, in this part it shouts the text
from Acts 2:19-20 at the same time (see Fig. 3.14).

Figure 3.14. Acts 2:19-20, part 5, m. 201-204.

42

Instrumentation

The orchestration of Pentecost is very unique in that it does not use woodwinds.

Its orchestration consists of two horns in F, three trumpets in C, three trombones (two
tenor and one bass trombone), percussion for three players, timpani, organ, and strings.
Strimple indicates the reason why he did not use woodwind as follows: “My brother
was a trumpet player. That is why I had emphasized brass. There are a number of
trumpet solos in Pentecost. Also, there was only so much room to put players.”
31

Brass

Brass instruments are used in different places to achieve various effects. There
are three ways in which Strimple uses brass instruments:
1. As a solo instrument
2. To double the voice part
3. To fill in chords as fanfare
Trumpet solos appear often throughout the work. Strimple poignantly uses a trumpet
solo to recall the memory of his brother, who was a trumpet player. The initial
appearance begins at the pickup to m. 29, when the busy and loud middle section ends
and moves to a new section (see Fig. 3.15). The solo comes before the alto’s soft and
lyrical melody singing “now by your high all golden way” at m. 30. There is another
trumpet solo at the beginning of part 2, which introduces a tenor solo (see Fig. 3.16).

31. Strimple, interview by author.

43

Figure 3.15. Trumpet solo, part 1, m. 28-35.

44

Figure 3.16. Trumpet solo intro, part 2, m. 71-76.

Finally, in part 9, the bright trumpet solo appears when the second verse begins at m.
378. It strongly plays the hymn tune with choral unison with ff dynamics. The trumpet
sounds very bright in a sharp key starting with C# (see Fig. 3.17).

Figure 3.17. Trumpet solo, part 9, m. 378-383.

Horn solos are presented with two distinct roles: as a solo or doubling other
instrumental or choral parts. In m. 276-281, the horn plays a solo presenting the fugue
subject after the bass (see Fig. 3.18). However, when this horn solo appears again at m.
292, it doubles the alto (see Fig. 3.19).

Figure 3.18. Horn solo, section 7, m. 276-281.

45

Figure 3.19. Horn solo doubling the alto, part 7, m. 291-295.

The brass is often used to create a fanfare with full harmony, which is well
shown in this work. At the beginning of Pentecost, the brass fanfare opens the work after
two measures. The horns and the first trombone play the fanfare together in m. 3-5, and
the full brass section comes in subsequently in m. 6-11 (see Fig. 3.20).

46

Figure 3.20. Fanfare effect, part 1, m.1-8.

47

In yet another example in which the entire brass is used as a fanfare, Strimple
wrote part 4 using the entire orchestra starting at m. 168. In particular, all brass
instruments play throughout the part without stopping (see Fig. 3.21).

Figure 3.21. Full homophonic chords in brass, part 4, m. 168-175.

Organ

In regards to the use of organ, Strimple takes advantage of its wide range of
effects and techniques. It is not only used to fill the chords, but is also played as a solo
instrument to help create the mood and character of the piece. Measures 137-138, 201-
213, and 339-344 are three instances in which the organ’s role is associated with the
production of big homophonic chords. In particular, it is remarkable to observe that

48

when it appears at ‘the fire of tongues’ section in part 5, the organ sustains B11-9-7+
chord in m. 201-213, and the choir shouts the text from Acts 2:19-20. Here, while the
organ stays in the same chord for twelve measures, the organ pedal slightly changes
with unison with the contrabass (see Fig. 3.22).

Figure 3.22. Organ’s big homophonic chord, part 5, m. 201-208.

Another feature of the organ is its individual solo playing. In m. 66-68, when part
1 ends with a diminuendo, the organ plays an upward scale with sixteenth notes,
standing out over the existing musical texture (see Fig. 3.23). Another example in which
the organ presents solo passages is found at the end of part 7, when the organ plays
sixteenth notes, but this time playing both ascending and descending scales. The organ
and the first violin—followed by the viola—play a duet in this passage. While the organ
moves chromatically, the strings follow in the same manner but in the opposite
direction (see Fig. 3.24).

49

Figure 3.23. Organ as a solo, part 1, m. 65-68.

50

Figure 3.24. Organ and strings as duet, part 5, m. 309-312.

Moreover, the organ is used at other times as background with ascending triads.
Measures 266-276 and 299-307 are two passages in which we observe this compositional
approach to the instrument. The organ is used as a background to contribute to the
mood of this section (see Fig. 3.25).

51

Figure 3.25. Use of organ, ascending triad chords, part 7, m. 301-304.

52

Finally, the organ is most often used as an accompaniment for the choir. A good
example occurs in part 9. While the choir sings in unison throughout the part 9, the
organ fills the harmony, doubling the strings as well (see Fig. 3.26).

Figure 3.26. Organ accompaniment in Pentecost hymn, part 9, m. 353-357.

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Percussion

Strimple uses handbells, glockenspiel, xylophone, sustained cymbal, tam-tam,
sanctus bells, and timpani calling for three players. While the percussion is less used in
part 4 (only the tam-tam is heard), these instruments are more present in part 5. Table 6
shows how each percussion instrument is used in the work.

Table 6. Use of percussion instruments in Pentecost
Part Handbells Glockenspiel Xylophone Sustained
cymbal
Tam-tam Sanctus
bells
1 16-18, 41-43,
50-51
21-26, 44-45
2 97-99, 132-
134

3 141-143, 164-
167
137-144, 154-
155

4 (least
used)
169-177
5 (most
used)
191, 193 194-200 201 206-212 207-212
6 230, 240-
243
240-243
7 268-269 296-298 307-308
8 316-317, 332-
333
328-329 333, 338 338
9 404-408 376-378

Among the percussion instruments, it is very interesting to discover how the
handbells are variously used. First of all, they are often used to simultaneously close out
the previous section and begin a new section. For instance, when the tenor solo ends
and moves to a new section at m. 96, the handbells ring the chord at m. 97 and repeat it

54

twice more at m. 98 and 99. They are used to introduce the new section, which is
written a cappella, at m. 99 (see Fig. 3.27).

Figure 3.27. Use of handbells, part 2, m. 94-99.

55

The handbells are used in a different fashion at the end of part 6. In m. 240-243,
Strimple writes a very rhythmic passage doubling the strings with xylophone (see Fig.
3.28). Its dynamic is f, which contrasts with the previous examples where the handbells
play with softer dynamics.

Figure 3.28. Use of handbells, part 6, m. 240-243.

56

Overall, the handbells are used six times throughout the work, as seen in Table 7.

Table 7. Use of handbells in Pentecost
Part Measure Characteristics
2 97-99 Chord, introduction to a new part
2 132-134 Chord, refreshment and closing of the section
5 191 and 193 Chord, in the middle of narration
6 230 Chord, refreshment to a new part
6 240-243 Rhythmic passage, doubling the strings and closing the
section
9 404-408 Chord, finale

In terms of the use of mallet percussion, Strimple uses glockenspiel and
xylophone. They are also used in various styles. For example, the xylophone is used to
create a strong rhythmic effect in m. 21-24 (see Fig. 3.29) and 240-243 (see Fig. 3.34
above). Also, both the glockenspiel and xylophone are used to achieve dramatic effect.
For instance, when part 3 finishes with a strong climax, the orchestra and choir play
loudly and the xylophone plays repeating notes (see Fig. 3.30). In addition, the
glockenspiel plays with repeating notes and gradually increases the speed in m. 194-200
in part 5. Although the dynamic is p at this time, the passage slowly increases the
tension along with the narration (see Fig. 3.31).

57

Figure 3.29. Use of xylophone A, part 1, m. 21-24.

58

Figure 3.30. Use of xylophone B, part 3, 162-167.

Figure 3.37. Use of glockenspiel, part 5, m. 193-196.

Strings

With regard to the strings, they are the most prominent instruments in Pentecost.
They are used almost the entire time except for three passages in m. 92-96, 100-129, and
346-352. In general, the strings are used very colorfully. They double the tenor solo or
the choir in fugues, fill in the chords harmonically, and play individual lines in order to
provide a melodic background for the sections. Examples of string parts are presented
in Chapter 4.

59

Chapter 4
Detailed Analysis
Part 1: Introduction – Choir

60

Pentecost begins with a strong orchestra introduction for nine measures. In m. 1
the brass plays a strong Ab+11 chord, followed by the violins’ open fifth arpeggio with
sixteenth notes in C outlining a C Aeolian. According to Strimple, this string arpeggio
passage depicts the image of angels’ flying wings (see Fig. 4.1).
32
Later on, in m. 38-44,
when the choir sings the text “And every Angel as he sings keeps time with his
applauding wings,” the strings again present word painting related to the idea of
“flying wings.”
The introduction is continued by the two horns and first trombone’s rhythmical
fanfare passage in m. 3-4. It makes the opening stronger and brighter, alternating in
leaps of major thirds and perfect fourths, which are the most commonly used intervals
throughout the work. It is interesting to discover how he re-uses this “opening fanfare”
passage differently with distinct orchestration throughout the work. Table 8 shows how
this figure is drawn and variously orchestrated.

32. Strimple, interview by author.

61

Figure 4.1. Opening, part 1, m. 1-4.

62

Table 8. Instrumentation of “Opening Fanfare”
Section Measure Instrumentation
1 3-6 Horn I, II, Trombone I
1 18-20 Horn I, Trumpet I, Trombone I
1 41-45 Trumpet I, II, Trombone I, II, Glockenspiel, Timpani
1 55-58 Horn I, II, Trumpet I, II, III, Trombone I
8 334-338 Horn I, II, Trumpet I, II, III, Trombone I

At first, Strimple simply uses a few brass instruments, two horns, and the first
trombone (see Fig. 4.2); however, he gradually adds more brass and eventually
percussion (see Fig. 4.3). This opening fanfare passage is used four times in section 1,
and it is reused in m. 334-338 in section 8 (see Fig. 4.4).

Figure 4.2. Horns and trombone I, part 1, m. 3-6.

63

Figure 4.3. Brass and percussion, part 1, m. 41-44.

64

Figure 4.4. Brass, part 8, m. 333-338.

The introduction ends with the first intervention of the chorus at m. 10. The text
Strimple sets comes from John Beaumont’s poem “Lift Up Your Heads” (see page 19).
Here, the key changes from C-Aeolian to E-Dorian. The lifting interval idea becomes
wider, up to a perfect fifth and a major sixth, setting the text “lift up your heads.” As
mentioned in chapter 3, Strimple was inspired by the ascension text and set the music
using text painting (see Fig. 3.2).
The texture of the choral writing begins with a canonic figure and eventually
changes to a homophonic texture with the text “now glory comes and glory’s King” in
m. 16-20. This four-measure passage is significant because it changes harmonies on

65

important texts such as “comes” and “king.” When the choir started with a canonic
figure at the beginning, it stayed in a b minor chord; however, it finally moves
harmonically from C Major on “comes” to e minor on “king.” This passage is the climax
of the A section, before moving to the B section.
Using a nine-measure bridge, which modulates from D-Aeolian, to G-Aeolian,
and then to C Aeolian in m. 21-29, Strimple then begins Section B at m. 30. This section
starts with the first trumpet’s lyrical solo followed by the alto and violins imitating the
melody. After the violin melody, sopranos take over the imitative melody in Eb
Mixolydian at m. 34 (see Fig. 3.15).
While the choir in section A is mostly homophonic except for the canonic
entrance at the beginning, section B starts with a polyphonic texture which eventually
returns to a homophonic texture at m. 38. At this time the choir sings block chords
accompanied by the full orchestra, which appears for the first time in the work (see Fig.
4.5). Glockenspiel, timpani, and brass play the “opening fanfare” passage, marking the
end of section B.

66

Figure 4.5. Full orchestra appearance, part 1, m. 41-44.

67

At this point the melodic material reminds the audience of the A section. Thus, at
m. 45 the A’ section starts. The only major difference between A section and the A’
section is the text set: “And makes Heavn’s loftless roof rebound the echoes of the
sound.” Also, the key is different: section A is in E-Dorian and section A’ is in F-Aeolian.
While section A has the chorus entrance as B!T!S!A, section A’ has the order as
S!A!T!B.
In the coda section of part 1, the orchestra starts exactly the same as in the
introduction part of section A, combining the violins’ open fifth arpeggio with sixteenth
notes and the brass’s fanfare. The violins’ arpeggio passage goes on to the end of part 1;
however, after the short intro in m. 54-55, the chorus immediately sings the text “now
glory comes” thirteen times until the end. At this time, the choir is divided into seven
groups which sing only two parts. In the score, Strimple indicates this as follows: “All
groups are SATB. The men should not divide on the high notes, but should all sing D#.”
The interesting feature is that only four notes, C#-A-F#-D# are used and repeated as
canon, and the cello and contrabass double group I until m. 66 (see Fig. 4.6).

68

Figure 4.6. Repetition of C#-A-F#-D#, part 1, m. 56-60.

69

Part 2: Tenor Solo and Unaccompanied Choir

70

Part 2 is simply divided into two sections: a tenor solo and four-part a cappella
choir. First of all, it begins with a trumpet solo with mute, and this trumpet solo is used
as an introduction to the following tenor solo (see Fig. 3.16). The melody of the tenor
solo is similar to the trumpet solo, which has repeated notes of F#-D#-C# (see Fig. 3.3).
The text comes from Toke’s poem “Thou Art Gone Up on High.”
The tenor solo begins from the pickup to m. 77, starting with the low F#, then
moving up to the octave F# at m. 85. Often the first violin doubles the tenor solo melody,
and Strimple uses a smaller instrumentation here, mostly strings, solo horn, and organ.
Specifically, the first violins double the tenor solo to achieve the dramatic effect as the
line goes to the climax in a higher registration. The climax of the solo appears when the
text begins with “But we are lingering here” at m. 85. Its dynamic is ff in a high register,
and after this climax, the tenor solo quietly finishes the passage in p in m. 91-96. In this
passage, the string accompaniment disappears and the organ accompaniment comes to
fill the chords for the solo (see Fig. 4.7).

Figure 4.7. Tenor solo and organ accompaniment, part 2, m. 91-96.

71

After the tenor solo, the trombones sustain an A Major chord in p dynamic with mute in
m. 97-99 and the handbells ring the A2 chord three times, slowly moving to the a
cappella section (see Fig. 4.8).

Figure 4.8. Handbells before a cappella, part 2, m. 96-99.

72

The choir sings a cappella at m.99 for the first time in the work. Strimple uses the
advent text from Isaiah 45:8, which is prayers of disciples. Since the text is a prayer,
which suggests a meditative and desperate mood, this a cappella section fits well within
the text. There is also text painting shown on the text “Drop down,” which starts with
C# and moves a whole step down to B at m. 100 (see Fig. 3.4). The a cappella chorus
starts with soprano, followed by tenor, alto, and bass and it is a canon: the soprano
begins with C# and the next subject appears in the tenor which is the perfect fifth below.
He treats this chorus entrance as like Renaissance counterpoint. Although this choir
starts in polyphonic texture, it changes to a homophonic texture in the middle of m. 114-
122 (see Fig. 4.9).

Figure 4.9. Middle section of a cappella, part 2, m. 114-122.

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After the climax of the choir at m. 122, the texture goes back to polyphony.
Sopranos start with stepwise descending motion, followed by tenors, basses, and finally
the altos. At the end, it repeats the word “drop down” several times and gradually
disappears with diminuendo al niente. After this long a cappella section ends, the strings
quietly play C Major and D/Bb chords and the section finishes with the handbells’
softly ringing the chord of D2 in m. 131-136 (see Fig. 3.5). At this time, the narrator
overlaps with the strings by speaking the text from Acts 2:1. There is a pause with
fermata at the end of part 2. After the short pause, suddenly the narrator speaks the
words “When suddenly,” which then bridges part 2 and part 3.

74

Part 3: Speaker and Choir (on Lord’s Prayer)

Part 3 is a very strong and chaotic part as it depicts the scene of the fire of
tongues from Acts 2 in the Bible. It begins with a powerful chord played by the full
orchestra at m. 137. The strings’ movement within the first two measures depicts the
urgency of the passage (see Fig. 3.6). After a three-measure short introduction, the
speaker begins re-narrating the remaining text from part 2. The text comes from Acts
2:2-4.
The speed of the narration is as fast as the music, and Strimple distributes each
narrated line measure by measure. The orchestra remains chaotic in m. 141-144 (see Fig.
4.10).

75

Figure 4.10. Part 3, m. 141-144.

76

However, the sonic atmosphere gradually changes with a reduction in instruments. In
m. 146 the dynamic is pp, with the second violin and viola repeating sixteenth notes of
Bb(A#) and F# with trombones repeating chords with eighth notes (see Fig. 4.11).

Figure 4.11. Part 3, m. 145-149.

77

Then, it becomes stronger to reach the climax of this section, which is the Lord’s Prayer
at m. 154. Here, the choir is divided into eight parts as soprano I, soprano II, alto I, alto
II, tenor I, tenor II, bass I, and bass II, and the men start one beat ahead. The early entry
of men’s voices helps this section achieve a powerful effect. It is interesting to observe
how the choir changes into the speaking voice. The choir begins speaking the text of the
Lord’s Prayer for the first four measures in m. 154-157, until Strimple indicates “repeat
ad libitum, in as many languages as possible.” Strings play strong quarter notes with
down-bows, while the brass has a syncopated rhythm against the strings in m. 154-157
(see Fig. 3.12).
However, after the four measures of speaking, the choir is asked to manipulate
their speech using various pitches on the same text. In m. 158-167, while soprano I, alto
II, tenor I, and bass II speak, sustaining in notes of A or E, the other parts speak in three
notes of B, A, or D (see Fig. 4.12).

78

Figure 4.12. Choir, part 3, m. 158-161.

All voices finally change, singing alternately among three notes of B-A-D at the end of
part 3 at m. 165-167. In this passage, the orchestral texture gets thicker and eventually
the full orchestra is used in m. 165 (see Fig. 4.13). The idea of speaking in different
languages well presents by symbolizing the Pentecost theme which people prayed with
tongues of fire. This section helps the audience imagine what the Pentecost day would
be like in the bible. The interval of the three notes, which comprises a major second and
perfect fourth, is the same as the beginning of “drop down ye heavens” section in part 2
(see Fig. 3.4).

79

Figure 4.13. Full orchestra, part 3, m. 162-167.

80

Part 4: Full orchestra

Part 4 is the only part that does not have any vocal elements in Pentecost; it is a
twenty-one-measure section written for orchestra. This part begins with a very strong
orchestral Eb chord setting the platform for a Eb Mixolydian key. The opening is very
grand, with an instruction to play Maestoso. It moves in homophonic texture and has
three or four measure phrases (see Fig. 4.14).

81

Figure 4.14. The opening of part 4, m. 168-175.

82

This giant opening passage repeats with different orchestration throughout the
section. Also, the dynamic often gets softer toward the end of phrases. Table 9 shows
the structure, instrumentation, and dynamics of this passage.

Table 9. Homophonic passage in part 4
Measure Instrumentation Dynamic changes
168-175 Full orchestra fff
176-178 Brass and tam-tam mf ! p
178.4-181 Strings (with mute) p ! pp
181-187 Trombones (with mute)
with sustaining strings
pp ! niente

As we can see from the table above, this passage slowly changes based on its
orchestration and dynamics. It is interesting to observe how the same passage can be
perceived differently depending on the texture and color of the orchestra. While the
opening passage is strong with its full orchestration, when the strings play the same
passage at m. 178-181, it is very soft with mute and the dynamics shift from p to pp (see
Fig. 4.15).

Figure 4.15. Part 4, m. 178-184.

83

Furthermore, the opening four-measure passage appears in different parts throughout
the work. We can observe how the reused material is orchestrated differently to
represent well Strimple’s compositional style (see table 10).
Table 10. Instrumentation of the reused material
Part Measure Instrumentation
2 131-136 Strings
4 168-175
176-178
179-187
Full orchestra
Brass and tam-tam
Strings (with mute) and trombones (with mute)
7 306-309
310-313
Full orchestra
Horns and trombones.
8 328-329 Full orchestra

Strimple delicately uses this opening four-measure figure depending on the
effect of the sections. For example, in m. 130-136, the strings only play at the end of part
2 in a motion of disappearance with soft dynamics (see Fig. 4.16). In contrast, in m. 168-
187, a grand and majestic opening is played with full orchestra without choir (see Fig.
3.21). Moreover, in m. 327-329, the same material is used to modulate keys and move to
a new section (see Fig. 4.17).

Figure 4.16. Strings’ closing idea, part 2, m. 130-136.

84

Figure 4.17. Moving to a new section, part 8, m. 326-329.

85

Returning to part 4, after the orchestra disappears at m. 187, the speaker begins
narrating the Pentecost text. The text comes from Acts 2:5-13, which is a continuation of
the scene of the Holy Spirit’s coming at Pentecost.

86

Part 5: Speaker and Choir

The speaker continues the narration in this section. The content of the text is
about Peter’s addressing the crowd from Acts 2:14-18.
Strimple sets the music in such a way that individual instruments are gradually
added in each measure while the speaker narrates. For example, the violas quietly
appear with a sustained major second chord at m. 189. In the following measure, the
violins play with harmonics, and the handbells come in at m. 191. The tempo is
determined by the speed of the narration, due to the careful setting of text for every bar
(see Fig. 4.18).
33

87

Figure 4.18. The opening of part 5, m. 189-192.

33. Strimple indicates the tempo marking as “1 Beat per Bar” at the top of the score.

88

The section starts with strings quietly sustaining harmonies and gradually adds more
instruments as the dynamic gets louder close to the climax at m. 201, where the chorus
shouts the text of Acts 2:19-20. The chorus shouts in the same rhythm with fff dynamic
in m. 201-204 (see Fig. 3.14). At this point, the strings’ texture changes from sustained
chords to glissando with half tremolo and the organ’s strong chord sustains to the end.
Moreover, the strong quarter note by the organ’s pedal, double bass, and timpani
emphasizes every downbeat from m. 201-213 (see Fig. 3.14 and Fig. 4.19). These strong
accents on every downbeat make a dramatic effect as the section goes to the climax.

89

Figure 4.19. Part 5, m. 205-213.

90

91

The following is a diagram of the section’s structure. In this simple diagram, we
can find how the individual instruments gradually appear in each measure and
discover their different textures (ex: sustaining, emphasizing the down beat, etc.).

Figure 4.20. Diagram of part 5.

92

After the shouting section ends, the speaker narrates the last verse of the scene,
Acts 2:21, at m. 213. Then, the a cappella choir repeats the verse again in canon with
points of imitation. Similar to previous a cappella sections, here the choir also starts

93

quietly with polyphonic texture and moves to a strong climax in homophonic texture in
m. 221-223, to finally end softly at m. 228 (see Fig. 4.21).

Figure 4.21. A cappella, part 5, m. 214-228.

94

In fact, the original melody of this a cappella section comes from Strimple’s own
composition “To the Rose Upon the Rood of Time” written July 19, 1974. Strimple
borrows the musical material from the piece and resets it for the text of Pentecost (see
Fig. 4.22). Also, the melody line is used in the tenor solo in m. 77-90 in part 2 (see Fig.
3.3).

95

Figure 4.22. Strimple’s original score, “To the Rose Upon the Rood of Time,” m. 66-72.

96

When the choir finishes the a cappella section with niente, the speaker re-starts the
narration, overlapping the choir at m. 228 (see Fig. 4.23).

Figure 4.23. The ending of part 5, m. 225-228.
Then peter said unto them, repent.

97

Part 6: Speaker, tenor solo with choir response

After the speaker narrates the word “repent,” part 6 quietly begins with the
speaker’s connecting sentence, “And be baptized every one of you,” with organ
sustaining the chord of C#/a-natural. The text of the narration comes from Acts 2:38-39.
During the narration, the strings and two horns are used in the background. At m. 230,
the first violin’s melody hints at the Pentecost hymn in part 9 (see Fig. 4.24). After the
narrator ends, the tenor solo alternates with the chorus singing, “Hallelujah!,” and
continues the text of Acts 2:28, “Thou has made known to me, the ways of life,” at m.
237 (see Fig. 3.8).
As the tenor solo approaches its climax, the orchestra also gets stronger in order
to prepare the new fugal passage in the next section (see Fig. 3.28). At m. 240, the
xylophone and handbells’ strong accents, aligning with the strings, make this ending
more dramatic (see Fig. 4.25).

98

Figure 4.24. The opening of part 6, m. 229-233.

99

Figure 4.25. Part 6, m. 240-243.

100

Section 7: Choir (Fugue)

The fugue that follows is the main element in part 7. The choir begins with the
fugue subject at m. 243, and in the latter portion of part 7, the orchestra either doubles
the choir or plays individual fugue lines. The choir text comes from Romans 8:1, “There
is therefore now no condemnation to them which are in Christ Jesus, who walk not after
the flesh but after the Spirit,” which is divided into two sections in the fugue as follows:
A: There is therefore now no condemnation to them, which are in Jesus Christ
B: Who walk not after the flesh, but after the Spirit.

While the text for A is set in a longer phrase which is six measures long, the B text is set
in only two measures. The following figures (4.26 and 4.27) show the fugue lines on text
A and B.

101

Figure 4.26. Fugue subject A, part 7, m. 243-248.

Figure 4.27. Fugue subject B, part 7, m. 267-270.

The general structure of the fugue section is A (bridge) A’ + coda. The subtle
difference between the two sections is orchestration because the choir is exactly same.
Also, the order in which the voices are presented in the fugue is always the same: Bass
!Tenor !Soprano !Tenor!Alto; however, the role of the orchestra changes. For
instance, in the first part in m. 243-270, mostly the strings are used in order to

102

accompany the fugue (see Fig. 4.28), but in the second part in m. 276-298, not only the
strings, but also the brass instruments are used with individual fugue subjects at
different times (see Fig. 4.29).

Figure 4.28. String accompaniment in fugue, part 7, m. 244-248.

103

Figure 4.29. String and brass in fugue, part 7, m. 286-290.

104

In the second section, an interesting feature is found where Strimple reuses a
passage from the previous part. The viola’s line in m. 301-304 is a fragment of the
melody from part 1, where the trumpet solo has a simple melody followed by the choir
and violin I in m. 28-31 (see Fig. 4.31). The rhythm is slightly different, but the melodic
material is reused.

Figure 4.30. Choir and strings, part 7, m. 301-304.

105

Figure 4.31. Part 1, m. 28-31.

The coda begins as the choir sings an Eb chord at m. 306 (see Fig. 4.32). In this
passage, the full orchestra plays the reused material of the opening passage in part 4,
with an ff dynamic in m. 306-312.

106

Figure 4.32. Beginning of the coda, part 7, m. 305-308.

107

While every instrument plays a long Eb Major chord at m. 309 of the coda, the first
violins and the organ play short and melismatic duet. In the following measure the
violas take over for the violins. While the organ moves in chromatic scales, the strings
follow in the same manner but in the opposite direction in m. 309-312 (see Fig. 4.33).

Figure 4.33. Part 7, m. 309-312.

108

Section 8: Choir (Speaking on “Hallelujah”) and Speaker

Part 8 begins with a short introduction where the strings play the
accompaniment and the brass plays the melody line followed by the homophonic choir
(see Fig. 4.34). The violins’ sixteenth note arpeggio accompaniment makes this section
gentle and smooth. It is interesting to compare this passage with others where the
violins’ sixteenth-note movement is used. Figure 4.35 shows the violin in the very
beginning of Pentecost; the arpeggio uses open fifth intervals with strong and ascending
motion. However, the violins have a slurred arpeggiated in a soothing and gentle
motion in part 8 (see Fig. 4.36). In summary, Strimple often uses related rhythmic and
motivic musical ideas, but always varies them depending on the sections.

109

Figure 4.34. The beginning of part 8, m. 317-320.

110

Figure 4.35. Violins’ strong and uplifting passage, part 1, m. 2-4.

Figure 4.36. Violins’ smooth and gentle arpeggio, part 8, m. 317-320.

The choir comes in on the third beat of m. 318 and its text comes from Romans
8:14 in the Bible:
For as many as are led by the Spirit of God, they are the
sons of God. Hallelujah.

The choir sings in homophony throughout the part and begins with mf dynamic, which
gradually grows to ff at the climax when the choir sings the text of “Hallelujah!” in
unison in m. 326-327. The organ plays an ascending triad chord tones toward the climax,
and at this time, the strings’ accompaniment changes from arpeggios to chromatic
scales in order to make the climax more dramatic (see Fig. 4.37).

111

Figure 4.37. The climax, part 8, m. 325-328.

112

When the choir finishes singing, the full orchestra continues the climax’s energy
in m. 328-332. The interesting feature is that this large homophonic passage appears
again and gradually slows down by changing the rhythmic duration. For example, the
orchestra starts with a quarter note value at m. 328 and the note value changes into
dotted half and half notes at the end. It creates an effect where the orchestra holds the
chord until another passage at m. 333.
At the end of part 8, the choir now sings the “Hallelujah” text on two notes, G
and C, and the brass and strings play just like the opening of Pentecost (see Fig. 4.38).
Due to the similarity of the orchestra’s melody here, this section sounds like a
recapitulation of the introduction in part 1. However, since it is only eleven measures
and has only beginning fragments, it is rather considered to be a coda. The only
difference is the use of strings and brass. For example, the violins have sextuple
rhythms here, instead of sixteenth notes. In addition, Strimple uses full brass in this
passage and they sustain a strong fff dynamic while the choir continuously speaks the
hallelujah text until the end.

113

Figure 4.38. Part 8, m. 333-336.

114

Figure 4.39. The ending of part 8, m. 341-344.

115

Part 9: Choir

116

After the long pause at the end of part 8, the speaker begins narration. The text
comes from Acts 2:21 and 39. This part is composed with the Pentecost text by Bessie
Porter Head’s “O Breath of Life.” Strimple wrote a unison hymn melody first, and it
was the precursor to writing Pentecost (see Fig. 4.40).
34
In Pentecost, the hymn text is
divided into two verses and they are composed in different keys. The first verse starts
with B Aeolian and it modulates to C# Aeolian right before the second verse begins. In
general, while the choir sings the hymn melody in unison throughout the part, the
orchestra fills in the chords.

Figure 4.40. Strimple’s original Pentecost hymn melody.

34. As was mentioned in chapter 3, the pastor encouraged Strimple to write a work for Pentecost,
and Strimple wrote this hymn first in 1979. It was finally completed as a full choral-orchestral work in
1986.
&
#
#
2
2
2
3
2
2
˙
œ
œ
O
O
breath
breath
of
of
. ˙
œ
œ
œ
life,
life,
come
come
sweep
breath
ing
with
˙
˙
through
in
us,
us,
Œ
œ
œ
œ
re
re
vive
new
as
ing
. œ
j
œ
œ
œ
all
thought
with
and
life
will
and
and
w
power;
heart.
- -
- - -
&
#
#
2
3
2
2
7
˙
œ
œ
O
Come,
breath
love
of
of
. ˙
œ
œ
œ
life,
Christ,
come
a
cleanse,
fresh
re
to
˙
˙
Œ
œ
new
win
us,
us,
and
re
.
œ
J
œ
œ
œ
fit
vive
as
us
all
all
to
in
œ
œ
œ
œ œ
meet
ev
this
ery
w
hour.
part.
-
- - -
&
#
#
2
3
2
2
13
˙ œ
œ
O
Re
wind
vive
of
us
.
˙
œ
œ
œ
God,
Lord:
come
is
bend
zeal
us
a
˙
˙
break
bat
us,
ing
˙ œ
œ
till
while
hum
har
bly
vest
. œ
j
œ
œ
œ
we
fields
con
are
fess
vast
our
and
w
need;
white.
- -
- - - -
&
#
#
2
3
2
2
19
˙
œ
œ
Then
Re
in
vive
thy
us
. ˙
œ
œ
œ
ten
Lord,
der
the
ness
world
re
is
˙
˙
Œ
œ
make
wait
us,
ing,
re
E
œ
œ
. œ
j
œ
vive,
quip
re
us
store,
all
for
to
˙
˙
this
spread
we
the
w
plead.
light.
- - - - -
- - -
O Breath of Life
Nick Strimple
1.
2.

117

In terms of the text stanza, it has a meter of 9.8.9.8.9.8.9.8. Table 11 shows how the text is
structured with the stanzas in part 9.

Table 11. Structure of text in part 9
Verse 1
(B Aeolian)
O breath of life, come sweeping through us,
Revive Thy church with life and power;
O breath of life, come cleanse, renew us,
And fit thy Church to meet this hour.
O wind of God, come bend us, break us,
Till humbly we confess our need
Then in Thy tenderness remake us,
Revive, restore, for this we plead.
9
8
9
8
9
8
9
8
Verse 2
(C# Aeolian)

O breath of love, come breathe within us,
Renewing thought and will and heart.
Come, love of Christ, afresh to win us,
Revive Thy Church in every part.
Revive us, Lord! Is zeal abating
While harvest fields are vast and white?
Revive us, Lord, the world is waiting,
Equip Thy Church to spread the light.
9
8
9
8
9
8
9
8
(ends in C# Major
with added second)
Amen.

Since the poem has a powerful and inspiring text, there are several versions of
hymn tunes. Among them, the hymn tunes of Mary J. Hammond (1878-1964) and Joel
Blomquist (1840-1930) are most well known today. It is interesting to compare how
Strimple sets the text, differing from the versions of Hammond or Blomquist. While
they set three verses in straight 4/4 or 3/4 meter, Strimple freely sets two verses in the
combination of 2/2 and 2/3 meters (see Fig. 4.41 and 4.42).

118

Figure 4.41. Mary Hammond’s “O Breath of Life.”

Figure 4.42. Joel Blomquist’s “O Breath of Life.”

119

With respect to harmony, Strimple uses the church mode of B Aeolian to make
the melody as well as harmony, as it is one of his favorite compositional devices. The
part 9 begins in B Aeolian. Figure 4.43 is the harmony-scale of B Aeolian.

Figure 4.43. B Aeolian harmony-scale.

The biggest difference between a minor scale and an Aeolian is that the v chord is a
minor chord, but III, VI, and VII are major chords. With the use of the Aeolian scale,
Strimple’s hymn has freer harmonies and the progressions do not have obvious
harmonic resolutions (i.e. I-V-I or I-IV-V7-I). The first verse starts with B Aeolian and
chromatically modulates to C# Aeolian in the second verse, and finally it ends in C#
Major.
Another feature of this section is its orchestration. Strimple uses different
orchestration combinations for each of the repetitions. For example, in the introduction,
only horns and trombones are used; however, when the choir begins, organ and strings
are added (see Fig. 3.26).
In terms of the structure, the two verses have the same structure of a-a’-b-a’ (a’’).
Also, there is a key modulation in m. 376-377 between the verses; the B Aeolian moves
to C#Aeolian. Through modulations, the Pentecost text can avoid repetition and moves
forward to the end of the work. Table 12 shows information regarding the structure,
key, and instrumentation of part 9.

120

Table 12. Orchestration and key signatures in part 9.
Part Measure Key Instrumentation
Introduction a 346-352 B-Aeolian Horns, trumpets, trombones
A a 353-358 ’’ Horns, organ, strings, chorus
a’ 359-364 ’’ Horns, trombones, organ, strings,
chorus
b 365-370 ’’ Organ, strings, chorus
a 371-375 ’ Horns, trombones, organ, strings,
chorus
Key Modulation 376-377 B Aeolian to
C# Aeolian
Horns, trombones, sustained cymbal

B a 378-383 C# Aeolian Horns, trumpets, trombones, organ,
strings, chorus
a’ 384-389 ’’ ’’
b 390-395 ’’ Organ, strings, chorus
a’’ 396-401 ’’ Horns, trumpets, trombones, organ,
strings, chorus
Amen 402-408 ’’ Horns, trumpets, trombones, organ,
timpani, hand bells, strings, chorus

The trumpet is used in three different ways: fanfare effect, emphasis of melody
(doubling), and horizontal harmony. For example, the trumpet is used as a fanfare in m.
352-354 right before the choir appears (see Fig. 4.44), playing a few quarter notes with
open fifth and octave. This same passage is used again in the “Amen” section at m. 402
(see Fig. 4.45). Also, the first trumpet is used to emphasize the melody in the second
verse. Here it doubles the hymn melody in the octave above (see Fig. 4.46).

121

Figure 4.44. Fanfare effect in Trumpets, part 9, m. 352-354.

Figure 4.45. Fanfare effect in Brass, part 9, m. 402-405.

122

Figure 4.46. Trumpet’s melody doubling, part 9, m. 378-382.

123

Moreover, at the very end of the piece, the three trumpets play the three notes C#-D#-
G# together; this combination of minor second and perfect fifth is the most often used
interval throughout the work. Finally, the three notes played by the trumpets in
combination with what the choir is singing create a harmony of C# Major with added
second (see Fig. 4.47).

Figure 4.47. Horizontal harmony, part 9, m. 403-407.

124

Finally, Pentecost ends on a loud C# Major chord. It is very interesting to observe
that the work begins in C Aeolian and ends in C# Aeolian, which makes this ending
very bright (see Fig. 4.48).

Figure 4.48. The ending of Pentecost, part 9, m. 404-408.

125

Conclusion

The preceding chapters have contributed to a fuller understanding of the life and
music of Nick Strimple. In particular, analysis of one of his choral-orchestral works,
Pentecost, has demonstrated his distinct compositional style and innovation that is
deserving of better attention by the global choral world.
In Pentecost, Strimple uses modes which do not have the typical harmonic
resolutions such as leading tone to tonic or secondary dominant to a new tonic. Rather,
he freely composes by utilizing main combinations of major second, perfect fourth and
fifth, and major third intervals within the modes. In terms of voices, he uses variety of
vocal textures from a tenor solo, a cappella choir, and finally to eight-part choir. The
vocal techniques are also diverse in the use of canon, point of imitation, speaking, and
shouting. Moreover, he uses same materials with different instrumentations which
make this work colorful and richer with respect to orchestration.
This study will provide an initial point for understanding Nick Strimple’s
compositional style and be used as a resource for those who wish to become familiar
with his work. The material provides guidance for conductors, singers and audiences
alike who will benefit from the study and performance of his music.

126

BIBLIOGRAPHY

Los Angeles Zimriyah Chorale. http://www.lazc.org/ (accessed August 14, 2016).

Nick Strimple. www.nickstrimple.com (accessed August 14, 2016).

Strimple, Nick. Compositional Catalogue.

Strimple, Nick. Pentecost. Los Angeles, NLS-00-029B, 2010.

Strimple, Nick. “Developments in 20th Century U.S. Worship Music.” Interview. Artists
House Music. May 17, 2012.
http://www.artistshousemusic.org/videos/developments+in+20th+century+u+
s+worship+music (accessed March 4, 2016).

Strimple, Nick. "Nick Strimple Discusses the History and Practice of Music." Interview.
Managers PRO. August 28, 2013.
https://www.youtube.com/watch?v=ngM6FAsbJCY (accessed March 4, 2016).

The Baylor Line. “Distinguished Alumni Award Nick Strimple ’69.” Winter 2013, p.35.
http://www.nickstrimple.com/prs1301Baylor.htm (accessed March 13, 2016).

127

APPENDICES
APPENDIX A: Interview with Nick Strimple
Conducted by Yoojin Muhn

The following transcript is an interview conducted by the author on September 28, 2015.
YOOJIN MUHN. How did you begin composing? Was anyone in your family a
musician?

NICK STRIMPLE. My family was full of amateur musicians. But it’s kind of funny. My
mother’s side, for instance, she had 2 sisters and a brother. The brother was not musical
at all, although his daughter was. My cousin played the piano and sang. My mother’s
sisters played the piano and sang in choir, so did my mother. My mother really had a
beautiful voice and she played the piano quite well. My dad sang, his mother and one
of his sisters played the piano by ear, they could play hymns in church, you know
gospel songs by ear, they would just provide harmony. My grandmother read music,
but she said she didn’t. She really played by ear. My brother studied the trumpet; he
was a very good trumpet player. And he worked professionally as a trumpeter for
summer stock companies and things like that. I began composing when I was in the 4
th

or 5
th
grade. So I was about 10, I guess. I had a very good music teacher in the public
schools. And I remember vividly her lessons on Mozart and on Dvorak. Which peeped
my interested in Dvorak, which is how I got interested in Czech music. And Mozart,
she really emphasized that he began composing when he was a kid. And that struck me
because I was about same age and thought, maybe I can try that. That’s how I started
composing. So another music teacher at the school would play through the stuff that I
would bring in. In Junior High, I had a vocal music teacher actually help me after school
with rudimentary compositional lessons. And then in High school, I was writing real
pieces and some of them are done big pieces for piano and orchestra was played by the
school orchestra my junior year. And the conductor of the Amarillo symphony, who
was also a composer, was at the concert and he contacted my parents and offered to
give me composition lessons. So that’s the real beginning of formal training as a
composer. And then my bachelor’s degree is in composition. And my master’s degree is
in church music, but the thesis, it was a big composition. And then my doctorate in
third field was in composition. So I’ve just always been a composer.

YOOJIN MUHN. How did you become a choral musician? What is your personal
relationship with the choral music?

NICK STRIMPLE. I became a choral musician, well you know I grew up in the Baptist
church, and every sings in Texas. So I was part of choral program at this big church. I
was primarily interested in orchestral music. I wasn’t planning on singing in high
school, but somebody asked me to go with him to audition, so I ended up singing the
choir and playing in the orchestra too. And I did the same in college. I came to USC for
graduate school as a composition major. And there was no choral department; at that
time it was only a church music degree. So a lot of people weren’t interested in being
church musicians, but they wanted to study with Dr. Hirt, so they had to get a DMA in
church music. And I discovered that I could take a double major by using the electives

128

in the composition as the required courses in church music. And the church music
department agreed to this, so I was doing a double degree for the first semester, but
then I got kicked out of the composition department. My first semester I didn’t do good
work, I think. And I was one of many composition majors, but Halsey Stevens, retained
me as a private student, but I was out of the department. I have to say that 2 years later,
the concert choir did one of my pieces on their spring concert, and the next day there
were couple of composition faculty members in the hallway, they’ve been the concert
and they came up and asked me why I wasn’t a composition major. And I said you
guys have short memories, you kicked me out of your department. Anyway, so because
I was kicked out of composition department is how I got into choral music. I know a lot
of my attitudes are still not typical, actually I don’t think like a lot of choral conductors
in the United States. Most choral conductors in United States are almost totally ignorant
of the repertoire outside of choral repertoire. And I would have to say they don’t know
the choral repertoire either. They know what is mailed to them by publishers or what
they hear at reading sessions. But they certainly don’t know the chamber music
repertoire or symphonic repertoire or anything like that. I think it’s one of the reasons
why the choral musicians are thought of as bottom of the tolling poll in the musical
hierarchy, in education and in music. Certainly compared to orchestral conductors
because they’re not thought of, in many areas. As “comped up” musicians. You know,
they can make the choir sound pretty good.

YOOJIN MUHN. What is the reason, the curriculum was weak?

NICK STRIMPLE. Yes, the curriculum is often designed for more like a trade-tech idea,
where you get all this technique about training a choir. And the emphasis is in
producing a particular sound in choir, it’s not learning the rep. this is why at SC, our
degree is not in choral conducting, but it’s choral music. Because we put about equal
weight on the repertoires as we do in choral conducting technique. But I thought of fell
into choral music and I had this great interest in music. I liked all kinds of music, and I
had grown up in the church and a lot of church music was choral music. I like choral
music a lot, I’ve researched choral music a lot and I’ve written books on choral music
but I kind of fell into it. I think I do have a knack for choral music, because I understand
the voice and I understand choral sonorities.

YOOJIN MUHN. You are a choral scholar, composer, conductor, and educator. If you
had to choose, which description do you think fits the closest about yourself?

NICK STRIMPLE. I think that I am primarily a composer. I would say composers, this is
not so much for case, composers saw me as a conductor, conductors saw me as
musicologist whose work is centered in choral music, musicologists think of me as a
composer. But I would say that I’m a composer first. I started as a composer, but I
started conducting about the same time. I conducted in public for the first time when I
was in the 6
th
grade. My scholarship is mostly just the fact that I am interested in all of
these things and I remember it. I get really bored doing really detailed scholarly, trying
to “find a needle in the haystack” sort of thing, I don’t have the temperament for that
kind of research, so I would say that my scholarship would come at the third.

YOOJIN MUHN. What about “as the educator”?

129

NICK STRIMPLE. The bulk of my career has not been as a educator, when I got to
doctorate, I taught for 4 years, 2 years in San Diego and I came back to USC, I was an
administrator for a year and a visiting faculty for a year. And then I was completely out
of academia from 1978 until 1993, and in 93, I was asked to be an adjunct, visiting
professor at UCLA for a year, and then in 96, I was invited to USC to teach one class.

YOOJIN MUHN. So, what were you doing when you were out of the academia?

NICK STRIMPLE. I had a church job that was a half time, and I was writing film scores
and working as an arranger for pop groups, I did a lot of pop recordings, mostly
Christmas recordings. And I worked as expert witness in copyright infringement
lawsuits. Then I was asked by UCLA to come and teach this class, and I was asked to
contribute a chapter to a book on Dvorak, which I did. Then I approached that
publisher about the 20
th
century book. And that book actually got me back into academia,
teaching.

YOOJIN MUHN. What was the first composition that you wrote and found yourself as
a professional composer?

NICK STRIMPLE. Well, I would say that when I was at Baylor. In a way these are still
student works, but I was hired by the Baylor theatre to supervise music for all of their
productions and that included writing incidental music. So that started in 1967, at that
time I was a junior in college. So I wrote scores, incidental music, for 2 Shakespeare
plays and Bernard Shaw plays and got paid for it.

YOOJIN MUHN. What is your approach when you first start composing? For Example,
Do you start writing down whatever comes to your mind or do you have a specific plan
in composing process?

NICK STRIMPLE. My answer is yes to both. Every piece is different, sometimes I have
to manufacture ideas, other times idea will pop into my head, who knows how or why,
then it’s a matter of figuring out how to use that and what it’s for. This summer, I wrote
4 pieces that had no practice purpose whatever. I just wanted to write. And it was the
first time in about 45 years that I had written a piece of music that wasn’t for a
particular purpose or hadn’t been commissioned for a particular purpose. Everything
else, even in college, I knew I wrote what I knew would be performed, like I had a job at
the theatre, I knew I had to write an undergraduate thesis that I knew it would be
performed, in graduate school, my first year I was writing whatever the teacher wanted
me to write, but I got it all performed. After the first year, what I wrote were pieces that
I knew were going to be performed. Somebody would ask me for a piece, so I haven’t
written anything just for the heck of it until this summer for all these years. So the
process varies with each piece, but I can tell you that I tend to write everything in my
head. I like to write at 2 favorite places, one is soaking in the hot tub and the other is
sitting out on my patio with a cigar and a drink. Because nobody would bother me in
either of those situations. As you can see we have a small house, when the children
were little and they were running all over the place, it was hard to get privacy in this
house. I knew that nobody would bother me if I was outside with a cigar and nobody
was going to walk into the bathroom if I am in the tub. And also composing in the
bathtub or sitting in a hotel bar with a cigar, I could compose when I was working in

130

Europe, I could keep the composition process going. Most of the Pentecost cantata was
composed in the bathtubs of the Victoria Hotel in Amsterdam and Panorama Hotel in
Prague. In Amsterdam, I usually stayed in the Victoria and in Prague, for the first few
times I stayed in the Panorama then I would move around, in Nuremburg, it was called
the Atrium Hotel or the Grand Hotel; those are the 2 hotels that I have stayed in
Nuremburg. I think that trip in 85 because I was in Nuremburg also, I don’t remember
which hotel I was in in Nuremburg, I was gone for over 2 weeks and every night I was
in the tub. My general process then is to get everything worked out in my head and
then I start writing it down. When I am actually writing down, I will check details at the
piano, just to make sure that I’m hearing the write chord, or I’m writing down what I
am actually hearing. Also when I don’t have any ideas, I often will sit down at the piano
and start playing around with ideas, creating ideas.

YOOJIN MUHN. Where do you find inspiration?

NICK STRIMPLE. A guaranteed performance, or paycheck helped too for that matter.
But I don’t know. If I am working real hard to come up with an idea, I’m usually not as
successful as when something out of the blue comes to me. So I don’t know where it
comes from.

YOOJIN MUHN. So are majority of the works that you have written, commissioned by
some organizations or ensembles, which was the motivation?

NICK STRIMPLE. I was at the Beverly Hills Presbyterian Church for 35 years, majority
of those years; I worked for a minister that used a lectionary. He was also very good
about giving us a list, showing the hymns that he wanted and also giving us some idea
for what his sermons were going to be. And a lot of the music I wrote for the church, I
wrote it because I couldn’t find appropriate setting of one of those texts for a certain
Sunday, so I just wrote something.

YOOJIN MUHN. So how long did it take for you to compose for those little pieces?

NICK STRIMPLE. Every year was different, on average, I wrote 2 or 3 pieces of anthems
per year. I know that I wrote 64 pieces, I counted them up. And I wrote 4 cantatas, big
cantatas, and Franciscan canticles, which is a small cantata. One of the cantatas I
withdrew. So about 60 of the pieces that I wrote were anthems, so that’s about 2 per
year. There was one year, I think 83 or 84 that I didn’t write anything and I don’t know
why. I was very careful for a long time not to do very much of my music, I didn’t want
to make them feel like all they were hearing were my stuff. The last 10 or 12 years I was
there, I did my music more often. Before that if I wrote a piece that was based on a
scripture for a certain day in the 3 year cycle, so automatically it meant that that piece
wouldn’t be done again in 3 years. But as I was there longer, and there were more
pieces.

YOOJIN MUHN. Compared to Bach and he wrote pieces for church, how do you
compare with Bach or do you find a common place?

NICK STRIMPLE. Nobody compares with Bach, I like Bach, I understand, I felt badly
when I had been at the church for more than 27 years, because I think he was at Leipzig

131

or St. Thomas for 27 years. And I really wanted to leave Beverly Hills Presbyterian
before I got to 27, and it just didn’t happen. So I was there 35 years. Is it because
thinking of Bach’s years? Yeah. My app, of course doesn’t compare in volume, and I
would say probably in quality, it doesn’t compare with Bach. But I was in a similar kind
of situation, although the Beverly Hills Presbyterian Church really took me for granted.
There was 3-year period in the early 80s that culminated in 85 with the Pentecost
Cantata, where they paid me extra to write a cantata and 2 anthems over a 2-year
period, which I did. I wrote the Christmas cantata but the minister wanted a Pentecost
cantata. So I had to write the Pentecost Cantata, but you know when that time period
was over, I didn’t get any more money for composing and that was done. So I never
had the title, the composer-in-residence or anything like that. They never even thought
about that. I did it because I needed to compose, internally, and there was music that
was needed so I did it. However I’ll say that the Pentecost cantata is actually modeled
on Bach cantatas, The Franciscan canticles is too, the most notable feature would both of
them end with congregation participating. And although the final chorale in Bach
cantata almost certainly wasn’t sung by the congregation, it’s just the idea of ending
with a hymn tune. And alternation of solos with choir sort of thing. So I had Bach as an
example. Bach was certainly an example to me and one of my Christmas Cantatas was
actually designed to be performed with Bach Magnificat, although there is no reference
of the Magnificat, but the orchestration is similar. And I don’t mind having my music
on a program with Bach; I am not intimidated by it. Bach’s Bach and I am me.

YOOJIN MUHN. Is the process different for writing instrumental music as opposed to
choral music? If so, can you describe the compositional approach?

NICK STRIMPLE. I think that the difference in approach would be between writing
instrumental music and choral music or any vocal music for me is that you have a text
you’re working with which helps greatly in shaping the structure or the form of the
piece, even the structure of melodic materials is formed by the text. I personally find
that the presence of the text helps unlock my imagination. I haven’t written, since I got
out of college, much instrumental music. But one of the things that I wanted to since I
retired from the church was to write more instrumental music. I have 2 commissions,
one for a trio for clarinet, cello and piano and another commission from a new music
group in Czech republic, the ensemble is flute, soprano and piano, odd combination but
they have a lot of music written for them and it’s very new post-modern stuff, where
the soprano is essentially used as another instrument. So they’ve had a lot of things
written for them that don’t have any text. And when I got into this mood in May where
I really was eager to compose and I was sketching both pieces, and I broke it all off and
I wrote 5 choral pieces. So the process is a little different because instruments have
difference capacities, capabilities than voices and I have to consider for a long time all of
these capabilities of an instrument and how I am going to do that, I am constrained by
the text. When I’m writing choral music, the text creates everything for me.

YOOJIN MUHN. What do you think is most important when composing Choral Music?
What determines a good choral music?

NICK STRIMPLE. I think the sensitivity to the text would be the most important when
you’re writing any kind of vocal music. And then a really good knowledge of vocal
ranges and what is most effective. There are people who write low F or low E for basses

132

and write fortissimo, because they think it’s the same as the cello, the cello can play
loudly down there, so they think the singers should be able to. People with this sort of
ignorance of vocal spectrum shouldn’t be writing music. But I think those are the two
most important things, sensitivity to the text and a really good working knowledge of
the voice. Same things that determine good music. I think the piece’s got to be put
together well where the structure makes sense, where you are never bored when you’re
listening to the music, where there are surprises even after you know a piece well, you
can still find surprises, that’s good choral music. Good choral music is something that
maintains interest on repeat hearings where you still hear new things in the music after
you know it well, where the proportions work and satisfies you both intellectually and
emotionally on multiple levels, that’s good music.

YOOJIN MUHN. What does composition mean for you?

NICK STRIMPLE. Well, I’m compelled to write music. It’s an inner-urge; you know it
has to be done for myself.

YOOJIN MUHN. What is your philosophy of composition?

NICK STRIMPLE. The pitches and rhythms have to be right. Everything in a
composition must be generic to that composition. I try to keep up with the latest
developments in compositional technique, but I NEVER use gimmicks or attempt to be
"trendy" for the sake of gimmicks and trendiness alone. I compose with an awareness of
performers, their abilities and their potential audiences. I write sounds that please me
and I don't release a composition for performance unless I'm satisfied with it.
Sometimes I will make adjustments after I hear a piece, but that happens very, very
rarely. Lastly, it is natural for every composer to be influenced by the work of others. I
am influenced primarily by Gregorian chant, Hebrew cantilation, American folk music,
modality, hymnody, J. S. Bach, Beethoven, the English School, Ernest Bloch, Schoenberg,
Penderecki and my teachers Thomas Hohstadt and Halsey Stevens. I am also
profoundly influenced by certain writers and visual artists, primarily the Bible,
Aristotle, Shakespeare, W. B. Yeats, John Steinbeck, Jaroslav Seifert, Albrecht Durer,
Johannes Vermeer, Rembrandt, Paul Delaroche, Theodore Gericault, Vincent van Gogh,
Gustav Klimpt, Willem de Kooning, Alexander Calder, Andy Warhol, Edward Hopper,
Georgia O'Keefe. I do not attempt to hide these influences, but if, to my ears, a piece
doesn't sound like me I throw it in the trash.

YOOJIN MUHN. How do you classify your music? How do you feel about the music of
your colleagues, which seems more experimental?

NICK STRIMPLE. I don’t know how to classify my music, it’s just me. I still it sounds
very old fashioned. I think one for the reasons; my phrase structures are influenced
greatly by group singing, like folk songs or hymn tunes. Every hymn tune doesn’t have
the same structure, it’s based on the rhythm of the text but hymn tunes are all rounded
forms of some kind or another and that’s been a big influence on how my thematic
material comes out. I am influenced by the hymn tunes and folk songs. Experimental
music doesn’t bother me. I have never set out myself to write a piece that was very
experimental, maybe once, back in 1976, Dr. Hirt wanted a piece that was obviously
avant-garde that he could do with Europa cantata, so I wrote a piece that was all made

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up with Sprechstimme, whistling and wailing or whatever. I am not offended by the
experimental music at all; I am really interested in it. That’s not what drives me, what
drives me is something that seems to be if there is a text involved, what would really
give people a new take when listening and gain a new understanding of the text. Or if
it’s not a choral or vocal piece, something that happens in the music that leads to
something else naturally and these kind of processes which a lot of times can be
planned and sometimes that are not planned. Something happens that just seems like
spontaneously that this is the next thing it should happen. Sometimes it’s aleatoric or
many times in my own process when I planned to do something that’s really
complicated, what ends up, as the final product is something that’s actually much
simpler because I’ve tried all of the complicated stuff and it doesn’t work as well. I
think there are some very complicated places in the Pentecost cantata.

YOOJIN MUHN. What advice do you have for a composer who wants to write choral
music?

NICK STRIMPLE. Learn about the voice, and learn about text setting so that you
understand the syllabic stress, so that you don’t accent the wrong syllable of a word as a
rule. But mostly learn about the limitation of the voice and how things sound in certain
areas of the vocal range.

YOOJIN MUHN. What is your next plan? What is your long-term goal as a composer,
educator, scholar, and conductor?

NICK STRIMPLE. My next plan is to complete my retirement from the university. I’ve
retired from the church and from the choral society of southern California, another
words, I gave up everything that caused me to have commitments on weekends. I still
have The Zimriyah Chorale, the Jewish chorale and I have SC. The next thing would be
to retire from academia or maybe gradually cut back what I’m doing. I am very
ambivalent in writing any books, I have one book finished, the first draft has been ready
to edit for 2 years and I just haven’t wanted to do it. And I co-wrote it with a couple
people that are not very happy with me because they are waiting on me to do my part
of the editing. That’s a book called “what makes a sacred music sacred?” and then I
have a book called “repertoire for the soul”, which is kind of an annotated list of the
repertoire. The list is finished, the annotations are not, but primarily the opening
chapter that explains why I chose this music and why I even put together the list, I
haven’t written that and right now I don’t have the interested in it. So will you finish
them? I don’t know, once in a while somebody asked me if I’m going to do an 18
th

century book and there’s been a pressure on me for years to do a holocaust book, but I
really don’t know. And also the only conducting I’m doing is with the Jewish choir, we
do about 5 or 6 concerts per year. It’s really kind of heavy schedule because we don’t
start until the high holidays are over and we end usually in June. I have a concert in
early December, another end of January, one in the middle of March, and one in first of
May and one in middle of June. So it’s very heavy schedule for a community-based
group. I enjoy it, they are getting better. I keep learning new repertoire all the time
because I am still a beginner in Jewish repertoire. But I don’t have any other plans; I’m
not conducting anything else. Composing, I really have a lot of ideas, I’ve got these 2
chamber work commissions, I have some ideas for other Latin motets and I have ideas
for 3 or 4 more big orchestral pieces. But I’m of mixed mind about writing those if I

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don’t have a performance, if I don’t know it’s going to be performed. But I have a
commission to write a choral piece for a group called, golden bridge, and I will be
getting a commission from a project in England called, “Aura.” In which they want 100
living composers to write a reflection on a renaissance, probably an English renaissance
piece where the new pieces is somehow based on the old piece. And I am told that I
would be one of the 100 composers chosen for that. So the golden bridge commission, it
would be performed on the 17
th
of September next year, so I have a firm date for that
and I have these two chamber works. So the new activity as a composer is one reason
why I am really looking forward to retire from the school.

YOOJIN MUHN. Is there anything you would want your readers to know about you
and your music?

NICK STRIMPLE. I am left-handed. Left-handed people are the only people with the
right mind. My music is a mystery to me. The conversation we had earlier about trying
to figure out some kind of scheme behind my harmonic language and I don’t know
what it is. Except that it’s based on triadic harmony with added notes, which is
essentially a diatonic language, it’s modal rather than tonal, but how I manipulate that,
I don’t know, although in the recent years I have begun to realize that there are patterns,
but I’m not of a mind to try to figure it out. Theory always comes after composition. The
theorists come along and try to figure what the composers did. My hats off to
theoreticians, but I’m not a theoretician, I freely admit that a lot of what I do is a great
mystery.

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APPENDIX B: List of Complete Choral and Vocal Works (through 2016)

Choral and Vocal Works by Nick Strimple

Published

* Listed by Year of Publication
(with year of composition, required performers, and duration)

1973 To Him That Overcometh (1971)
H.W. Gray (Belwin Mills/Warner) Out-of-Print
SATB, organ. Duration: 4:00’

1974 Shepherd of Tender Youth (1969)
H.W. Gray (Belwin Mills/Warner) Out-of Print
SATB, organ. Duration: 4:00’

1977 Tomorrow (1974)
Mark Foster Music Co. (Shawnee)
SATB. Duration: 4:00

1979 Alas! And Did My Saviour Bleed (1975)
H.W. Gray (Belwin Mills/Warner/Alfred)
Soprano solo, SATB, organ. Duration: 4:00’

Awake My Soul! (1976)
H.W. Gray (Belwin Mills/ Warner) Out-of-Print
SATB, organ. Duration: 3:30’

1981 Father, in Thy Mysterious Presence Kneeling (1979)
H.W. Gray (Belwin Mills) Out of Print
SATB, organ. Duration: 3:30’

None Other Lamb (1978)
H.W. Gray (Belwin Mills) Out-of Print
SATB, organ. Duration: 3:00’

1983 Nativities (1979-80)
Laurel Press (Lorenz) Out-of-Print
ssatb solos, SATB divisi, orchestra (or piano and organ). Duration: 34:00’

1985 Franciscan Canticles (1982)
Galaxy Music (ECS Publishing)
Tenor solo, SATB, organ, optional brass. Duration: 9:00’

Hail Sacred Feast (1982)
Galaxy Music (ECS Publishing)
SATB, organ. Duration: 3:30’

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I Will Praise Thee, O Lord, With My Whole Heart (1981)
Galaxy Music (ECS Publishing)
SATB, organ, optional handbells (or optional brass). Duration: 4:00’

1986 Two Canonic Choruses (1979)
"In Heavenly Love Abiding"
"O Quam Gloriosum"
Southern Music Co.
SATB. Duration: 8:00’

Two Songs from Psalm 116
"I Love the Lord" (1975)
"What Shall I Render to the Lord?" (1978)
Southern Music Co.
SATB divisi. Duration: 7:30’

1988 Lord, for Thy Tender Mercy’ Sake (1981)
Southern Music Co.
SATB. Duration: 4:00’

1992 Hodie (1992)
NLS Music/Emerson Out-of-Print
SATB, piano, handbells. Duration: 4:30’

1993 Come, Thou Fount of Every Blessing (1990)
H.T Fitzsimons Co. (Fred Block Music)
SATB, organ, optional handbells. Duration: 4:00’

1994 Lord, Bless and Consider Us (1992)
NLS Music/Laurendale Associates Out-of-Print
SATB, organ. Duration: 2:45’

There’s a Wideness in God’s Mercy (1993)
NLS Music/Laurendale Associates Out-of-Print
SATB, organ. Duration: 2:30’

Two Folk Songs from Terezín (editor) (1992)
Music/Laurendale Associates Out-of-Print
SATB divisi

Two From Isaiah (1991)
“Behold, I Will Do a New Thing”
“They That Wait Upon the Lord”
NLS Music/ Laurendale Associates Out-of-Print
SATB, organ

Two Little Psalm Motets
“Psalm 131: O Lord, My Heart Is Not Lifted Up” (1990)
“Psalm 117: Praise the Lord, All Ye Nations” (1994)

137

NLS Music/Laurendale Associates Out-of-Print
SATB, divisi

1999 Three Little Communion Anthems
"From Whence Does This Union Arise?" (1983)
"Come and Taste Along with Me" (1984)
"Bread of the World" (1984)
Oxford University Press
SATB (organ in No. 3). Duration: 7:00’

Psalm 133 (1997)
Oxford University Press
SATB divisi. Duration: 3:30’

Ubi Caritas (1995)
Oxford University Press
SA(T)B, clarinet. Duration: 4:00

2003 Daily Prayer (2002)
NLS Music/Emerson Music Out-of-Print
SATB, organ, optional congregation

God Is With Us (2003)
NLS Music/Emerson Out-of-Print
Unison, optional descant, organ, optional congregation

Lord, You’ve Been Our Dwelling Place (2003)
NLS Music/Emerson Music Out-of-Print
ST/AB, organ

Teach Us, O Lord (2003)
NLS Music/Emerson Music Out-of Print
ST/AB, organ, optional congregation

What Shall I Render to My God? (2003)
NLS Music/Emerson Out-of-Print
SATB, organ, optional congregation

2004 A Christmas Lullaby (1996)
NLS Music/Emerson Music Out-of-Print
Unison, piano. Duration: 3’00’

Praise the Lord (Psalm 117) (2003)
NLS Music/Emerson Music Out-of-Print
ST/AB, piano. Duration: 3:00’

2005 Magnificat and Nunc dimittis (1996-97)
NLS Music
ST/AB, organ, or piano, or string orchestra. Duration: 7:00’

138

2006 When I Survey the Wondrous Cross (1985)
National Music Co.
Bar/mezzo solo, SATB, organ. Duration: 5:00’

2008 Mother and Child (2002)
"O Come, Emmanuel" (2002)
"Annunciation “ (2001)
"Magnificat" (2002)
“Hodie” (1992
"A Christmas Lullaby" (1996)
"I Sing the Birth" (2002)
"Make We Joy" (2001)
NLS Music/LYP Music
Mezzo and Baritone solos, SATB divisi, orchestra (or piano).
Duration: 28:00’

Nativities (1979-80)
New Edition: NLS Music/LYP Music
ssatb solos, SATB divisi, orchestra. Duration: 34:00’

2009 Valley of Bones (c. 1986-1996)
ECS Publishing
Speaker, SATB, organ, optional congregation. Duration: 7:00’

2010 Pentecost (1985-86)
NLS Music/LYP Music
Tenor solo, SATB div., orchestra. Duration: 22:00’

2012 Alabado
Pavane (Hal Leonard)
Unison, organ. Duration: 3;00’

Two Folk Songs from Terezín (editor) (1992)
New Edition: Inéllis Choral Imprints (Pavane/Hal Leonard)
SATB, divisi. Duration: 5:00’

What Shall I Render to My God? (2003)
New Edition: Inéllis (Pavane/Hal Leonard)
SATB, organ, optional congregation. Duration: 4:00’

2013 Hodie (1992)
New Edition: NLS Music
SATB divisi, piano and handbells; or orchestra. Duration: 4:30’

2014 A Christmas Lullaby (1997)
New Edition: NLS Music
Unison chorus, piano or orchestra. Duration: 3:00’

139

2015 Two Little Pieces on Text by Dr. Watts (2014)
“Come, Dearest Lord, Descend and Dwell”
“My God, How Endless is Thy Love”
Inéllis Choral Imprints (Pavane/HalLeonard)
SATB. Duration: 5:00’

Two Flowers (2013)
Inéllis Choral Imprints (Pavane/Hal Leonard)
SATB, piano. Duration: 3:30’

Daily Prayer (2002)
New Edition: Inéllis Choral Imprints (Pavane/Hal Leonard)
SATB, organ, optional congregation. Duration: 4:00’

Lord, You’ve Been Our Dwelling Place (2003)
New Edition: Inéllis (Pavane/Hal Leonard)
ST/AB, organ, optional congregation. Duration: 3:00’

2016 Teach Us, O Lord (2003)
New Edition: Pavane/Hal Leonard (Inéllis Choral Imprints)
ST/AB, organ, optional congregation. Duration: 4:00’

God Is With Us (2003)
New Edition: Pavane/Hal Leonard (Inéllis Choral Imprints)
Unison chorus, descant, organ, optional congregation. Duration: 3:15’

Unpublished

* Listed by Year of Composition
(with required performers and duration)

Juvenalia and Student Works

Before 1963 Surely He Hath Borne Our Grief WITHDRAWN
SATB. Duration: 3:00’

1964 A Young Man's Lament for His Dead Son (Revised 1967; 2016)
SATB divisi. Duration: 3:00’

Good It Is to Thank Jehovah WITHDRAWN
SATB. Duration: 3:00’

1965 Two Motets for Lent (originally "Two Motets for Easter") WITHDRAWN

Surely He Hath Borne Our Grief
SATB. Duration: 2:45’

140

He Was Despised
SATB divisi. Duration: 3:00’

Kyrie eleison WITHDRAWN
SAB. Duration: 2:30’

1966 When the Chief Shepherd Shall Appear WITHDRAWN
SATB. Duration: 3:30’

Kyrie eleison WITHDRAWN
TBB or SAATBB. Duration: 3:00’

Gloria Patri WITHDRAWN
SATB. Duration: 2:00’

1967 Gloria Patri WITHDRAWN
SATB and piano. Duration: 2:30’

A Young Man's Lament for His Dead Son (revision, see 1964 and 2016)
SATB divisi. Duration: 3:00’

Two Songs for Soprano and Piano (from unfinished "Four Songs")
“Greater Love” Duration: 3:30’ WITHDRAWN
“Wings” Duration: 1:00’ WITHDRAWN

1969 Four Songs from "Twelfth Night" WITHDRAWN
High voice and piano or harpsichord. Duration: 12:00’

Three Hymn Tunes (Clark House, Widney Hall, Whittier)

Sing unto the Lord a New Song WITHDRAWN
SATB. Duration: 2:30’

1970 O Sing unto the Lord WITHDRAWN
SATB. Duration: 3:00’

Second Kirkegaard Prayer WITHDRAWN
SATB. Duration: 3:00’

Prayer of Kirkegaard
SATB divisi. Duration: 3:30’

How Long O Lord (Psalm 13)
SATB divisi and organ. Duration: 5:00’

The Lord Reigneth (Psalm 97) WITHDRAWN
SATB divisi and brass. Duration: 7:00’

141

1971 Whom Have I in Heaven But Thee?
SAB, organ. Duration: 3:30’

Into the Twilight (final mvt of Outworn Heart)
SATB divisi. Duration: 3:00’

1972 Fragments and miscellaneous sketches

1973 Beloved, I Wish Above All Things
SATB divisi, organ. Duration: 4:30’

Two Songs from Psalm 139 (begun)

Works Composed after Completion of Formal Composition Study

1974 Two Songs from Psalm 139 (completed)
high voice and piano. Duration: 8:00’

To the Rose WITHDRAWN
SATB, divisi. Duration: 4:00’

These Are the Clouds WITHDRAWN
SATB divisi. Duration: 3:00’

Under Ben Bulben WITHDRAWN
SATB divisi. Duration: 3:30’

If You Were Lying Cold and Dead (Outworn Heart – 1
st
mvt)
SATB divisi. Duration: 3:00’

Down by the Sally Gardens
TTBB. Duration: 2:30’

Why should Not Old Men be Mad? (Outworn Heart - middle mvt)
SATB divisi. Duration: 2:30’

Tomorrow
SATB. Duration: 3:30’

1975 A Brotherhood Fragment WITHDRAWN
SATB divisi. Duration: 3:30’

Alas, Ugly Lady WITHDRAWN
SATB divisi. Duration: 3:00’

The Greatest of These WITHDRAWN
Medium voice and piano. Duration: 4:00’

142

1976 Psalm 8 WITHDRAWN
SATB divisi and 2 trombones. Duration: 8:00’

1977 Mass for All Hallows
SATB and organ. Duration: 13:00’

1978 Come Thou Long Expected Jesus (solo version)
high voice and organ. Duration: 2:45’

1979 “Most Glorious Lord of Life” (#1 of Two Sacred Songs)
high voice and organ. Duration: 3:30’

Hymn Tune: Morrison

Hark, My Soul
SATB, satb soli, organ. Duration: 3:00’

1980 Choral parts, insertion of chant, and narration for Durufle Veni Creator

1981 “Eternal Dove” (#2 of Two Sacred Songs)
high voice and organ. Duration: 3:00’

Introit and Benediction Response for Pentecost
SATB. Each Duration: 3:00’

Rewrites of certain cues in film Best Little Whorehouse in Texas

1982 O Lord, Give Thy Holy Spirit WITHDRAWN
SATB and organ. Duration: 3:00’

1983 fragments and miscellaneous sketches

1984 Lord, Keep Us Steadfast in Thy Word
SATB and organ. Duration: 3:00’

Let This Mind Be in You
SATB, trumpet and organ. Duration: 3:30’

Outworn Heart (revision)

Carols (WITHDRAWN)
SATB, s and t soli, 2 French horns, harp, string orchestra. Duration: 25:00’

Come, Thou Long Expected Jesus (choral version)
SATB, optional medium voice solo, organ. Duration: 3:00’

1985 Eye Hath Not Seen WITHDRAWN
SATB and organ. Duration: 3:00’

143

1986 Fragments and miscellaneous sketches

1987 Passing of the Peace WITHDRAWN
Unison congregation and organ. Duration: 1:30’

1988 The Iron Triangle (film)
SATB and orchestra (synthesized). Duration: 40:00’

1989 An Easter Intonation
SATB divisi, brass quartet, handbells, organ. Duration: 7:00’

His Are a Thousand . . . (#1 of "Two Encounters with Thirst")
SATB and organ. Duration: 3:30’

1990 As Pants the Hart (#2 of "Two Encounters with Thirst")
SATB divisi, organ. Duration: 3:00’

Qui confidunt in Domino
SATB divisi, baritone solo, organ. Duration: 15:00’

1991 Rod Stewart Arrangement ("The Rhythm of My Heart")

Two Introits
SATB. Each Duration: 1:00’

Two from Isaiah
Behold, I Will Do a New Thing
SATB. Duration: 2:00’

They That Wait Upon the Lord
SATB and organ. Duration: 3:30’

“Asperges me, Domine” (#3 of Pacem desiderans)
Soprano and Baritone soli, clarinet. Duration: 4:00’

Asperges me WITHDRAWN
SATB divisi. Duration: 3:00’

More Xmas arrangements for Children's Hospital Foundation

1992 Pop arrangements for Mike Curb

Easter Introit ("This Is the Day")
SATB and handbells. Duration: 1:00’

Prayer of Kirkegaard (revision)

My Soul, There Is a Country
High voice solo, organ. Duration: 3:00’

144

More Xmas arrangements for Children's Hospital Foundation

1993 Cuchulain's Fight with the Sea (Scenes 1 & 3)
SATB divisi, mezzo and tenor and baritone soli,
flute, clarinet, harp, percussion and piano

Hymn tune: Calhoun
Pop song: “Follow Your Dream” (music and some of the lyrics)

Updates of some Children's Hospital Xmas arrangements

1994 Cuchulain's Fight with the Sea (Scene 2)
Same as above. Total Duration: 20:00’

Benediction Response for Easter ("Go Out with Joy") WITHDRAWN
SATB and organ. Duration: 1:00’

Then Jesus Was Led Up by the Spirit
SATB, mezzo and baritone soli, organ. Duration: 6:00’

Hymn tune: Valocore " (originally "Hancock")

God Is Love, His Mercy Brightens (Hymn-Anthem on "Valocore")
SATB and organ. Duration: 2:45’

More Xmas arrangements for Children's Hospital Foundation

1995 Come, Said the Muse (becomes No.2 of “Two American Lyrics”)
SATB and piano. Duration: 5:00’

Ubi Caritas (#1 of "Pacem desiderans")
SATB, clarinet. Duration: 3:30’

Updates of some Children's Hospital Xmas arrangements

1996 Set Me as a Seal upon Your Heart WITHDRAWN
SATB. Duration: 3:00’

“Bless the Lord, O My Soul” (#1 of Three Psalm-Anthems)
SATB. Duration: 2:45’

Updates of some Children's Hospital Xmas arrangements
Cues for Home and Family Show Christmas Special

1997 Estonian Round
4 equal parts. Duration: 1:00’

145

Four Women
SSAA. Duration: 7:00’

“Had I the Heaven's Embroidered Cloths” (#1 of Two Yeats Songs)
High voice and piano. Duration: 3:00’

“Create in Me a Clean Heart, O God” (#2 of Three Psalm-Anthems)
Unison chorus or solo voice and organ. Duration: 2:45’

“Lord, Thou Hast Been Our Dwelling Place” (#3 of Three Psalm-Anthems)
SATB, baritone solo, handbells, organ. Duration: 4:00’

Updates of some Children's Hospital arrangements

1998 Updates of some Children's Hospital Xmas arrangements

1999 Updates of some Children's Hospital Xmas arrangements

2000 “The Falling of the Leaves” (#2 of Two Yeats songs)
high voice and piano. Duration: 2:45’

Small revision of Slight Variants (lost)

“Veni Creator Spiritus” (#2 of Pacem desiderans)
SATB, baritone solo. Duration: 2:45’

“Alleluia. Domine, exaudi orationem meam” (#4 of Pacem desiderans)
SATB. Duration: 2:30’

2001 “In Deo speravit” (#5 of Pacem desiderans)
SATB, soprano solo, clarinet. Duration: 4:00’

“Alleluia. Exultate Deo” (#6 of Pacem desiderans)
SATB, soprano and baritone soli, clarinet. Duration: 3:30’

Hymn tune: Montgomery

2002 Hymn tune: Mobile (for “This little lamb, so few days old”)

Hymn tune: Seabough (and text)

Hymn tune: Lewis

Most Sacred Mountain
SATB and organ. Duration: 5:00’

Hymn tune: Moses (and text)

2003 Hymn tune: Adler (and text)

146

Hymn tune: Lynch (and text)

Introit: Round Our Skiff Be God's Aboutness
SATB. Duration: 1:00’

Hymn tune: Cummings & Miller

God Rest Ye Merry Gentlemen (arrangement for Michael English)

Mary, Did You Know? (arrangement for Michael English)

Silent Night (arrangement for Michael English)

2004 Hymn tune: Araluce

Harmonization of hymn tune: Wooster (tune jotted down earlier: ‘95?)

T’filah L'Moshe Ish HaElohim (Psalm 90)
SATB, tenor solo, organ. Duration: 13:00’

Hymn tune: Memorial Day (At the Lamb’s High Feast)

Hymn tune: Miami

Once in Royal David’s City
SATB, congregation, organ. Duration: 4:00’

2005 Completion of An Easter Intonation (This completion WITHDRAWN)

Hymn tune: Ezekiel

A New Heart I Will Give You
SATB, soprano, tenor, bass soli, piano. Duration: 3:45’

Verbum caro factum est
SATB. Duration: 3:00’

The Word Was Made Flesh WITHDRAWN
SATB, bass solo, organ. Duration: 3:00’

2006 Shir HaShirim
SATB, mezzo and tenor oli, string quartet. Duration: 7:00’

“Frenzy” (#1 of Anne Sexton Songs)
High voice and piano. Duration: 3:00’

Fanfare for Beverly Hills International Music Festival
(adapted from Marketplace Forum theme); Orchestra. Duration: 2:00’

147

Hymn tune: Duffy/Kilpatrick

2007 Revision of conclusion of An Easter Intonation WITHDRAWN

Ave Maria (pop choral inserts for Kimberly Locke)

Mary Did You Know? (pop choral inserts for Kimberly Locke)

“In My Craft or Sullen Art” (#2 of Two Part Songs)
SSAA, piano. Duration: 4:30’

2008 Further revision of conclusion of An Easter Intonation WITHDRAWN

“More than Myself” (#2 of Sexton Songs)
High voice and piano. Duration: 2:00’

“Just Once” (#3 of Anne Sexton Songs)
High voice and piano. Duration: 3:00’

Hymn tune: Lachter

2009 Still another revision of An Easter Intonation

Pirke Avot
SATB, high voice solo, 2 oboes, bassoon, strings and continuo. Duration: 18:00’

2010 “Mother of God” (No. 1 of Two Part Songs)
SSAA, piano. Duration: 3:00’

2012 Revised harmonization of hymn-tune: Wooster (My Song Forever . . .)

2013 Symphony: for Angels on my way (first movement). Duration: 9:00’ WITHDRAWN

Lullabies for Rebecca Schwaner (unfinished sketches)

2014 Zacharti Lach (begun; see 2015 below)

2015 Slight revision of Hymn tune: Araluce

Zacharti Lach
SATB divisi, tenor solo, cello. Duration: 11:00’

“Rorate coeli desuper” (No. 1 of Three Seasonal Motets)
SATB divisi. Duration: 4:00’

“Omnes de Saba venient” (No. 3 of Three Seasonal Motets)
SATB divisi. Duration: 4:15’

148

O vos omnes
SATB divisi. Duration: 5:00’

L’David, barchi nafshi et Adonai
SATB, high voice solo. Duration: 3:00’

“Leshoni Konanta Elohai” (No. 1 of Prayers of Singers)
SATB, low voice solo, piano. Duration: 6:00’

Sappho Fragments (preliminary sketches)

2016 Tui sunt caeli (No. 2 of Three Seasonal Motets)
SATB divisi. Duration: 5:00’

Prelude and Fugue (The Bard’s Obsession)
SATB divisi, piano. Duration: 6:00’

Corpus Christi
SATB divisi, satb soli. Duration: 7:30’

A Christmas Flourish
Two part high/low or SATB chorus and 8 trombones. Duration: 2:15’

The Praise of Christmas
TTBB and harp or piano. Duration: 3:00’

Lion of God (Preliminary sketches)

“Shachar Avakeshkha” (#2 of Prayers of Singers)
SATB, low voice solo, piano (preliminary sketches)

149

APPENDIX C: List of Complete Instrumental Works (through 2016)

Instrumental Works by Nick Strimple

Published

* Listed by Year of Publication
(with year of composition, required performers, and duration)

2006 Concerto for Harpsichord and Chamber Orchestra (2006)
NLS Music
Harpsichord, fl, ob, bsn, 2 vlns, vla, cello, bass, perc. Duration: 18:00’

2008 Fantasia for Flute and Piano (2008)
NLS Music
Flute and piano. Duration: 6:30’

Three Contemplations on Southern Folk Hymns
"Weeping Mary" (1975)
“Jesus Is My Friend” (1975; revised 2001)
"Wondrous Love" (1969)
ECS Publishing
Organ. Duration: 12:00’

2009 Music for the Blue Rose (2009)
NLS Music
Violin, cello, piano, soprano , SATB chorus. Duration: 25:00’

2010 Sinfonia Breve (2010)
NLS Music/LYP Music
Orchestra. Duration: 20:00’

Unpublished

* Listed by Year of Composition
(with required performers and duration)

Before 1963 Allegro Moderato for 2 flutes and clarinet WITHDRAWN
2 flutes and clarinet. Duration: 2:30’ WITHDRAWN

1963 Concerto for Piano and Orchestra WITHDRAWN
Piano, full orchestra. Duration: 15:00’

1964 Concerto for Oboe and Strings (left incomplete and WITHDRAWN)
Oboe, violin I, violin II, viola, cello, bass. Duration: 10:00’

150

Three Preludes for Piano
a minor Duration: 4:00’ WITHDRAWN
E-flat Major Duration: 4:00’ WITHDRAWN
d minor Duration: 4:00’ WITHDRAWN
1967 Passacaglia for Three Brass Instruments WITHDRAWN
Trumpet, horn, trombone. Duration: 2:30’

Piece for Percussion WITHDRAWN
Glockenspiel, xylophone, 5 temple blocks, 3 toms, snare drum, suspended
cymbal, 4 timpani (3 players). Duration: 5:00’

Three Little Pieces WITHDRAWN
Piano. Duration: 9:00’

Music for Violin and Piano WITHDRAWN
Violin and piano. Duration: 4:00’

Two Songs for Soprano and Piano (from unfinished "Four Songs")

Greater Love Duration: 3:30’ WITHDRAWN

Wings Duration: 1:00’ WITHDRAWN

1968 Incidental Music to "Richard III" WITHDRAWN
Chamber orchestra. Duration: 30:00’

Suite from "Richard III" WITHDRAWN
Full orchestra. Duration: 18:00’

Incidental Music to "Misalliance" WITHDRAWN
Woodwind quintet and harpsichord. Duration: 20:00’

First movement of Sonata for Piano (see 1970 below)

1969 Incidental Music to "Twelfth Night" WITHDRAWN
Rock quartet, harpsichord. Duration: 20:00’

Concert Music for Violin and Orchestra WITHDRAWN
Violin and full orchestra. Duration: 9:00’

1970 Sonata for Piano. Duration: 10:00’

Sonata for Clarinet and Piano. Duration: 8:00’

Two pieces for Three Clarinets Duration: 4:00’ WITHDRAWN
1971 Percussion (3 or 4 players) and organ. Duration: 30:00’

1973 Free Variations for Organ Duration: 5:00’ WITHDRAWN
Little Suite for Children (begun –see 1975 below)

151

1974 Additional music for production of "Spoon River Anthology”
Banjo, guitar, string bass, piano. Duration: 10:00’

1987 Cues for Fox Christmas Special
“A Beverly Hills Christmas with James Stewart”

Air Supply Christmas arrangements

Air Supply “Tonight Show” arrangements

1988 Air Supply Greatest Hits arrangements

Air Supply Australian Bicentennial arrangements/orchestrations

1990 Rewrites of certain cues for film “The Unholy”

Xmas arrangements for Children’s Hospital Foundation CD

1991 Prelude for Organ Duration: 5:00’ WITHDRAWN

1996 Three Little Fantasies for Clarinet WITHDRAWN (sketches only)

1998 Slight Variants
Piano. Duration: 4:00’

1999 Theme music for Marketplace-Forum syndicated radio program
Synthesized orchestra. Duration: 2:00’

2011 Orchestration of Cuchulain’s Fight with the Sea (Withdrawn/Destroyed)

Orchestration of Then Jesus Was Led Up (Withdrawn/Destroyed)

Orchestration of Most Sacred Mountain (Withdrawn/Destroyed)

Fantasia for Brass Quartet WITHDRAWN /Destroyed

2012 Rough piano sketch for Symphony: The View from Outside. Duration: 30:00’

2014 Four Miniatures for Horn Quartet (reworking of “Four Women”)
Four horns in F. Duration: 7:00’

2015 Trio for clarinet, cello and piano (preliminary sketches)

Variations for Organ (preliminary sketches)

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Asset Metadata

Creator Muhn, Yoojin (author)

Core Title A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 03/13/2017

Defense Date 03/10/2017

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Nick Strimple,OAI-PMH Harvest,Pentecost

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Grases, Cristian (committee chair), Lauridsen, Morten (committee member), Sparks, Tram (committee member)

Creator Email muhn@usc.edu,yoojin.muhn@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-348672

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Document Type Dissertation

Rights Muhn, Yoojin

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Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

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