Frederick Boyle: Diabelli-Contest 2016

This rendition of the Wessobrunn Prayer begins with a musical statement in the bass that is reminiscent of Carl Orff's setting, but quickly moves from there through the classical period of music and into modern jazz and art music harmonizations. As the piece progresses, thematic and harmonic material is developed until reaching a heroic ending chord expressing the openness of the heavens. For music theorists, it may be interesting to note that all 12 tones are used in the last five bars of the composition. While utilizing the entire text of the Wessobrunn Prayer in vertical and contrapointal harmony, this setting intentionally reiterates what the composer believes is the central theme of the prayer; namely, in the beginning there was God.