NON NOBIS DOMINE
An Album of Sacred Music

by Christopher Fulkerson

CF's Composition Desk


This CD was released 12/16/2001 by CF and the Choir of St. Gregory's Church in San Mateo, California. It comes with a 24-page program guide by CF, and complete texts in the original languages and translation. The cover is an artwork by singing artist Theresa Curotto, with participation of the choir. Michael Halloran was the recording engineer.

Supply is very limited

The program consists of:
--Suscepimus, Deus, by Janacek
--Ave Maria, by Stravinsky
--O Sacrum convivium!, by Messiaen
--Locus iste, by Bruckner
--Ave Verum Corpus, by Mozart
--Ut Queant Laxis, by Paul the Deacon
--Pange, Lingua, by Fortunatus
--Now Let Us All; Ave Maria; and Kind Maker, by Pope St. Gregory the Great
--I Heard the Voice of Jesus, by Thomas Tallis
--Non Nobis, Domine; and Ave Verum Corpus, by William Byrd
--Adoramus te, by Palestrina
--Kyrie, by di Lasso
--O Vos omnes, by Victoria
--Polish Lullaby, Arranged by Grundah
--The Snow Lay On the Ground, by Sowerby
--Carol from An Irish Cabin, by Wood
--Jesus the Light of the World, Arranged by Elderkin
--Just As I Am, by Bradbury
--Give Me Jesus, Arranged by Hairston
--Amazing Grace, by Newton
--Mass of the Resurrection, by CF, consisting of
----Lord, Have Mercy (Kyrie)
----Holy and Mighty (Trisagion)
----Gloria
----I Believe (Credo)
----Holy and Blessed (Sanctus)
----Memorial Acclamation
----Amen
----Lamb of God(Agnus Dei)

The MASS OF THE RESURRECTION is written in a frankly accessible style. Some of the St. Gregory's choristers said they wanted a work from me but I felt sure they didn't know what they were asking for or what they would be getting into if I wrote something in my preferred idiom. I feared that were I to decline the commission the choristers might misunderstand my decision as being purely negative and uncooperative, and further they might never have the chance to work with a living composer on a new composition. Therefore the piece became part of a cultural history for St. Gregory's in which the music program under my tenure has a commissioning component, establishing a precedent, however conservative, for a better future. I hope my modernist colleagues will not fault me for attempting to turn workplace harassment into a nascent commissioning program.

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