Update Title: 22658A3C-3ACB-4B88-B8AC-23274D72B3E6

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St. Peter's Suite for Solo Cello is a four movement composition for the cello by itself. Commissioned by cellist Myron Schwager, the goals were to create a piece which emphasized the lyrical qualities as well as the rhythmic potential so characteristic of the cello. An additional goal was to create a work which would communicate. With the cello suites of J.S. Bach, as a model, the concept of a four-movement composition featuring "dance" forms  took shape. Just as I was about to begin composing, I got an inspiration to see if there was a hymn tune with St. Peter in the title in honor of the location of the work's premiere. Much to my delight, I found the hymn "In Christ There Is No East or West" set to the tune: "St. Peter" which was composed by Alexander Robert Reinagle in 1836.

The first movement, "Tango," alternates between a rhythmic bass line and the theme (which is a varied version of the hymn tune). Both the bass line and the hymn tune theme are developed and expanded throughout the movement.

The second movement, "Lament," features a minor key harmonization of the hymn tune played as a chorale with sustained two and three note chords. These sections alternate with a lyrical melody written in the Phrygian mode (the church mode often associated with sadness and death).

The third movement, "Swing," provides a contrast to the previous movement in its rhythmic character and obvious jazz influence. The theme is once again a varied form of the hymn tune and is played arco (with the bow). The bass line is played pizzicato (plucked) and is reminiscent of the sound and style of the upright bass so often associated with swing. As in the first movement, these two thematic ideas alternate with each other and are developed and expanded.

The final movement, "Chorale and Chaccone," was inspired by the cello suites of Benjamin Britten. The hymn tune is presented immediately with directions to be played slowly, somewhat freely, and with a religious character. The triple meter, long associated with the chaccone form, underlies this Chorale section as well as what follows. For the Chaccone, the hymn tune is presented in a varied form as the bass part, i.e. the foundation, above which the theme is presented. This melody makes use of the pentatonic (five note oriental) scale which has often been employed by jazz improvisers, American Popular Songbook composers (e.g. George Gershwin and Cole Porter) and twentieth century composers (e.g. Bartok and Debussy). The final section of this movement begins with a surprise entrance of the "Swing" movement theme. This material alternates with a return of short sections of the "Chorale" which brings the entire composition to a quiet and peaceful conclusion. --Edward P. Mascari

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