Crucifixus (1999) for clarinet and organ is a Lenten (Passiontide) work. The work was
written for and is dedicated to clarinetist Kenneth Grant. Grant's tremendous clarinet playing
served as the musical inspiration for this work.
The work is based on the plainsong for the Saturday before Palm Sunday (Ater juste, mundus
te non cognovit). The plainsong material is presented throughout both in its native form but
also in many possible transformations. The piece focuses on the crucifixion, and while not
directly programmatic, looks musically at elements of that event, building up to the final
placement of the cross (the formation of the cross musically at measure 56: the organ's
vertical form against the clarinet's horizontal, the musical cross being formed from a gross
transformation of the plainsong material) and then dying away slowly to nothingness (the
entombment): fading to the clarinet's and the organ's lowest D -- the basis pitch for the
plainsong.
It is fully intended that this work be suitable for both worship service and concert settings.
The work focuses on the first half of the most important part of the Christian faith (the
Crucifixion portion of the Crucifixion and Resurrection.) However, especially in worship
service use, it is strongly recommended that the above program notes appear in the bulletin as
it will give the congregation members a reference for many of the gestures and moods in the
work which could otherwise seem to run contrary to a worship setting.
Registration Combinations
The following registration combinations should be set in the general memory pistons of the
organ before performing this piece. If memory pistons are not available, assistants should be
utilized. The flow of the work should never be broken by registration changes.
Registration 1
Manual I 8' quiet solo flute (e.g., flute harmonique)
Manual II 8' strings (or flute) + celeste
Pedal 16' flute
Box (Manual II) closed
Registration 2
Manual I 8' + 4' flute
Manual II 8' quiet solo reed
Pedal 16' flute
Manual I to Pedal
Either an assistant or a crescendo pedal is required for the build-up to full organ in the middle
of the work. At each place marked Add, the volume of the entire organ should increase --
building up to the tutti climax.