Robert Moran

Trinity Requiem

Innova 244


Trinity Requiem

(Commemorating the

10th Anniversary of

September 11, 2001)

1.     Introit 4:33

2.     Kyrie                 4:56

3.     Psalm 23         3:42

4.     Offertory          2:58

5.     Sanctus            3:33

6.     Agnus Dei        2:56

7.     Pie Jesu            2:28

8.     In Paradisum 4:44

Trinity Youth Chorus and

Members of Trinity Choir

Trinity Wall Street

Robert Ridgell, conductor



9.     1 3:16

10. 2 14:06

11. 3 5:14




12.NotturnoinWeiss    8:12




13.RequiemforaRequiem     7:03







Commemorating the

10th Anniversary of September 11, 2001


Trinity Youth Chorus and

Members of Trinity Choir

Trinity Wall Street

conducted by Robert Ridgell


Executive Producer: Linda Hanick

Engineering: Leonard Manchess,

Tom Durak (New York)


Melissa Attebury, Associate Director

Wesley Chinn, Assistant

James Blachly, Assistant

Eric Dudley, Assistant



Kiana Bartholomew

Luthian Brackett*

Chloé Combs

Cecilia Gault

Johanna Go

Jalene Lipowitz

Hannah O’Sullivan

Molly Quinn*

Melanie Russell

Hannah Sklover

Virginia Warnken*

Jelani Wiltshire

Peter Yao

Allison Zhao


*Trinity Choir Member (adult voices)



Alexander Hermann, Organ

Jennifer Hoult, Harp

Aminda Asher, Cello

Veronica Parrales, Cello

Sara Wolfe, Cello

Miho Zaitsu, Cello


The Trinity Youth Chorus is the voice of youth in Lower Manhattan, providing a unique musical environment for young singers. A collective of community choirs, the chorus offers music education and performance opportunities for girls and boys, ages 5-18. The program emphasizes the social aspect of singing, brings together collaborative neighborhood partners, and teaches the importance of building bridges within the community.


When Robert Ridgell asked me to compose the TRINITY REQUIEM for his youth chorus as part of the 10th Anniversary of Sept. 11th, 2001, a commissioned score, my immediate reaction was “No, Robert.... having a youth choir sing a Requiem strikes me as slightly ghoulish and a bit unnerving. Let me think about this”. Directly after this conversation, I began to get ‘flash-backs’ of numerous stories I had heard throughout my life of children who had lost their entire families from plagues, wars, endless catastrophes, vicious governments, etc. I told Rob that I had heard of a specific story of a little girl in Kosovo, maybe no more than 8 years old, whose parents and brother of age 6 had been murdered; she was found daily at the grave of her brother, and had completely lost the ability to speak. “Rob, this is what ‘our’ Requiem is about, these thousands and thousands of kids left with nothing. A friend of mine in England, as a little child, was sent off to Wales during the Nazi bombings of London. He returned to London at the end of the war to find that both his parents had been killed. I was speechless. Luckily we have the ability to attempt some expression of grief through our music. Let’s get going with this project now”.


9/11/2001?   Most of the voices in this Trinity Youth Chorus are of young people born in 2000. The World Trade Center attack would mean nothing to them... But knowing and seeing on television children’s lives destroyed time and again would have a deep impact. We recorded the Trinity Requiem in November 2010; a very intense and moving experience for everyone involved. At the conclusion of In Paradisum, many of us were in tears. One note concerning the Offertory: I based this short movement upon the bass line of the famous Pachelbel Canon, using that organ statement for my own musical canon for the four celli. The first four notes of the Pachelbel ‘bass line’? Where had I heard those before?  They are used as the  “Parsifal” chimes, courtesy of Mr. R. Wagner. And even with our concern for eliminating New York City street sounds during this recording, we couldn’t totally succeed. During the opening of the Offertory, one hears a siren passing the church. We decided that this ‘alarm’ was, although ‘not in the score’, worth keeping as a reminder that the World Trade Center, ten years before, had just been behind Trinity.



Back in 1992, as a commission from the Catalyst Series of BMG, I composed SEVEN SOUNDS UNSEEN for 20 solo voices for Richard Westenburg and his Musica Sacra.  Two short sections surround the extended middle part, which uses text-fragments from many letters of friend John Cage to me over a period of 30 years (he had given me the original manuscript of his book, “M”, and I ‘dipped’ into some of these pages, taking statements that had such a musical ‘ring’ I had to include them).   Each of the three parts asks for a different stage arrangement of the various voices for no other reason than to move sounds around for the actual recording.  After I completed the score and sent it on its way to Westenburg (actually hand-delivered to the producer of the recording, Andre Gauthier), I looked forward to attending the actual recording and hearing this work for the first time “outside of my head” and with hopes that what was ‘internally heard’ would manifest itself in the studio performance.   The entire day, spent in the studio, was amazing from start to finish, the singers producing such magic.


Producer:  Andre Gauthier

Engineer:   Anthony Salvatore


NOTTURNO IN WEISS (2006)           

The Esoterics, Eric Banks, director, with guest harpists Alexis Odell and Melissa Walsh

Notturno in Weiss also appears on their album Sonettaria, Terpsichore Records.


Anne Dame

Anthony Balducci

Betsy Bĺskens

Brad Fanta

Curtis Man

Dan Luethy

Doug Rank

Erin Harlan

Gretchen Hubbert

Jamie Balducci

Jennifer Gosnell

Jeremiah Oliver

Jessica Spears

Jim Peterson

Kathea Yarnell

Keith Horlock

Kevin Fansler

Lorri Froggét

Maria Drury

Mary Wieneke

Merideth Burness

Michĺl Seidel

Mitchell Baier

Rick Sipe

Sam Beckert

Sean Glenn

Shawna Avinger

Sheri Doyle

Steve Shelton

Vanessa Ament

Whitney Wishart

Will Thayer-Daugherty


Recording engineer:

Rick Lyman

Recording producer:

Brian Fairbanks

Recording editor:

Al Swanson



Notturno in Weiss [Nocturne in white]

Poem by Christian Morgenstern

Translated by Eric Banks


Die steinerne Familie,

The family of stone,

Aus Marmelstein gemacht,

Fashioned from marble,

Sie kniet um eine Lilie,

Kneels unto a lily,

In totenstiller Nacht.

In the deathly still of night.


Der Lilie Weiß ist weicher

The white of the lily is softer,

Als wie das Weiß des Steins,

Than the white of the stone,

Der Lilie Weiß ist weicher,

The white of the lily is softer,

Doch das des Steins ist bleicher

Yet that of the stone is paler

Im Weiß des Mondenscheins.

In the white of the moonlight.


Die Lilie, die Familie,

The lily, the family,

Der Mond in sanfter Pracht,

The moon in gentle splendor,

Sie halten so Vigilie,

They each hold their vigils,

Wetteifernde Vigilie,

Their emulating vigils,

In totenstiller Nacht.

In the deathly still of night.



Composer and environmental sound-artist Philip Blackburn created this audio collage of several of Robert Moran’s recorded tracks on the innova label. It takes its cues from some of his favored compositional techniques: long loops, cascading textural layers, spatial distributions, and shamelessly heart-rending harmonies.




Robert Moran has traveled many musical paths since 1957 when he began his study of 12-tone music in Vienna with Hans Erich Apostel and completed his Masters with Luciano Berio and Darius Milhaud. He has composed for solo instruments and intimate chamber groups; created musical compositions incorporating 100,000 performers, radio and television stations, skyscrapers, and airplanes; and has collaborated with Philip Glass to compose minimalist opera scores. Moran compositions range from the absurd theatre piece Divertissement Number One (1967), in which performers react to the sight and sound of popcorn popping, to the sinister yet funny Alice in Wonderland (2011) for the Scottish Ballet.


Throughout his career Moran has been careful not to ally himself with any specific school of composition. Musicologist and critic Walter Simmons noted that Moran “has passed through most of the ‘isms’ that have comprised the contemporary music landscape of the past 50 years.” This freed him to explore whatever musical form interested him at the moment, and his numerous musical excursions led to the development of his unique style.


The 2011 Ruhr Triennale, Oberhausen, Germany commissioned Moran’s BUDDHA GOES TO BAYREUTH, composed for two choruses and two string orchestras, conducted by Rupert Huber.  In 2012 Ballet West will premiere THE LOTTERY, based upon the short story of Shirley Jackson and choreographed by Val Caniparoli.


Also by Robert Moran on innova:

Open Veins (627)

Mantra (714)

Cabinet of Curiosities (792)


Moran’s works are published by

Charlotte Benson Music Publishers