The Auditory

Larry Peyton King (1932-1990) - Transfiguration & Song of Mary

Upon hearing the name of composer Larry King the first thing that came might come to mind is the long-time television journalist who claimed the airwaves for a number of years. Despite the confusion in name, composer, Larry Peyton King, has not received anywhere near the amount of acclaim and popularity that the journalist has accumulated. Little known in much of the musical world, King has recently broke the ranks of many modern sacred music composers and is now becoming one of the most performed American sacred music composers in the world. His popularity has been enhanced by his students and former pupils who have now risen to their own positions of power inside some of the most prominent churches in the United States and England.

King was organist and music director at Trinity Episcopal Church, Wall Street, New York for nearly 21 years. In that time, King’s reputation as a composer became synonymous with an experimental, electronic music scene that became popular during the 1970’s and 1980’s. King’s compositions are almost exclusively written for liturgical use: including fanfares, service music and anthems for choir, organ, accompanied many times by synthesizer, prepared tape as well as colorful orchestrations of brass and bells. The affect of these techniques, when executed correctly, are atmospheric and create a textural dialogue which can be interpreted as spiritual - especially when they are performed in the acoustics for which they were written.

In 1990, King died from malignant melanoma, according to his family. In his death he left behind many works that were either unpublished, or not formally transcribed for wide performance. Many of the scores that have been obtained have been from performances of the works. The condition of some of these scores are in bad condition: often times photocopied from other photocopies, annotated from prior use or in some cases even handwritten. This makes the analysis of these works difficult because they’re grainy and hard to read. Luckily, the works that I’ve obtained are from my own performance experience and I’ve received guidelines from people who worked for Larry while he wrote and performed these pieces.

One of the pieces I have had the privilege of performing was his setting of the Transfiguration (1977). The work is set for SATB chorus, Organ and Prepared tape. The piece begins with a cluster chord set seemingly around E-minor. The cluster sets- up a full texture which is achieved by placing pencils in the keys so the notes can be sustained for the duration of this section of the piece: this cluster assures that there is a base texture which can be later contrasted with other textures, colors and timbrel effects. King reenforces the feeling of E-minor with scales ascending as well as the pedal-E which lasts for the duration of this piece. One way that he achieves the a contrast of textures is in someway a harmonic device. The pedal-E is finally obscured when the chorus enters. When the Basses enter on scale-degree- five the piece still seems to feel as if key-center is E-minor. However, a sustained F-sharp (scale degree 2 in E-minor) leads to the men sustaining a G-natural. This tonicization of G-minor is reenforced by the B-flat that the Tenors sing in the following measures. Here, King is cleverly using the cluster as well as the dissonant key relationships of G- minor and E-minor as a tonal color effect.

It should also be noted that King uses this mutated key-center as a way of introducing another textural effect of in tape which starts (0:00) as the tenors enter. As they enter the tape begins with a ripple-like effect which obscures both the harmony and the texture of the organ and choir. The choir from there builds antiphonally until it reaches a large homophonic texture moving between open and closed chord positions. This section develops as the choir finally cadences in D-major (dominant of G-major) on the world “LIGHT” (if that isn’t great text-painting I don’t know what is).

The most compelling part of the piece, however, is when it ends and the listener is left with this motif “listen to him” as the choir fades into the tape. This is, perhaps, one of the most compelling effects heard in sacred music, as well as profoundly relevant to liturgical use. After performing this piece for the first time one might be left with the question, “Can you imagine coming to church and hearing this piece performed?” For the congregation it must have been a jaw-dropping experience if not thought-provoking.

Larry King was a master of creating soundscapes for the acoustics of his own church. His knowledge of electronic sound as it blends with acoustic sound production is unparalleled by any other sacred composer and his ideas were way ahead of his time. While King’s effects in this piece are extremely impelling when executed correctly, it may not be possible for every church choir to perform this work. The vocal music written is not particularly difficult, but the textures and timbres may throw-off those who are unexperienced with such styles of composition. However, it is encouraging to see more and more choirs and organist perform his work. In a time where theology does not necessarily represent the actions of those who preach or act as a congregation, it is refreshing to hear new perspectives in music and texts which may have been long neglected, in a medium that is inspiring and compelling.

- Daniel