O Nata Lux

I wrote this song to go with "Deathraider's Requiem" (mwahahahaha) and and also for my IB Internal Assessments in composition.

I tried to set the text in the solo, "O Born Light," to thick harmonies and dissonances in the choral accompaniment that depict somewhat the star of david on the night of Jesus' birth and the symbolism of this.
O Nata Lux

I think something I maybe could have done better on was making sure the word emphasis matched the beat in the solo better, but I think there's only one place where that really bothers me.

I cannot open the file - could you try saving it in another format?

Yeah, sorry. I have Finale 2008, so most people can't open it yet. There you go.

PS, the dynamics are messed up in the midi for some reason.

Ending could be a bit more final, and the middle section(without the soloist) could use a bit more life.

But other than that creepy, in a good way of course, and good use of dissonances!

Thanks for the comments. I feel like I tried to put a lot of life into the middle, even though there's very little melody. About the ending, it doesn't need to sound too final, because it's only one movement of the requiem.

very very beautiful!!!! so atmospheric! great job!

Hmmm.... I know I'm anal about this stuff but before I even listen I have to take issue with some points in your score.

What text is the chorus singing?

Is there any reason why you chose a key sig with 6 sharps?

You have the basses singing awfully high for long periods and at low dynamics to boot. They are bound to get exhausted singing this. Is there a special moment where you can bring them in on something really low to give them some relief? It would be relief for the listeners as well as I think they don't go below that A in m. 87.

The change in the chorus's texture might be welcome as well. Some more movement perhaps? I see lots of really long notes.

It may seem as really long notes, but the tempo goes very quickly (treated more as 1/2 time). The chorus is not singing text (for now I'm having them do it on a dark ah vowel), but the soloist is. The basses do have a hard time sometimes, but they're fine.

I'm using a key signature with 6 sharps because my requiem is in D# Minor (and related keys). Why NOT use that many sharps?

From my experience, it's easier to visualize flats than sharps. There's some kind of psychological ease in imagining a note drop as opposed to rise.

I'm pretty sure this isn't psychotic and in my head. I've been able to corroborate this with other people.

Have you ever noticed that in the tonal system notes appogiaturas tend to want to fall into their resolution as opposed to rise?

But in any case, this point is totally ridiculous. If it's in D# it's in D#.

For some reason I don't feel like the same feeling comes out of a flat key if only psychologically.