Brick Church: Candles, Scripture and a World Premiere Composition

Modeled on the beloved service first sung at King’s College, Cambridge, in 1918, Brick Church’s Lessons & Carols unfolded by flickering candlelight. Weaving together Scripture readings, carols, and choral anthems, the service proclaimed the message of Christmas, with light overcoming darkness.

This year’s event featured New York-based composer Daniel Ficarri. Named one of the top “20 under 30” organists by The Diapason, the 29-year-old composer of organ, choral, and chamber music is associate director of music and organist at the Cathedral of St. John the Divine.

The Juilliard School grad also has appeared in concert halls and houses of worship around the world.

Straus Media sat down with Ficarri to talk about his new piece of music, his approach to musical composition, and his participation in Brick Church’s annual event.

Tell me about the inspiration behind “The Saviour of the World Is Come.”

[Dr. Raymond Nagem], who’s the music director at [The Brick Presbyterian Church] asked me to write a Christmas anthem for them. I wanted something that had layers of depth to it. I spent months looking for texts, and I was fascinated by [a piece of] poetry that was written by a 19th-century writer, William Young Fullerton. So, I’m using his words to “The Saviour of the World Is Come,” and I’ve written original music.

How did this piece fit within the traditional Lessons & Carols service structure?

It was toward the end of the service. The Lessons & Carols service is an alternation between readings and choral pieces or hymns. “The Saviour of the World Is Come” was a triumphant conclusion.

With your new piece, what did the audience get to hear?

Its choir and organs. So, it’s a four-part choir, and it starts with these less-soft melodic lines, and it builds and builds from harmony until everybody’s singing in unison, and they’ve got all the stops of the organ going.

How long did you work on the piece?

It was basically my summer project. I spent several months of the spring reading through different possible texts. By May or June, I had settled on the [Fullerton] text. Then I spent the summer turning it into this piece. By the beginning of September, it was done.

Is it harder to write for the specific as opposed to the general, aka just sit down if you have an idea?

Yeah, it was challenging at first. Ray was kind to be so open-ended with just saying I could write a Christmas piece based on any text, but sometimes that’s daunting to not have too many specifics given. I felt the pressure of wanting to get it just right. But it turned out to be a very rewarding project.

Is it hard to write new music that sits alongside traditional?

I would say sometimes people have certain expectations when they hear there’s going to be a new piece and what that should sound like. I’m a composer who values the accessibility of new music, and I want the people playing and singing any piece that I write to feel good and to gain something for themselves by playing and singing that piece. I appreciate tonal harmonies and these very lush melodies, and so I tried to write a piece that has layers of depth, but would really speak to everybody, whether they’re musical or not.

So, at 29, you’ve already had remarkable experiences. What advice would you give young musicians navigating their careers?

I think young musicians tend to look for role models, and that’s an important and beautiful thing. I have so many mentors that have paved the way for me, and I’ve learned the ropes from them, and they’ve helped me to become the person I am now. But I think in addition to that, one has to really get to know themselves, have confidence, and get to know their own vision for what they want to do with their abilities. I would like to think we’re all put on this planet for a reason, and no two musicians bring the exact same skills to the table. I would hope that young musicians, and especially young composers, can trust their instincts, can trust their vision for what they want to do with their skills, and also trust what it is that they uniquely bring to the table.

What’s next for you as a performer and a composer?

Well, next week’s exciting. It’s my first time playing with the New York Philharmonic, doing four performances of the film score for Home Alone. I’m looking forward to playing more and working with different kinds of groups, and hopefully writing more music for more people. But I’m just excitedly open to any opportunities that come in the future.

The Brick Presbyterian Church , 1140 Park Ave., New York, NY 10128. All are welcome.

Lorraine Duffy Merkl, a frequent literary and entertainment contributor to Straus News, is the author of the novel, “The Last Single Woman in New York City.”