Olivier Messiaen’s Christian motet O Sacrum Convivium.
Score: mm.192- 247 Studio recording: 12:58 (rec.) Live performance footage: 12:40 (lv ft.)
The motet is improvised by the vibraphone and piano in a lively informal manner until Messiaen’s Alleluia is played at mm.207, 13:25 lv ft. and 13:41 rec. The Alleluia leads to the original setting of Messiaen’s choral motet with improvised interjections of improvised piano, clapping sticks, vibraphone, and bells. The piece ends with a blend of ceremonial sounds –the Indigenous clapping sticks, accompanying the European bell peal.

Timelines (No.2)

Score: mm.1- 131. Studio rec: 11:11; Live performance footage: 09:12
The studio recording of Timelines for single voice and piano begins with the Love Our Light theme featured in Ancient & New. The sounds of the notated score music begins at 1:00. in the Timelines studio recording.

The Timelines score opens with a sequenced arpeggiated triadic phrase that spans the entire compass of the Stuart piano range. The unique tonal and frequency ranges of the Stuart piano sound are heard in this sequenced phrase of two major triads ascending, and three chromatic triads descending.

D, C, Ab major triads ascending, G, Gb, F major triads descending
Score mm. 1- 11; std.rec 1:00 – 2:12; perf 00- 1:12

F , Eb ,B major triads ascending, Bb, A, Ab major triads descending
Score mm. 19-26; std.rec 2:40 – 3:40; perf 1:35 – 2:01

The F& Eb major ascending phrase reaches the highest F8 note of the
102 Stuart compass, mm.22

A seven bar interlude between the phrases, mm.12-18, features the timbre change of the una corda (U.C.) pedal. This phrase is voiced by chords comprising of the same major triads used in the arpeggiated triadic phrase. Each chord comprises of two triads, of two key centres either a whole tone or a semi-tone apart. The dissonance and consonance that occurs in the resonances of these chords exhibit the characteristic resonances of the Stuart sound, with the slower more stable sustain observed consistently in the tests of chapter four

In the live performance the chant metre transitions dramatically from the 5/8 to 4/4 (7:23), and is set in the phrygian mode. The phrygian mode is also the mode of Edward Collin’s Barrabul-la transcription. The chant in 4/4 builds dramatically to a ‘coo-ee’ finish. The studio recording maintains the 5/8 pulse of Harry’s Chant to the end.