The melding of two general timbres, two stereotypical styles (winds faster and with more notes, and choir with longer, slower lines), and an offset ostinato creates a very unique piece of music. Other diverse influences include the World Music-infused jazz of.
Because the choir is so often radically different, these moments of calm that use the themes of the choir connect the two groups together more convincingly. Meridian comes very much out of the composer's love for ostinato, or groove-based, music. Here, the winds join the choir in longer, slower melodies, often taking the exact melody the choir just had. The middle sections are much less hectic and, like Strange Humors, provide moments of calm that revive the listener, making the fast and complex sections even more interesting and special. The end effect of a combination of complexities is a very intense and aurally stimulating piece of music. Under Plagge’s tutelage, Gjeilo developed a love of writing for choir, soon creating some of his earliest successful works, such as his well-loved Ubi Caritas. The upper winds often have the main melody, the lower winds have harmony and ostinato, piano has arpeggiated (or block) chords, and the choir has overarching melodies. Gjeilo segued to choir music after high school when he started studying classical composition with Wolfgang Plagge. Meridian is a relatively complicated piece, with multiple themes going on at once in many places. The piece introduces a relatively rare type of groove to classical music in this 7/8, 6/4, etc. Copland’s The Promise of Living followed by Meridian, a stirring work scored for piano solo and chorus, by noted contemporary composer Ola Gjeilopremiered in Vermont just three weeks earlier by the Chorus, the Middlebury Community Wind Ensemble, and pianist Tim Guiles. Because the beats are not always even, the same ostinato pattern remains for lengths of music at a time before switching, so as to keep a recognizable groove.
Rarely is it in an even meter, and even when it is, the ostinato is never even, always with an extra beat thrown in (often the meter is ⅞, or some other odd numbered beat). The piece is significantly based on ostinato, and there is nearly always a groove going, no matter what time signature the piece is in. Both the choir and piano are additions to the wind ensemble, but are neither accompaniment, nor soloists, instead, just creating a more diverse ensemble. He is, however, an emergent star in the realm of choral compositions, with a host of works and several studio albums of his works including a critically acclaimed 2013 release by the Phoenix Chorale entitled Northern Lights.
The choir is optional, since all parts are also played in the winds, but it adds a depth not found in typical wind ensembles. Within the wind band community, the name of Norwegian composer and pianist Ola Gjeilo might not be immediately familiar. Specific words are hard to hear, and are in another language, but the word “Meridian” remains throughout the piece. brass and percussion) share the rhythmic and quick material, while the choir often has longer lines, either singing chords to accompany the winds, or sing a long, slow melody overtop. Meridian is a piece written for piano, wind ensemble, and choir.