“I count on Jehad Choate for not only my sound engineering but also his high-quality work as a music composer. My projects would not be complete without his valuable input”
— Bron Theron, Director
This piece was inspired by two fictional accounts of the eruption of Mount Vesuvius that laid the city of Pompeii in ruins. One is a Doctor Who episode that it gets its namesake from, where the doctor realizes that trying to fix a fixed point in time can lead to the disaster he was hoping to avoid. The second account is from a book series I had when I took high school latin class. It followed the assuringly mundane life of a banker named Caecilius. In the first book we learn how to say things like "dog" and "money" as we go through his routines. But, if one stuck through to Latin II, you realize that Caecilius lived in Pompeii and the vocabulary quickly shifted from day to day objects to literally "fire" and "death."
This piece is dedicated to my late high school Latin Teacher, Nancy Druskin.
The Waters of Mars (for Symphonic Orchestra): Is a tone poem inspired by the Doctor Who episode by which it takes its name from. It follows the Doctor's perspective of fixed points in time, and the stages of acceptance that circle it. I originally wrote this as a giant twelve minute sax quartet back in 2014, but have since learned to make my point in fewer instances within the vernacular it was intended to be in, symphonic orchestra.
I hope to release both the sheet music and recording in late October, early November.
To be released
Suite of a Thousand Faces (for Symphonic Orchestra): Is a three movement odyssey inspired by the writings of Joseph Campbell, who believed all depictions of heroes go through the cyclical pattern in order to make a great story. From a call to action, to death and resurrection, these concepts have fueled our imaginations and can be seen from Star Wars to the Bible.
This piece is a musical adventure through the hero's journey with one twist: the hero realizes he is part of a grand cycle and does what ever he can to break it. This is represented in stylistic changes between traditional Eurocentric concepts clashing with Afrocentric concepts, and then perfectly merging them together in the final act.
It's already been recorded and the score is published, however, I am waiting to see if I can get a traditional premiere of it before sale.