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In 2005, he composed a "Bright Mass with Canons" for its choir.
And Muhly has his own entry in this category: "Bright Mass with Canons" (2005), a jubilant reinvention of the "Missa Brevis" form — essentially, a Mass without a Creed — written for New York's magnificent St. Thomas Choir.
If his "Bright Mass With Canons" (2005) seems staid, for him, it is thoroughly practical: Composed for this choir, it treats the five sections of the Mass reverently, painting the traditional texts with an evocative chromaticism and the appealing rhythmic energy that canonic writing invariably yields.
The result was a series of spangling pieces, unplayable by even the best musician, dense with canons, logarithmic-based speed relationships – sensed, if not necessarily perceived by the listener – and a riotous splash of boogie-woogie and other jazz-inspired effects.
In its great open spaces, which in London would be let's-all-get-along public parks, there is relentless concrete and statuary, churches built like Roman temples and military schools complete with canons and moats; there is iron and steel and an over-riding sense of KEEP OFF.
THOMAS CHOIR: "AMERICAN VOICES" John Scott's ensemble, the leading Anglican church choir in the United States, turns to native repertory with a concert of classic sacred works by Bernstein ("Chichester Psalms"), Barber, Copland, and Rorem along with more recent pieces by Nico Muhly ("Bright Mass with Canons") and Eric Whitacre.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com