William Peacock is a Mississippi-born composer who studied with Dr. Andrew Mark Sauerwein during his undergraduate at Belhaven University in Jackson and is currently finishing his Master’s in Music Composition at Butler University in Indianapolis under the tutelage of Dr. Frank Felice and Dr. Michael Schelle.

William received a commission from the Butler Community Arts School and the Butler Percussion Ensemble, creating We Shall Have Spring Again, a flexible percussion ensemble piece designed to allow professional and amateur performers to play together. It was premiered April 2017 during the Butler ArtsFest. His music has been performed by the Butler Composer’s Orchestra and by Jenna Page and Maya Sutherland of Forward Motion, an Indianapolis-based new music ensemble.

William’s music is most often sacred in character, exploring goodness, truth, and beauty as they flow out from our common Creator. At times reflecting eternity, with amply spaced, floating textures, and at other times reflecting the Incarnation and life itself with engaging rhythmic intensity, his highly colorful writing style drifts between simplicity and complexity. His music seeks to invite performers and audiences into contemplation of and engagement with the Divine as they join him in the process of making music together. One of his works, To the Church in Japan, was recently described to him as, “Kinda like two old men having an argument,” a comment which he has since learned to value as an excellent place to start a conversation.

Inquiries, comments, commissions, and the like, should be directed to:

wpeacock@butler.edu

I Corinthians 13:12 (OEB) – As we yet see, in a mirror, dimly, but then – face to face! As yet my knowledge is incomplete, but then I will know in full, as I have been fully known.

Compositions

Ancient Future Hundredth


PDF score

Ancient Future Hundredth points toward the disparity and the communion between our common means of worship and the mysterious Presence of the infinite, Almighty God, such as when we partake of the Sacrament of Communion with wine and bread. The music begins with a preparation of the heart, then moves to interacting with God in worship.

[If used in a sacred setting, please also include the following:]

The congregation will be invited to sing the Doxology to conclude the performance.

The title is a play on the Old 100th, a tune used in singing the Doxology and which is used in this piece.


We Shall Have Spring Again


PDF score

We Shall Have Spring Again is a mixture of music and sound-world, depicting the great lion Aslan's return to Narnia bringing a swift end to the White Witch's eternal Winter and the joy that results from the return of Spring. I was enthralled by Lewis's fantasies as a child, and, when I return to them as an adult, I find myself thinking more about how they touch on reality. It is my hope that this music may be heard in both senses.

Further Information:

This piece was commissioned by the Butler Community Arts School, receiving its world premier on April 8th, 2017 at Butler ArtsFest. This piece was difficult to write, logistically speaking. The music needed to be able to be performed by an inexact number of student percussionists, some of which had limited experience and skill, and I wanted to give those students something more interesting to do than "shake this thing when someone points at you." The music, therefore, contains elements suitable for both new students (graphic notation, simple rhythms, etc.) and more experienced students or their instructors (rhythmic displacement, bowed vibraphone, etc.). The scoring, with its variable number of performers and the option of doubling instruments, is set up to allow performances by both large and small percussion ensembles.

To obtain the parts for performance, please email the composer - wpeacock@butler.edu


Exspectation and Expectation and Expectation


PDF score

Expectation and Expectation and Expectation is a quasi-minimalist piece which explores the nature of being surprised by joy, usually accompanied with a sense of wonder, but, with further inspection, it becomes apparent that what surprised us does not contain in itself the satisfaction of our initial desire, and trying to recreate the experience proves fruitless.


Throne Room

PDF score

Throne Room Throne Room is an aural depiction of John’s fantastic vision of God seated on His throne in heaven as recorded in Revelations 4: 1-11. The hymn “Holy, holy, holy,” music by John Dykes (1823-76) is borrowed and transformed for this piece. Aside from the three holy's being shared between the opening verse of Reginald Heber’s (1783-1826) text and the four living creatures surrounding the throne of God, there is a correlation between the use of the hymn, somewhat antiquated but still used in worship today, and the response of the twenty-four elders who symbolize the worshippers of God throughout time.