Christopher Sanderson

Ordinary Time No. 3#

Artist’s Statement#

In the Episcopal Church, which you may know from our Bishop Budde’s recent brave confrontation of fascism to its face, we follow the liturgical calendar which has the traditional progression of church seasons. In addition to well-known ones like Christmas and Easter, which are usually thought of as dates but are also seasons in the church, there are a couple of in-between times called Ordinary Time. My composition for organ, clarinet, and bassoon is the third of three compositions meant to liven up a service during this time in the church calendar.

I hope to suggest that even ordinary times have a lot going on in them. Those familiar with my jazz, musical theater, incidental music, orchestra and ensemble compositions will hear some familiar ideas of mine expressed differently for church use. In my mind, I see Ordinary Time No. 3 being played during communion in a church. My hope is for it to color the meditations of the participants with a sense of the dramatic intensity, complexity, and gentle humor of faith.

About the Artist#

Christopher Carter Sanderson (composer, ASCAP) learned music theory and composition from noted composer and cellist Portia Sonnenfeld at Princeton Public High School where his early works were played by the school orchestra under her direction. He has written music ever since for orchestra, ensembles, musical theater, and theatrical incidental music.

While at NYU studying acting and directing, he scored productions for his fellow students and for faculty productions including Steve Waugh’s Ubu Roi. His performed music includes scoring for musicals produced by FringeNYC, The Times Square International Theater Festival, Gorilla Rep NYC, NYU’s Experimental Theater Wing, and Kentucky Rep in the US, as well as at EFTN in Norway supported by a Fulbright grant.

His incidental music for Shakespearean productions has been featured in dozens of successful and celebrated (New York Times, Village Voice, American Theater Magazine) productions by Gorilla Rep in New York City. His compositions for the Talking Jazz (for which he also played acoustic bass) have been played clubs and benefits in NYC. Talking Jazz also world premiered Bradford Morrow’s A Bestiary in this style at Triad Theater.

His duet for flute and accordion arrangement of Ordinary Time No. 1 was accepted for repertoire by Duo Artina.

He holds a BFA in acting from New York University and an MFA from the Yale School of Drama. He is a Fulbright grantee.